{"title":"Digital Products","description":"","products":[{"product_id":"12-discs-of-bruno-walter","title":"Backhaus - Example Product","description":"","brand":"Pristine Classical ESC","offers":[{"title":"320kbps Ambient Stereo MP3","offer_id":30167280269,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31266127501,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/classical-desire_15bb3aa1-8a7e-4e01-a0c4-33de3f5582c1.png?v=1484058990"},{"product_id":"pasc318","title":"CURZON plays Beethoven Piano Concertos 4 \u0026 5 (1954\/57) - PASC318","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-weight: bold; font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold; font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1954\/57\u003cbr\u003eTotal duration: 73:02\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px; font-weight: bold;\"\u003eClifford Curzon, \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px; font-weight: bold;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eHans Knappertsbusch, \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003econductor\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis classic combination of pianist and conductor belongs in everyone’s collection578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThese 1954 (No. 4) and 1957 (No. 5) monaural studio recordings have been remastered into stereo by the master-of-remastering, Andrew Rose, under the renowned Pristine label. The featured artists, Clifford Curzon and Hans Knappertsbusch, are masterly performers from the past. I have been an admirer of Curzon’s playing, but a very neglectful admirer because I own none of his very few recordings. I have never liked what little I’ve heard of Knappertsbusch’s conducting except for that on an old vinyl disc set of Die Meistersinger— a remnant of my previous life as a Wagnerphile. Andrew Rose has sparked in me a reassessment, not of Wagner but of Knappertsbusch, and a reappreciation of Curzon. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCurzon’s phrase shaping and passagework are noteworthy, and Knappertsbusch’s command of the orchestra enabling detail to be heard without overwhelming the piano is especially appreciated. The Vienna Philharmonic’s violin sections, however, are, while adequate, not of the high quality encountered in today’s best orchestras. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCurzon’s quiet solo entry to begin the first movement of the Fourth Concerto is truly poetic, presaging the character of the entire movement. Knappertsbusch is suitably responsive, allowing the fine orchestral detail to be heard in lyrical response. The orchestra enters strongly to begin the unusual second movement, and Curzon responds in quiet reverence. This pattern changes, as the orchestra diminishes its prominence, and the piano takes command—in the style of responsive reading. Curzon and Knappertsbusch trade roles of dominance and subordinance as the movement progresses. Curzon is enthralling in the impressionistic solo passages from bar 56 through bar 63. This is as good as the classic treatment found in the Artur Schnabel\/Malcolm Sargent recording of the 1930s. The final movement is exuberant and well articulated. Curzon’s legato is especially noteworthy. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAs good as the Fourth Concerto is, the “Emperor” is even better. Curzon’s bold entry at the start of the first movement employs rubato very carefully as a foreshadowing of the movement’s majesty to come. Knappertsbusch controls the orchestra superbly to reveal the movement’s great detail. Revelation of the “Emperor”’s dominance among concertos is shared equally here by both pianist and conductor. Knappertsbusch’s reverential opening of the second movement is complemented by Curzon’s poetic entry. This magnificent combination pervades the movement. Curzon is unmatched here, except possibly by Artur Schnabel. The final movement is worthy of the “Emperor”’s crown as Curzon and Knappertsbusch in concinnity tame its tempestuous exuberance to conclude a grand musical experience. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis classic combination of pianist and conductor, recorded almost 60 years ago, belongs in everyone’s collection. Courtesy Andrew Rose and associates, it is a sonic marvel for its age (although there is occasional orchestral blurring); courtesy Curzon and Knappertsbusch, it is a marvelous musical experience. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eBurton Rothleder \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC318.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eClifford Curzon is \"the ideal pianist for the Fourth\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eTwo excellent Decca recordings given new life by Pristine's XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003eThese two recordings straddle Decca's move in the mid-50s from\nmono to stereo - the mono Fourth Concerto here is presented in Ambient Stereo,\nretaining a central mono sound but allowing hall ambience some realistic stereo\nspread. Both recordings were rather constrained and a little boxy in sound,\nsomething that XR remastering has largely cured. Viennese orchestral pitch was\nnotably high in the Fifth Concerto, something I've confirmed with electrical\nhum analysis - both original pitches have been accurately and precisely\nrestored.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 4 in G, Op. 58\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Cyril Windebank\u003cbr\u003eRecorded 4-5 April, 1954\u003cbr\u003eGrosser Saal, Musikverein, Vienna\u003cbr\u003eTransfer from Decca ECS 752\u003cbr\u003e\u003cb\u003ePresented in Ambient Stereo\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 5 in E flat, Op. 73, \"Emperor\"\u003cbr\u003eMono Producer: John Culshaw\u003cbr\u003eStereo Producer: Erik Smith\u003cbr\u003eMono Engineer: Gordon Parry\u003cbr\u003eStereo Engineer: James Brown\u003cbr\u003eRecorded 10-15 June, 1957\u003cbr\u003eSofiensaal, Vienna\u003cbr\u003eTransfer from Decca SXL 2002 \u003cbr\u003e\u003cb\u003ePresented in Stereo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eClifford Curzon \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eHans Knappertsbusch \u003c\/b\u003econductor\u003cbr\u003e\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC318.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC318.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34131811277,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34131811341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34131811405,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC318.jpg?v=1724852351"},{"product_id":"pasc319","title":"CANTELLI NBC Concert No. 29: Bach, Cherubini, R. Strauss (1952) - PASC319","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJ. S. BACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eChristmas Oratorio - \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eSinfonia\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCHERUBINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony in D major \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tod und Verklärung\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 58:22\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003eGuido Cantelli, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhat makes the concert a keeper is the extraordinary performance of the Strauss578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003ePristine’s Cantelli series continues to unearth material not otherwise available. This 1952 NBC concert is quite new to me. Andrew Rose’s source was a tape copy in the private collection of Keith Bennett (author of the recent Cantelli biography), and it seems to have presented quite a challenge to his transfer skills. While the sound is not up to the standard of the best Cantelli\/NBC sources, relatively rough and opaque, it is perfectly listenable. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCantelli followed Toscanini in championing this rarity by Cherubini (the older maestro made his studio recording for RCA in the same year). The work is skillfully crafted, much preoccupied with counterpoint, and with many moments of genuine originality, including a notable penchant for Beethovenian harmonic touches—though Cherubini’s tend to be confined to the level of local effects, with none of Beethoven’s long-range power. Not surprisingly, Cantelli conducts a performance of impressive refinement and discipline. On the debit side, however, textures are excessively string-dominated, tending to heaviness. Tuttis become tiring to listen to, unrelenting and opaque (though the close-up, colorless recording no doubt does not help). For my money, it is all just too monumental for the music’s own good—it needs a lighter touch, more light and shade (as can be heard in Toscanini’s contemporaneous studio recording, despite the use of what sounds like an equally large string section). \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Bach adds little to the disc’s attractions, in its very dated performance style—slow, heavy, and legato, with no harpsichord continuo. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat makes the concert a keeper is the extraordinary performance of the Strauss. The slow introduction is clear-eyed, precise, and unusually articulate at a robust dynamic level—again the close recording may be the culprit, but this patient sounds suspiciously hale, far from death’s door! The ensuing Allegro molto agitato is unforgettable, in its combination of Cantelli’s trademark virtues—solidity, precision, clean articulation, and lucid contrapuntal textures—with expressive intensity of an exceptional order: an elemental outpouring of tone from the NBC musicians, who play as though the concert will be their last! The final transfiguration is played quite swiftly and straight, and is all the more overwhelming for it. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe notes reprint an excerpt from Bennett’s Cantelli biography, which on this evidence could have used a little more copy-editing before seeing the light of day. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis is obviously self-recommending for Cantelli collectors, perhaps less so for the rest of us, but the Strauss really has to be experienced. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eBoyd Pomeroy \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC319.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli conducts Bach, Cherubini and Strauss for Christmas, 1952\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew transfers given a complete audio makeover with XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAll three of these recordings were restored from recordings in\nthe private collection of Keith Bennett, to whom we're very grateful. The\nCherubini and Strauss, from later BBC rebroadcasts, were in better condition\nthan the Bach, but all suffered considerable sonic deficiencies which I've been\nable to largely alleviate. I noticed some considerable variation in hiss, which\ntended to be at its highest at the beginning of the recordings. I've dealt to a\ndegree with this, as well as removing or reducing a considerable number of\naudience coughs, though some do remain.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eJ. S. BACH \u003c\/b\u003eChristmas Oratorio - \u003cem\u003eSinfonia\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eCHERUBINI \u003c\/b\u003eSymphony in D major\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Tod und Verklärung \u003cbr\u003e\u003cbr\u003eBroadcast live from Carnegie Hall, New York City, 27 December 1952\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eGuido Cantelli \u003c\/b\u003econductor\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2011\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003eTotal duration: 58:22\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC319.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC319.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eJohann Sebastien BACH (1685 - 1750)\u003c\/b\u003e Weinachtoratorium, BWV 248: Part 2, Sinfonia\u003c\/p\u003e\u003cp class=\"body\"\u003eSeven Performances with Three Orchestras Cantelli's Recorded Broadcasts\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"177\"\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"137\"\u003e\n\u003cp class=\"body\"\u003e24 December 1949\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"79\"\u003e\n\u003cp class=\"body\"\u003e6:51\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e27 December 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e6:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of the performances with the NBC Symphony Orchestra\n have been issued on CD. We ot the twenty-first century are very aware \nof the research which has been undertaken concerning performance \npractice in the eighteenth century and there are plenty of recordings \nwith period instruments available. But what, one wonders, would have \nbeen the reaction to these perfonnances for those present at either of \nthese concerts? It comes as no surprise that the orchestra's strings are\n superb and — ior monaural recordings of broadcasts — the woodwinds are \nclear enough. There are, mercifully, no interpretive quirks, but the \nmusicians were inflicted with a bronchial audience during the 1952 \nconcert.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eLuigi CHERUBINI (1760 - 1842)\u003c\/b\u003e Symphony in D major\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eSeven Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"body\"\u003eLargo — Allegro\u003c\/li\u003e\n\u003cli class=\"body\"\u003eLarghetto cantabile\u003c\/li\u003e\n\u003cli class=\"body\"\u003eMenuetto. Allegro non tanto\u003c\/li\u003e\n\u003cli class=\"body\"\u003eAllegro assai\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 685px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"373\"\u003e \u003c\/td\u003e\n\u003ctd width=\"128\"\u003e \u003c\/td\u003e\n\u003ctd align=\"center\" width=\"47\"\u003e1\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"30\"\u003e2\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"36\"\u003e3\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"31\"\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e27 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:19\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:37\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:58\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:35\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:11\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:33\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:55\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:31\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCelibidaclie\/Orchestra della Fenice\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e31 October 1965\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e7:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:31\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eRenzetti\/Orchestra della Toscana*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e14\/18 May 1987\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:10\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e8:06\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:08\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:00\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e6:50\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:35\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:19\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHave there been more than half a dozen recordings \nperformances of this symphony? Possibly not and for many, the name \nCherubini is merely that of an historical figure, 'a conservative \nrevolutionary' as The New Grove put it: probably his most well-known \nwork is the overture \u003cem\u003eAnacreon, ou L'amour fugitif\u003c\/em\u003e recorded by \nboth Furtwängler and Toscanini (and was scheduled for Cantelli's \nconcerts with the Philharmonic-Symphony Orchestra of New York in \nDecember 1956). However, it is well to bear in mind that Beethoven \nthought highly of his contemporary although, with the passing of the \nyears, we know that Beethoven was ahead of his time whereas Cherubini \nwas of it.\u003c\/p\u003e\u003cp class=\"body\"\u003eToscanini's insatiable curiosity often led him to the \nbyways away from the generally accepted repertoire of the period and for\n those who do not know this symphony his performance will refute any \nsuggestion that Cherubini was a dull old stick. The symphony has a \nvigorous first movement, with a melody in the second movement that \nlingers in the memory, a bucolic Haydnesque minuet followed by a cheeky \ntrio as near to Rossini as one could hope to find (surely one cannot \nhear it without smiling, at least inwardly) and ends with a vigorous \nfinale.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt the Maestro's enthusiasm sparked Cantelli's \ninterest. It is quite possible that after Cantelli's final concert with \nthe NBC Symphony Orchestra in the Fifteenth Season on 1 March 1952 he \nstayed on in New York to hear both Toscanini's concert the following \nweek — which included this work — and the Maestro's recording two days \nlater. Whether or not that speculation is misplaced, he must have spoken\n of the symphony with the Maestro which made such deep impression that \nhe included the symphony in his very next concerts in June with the \nOrchestra della Scala as well as giving a perfonnance with the \nPhilharmonia Orchestra during his next visit to London in October. Even \nmore interesting is that he included it in his next series of concerts \nwith the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of his performances are delightful with just a \ntouch more poise than Toscanini in the first, third and fourth movements\n but yielding to the older conductor's restraint in the second.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eRichard STRAUSS (1864-1949)\u003c\/b\u003e Tod und Verklarung, Op.24\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eEight Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eStrauss: 1929 \u003c\/b\u003e23:12\u003cb\u003e; 1939 \u003c\/b\u003e22:07\u003cb\u003e; 1944 \u003c\/b\u003e23:32\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 671px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"354\"\u003e\n\u003cp class=\"body\"\u003eBohtn\/ Wiener Philhannoniker\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"252\"\u003e\n\u003cp class=\"body\"\u003e19 May 1963\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"43\"\u003e\n\u003cp class=\"body\"\u003e23:04\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e23:28\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e22:21\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Philharmonia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e2 \u0026amp; 3 July 1953\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:24\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e22 - 30 June 1960\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:43\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Berliner Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e4 November 1972 and 26 January 1973\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKaraj an\/Berliner Philhamioniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJanuary 1982\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e25:20\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKempe\/Dresden Staatskapelle*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJune 1970\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e22:17\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eReiner\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSeptemberl956\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:52\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSzell\/Cleveland Orchestra*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eMarch 1957\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:54\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e1 Jatiuary 1938\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Philadelphia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e11 January 1942\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Orchestra della Scala\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e5 July 1946\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:44\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e8 \u0026amp; 10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:47\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e The biographer Richard Specht stated that the programme \nfor this piece was based on Strauss's personal experience and it is true\n that Strauss was seriously ill in 1891 but only eighteen months after \nthe completion of the score. In 1894 the composer completely refuted \nSpecht's fanciful suggestion and stated that the idea of portraying a \nman close to death came to him some time in 1888.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe reader's attention is drawn once again to the fact \nthat Karajan's performance withe the Wiener Philharmoniker is not only \nthe quickest by a substantial margin but is also the nearest to the \ncomposer's own timings.\u003c\/p\u003e\u003cp class=\"body\"\u003eOne hesitates to draw attention to die fact that \nToscanini and Beecham — whose attitude to music-making was so very \ndifferent — had at least one quality in common: both had the ability to \nconvince the listener that under their direction a second-rate piece \ncould actually be made to sound much better than usually perceived. \nThere can be no doubt that \u003cem\u003eTod und Verklärung \u003c\/em\u003eis a lesser work \nthan Don Juan but it had — judging from the number of times Toscanini \nperformed the piece when other superior Strauss compositions received \nvery few perfomances (eg Ein Heldenleben) — a fascination for the \nconductor. His first commercial recording was with the Philadelphia \nOrchestra in 1942 but the broader paced performance with the NBC \nSymphony Orchestra ten years later is better in terms of clarity while \nstill avoiding any feeling of mawkishness. It is worth comment that many\n musicians regarded the rehearsal of the work for this 1952 performance \nas a highlight of their careers.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt Cantelli benefitted for Toscanini's work with \nthe orchestra when he gave his performance a little over nine months \nlater and he certainly avoids all hint of extreme exaggeration by \nensuring that the shattering climax actually had expressive meaning.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e© Keith Bennett 2009\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e \u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eKeith Bennett is the author of \u003cb\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/b\u003e(published\n 2009) which is only available from GC Publishers. For further details \neither write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \nSuffolk IP12 4UL, UK or e-mail\u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34131841421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34131841485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34131841549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34131841613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC319_52f9d365-3d9c-49ba-b37c-65370ea16d2f.jpg?v=1489572919"},{"product_id":"pasc320","title":"SCHURICHT conducts R. Strauss, Franck et al (1941-42) - PASC320","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLOTHAR\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Schneider Wibbel – \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eOverture\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFRANCK\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Le Chasseur maudit\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZANDONAI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Serenata Medioevale \u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eREZNIČEK\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Donna Diana – \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eOverture\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Symphonia Domestica, Op. 53\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1941\/42\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 77:44\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cdiv\u003e\n\u003cb\u003eStädtisches Orchester, Berlin\u003cbr\u003eOrchestra del Teatro alla Scala, Milano \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eCarl Schuricht\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI certainly welcome Schneider Wibbel’s overture back to the catalog, along with more recordings by the versatile Schuricht578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eAlthough he never reached the first magnitude celebrity status of some of his colleagues, Carl Schuricht was a busy conductor in Germany and a welcome guest outside it, in part, I would guess, because, unlike some of his colleagues, he was comfortable when he conducted the music of other nations. Fortunately, he did leave quite a few recordings that testify to this. Some of them are on this CD. One is by Riccardo Zandonai, who lived from 1883 to 1944 and was primarily a composer of operas, the only one of which you are likely to come upon nowadays is Francesca da Rimini, first heard in 1914. I’d love to know how Schuricht discovered Zandonai’s Serenata Medioevale, a rhapsodic, heavily chromatic nocturne for cello and orchestra. Maybe cellists aren’t lining up to play it because it’s too dreamy and subdued, but what is more likely is that they don’t even know it exists and I’m delighted that it’s included here. You will hear more surface noise than you are accustomed to, especially on the Italian 78s, because the recordings were issued on inferior wartime (1941) pressings. Some American 78s suffer from the same problem. Like most conductors, he zips through the Donna Diana Overture and skips the repeat, making the piece seem even less substantial than it actually needs to be. The only recording I’ve ever liked is that of Albert Wolff, which is more playful and light-handed. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe other souvenir of his 1941visit to Milan is a recording of Strauss’s Symphonia Domestica, a favorite work of the composer (and me), which had its premiere at Carnegie Hall in 1903 with Strauss on the podium. Depicting some events in the daily routine of Strauss and his wife and son, it’s a sort of tone poem à clef. Schuricht, I am pleased to perceive, seems to treat it as a series of intimate tableaux rather than as a sonic blockbuster. Strauss, of course, can’t resist showing off and inserts an elaborate double fugue into the proceedings. Personally, I think it adds four unnecessary minutes to the piece but he eventually ends the “symphony” with an exciting climax that leads to a witty close. The La Scala winds sound recessed but one seldom loses any significant detail, for which I give the credit to Schuricht, not the producer. I seriously doubt that the orchestra had ever played the piece before Schuricht’s engagement, which makes the performance even more impressive. Of course, good as the performance is, it doesn’t really compete with the better stereo recordings, among which I would include those of Maazel\/Vienna, Mehta\/L.A., Previn, Reiner, and Szell, with de Waart, Karajan, Kempe, Maazel\/BRO, and Sawallisch not far behind them. On the “historic” side, Mitropoulos (unofficially), Ormandy (the first electrical recording), and (especially) Krauss contributed some good ones. There is no lack of quality choices. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eSchuricht’s Berlin performance of Le Chasseur maudit, if it can’t match the virtuoso brilliance of later recordings from Boston (Munch), Minneapolis (Oue), and Philadelphia (Muti), was almost certainly the best recording of the piece until Desiré DeFauw’s Chicago Symphony issue from the mid 1940s. Schuricht saves something for the end, avoiding the sense of anticlimax one can get when the conductor (Munch is guilty of this) gets carried away by his excitement during the first half of the piece. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAnother interesting novelty on this collection is the overture to Schneider Wibbel, an opera by Lothar Hundermark, who used the name Mark Lothar and was primarily a composer of light operas. One of his teachers was Wolf-Ferrari, and you can hear traces of his teacher in this cheerful, eccentric overture, a flashy, tuneful showpiece and quite a curtain-raiser—I wonder if Schneider Wibbel, supposedly his most successful opera, lives up to it. Born in 1902, Lothar lived until 1983. He wrote a lot of songs, and one Lied (Der Pirol) and one song cycle (Musik des Einsamen) are his only other pieces that appear to be available on recordings right now. I certainly welcome Schneider Wibbel’s overture back to the catalog, along with more recordings by the versatile Schuricht. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eJames Miller \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC320.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSchuricht's complete rare wartime La Scala recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus recordings from Berlin in new Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sources for the transfers were a postwar, yellow-label\nDeutsche Grammophon pressing for the Lothar; wartime Siemens Spezial pressings\nfor the Franck; and Italian Voce del Padrone pressings for the two La Scala\nitems. The La Scala recordings (presented here in their entirety) appear to be\nparticularly rare, and some surface noise remains on the lower-grade wartime\nshellac.\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eLOTHAR\u003c\/b\u003e Schneider Wibbel – \u003cem\u003eOverture\u003c\/em\u003e\u003cbr\u003eRecorded 1942 in Berlin. \u003cbr\u003eMatrix nos.: 1948 ½ - GE 9 and 1949 ½ - GE 9 \u003cbr\u003eFirst issued on Grammophon 68269\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eFRANCK\u003c\/b\u003e Le Chasseur maudit\u003cbr\u003eRecorded 1942 in Berlin\u003cbr\u003eMatrix nos.: 2066 ½ - GE 9, 2067 ½ - GE 9, 2068 ½ - GE 9 and 2069 ½ - GE 9\u003cbr\u003eFirst issued on Grammophon 68086 and 68087 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eZANDONAI\u003c\/b\u003e Serenata Medioevale\u003cbr\u003e\u003cb\u003eEnzo Martinenghi\u003c\/b\u003e solo cello\u003cbr\u003eRecorded 1941 in Milan. Matrix nos.: 2BA 4445, 4446 and 4447\u003cbr\u003eFirst issued on La Voce del Padrone DB 5401 and 5402 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eREZNIČEK\u003c\/b\u003e Donna Diana – \u003cem\u003eOverture\u003c\/em\u003e\u003cbr\u003eRecorded 1941 in Milan. \u003cbr\u003eMatrix nos.: 2BA 4448\u003cbr\u003eFirst issued on La Voce del Padrone DB 5402 \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eSTRAUSS\u003c\/b\u003e Symphonia Domestica, Op. 53\u003cbr\u003eRecorded 1941 in Milan\u003cbr\u003eMatrix nos.: 2BA 4774-2, 4775-2, 4776-2, 4777-2, 4778-2, 4783-2, 4784-2, 4785 and 4786\u003cbr\u003eFirst issued on La Voce del Padrone DB 5418 through 5421 and DBS 5422 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eStädtisches Orchester, Berlin \u003c\/b\u003e(1-2)\u003cbr\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milano\u003c\/b\u003e (3-5) \u003cbr\u003e\u003cb\u003e\u003cbr\u003eCarl Schuricht\u003c\/b\u003e conductor\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e\n\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003e\u003cbr\u003eTotal duration: 77:44\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC320.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC320.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":34131875533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34131875597,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC320_61db7a3c-c9a5-411c-ae6a-220cb8ff00a2.jpg?v=1489572989"},{"product_id":"pasc321","title":"ROSTROPOVICH Dvořák and Miaskovsky: Cello Concertos (1952\/56) - PASC321","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDVORAK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eCello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMIASKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e Cello Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded in 1952 \u0026amp; 1956\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 67:38\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eMstislav \u003c\/b\u003e\u003c\/span\u003e\u003cb\u003eRostropovich\u003cbr\u003eCzech Philharmonic Orchestra \u003cbr\u003eVáclav Talich, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhilharmonia Orchestra \u003cbr\u003eSir Malcolm Sargent, \u003c\/b\u003econductor \u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNone has approached Rostropovich for the depth and range of his expressive gestures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eGiven the large number of reissues of these two concerto performances, it seems superfluous to talk up their musical virtues. Rostropovich left behind many studio recordings of the Dvořák and listeners will doubtless have their favorites. Mine happen to be this 1952 Václav Talich and the later Adrian Boult (reviewed in Fanfare 20:6). Others laud the Karajan, still others the Giulini (reviewed in 25:4 and 26:2). Live survivors include the Evgeny Svetlanov (BBC, reviewed in 26:6) and Boris Khaikin on Revelation (reviewed in 22:2). \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eI’m not sure how well known is the story of the genesis of this Talich recording but it’s worth the retelling. In the wake of the cellist’s prize-winning performance at the International Cello Competition in Prague, Supraphon saw an opportunity to record Rostropovich in the concerto to anticipate, and then celebrate, the half-centenary of Dvořák’s death. The cellist was aware of Talich’s reputation: Mravinsky had told him that the Czech conductor was the “best in the world.” He was also aware of Talich’s political situation, and the fact that the authorities would allow a recording but not a concert. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe cellist spoke often of Talich’s influence and help in this work. One thing is especially notable, and that is the nature of the rubati that we can be fairly sure—because Rostropovich mentioned this element—Talich passed on to the cellist. Note, in this respect, phrasally the slow return to the original tempo; how Talich encouraged Rostropovich to pay back time with beautifully calibrated control throughout. The lyrical and rich expression that are displayed owe as much to the lead of the conductor as to the instincts of the soloist. It’s when he became, in later years, too lateral that Rostropovich failed to do full measure to the score. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Miaskovsky concerto was recorded in March 1956 for HMV. It’s been included in various incarnations, not least “Great Recordings of the Century” (80012), the Rostropovich Edition (65701), and the Complete EMI Recordings edition (17597). Don’t overlook his later recording with Svetlanov on EMI CZS5 72016-2, and there is a further 1959 live broadcast in Moscow with Faktorovich. There have been in many ways estimable recordings of this work from Julian Lloyd Webber, Marina Tarasova, Kirill Rodin, Truls Mørk, and Mischa Maisky. None has approached Rostropovich for the depth and range of his expressive gestures. These two transfers rank with the best. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJonathan Woolf \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC321.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRostropovich's first recording of his most famous concert work\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eDvořák's - and Miakovsky's - Cello Concerto now in glorious 32-bit XR remastered sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eRostropovich's 1952 Prague recording of the Dvořák Cello Concerto\nis one the earliest of what was to become the cellist's \"signature\ntune\" - to the extent that he demanded a significantly higher fee for\nplaying any concert which included the work. Previous issues of this Supraphon\nrecording have suffered a harshness of tone which XR remastering has\nneutralised, whilst bringing out the full tone of both soloist and orchestra.\nTo be able to hear such a fine soloist in this work, playing with the Czech\nPhilharmonic whilst Talich was at his peak is a real pleasure.\u003c\/p\u003e\u003cp class=\"body\"\u003eI have worked to try as much as possible to balance the tonal\nqualities of the earlier recording to match the technically superior British\n1956 Miaskovsky recording - a work previously unknown to me but a pleasure to\nbecome acquainted with.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, Op. 104 \u003cem\u003e\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eVáclav Talich \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded Prague, 19 June 1952. First issued as Supraphon LPM 88\/9\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMIASKOVSKY\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Cello Concerto, Op. 66 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eSir Malcolm Sargent\u003c\/b\u003e conductor\u003c\/span\u003e \u003cbr\u003eRecorded 5 March 1956. First issued as HMV ALP 1427\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eMstislav \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eRostropovich \u003c\/b\u003ecello\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, January 2012\u003cbr\u003eCover artwork based on a photograph of Rostropovich\u003cbr\u003e\u003cbr\u003eTotal duration: 67:38\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC321.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC321.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eSleevenotes from HMV LP (excerpt):\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eMtislav Rostropovitch is one of the new generation of Soviet virtuosi who have in recent years excited the interest of the western world. Rostropovitch was born at Baku, Azerbaijan, in 1927 and received his early training from his father, Leopold Rostropovitch, himself a brilliant 'cellist. In 1943 he entered the Moscow Conservatoire and studied with Professor Semeon Kozolupov. He made rapid progress and graduated with distinction in three years. He continued his studies as a post-graduate student and completed his course in 1948.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eBefore leaving the Conservatoire he had already begun to make his appearance as a concert artist. He appeared with the well-known artists Emil Gilels, Svyatoslav Richter and Leonid Kogan. Rostropovitch competed in a number of musical events and was awarded first place at the All-Union Contest in Moscow in 1945, the International Festival of Youth and Students in Prague in 1947 and in Budapest in 1949, and the International Contest for the Hanus Vigan Prize in Prague in 1950. He was awarded the Stalin Prize in 1951.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eRostropovitch is a versatile musician, a composer and a gifted pianist. His repertoire includes every work in the 'cello repertoire, the Beethoven and Brahms sonatas, the concertos of Tartini, Haydn, Dvorak, Lalo, Saint-Saens and the Tchaikovsky Variations on a Rococo Theme. His playing is distinguished by its restraint and nobility and the exceptional virtuosity of his technique.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37910374605,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37910374669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37910374733,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37910374861,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC321_445bfb05-b474-41df-8834-66d6831e836a.jpg?v=1495203249"},{"product_id":"pasc322","title":"WALTER Polydor Acoustics Volume 2: Overtures (1923-25) - PASC322","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eCHERUBINI\u003c\/b\u003e Der Wasserträger - Overture\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred Overture \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Die Hebriden Overture (Fingal's Cave)\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eWAGNER\u003c\/b\u003e Faust Overture\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBERLIOZ\u003c\/b\u003e Benvenuto Cellini – Overture\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1923-25\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 61:34\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003cbr\u003econductor Bruno Walter\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWalter admirers will find much to interest and intrigue in this selection578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eBruno Walter claimed that he first recorded around the turn of the 20th century, an assertion cited in the biography of the conductor by Erik Ryding and Rebecca Pechefsky. It was supposedly of music from Carmen, which he did record but more than two decades later. Whatever the truth, orchestrally speaking he first becomes audible in the series of acoustic Polydor recordings made from 1923 to 1925. Pristine Audio has already released his first major undertaking, Tchaikovsky’s “Pathétique” Symphony (1925, complete), coupled with Mozart overtures and two pieces from Carmen, on PASC142. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat this latest release demonstrates is the canny nature of recording selections made by companies such as Polydor, which would have been well aware of rival releases. Of the six overtures, four were making their first-ever appearance on disc: those by Cherubini, Schumann, Wagner, and Berlioz. It’s easy to label musicians “discographic pioneers,” not least in a landscape where so much remained to be recorded, but in that respect Walter was treading new water. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Coriolan Overture had already proved popular on disc. Thanks to Claude Graveley Arnold’s The Orchestra on Record 1896–1926 we know that Willem Mengelberg, Otto Urack, Landon Ronald, Leo Blech, and the more obscure Johannes Heidenreich had all recorded it by the time Bruno Walter set down his version in August 1923. Bass reinforcements, of course, were very much the norm. They work here with the desired strategic heightening effect, making audible what the acoustic horn could not pick up, though occasionally the balance is swampy despite the engineers’ best intentions. The performance has a degree of elasticity that must, to a large degree, accurately reflect Walter’s expressive position at the time—he was in his late 40s in 1923—not least in the slightly sentimentalized second subject and freedom of metrical pulse. A check of the turn-over point reinforces the fact that these were not decisions imposed on him, but were part of a more loosely structural approach. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThere are more overt portamenti in the performance of the Cherubini overture. The bass reinforcements are also rather more crudely employed than in Coriolan. One could attribute the greater portamenti to the players’ unfamiliarity with the work and thus their inability to coordinate slides before the recording session. Despite the sepulchral bass line, and some infelicities (tuttis are a bit muddled), the slow introduction is richly characterized. Where a decision may have been foisted on Walter is the side change at 5:05 in Schumann’s Manfred Overture, where he edges slowly to the end of the side. It makes for a rather sticky moment. Again, though, this was a premiere performance on disc and if the winds are not on their best behavior, being rather shrill, it adds to the generation of heat and energy. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Hebrides Overture has a rather more steely surface, and a bit of scuffing, but Ward Marston has done a fine job here, as elsewhere, managing the Scylla and Charybdis business of surface noise and frequency response with his usual sensitive judgment; retention of the former enhances the latter. My only complaint is no one’s fault; those bass reinforcements sound a bit sleazy here. The longest overture is Wagner’s Faust, which was recorded on three shellac sides, and another first-ever recording. Like Coriolan it was recorded on August 1, 1923, and responds well to his direction. The final item is Berlioz’s Benvenuto Cellini Overture. I suspect that if you were in the habit of playing the “who recorded what first” game (a perilous one) you’d have come up with two dozen names before you’d come up with Walter’s. Yet Walter it was, and he directs in a rather charmingly ebullient way. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eDG (2740 259) reissued Coriolan, though I’ve not had access to it for comparative purposes. Walter remade the Schumann in Chicago in 1956 for a WGN-TV telecast, and the Mendelssohn with the New York Philharmonic Symphony live in 1948 (Music \u0026amp; Arts CD714), with which orchestra he also recorded the Berlioz, though I’m unaware if it’s been released commercially. In 1939, with the NBC, he recorded the Faust Overture. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAs James A. Altena pointed out in his review in Fanfare 35:6, the orchestral attribution in Pristine’s documentation is a little shaky and omits reference to the contribution of the Berlin Philharmonic. Walter admirers will find much to interest and intrigue in this selection. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJonathan Woolf \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC322.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter - witness the birth of a recording legend!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperlative acoustic transfers of six rare early recordings by Ward Marston\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThis release at Pristine explores the earliest recordings of a\nlegendary twentieth century musician. Bruno Walter's career as a conductor may\nhave pre-dated these recordings by a number of years, but in these six rare\nacoustically-recorded overtures, with what was then perhaps the finest\norchestra in Germany, the Berlin State Opera Orchestra, we get to hear the\nfirst suggestions of the legend to come.\u003c\/p\u003e\u003cp class=\"body\"\u003eMultiple award-winning producer Ward Marston has worked miracles\nin the sound quality achieved from these 1923-25 discs - despite the\nlimitations of the pre-microphone era they really are an outstanding record of\nWalter's early recorded brilliance.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 73az and 74 az; Polydor 65928\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eCHERUBINI\u003c\/b\u003e Der Wasserträger - Overture\u003cbr\u003eRecorded 1 January 1924\u003cbr\u003eMatrices 647 az and 648az; Polydor 66073\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eSCHUMANN\u003c\/b\u003e Manfred Overture \u003cbr\u003eRecorded 1 March 1925\u003cbr\u003eMatrices 1836 1\/2 as 1837as; Polydor 66074\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eMENDELSSOHN\u003c\/b\u003e Die Hebriden Overture (Fingal's Cave)\u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 82 ½az and 83az; Polydor 65930\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eWAGNER\u003c\/b\u003e Faust Overture \u003cbr\u003eRecorded 1 August 1923\u003cbr\u003eMatrices 1519as, 71az and 72az; Polydor 65955\/56\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eBERLIOZ\u003c\/b\u003e Benvenuto Cellini – Overture\u003cbr\u003eRecorded 1 January 1924\u003cbr\u003eMatrices 621½az, 622az, and 623az; Polydor 66075\/76\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003c\/li\u003e\n\u003c\/ul\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eProducer and Audio Restoration Engineer: Ward Marston\u003cbr\u003eCover artwork based on a 1912 photograph of Bruno Walter\u003c\/div\u003e\u003cdiv\u003eWe are grateful for the use of the discs for these transfers from the collection of David Schmutz\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC322.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC322.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":34132993677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34132993741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC322.jpg?v=1489574722"},{"product_id":"pasc323","title":"BERNSTEIN Liszt: A Faust Symphony (1960) - PASC323","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Faust Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in New York, 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 71:38 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eCharles Bressler, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eThe Choral Art Society, director William Johnson \u003cbr\u003eNew York Philharmonic Orchestra \u003cbr\u003eLeonard Bernstein, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a memorable example of Lennie in full cry with the New York Philharmonic578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e I took this CD off the “to review” pile immediately after writing about Eliahu Inbal’s recording of \u003cem\u003eLa Damnation de Faust\u003c\/em\u003e by Berlioz. That was a pure coincidence but it was a happy one because, as I learned from the booklet note accompanying Jascha Horenstein’s BBC Legends recording of this Liszt symphony, it was Berlioz who introduced Liszt to Goethe’s \u003cem\u003eFaust\u003c\/em\u003e in 1830. Subsequently Berlioz dedicated \u003cem\u003eLa Damnation\u003c\/em\u003e to Liszt and in due course Liszt reciprocated by dedicating his Faustian symphony to his French colleague. It was interesting to listen to the composers’ respective responses to Goethe in close proximity. \u003cbr\u003e   \u003cbr\u003e This is the earliest of three Bernstein recordings of \u003cem\u003eA Faust Symphony\u003c\/em\u003e. There is a CD recording on DG with Kenneth Riegel and the Boston Symphony Orchestra (447449 2) and a live performance with the same forces on a EuroArts DVD. I learned from Patrick Waller’s enthusiastic \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2007\/Jan07\/Liszt_Faust_2072078.htm\"\u003ereview\u003c\/a\u003e of the DVD that the DG audio recording was set down, under studio conditions, at about the same time as the live performance, that’s to say in the summer of 1976. I’ve not experienced either of those 1976 accounts. I use the word “experienced” advisedly because it’s clear from Patrick’s comments that the 1976 live traversal was something rather extraordinary and this present recording, from much earlier in Bernstein’s career, is far from ordinary either. \u003cbr\u003e   \u003cbr\u003e Patrick drew attention to the duration of Bernstein’s 1976 reading in comparison to the timings for some rival versions. It’s interesting to compare his 1976 timings with those in 1960, an exercise which suggests that this was another example of Bernstein becoming rather more expansive in later years \u003cbr\u003e   \u003cbr\u003e Movement 1960 1976 \u003cbr\u003e   \u003cbr\u003e I 27:38 30:16 \u003cbr\u003e II 20:58 23:19 \u003cbr\u003e III 22:58 25:58 \u003cbr\u003e   \u003cbr\u003e Total 71:38 79:33 \u003cbr\u003e   \u003cbr\u003e The 1960 performance is gripping and it held my attention throughout - and I say that as someone who is not a particular fan of Liszt’s orchestral music. At the very start Bernstein portrays Faust as a restless, questing spirit but the questing is not tentative; actually I was put in mind of Tchaikovsky’s later \u003cem\u003eManfred\u003c\/em\u003e Symphony. At 2:38 the \u003cem\u003eallegro impetuoso\u003c\/em\u003e is launched with tremendous attack and energy and though Bernstein is in no way insensitive to the more reflective pages in this movement the overall impression is of great drama and intensity in the music making. Often the performance is big and flamboyant, something which the up-front recording emphasises. The playing of the NYPO is superb, the attack razor sharp. The bugle-like tone of the principal trumpet disconcerted me briefly (22:18) but otherwise one can only admire the sheer panache of the New Yorkers. \u003cbr\u003e   \u003cbr\u003e There’s some fine woodwind solo playing at the start of the Gretchen movement and thereafter the string section is on top form. Bernstein phrases the music compellingly and injects passion at the appropriate places while being sensitive in the more gentle paragraphs. \u003cbr\u003e   \u003cbr\u003e As you might expect with this conductor, the Mephistopheles finale is electrifying. Listen to how Bernstein gets the strings to play close to the bridge in the opening. The performance is biting, fast and furious, Bernstein playing the music for all it’s worth - and then some. The NYPO offers incisive, virtuoso playing and the reading is gripping. When we reach the ‘Chorus mysticus’, which is separately tracked, the men of the Choral Art Society are very good; their singing is often stirring. I’m not very taken with the singing of Charles Bressler (1926-1996), I fear. His tone is narrow and rather pinched. I spotted an \u003ca href=\"http:\/\/www.bach-cantatas.com\/Bio\/Bressler-Charles.htm\"\u003eonline biography\u003c\/a\u003e from which it seems that he may have been particularly associated with pre-Romantic music. Frankly, his voice is too small for this assignment. Listen to John Mitchinson on Horenstein’s 1972 recording (BBCL 4118) to hear what a tenor who is equipped for Wagnerian roles can bring to the part. However, the disappointing contribution from Bressler is but a small caveat. Bernstein sweeps the symphony to a suitably transfiguring close. \u003cbr\u003e   \u003cbr\u003e There are other ways to present this music and Pristine reproduce Edward Greenfield’s 1964 review in Gramophone in which, while finding much to praise in Bernstein’s performance, he comes down in favour of the 1958 Beecham recording. However, Bernstein, when on top form - as he is here - had the knack of persuading the listener that, for the moment at least, this was \u003cem\u003ethe\u003c\/em\u003e way to hear the music he happened to be conducting. This is a tremendous performance which reminds us why this great musician took New York by storm in the years when he was at the helm of the New York Philharmonic. \u003cbr\u003e   \u003cbr\u003e The recording is up-front - though not aggressively so. Greenfield described it as “very reverberant but brilliant as well”. I think that’s a fair description. On this new transfer there’s good bass definition, the treble is bright but not excessively so, and plenty of detail registers. At the very end the organ, which may well have been dubbed in, is suitably sonorous. Andrew Rose has transferred the recording from original LPs in near-mint condition. He comments that the original sound “had a certain veiled boxiness to it, which has been entirely lifted by XR mastering”. He also says he has been able to remove a lot of hiss and rumble. On my equipment the sound packed quite a punch, especially when one considers that it’s now over fifty years old. \u003cbr\u003e   \u003cbr\u003e This is a memorable example of Lennie in full cry with the New York Philharmonic. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003cem\u003eJohn Quinn \u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC323.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eLeonard Bernstein's superb 1960 stereo recording of the Faust Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n      \u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePristine's 32-bit XR remastering lifts a veil from this superb achievement\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe original discs from which this transfer were made were in\nnear-mint condition and the transfer process was straightforward. Although\nsound quality was acceptable for its day, it had a certain veiled boxiness to\nit which has been entirely lifted by XR remastering. I've also been able to\nremove a considerable amount of hiss and rumble present on the original\nrecording..\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eLISZT \u003c\/b\u003eA Faust Symphony, S.108\u003cbr\u003e\u003cbr\u003e \u003cb\u003eCharles Bressler, tenor\u003cbr\u003eThe Choral Art Society \u003cbr\u003eWilliam Johnson \u003c\/b\u003edirector\u003cbr\u003e\u003cb\u003e\u003cbr\u003eNew York Philharmonic Orchestra \u003cbr\u003eLeonard Bernstein \u003c\/b\u003econductor\u003cbr\u003e \u003cbr\u003eRecorded 7 November 1960 Manhattan Center, New York. \u003cbr\u003eTransfers from Columbia Masterworks M2S 699\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2011 - January 2012\u003cbr\u003eCover artwork based on a photograph of Leonard Bernstein and a still from F. W. Murnau's 1926 film \"Faust - Eine deustche Volkssage\"\u003cbr\u003e\u003cbr\u003eTotal duration: 71:38\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC323.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC323.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34133255693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34133255757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34133255821,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC323.jpg?v=1489575114"},{"product_id":"pasc324","title":"POULENC Gloria, Organ Concerto; Poulenc plays Satie duets (1961\/1937) - PASC324","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePOULENC \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eGloria in G major, for soprano, chorus and orchestra\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePOULENC \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrgan Concerto in G minor, for organ, strings and timpani\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eParade\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eDeux Morceaux en Forme de Poire\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in Paris, 1961 \u0026amp; in mono in Paris, 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 65:35\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRosanna Carteri, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eFrench Radio-Television Chorus, director Yvonne Gouverné\u003cbr\u003eMaurice Duruflé, \u003c\/b\u003eorgan \u003cb\u003e\u003cbr\u003eFrench National Radio \u0026amp; Television Orchestra \u003cbr\u003eGeorges Prêtre, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eGeorges Auric, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eFrancis Poulenc, \u003c\/b\u003epiano \u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI recommend this disc highly to any Poulenc lover or collector. Ten stars!578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eGoing from Stephen Layton’s superb recording of the Poulenc Gloria on Hyperion 67623 to this historic recording is very disconcerting. The two performances almost sound like two different works. Layton’s performance is marked by bright sonorities, brisk tempos, a lightweight orchestral sound, and the lovely soprano voice of Susan Gritton floating above it all. Georges Prêtre, who conducted this recording with the presence and assistance of the composer, gives an altogether different reading. The orchestral textures are somewhat richer and darker, the tempos a shade slower (in some cases, such as the first and last movements, much slower), making the Layton performance sound somewhat glib and lacking in detail. Mind you, I am still a huge Stephen Layton fan, and I love his performance of the other Poulenc choral works on his CD, as well as several of his other performances, but I must say that this 1961 studio recording is a revelation. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eNowhere is this more apparent than in the “Domine Deus, Agnus Dei” movement, where the astringent wind textures are just so much clearer. In my memory, I had Rosanna Carteri pegged as having one of the more unpleasantly acidic Italian soprano voices of her time, but here her top notes, though very bright, are well placed and not at all forced. In the very opening of the “Qui sedes ad dexteram,” the French Radio Chorus reveals a slightly wobbly baritone or bass voice, whereas Layton’s chorus, Polyphony, is flawless in intonation, but that is the only slight blemish on an otherwise superb and, I repeat, unique interpretation. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eRemastering engineer Andrew Rose spends a great deal of space in the booklet notes explaining the mastering errors that occurred in the organ concerto. Among them were sagging pitch in the orchestra, occasional sonic mismatches between orchestral and organ, and what Rose describes as “grinding pitch-change junctions between them.” Not being familiar with the original LP issue, I can’t comment, but Rose quotes a contemporary Gramophone review that complains of these glitches. All I can say is that it’s a marvelous performance, with noted organist-composer-pedagogue Maurice Duruflé, who had premiered this concerto back in 1939, pouring forth great torrents of sound from the Church of Saint-Etienne du Mont instrument. Prêtre, one of the greatest of French conductors of his generation, complements Durufle’s playing with equally rich, dark string tone and passionate phrasing by the French Radio and Television Orchestra. Considering the historic importance of Duruflé as not only one of the greatest organists of the 20th century, but also his connection with this specific concerto, one would have to consider this a must-have performance. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThese same two works are also available on an EMI Special Import disc (47723) marketed in the U.S. by ArkivMusic, but reading Dominy Clements’s review of this disc, the pitch problems in the organ concerto seem to still be there, since Clements complains of “a somewhat flamboyant disregard for accurate intonation.” \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003ePristine’s disc ends with two unusual rarities, composers Georges Auric and Poulenc acting as a duo-piano team in the music of their mentor, Erik Satie. These recordings have, as Rose claims, never been reissued anywhere that either of us can find, but they were uploaded on the Internet, on Neal’s Historical Recordings (nealshistorical.wordpress.com), in 2008. (There are, however, other discs of Poulenc as a solo pianist performing Satie’s music on CBS Masterworks 47684.) The review on Neal’s Historic site claims the performances are a little sloppy. I hear them as merely relaxed, which is what the original Gramophone reviewer thought in 1937 when, apparently, this was the first-ever issued recording of Parade. This is not, however, the only duo-piano recording of music from the ballet. A performance by pianists Jeroen and Sandra van Veen—only five minutes long, however, according to ArkivMusic—also appears on Brilliant Classics 958781. The Auric-Poulenc duo also gives us Satie’s Two Pieces in the Form of a Pear. Rose has managed to remove most of the surface noise and add just enough ambience to the original recording to make it sound decently listenable without overdoing the reverb. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eIn short, I recommend this disc highly to any Poulenc lover or collector. Ten stars! \u003cbr\u003e\u003cb\u003e\u003cbr\u003eLynn René Bayley \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC324.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003ePremière of Poulenc's Gloria, an amazing restoration of his Organ Concerto\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus two rare 78rpm recordings the composer made in Paris in 1937 - first digital reissue\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe review quoted under Additional Information contrasts the present recording with a\nrelease by Munch and the BSO, and notes the problems of tuning. Indeed, for\nthose sensitive to these matters the French recording is astonishing for the\nfact that it was ever passed for release.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis Pristine XR remastering has used the magic of the Grammy\nAward-winning Capstan pitch correction software to retune the orchestra and\norgan so that they actually match, unlike the astonishingly out-of-tune\noriginal LP! No wonder this otherwise excellent recording has never been\nreissued - every junction between organ and strings was painful to hear if\nyou'd any sensitivity towards pitch. They must have had cloth ears at the time:\nstraight from the LP the organ comes in at A=444.85 whilst the orchestra plays\nup at A=452.11. For the curious, the latter is almost a quarter-tone sharp of\nstandard pitch, where A=440Hz. It is indeed now a recording transformed!\u003c\/p\u003e\u003cp class=\"body\"\u003eThere is of course no such problem with the Gloria, which in this\n32-bit XR remastering sounds, well, glorious - and fully in tune.\u003c\/p\u003e\u003cp class=\"body\"\u003eWith the space left to me, I decided to add not a contemporary\nrecording, nor even music by Poulenc, but four rare French 78rpm sides the\ncomposer recorded in 1937 of piano duets by one of his great mentors, Erik\nSatie, which I don't believe have seen any commercial issue since their rather\nobscure 78rpm incarnation. My thanks to Al Schlachtmeyer for his generous\ndonation of these discs.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003ePOULENC \u003c\/b\u003eGloria in G major, for soprano, chorus and orchestra \u003cbr\u003e\u003cb\u003eRosanna Carteri, soprano\u003cbr\u003eFrench Radio-Television Chorus\u003cbr\u003eYvonne Gouverné \u003c\/b\u003edirector\u003cbr\u003eRecorded 15 February, 1961, Salle Wagram, Paris, in the presence of the composer\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003ePOULENC \u003c\/b\u003eOrgan Concerto in G minor, for organ, strings and timpani\u003cbr\u003e\u003cb\u003eMaurice Duruflé \u003c\/b\u003eorgan\u003cbr\u003eRecorded 21 February, 1961, Church of Saint-Etienne du Mont, Paris \u003cbr\u003e\u003cb\u003e\u003cbr\u003eFrench National Radio \u0026amp; Television Orchestra \u003cbr\u003eGeorges Prêtre \u003c\/b\u003econductor\u003cbr\u003eTransfers from Columbia LP SAX2445 \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eSATIE \u003c\/b\u003eParade\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eSATIE \u003c\/b\u003eDeux Morceaux en Forme de Poire \u003cbr\u003e\u003cb\u003eGeorges Auric \u003c\/b\u003epiano\u003cb\u003e \u003cbr\u003eFrancis Poulenc \u003c\/b\u003epiano\u003cbr\u003eRecorded Paris (?), 1 August, 1937\u003cbr\u003eTransfers from Editions de la Boite à Musique 78s nos. 16 \u0026amp; 17 \u003cbr\u003eMatrix Numbers PART 1014-1017 \u003cbr\u003e(Presented in Ambient Stereo) \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eXR remastering by Andrew Rose at Pristine Audio, January 2012\u003cbr\u003eCover artwork based on a photograph of Francis Poulenc and the Organ of the Church of Saint-Etienne du Mont, Paris\u003cbr\u003eTotal duration: 65:35\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC324.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC324.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eREVIEW\u003c\/b\u003e (1961 recordings)\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis strange accident of a simultaneous issue of two recordings of an unfamiliar and hitherto generally unavailable work—for the Poulenc organ concerto is known to the British record public only through an American disc which was obtainable on special order eleven years ago—is a singularly unfortunate one, for they both happen to be extremely good, and each will inevitably affect the other's sales. The concerto, written in 1938 and first performed by Maurice Duruflé, Columbia's soloist, is in one continuous movement, which however falls into four sections. Its essential unity is underlined by a four-note motive which appears throughout in various guises, and those who are usually put off by Poulenc's short-breathed phrases will find that there is here a far greater sense of continuity—it is certainly the best of his concertos. In the opening, and elsewhere, side-long reverences are made to the spirit of Bach (the echo of the G minor Fantasia can scarcely be accidental), and despite the marking of \u003cem\u003eAllegro giocoso\u003c\/em\u003e for the first main section and a most exuberant finale, there are undertones of serious drama—and the last pages of the work are prayerful (1938 and all that?). Prêtre takes the \u003cem\u003eAllegro giocoso\u003c\/em\u003e faster and more dramatically than Munch, and this is indeed almost the only real difference in reading between the two. Both soloists, and both orchestras, are excellent, both performances are alert, vital and rhythmic, and both, despite the formidable difficulties of balancing an orchestra against a modern full organ, are brilliantly engineered, giving clarity as well as warmth. The Boston strings make the more ravishing sound at the \u003cem\u003eires doux et intense\u003c\/em\u003e section and in the final pages, and the RCA recording is very slightly more forward, but the reason why, after careful comparison, I come down on the side of RCA is nothing to do with the quality either of players or recording. It is simply that the French Radio Orchestra has not tuned exactly enough to the organ, and though the variation in pitch is not noticeable so long as the organ employs upper octave couplings, when it uses eight-foot one alone (as in the dialogues in the Andante moderato, or in solo reed passages) it is apparent that the strings are tuned ,lightly sharper.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe question of couplings is bound to enter into consideration, and here again both firms put up most attractive proposi'ions. RCA has the first decent LP (the one previous version was very poor) of Stravinsky's light-hearted ballet score for Balanchine, in which he cheerfully flirts with 'Fchaikovsky, Johann Strauss, The Barber of Seville and even previous works of his own. The Boston Orchestra, playing with virtuosity and the utmost subtlety of nuance, gives )t a witty, incisive, deliciously pointed performance which is beautifully balanced and recorded. All Stravinskians will want this.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAll Poulenc fans, on the other hand, will want this first recording of his Gloria, written for the Koussevitzky Foundation and given 'ts premiere last year in—ironically enough, in the present context—Boston. (The first European performance took place in Paris on February 14th, 1961, and this recording was made the following day.) Like so many of Poulenc's religious works, it finds the composer at his best: behind its joyous, lucid façade lies a deep sincerity, which in the Doming Deus attains real beauty. In this movement Rosanna Carteri floats her octave rises exquisitely and is most touching in her litany of \"Qui tollis peccata mundi\". The chorus sings with firm tone (though the tenors are unnecessarily aggressive in their \"Miserere nobis\") and is well balanced with the orchestra and organ (no trouble with pitch this time). As in Jeu de Cartes, there are influences for those who care to discover them: Stravinsky himself (particularly in the jagged opening of the Laudamus te), Ravel, even Verdi (there is an almost exact echo of Otello at the end of the Domine Deus —but it always was a good phrase!) ; but there are so many individual fingerprints that it could never be mistaken for the work of anyone else.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eL.S. - The Gramophone, June 1962\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34133401421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34133401485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34133401549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC324_e1e9baf1-a710-45ae-9a46-d9517d83b086.jpg?v=1489575487"},{"product_id":"pasc325","title":"KULENKAMPFF plays Beethoven and Brahms Concertos (1936\/47) - PASC325","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Concerto in D major, Op. 61\u003c\/span\u003e\u003cdiv\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello in A minor, Op. 102\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1936 and 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 79:39\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eGeorg Kulenkampff, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eBerlin Philharmonic Orchestra \u003cbr\u003eHans Schmidt-Isserstedt, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eEnrico Mainardi, \u003c\/b\u003ecello \u003cb\u003e\u003cbr\u003eL'Orchestre de la Suisse Romande\u003cbr\u003eCarl Schuricht, \u003c\/b\u003econductor \u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fMost strongly recommended. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eAndrew Rose’s inset notes relate his challenges in remastering Georg Kulenkampff’s 1936 recording of Ludwig van Beethoven’s Violin Concerto: The original recordings, as noted in the Gramophone review he cites from 1954, reached A = 456.57, and he has brought the pitch down to 440. In addition, he had to work around attenuated highs at the ends of the long original Telefunken sides, and accordingly left tape hiss intact in order to preserve Kulenkampff’s tone in the higher registers. He also adjusted the reverberation in Decca’s recording of Johannes Brahms’s Double Concerto from 1947, using the ambiance of Birmingham Symphony Hall in the absence of a “suitably Swiss” one. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhatever the engineering feats, he didn’t correct the pitch in one of the Beethoven concerto’s early arpeggios, the second note of which seems almost a half-step high. Nevertheless, the first movement makes a strong impression, not least for eschewing devices like portamentos that even some of the later Russians, like Heifetz and Milstein, still included in their expressive arsenal. The first-movement reading, in its general cleanliness and deftness, then, might have been recorded more recently. (Boris Schwarz thought Kulenkampff the most un-German of German violinists.) At about 19:16, a sudden change of timbre intrudes itself, and that may tell the tale of a difficult transition between the original discs. The above-mentioned Gramophone review suggests that Kulenkampff seems labored in the cadenza, but the passagework sounds brilliant nonetheless, with every attack cleanly—even sharply—articulated. On the whole, in fact, Kulenkampff’s general approach, to this concerto in particular and to violin playing in general, reminds me a bit of Leonid Kogan’s (in his 1957 recording with Kiril Kondrashin and the USSR State Symphony Orchestra of the same concerto). The purity of his tone and the chasteness of his trill, more than a simple ornament in his performance of the Larghetto, contribute to a reading generally clean in its style and timbre and serene in its repose (the middle section transcends in profundity the depth that simple relaxation connotes, studded as it is by moments of piercing insight; the Gramophone reviewer simply called it “serenely beautiful”). Kulenkampff may bring more character to the episode than to the rondo theme in the last movement, but the rondo nevertheless develops momentum, due in part to Hans Schmitt-Isserstedt’s and the orchestra’s granite and Kulenkampff’s incisive hammering at that foundation. But Kulenkampff does more than mindlessly hammer, however sharp his pickax, and occasional slight alterations in tempo seem more than usually subtle and expressive. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhatever disclaimers Rose may make about the adequacy of Telefunken’s recorded sound, Decca’s reproduction of cellist Enrico Mainardi’s tone in his opening solo make it clear how much the decade-and-a-half improved engineers’ technical capabilities; Rose relates that the Brahms concerto represented Kulenkampff’s second-to-last appearance in Decca’s studio. Mainardi sounds almost sweetly relaxed, if not leisurely, in the first movement’s solos; Kulenkampff matches him in Affekt, light years distant from Zino Francescatti’s and Pierre Fournier’s generally edgier reading, which explores vastly different territory. Carl Schuricht and the Suisse Romande Orchestra provide a richly majestic backdrop for Kulenkampff’s and Mainardi’s ruminations. Schuricht and the orchestra provide another meditative backdrop for the soloists’ discursive reflections in the slow movement. Mainardi again establishes a genially relaxed tempo in the finale, with the emphasis on geniality rather than on relaxation. If the recorded sound captures no warts (such as the wrong note in the beginning of Beethoven’s concerto), listeners may feel that the performance itself doesn’t contain so many moments of sheer transport as does that of Beethoven’s concerto. But if it’s movingly consistent, it’s consistently moving as well. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCollectors of all kinds should welcome the unlabored way in which Kulenkampff made substantial statements (consider, by comparison, Anne-Sophie Mutter’s mannered timbral experiments) and celebrate what Pristine has been able to salvage from the recorded sound. Most strongly recommended. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eRobert Maxham \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC325.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34133728845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34133728909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34133728973,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34133729037,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC325_aae4c9cb-09e8-499a-b859-9716f84755c0.jpg?v=1489576461"},{"product_id":"pasc326","title":"BACKHAUS Beethoven Edition: Volume 9 - Piano Concerto 1, Diabelli Variations (1954\/58) - PASC326","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 1 in C major, Op. 15\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eVariations on a Waltz by Diabelli, Op. 120\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1954 and 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 76:51\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra \u003cbr\u003eHans Schmidt-Isserstedt, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis performance of the \"Diabelli\" variations is a magnificent achievement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eHaving completed the whole cycle of Beethoven's piano sonatas Backhaus will now, I imagine, and hope, add the finest of the remaining keyboard works.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eHis performance of the \"Diabelli\" variations is a magnificent achievement: and it says a great deal for Katchen's much more youthful art that his own performance stands up so well to it and may even be considered, in the final variation (and the wonderful modulation that leads up to it) more spiritually radiant. But Katchen, naturally, does not command the grand manner of Backhaus, which is of the master's time ?nd not of to-day ; nor can one expect of him the maturity born of a lifelong experiencv. Comparisons, therefore, would be, as is said, odious.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThere is an astonishingly youthful vigour in Backhaus' playing, a tremendous sense of enjoyment in the formidable task of bringing the great work to life, and a moving sensitivity in those variations that call for it, particularly in the lovely Chopinesque Variation (No. 31). I must also single out the superbly clear and vital playing of the following fugal variation. The piano tone is on a level with the best we have had in the Backhaus series. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eA.R. - The Gramophone, April 1955\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC326.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003e\"A magnificent achievement\", played with \"an astonishingly youthful vigour\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eBackhaus's stereo Diabelli Variations and Piano Concerto No. 1 in new 32-bit Pristine XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eTonally the Piano Concerto recording was good in this stereo\nversion (possibly offering a different tone to the mono release reviewed\nabove), if somewhat hissy, and this restoration has concentrated mainly on\nreducing the latter as well as correcting some quite significant pitch\nanomalies at edit points throughout the recording. These caused jumps in the\npitch of the recording were edits from different takes had been made or up to a\nquarter-semitone at a time, helping make some edits sound particularly clunky.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe recording was also rather sharp, more so than the \u003cem\u003eDiabelli\nVariations\u003c\/em\u003e, which managed a far more even and consistent A=445Hz. Here my\nefforts were concentrated on lifting the veil on a somewhat thin and\nboxy-sounding instrument, coupled with the removal or suppression of a large\nnumber of extraneous clicking noises which appeared to emanate from the\nkeyboard itself.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 1 in C major, Op. 15\u003cbr\u003e \u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e \u003cb\u003eHans Schmidt-Isserstedt \u003c\/b\u003econductor\u003cbr\u003e \u003cbr\u003eRecorded 16-22 April 1958\u003cbr\u003eFirst issued as Decca BR 3001\u003cbr\u003eProducer Erik Smith\u003cbr\u003eEngineer Alan Abel\u003cbr\u003eRecorded at Sofiensaal, Vienna\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN \u003c\/b\u003eVariations on a Waltz by Diabelli, Op. 120 \u003cbr\u003e \u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cbr\u003e \u003cbr\u003e Recorded 14-20 October 1954\u003cbr\u003e First issued as Decca LXT 5016\u003cbr\u003e Producer Victor Olof\u003cbr\u003e Engineer Roy Wallace\u003cbr\u003e Recorded at Victoria Hall, Geneva\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Backhaus\u003cbr\u003e\u003cbr\u003eTotal duration: 76:51\u003cbr\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_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC326.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC326.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 1\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis is the first disc in a new Decca series called \"Immortal Masterpieces\". BRs have a bright blue label (the colour of old Columbia LXs) and come packed as usual in the stiff polythene envelope and stiff glossy sleeve—this one has a small coloured reproduction of \"Rocky Landscape\" by Brill—but without programme notes on the back. Most of the first 10 BRs are old friends, but Backhaus's version of the C major concerto appears to be new. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe concerto has usually been issued as a 12-incher, mostly with a fill-up. Serkin, in a now deleted Philips, got it on to ten-inch format by galloping the first movement; Backhaus doesn't need to do that—he and Isserstedt take it rather slower than the fine Solomon\/Menges (H.M.V. ALP 1583) performance. But Backhaus plays the Largo as a rather Schubertian Andante, which no doubt helps him to get the last two movements on to one side. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eIt's a dashing, mettlesome performance, well poised; I had forgotten how lively and companionable a pianist Backhaus could be (I'm not a fan of his readings of the last three concertos), and the performance reminded me that he used to be an admired Mozart pianist. The florid runs and the sense of shape are particularly good; I only didn't care for the extensive meno mosso which Backhaus declares before the Adagio in the coda of the last movement— it overweights the music. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe piano tone is inclined to glare at you, and the range of orchestral tone is a bit small. Perhaps that explains the popular label; musically it's an agreeable performance, smartly accompanied.. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eW.S.M. - The Gramophone, November 1959\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":40245158861,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":40245158925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":40245158989,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC326.jpg?v=1499347157"},{"product_id":"pasc327","title":"KEMPEN Beethoven: Symphonies 2 \u0026 5, Creatures of Prometheus (1940\/41) - PASC327","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eThe Creatures of Prometheus, Op. 43 - Overture, Ballet No. 8\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 2 in D major, Opus 36\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 5 in C minor, Op. 67 \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1940 \u0026amp; 1941\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 79:16\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eDresden Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003ePaul van Kempen\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA heartfelt warmth, unhurried grandeur where required and some beautifully limpid wind playing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThe Dutch conductor Paul van Kempen (1893-1955) has been a name that crops up rather than a constant presence in the world of recorded music. There are those who prefer Wilhelm Kempff’s first cycle of Beethoven concertos not least on account of Van Kempen’s conducting. His easy cohabitation with the Nazi regime did not endear him to his own countrymen or help him to rebuild his career in Holland after the war. His recordings were not numerous and he did not make later LP versions of any of the works on this issue. As transferred by Mark Obert-Thorn these discs have good presence and body and a wider dynamic range than was common at the time. This raises the question whether Van Kempen himself did not insist on a wider dynamic range than many of his contemporaries on the podium. The gentle, unforced lyrical playing of the quieter passages combined with the often forceful approach to fortes suggest this may have been the case. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eVan Kempen is said to have had an eruptive musical personality, particularly suited to Tchaikovsky. This is not notably born out in the Prometheus Overture, where a nicely shaped introduction is followed by a vigorous but unexceptionable allegro, nor in the Ballet Music, where a degree of un-balletic overemphasis seems to stem from Beethoven himself. It is noticeable at a few points in the outer movements of the Second Symphony, where the music is momentarily pushed ahead of the well-chosen tempi and a touch of hysteria enters the proceedings. On the other hand, the slow movement is beautifully shaped, at a fairly slow tempo but not so slow as to lose a very natural sense of flow. This movement can overstay its length; this is, for me, a rare case among slower versions where this did not happen. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe first movement of the Fifth also has a few odd moments of incipient hysteria, though they cannot conceal the fact that most of it is very effectively hammered out while the few lyrical moments are really beautiful. Van Kempen’s shaping of the blunt chords shortly before the recapitulation points out - uniquely in my experience - which of the two chords is harmonically the more important. He is also very un-indulgent - especially by the standards of his time - over the famous four-note motive, for which he slows down hardly at all. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe scherzo is steady but well-sprung and very clear. The justification of a steady scherzo, though, is that the difficult trio doesn’t become a scramble. Unfortunately the eruptive Van Kempen intervenes and things get a bit scrappy. The finale is launched in fine style, but shortly after the beginning of the development there is a loss of tension, the tempo slightly slackens and even the recording has less presence. I don’t know where the side joins were - all power to Obert-Thorn for linking them up so seamlessly - but I’m wondering of the proceedings were interrupted at that point, maybe for some time, and did not immediately pick up with the same degree of tension. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhich leaves the slow movement. Taken on the slow side it has a heartfelt warmth, unhurried grandeur where required and some beautifully limpid wind playing. This brings back the old, never-answered question. \u003cem\u003eshould\u003c\/em\u003e something recorded in wartime Nazi Germany express such timeless, benign humanity? \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eReaders will have decided long ere now whether this latter aspect worries them. In any case, I’d say that these are not exactly essential Beethoven performances. But those with large collections and a fascination for the interpretation of these inexhaustible works should find a place for them. They may well conclude that the slow movements are among the finest in their library. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cem\u003eChristopher Howell\u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC327.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":34133884685,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34133884749,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC327.jpg?v=1489576991"},{"product_id":"pasc328","title":"BEECHAM Haydn: London Symphonies, Volumes 1: Nos. 93-98 (1957) - PASC328","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 93 in D major\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 94 in G major, \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe \"Surprise\"\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 95 in C minor\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 96 in D major, \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe \"Miracle\"\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 97 in C major\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 98 in B flat major \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 2hr 35:13\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra \u003cbr\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is the issue to get ... we get a truer picture of the Royal Philharmonic and of Beecham’s Haydn578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eWhat, again? EMI reissued these recordings on CD in 1992, in 2004, and in 2011. We’ve been talking about escaping the “Papa Haydn” syndrome for half a century, and these are the performances we’ve been trying to escape. In Fanfare 28:3, I damned them as “overbearing … stolid … square … affected, more Beecham than Haydn … little sense of spontaneity or joy.” In 35: 2, Richard A. Kaplan, reviewing a 34-CD Beecham set, found these Haydn symphonies “inappropriately weighty, even pompous.” Kaplan’s description of Beecham’s Mozart (“alternately stodgy and quaint”) fits my view of his Haydn even more closely. I’ve listened to only the first CD of the first set (Symphonies Nos. 93, 94, and 95), as that’s what arrived in the mail, but I’ve known these recordings from time immemorial. A second disc is supposedly on its way; if it brings any surprises, I’ll get back to you. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe second set arrived complete. The opening Vivace assai of No. 99 in E♭ is played slowly, depriving it of all vigor and sparkle; the following Adagio is softened and sentimentalized. Beecham’s Minuet is a prime example of the Papa Haydn syndrome, powdered wig and all; the carefully isolated chords have no force of attack, and the Trio is unbearably sweet. The Vivace finale tiptoes along at a very moderate pace. One of Haydn’s most dynamic, potent symphonies has been reduced to a series of charming effects. I could go on and on, but to what point? With such performances the norm in the first half of the 20th century, it’s no wonder that Haydn was considered a minor composer. Beecham (1879–1961) was locked into that time; in 1958 he still used error-ridden scores from an earlier era, ignoring all of Robbins Landon’s corrections as well as most repeats. By this time, Hermann Scherchen’s recordings and many on the Haydn Society label had demonstrated how vital Haydn’s symphonies are. There are a few movements that go well in Beecham’s performances, notably the opening Allegro of No. 104, the “London” Symphony. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eIf you must have these recordings, however, this is the issue to get. The performances in the first set (Symphonies 93–98) have suffered great indignities from EMI’s executives and engineers. First, this English orchestra traveled to Paris in October 1957 to record five of these six symphonies at Salle Wigram, perhaps the only major recording site not equipped for stereo at the time. All of EMI’s reissues have been in an electronic stereo version. Pristine’s Andrew Rose has restored true mono, and then added his “far more subtle Ambient Effect” as an option, heard on the review copies. The second set is in stereo. Rose also has rectified a number of pitch irregularities that have plagued previous issues. The result is that we get a truer picture of the Royal Philharmonic and of Beecham’s Haydn. Which engenders a disturbing paradox: Now that the orchestra can be heard properly, all the problems that Kaplan and I complain about stand out even more clearly. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJames H. North \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC328.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBeecham's supreme musicality exemplified in Haydn's symphonic masterworks\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirst six 'London' symphonies in superb new 32-bit XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":28571701608509,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":28571701641277,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":28571701674045,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":28571701706813,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC328.jpg?v=1559224218"},{"product_id":"pasc329","title":"BEECHAM Haydn: London Symphonies, Volumes 2: Nos. 99-104 (1958) - PASC329","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 99 in E flat major\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 100 in G major, The \"\u003cem\u003eMilitary\u003c\/em\u003e\"\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 101 in D major, The \"\u003cem\u003eClock\u003c\/em\u003e\"\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 102 in B flat major\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 103 in E flat major, The \"\u003cem\u003eDrum-Roll\u003c\/em\u003e\" \u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eHAYDN \u003c\/b\u003eSymphony No. 104 in D major, The \"\u003cem\u003eLondon\u003c\/em\u003e\" \u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 2hr 35:13\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra \u003cbr\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI highly recommend these discs578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eSerendipity. Some time after Wagner, audiences lost their ability to\n          listen to music of the Classical era. Hard to believe, but even Mozart\n          became\n        reduced to the status of a \u003cem\u003epetit maître\u003c\/em\u003e. When you accept \u003cem\u003eDie\n        Walküre,\n        Tristan\u003c\/em\u003e, or \u003cem\u003eTosca\u003c\/em\u003e as the norm of passion, \"Là ci darem la mano\" seems\n        pretty lame. However, Mozart had his ardent champions, notably George\n        Bernard Shaw, who hoisted his considerable wit in the service of restoring\n        Mozart\n        to more reasonable assessment.\u003cbr\u003e      \n        \u003cbr\u003e\n        Haydn's reputation, however, had sunk even lower than his pupil's. A\n        composer known in his day for his emotional force (one English writer\n        compared him\n        to Shakespeare) became huggable \"Papa Haydn.\" This persisted\n        well into the 20th century. My mother, for example, had studied music seriously\n        during the Thirties and Forties, and I later got to read her textbooks,\n        which characterized Haydn as \"historically important\" --\u003cem\u003e ie\u003c\/em\u003e,\n        not aesthetically important. It took the efforts of scholars like H.\n        Robbins Landon as well as committed conductors like Sir Thomas Beecham\n        and, later,\n        Antal Doráti (the second to record all the symphonies; the first\n        cycle, by Ernst Märzendorfer, had very limited release) to eventually\n        push Haydn into standard repertory. Doráti began recording in\n        1969.\u003cbr\u003e      \n        \u003cbr\u003e\n        Companies have this weird (to me) idea that they need to re-record the\n        same material with new artists in order to make money. Of course new artists\n        need support, but do they really need to preserve\u003cem\u003e their\u003c\/em\u003e Beethoven's \u003cem\u003ePastorale\u003c\/em\u003e?\n        Will it significantly better Mengelberg's or Szell's? Why push new product\n        with all the attendant costs of recording and editing when you already\n        have superior inventory? I just don't get it. What results is new audiences\n        ignorant of performance history -- the treasures and (I admit it) even\n        some trash of the past.\u003cbr\u003e      \n        \u003cbr\u003e\n        Like most conductors of his era, Beecham has become a collection of anecdotes\n        to the general classical public. I admit he left behind a superior collection\n        of anecdotes and \u003cem\u003ebon mots,\u003c\/em\u003e but more importantly, he bequeathed\n        a host of great performances. In many ways, he was bloody-minded, as\n        shown by his\n        notorious remark that \"I would give the whole of Bach's \u003cem\u003eBrandenburg\n        Concertos \u003c\/em\u003efor Massenet's \u003cem\u003eManon\u003c\/em\u003e, and would think I had vastly\n        profited by the exchange\". He knew what he liked and stuck to it. Fortunately,\n        he liked the unfashionable as well as the fashionable. No one, not even\n        Barbirolli, has surpassed his Delius recordings. In the Thirties, he was\n        one of the few to record Haydn symphonies -- and not dutifully, either,\n        but with real brio. He had a special affinity for Handel and resurrected\n        many forgotten works by that composer. His was, I believe, the first \"complete\" \u003cem\u003eMessiah\u003c\/em\u003e,\n        although in a Modern, super-glam orchestration. Numbers that hadn't been\n        heard in decades appeared in an \"Appendix.\" Haydn and Beecham\n        usually constituted an ideal match. Haydn's drollness and sentiment chimed\n        well with Beecham's personality. He, Szell, Doráti, and Bernstein\n        stand among my favorite Haydn conductors, although all four view Haydn\n        differently. Szell emphasizes Haydn's elegance, Doráti his warmth,\n        Bernstein his power, and Beecham his singing wit.\u003cbr\u003e      \n        \u003cbr\u003e\n        Haydn wrote six symphonies for each of his two visits to England. These\n        so-called \"London\" symphonies represent the height of his art,\n        without a dud in the dozen. They all follow the same general plan: sonata\n        movement; slow movement; minuet and trio; rondo-like finale, often sonata\n        rondo. Within those general specs, Haydn creates enormous variety, including\n        monothematic sonatas, innovative, poetic orchestration, and bursts of brilliant\n        counterpoint. Beecham does especially well in quicker movements, with a \"natural\" spontaneous\n        joy and rhythmic verve to his music-making. Haydn has always been known\n        for his musical jokes (the famous one in the \"Surprise\" Symphony\n        is only one of them, and by no means the best), and Beecham seems to\n        get them all. I especially like his second movement of No. 93, where\n        a lacy,\n        delicate texture rips apart with a loud fart from the bassoon, and Beecham\n        fully commits to it. In the slow movements, Beecham shapes a complex\n        singing line. At times, I find him a bit too slow; in one adagio, he\n        actually put\n        me to sleep. But I have trouble listening to slow movements anyway. I\n        need something, in the absence of lively rhythm, to keep my attention.\n        Beecham\n        usually gives me an unusually interesting shaping of the musical line,\n        a bit like a great \u003cem\u003eLieder\u003c\/em\u003e singer.\u003cbr\u003e      \n        \u003cbr\u003e\n        I highly recommend these discs, although I will mention a few points that\n        might give some listeners pause. First, he uses larger forces than we today\n        expect. No HIP here. Second, he uses pre-Landon editions, filled with mistakes\n        and editorial accruals that put down not what Haydn wrote, but what he\n        \u003cem\u003eshould\u003c\/em\u003e have written. Beecham doesn't observe all repeats. Third, this set\n        appeared on the cusp of the stereo era. \u003cstrong\u003eEMI\u003c\/strong\u003e, worried that stereo would\n        turn out to be a fad, got into the technology late. Hence, the first six\n        symphonies came out in mono and the second six in stereo. The difference\n        doesn't rattle me. Beecham's sheer musicality and the spectacular playing\n        of the Royal Phil's reeds and brasses (especially the trumpets) grandly\n        sweep aside such objections. The very greatest performances of Haydn's\n        symphonies are marked in large part by great solo wind players, which the\n        Phil obviously has. Textures are full but remain clear. Finally, unless\n        one knows the symphonies extremely well, I strongly doubt that Beecham's\n        departures from the true text will be noticed.\u003cbr\u003e      \n        \u003cbr\u003e\n        The bulk of\u003cstrong\u003e Pristine\u003c\/strong\u003e's releases are mono. The label specializes in great\n        performances of the past and in applying the latest techniques to \"wash\n        the face\" of old vinyl. This involves much more than removing crackles\n        and pops. Here, producer Andrew Rose has digitally standardized the variations\n        in tape recording speeds, so that pitch changes between and within movements\n        don't jar. Apparently, he has also reduced the excessive brightness of\n        the EMI sound of the time. Most controversially, I think, he has submitted\n        the mono recordings to a process misleadingly called \"Ambient Stereo.\" To\n        me, the controversy lies exclusively in the term \"stereo,\" rather\n        than in the results. Based on various descriptions I Googled, unlike the\n        notorious \"electronic stereo\" of the Sixties, there's no attempt\n        to \"locate\" the instruments left and right. Something else\n        happens. Mono recordings tend to sound flat and compressed forward and\n        back, as\n        well as left and right. Ambient Stereo rounds out the sound, or as another\n        description has it, puts air around it. It's as if it restores the ambience\n        of the venue, so that the sound seems to originate in an actual room\n        rather than from a radio speaker. It's a very subtle effect. I don't\n        listen to\n        historical recordings because I'm so interested in history. I listen\n        to them because I enjoy great music-making. Consequently, I think Ambient\n        Stereo an enhancement, rather than an accretion. Pristine has decided\n        to\n        apply the process to its entire catalogue. More power to them.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e S.G.S. (August 2012)\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC329.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBeecham's supreme musicality exemplified in Haydn's symphonic masterworks\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSecond volume of six 'London' symphonies in superb stereo 32-bit XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34134718541,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34134718605,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34134718669,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC329.jpg?v=1489578797"},{"product_id":"pasc330","title":"BACKHAUS Beethoven Edition: Volume 10 - Piano Concertos 2 and 3 (1950\/52) - PASC330","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 2 in B flat major, Op. 19 \u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003ePiano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1952 and 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 61:45\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra \u003cbr\u003eClemens Krauss, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eKarl Böhm, \u003c\/b\u003econductor \u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBackhaus glitters in the quick movements and sings beautifully in the middle one578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eGreat second, problematic third. For sure, Backhaus knows how to play the\n      piano. No one has ever questioned his regard for, even worship of Beethoven.\n      However, I found his complete traversals of the piano sonata cycle inconsistent,\n      to say the least. Superb, sharply-etched readings stand side-by-side with\n      clueless, shapeless ones. Furthermore, a certain corporate blandness hangs\n      over too many -- a \"white paper\" interpretation, rather than\n      a personal one.\u003cbr\u003e      \n      \u003cbr\u003e\n      Consequently, I approached this disc gingerly. I set my expectations low,\n      and Backhaus confounded them with strong performances in both cases. The\n      Classical period sorted concertos into various types: lyrical, pastoral,\n      divertissement, and martial or military among them. Beethoven concentrated\n      exclusively on the martial concerto, probably since it best fit his style\n      of extreme dramatic contrast. Most performers treat the Concerto No. 2\n      like a poor relation. They put up with it but would prefer to spend time\n      communing with Nos. 3 through 5. For years, I made excuses for the Second\n      as almost student Beethoven. I had the excuse that Beethoven himself afterward\n      rated this and No. 1 as \"not among my best,\" but I feel ashamed\n      of myself. Backhaus changed my mind. I now don't think of the work as an\n      inferior Beethoven concerto, lacking the innovations of, say, No. 4, but\n      a superior Mozart one, moving with great assurance within the conventions\n      of late Classicism. Years later, Beethoven himself still thought enough\n      of it to write a cadenza for it.\u003cbr\u003e      \n      \u003cbr\u003e\n      Formally, the concerto follows the usual lines: a sonata first movement,\n      an A-B-A song slow movement, and a rondo finale (A-B-A-C-A-B-A). However,\n      the level of thematic invention and variation remains high throughout. \u003cbr\u003e      \n      \u003cbr\u003e\n      Backhaus glitters in the quick movements and sings beautifully in the middle\n      one. However, Böhm and the Vienna Phil also contribute substantially\n      to make this one of the great recordings of the concerto. In the first\n      movement, the Vienna strings, forgetting their usual suavity, give their\n      lines exciting little nips that perk up your ears. In the second, Böhm\n      finds the depth in a movement that too often just goes by. Both he and\n      Backhaus convince you that this is one of the great Beethoven adagios.\n      The final movement is noteworthy for the way Backhaus and the orchestra\n      flick the syncopations of the main theme. Backhaus's passagework sparkles.\n      The near-perfect ensemble balance reinforces the unanimity of intention\n      between soloist and orchestra.\u003cbr\u003e      \n      \u003cbr\u003e\n      The third concerto lacks that strong connection. First, under Krauss the\n      orchestra's attack (particularly the strings) becomes spongy. The winds,\n      for the most part, manage sharp attacks but combined with the strings,\n      the ensemble is often raggedy, particularly not really what you want in\n      such a martial concerto. You miss certain important thematic details from\n      the orchestra, not helped by a poor recording balance on the original LP\n      which puts the players slightly too far back in the image, like a consort\n      who walks seven paces behind the ruler. In the first movement, another\n      c-minor storm like the \u003cem\u003ePathétique\u003c\/em\u003e Sonata, the orchestra handles\n      the introduction beautifully, with superbly well-managed crescendos. However,\n      as the movement progresses, it begins to lose focus. Backhaus becomes the\n      rather stern marshal, apparently taking direction over from Krauss by an\n      insistence on the rhythmic integrity of the measure. I reserve most of\n      my admiration for Backhaus, who gives a vivid performance. He uses his\n      own cadenza, which starts out well, but sometimes veers away from Beethoven\n      into Liszt-Rachmaninoff territory (I think especially of a loud sequential\n      passage of articulated diminished-seventh chords). On the one hand, it's\n      great piano playing, but I'm not sure what to make of the stylistic difference.\n      If we long for the days when the soloist actually improvised his cadenza,\n      then I think we must expect an individual take on the material and take\n      into account that the soloist has heard music the composer has not and\n      that such experience likely goes into the improvisation. The question then\n      becomes the worth of the cadenza. I think, ultimately, that the cadenza\n      shows me less about Beethoven and more about Backhaus the pianist, the\n      wizard of the keys.\u003cbr\u003e      \n      \u003cbr\u003e\n      The second-movement Largo is a variation set. Krauss and Backhaus go for\n      Profundity (a peeve of mine), but, by Granny's undies, they pretty near\n      pull it off. Backhaus toes the line of pokey, but manages to keep the musical\n      line spinning. The strings of the Vienna Phil are gorgeous here, Backhaus's\n      pedaling as well. As far as I can tell, he actually follows Beethoven's\n      pedaling indications, not usual enough to take for granted.\u003cbr\u003e      \n      \u003cbr\u003e\n      The performers regard the rondo finale in an off-beat way. Usually, players,\n      considering other Beethoven c-minor scores, look to storm the heavens.\n      Backhaus and Krauss work to stress intimacy and ensemble.\u003cbr\u003e      \n      \u003cbr\u003e\n      Backhaus's second I think an essential performance, the third less so,\n      though by no means routine. It's a reading you add once you've experienced\n      more basic ones. \u003cstrong\u003ePristine\u003c\/strong\u003e delivers one of its better sonic reconstructions.\n      Extraneous noises and distortions have been cleaned up. More importantly,\n      in LPs of this era, the sound tends to reproduce as if three dimensions\n      have been flattened to two. \u003cstrong\u003ePristine\u003c\/strong\u003e has an ap for that:\n      you seem to hear the ambience of the hall.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e S.G.S. (November 2012)\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC330.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n    \u003cem\u003e\n        \u003cspan style=\"font-size: 24px;\"\u003e\"A fine performance matched by a first-class recording\" - Gramophone\n    \u003c\/span\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n    \u003cem\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eBackhaus's classic Concerto recordings have been completely transformed\n        in these new remasters\n    \u003c\/span\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Both of these recordings, whilst fundamentally sound, have benefited\n    enormously from a thorough restoration and XR remastering - given the\n    recording dates, right at the beginning of the adoption of tape mastering\n    and LP distribution, the myriad of now-correctable faults was entirely\n    unsurprising. Pitch generally fluctuated between about A=335Hz and A=440Hz,\n    and these variations have been evened out to concert pitch - but the coda\n    of Concerto No. 2 came in at A=432Hz - a significant drop suggesting a\n    section edited in from a very different recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    The tonal difficulties suggested in contemporary reviews sound even more\n    pronounced today, I would suggest, given our far improved listening\n    equipment over a reviewer of the early 1950s. Fortunately we now also have\n    the technology and expertise to address these shortcomings. I've also been\n    able to make significant inroads on tape hiss and an assortment of\n    extraneous noises and irrirants. The results here have proved particularly\n    satisfying - a full, clear, clean sound has been discovered both for piano\n    and orchestra to an extent that demands a critical reassessment of both of\n    these recordings. My sense is that, as has happened regularly before, the\n    listener will now find significantly more to enjoy here than in any\n    previous release.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 2 in B flat major, Op. 19\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eClemens Krauss \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded 25-26 May 1952 \u003cbr\u003eFirst issued as Decca LX 3084\u003cbr\u003eProducer Victor Olof \u003cbr\u003eEngineer Cyril Windebank \u003cbr\u003eRecorded at Grosser Saal, Musikverein, Vienna\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eKarl Böhm \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded 23 September 1950 \u003cbr\u003eFirst issued as Decca LXT 2553\u003cbr\u003eProducer Victor Olof \u003cbr\u003eEngineer Cyril Windebank \u003cbr\u003eRecorded at Grosser Saal, Musikverein, Vienna\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February-March 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Backhaus\u003cbr\u003e\u003cbr\u003eTotal duration: 61:45\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC330.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC330.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 2 (excerpt)\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eBackhaus gives it a performance that is markedly \nmore sensitive than some of those he has lately accorded the solo \nsonatas ... Throughout everything is clear and in place; a fine \nperformance matched by a recording that manages to be first-class in \nspite of—or perhaps because of—the absence of any endeavour to be \nsensational. That quality, indeed, would not be in place; and sobriety \nof the order that is unwaveringly maintained throughout this disc is not\n at all to be despised. The millennium will occur when this standard is \nthe normal minimum to be expected of all records offered for public \nsale...\u003c\/p\u003e\u003cp class=\"body\"\u003eM.M. - The Gramophone, February 1953\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 3 (excerpt)\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eBackhaus's performance has his usual brittleness \nand precision. He is here the classic-minded performer, more interested \nin form and pattern than in the personal expression of Beethoven the man\n ; and his treatment suits this work better than it would, perhaps, the G\n major. The orchestral playing is discreet rather than forceful ; there \nis, to one pair of ears, a slight over-prominence of the piano, just as \nthere is a slight excess in the use of the damper pedal. The recording \nas such is not wholly satisfactory, for it suffers from that odd quality\n to which long-players seem to be liable—unevenness. The piano jangles \nsomewhat on its first entrance, then the tone warms up, then there is \nsome more jangling, and then, in the cadenza' the piano tone comes \nproperly into focus (though even here it is a little hard). On the first\n side the bass is light...\u003c\/p\u003e\u003cp\u003e\nH.F. - The Gramophone, February 1951\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 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Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003etest1\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull 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Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003etest2\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003etest3\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_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":"MP3","offer_id":30811198285,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}]},{"product_id":"pajz008","title":"ART TATUM Knockin' Myself Out (1941-56) - PAJZ008","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003eART TATUM\u003c\/b\u003e Knockin' Myself Out\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1941-56\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, June 2008\u003cbr\u003eCover artwork based on a photograph of Art Tatum\u003cbr\u003eCompilation devised, researched and sourced by Lynn Bayley\u003cbr\u003eDuration 79:58\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003eArt Tatum, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVarious Artists\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cspan class=\"TIMESb\" data_liveedit_tagid=\"000000000D7763C0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"bodysmallarial\" align=\"left\"\u003e \u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe music world in general, and particularly the jazz world, has never seen his like since578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5fBefore I continue with this review, a disclaimer. I provided Pristine with the raw material for this CD (how raw, I’ll explain soon enough). I also sent over track listings, dates, personnel, and an essay about Tatum and these recordings that I had written for my own enjoyment to include with the CD. I received no compensation for this other than one review copy and the pleasure of seeing this invaluable Tatum material once again available. That’s more than enough for me—knowing that somewhere, someone in the world who may have been looking for these tracks for a long time will now have the ability to own them on CD.\n\nFor make no mistake, these are major rarities, with the exceptions of the four tracks with blues shouter “Big Joe” Turner, which appeared on one of MCA’s jazz CDs shortly before they were bought out by Seagram’s or Coors Light or some Swedish light bulb company or whoever has them now, and the jam session on the first Tea for Two which was once available on a LaserLight CD. The live jam session tracks (3–6) are from an Inner City LP dating from the mid 1970s. The two trio radio broadcasts, evidently recorded on a defective tape recorder, appeared on a small-label LP in the early 1980s that disappeared almost as quickly as it first showed up.\n\nMy intent was to present the listener with a taste of Tatum in primarily live settings and particularly after-hours. “After hours” was a very specific term with very special connotations during the 1930s, 1940s, and 1950s. It no longer means as much, but in those days it was a place the jazz musicians went, not to show off their chops (they could do that onstage in front of the white audiences) but to inspire each other musically, occasionally with little musical jokes or teasing phrases. Thus, in this live performance of Sweet Georgia Brown, for instance, one is not overpowered by the usual Tatum barrage of notes but, on the contrary, treated to moments of silence, perfectly placed in order to make what came before and comes after all the more meaningful. The 1944 jam session, a more commercial event organized by Esquire magazine to show off its annual jazz award winners (yes, Virginia, there was once a time when Esquire cared about jazz), nevertheless puts Tatum in the midst of some of his favorite jam session friends, trumpeter Roy Eldridge, vibist Lionel Hampton, and the great drummer Sid Catlett, and he responds with equal alacrity and lack of surface flashiness.\n\nThe July 1941 after-hours session is notable for Tatum’s presence as a blues singer. He didn’t have much of a voice, but he certainly knew the inflections. On the other tracks, especially those featuring Joe Turner, his playing is equally outstanding. Fellow pianist Jay McShann, not known for lavishing praise on his rivals, said that Tatum was one of the greatest blues pianists he’d ever heard in his life. These records prove it.\n\nThe two cocktail lounge broadcasts, recorded a year apart, are among his last live performances anywhere. As usual when playing for a white audience, his performances are more ornate, more baroque, full of full-keyboard glissando runs and quotes from other popular tunes, but there is also a greater excitement, a headlong rhythmic rush sometimes missing from his studio recordings (even some of the superb records he made for Norman Granz). Just listen, for instance, to the subtle time-splitting and exciting swing of Wrap Your Troubles in Dreams, surely a tune that no one else in the history of jazz got more out of, not even Earl Hines.\n\nThe second of these broadcasts is particularly poignant as it was given only about two weeks before his death from uremia. Though Tatum had been suffering for years, he seldom let on to his audiences or even his colleagues just how much pain he was in. One day in November, he checked himself into a hospital because he finally couldn’t stand the pain any longer. A day or two later, he was dead, aged 46.\n\nThe music world in general, and particularly the jazz world, has never seen his like since. Vladimir Horowitz, a pianist I generally dislike, nevertheless had one good quality. He recognized Tatum’s genius and wasn’t shy in saying so, proclaiming even into the 1970s that if Art had been able to pursue a classical career there’d have been a great many pianists, himself included, who would have been fighting him for work.\n\nAs for the sound quality: the studio Decca recordings with Turner and the 1944 broadcast sound about the same to me, but the live 1941 material is greatly enhanced, especially Lady Be Good, where Newton’s trumpet fades in and out of microphone range. The last broadcast was also in very rough shape on the original LP, and the vinyl on which it was pressed was so cheap that after a dozen plays it deteriorated into a kind of fuzzy, distorted nightmare sound. Andrew Rose has done a tremendous job of cleaning these tracks up. Go ahead, buy it; I promise you I won’t make a dime off it, but I’d be thrilled if you liked it well enough to thank me for this pure labor of love.\nLynn René Bayley\n\nThis article originally appeared in Issue 32:3 (Jan\/Feb 2009) of Fanfare Magazine.578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAJZ008.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducers Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eArt Tatum - Rare and essential recordings, 1941-1956\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese rare recordings have come from a wide variety of sources, \nrecorded with varying degrees of quality. In addition, as Lynn Bayley \npoints out in her notes, some of the live material would have been \nplayed on a \"battered old upright\" rather than a fine well-tuned and \nproperly maintained grand piano! All of this, along with the age of \nthese recordings, conspires against sound quality. However, much \nrecovery has been possible and the sound quality on this release is \nlargely excellent - certainly far better than on previous issues! There \nis unfortunately some peak distortion present on the final Washington DC\n recordings, most especially on the piano, and although this has been \nsignificanly reduced it has not been possible to entirely eliminate it.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAJZ008.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAJZ008.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fTrack Listing578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cblockquote\u003e\n\u003cp class=\"bodymid\"\u003e\u003cb\u003eLive and studio recordings, 1940s:\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Lonesome Graveyard\u003c\/span\u003e (3:08)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eCorinne Corrina\u003c\/span\u003e (2:33)\u003cbr\u003e \u003cem\u003e\"Big \nJoe\" Turner, vocal; Joe Thomas, trumpet; Art Tatum, piano; Oscar Moore, \nguitar; Billy Taylor, bass; Yank Porter, drums. New York, June 13, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eKnockin' Myself Out\u003c\/span\u003e (4:04)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eToledo Blues\u003c\/span\u003e (3:33)\u003cbr\u003e \u003cem\u003eArt Tatum, \npiano \u0026amp; vocal on \"Toledo Blues\"; Chocolate Williams, bass \u0026amp; \nvocal on \"Knockin' Myself Out.\" New York, July 26, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eLady Be Good\u003c\/span\u003e (4:28)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eSweet Georgia Brown\u003c\/span\u003e (7:18)\u003cbr\u003e \u003cem\u003eFrank Newton, trumpet; Art Tatum, piano; Ebenezer Paul, bass; New York, September 16, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eRock Me, Mama \u003c\/span\u003e(2:59)\u003cbr\u003e \u003cem\u003eSame personnel and date as tracks 1 \u0026amp; 2\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eWee Baby Blues\u003c\/span\u003e (2:54)\u003cbr\u003e \u003cem\u003e\"Big Joe\"\n Turner, vocal; Joe Thomas, trumpet; Edmond Hall, clarinet; Art Tatum, \npiano, John Collins, guitar; Billy Taylor, bass; Ed Dougherty, drums. \nNew York, January 21, 1941.\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eTea For Two\u003c\/span\u003e (3:25)\u003cbr\u003e \u003cem\u003eRoy \nEldridge, trumpet; Jack Teagarden, trombone; Barney Bigard, clarinet; \nLionel Hampton, vibes; Art Tatum, piano; Al Casey, guitar; Oscar \nPettiford, bass; Sid Catlett, drums. Metropolitan Opera House, New York,\n January 18, 1944.\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymid\"\u003e\u003cbr\u003e \u003cb\u003eLive Trio Radio Broadcasts, 1950s:\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eA Flying Home (Theme) \u003c\/span\u003e(0:49)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e I Cover The Waterfront \u003c\/span\u003e(4:33)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Soft Winds\u003c\/span\u003e (3:23)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Tenderly\u003c\/span\u003e (4:58)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eTea For Two\u003c\/span\u003e (3:11)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eWrap Your Troubles In Dreams\u003c\/span\u003e (5:20)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e Body and Soul \u003c\/span\u003e(0:59)\u003cbr\u003e \u003cem\u003eArt Tatum, piano; Everett Barksdale, guitar; Slam Stewart, bass. Basin Street, New York, October 1955\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eFlying Home (Theme)\u003c\/span\u003e (1:43)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eMoon Song\u003c\/span\u003e (5:56)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eJust One Of Those Things\u003c\/span\u003e (3:48)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eWould You Like To Take A Walk\u003c\/span\u003e (5:33)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eYou Go To My Head\u003c\/span\u003e\u003cspan class=\"body\"\u003e (5:23)\u003cbr\u003e \u003cem\u003eArt Tatum, piano; Everett Barksdale, guitar; Bill Pemberton, bass. Olivia's Patio Lounge, Washington DC, October 1956\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eIn the long history of jazz, only one musician has stood head and \nshoulders above all others, not only in his classification but even when\n compared to those who played other instruments. That one musician was \npianist Art Tatum,\u003c\/p\u003e\u003cp class=\"body\"\u003eBorn blind in one eye, he lost 75% of his sight in the \nother by the time he was a teenager, but like Lennie Tristano, another \npiano genius of similar ability but far less popular appeal, with Tatum \nit was the talent and not the handicap that made him unique. Ungainly in\n appearance, heavy-set and homely, he lacked the manner and looks of a \ngreat artist. His first major exposure occurred at the age of 18 when he\n played on radio broadcasts in his native Toledo, Ohio. He moved to New \nYork in 1932, where he quickly gained acclaim as the finest pianist of \nhis day, able to synthesize every style of jazz piano from New Orleans, \nstride and boogie-woogie and fuse them with a technique so prodigious \nthat even such technical wizards as pianist Earl Hines refused to \ncompete with him (though bassist Quinn Wilson remembers their lone \nencounter, at a late-night club in Chicago after Hines's band finished \nits gig at the Grand Terrace Hotel).\u003c\/p\u003e\u003cp class=\"body\"\u003eCompeting in the venue of popular music, Tatum eschewed \nwriting his own jazz compositions in favor of ornate, almost baroque \nfantasias on the great pop tunes of his time (and a few light classics \nlike Dvorak's \u003cem\u003eHumoresque\u003c\/em\u003e and the Massenet \u003cem\u003eElegie\u003c\/em\u003e). His\n approach to these pieces remained fairly constant throughout his \ncareer: play the melody with variations on the breaks, then begin \nimprovising in such a way that the melody, harmony and rhythm were \nfractioned and re-fractioned, sometimes within the space of a single \nbar. Partly as a means of enticing listeners who couldn't follow what he\n was doing, and partly because it helped him negotiate the keyboard \neasier from one end to the other, Tatum often played arpeggios and runs \nthat dazzled listeners but were musically superfluous. This aspect of \nhis style eventually led to his being disparaged by critics, many of \nwhom dismissed him as \"really a classical pianist\" who didn't swing and \nwas apparently out of touch with \"true jazz.\" Nevertheless, Tatum kept \nat it until his untimely demise at the age of 46, a victim of uremia, \nand despite the carping of critics he was—and remains—unanimously \nadmired by other pianists, even such modern ones as Cecil Taylor, Bill \nEvans, McCoy Tyner and Jack Reilly. They know, as did Hines, Ellington, \nWaller, Morton, Wilson, Heywood, Mary Lou Williams, Peterson, Hyman and \nTristano, that it didn't matter what the critics said. Tatum not only \nhad the quickest fingers in the world (Vladimir Horowitz often said that\n quite a few classical pianists, including himself, would be the worse \nfor competition if Tatum had been allowed to become a concert artist), \nbut the quickest musical mind. A genius in bondage is still a genius.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn 1943, influenced by the fleet, light, drummerless \ntrio led by rival pianist Nat \"King\" Cole, Tatum formed a similar group \nconsisting of piano, guitar and bass. His original guitarist was Tiny \nGrimes and his original bassist, Slam Stewart, but by the late 1940s he \nreformed his group with the more harmonically sophisticated Everett \nBarksdale on guitar. Yet Tatum's playing style in after-hours sessions, \nwith musicians he was comfortable with, could be much more relaxed, less\n flashy, sometimes even more swinging. As Orrin Keepnews put it in his \nliner notes for the album \u003cem\u003eI Got Rhythm: Art Tatum, Vol. 3\u003c\/em\u003e on MCA, \"\u003cem\u003e'After\n hours' is a term that has a very specific, very evocative meaning in \njazz. It is a bit outdated now, but not too many years ago there were \nplaces in almost ever big city, not too difficult to find, where there \nwas no curfew for the music short of exhaustion: back rooms where the \nemphasis was apt to be on the big man hunched over the battered, \nwell-used upright piano. The world of after-hours jazz was, by and \nlarge, a private world.\u003c\/em\u003e\"\u003c\/p\u003e\u003cp class=\"body\"\u003eThis album includes the only known existing recordings \nof Tatum after hours, from July and September of 1941. After hours, \nTatum indulged in something he did very rarely in his other professional\n gigs: he played, and occasionally sang, the blues, and did so superbly.\n Fellow pianist Jay McShann, a man not known for showering compliments \non his rivals, is on record as saying, \"\u003cem\u003eArt could really play the blues. To me, he was the world's greatest blues player, and I think few people realized that.\u003c\/em\u003e\" \u003cem\u003eToledo Blues\u003c\/em\u003e is the only surviving recording of Tatum singing the blues.\u003c\/p\u003e\u003cp class=\"body\"\u003eSurprisingly, one of his after-hours sessions, with \ntrumpeter Joe Thomas, clarinetist Edmond Hall, Barksdale, bassist Billy \nTaylor, drummer Sid Catlett and blues shouter \"Big Joe\" Turner, spilled \nover into the recording studio. Three of those recordings are included \nhere as an extension of the live 1941 tracks; the only real difference \nis that Tatum is playing on a fine piano instead of a battered old \nupright. But Tatum did not just thrive in after-hours sessions. He also \nthrived in live settings, sometimes with his trio, occasionally with \nmusicians who were his good friends as well as colleagues. One of these \nis included here, a brief but intense performance of \u003cem\u003eTea for Two\u003c\/em\u003e, given at the Metropolitan Opera House in 1944, part of an \"all-star\" concert featuring winners of \u003cem\u003eEsquire\u003c\/em\u003e\n magazine's annual jazz awards. (Yes, also there was a time when Esquire\n really cared about jazz and not just popular music.) Despite the \nintrusion of an announcer speaking his name, this band—which included \nhis good friends, trumpeter Roy Eldridge and vibist Lionel Hampton—is \nreally flying, and Tatum is flying along with them.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe remainder of this album is comprised of two \nnightclub broadcasts from New York and Washington with his trio. The \nsecond of these, ironically, is the next-to-last time he ever performed \nin public. On November 4, 1956, he was forced to check into Queen of \nAngels hospital in Los Angeles; the next day, he was dead. Despite all \nof the wonderful recordings that his trio made, there is an extra spark \nto these live sessions that seems to push Tatum to even greater heights.\u003cbr\u003e\n The Joe Turner recordings were once available on an MCA CD. The Esquire\n all-stars concert was once on a LaserLight CD. The remainder of these \ntracks were only issued as small-label LPs, many years ago, and have \nlong been out of print. Put together, they give us another dimension of \nTatum as an artist, working in the milieu he enjoyed best, a live \nsetting with friends before audiences, public or private, that \nunderstood his genius and appreciated it without wanting the carnival \nact.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" style=\"text-align: left;\" align=\"right\"\u003e\u003cem\u003eNotes by Lynn Bayley\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":40415573049405,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":40378817869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40378817933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":40415573082173,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAJZ008.jpg?v=1670343436"},{"product_id":"pabl001","title":"ROBERT JOHNSON Legendary Blues, Volume 1 - PABL001","description":"overviewfb55cd020f0643f08418183279e63a5fComposed and performed by \u003cb\u003eRobert Johnson\u003c\/b\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded San Antonio, Texas, November 1936 and Dallas, Texas, June 1937\u003cbr\u003e Total duration: 51:41\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fA listener writes578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eNo doubt in my mind these blow everything else out of the water, unless \nyou're a surface-noise purist to the point of masochism. You can hear so\n much more in Johnson's voice. Conversely, I'm less impressed by his \nguitar playing than before, now I can hear the stumbles he makes. But \nwhat a great expressive voice he has.\n\t\t\u003c\/p\u003e\u003cp\u003e- From online forum discussion\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL001.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\"\u003cem\u003eThe most important blues musician who ever lived\u003c\/em\u003e\"\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cem\u003e Eric Clapton on Robert Johnson \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003eNewly restored using XR remastering technology \n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis experimental release came as a result of a late-night \nconversation with the head of another classical record company, \nfollowing discussion of the wider possibilities of Pristine Audio's XR \nremastering system. As XR relies on modern reference recordings to \nprecisely re-equalise older recordings in order to correct the \ninadequacies of vintage recording systems, it's often hard to use \noutside of the classical sphere. However, the music of Robert Johnson \nhas been widely recorded, and it was possible to find modern equivalents\n of many of these recordings, from which I was able to derive further \nequalisations for the remaining tracks.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhat emerges from this process is quite \nremarkable - for perhaps the first time one is able to hear the full \nrange, power and versatility of both Johnson's singing and playing in a \nsound quality that is more 1950's or 1960's than the 1930's hotel room, \nwhere these immensely influential recordings were made.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe sample chosen here, \u003cem\u003eRamblin' On My Mind\u003c\/em\u003e,\n gives a very good indication of what to expect from the rest of the \ntracks, sound-wise. One or two of them have emerged even better from the\n remastering process than this. The overall effect of this collection is\n stunning to hear, especially for anyone used the thin sound of all \nprevious Johnson reissues. Once you've heard this remastered collection \nyou will not wish to return to anything else.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eN.B. \u003c\/b\u003eDue to a compilation error, track 8 \"\u003cem\u003eWhen you've got a good friend\u003c\/em\u003e\"\n appears twice on this issue, and another song, prepared for this \nrelease, was omitted. This missing song appears on Volume Two of our \nRobert Johnson \u003cem\u003eLegendary Blues\u003c\/em\u003e releases (PABL002), which will complete the entire set of his recordings.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eSweet Home Chicago\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePhonograph Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eTravelling Riverside Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003e32-20 Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCome On In My Kitchen\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMe and the Devil Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePreachin' Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWhen You Got A Good Friend\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eRamblin' On My Mind\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eThey're Red Hot\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI'm A Steady Rollin' Man\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eKind Hearted Woman Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMilkcow's Calf Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eI Believe I'll Dust My Broom\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eTerraplane Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWalkin' Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWhen You Got A Good Friend\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eStop Breakin' Down Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eLittle Queen of Spades \u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded San Antonio, Texas, November 1936 and Dallas, Texas, June 1937\u003cbr\u003e Total duration: 62:22\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fA listener writes578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eNo doubt in my mind these blow everything else out of the water, unless \nyou're a surface-noise purist to the point of masochism. You can hear so\n much more in Johnson's voice. Conversely, I'm less impressed by his \nguitar playing than before, now I can hear the stumbles he makes. But \nwhat a great expressive voice he has.\n\t\t\u003c\/p\u003e\u003cp\u003e- Online forum discussion post\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL002.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: medium;\"\u003eYou want to know how good the blues can get?\u003c\/span\u003e Well this is it.\u003c\/em\u003e\"\u003cspan class=\"body\"\u003e\u003cem\u003e\u003cbr\u003e Keith Richards on Robert Johnson\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003eNewly restored using XR remastering technology\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAfter\n the success of our experimental release of Robert Johnson 'Legendary \nBlues' the requests for the rest of his recordings came in thick and \nfast. I also took note of the comments - and criticisms - of that issue \nwhilst preparing this release.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIn preparing a \"new\" Robert Johnson \nrelease, one should be clear that there is little point in duplicating \nthat which has already been issued. Each has its flaws - some of them \nglaring, others more subtle - and each has its adherents. My aim with \u003cem\u003eVolume Two\u003c\/em\u003e\n has been to both keep with those who've written to say that the first \nvolume was by far the best remastering Johnson they'd ever heard, whilst\n hopefully addressing some of the concerns of others and bringing them \n'on board' as well.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eOne example of this, heard on Volume One \n(PABL001), was a reasonably subtle use of reverberation, which was \npresent in the source material used for that release (though not on the \noriginals), and not added by me. Volume Two has been sourced from a \nvariety of origins and no reverb has been added. My aim has been both to\n bring you a cleaner sound wherever possible, and - using XR remastering\n - one that is more authentic to the overall tonal quality of Johnson's \nvoice and guitar, despite the limitations of the recording equipment of \nthe day.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eI have also, in preparing this release, \nbeen able to make minor speed corrections to some of the tracks, basing \nmy conclusions on analysis of electrical mains hum harmonics found \nburied in many of the tracks, and repitching to between 0.2 and 2.5% \n(where a semitone is approximately 6%).\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThis release brings together all of the \nremaining known releases of Robert Johnson's recordings. It has been \nprogrammed in order of recording, omitting those already issued on \nVolume One. Where this issue contains two takes of a particular song, I \nhave relocated the second take to later on the recording. This is a \npersonal preference and a departure from releases which group takes \ntogether.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew 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Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eKind Hearted Woman Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eRamblin' On My Mind (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eWhen You Got A Good Friend (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCome On In My Kitchen (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003ePhonograph Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDead Shrimp Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCross Road Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLast Fair Deal Gone Down\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eIf I Had Possession Over Judgement Day\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eStones in My Passway\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eFrom Four Until Late\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eHell Hound On My Trail\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLittle Queen Of Spades (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMalted Milk\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDrunken Hearted Man\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMe And The Devil Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eStop Breakin' Down Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eTraveling Riverside Bllues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eHoneymoon Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLove In Vain Blues\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eMilkcow's Calf Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eCross Road Blues (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eDrunken Hearted Man (Take 2)\u003c\/b\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cb\u003eLove In Vain Blues (Take 2) \u003c\/b\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":31418228365,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31418228429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31418228493,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PABL002_58ec6a71-aba2-4f07-bed5-97f12975d252.jpg?v=1487682477"},{"product_id":"pabl003","title":"TAMPA RED The Man With The Gold Guitar - PABL003","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eTampa Red\u003c\/b\u003e, vocal, guitar, electric guitar, piano, kazoo\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e Composed and performed by Tampa Red et al \u003cbr\u003e Recorded Chicago \u0026amp; Aurora, Illinois, 1934-42\u003cbr\u003e Total duration: 60:13\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL003.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003eTampa Red - \"The Man With The Gold Guitar\"\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003eNewly restored using XR remastering technology\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTampa Red is the second blues artist to receive the 'XR' treatment, \nfollowing our issue of the complete Robert Johnson recordings a month \nago. Once again, great care was taken to find suitable recordings with \nwhich to construct tonal references and reshape the sound profiles of \nthese mainly late-1930's recordings, the process at the heart of the XR \nremastering system.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eClearly some sides have survived the \nintervening years better than others, and it's interesting to find \nbetter overall sound quality lurking in the earliest of these \nrecordings, 1934's \u003cem\u003eGrievin' and Worryin' Blues\u003c\/em\u003e than in some of \nthe records from later in that same decade. It's easy to speculate on \nwhy this might be the case - I've noted similar declines in surface \nquality in UK pressed discs during the 1930's - but one should perhaps \navoid jumping to conclusions.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eI've avoided running these tracks in order \nof recording dates, and have instead compiled them to create a perhaps \nmore musical flow for the listener. I am aware in doing this that each \nlistener would probably make a different choice.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe two recordings from 1942 include one of Tampa Red's biggest hits, the innuendo-laden \u003cem\u003eI Want To Play With Your Poodle\u003c\/em\u003e, and what seemed to me its natural partner in crime,\u003cem\u003e She Wants To Sell My Monkey\u003c\/em\u003e.\n I will leave it to the listener to decide how best to interpret the \nlyrics here - what I find most musically interesting is how the addition\n of drums to the piano, guitar and kazoo instrumentation already common \nin earlier recordings, coupled with the ongoing development of his \nmusical style, looks forward with astonishing foresight to the major \nrevolution in popular music which was to arrive a decade or more later. \nIndeed, one can even hear in the off-beat kazoo playing, coupled with \nthe jaunty rhythms, the origins of 1960's Jamaican ska music, which grew\n out of the copying and adapting of blues-based music to be heard on \nAmerican radio stations picked up in Jamaica at the time, and would of \ncourse later slow down and evolve into reggae - by which time Tampa Red \nwas destitute and largely forgotten...\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eShe's Love Crazy\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:00) 24\/6\/41\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDelta Woman Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:07) 11\/10\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBessemer Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:48) 15\/5\/39\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003e It's A Low Down Shame\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:57) 24\/6\/41\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard Road Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:57) 27\/11\/40\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSo Far, So Good\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:43) 24\/6\/41\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eYou Missed A Good Man\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:34) 1\/11\/35\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eAnna Lou Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:53) 10\/5\/40\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGot To Leave My Woman\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:19) 14\/3\/38\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eKingfish Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:08) 22\/3\/34\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLove With A Feeling\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:58) 16\/6\/38\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eTravel On\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:24) 11\/10\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDeceitful Friend Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:02) 11\/10\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWhen The One You Love Is Gone\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:08) 4\/5\/37\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIt Hurts Me Too\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(2:32) 10\/5\/40\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWitchin' Hour Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:13) 27\/10\/34\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGrievin' And Worryin' Blues\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:05) 14\/6\/34\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLet Me Play With Your Poodle\u003c\/b\u003e\u003cspan class=\"bodysmallarial\"\u003e (2:39) 6\/2\/42\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eShe Wants To Sell My Monkey\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:20) 6\/2\/42\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWhy Should I Care?\u003c\/b\u003e \u003cspan class=\"bodysmallarial\"\u003e(3:26) 14\/3\/38\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\n\n\n\nAll songs written and performed by Tampa Red (vocals, guitar, electric guitar, piano, kazoo) \u003cbr\u003ewith\n Carl Martin (guitar, 17), Henry Scott (guitar, 16), Black Bob (guitar, \n7, 10, 11?), Willie B. James (guitar, 2, 12, 13, 14, 20), Blind John \nDavis (piano, 3, 8, 15), Ransom Knowling (bass, 1, 3, 4, 6), Big Maceo \nMerriweather (piano, 1, 4, 6, 18, 19), Clifford 'Snags' Jones (drums, \n18, 19), and others not known \u003cbr\u003eAll recorded in Chicago except tracks 2, 9, 11, 12, 14, 20, Aurora, Illinois\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABL003.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PABL003.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":53088397263182,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":53088397295950,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":53088397328718,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABL003_eee08675-d452-44a8-8e93-387cce18c75b.jpg?v=1751296341"},{"product_id":"pabl004","title":"MISSISSIPPI JOHN HURT The Man From Avalon - PABL004","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eMississippi John Hurt\u003c\/b\u003e - Vocals, guitar\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e Recorded Memphis, Tennessee \u0026amp; New York City, 1928\u003cbr\u003eTotal duration: 38:49\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL004.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003eMississippi John Hurt - \"The Man From Avalon \"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\"\u003cem\u003eMJH would have been mighty pleased...\u003cbr\u003e \u003c\/em\u003e\u003cem\u003eI see you as having helped to create a whole new dimension.\u003c\/em\u003e\"\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003eFred Bolden, Mississippi John Hurt's nephew\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eBecause of his musical renaissance in the \n1960's I was lucky to be able to use much more recent recordings of \nMississippi John Hurt performing some of the same songs as he'd cut back\n in 1928 as sonic references in the XR remastering process for this \nrelease. The results have been especially pleasing and should serve to \nbring the listener even closer to the unique music and spirit of John \nHurt.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eTwo of the tracks provided a particular challenge, including our full-lenth sample \u003cem\u003eFrankie\u003c\/em\u003e,\n which despite myriad reissues over the years appears not to have been \naddressed. By analysing pitch variations in the opening two songs, \nrecorded in Memphis using mobile equipment, I discovered a pitch \nvariation across the length of the recording, indicating that the speed \nof the motor driving the cutting lathe varied more or less as shown in \nthe following graph:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"center\"\u003e\u003cimg src=\"https:\/\/web.archive.org\/web\/20151025052919im_\/https:\/\/www.pristineclassical.com\/media\/Pictures\/MJH-repitch.gif\" alt=\"MJH repitch graph\" width=\"579\" height=\"237\"\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eBecause the disc was replayed and \ntransferred at a constant speed, the effect on the pitch is the exact \nopposite, thus the curve shown above represents the actual sliding \nrepitch required to even out the song '\u003cem\u003eFrankie\u003c\/em\u003e'.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThis pitch problem can be seen in the \nfollowing graphic - the horizontal lines indicate harmonics of the \nguitar part. Because there are no modulations in key during the song \nwe'd expect to see pretty much straight lines running across the screen,\n but as you can see, set against a ruler line, the opening of the song \nis far from straight - we're looking therefore at the incorrect pitching\n caused by the cutting lathe's motor:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"center\"\u003e\u003cimg src=\"https:\/\/web.archive.org\/web\/20151025052919im_\/https:\/\/www.pristineclassical.com\/media\/Pictures\/Frankie1.jpg\" alt=\"Frankie graphic 1\" width=\"600\" height=\"385\"\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eOnce the variable repitch settings (above) \nhave been applied, and after a further fine-tuning, you can see the \neffect on these harmonics quite clearly:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"center\"\u003e\u003cimg src=\"https:\/\/web.archive.org\/web\/20151025052919im_\/https:\/\/www.pristineclassical.com\/media\/Pictures\/Frankie2.jpg\" alt=\"Frankie repitched graphic\" width=\"600\" height=\"393\"\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eAnalysis of the other Memphis song, '\u003cem\u003eNobody's Dirty Business\u003c\/em\u003e'\n showed an almost identical pitch problem consistent with the theory of \nan inconsistent motor driving the cutter's turntable. After some \ndiscussion with a number of experts as to the most likely cause of this,\n various hypotheses were put forward. The most authoritative response \nI'm quoting directly:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\"\u003cem\u003eRecording companies had portable \nrecording outfits that toured the \"Territories\" and places such as New \nOrleans, especially after the introduction of electrical recording in \n1925.  Such outfits were invariably (lead-acid secondary) battery \noperated due to the variability (or even lack of) mains electricity \nsupplies.    Speed regulation was often manual, and not very precise.  \n (Even the major studios used dc for this function to isolate themselves\n from eccentricities in the mains supply; some even used gravity feed to\n drive the lathe - notably EMI even into the '50s, until the arrival of \nthe LP).   I am not aware of recording outfits that used spring drive \nfor the lathe at this time.  (The BBC of course developed its miniature \ndisc cutter during the war, which used spring drive for the turntable, \nand batteries only for the cutting amplifier - and there was that \nportable EMI tape recorder in the early '50s that used the same \nconfiguration).\u003cbr\u003e \u003cbr\u003e I would suggest that the pitch behaviour \nobserved suggests a partially discharged battery, where polarisation of \nthe plates can occur during discharge, leading to increased voltage drop\n and hence lower speed.  During the break between takes, the cells \nrecover.  I can't propose a scenario relating to increased cutter drag, \nbecause this should decrease as the surface speed under the cutter (and \nhence drag) decrease as the cutter moves from outer to inner diameter.\u003c\/em\u003e\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eFurther discussion of the discovery and \nresolution of this issue can be found at the Mississippi John Hurt \nMusuem website's online forum\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eFrankie\u003c\/b\u003e (3:29)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eNobody's Dirty Business\u003c\/b\u003e (3:00)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eStack O' Lee Blues\u003c\/b\u003e (3:00)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCandy Man Blues\u003c\/b\u003e (2:48)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlessed Be The Name\u003c\/b\u003e (2:49)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003ePraying On The Old Camp Ground\u003c\/b\u003e (2:39)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlue Harvest Blues\u003c\/b\u003e (2:56)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSpike Driver Blues\u003c\/b\u003e (3:17)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLouis Collins\u003c\/b\u003e (3:02)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGot The Blues Can't Be Satisfied\u003c\/b\u003e (2:54)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eAin't No Tellin'\u003c\/b\u003e (2:58)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eAvalon Blues\u003c\/b\u003e (3:06)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBig Leg Blues\u003c\/b\u003e (2:51)\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\n\n\n\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTracks 1 \u0026amp; 2 Recorded in Memphis, Tennessee, 14th February 1928 (most likely in a hotel room)\u003cbr\u003e Tracks 9, 11, 12 recorded at OKeh Studios, New York City, 21st December 1928\u003cbr\u003e All other tracks recorded at OKeh Studios, New York City, 28th December 1928\u003cbr\u003e Issued as OKeh 78s: 2560 (1,2); 8654 (3,4); 8666 (5,6); 8692 (7,8); 8724 (9,10); 8759 (11,12) - Track 13 was unissued\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABL004.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PABL004.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":40443985293,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40443985357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40443985421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PABL004_760057ef-4f74-43d3-9fea-3fdc68fefe02.jpg?v=1499948145"},{"product_id":"pabl005","title":"BLIND LEMON JEFFERSON That Black Snake Moan - PABL005","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBlind Lemon Jefferson \u003c\/b\u003e- Vocals, guitar\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003eRecorded 1926-1929\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cp class=\"body\" style=\"text-align: left;\" align=\"center\"\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e Total duration: 60:19\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fForum comments on this release578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\" align=\"center\"\u003e \"What can I say Andrew, this is Lemon like I've never heard him before...\"\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\"it sounds darn good to me!\"\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\"Very happy with it so far. It is a lot cleaner than the best BLJ disc I have...\"\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"center\"\u003e\"You've certainly made them a lot \nmore listenable - both in terms of the general crackle and the harshness\n of the vocals when he hits the top of his volume range. With any \nrestoration job, you worry about the loss of musical information and \ndynamics along with the noise, but you seem to have got a great balance \nhere. I'll be placing my order...\"\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL005.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e20 Classic Recordings newly remastered\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003ci\u003eAs selected by members of The Blindman's Blues Forum\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis collection has to be one of the most challenging restoration and\n remastering tasks I've ever undertaken. Paramount Records was notorious\n for its poor recordings and especially poor pressings, which were \ncheaply made, in-house, for perhaps the poorest mass audience in \nAmerica, for whom the term 'disposable income' would probably have been \nunknown.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eTo compound this problem, Paramount melted \ndown all of their metal masters during the Great Depression in order to \ntry and raise funds, though even this was was not enough to save them \nfrom closure in 1935.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eSince then their recordings of some of the \ngreatest early Blues artists have challenged both restorers and \nlisteners - even at their very best, some are virtually unlistenable. \nThe selection presented here is based upon an informal poll of \ncontributors to an excellent (bu now alas defunct) online Blues forum, \u003cem\u003eThe Blindman's Blues Forum\u003c\/em\u003e,\n and includes a number of sides which were recorded more than once. In \nmost cases I've chosen the least bad (I hesitate to use the word 'best' \nin this context) pressing to work from - with the sole exception of the \ntitle track, which stems from the original 1926 Paramount release and \nnot the later 1927 OKeh re-recording.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eMy chief aim here has been to address often\n dreadful tonal imbalances, bringing both greater warmth and clarity to \nthe singing and playing, using the latest technologies to make a marked \nimprovement upon previous attempts to remaster these sides. I think I \ncan claim at least a partial victory here - but the listener should be \naware that, with any recordings of the kind of original quality to be \nfound here, there will perhaps always remain severe constraints as to \nwhat is possible. As such the track order here is designed to be as easy\n as possible on the listener's ears, rather than following any \nchronological order.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e1 \u003cb\u003ePneumonia Blues\u003c\/b\u003e (24 Sept. 1929) 3:26\u003cbr\u003e 2 \u003cb\u003eLong Lonesome Blues\u003c\/b\u003e (c. May 1926) 3:07\u003cbr\u003e 3 \u003cb\u003eSouthern Woman Blues\u003c\/b\u003e (24 Sept. 1929) 3:13\u003cbr\u003e 4 \u003cb\u003eThat Crawlin' Baby Blues\u003c\/b\u003e (24 Sept. 1929) 2:48\u003cbr\u003e 5 \u003cb\u003eD. B. Blues\u003c\/b\u003e (c. Aug. 1928) 2:50\u003cbr\u003e 6 \u003cb\u003eHow Long How Long\u003c\/b\u003e (c. July 1928) 2:51\u003cbr\u003e 7 \u003cb\u003eJack O' Diamond Blues\u003c\/b\u003e (c. May 1926) 2:55\u003cbr\u003e 8 \u003cb\u003eLonesome House Blues\u003c\/b\u003e (c. Oct. 1927) 2:32\u003cbr\u003e 9 \u003cb\u003eRabbit Foot Blues\u003c\/b\u003e (c. Dec. 1926) 3:02\u003cbr\u003e 10 \u003cb\u003eMatchbox Blues\u003c\/b\u003e (14 March 1927) 2:59\u003cbr\u003e 11 \u003cb\u003e'Lectric Chair Blues\u003c\/b\u003e (c. Feb. 1928) 2:38\u003cbr\u003e 12 \u003cb\u003eEasy Rider Blues\u003c\/b\u003e (c. April 1927) 3:00\u003cbr\u003e 13 \u003cb\u003eShuckin' Sugar Blues\u003c\/b\u003e (c. Nov. 1926) 3:10\u003cbr\u003e 14 \u003cb\u003eSee That My Grave's Kept Clean\u003c\/b\u003e (c. Feb. 1928) 2:59\u003cbr\u003e 15 \u003cb\u003eStocking Feet Blues\u003c\/b\u003e (c. Nov. 1926) 3:13\u003cbr\u003e 16 \u003cb\u003eThat Black Snake Moan\u003c\/b\u003e (c. Nov. 1926) 3:12\u003cbr\u003e 17 \u003cb\u003eHangman's Blues\u003c\/b\u003e (c. Aug. 1928) 3:30\u003cbr\u003e 18 \u003cb\u003eWartime Blues\u003c\/b\u003e (c. Nov. 1926) 3:14\u003cbr\u003e 19 \u003cb\u003eBad Luck Blues\u003c\/b\u003e (c. Dec. 1926) 2:56\u003cbr\u003e 20 \u003cb\u003eSunshine Special\u003c\/b\u003e (c. Oct. 1927) 2:44\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABL005.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PABL005.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":40443895373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40443895437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40443895501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PABL005.jpg?v=1499947783"},{"product_id":"pabl006","title":"CHARLEY PATTON Dirt Road Blues - PABL006","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eCharley Patton\u003c\/b\u003e - Vocals, guitar\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded 1929-1943\u003cbr\u003eTotal duration: 60:48\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL006.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e20 Classic Recordings newly remastered\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003ci\u003eAll tracks selected by members of The Blindman's Blues Forum\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWhen I first started issuing remastered Blues recordings, almost \nimmediately requests started coming in for a remastering of Charley \nPatton, more than any other performer. I knew I had an old Patton CD on \nthe shelf somewhere but didn't recall much about the sound quality or \nthe music, to be frank.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhen I put the disc on (and I don't intend \nto tell you which one it was!) I remembered why I was so ignorant of \nPatton's music - the sound was absolutely dreadful. A few days later, \nrequests on Blues forums for Patton were being met with comments along \nthe lines of \"there's no point\" and \"it can't be done\". I felt I knew \nwhat they were talking about!\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eSo he went on the back-burner - I started \nto acquire suitable source material but for neary six months avoided \nmaking a real start, beyond a few preliminary tests. Meanwhile I found \nmyself working on other, almost equally difficult material, building up a\n new repertoire of remastering tricks and techniques, until finally I \nfelt ready to see whether I could do Patton justice.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe original material is rough - some worse\n than others. Where I've had a choice of takes I've generally gone for \nthe better quality sound, hence the inclusion of the inussued out-take \nof \"Elder Green Blues\" rather than the version Paramount decided to \nrelease on 78rpm disc.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eAs with our Blind Lemon Jefferson release, I\n turned to the experts to democratically choose the 20 tracks which \nappear here. They vary both musically and in terms of sound quality \nquite widely, and certainly provide an excellent introduction to \nPatton's music. In many cases the start of the discs are noisiest, \nsettling down after perhaps 30 seconds or so as the music often starts \nto pick up speed and energy.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eMusically many of these tracks are \nincredible. Patton seems capable of supplying two voices in call\/answer \nmode, whilst playing what sounds like three separate guitar lines \u003cem\u003eand\u003c\/em\u003e\n supplying a percussion section - all at the same time. His singing \nstyle, often slurring the words beyond recognition (though most can be \nfound online if you search for his lyrics) contrasts with the clearly \ncomprehensible speaking voice heard on a number of tracks, and displays a\n wide and varied range of style and technique.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eMy aims in carrying out this particular \nremastering were two-fold: to clear away as much of the 'crud' of noise \nand distortion as possible, and to re-equalise the sound to make \neverything both clearer and more realistic.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIn both of these aims the XR remastering \ntechnique brings with it clear benefits - and here follows the really \ntechnical bit. Using a three-hour-long compilation of dozens of \ndifferent male blues singers, covering a wide range of music and all \naccompanied by acoustic guitar, I generated an average frequency \nspectrum with which to guide the re-equalisation, which allows us to \ncounteract many of the tonal flaws in the original recording equipment. \nThen closely-targetted noise reduction strips away swathes of noise, \npushing the NR to the limits of what it can do alone. From this I can \ngenerate a new soundprint for the song with which to re-equalise once \nmore the original Patton recording, this time at much finer resolution. \nThis allows the equalisation to act as a secondary, noise-reducing \nfilter as well as re-setting the tonal balance of the music as already \ndescribed. After this equalisation it's now possible to use regular \ndigital noise reduction to dig even further into the disc noise, thus \nrevealing more of the sound of Patton and his guitar ever before.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e1 \u003cb\u003eScreamin' And Hollerin' The Blues\u003c\/b\u003e (14\/6\/29) 3:01\u003cbr\u003e 2 \u003cb\u003eDown The Dirt Road Blues\u003c\/b\u003e (14\/6\/29) 3:01\u003cbr\u003e 3 \u003cb\u003ePony Blues\u003c\/b\u003e (14\/6\/29) 3:02\u003cbr\u003e 4 \u003cb\u003eIt Won't Be Long \u003c\/b\u003e(14\/6\/29) 3:21\u003cbr\u003e 5 \u003cb\u003ePea Vine Blues\u003c\/b\u003e (14\/6\/29) 3:06\u003cbr\u003e 6 \u003cb\u003eTom Rushen Blues\u003c\/b\u003e (14\/6\/29) 3:09\u003cbr\u003e 7 \u003cb\u003eA Spoonful Blues\u003c\/b\u003e (14\/6\/29) 3:15\u003cbr\u003e 8 \u003cb\u003eShake It And Break It (But Don't Let It Fall, Mama)\u003c\/b\u003e (14\/6\/29) 3:08\u003cbr\u003e 9 \u003cb\u003eElder Green Blues\u003c\/b\u003e (Oct. 1929) 3:05\u003cbr\u003e 10 \u003cb\u003eCircle Round The Moon\u003c\/b\u003e (Oct. 1929) 2:35\u003cbr\u003e 11 \u003cb\u003eSome Of These Days I'll Be Gone\u003c\/b\u003e (Oct. 1929) 2:52\u003cbr\u003e 12 \u003cb\u003eWhen Your Way Gets Dark\u003c\/b\u003e (Oct. 1929) 3:10\u003cbr\u003e 13 \u003cb\u003eHeart Like Railwood Steel\u003c\/b\u003e (Oct. 1929) 2:52\u003cbr\u003e 14 \u003cb\u003eJim Lee, Part 1\u003c\/b\u003e (Oct. 1929) 3:01\u003cbr\u003e 15 \u003cb\u003eHigh Water Everywhere, Part 1\u003c\/b\u003e (Oct. 1929) 3:00\u003cbr\u003e 16 \u003cb\u003eRattlesnake Blues\u003c\/b\u003e (Oct. 1929) 2:49\u003cbr\u003e 17 \u003cb\u003eSome Summer Day\u003c\/b\u003e (June 1930) 3:03\u003cbr\u003e 18 \u003cb\u003eMoon Going Down\u003c\/b\u003e (June 1930) 3:18\u003cbr\u003e 19 \u003cb\u003eDry Well Blues\u003c\/b\u003e (June 1930) 3:22\u003cbr\u003e 20 \u003cb\u003eRevenue Man Blues\u003c\/b\u003e (31\/1\/34) 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Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":40443938189,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":40443938253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40443938317,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40443938445,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PABL006_f60d30fd-6258-46dc-a18e-3e3ffb9dc8cc.jpg?v=1499947960"},{"product_id":"pabl007","title":"BLIND BLAKE No Dough Blues - PABL007","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBlind Blake \u003c\/b\u003e- Vocals, guitar\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eWith Unknown, rattlebones (track 4)\u003cbr\u003e Gus Cannon, banjo (track 8)\u003cbr\u003e Jimmy Bertrand, xylophone, vocal (track 10)\u003cbr\u003e poss. George 'Bullet' Williams, harmonica (track 12)\u003cbr\u003e Alex Robinson, piano (track 13)\u003cbr\u003e poss. Aletha Dickerson, piano (track 18)\u003cbr\u003eRecorded 1926-1932\u003cbr\u003e Total duration: 79:52\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL007.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe king of ragtime guitar \u0026amp; master of 'piano guitar'\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003ci\u003e\u003cem class=\"bodymid\"\u003e\"\u003ci\u003eA great player, a great musical figure ... he was fabulous\u003c\/i\u003e\" - Ry Cooder\u003c\/em\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe output of the Paramount Record Company \nin the late 1920's and early 1930's is among the most frustrating in the\n history of recorded sound. On the one hand, they managed to assemble \nwhat has come to be regarded as one of the greatest 'stables' of blues \nmusicians ever to record under one label, and of those, Blind Blake is \nmost certainly in the very top rank.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eOn the other hand, their production values \nand methods were abysmal. Disc quality was so poor that even when new \nand unplayed their products were so shoddy and inferior that they lost \ndistribution deals and some shops refused to stock them. Rather than \ninvest in metal masters strong enough to withstand the requirements of \npressing a hit record, they used cheap, soft metal parts which quickly \ndeteriorated. If a hit was on the cards they merely recalled the \nmusician and got them to re-record the song and make a new, poor quality\n master - hence the existence of several versions of a number of Blind \nBlake's output in varying degrees of sound quality, often ranging from \npoor to abysmal.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIn putting together and remastering this \ncollection I've tried to balance a number of requirements: firstly to \nput together a representative sample of Blake's entire recorded career \nbetween 1926 and 1936, secondly to cover a range of styles, and thirdly \nto try and find the best sounding surviving recordings from which to \nwork.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe latter means, inevitably, that there is\n some considerable overlap with other one-disc sets. So do we really \nneed another Blind Blake collection? Well it is my belief that, thanks \nto recent advances in sound restoration and remastering, it is most \ncertainly worth revisiting these recordings once again. I've aimed not \njust to reduce background noise, but also to re-equalise to varying \ndegrees a majority of the tracks in order to compensate for the sonic \ninadequacies of the Paramount originals. In most cases this has resulted\n in a much fuller and well-rounded sound, as well as a smoother and more\n convincing top end. Alas all too often the high treble simply \ndisappears into the surface hiss, and one can debate for ever the \nprecise balance of top end hiss suitable allowable in order to discern \nthe music buried within it - for each track a careful judgment has been \nnecessary, based on the widely varying quality of the original material.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlake's Worried Blues\u003c\/b\u003e - c.10\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWest Coast Blues\u003c\/b\u003e (2nd recording, 1st take) - c.10\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSkeedle Loo Doo Blues\u003c\/b\u003e (1st take) - c.11\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDry Bone Shuffle\u003c\/b\u003e (2nd take) - 13\/4\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHey Hey Daddy Blues\u003c\/b\u003e - c.10\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSea Board Stomp\u003c\/b\u003e - c.10\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSouthern Rag\u003c\/b\u003e - c.10\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHe's In The Jailhouse Now\u003c\/b\u003e - c.11\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWabash Rag\u003c\/b\u003e - c.11\/27\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDoggin' Me Mama Blues\u003c\/b\u003e - c.5\/28\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eNo Dough Blues\u003c\/b\u003e - c.5\/28\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003ePanther Squall Blues\u003c\/b\u003e - c.5\/28\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eFightin' The Jug\u003c\/b\u003e - 20\/6\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eEarly Morning Blues\u003c\/b\u003e (2nd recording, 1st take) - c.10\/26\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eChump Man Blues\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGeorgia Bound\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHastings St.\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eI Was Afraid Of That, Part 2\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIce Man Blues\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eToo Tight Blues No 2\u003c\/b\u003e - 17\/8\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBlind Arthur's Breakdown\u003c\/b\u003e - c.9\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGuitar Chimes Blues\u003c\/b\u003e - c.9\/29\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDiddie Wah Diddie No 2\u003c\/b\u003e - 29\/5\/30\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard Pushing Papa\u003c\/b\u003e - 29\/5\/30\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eRope Stretchin' Blues Part 1\u003c\/b\u003e (2nd take) - c.10\/31\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDepression's Gone From Me Blues\u003c\/b\u003e - c.6\/32\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABL007.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PABL007.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":40443926541,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":40443926605,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40443926669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40443926733,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PABL007_5518eeaa-09f7-4d57-b065-98928e503734.jpg?v=1499947927"},{"product_id":"pabl008","title":"BLIND WILLIE MCTELL Searching The Desert For The Blues - PABL008","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBlind Willie McTell\u003c\/b\u003e - Vocals, 12-string guitar\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003eWith Ruth Willis (vocals) on 14\u003cbr\u003eWith Ruby Glaze (vocals) on 18,19,20,21\u003cbr\u003eWith Curley Weaver (guitar, some vocals) on 16,17,22,24,26\u003cbr\u003eRecorded 1927-1935\u003cbr\u003eTotal duration: 79:34\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL008.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe king of 12-string acoustic blues - 26 of the very best\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003eIn astonishing newly XR-remastered sound quality - surely the best ever!\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eLike many pre-war Blues artists, Blind \nWillie McTell recorded for a number of record companies, often at the \nsame time, under a variety of pseudonyms. Fortunately for the lover of \nvintage blues, none of these was the notorious Paramount record company,\n and as a result we have a body of work which not only stands up \nmusically, but in terms of recording and pressing quality as well - \nunlike the recordings of the likes of Charley Patton, Blind Blake and \nBlind Lemon Jefferson, for example.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIn some respects this ought to make the \naudio restorer's job easier, you might think. Alas, life is rarely that \nsimple - with higher quality originals to begin with, one inevitably \naims higher and is less able to settle for anything less than \nexcellence.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIn compiling this CD, I initially worked on\n some 40 tracks by Blind Willie McTell, in many cases from two or three \ndifferent sources. Each was taken a considerable way along the road of \nrestoration and remastering in order that a judgment could be made (a) \nbetween different copies of the same recording, and then (b) between the\n complete set to narrow it down to a full CD (and I apologise here both \nfor having to leave some excellent material out, and for leaving some \nrather small gaps between tracks in order to squeeze as much on as \npossible).\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThen comes the painstaking job of \n\"finishing\" - a near-forensic examination of each track, looking for \nindividual clicks, surface swishes and other extraneous noises, and \nattempting to remove or reduce them, one by one, as well as varrying out\n further final noise and hiss reduction. For a set such as this, which \nhad already taken several weeks to assemble, this finishing work took a \nfurther three full days of intensive effort to complete.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhat do I hope to achieve with all this \neffort? The finest-sounding and most representative collection of \npre-war recordings by McTell ever assembled. No doubt some will dispute \nthe track selections - especially some are here on musical merit., \nothers on sonic merit - but put together as a whole I do feel this \nconsiderably improves on all previous issues of this material that it's \nbeen my pleasure to listen to over the years. I hope you'll feel \nsimilarly!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003col\u003e\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eStole Rider Blues\u003c\/b\u003e 40309-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.10.1927 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eMama, Tain't Long Fo' Day\u003c\/b\u003e 40310-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.10.1927 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eMr. McTell Got The Blues (take 2)\u003c\/b\u003e 40311-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.10.1927 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eThree Women Blues\u003c\/b\u003e 47185-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.10.1928 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDark Night Blues\u003c\/b\u003e 47186-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.10.1928 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eStatesboro Blues\u003c\/b\u003e 47187-3\u003cspan class=\"bodysmallarialblue\"\u003e rec. 17.10.1928\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003e Loving Talking Blues\u003c\/b\u003e 47188-3 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.10.1928 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCome On Around To My House Mama\u003c\/b\u003e 19302-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 30.10.1929\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eKind Mama\u003c\/b\u003e 149319-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 31.10.1929 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDrive Away Blues\u003c\/b\u003e 56599-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 26.11.1929 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eTalkin' To Myself\u003c\/b\u003e 150257-2 \u003cspan class=\"bodysmallarialblue\"\u003erec. 17.4.1930 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSouthern Can Is Mine\u003c\/b\u003e 151904-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 23.10.1931\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eBroke Down Engine Blues\u003c\/b\u003e 151905-1 \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 23.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003ePainful Blues\u003c\/b\u003e 151907-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 23.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eScarey Day Blues\u003c\/b\u003e 405003-1\u003cspan class=\"bodysmallarialblue\"\u003e rec. 23.10.1931\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eLow Rider's Blues\u003c\/b\u003e 405084-1 \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 31.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eGeorgia Rag\u003c\/b\u003e 405085-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 31.10.1931 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eRollin' Mama Blues\u003c\/b\u003e 71603\u003cspan class=\"bodysmallarialblue\"\u003e rec. 22.2.1932\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLonesome Day Blues\u003c\/b\u003e 71604-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 22.2.1932 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eMama, Let Me Scoop For You\u003c\/b\u003e 71605 \u003cspan class=\"bodysmallarialblue\"\u003erec. 22.2.1932 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSearching The Desert For The Blues\u003c\/b\u003e 71606-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 22.2.1932 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWarm It Up To Me\u003c\/b\u003e 14008-2\u003cspan class=\"bodysmallarialblue\"\u003e rec. 14.9.1933 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSavannah Mama\u003c\/b\u003e 14035-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 18.9.1933 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLove-Makin' Mama\u003c\/b\u003e 14045-1 \u003cspan class=\"bodysmallarialblue\"\u003erec. 19.9.1933\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eLord, Send Me An Angel \u003c\/b\u003e14050-1 \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 19.9.1933\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eLay Some Flowers On My Grave\u003c\/b\u003e C-9952-A \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003erec. 25.4.1935 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003c\/ol\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PABL008.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PABL008.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":40443953549,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":40443953613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40443953677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40443953741,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PABL008_0db25cfc-516f-40e3-b922-00ccff18169a.jpg?v=1499948030"},{"product_id":"pabl009","title":"SKIP JAMES Yola My Blues Away - PABL009","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSkip James\u003c\/b\u003e - Vocals, Guitar, Piano\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003eRecorded in February 1931, Grafton Wisconsin.\u003cbr\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio, April 2009\u003cbr\u003eRecorded February 1931\u003cbr\u003eTotal duration: 53:43\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL009.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIdiosyncratic, original and unique - Skip James' 1931 set\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003eAn all-time blues classic - these rarest of recordings fully restored and remastered\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eI have written elsewhere on this site about\n the poor quality of recordings emanating from the Paramount Records \ncompany in the late 1920s and early 1930s, where it seemed no corner \ncould not be cut, technically, and no expense not saved in the \nproduction of desperately inferior pressings of some of the finest blues\n ever cut.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eIn the case of Skip James, whose sole visit\n to the Paramount recording studio in Grafton, Wisconsin in the February\n of 1931 resulted in his entire recorded output prior to the mid-1960s, \nthe blues-lover is even less well served, as James's nine records sold \nappallingly badly - it's now estimated by one well-regarded discography \nthat only around thirty copies exist in total of his entire Paramount \noutput, with many of the discs having only one or two known copies (see \nbelow).\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe net result of this is that, despite \nnumerous reissues of this short canon over recent years, the original \nsource material ain't getting any better. There's no collector quietly \nsitting on a collection of mint pressings ready to spring a surprise on \nthe blues music world. Nobody has a copy of, for example, \u003cem\u003eWhat Am I To Do\u003c\/em\u003e\n (the most badly pressed and damaged of the set) which lacks the blasts \nof distortion every time James plays a loud piano chord - and it's \ndistortion of the destructive kind, which obliterates permanently the \nmusic from which it derived.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThus it is to the audio restoration \nengineers such as myself to try to make the best of what we do have, \ntaking a variety of different approaches to the same set of originals. \nMy approach is two-fold, in a way which is perhaps unique in this field.\n First of all, as most of us do, I aim to reduce as much as possible the\n shortcomings of the medium - in this case those appalling disc \nsurfaces, with their clicks, crackles, hiss, rumble and distortion. \nSecondly, and this is what differentiates the XR remastering process \nfrom others, I aim also to address the shortcomings in the equipment \nused to make those recordings - the poor quality microphones and \naccompanying studio equipment which did such a poor job of reproducing \nthe sound of Skip James even before it reached the disc master.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eUsing sophisticated computer analysis and \ntonal modelling of both these early recordings, and those much better \nquality discs he cut in the 1960s, we're able to get a good idea of what\n went wrong first time round, and where best to adjust the tonal \nresponse of the older recordings to get closer to a realistic sound, \nundoing as much as possible the tonal deficiencies of the original \nrecording equipment.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eFinally, because this has the side-effect \nof exacerbating aspects of the surface noise problems already discussed,\n there's then an extended period of fine-tuning, balancing, compromise \nand fixing in which I try to preserve the tonal improvements whilst \nkeeping the newly-revealed surface noises to a minimum. It's a careful \nbalancing act, and requires one to accept that some of these tracks can \nnever sound as good as one would like.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhat I have achieved, however, is what I \nbelieve is a major renovation and restoration which allows us to assess \nthese recordings in a new light - and marvel at just how good Skip James\n was. It's an incredible set, rightly regarded as one of the most \nimportant of the early blues recordings, and well worth spending the \nhuge amount of studio time in remastering that was required to produce \nthis album.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003col\u003e\u003col\u003e\u003col\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCherry Ball Blues\u003c\/b\u003e (L-748-2)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard Time Killin' Floor Blues\u003c\/b\u003e (L-752-2)\u003cbr\u003e Paramount 13065\u003cbr\u003e 2 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003e22-20 Blues\u003c\/b\u003e (L-765-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIf You Haven't Any Hay Get On Down The Road\u003c\/b\u003e (L-766-1)\u003cbr\u003e Paramount 13066\u003cbr\u003e between 5 and 10 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eIllinois Blues\u003c\/b\u003e (L-749-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eYola My Blues Away\u003c\/b\u003e (L-753-1)\u003cbr\u003e Paramount 13072\u003cbr\u003e 2 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHow Long \"Buck\"\u003c\/b\u003e (L-761-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eLittle Cow And Calf Is Gonna Die Blues\u003c\/b\u003e (L-763-1)\u003cbr\u003e Paramount 13085\u003cbr\u003e 2, maybe 3 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDevil Got My Woman\u003c\/b\u003e (L-746-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eCypress Grove Blues\u003c\/b\u003e (L-747-2)\u003cbr\u003e Paramount 13088\u003cbr\u003e 8 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eI'm So Glad\u003c\/b\u003e (L-759-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eSpecial Rider Blues\u003c\/b\u003e (L-760-2)\u003cbr\u003e Paramount 13098\u003cbr\u003e 2 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eFour O'Clock Blues\u003c\/b\u003e (L-750-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eHard-Luck Child\u003c\/b\u003e (L-751-2) \u003cbr\u003e Paramount 13106\u003cbr\u003e 4 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eJesus Is A Mighty Good Leader\u003c\/b\u003e (L-754-1)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eBe Ready When He Comes\u003c\/b\u003e (L-755-2) \u003cbr\u003e Paramount 13108\u003cbr\u003e 3 known copies\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eDrunken Spree\u003c\/b\u003e ((L-758-2)\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cb\u003eWhat Am I To Do\u003c\/b\u003e (L-764-1) \u003cbr\u003e Paramount 13111\u003cbr\u003e 1 known copy\u003c\/li\u003e\n\u003c\/ol\u003e\u003c\/ol\u003e\u003c\/ol\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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thanks to Tom Jacobson for original source recordings \u003cbr\u003eRecorded 1936\/37\u003cbr\u003eTotal duration:  26:35 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PABL010.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan style=\"line-height: 107%; font-size: 20.0pt;\"\u003e\u003cspan style=\"font-size: 14pt;\"\u003eRobert Johnson Mint Test Pressings \u003cbr\u003e\u003ci\u003eXR Remastered For Outstanding Sound Quality\u003c\/i\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"line-height: 107%; font-size: 20.0pt;\"\u003e\u003cspan style=\"font-size: 14pt;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\"It took guitar playing, songwriting, delivery, to a totally different height. And at the same time it confused us, because it wasn't band music, it was one guy ... Robert Johnson was like an orchestra all by himself. Some of his best stuff is almost Bach-like in construction\"\u003cbr\u003e- \u003ci\u003eKeith Richards, Rolling Stones, \"A Life\" (2010)\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eRobert Johnson's influence on a generation of musicians cannot be overstated. The release, in 1961, of an LP called King of the Delta Blues was perfectly timed to capture the imagination of a new generation of young, often white and British musicians eager to explore this mysterious musical form, and talented enough to go on to become some of the most legendary popular music artists of the 20th and 21st centuries.\u003cbr\u003e\u003cbr\u003eThat LP was put together by Columbia producer Frank Driggs, and in the process of compiling tracks a number of test pressings were made from original metal masters onto super-quiet surfaces using originla 78rpm presses just before they were abandoned by record companies around the world. A set of these, in mint condition - just ten sides in all - found its way to Pristine, and forms the basis for this incredible mini-album of Robert Johnson's music, released to coincide with the 80th anniversary of his first recordings in November 1936.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eBut what you hear is not what you'd expect from an 80 year old recording - instead the combination of these astonishing test pressings and Pristine's XR remastering process brings you - for the first time - the sound of Robert Johnson in full high fidelity sound. In informal comments via e-mail, two legendary multi-platinum-selling musicians expressed separately and simply their first impressions: \"WOW ! Brilliant !\" - \"Remarkable... really....\"\u003cbr\u003e\u003cbr\u003e\"I kind of got hooked on it because it was so much more powerful than anything else I had heard or was listening to. Amongst all of his peers I felt he was the one that was talking from his soul without really compromising for anybody. In one way or another, he's been in my life since I was a kid.\"\u003cbr\u003e-\u003ci\u003e Eric Clapton, NPR (2004)\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSIDE ONE: 1936\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWhen You Got A Good Friend (Take 2)\u003c\/b\u003e  (2:56)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2584-2\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRamblin' On My Mind\u003c\/b\u003e  (2:57)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2583-1\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhonograph Blues\u003c\/b\u003e  (2:44)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2587-1\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePossession of Judgement Day\u003c\/b\u003e  (2:40)\u003cbr\u003e Recorded 1936-11-27.  Matrix Number: SA 2633-1\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWhen You Got A Good Friend\u003c\/b\u003e (Take 1)  (2:42)\u003cbr\u003e Recorded 1936-11-23.  Matrix Number: SA 2584-1\u003c\/p\u003e\u003cp\u003e\u003cem\u003eRecorded at The Gunter Hotel, 205 E Houston St, San Antonio, Texas\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSIDE TWO: 1937\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eI'm A Steady Rollin' Man\u003c\/b\u003e  (2:40)\u003cbr\u003e Recorded 1937-06-19.  Matrix Number: DAL 378-1\u003c\/p\u003e\u003cp\u003e\u003cb\u003eStones In My Passway\u003c\/b\u003e  (2:32)\u003cbr\u003e Recorded 1937-06-19.  Matrix Number: DAL 377-2\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHellhound On My Trail\u003c\/b\u003e  (2:40)\u003cbr\u003e Recorded 1937-06-20.  Matrix Number: DAL 394-2\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLove In Vain\u003c\/b\u003e  (2:25)\u003cbr\u003e Recorded 1937-06-20.  Matrix Number: DAL 402-2\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMilkcow's Calf Blues\u003c\/b\u003e  (2:19)\u003cbr\u003e Recorded 1937-06-20.  Matrix Number: DAL 403-1\u003c\/p\u003e\u003cp\u003e\u003cem\u003eRecorded at 508 Park Avenue, Dallas, Texas\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eDuration 30:22\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"\"\u003e\u003cb\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eJacques Thibaud, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eviolin \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"color: #000000;\"\u003eAlfred Cortot, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM001.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThibaud and Cortot's Classic 1929 Recording\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\n\n\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eWhen I initially revisited this recording \nand gave it the Pristine Audio Natural Sound treatment I was delighted \nwith the sound quality I achieved - but ultimately decided a completely \nnew restoration might yield even better results. Hence this 2007 \nrestoration and remastering, direct from the original 78s.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003ePerhaps the most popular Violin Sonata of \nall time gets a fabulous treatment here by two of the most eminent \nchamber musicians of the twentieth century. Every single note of this \nsuperb recording is a joy to hear as the musicians draw you into this \nsublime work. As Robert Stumpf II said in a review of this performance \nat Classical Net, \"\u003cem\u003e\u003cspan style=\"color: #000099;\"\u003e...this is the real thing. The players here are making music, not just playing it.\u003c\/span\u003e\u003c\/em\u003e\"\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eViolin Sonata No. 9, Op. 47\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 27, 28th May 1929, Salle Chopin \u0026amp; Salle Pleyel, Paris\u003cbr\u003e Issued as 4 HMV 78s, D.B.1328-D.B.1331\u003cbr\u003e Matrix numbers 2-08068 - 2-08075, takes 3, 2, 3, 1, 2, 1, 2, 3\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 16 October, 1936\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e Duration 30:32\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003eThe Busch Quartet:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eAdolf Busch, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eGösta Andreasson, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eKarl Doktor, \u003c\/b\u003eviola \u003cb\u003e\u003cbr\u003eHermann Busch, \u003c\/b\u003ecello\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM002.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe classic Busch Quartet 'Death \u0026amp; The Maiden'\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eDespite\n this quartet receiving so many recordings that more than fifty are in \nthe current catalogue, as reviewer Andrew Clements pointed out in The \nGuardian (June 15, 2001): \"One of the earliest remains one of the best; \nthe 1936 performance by the Busch Quartet, which, for its heartfelt \npurity and naturalness, sets a benchmark against which all subsequent \naccounts need to be measured.\" Well now you can hear this benchmark in a\n brand new restoration, sounding better than ever before!\u003cbr\u003e\u003c\/span\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e \u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eString Quartet No.14 in D minor, D.810, \"Death and the Maiden\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 16 October, 1936\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e Originally released as HMV 78s, DB. 2387-2390\u003cbr\u003e Matrix numbers: 2EA535-IIA, 2EA536-I2EA537-III, 2EA538-II, 2EA539-II, 2EA540-1, 2EA541-I, 2EA542-II\u003cbr\u003e Duration 30:32\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM002.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM002.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine 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30'26\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Roth Quartet\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM003.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMozart's fifth \"Haydn Quartet\" in a classic 1934 recording\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\u003cb\u003eMozart\u003c\/b\u003e is not p\u003c\/span\u003e\u003cspan style=\"font-family: Georgia,Times New Roman,Times,serif;\"\u003earticularly\n well-remembered for his string quartets - a number of his early \ncompostions in this genre are at best undistinguished. However, \nfollowing the careful study of quartets by Haydn, Mozart went on to \nwrite a number of excellent works, six of which are known as the Haydn \nQuartets - this is the fifth, written in Vienna in January, 1785. \u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: Georgia,Times New Roman,Times,serif;\"\u003eIt was after hearing the latter three of the six that Haydn turned to Mozart's father, Leopold, and famously remarked: \"\u003cem\u003eBefore\n God, and as an honest man I tell you that your son is the greatest \ncomposer known to me either in person or by name. He has taste and, what\n it more, the most profound knowledge of composition.\u003c\/em\u003e\" The music \nyou'll hear by clicking on the play button demonstrates the drum-like \nrhythm used in the third movement from which the quartet gets its name.\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: Georgia,Times New Roman,Times,serif;\"\u003eThe \u003cb\u003eRoth String Quartet\u003c\/b\u003e\n (Roth, Antal, Molnar and Scholz) recorded 7 quartets for Columbia in \nthe mid-1930's, of which this was the only work by Mozart, issued in the\n Columbia Masterworks series. We can find no evidence of it ever having \nbeen reissued.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eQuartet No. 18 in A, \"Drum\", K.464\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded July 5 - August 7, 1935, New York\u003cbr\u003eIssued as 4 UK Columbia 78s, LX 8231-LX 8234\u003cbr\u003e(Duration 30'26\")\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM003.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM003.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":31336012906557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31336012939325,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM003.jpg?v=1575541722"},{"product_id":"pacm004","title":"MAINARDI Bach: Suite No. 4 in E flat for Cello, BVW 1010 (1950) - PACM004","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBACH \u003c\/b\u003eSuite No. 4 in E flat for Cello, BVW 1010\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 23 January 1950\u003cbr\u003eDuration: 26:18\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM004.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003c\/b\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eEnrico Mainardi's 1950 Bach masterpiece\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEnrico Mainardi (1897-1976) was born in Milan and began playing cello\n at just three years old. At the age of eight he made his public debut, \nplaying a sonata by Beethoven, and subsequently toured Italy as a child \nprodigy. At just thirteen he played the Saint-Saëns concerto with Sir \nHenry Wood and his orchestra. The First World War forced him to give the\n instrument up for 4 years, and when he picked it up again he found he \nhad forgotten how to play.\u003c\/p\u003e\n\u003cp\u003eIn disgust, he studied composition and piano in Rome and only resumed\n cello studies at the age of 24, going to Berlin to study under Hugo \nBecker. Between 1929-31 he played under Erich Kleiber at the Berlin \nstate opera, and, in 1933, was appointed professor of cello at the \nAcademia di Santa Cecilia in Rome. In 1941 he succeeded Becker at the \nHochschule in Berlin. He was well known as a performer in Germany, \nItaly, Switzerland and Scandinavia, and as a teacher in France and \nEngland. \u003c\/p\u003e\n\u003cp\u003eAs a performer Maindardi went on to make a number of \nrecordings, both as a soloist and in small chamber ensembles, most \nfamously as a member of a Piano Trio alongside Edwin Fischer and \nWolfgang Schneiderhann. (NB. Edwin Fischer's interpretation of Bach's \nWell-Tempered Clavier features elsewhere on this site.) \u003c\/p\u003e\n\u003cp\u003eIt is \ninteresting to note that latterly there seems to have grown something of\n a cult following around Mainardi, most especially with regard to some \nof the more rare records he made with DGG in the 1950's, copies of which\n have been recently selling for several hundreds of dollars each on \nInternet auction sites.\u003c\/p\u003e\n\u003cp\u003eThis excellent recording was another \nwinner of a star award in The Record Guide reviews of the 1950's, and is\n well worth a place in anyone's collection. Another superb restoration \nby Peter Harrison of disk2disc.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuite No. 4 in E flat for Cello, BVW 1010\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded 23 January 1950, Decca West Hampstead Studios, London\u003cbr\u003eIssued as Decca LL404\u003cbr\u003eDuration: 26:18\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM004.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM004.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31418187789,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31418187853,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM004_fe8d87a3-c491-4599-9475-dc6b33ad4bc2.jpg?v=1487682375"},{"product_id":"pacm005","title":"RICCI Sarasate: Danzas Españolas (1954) - PACM005","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eSARASATE \u003c\/b\u003eDanzas Españolas Op.21, 22, 23 \u0026amp; 26\u003cbr\u003e\u003cb\u003eSARASATE \u003c\/b\u003eCaprice basque Op.24\u003cbr\u003e\u003cb\u003eSARASATE \u003c\/b\u003eIntroduction et tarantelle Op.43\u003cbr\u003e\u003cb\u003eSARASATE \u003c\/b\u003eZigeunerweisen Op.20\/1\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded January 1954, New Jersey, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eIssued as Decca LXT2930\u003cbr\u003e(Duration 49'40\")\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM005.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003c\/b\u003e\u003cp\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRicci's home-made 1954 recording of Spanish classics by Saraste\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eIf\n you want to hear the most amazing virtuouso violin playing, superbly \nrecorded in high-fidelity sound then look no further. Not to be confused\n with an early US Decca recording of similar repertoire by \u003cb\u003eRicci\u003c\/b\u003e, this is the British Decca company, whose famous \u003cem\u003effrr\u003c\/em\u003e recordings set the pace in the 1940's and 1950's for technical excellence.\u003c\/span\u003e\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eOne does not tackle the repertoire of Spanish virtuouso-composer \u003cb\u003ePablo de Sarasate\u003c\/b\u003e (\u003cem\u003e1844-1908\u003c\/em\u003e)\n unless one is both fantastically talented and able to through off the \nniceties of the conventional repertoire and really let rip. Ricci here \nat times sounds like he's using at least three hands to play his violin.\n The short 30s sample above sounds like it should be impossible! This \nwhole recording is a delight from start to finish and is essential \nlistening for anyone who appreciates good playing!\u003c\/span\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eP.S.\n Note from Decca discography: \"This entry was assumed to have been made \nat West Hampstead until 2009 when correspondence between Tully Potter \nand Ricci revealed that it was literally a home-made recording. The date\n is that of its receipt in London and James Walker and Arthur Lilley \nwere probably responsible for post-production work.\"\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSARASATE \u003c\/b\u003eDanzas Españolas Op.21, 22, 23 \u0026amp; 26\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSARASATE \u003c\/b\u003eCaprice basque Op.24\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSARASATE \u003c\/b\u003eIntroduction et tarantelle Op.43\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSARASATE \u003c\/b\u003eZigeunerweisen Op.20\/1\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded January 1954, New Jersey, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eIssued as Decca LXT2930\u003cbr\u003e(Duration 49'40\")\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_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\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31418221069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31418221133,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM005_6a3ec83c-6269-466c-bb59-c45b6df13a84.jpg?v=1487682467"},{"product_id":"pacm006","title":"STRUB QUARTET Bruckner: String Quintet (1939) - PACM006","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003eBRUCKNER \u003c\/b\u003eString Quintet in F major\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eOctober 1939\u003cbr\u003e(Duration 40'43\")\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D776030\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM006.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSuperb wartime sound quality and excellent playing by the Strub Quartet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRemastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003e\nThis is a fascinating recording for several reasons. From a technical \npoint of view it once again shows just how good wartime German recording\n technology was - the sound quality from these 78rpm discs is superb.\u003cbr\u003e\u003cbr\u003eSecondly\n it showcases one of the finest quartets of the time. The Strub Quartet \n(joined here by Emil Seiler) recorded extensively during the late 78rpm \nera, and a result suffered doubly in the longer term - partly for being \non the 'losing side' after the war ended, and partly because of the \nadvent of vinyl in the early 1950's. Max Strub continued as a reknowned \nsoloist, but here we present a rare opportunity to hear one of Germany's\n finest chamber ensembles at work.\u003cbr\u003e\u003cbr\u003eFinally, Bruckner's String \nQuintet, whilst one of his more recorded chamber works, is still largely\n unknown - for every recording of this piece you might find 3 recordings\n of his 9th Symphony, for example. And yet it's a very well-written \nwork, and whilst perhaps not quite in the same league as Brahms' \nQuintets it covers similar territory in an exemplary fashion.\u003cbr\u003e\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCKNER \u003c\/b\u003eString Quintet in F major, WAB 112\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eOctober 1939\u003cbr\u003eIssued as 5 Electrola 78s, D.B.5541-D.B.5545\u003cbr\u003e(Duration 40'43\")\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eMax Strub\u003c\/b\u003e\u003cb\u003e, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eHermann Hubl\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eHermann Hirschfelder\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eHans Münch-Holland\u003c\/b\u003e, cello\u003cbr\u003ewith \u003cb\u003eEmil Seiler\u003c\/b\u003e, 2nd viola\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM006.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM006.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31418275533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31418275597,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM006_61df7802-641f-4204-8354-2c50867cf710.jpg?v=1487682638"},{"product_id":"pacm007","title":"ITALIAN QUARTET Beethoven: String Quartets 6 \u0026 7 (1952) - PACM007","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eString Quartet No.6 in B flat Op.18, No.6\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eString Quartet No.7 in F Op.59, No.1\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eJuly 1952, Santa Cecilia, Rome\u003cbr\u003eDuration 68:24\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eITALIAN QUARTET\u003c\/b\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D776030\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM007.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Italian Quartet masterful in Beethoven\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThese\n two String Quartets, written just 6 years apart in 1800 and 1806 \nrespectively, came at a time of huge creativity for Beethoven, which was\n to include the first three symphonies, numerous piano and violin \nsonatas, the Third Piano Concerto and many other works. They were \nfollowed in 1807 by the 4th Symphon and in 1808 by the 5th and 6th \nSymphonies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eBeethoven's\n first nine string quartets were written in two groups - the six of Op. \n18 and the three \"Razumovsky\" quartets of Op. 59, and here we leap from \nthe last of the first set to the first of the second set in two \nbeautiful Decca recordings from 1954, superbly remastered for Pristine \nAudio by Peter Harrison at \u003cem\u003edisk2disc\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eIt\n is astonishing to read, when one listens to these interpretations, that\n these recordings were not particularly highly regarded at the time. \nPerhaps that explains their failure to be reissued until now. But we \nlike them a lot - and we think you will too!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eString Quartet No.6 in B flat Op.18, No.6\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eString Quartet No.7 in F Op.59, No.1\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eJuly 1952, Santa Cecilia, Rome\u003cbr\u003eIssued as \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eUK Decca LXT2811 \u0026amp; LXT2856\u003c\/span\u003e\u003cbr\u003eDuration 68:24\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePaolo Borciani, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eElisa Pegreffi\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003ePiero Farulli\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eFranco Rossi\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM007.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM007.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31418116045,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418116109,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM007.jpg?v=1487682263"},{"product_id":"pacm008","title":"HAYDN QUARTET SOCIETY Volume 1 (1931) - PACM008","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 20, No. 2 in C major, Hob.III:32\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 33, No. 3 in C major, Hob.III:39 \"The Bird\"\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 77, 1 in G major, Hob.III:81 “Lobkowitz”\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 1931\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 55:06\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D776030\"\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Pro Arte Quartet ... appear simply to exist to enable the composer to make his will known to the world578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe \n                    Pro Arte Quartet are to the Haydn quartets what Schnabel is \n                    to the Beethoven piano sonatas: they seem neither to interpret \n                    them nor to interpose themselves between the composer and \n                    the listener. They appear simply to exist to enable the composer \n                    to make his will known to the world. Unlike Schnabel, one \n                    is rarely aware of technical difficulties. The quartet is \n                    such a musical entity that one simply doesn't admire the first \n                    violin or the cello; one is too engaged in the musical discourse. \n                    Of course, the Pro Arte recorded fine Mozart and Beethoven \n                    and Schubert and Brahms, but their remarkably numerous (for \n                    the pre-World War II musical world) recording of 20-some-odd \n                    Haydn quartets and their almost genetic affinity for Haydn \n                    made them the preeminent specialists before the great Haydn \n                    awakening that began in 1950. To me, like Schnabel, they have \n                    not been surpassed.\u003c\/p\u003e\n                  \u003cp\u003e\u003cb\u003eOpus \n                    20, No. 2. \u003c\/b\u003eWith a decent nod to Opus 9 and 17, Opus 20 \n                    is Haydn's first set of great quartets and supremely great \n                    each of the six is. Number two is a wolf in sheep's clothing \n                    in that each movement has irregularities. The first movement \n                    begins with a fairly regular exposition and development and \n                    then a recapitulation that really strays from the exposition \n                    follows. The slow movement starts like a passacaglia, sounds \n                    like an adagio from \"Seven Last Words\" and then \n                    ends lushly with a totally different theme. This is followed \n                    by a minuet that no one could dance to with a lovely trio \n                    and then a finale that is a very tight-lipped fugue all the \n                    way, but somehow manages to relax in the last 20 bars and \n                    end as if everything was just fine all along. Wow!\u003c\/p\u003e\n                  \u003cp\u003e\u003cb\u003eOpus \n                    33, No.3.\u003c\/b\u003e Subtitled \"The Bird\". The nickname \n                    comes from the trio of the minuet, but both the first and \n                    last movements have rather twittering themes. The first movement \n                    has a fairly normal exposition and development, but a highly \n                    irregular recapitulation. The slow movement is mostly decorative \n                    and not one of Haydn's best. The finale is presto, made from \n                    nothing, and amusing and satisfying.\u003c\/p\u003e\n                  \u003cp\u003e\u003cb\u003eOpus \n                    77, No. 1. \u003c\/b\u003eOne of Haydn's supreme quartets. The first \n                    movement is a march to die for. A long movement with a repeated \n                    exposition and a searching development and just when you think \n                    you've heard every aspect of the march, the recapitulation \n                    springs some surprises. The slow movement is plangent and \n                    somber. The third movement is no minuet, but a real scherzo \n                    in everything but name. The last movement in the Pro Arte \n                    hands is incredibly carefree and flippant-even insolent! It \n                    is 1799 and I can imagine Haydn thinking, \"I'm still \n                    full of cash from London; I'm more famous than my master (Duke \n                    Esterhazy); every second rate composer publishes his works \n                    under my name; I'm hot stuff\".\u003c\/p\u003e\n                  \u003cp\u003eI \n                    have heard and appreciated the Pro Arte performances before-on \n                    EMI LPs and on the Violin CD label. I have been happy to endure \n                    the \"telephone booth\" acoustics to get the artistry. \n                    In this release, the Pro Arte are now \"out of the closet\" \n                    and, yes, there is some background noise, but the dragon has \n                    been slain and the treasure beckons.\u003cbr\u003e\n                    \u003cbr\u003e\n                    \u003c\/p\u003e\n                  \u003cp\u003eReviewer: \n                    Bill Rosen\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM008.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFirst Volume of The Haydn Quartet Society\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Pro Arte Quartet, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eTo state that \u003cb\u003eHaydn\u003c\/b\u003e,\n more than perhaps any other composer, is responsible for the String \nQuartet as we know it - and from there the many other instrumental \nvariations of chamber music of the Classical, Romantic and Modern \nperiods - seems a very bold and sweeping comment. And yet it was Haydn \nwho freed his quartets from the tyranny of the \u003cem\u003econtinuo\u003c\/em\u003e and \nallowed his parts to move freely, without relying on the 'gravity' of a \nbass. It was Haydn who more or less invented Sonata form, and who \ndeveloped the beautiful part-writing, following on from his own studies \ninto earlier vocal polyphony, which is the essence of the string quartet\n medium. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eOf\n his many quartets - one website lists 78 works for String Quartet by or\n attributed to Haydn - the Pro Arte Quartet chose 29 works to record in \ntheir ground-breaking 8-volume Haydn Quartet Society series, made for \nHMV between 1931 and 1938. These cover the full range of his output, \nfrom Op. 1 No. 1 (1762) to the two Opus 77 quartets of 1799 (the final \nOp. 103 remained unfinished).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 20, No. 2 in C major, Hob.III:32\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 33, No. 3 in C major, Hob.III:39 \"The Bird\"\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 77, 1 in G major, Hob.III:81 “Lobkowitz”\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eOriginally released in 1932 as HMV DB1628-1631 (1-8) and DB1634-1636 (9-12)\u003cbr\u003eMatrix\n Numbers: 2B2476-II, 2B2477-II, 2B2478-II, 2B2479-II, 2B2464-II, \n2B2465-1, 2B2466-I, 2B2467-II,2B2468-II, 2B2469-I, 2B2474-II, 2B2475-I, \n2B2472-1, 2B2473-II\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 55:06\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003eThe Pro Arte Quartet:\u003cb\u003e\u003cbr\u003eAlphonse Onnou, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eLaurent Halleux\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGermain Prevost\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRobert Maas\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM008.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM008.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine 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medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 8-9 March, 1935\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eDuration 30:59\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe Pro Arte Quartet:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eAlphonse Onnou, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLaurent Halleux, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eGermain Prevost, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eRobert Maas, \u003c\/b\u003ecello\u003c\/p\u003e\n\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003ewith:\u003cb\u003e\u003cbr\u003eAlfred Hobday, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eAnthony Pini, \u003c\/b\u003ecello\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM009.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrahms' First String Sextet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Pro Arte Quartet plus two, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eIt may be assumed from the sheer quantity and breadth of \u003cb\u003eBrahms'\u003c\/b\u003e\n writing for small ensembles that Chamber Music was his favourite mode \nof expression. He uses a wide variety of instrumental combinations and \nnumbers, the largest ensembles of which are the string sextets, the \nfirst of which we're delighted to present here.\u003c\/span\u003e\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eWhen\n I approached this recording I admit it was with some trepidation - the \npiece is amongst my all-time favourites, and I feared that this early \ninterpretation may not do it justice, or at least that the sound quality\n might let it down. I could not have been more wrong. Brahms' frequently\n dense sextet writing is ideal for the 78rpm medium, effectively \nblanking out much of the inherent surface noise with a wall of sound \n(with apologies to Phil Spector!).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eCouple\n this with a superlative performance by the Pro Arte Quartet, with \nAlfred Hobday and Anthony Pini supplying second viola and cello \nrespectively, and in this brand new Pristine Audio remastering you have \nan irresistable combination.\u003c\/span\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eString Sextet No. 1 in B-flat major, op. 18\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 8-9 March, 1935\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eOriginally released in 1935 as HMV DB2566-2569\u003cbr\u003e Matrix nos: 2EA1325-II, 2EA1326-II, 2EA1327-II, 2EA1328-ii, 2EA1329-II, 2EA1331-III, 2EA1332-II, 2EA1333-I\u003cbr\u003eDuration 30:59\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe Pro Arte Quartet:\u003cb\u003e\u003cbr\u003eAlphonse Onnou, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eLaurent Halleux\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGermain Prevost\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRobert Maas\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003ewith:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eAlfred Hobday\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eAnthony Pini\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM009.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM009.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e","brand":"Pristine 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medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eDecca West Hampstead Studios, 25, 26 \u0026amp; 29 October, 1951\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eOriginally released in 1952 as Decca LXT2687\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e(Duration 38'32\")\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan type=\"_moz\"\u003eQuintetto Chigiano:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eSergio Lorenzi, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eRiccardo Brengola, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eMario Benvenuti, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eGiovanni Leone, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eLino Filippini, \u003c\/b\u003ecello\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM010.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBrahms' Piano Quintet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFabulous early Decca LP recording, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eIt may be assumed from the sheer quantity and breadth of\u003cb\u003e Brahms'\u003c\/b\u003e\n writing for small ensembles that Chamber Music was his favourite mode \nof expression. He uses a wide variety of instrumental combinations and \nnumbers, but only once used the combination of piano with string \nquartet: the Piano Quintet in F minor, written between 1861 and 1864. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eDuring\n this time the piece took at least three forms. Beginning life as a \nstring quintet, it was also reworked as a Sonata for Two Pianos, but \nneither form fully satisfied the composer or his close friends and \nconfidantes, Clara Schumann and Joseph Joachim. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eYet\n when one listens to this rich masterpiece as a Piano Quintet it is \nimpossible to guess that its final form was the result of so much \nchopping and changing and such a long gestation. One specialist website \nincludes it in their list of the 15 greatest works of Chamber Music ever\n written!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThis superb performance was issued in 1952 by Decca. The \u003cb\u003eQuintetto Chigiano\u003c\/b\u003e\n (also known as the Chigi Quintet) was formed in 1939 by musicans from \nthe Accademia Musicale Chigiana, founded by Count Guido Chigi Saracini \nin 1932 with the aim of organising Master Classes for the principal \nmusical instruments. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThis\n prestigious academy listed amongst it's tutors Pablo Casals, Antonio \nGuarnieri, Alfredo Casella (Count Chigi Saracini's supporter at the time\n of the creation of the Accademia Chigiana), Arrigo Serato, Sergiu \nCelibidache, George Enescu, Andrés Segovia, Alfred Cortot, Jacques \nThibaud, Nathan Milstein, Yehudi Menuhin and many others, whilst the \nlist of pupils is equally stratospheric, including Carlo Maria Giulini, \nZubin Mehta, Daniel Oren, Roman Vlad, Nino Rota, Claudio Abbado, \nSalvatore Accardo, Uto Ughi, Daniel Barenboim, Alirio Diaz, etc. \u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eOnce again, Peter Harrison of \u003cem\u003edisk2disc\u003c\/em\u003e has produced a superb remastering job which really does full justice to this marvellous recording.\u003c\/span\u003e\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Quintet in F minor, Op.34\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eDecca West Hampstead Studios, 25, 26 \u0026amp; 29 October, 1951\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eOriginally released in 1952 as Decca LXT2687\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e(Duration 38'32\")\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan type=\"_moz\"\u003eQuintetto Chigiano:\u003cb\u003e\u003cbr\u003eSergio Lorenzi\u003c\/b\u003e,\u003cb\u003e \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003eRiccardo Brengola\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eMario Benvenuti\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGiovanni Leone\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eLino Filippini\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM010.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM010.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31418213517,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418213581,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM010.jpg?v=1487682453"},{"product_id":"pacm011","title":"HAYDN QUARTET SOCIETY Volume 2 (1931\/2) - PACM011","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 33, No. 6 in A major, Hob.III:24\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 54, No. 1 in A major, Hob.III:60\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 54, No. 2 in F minor, Hob.III:61 \"The Razor\"\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 74, No. 3 in G minor, Hob.III:74 “The Rider”\u003cbr\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e,1931 \u0026amp; 1932\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e(Duration 62'56\")\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI now know that Haydn is the man I'd invite to dinner and I now want to plumb his genius...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003c\/b\u003e\u003cp class=\"body\" align=\"left\"\u003eIn reviewing the first volume of the Pro \nArte Haydn series, I had already indicated that I thought that Pro Arte \nwere perfectly suited to Haydn by virtue of their classical style, their\n rather objective sound, their perfect ensemble and their wit. The \nflatness of their original recording has been more than cured by the \nPristine Audio restoration (perhaps resurrection is a more apt word) and\n the sound is, if anything, more natural in this second volume. What \nreally remains to talk about is the music itself.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThere are four quartets on the second volume, and if no \nwork quite equals the magnificent Op. 77 #1 of Volume 1, all four are \nfrom Haydn's top drawer.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eOpus 33, #6\u003c\/b\u003e is a short, rather \nlightweight quartet that features a beautiful, first-violin driven slow \nmovement and a witty finally. The finale's wit derives from a rather \nstilted rondo theme, which, with each repetition, loses more of its \ninhibition and whose last statement is rather eloquent.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eOpus 54 #1\u003c\/b\u003e is a big quartet whose first\n movement has a rich development and a varied recapitulation. The slow \nmovement is an insistently moving andante and the minuet is brilliant \nand catchy. The finale is an almost monothematic presto, a top that \nnever stops spinning. While many composers have trouble with finales, \nHaydn is the finale composer, never at a loss for how to end things.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eOp. 54 #2\u003c\/b\u003e could hardly be more of a \ncontrast. The first movement is a richly sustained, harmonically varied,\n contrapuntal, stop-and-go allegro. The slow movement is agitated, \nharmonically dense, but rather impromptu. A cautious minuet with a \ncomplaining trio gives way to the oddest of finales: two slow sections \nconnected by an operatic presto.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eOpus 74 #3\u003c\/b\u003e, substitled \"The Horseman\", \nstarts with a galloping figure, but, oddly enough, the development is \nharmonic, not rhythmic. The slow movement begins so richly orchestrated \nthat it could seem to be by Brahms. A rather workaday (for Haydn) minuet\n follows. The finale (from which the quartet takes its nickname) follows\n and it is a masterly essay in rhythmic light and shade and Haydnesque \nwit and power.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eLike most classical music lovers, I always \nconsidered Haydn's star to be dimmed by the gigantic suns of Bach, \nBeethoven and Mozart. But after 60 years of listening, I now know that \nHaydn is the man I'd invite to dinner and I now want to plumb his \ngenius. This release is a good place to start.\u003c\/span\u003e\u003cspan style=\"color: #000099; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eBill Rosen\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM011.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 33, No. 6 in A major, Hob.III:24\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 54, No. 1 in A major, Hob.III:60\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 54, No. 2 in F minor, Hob.III:61 \"The Razor\"\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 74, No. 3 in G minor, Hob.III:74 “The Rider”\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1931 \u0026amp; 1932\u003cbr\u003e Originally released in 1932 as HMV DB1927-1931 (1-12) and DB1632-1633 (13-16) \u003cbr\u003e\n Matrix Numbers: 2B3958-II, 2B3959-II, 2B3950-I, 2B3951-I, 2B3952-II, \n2B3953-1, 2B3954-I, 2B3955-II, 2B3956-I, 2B3957-II, 2B2458-II, \n2B2460-II, 2B2461-I1, 2B2459-II\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e(Duration 62'56\")\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003eThe Pro Arte Quartet:\u003cb\u003e\u003cbr\u003eAlphonse Onnou, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eLaurent Halleux\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGermain Prevost\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRobert Maas\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM011.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM011.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond Volume of The Haydn Quartet Society\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Pro Arte Quartet, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eTo state that \u003cb\u003eHaydn\u003c\/b\u003e,\n more than perhaps any other composer, is responsible for the String \nQuartet as we know it - and from there the many other instrumental \nvariations of chamber music of the Classical, Romantic and Modern \nperiods - seems a very bold and sweeping comment. And yet it was Haydn \nwho freed his quartets from the tyranny of the \u003cem\u003econtinuo\u003c\/em\u003e and \nallowed his parts to move freely, without relying on the 'gravity' of a \nbass. It was Haydn who more or less invented Sonata form, and who \ndeveloped the beautiful part-writing, following on from his own studies \ninto earlier vocal polyphony, which is the essence of the string quartet\n medium. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eOf\n his many quartets - one website lists 78 works for String Quartet by or\n attributed to Haydn - the Pro Arte Quartet chose 29 works to record in \ntheir ground-breaking 8-volume Haydn Quartet Society series, made for \nHMV between 1931 and 1938. These cover the full range of his output, \nfrom Op. 1 No. 1 (1762) to the two Opus 77 quartets of 1799 (the final \nOp. 103 remained unfinished).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f\u003c\/span\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31418087437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418087501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM011_c235c3c7-c589-4f58-9926-fd17413d8f13.jpg?v=1487682182"},{"product_id":"pakm069","title":"DORFMANN Mendelssohn: Songs Without Words (1956\/1953) - PAKM069","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D7735B0\"\u003e\u003cb\u003eMENDELSSOHN  \u003c\/b\u003eSongs Without Words (complete)\u003cbr\u003e\u003cb\u003eMENDELSSOHN  \u003c\/b\u003eAndante and Rondo Capriccioso\u003cspan data_liveedit_tagid=\"000000000D7736E0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D773810\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D773940\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D774AF0\" style=\"font-size: x-small;\"\u003eStudio recordings, 1956 \u0026amp; 1953\u003cbr\u003eTotal duration: 2hr 12:21\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eAnia Dorfmann\u003c\/b\u003e, piano\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D770540\" style=\"text-align: left;\" align=\"center\"\u003e \u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe album represents a key moment in the history of piano playing in the 20th century578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnia Dorfmann perhaps is best remembered for her \ncollaborations in Beethoven with Toscanini. She was highly adept, \nthough, in the Romantic repertoire. In November RCA rereleased her \nLiving Stereo Schumann album, containing a bravura \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnaval \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand a provocative \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFantasiestücke\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Her 1953 partnership with Erich Leinsdorf in marvelous accounts of the \nGrieg Concerto and Mendelssohn’s First Concerto is available from \nPristine and, in decent sound, on YouTube. Dorfmann definitely was a \npianist who followed her own muse. One can hear this in her 1939 \nperformance of Beethoven’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChoral Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n where she plays with freedom and elasticity while Toscanini’s direction\n is rigid. Dorfmann had a large sound and a big personality, which come \nthrough both in her Schumann recital and in the present release of \nMendelssohn’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs Without Words\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In the Mendelssohn she presents the best of Russian-American culture, \ninhabiting each of the pieces with warmth and decisiveness. Her reading \nin general is rather relaxed. Even in the faster pieces there always is \nroom for a breath or a rubato. She does not play as slowly as Walter \nGieseking in his delightful collection of 17 of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs Without Words\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n On the other hand, Dorfmann’s playing is worlds away from Daniel \nBarenboim’s in these works. His sound is as beautiful as Dorfmann’s, but\n interpretively he is somewhat glib. Dorfmann clearly treasured these \npieces from her early days as a prodigy. Her complete recording permits \nus to inhabit a lost world of European culture, both gentle and \npassionate. For Dorfmann, playing the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs Without Words \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis akin to an actor taking on Hamlet. It is an accomplishment she chooses to be measured by.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the very first song, Dorfmann catches the allusion to the opening prelude of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWell-Tempered Clavier \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n Bach, one of Mendelssohn’s great loves. One can imagine the pianist in a\n candlelit parlor at night, with Mendelssohn’s music her sole companion.\n In the “Hunting Song,” op. 19\/3, Dorfmann elicits a symphonic richness \nof color, portraying a hunting party at full tilt. The first “Venetian \nGondola Song,” op. 19\/6, reminds us that Mendelssohn was a fine painter.\n We can see the sunlight shimmering on the water, with shadows \novertaking the gondola as it passes through the canals. Here is elegance\n along with a feeling of tristesse. The next “Venetian Gondola Song,” \nop. 30\/6, is almost a blues number, a lament for lost youth and beauty. \nDorfmann colors the trills in the right hand to give them some edginess,\n which matches the composer’s equivocal feelings about the things of \nthis world, an attitude Glenn Gould described as “neo-devotional.” \n“Duetto,” op. 38\/6, finds Dorfmann taking a relatively brisk tempo, \nallowing the melody to pass between both hands to create a sense of \nintertwined joy and ecstasy. In “Folksong,” op. 53\/5, Dorfmann \nemphasizes primary colors in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n passages. Here Mendelssohn takes on the mantle of Carl Maria von Weber,\n mixing Romanticism with a more timeless sort of music.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDorfmann really lets the “Funeral March,” op. \n62\/3, breathe, with sighs alternating with sobs of grief. You can \nimagine a whole procession in black. In the third “Venetian Gondola \nSong,” op. 62\/5, a breeze causes ripples in the water and sends the \npassengers’ hair fluttering. Here beauty is balanced against a more \nthreatening sensation. Dorfmann is very straightforward in the “Spring \nSong,” op. 62\/6, not permitting any hackneyed emotion to arise. Op. 67\/2\n is marked \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eleggiero \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eor\n “nimble.” Dorfmann’s fingers suggest the entire spirit world, from \nelves to the specter of death. In op. 85\/4, she exquisitely avoids \nsentimentality, while bringing a tear to the eye through genuine pathos.\n Dorfmann takes one of Mendelssohn’s most beautiful melodies in op. \n102\/2 and gives it a long, singing line, with freedom in tempo that \nscarcely draws attention to itself. In addition to the canonical 48 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs Without Words\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Dorfmann adds the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoat Song\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, op. posth., which scholars believe the composer intended for another volume of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In this performance, one can hear the oar gently splashing the water. \nAs a bonus, Pristine has included Dorfmann’s 1953 recording of \nMendelssohn’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante and Rondo Capriccioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Dorfmann brings out its \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMidsummer Night’s Dream \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003easpects with sparkling playing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn has judiciously remastered the 1955–56 mono sound of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n leaving in a fair amount of tape hiss to allow for a natural resonance \nfrom the recording. It would be interesting to know if RCA possesses \nstereo tapes of these sessions. The titles of the songs given on the \nback of the album mainly were created by Mendelssohn’s publishers, \nwithout his approval. A list of the works with their tempo markings and \nthose titles that the composer did approve may be found on Wikipedia. \nFor stereo recordings of all these works, I would recommend Martin \nJones’s collection of Mendelssohn’s complete solo piano music. He \nactually recorded the 48 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSongs Without Words \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n a single day! Ania Dorfmann’s reputation should be greatly enhanced by \nthe issuing of these CDs on Pristine. They allow us insight into the \nheart and mind of a very important artist. The album represents a key \nmoment in the history of piano playing in the 20th century. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM069.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAnia Dorfmann's complete Mendelssohn Song's Without Words\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Dorfmann\n conceives the \"songs\" as salon pieces and, of course, in many cases \nthis is the right approach. She presents the music in a dainty, delicate\n framework and has been well recorded\" - The Gramophone, 1957\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eIt is unfortunate that Ania \nDorfmann is remembered today almost exclusively for being the soloist in\n Arturo Toscanini’s only studio recording of a Beethoven piano \nconcerto.  Her career extended far beyond the Maestro’s orbit, as the \npresent reissue demonstrates. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eDorfmann was born in Odessa in\n 1899 to a merchant’s family.  Recognized early on as a prodigy, she \nplayed her first recital at the age of eleven.  Around this time, she \nalso gave a joint concert with the even-younger Jascha Heifetz.  Plans \nwere made for her to go to Paris to study with Isidor Phillip at the \nConservatoire, but the death of her father postponed the trip for \nseveral years.  She had been in Paris for less than a year when \nrevolution broke out in Russia.  After a visit home, she was only able \nto return to France with some difficulty.\u003c\/p\u003e\u003cp\u003eShe made her début at Liège in\n 1920, and concertized throughout Europe over the next fifteen years, \nappearing with such conductors as Mengelberg, Beecham and Wood.  During \nthis period, she made a number of recordings for English Columbia, \nincluding the Mendelssohn First Piano Concerto with Walter Goehr. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn 1936, she made her American\n debut at Town Hall in New York, where critics praised the “rapidity and\n clarity” of her technique.  Horowitz introduced her to his \nfather-in-law, Toscanini, and she soon became an intimate of the \nfamily.  (A letter written by Toscanini in Milan in April, 1937 mentions\n “Ania, that friend of Volodya’s (she’s a Russian pianist).  She’s here \nall the time, morning and evening.”)  She was later to collaborate with \nthe conductor on four occasions, all in works of Beethoven:  the Choral \nFantasy (1939); the Triple Concerto (1942); a broadcast of the First \nPiano Concerto with the Reineke cadenza (1944) followed by a studio \nrecording of the work with one of Beethoven’s own cadenzas (1945).  All \nof these have been available on CD.\u003c\/p\u003e\u003cp\u003eDorfmann settled in America \nand joined the faculty at the Juilliard School.  She continued to \nconcertize and made a number of recordings for RCA Victor during the \n1940s and ‘50s, including the Beethoven “Moonlight” and “Pathétique” \nSonatas, the complete Chopin Waltzes, the \u003cem\u003eAlbums for the Young\u003c\/em\u003e\n of both Schumann and Tchaikovsky, the Grieg Piano Concerto and \nMendelssohn Concerto No. 1 with Erich Leinsdorf and the Robin Hood Dell \nOrchestra of Philadelphia (on Pristine PAKM 066), Schumann’s \u003cem\u003eCarnaval\u003c\/em\u003e and \u003cem\u003eFantasiestücke\u003c\/em\u003e\n (the former also on the same Pristine release), and a recital disc \nfeaturing works by Liszt, Ravel and Menotti among others.  While her \nEnglish Columbia 78s have been well covered in CDs from Pearl and \nDutton, her RCA recordings have remained largely unreissued. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMendelssohn remained something\n of a Dorfmann specialty throughout her career.  After her early \nrecording of the First Concerto, she included two of the \u003cem\u003eSongs without Words \u003c\/em\u003ealong with the \u003cem\u003eAndante and Rondo Capriccioso\u003c\/em\u003e in a 1953 recital album for RCA.  She later re-recorded the two \u003cem\u003eSongs\u003c\/em\u003e\n along with the other 47 for a three-LP set, which became only the \nsecond complete recording of the work, following Ginette Doyen’s for \nWestminster.  Critic Jonathan Summers wrote that Dorfmann’s set “shows \nmuch sensitivity and fine tonal playing.”\u003c\/p\u003e\u003cp\u003eDorfmann continued to teach \nuntil a year before her death in 1984, having retired from the concert \nstage several years earlier.  Now, with the reissue of her later \nrecordings such as the ones presented here, a fuller appreciation of her\n considerable artistry becomes possible.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN  \u003c\/b\u003eSongs Without Words Opp. 19, 30, 38, 53, 62, 67, 85, 102\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 19\/20 \u0026amp; 27 October, 15\/16 November \u0026amp; 20 December 1955 + 28 \u0026amp; 30 August 1956 in Webster Hall, New York. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on RCA Victor LM-6128\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN  \u003c\/b\u003eAndante and Rondo Capriccioso, Op. 14\u003c\/span\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 12-13 January 1953 in Town Hall, New York.  First issued on RCA Victor LM-1758\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eAnia Dorfmann,\u003c\/b\u003e piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM069.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM069.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eAnother large-scale piano set, this one from Victor, is in three more \ndiscs and features Ania Dorfmann in all of Mendelssohn's Songs Without \nWords. The playing is agreeable. Dorfmann conceives the \"songs\" as salon\n pieces and, of course, in many cases this is the right approach. She \npresents the music in a dainty, delicate framework and has been well \nrecorded. \u003c\/p\u003e\u003cp\u003e- Harold Schonberg, \u003ci\u003eLetter from America\u003c\/i\u003e, The Gramophone, April 1957\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":38673887821,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":38673887885,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM069.jpg?v=1496233583"},{"product_id":"pacm012","title":"KELL Mozart: Clarinet Quintet (1945) - PACM012","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eClarinet Quintet in A major, KV581\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 5-7 February, 1945\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003eDuration: 29:17\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eReginald Kell, \u003c\/b\u003eclarinet\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe Philharmonia Quartet:\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eHenry Holst, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eErnest Element, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eHerbert Downes, \u003c\/b\u003eviola\u003cb\u003e\u003cbr\u003eAnthony Pini, \u003c\/b\u003ecello\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM012.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eReginald Kell's masterful Mozart Clarinet Quintet\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eWith the Philharmonia Quartet, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cspan style=\"color: #000066; font-family: arial,helvetica,sans-serif;\"\u003e\"Like\n the great Clarinet Concerto, this work was written for the Viennese \nclarinettist Anton Stadler; it has always been regarded as one of the \nflowers of the chamber music repertory. Many people have been led to \nexplore the great world of chamber music through this gate; it is \ndifficult to imagine a listener who could remain deaf to a flow of \nmelody so limpid and serene. The charms of the clarinet - its \nincomparably gentle legato, its agility, its sudden plunges down two \noctaves into a deep, brown pool - all are exhibited by \u003cb\u003eMozart\u003c\/b\u003e as though the instrument were a beautiful woman with whom he had just fallen in love.\"\u003c\/span\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"color: #000066; font-family: arial,helvetica,sans-serif;\"\u003e(The Record Guide, 1952)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003e\u003cb\u003eReginald Kell\u003c\/b\u003e\n (1906-81) was one of Britains finest clarinettists, and in this 1945 \nrecording, made on 5th and 7th February of that year, we find him on top\n form in one of the greatest works for that instrument. \"\u003cem\u003eNo other clarinetist can match Mr. Kell's tone \u0026amp; emotion\u003c\/em\u003e\", wrote \u003cem\u003eStereo Review\u003c\/em\u003e about him - as this newly XR-remastered gem proves!\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eClarinet Quintet in A major, KV581\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 5-7 February, 1945\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e Originally released in the UK as four Columbia 78s, DX.1187-1190\u003cbr\u003eMatrix numbers: AX9242-1, AX9243-I, AX9244-2, AX9245-1,AX9246-1, AX9247-1, AX9248-1, AX9249-2\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003cb\u003eReginald Kell, \u003c\/b\u003eclarinet\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe Philharmonia Quartet:\u003cb\u003e\u003cbr\u003eHenry Holst, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eErnest Element\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eHerbert Downes\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eAnthony Pini\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM012.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM012.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":31418125005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418125069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM012.jpg?v=1487682287"},{"product_id":"pacm013","title":"HAYDN QUARTET SOCIETY Volume 3 (1933) - PACM013","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 3, No. 5 in F major, Hob.III:17\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 33, No. 2 in E♭ major, Hob.III:38 \"The Joke\"\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 64, No. 6 in E♭ major, Hob.III:64\u003cbr\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 71, No. 1 in C minor, Hob.III:69 “Apponyi”\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London. \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1933\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e(Duration 59'25\")\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003eThe Pro Arte Quartet\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is something about the Pro Arte that sets forces in motion in me...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThere is something about the Pro Arte \nperformances and their life-giving enhancements by Pristine Audio that \nhas provided me a much greater insight at the age of 73 into the \nunfathomable depths of the world of Haydn's quartets. They are different\n in kind from Mozart and Beethoven and Schubert and I despair from ever \nsumming them up. The best I can do is to say is that they are \"genius at\n cosmic play\". They are, of course, well served by the modern \nquartets--the Mosaiques and the Juilliard, in particular--but there is \nsomething about the Pro Arte that sets forces in motion in me.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eOp. 3 #5 \u003c\/b\u003eis not by Haydn \nbut by Roman Hoffstetter, who, if he is not Haydn, should be. A perky, \nirrepressible allegro leads to the famous serenade, which the Pro Arte \nplays very straight. A forceful minuet then is followed by a nippy \nlittle theme which breaks out of its cage and does some big things, a \ntypical Haydn trademark. Fess up, Roman, where did you get the \nmanuscript?\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eOp. 33 #2 \u003c\/b\u003eis a very \ninventive work that opens with a large, swinging theme. Strong \ncontrapuntal and harmonic development lands us at one of Haydn's \nfavorite tricks: the False Recapitulation! A little more devopment and \nwe get the real recapitulation which is filled with more development. A \nminuet with surprises and a waltz-like trio is followed by a serious \nhymnlike slow movement with fortissimo interjections. Finally, a real \ntriumph, a jolly presto made from only one theme--one of Haydn \nmonothematic finale marvels. What a work!\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eOp. 64 #6\u003c\/b\u003e features a \nmellow theme subjected to a strong contrapuntal development and then \neven worked over some more in the recapitulation. The second movement is\n a 3-part solemn adagio punctuated by a string caprice. An unsettled \nminuet is paired with a trio with very high harmonics. The finale has a \nskittish, nondescript theme which is always a signal in Haydn that all \nHell will break loose and boy does it ever.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eFinally, Op. 71 #1\u003c\/b\u003e begins \nwith five chords announcing a looselimbed theme which goes through more \nadventures than Rambo. A very beautiful and harmonically advanced slow \nmovement follows. A mellow, traditional minuet leads to a coruscating \npresto finale in sonata form. The development is so fast and serious \nthat while I was looking for the recapulation, the movement and the \nquartet ended soft and quicksilver.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cem\u003eBill Rosen\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM013.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThird Volume of The Haydn Quartet Society\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe Pro Arte Quartet, remastered for finest sound quality\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eTo state that \u003cb\u003eHaydn\u003c\/b\u003e,\n more than perhaps any other composer, is responsible for the String \nQuartet as we know it - and from there the many other instrumental \nvariations of chamber music of the Classical, Romantic and Modern \nperiods - seems a very bold and sweeping comment. And yet it was Haydn \nwho freed his quartets from the tyranny of the \u003cem\u003econtinuo\u003c\/em\u003e and \nallowed his parts to move freely, without relying on the 'gravity' of a \nbass. It was Haydn who more or less invented Sonata form, and who \ndeveloped the beautiful part-writing, following on from his own studies \ninto earlier vocal polyphony, which is the essence of the string quartet\n medium. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eOf\n his many quartets - one website lists 78 works for String Quartet by or\n attributed to Haydn - the Pro Arte Quartet chose 29 works to record in \ntheir ground-breaking 8-volume Haydn Quartet Society series, made for \nHMV between 1931 and 1938. These cover the full range of his output, \nfrom Op. 1 No. 1 (1762) to the two Opus 77 quartets of 1799 (the final \nOp. 103 remained unfinished).\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr style=\"color: #000000; font-family: Georgia,Times New Roman,Times,serif;\"\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 3, No. 5 in F major, Hob.III:17\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 33, No. 2 in E♭ major, Hob.III:38 \"The Joke\"\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 64, No. 6 in E♭ major, Hob.III:64\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eString Quartet Op. 71, No. 1 in C minor, Hob.III:69 “Apponyi”\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1933 and originally released as HMV DB12159-2165\u003cbr\u003e\n Matrix Numbers: 2B5500-I, 2B5501-I, 2B5496-II, 2B5497-II, 2B5498-II, \n2B5499-I, 2B5503-I, 2B5504-I, 2B5505-I, 2B5506-I, 2B5507-I, 2B5508-I, \n2B5509-II, 2B5510-I\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e(Duration 59'25\")\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003eThe Pro Arte Quartet:\u003cb\u003e\u003cbr\u003eAlphonse Onnou, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eLaurent Halleux\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGermain Prevost\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRobert Maas\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM013.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM013.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":31418087821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418087885,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM013_2ec6c6f9-ef11-480e-bc9f-35fd915faa69.jpg?v=1487682184"},{"product_id":"pacm014","title":"SCHNABEL \u0026 PRO ARTE QUARTET Schumann: Piano Quintet (1934) - PACM014","description":"overviewfb55cd020f0643f08418183279e63a5f\n\u003cp\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Quintet in E-flat major, op. 44\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cbr\u003eAbbey Road Studio 3, London, 19 November, 1934\u003cbr\u003eDuration 30:32\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eArtur Schnabel, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eThe Pro Arte Quartet\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM014.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSchnabel plays Schumann's Piano Quintet\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eWith the Pro Arte Quartet, remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eOf\n all of his chamber music, the Piano Quintet is perhaps the finest, and \nshows the composer in brilliant, extrovert mood - fluent, melodic and \ntruly captivating. It is also the first Piano Quintet of real greatness -\n the form was ignored by Beethoven and Haydn, whilst the closest Mozart \ncame to it was in his two piano quartets. The Piano Quintet was also the\n piece which really established Schumann's name among the great \ncomposers.\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\"\u003e\u003cspan style=\"font-family: arial,helvetica,sans-serif;\"\u003eThis 1934 recording brings together some of the finest players of the day; \u003cb\u003eSchnabel\u003c\/b\u003e displays sheer brilliance at the keyboard, whilst the \u003cb\u003ePro Arte Quartet\u003c\/b\u003e,\n at the peak of their powers, spark off each other to wondrous effect. \nThe interplay between all performers is at once captivating and \ndazzling, as this newly remastered recording shows perhaps better than \never before.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Quintet in E-flat major, op. 44\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eRecorded \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eAbbey Road Studio 3, London, 19 November, 1934\u003cbr\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eOriginally released in 1935 as \u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eHMV 78s, DB. 2387-2390\u003cbr\u003e Matrix numbers: 2EA535-IIA, 2EA536-I2EA537-III, 2EA538-II, 2EA539-II, 2EA540-1, 2EA541-I, 2EA542-II\u003c\/span\u003e\u003cbr\u003eDuration 30:32\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eArtur Schnabel\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003eThe Pro Arte Quartet:\u003cb\u003e\u003cbr\u003eAlphonse Onnou, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eLaurent Halleux\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eGermain Prevost\u003c\/b\u003e, viola\u003cbr\u003e\u003cb\u003eRobert Maas\u003c\/b\u003e, cello\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACM014.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM014.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":31418247949,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":31418248013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACM014_9a51dad0-6e01-4830-8c41-a7b7dcca7c18.jpg?v=1487682533"},{"product_id":"pasc306","title":"American 78rpm Rarities - Genesis Suite, PISTON Symphony No. 2 (1944-46) - PASC306","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eVARIOUS \u003c\/b\u003eGenesis Suite\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePISTON\u003c\/b\u003e Symphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1945\/6 \u0026amp; 1944\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 75:32\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003eEdward Arnold, \u003c\/b\u003enarrator\u003cb\u003e\u003cbr\u003eJanssen Symphony of Los Angeles\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eWerner Janssen, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eBoston Symphony Orchestra \u003c\/b\u003e\u003cp\u003e\u003cb\u003eG. Wallace Woodworth, \u003c\/b\u003econductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine and their collaborators have delivered a virile and vivacious result578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eMore unthinkably esoteric material from Pristine; this time from mid-1940s USA. \u003cbr\u003e   \u003cbr\u003e The highly-coloured \u003cb\u003e\u003ci\u003eGenesis Suite\u003c\/i\u003e\u003c\/b\u003e\n was the product of music entrepreneur and composer-conductor Nathaniel \nShilkret. It’s a luxury composite - a series of choral and orchestral \nmusical panels. The Hollywood golden age East Coast complacent narration\n weaves in and out of the music. This high-flown Heston-style staginess \nworks well and it’s very agreeable. You need to leave your cynicism at \nthe hat-check. \u003cbr\u003e   \u003cbr\u003e The movements and their composers are:- \u003cbr\u003e   \u003cbr\u003e 1. Creation (Nathaniel Shilkret) [9:36] \u003cbr\u003e 2. Adam and Eve (Alexandre Tansman) [10:06] \u003cbr\u003e 3. Cain and Abel (Darius Milhaud) [5:10] \u003cbr\u003e 4. Noah's Ark (Mario Castelnuovo-Tedesco) [10:20] \u003cbr\u003e 5. The Covenant (Ernst Toch) [5:12] \u003cbr\u003e 6. Babel (Igor Stravinsky) [5:23] \u003cbr\u003e 7. Postlude (Arnold Schoenberg) [5:44] \u003cbr\u003e   \u003cbr\u003e The \u003cb\u003eShilkret\u003c\/b\u003e \u003ci\u003eCreation\u003c\/i\u003e is glowingly and glaringly scored in the film industry’s most extravagant style. \u003cb\u003eTansman\u003c\/b\u003e - entrusted with the story of \u003ci\u003eAdam and Eve\u003c\/i\u003e - is largely in the same region with writing that touches on Ravel at his most \u003ci\u003eDaphne\u003c\/i\u003e verdant. \u003ci\u003eCain and Abel\u003c\/i\u003e is a shorter movement from \u003cb\u003eMilhaud\u003c\/b\u003e - silver screen dusted but rustically reminiscent of his orchestral suites. \u003ci\u003eNoah's Ark\u003c\/i\u003e is the work of \u003cb\u003eCastelnuovo-Tedesco\u003c\/b\u003e\n whose concert idiom was a mete choice for this suite - he suited \nShilkret’s project like a gold lamé glove. His Violin Concerto No. 2 \nrecorded by \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/May11\/Walton_Heifetz_8111367.htm\"\u003eHeifetz\u003c\/a\u003e and \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2007\/Oct07\/Perlman_7542962.htm\"\u003ePerlman\u003c\/a\u003e is entitled \u003ci\u003eThe Prophets\u003c\/i\u003e. The contented \u003ci\u003eCovenant\u003c\/i\u003e panel is by \u003cb\u003eToch\u003c\/b\u003e\n and is as short a movement as that by Milhaud. In this land there are \nas yet none of the troublous thoughts encountered by Job. It ends in a \nmagnificence of fanfares. \u003ci\u003eBabel\u003c\/i\u003e is by \u003cb\u003eStravinsky\u003c\/b\u003e. Not only can you hear the whole suite on the Naxos\/Gerard Schwarz reconstruction of the \u003ci\u003eGenesis Suite\u003c\/i\u003e. It is also included in the \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2008\/Aug08\/Stravinsky_box_88697103112.htm\"\u003emajor box of Sony’s complete works\u003c\/a\u003e\n with the narrator there being John Colicos. Unsurprisingly there is \nmore tension, punchiness and angularity in this writing. There’s more of\n that to come in \u003cb\u003eSchoenberg\u003c\/b\u003e’s concluding \u003ci\u003ePostlude\u003c\/i\u003e. Shilkret clearly knew no fear when choosing such uncompromising figures for the commission. \u003cbr\u003e   \u003cbr\u003e\n The original discs are in a distressed state but Pristine and their \ncollaborators have delivered a virile and vivacious result though not \nwithout fragility and some spalling still in evidence. The scoring is \ncinematically opulent but can be heard in modern sound on a \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Nov04\/Genesis_suite.htm\"\u003eNaxos\u003c\/a\u003e Milken Archive disc. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003eWalter Piston's Second Symphony\u003c\/b\u003e\n was written in 1943 and was premiered on 5 March 1944 by the National \nSymphony Orchestra conducted by Hans Kindler. The reading presented here\n for the first time on CD is its second performance recorded under the \nauspices of the US Office of War Information. The Piston Second is one \nof his most endearing and moving works. The style is temperate and full \nof the noble life of the great outdoors. Its euphoric confidence I link \nwith that also found in another American Second Symphony - the one by \nRandall Thompson (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/nov98\/smk60594.html\"\u003eSony\u003c\/a\u003e - Bernstein; \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Feb04\/Randall_Thompson.htm\"\u003eKoch\u003c\/a\u003e - Schenck). The dynamic winged flight of Tippett’s \u003ci\u003eConcerto for Double String Orchestra\u003c\/i\u003e sometimes also comes to mind. In the big soulful second movement we might also think of Barber’s \u003ci\u003eAdagio\u003c\/i\u003e.\n The finale is explosive, adrenaline-fuelled and foot-tappingly kinetic.\n I have loved this work since hearing the version - again played by the \nBoston Symphony Orchestra in 1970 - conducted by Michael Tilson Thomas \n(DG: LP 2530 103; CD: 429 860-2). I am not sure that MTT has been topped\n not even by Gerard Schwarz (Delos DE3074 and then \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Jan04\/Piston26_LN.htm\"\u003eNaxos\u003c\/a\u003e).\n The sound, rescued from a battered set of vinyl 78s, is a bit crumbly \nbut enthusiasts will want to hear this rare and rewarding item. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003ci\u003eRob Barnett \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC306.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eTwo incredibly rare US 78rpm recordings featuring music by Schoenberg, Stravinsky, Milhaud, Piston and more\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"More\n unthinkably esoteric material from Pristine; this time from mid-1940s \nUSA - Pristine and their collaborators have delivered a virile and \nvivacious result\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eThe two works presented here were both conceived and \nwritten at around the same time in the USA. Walter Piston's Second \nSymphony was written in 1943 and received its first performance on 5th \nMarch 1944. The present recording is the symphony's second performance, \nwhich took place about a month later and was preserved by the US Office \nof War Information for distribution to its Overseas Branch on vinyl \n78rpm discs, which would have been broadcast to forces serving during \nWorld War II. Vinyl was still in its infancy, quality-wise, but was \npreferred for its lightness and unbreakability by comparison to shellac \n78s. The discs themselves were \"to be destroyed at the termination of \nthe emergency\", yet a rare set survives from which I have taken the \npresent transcription. A great deal of work has been necessary to \novercome surface noise and distortion, so although the tone is full and \nthe performance enjoyable, the listener will have to allow at times for \nthe shortcomings of the original media. That said, given the sound heard\n on the discs themselves during initial transfer, it is astonishing what\n modern restoration technology has permitted me to achieve.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Genesis Suite was conceived in 1943 and written by \nits various composers between 1943 and 1945. It is known to have \nreceived two live performances, and the present recording was made \nshortly after the première. The project was overseen by its creator, \ncomposer Nathaniel Shilkret, who had planned to sell the completed \nrecording to one of the major record companies. Unfortunately these \ncompanies failed to show interest in the project, and Shilkret went into\n partnership with some businessmen associates to create \"Artist \nRecords\", who pressed and issued the recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIts success was limited, to say the least, and financial\n irregularities and a falling out caused Artist Records to be wound up, \nsales halted and remaining stock to be destroyed, leaving the very few \nexisting sets of this release as among the rarest commercially issued \n78rpm album sets in the USA. Thereafter the orchestral recording, which \nhad been recorded separately from the narration, was issued with a new \nnarrator on a Capitol LP, copies of which are also rare enough to fetch \nthree-figure sums today. By all accounts the new narrator was no Edward \nArnold! The Genesis Suite quickly fell into neglect.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA resurrection of the piece took place early in the 21st\n century with a recording issued by Naxos of a reconstructed version of \nthe piece, following evidence that most of the parts had been destroyed \nby fire. It now appears that original copies do still exist in the \nShilkret archive, as prepared by Shilkret, as is the original score as \nsubmitted by Castelnuevo-Tedesco in 1944. The work has also received a \nfurther live performance, which took place in 2008.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn its original form, the work opened with Schoenberg's \n\"Prelude\" movement, but fearing a hostile response to the music's \nperceived difficulty and modernity, Shilkret repositioned it on the \nfinal disc (alongside the other \"difficult\" composer, Stravinsky\") and \nretitled it \"Postlude\" for the Artist Records release. He also \napparently felt his own \"Creation\" movement, which now took first place,\n was far preferred by audiences (even though at this stage it had only \nhad one performance!) - Shilkret's letters suggest he was not a man \novercome by modesty. I have elected to retain the running order and \ntitling as presented on the Artist Records 78s.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe discs themselves are not perhaps the finest \npressings in the history of shellac. Many of the openings presented \ndifficulties in replay which may still be heard, together with high \ninitial surface noise, making side joins particularly tricky. Thereafter\n in general the sides were fine. The aural tone of Edward Arnold's \nnarration changes significantly between works, and this has been \nretained.. XR remastering has helped to enhance and fill the orchestral \ntone, which retains a distinctly 1940s Hollywood flavour, especially in \nsome of the more filmic movements.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eVARIOUS \u003c\/b\u003eGenesis Suite (1943-5) \u003cem class=\"body\"\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 11 December 1945, narration recorded circa June 1946. \u003cbr\u003eTransfers from Artst Records set JS 10, 1101-1110\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eNarrator\u003c\/b\u003e Edward Arnold\u003cbr\u003e\u003cb\u003eChorus director\u003c\/b\u003e Hugo Strelitzer\u003cbr\u003e\u003cb\u003eJanssen Symphony of Los Angeles\u003c\/b\u003e Werner Janssen\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e1. Creation\u003c\/b\u003e (Nathaniel \u003cb\u003eShilkret\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(9:36)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e2. Adam and Eve\u003c\/b\u003e (Alexandre \u003cb\u003eTansman\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(10:06)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e3. Cain and Abel \u003c\/b\u003e(Darius \u003cb\u003eMilhaud\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:10)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e4. Noah's Ark \u003c\/b\u003e(Mario \u003cb\u003eCastenuovo-Tedesco\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(9:42)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e [NB. See Below]\u003cbr\u003e\u003cb\u003e5. The Covenant\u003c\/b\u003e (Ernst \u003cb\u003eToch\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:12)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e6. Babel\u003c\/b\u003e (Igor \u003cb\u003eStravinsky\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:23)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e7. Postlude\u003c\/b\u003e (Arnold \u003cb\u003eSchoenberg\u003c\/b\u003e) \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(5:44)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePISTON\u003c\/b\u003e Symphony No. 2 (1943)\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded live, Symphony Hall Boston, 8 April 1944\u003cbr\u003eTransfers from Office of War Information vinyl 78s \"Contemporary American Series No. 34\"\u003cbr\u003eDisc numbers 1009-1 - 1009-4\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003eBoston Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e\u003cb\u003eG. Wallace Woodworth\u003c\/b\u003e conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, September 2011\u003cbr\u003eFront cover artwork detail from Artist Records 78rpm cover (uncredited)\u003cbr\u003ePristine Audio is grateful to Al Schlachtmeyer for the generous donation of these discs \u003cbr\u003eTotal duration: 75:32\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC306.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC306.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eOriginal Sleevenotes\u003c\/b\u003e (Artist Records 78s)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003eThe\n massive concept of setting to music the first chapter of the Bible \noccurred to Nathaniel Shilkret, Composer and Conductor, after a survey \nof public opinion made while he was manager of the Victor Recording Co. \nHe decided that so tremendous a project should be shared by leading \ncontemporary creators and carefully selected and commissioned composers \nhe considered best fitted to expound the various subjects.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\"My colleagues,\" Shilkret declared, \"have \napproached their task in a spirit of the most profound reverence. Their \ndevotion is apparent in the music they have created.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe separate movements have been composed in \ncomplete independence, the composers each proceeding with their \nindividual portion without reference to or knowledge of each other's \nwork. The sole connecting link is the narrator, Edward Arnold, who \ndelivers the Biblical story.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eA detailed analysis of the individual movements \nis impossible because of space restrictions, since elucidation of their \nintricacies would involve a wealth of detail. Each is partly \ndescriptive, partly psychological, yet each illustrates its portion of \nthe spoken narrative, and is therefore easy to follow.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e1. Creation\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eNathaniel Shilkret \u003cbr\u003e(Born New York City, January 1, 1895) \u003cbr\u003e\u003c\/em\u003eThis\n episode is divided into two distinct parts, the first treating of the \ninitial aspects of the Bible story, the second beginning with the words,\n \"Let there be light.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e2. Adam and Eve\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eAlexandre Tansman \u003cbr\u003e(Born Lodz, Poland,June 12, 1897) \u003cbr\u003e\u003c\/em\u003eThe\n tale of the Garden of Eden is expounded. The approach of the composer \nto the conception of this chapter of the Genesis is rather atmospheric \nthan descriptive. He tried to express the mood of each particular part \nof the text through lyrical means of expression and by solely musical \nwork. The work could be formally considered as a Suite with a series of \nfast and slow movements, framed by a slow Introduction and a robust \nCoda.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e3. Cain and Abel\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eDarius Milhaud \u003cbr\u003e(Born Aix-en-Provence, France, September 4, 1892) \u003cbr\u003e\u003c\/em\u003eThe story of discord andviolence is deftly underlined in music.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e4. Noah's Ark\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eMario Castelnuovo-Tedesco \u003cbr\u003e(Born Florence, Italy, April 3, 1895) \u003cbr\u003e\u003c\/em\u003eThe\n first of this episode's two portions illustrates events leading to the \nFlood; the second portion tells of the Flood and its subsidence.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e5. The Covanent\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eErnst Toch \u003cbr\u003e(Born Vienna, Austria, December 7, 1887) \u003cbr\u003e\u003c\/em\u003eThe story of Noah's debarking, and of the covenant that no further flood should occur.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e6. Babel\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eIgor Stravinsky \u003cbr\u003e(Born Oranienbaum, Russia,June 5,1882) \u003cbr\u003e\u003c\/em\u003eThe\n concluding movement of the work tells of the confusion brought about by\n various languages. The music is in cantata form, with a \"Greek chorus\" \nsupporting narrator and orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003e7. Postlude\u003c\/em\u003e\u003c\/b\u003e • \u003cem\u003eArnold Schoenberg \u003cbr\u003e(Born Vienna, Austria, September 13, 1874) \u003cbr\u003e\u003c\/em\u003eThis deals instrumentally with the opening words of the Bible, impressively establishing a devotional mood.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003eAbout My Babel Cantata\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eBy Igor Stravinsky, Hollywood, California, November 5, 1945 \u003cbr\u003e\u003c\/em\u003e\"For\n those who are not very familiar with my compositions, knowing my name \nonly by the reputation of my earlier works such as the Firebird, \nPetrouchka or the Rite of Spring, my Babel-a Cantata for Chorus with \nOrchestra and a Narrator—will present itself probably as a casual, an \nisolated work which has little to do with my previous compositions, with\n my actual features as a composer. This feature presents itself in an \nentirely different aspect to those who know my musical mind and my \nsymphonic work, especially such as the Symphony of Psalms, the Melodrama\n Persephone or the Opera-Oratorio Oedipus-Rex, to mention only these \ncapital compositions of my catalogue, compositions never played in Los \nAngeles. Yet the acquaintance with but these compositions could easily \nexplain my bent toward musical forms cultivated by the best musical \nbrains of all times. Therefore the approaching performance of my Cantata\n among other compositions of the Bible collected of Mr. Nathaniel \nShilkret by the brilliant company of Werner Janssen Symphony seems to me\n most opportune and I welcome it.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cem\u003eArtist Records\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eSee also: https:\/\/en.wikipedia.org\/wiki\/Genesis_Suite\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37145294029,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37145294093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37145294157,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37145294221,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC306.jpg?v=1494339495"},{"product_id":"pakm051","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 1 (1952\/53) - PAKM051","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 1-4\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1952 and 1953\u003cbr\u003eTotal duration: 79:27\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003cbr\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI found myself charmed by his conception of these early sonatas578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhen I was growing up in the early \n1960s, Wilhelm Backhaus was generally known as a finely chiseled but \nsomewhat lightweight pianist, best suited to the music of Chopin and \nMozart. Thus it was a considerable surprise when he recorded an \nexciting, beautifully shaped performance of the Brahms Piano Concerto \nNo. 2 with Karl Böhm conducting; even critics with a longstanding \nantipathy toward Backhaus raved about that recording, and with good \nreason. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBecause of this, I decided to consider \nreviewing CD 1 of Pristine’s restoration of the pianist’s early mono \nBeethoven cycle. Sonata No. 3 was recorded in 1952, the others on this \ndisc in November 1953. Restoration engineer and annotator Andrew Rose \nindicates that the original recordings, despite having been made by a \nmajor label, were beset with technical problems. In addition to those \nmentioned in a contemporary review of one of the LPs—“the tone sounds \nhard in the development section,” “slight mechanical erraticisms of \npitch and surface-hum”—Rose also mentions “some wayward tape speeds, \nresulting in pianos pitched variously between A433 and A440.” Whether or\n not this was due to tape slippage when originally mastered, or actual \ndifferences in the pianos that Backhaus played (there were still, in \nGermany at that time, some instruments pitched below A440), Rose has \nconsistently pitched all of the Backhaus recordings to our modern \nstandard. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWithout knowing what the rest of the \nseries sounds like (this is my first hearing of these recordings), I can\n attest that Backhaus’s performances of the opp. 2 and 7 sonatas are, in\n general outline and feeling, very similar to the recordings of Irish \npianist John O’Conor, with some differences. Those differences are a \nlittle more obvious ritards and rubato than that employed by O’Conor, \nwith the result that some of the movements in these performances have a \ndecidedly Old World feeling to them (one such example is at the 3:15 to \n3:30 mark in the last movement of the First Sonata). On the other hand, \nBackhaus’s occasional “stop-and-listen-to-this” moments are not nearly \nas exaggerated as those of Wilhelm Kempff, whose Beethoven sonata cycle \nwas all the rage in the 1960s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIndeed, as this set of the first four \nsonatas proceeded to play, I found myself charmed by his conception of \nthese early sonatas. My only caveat, as is the case with O’Conor’s \ncycle, is that Backhaus fails to make as much of the sharp dynamic \ncontrasts written into the scores, which Artur Schnabel and Craig \nSheppard bring out so well (Schnabel at the proper brisk tempos, \nSheppard a shade slower). Thus the reader of this review is faced with a\n bit of dilemma. Does one really wish to start collecting this early \nBackhaus cycle? He did rerecord every sonata except the “Hammerklavier” \nin stereo for Decca, and that cycle is currently available as a boxed \nset. Rose indicates that many listeners consider this earlier, mono \ncycle to have been the better of the two. Yet if you have part, or all, \nof the Schnabel cycle (I particularly recommend his reading of the early\n sonatas, at least 1–12 plus the op. 49, which was written earlier) and \neither the complete O’Conor or Sheppard cycles, you may not feel a \npressing need for Backhaus. I don’t really know how the later discs of \nthis series will play out, but I will say this: If his performances of \nthe “Pathétique,” “Waldstein,” “Appassionata,” “Les Adieux,” and, yes, \neven the “Hammerklavier,” not to mention all the important sonatas in \nbetween, are as good as his stereo recording of the Brahms Concerto No. \n2, you may want to opt for Backhaus in your collection. I, for one, will\n be looking for the further issues in this series in order to make my \ndetermination. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e This article originally appeared in Issue 35:6 (July\/Aug 2012) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM051.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBackhaus's magnificent first Beethoven Sonata cycle begins here\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eWilhelm Backhaus's first Beethoven Piano Sonata cycle, \nrecorded between 1950 and 1953, was one of the first for the Long \nPlaying record, and may well have been the first of several contemporary\n accounts to reach completion. Backhaus was already considered, as the \nreview above points out, a \"veteran\" pianist, yet later that same decade\n he started the sonatas all over again, once more for Decca, this time \nin stereo, a cycle which he almost completed prior to his death in 1969,\n leaving only the \u003cem\u003eHammerklavier\u003c\/em\u003e not re-recorded.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe existence of the stereo cycle has led to this mono \ncycle, which a number of listeners consider the better of the two, to be\n neglected by Decca - outside of Japan and a very limited Italian issue,\n it has never been reissued by the company. Sonically there's no doubt \nthat the later recordings improved considerably over these early 50s \nmono versions, but there's much that can now be achieved in improving \nconsiderably the sound quality of these recordings, as well as \ncorrecting the \"slight mechanical erraticisms of pitch and surface-hum\" \nreferred to in the review above.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn making these historic recordings, from one of the \ngreatest of Beethoven interpreters, available again in fine-sounding \n32-bit XR remasters, collectors can at last and with ease determine \ntheir own preferences with regard to the Backhaus discography.\u003c\/p\u003e\u003cp class=\"body\"\u003eFinally a note about pitch: The recordings so far \nanalysed suggest some wayward tape speeds, resulting in pianos pitched \nvariously at between A=432 and A=444, as well as some notable pitch \nchanges, both sudden and sliding, during movements within recordings. \nOne later recording in the series (to be released as part of Volume \nThree) includes what I take to be a \"sticky edit\", causing the pitch to \nlurch alarmingly (at one point it drops more than a semitone) over the \ncourse of several notes before steadying itself. Previously just about \nunfixable, these problems have all been resolved and the pitch of each \nrecording standardised to A=440.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 1 in F minor, Op. 2 No. 1\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2902\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 2 in A major, Op. 2 No. 2\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953\u003cbr\u003e Issued as Decca LXT 2920\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 3 in C major, Op. 2 No. 3\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded May 1952\u003cbr\u003e Issued as Decca LXT 2747\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 4 in E flat major, Op. 7\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2809\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM051.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM051.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb class=\"bodymid\"\u003eThe Backhaus Beethoven Edition\u003c\/b\u003e \u003cbr\u003e (A Pristine Classical newsletter editorial by Andrew Rose)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA few weeks ago I was trawling through the thousands of \nrecords here at Pristine, looking for inspiration, and out of curiousity\n dug out a box set of Backhaus's Beethoven sonata recordings. A quick \nflick through them revealed that although the majority would be off \nlimits due to their recording dates, a handful had fallen into the \npublic domain. But would I be able to bring anything to them?\u003cbr\u003e \u003cbr\u003e I\n started with a couple of test transfers and they sounded promising. \nCertainly they seemed to have potential. But what a shame the entire set\n wasn't ever going to be possible, as a result of the changes in \nEuropean copyright law due to take effect in the next year or two.\u003cbr\u003e \u003cbr\u003e\n Of course there was the earlier, mono collection - which might indeed \nhold more promise of remastering improvements. I decided to check when \nDecca had last reissued them so that I could download a few samples from\n iTunes. I searched and searched, but they were nowhere to be found.\u003cbr\u003e \u003cbr\u003e\n So I started doing some serious digging around, scouring discographies \nand old Internet discussions on the subject, and was astonished to find \nthat, despite some people swearing by them as the better of the two \ncycles from Backhaus - and the only complete one, as he died before the \nfinal recording of his stereo cycle could be made - there had been no CD\n issue outside of Japan and an exceptionally rare Italian issue (which, \nconfusingly, had the same catalogue number as the stereo cycle, leading \nme to wonder whether the Italian release was in error).\u003cbr\u003e \u003cbr\u003e I \nsuppose this isn't entirely unusual. We've remastered a number of mono \nMercury recordings over the last couple of years which have been passed \nover by the company themselves in favour of reissuing their stereo back \ncatalogue. A lot of recordings fell into a bit of a mono \"black hole\" in\n the early-to-mid 1950s, and surprising as it seems for such an \nimportant release - possibly the first complete Beethoven sonata cycle \nof what you might call the \"hi-fi\" age - Backhaus's only truly complete \ncycle is one of them.\u003cbr\u003e \u003cbr\u003e The recordings were all made in Victoria \nHall, Geneva, Switzerland. They began in July 1950 (Nos. 12, 21, 30), \nwith the first six recordings being issued both on 78s and LPs, before \ndropping the 78rpm releases for the third batch of recordings, made in \nApril and May 1952.\u003cbr\u003e \u003cbr\u003e And what a marathon that proved to be - \nBackhaus set down 11 of the sonatas during those sessions. Possibly this\n was too much for him, as he returned to Victoria Hall six months later \nto re-record three of them. \u003cbr\u003e \u003cbr\u003e Sadly, in no cases does the \narchive indicate precise recording dates. We know for sure that the \nmajority, quite possibly all, were produced by Victor Olof, with either \nArthur Haddy or Gil Went engineering, where this was noted. Went was at \nthe controls for the final sessions, the most gruelling of the lot, in \nNovember 1953, when fourteen of the thiry-two were recorded, yielding \nsome five LPs which were released during the course of 1954. Perhaps by \nthis stage Decca had got wind of Wilhelm Kempff's DG series and wanted \nto get to the end first...\u003cbr\u003e \u003cbr\u003e Ironically, the next entry in \nDecca's Geneva recordings discography after this mammoth session, which \ntook place in May 1954, bears the following prefix: \"These were Decca's \nfirst stereo recordings\". What a shame for Backhaus, who'd be going \nthrough the whole thing again a very few short years later - and already\n well into his mid-seventies.\u003cbr\u003e \u003cbr\u003e I'm pleased to report that a \nstereo recording was made of Backhaus's Diabelli Variations of October \n1954, also the case of course for his 1958-59 Vienna recordings of the \nfive concertos with Schmidt-Isserstedt. We hope to turn to these once \nthe present sonata cycle is complete, but I'm also interested in the \nmono concerto recordings. Curiously here Backhaus recorded all five for \nDecca in 1950-53 with the Vienna Philharmonic under variously Krauss and\n Böhm, but the First was never issued. (I would make clear that in my \nDecca discography it doesn't appear even as an unreleased item, but my \nBackhaus discography states a recording of the First Concerto was made \nin April 1951 by Decca and remains unissued.)\u003cbr\u003e \u003cbr\u003e So what do we \nmake of the earlier sonata recordings. Well I'm going to reserve comment\n on performances because (a) I've not heard them all, and (b) there are \nfar better experts than myself who will no doubt pass judgement in due \ncourse. Contemporary reviewers' reactions in many way mirror those for \nthe Schnabel series twenty years earlier - a mixture of rapturous \napproval and some quite pointed criticism. Whether the years since their\n recording have changed opinions generally or specifically remains to be\n seen. Backhaus certainly had heritage and was already a seasoned \n\"veteran\" performer (to quote from a Gramophone reviewer) by the time he\n began the first cycle, at the age of 64.\u003cbr\u003e \u003cbr\u003e Technically there are\n few surprises. The sound quality Decca achieved in its Geneva \nrecordings of this period has never particularly excited me - they're \njust not on a par with what they were capable of in London at the time -\n but they're adequate as far as the early years of high fidelity tape \nare concerned. They've certainly benefited from a good dusting off with \nXR remastering putting some real life back into the rather dull, dusty \noriginals, but it's been a constant battle against hiss to do so.\u003cbr\u003e \u003cbr\u003e\n Pitch also has proved erratic. On one movement of the first four \nsonatas I spotted a clear change of pitch midway through, as a result of\n a tape edit. Elsewhere another bad edit meant the same note was \neffectively struck twice. All of this is correctable today, as is the \nwobbliness of pitch in the Third Sonata, and the wide variation of \ntuning frequencies heard across the sonatas - of those analysed so far \nI've seen them range from A=433 up to A=444, something which seems more \nlikely to be caused by slight inaccuracies in tape record and replay \nspeeds than the piano itself. For the sake of argument I'm adjusting \nthem all to A=440 and leaving them there.\u003cbr\u003e \u003cbr\u003e Thanks to a \ncombination of tempi and choices of repeats, we should be able to get \nall 32 sonatas, in order, onto 8 CDs rather than the 10 of the Schnabel \nseries. Thereafter we'll see what we can do with the rest of the \nrecordings - concertos and variations - that Backhaus made during this \nera, ultimately making up a set which includes all five concertos, all \n32 sonatas and the Diabelli Variations.\u003cb\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/b\u003e\u003cem\u003e\u003cb\u003eAndrew Rose, February 3, 2012\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975199693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975199821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975199885,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975200013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM051_e6508ee6-ade2-443a-acaf-be6d6c2262a3.jpg?v=1487681847"},{"product_id":"pakm052","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 2 (1952\/53) - PAKM052","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 5-9\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1952 and 1953\u003cbr\u003eTotal duration: 70:08\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis feeling for classical balance and his sometimes-impish sense of humor enliven these pieces and give full measure to the music578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 2 \u0026amp; 3\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy earlier enthusiasm for the first \nfour Beethoven sonatas by Wilhelm Backhaus cooled considerably with \nthese releases, especially when I came to the “Pathétique” Sonata. Here \nBackhaus is being either deliberately perverse or uncaringly inaccurate.\n The introduction is played both much too fast and without the correct \ndynamic contrasts in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efp\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e chords, and when he moves into the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e section of the movement, his playing is entirely glib, on the surface of the music, and with strange, uncalled-for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eritards\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n when he plays the minor-key melody in the middle. In short, there is \nnothing to recommend this performance beyond the range of a curio, and \nthere are certainly enough cold and perverse readings of Beethoven out \nthere the way it is. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHis performance of the second movement \nof this sonata is also rather fast and glib—except for the ending, which\n he suddenly slows down to a crawl. The last movement is OK in both \ntempo and phrasing, but has all the excitement of stewed prunes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus is considerably better in the \nsmaller-scaled sonatas, Nos. 5–7 and 9–11. Here, his feeling for \nclassical balance and his sometimes-impish sense of humor enliven these \npieces and give full measure to the music. (In a few places, for \ninstance the final scherzo of No. 10, his method of rubato—shortening \ncertain bars in tempo while slightly extending others to balance \nout—reminds me of Annie Fischer’s and Craig Sheppard’s approaches.) \nBackhaus is also good in the quirky opening of Sonata 11; the second \nmovement, again, sounds as if played on autopilot, but he’s good in the \nlast two movements. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the “Funeral March” Sonata (No. 12),\n Backhaus plays the first movement with fine classical balance but \nrather dispassionately. The second movement has lilt and lift, but in \nthe third (the funeral march) Backhaus’s tempo is right but the mood is \ntoo glib. True, he gives the music a certain amount of punch, but here \nit sounds lively and happy, not the least bit funereal. The last \nmovement, almost predictably, is excellent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWe end with the sonata that comes just \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebefore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the “Moonlight,” op. 27 No. 1. By this point, Beethoven was moving away\n from the more classical structure and style of the early sonatas and \nworking his way toward not only a grander but more impassioned form of \nexpression. In this respect, Backhaus’s performance of Sonata No. 13 is \ngood but does not explore the undertow of the music. Even John O’Conor, \nwhose Beethoven cycle is resolutely lyrical in approach, draws more out \nof this music than Backhaus does here, and I won’t even make the \nobviously unfair comparison with Schnabel. The bottom line: What was a \ngood Beethoven sonata cycle in its day has not worn its uneven approach \nwell. If you want a lyrical sonata cycle, you can buy O’Conor in digital\n stereo. If you want a dynamic and individual approach, you can try \nSheppard. If you want the most consistent musical approach to all 32 \nsonatas, however, you must get either Schnabel or Fischer, and Fischer \nhas the edge in both sonics and technical security. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM052.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSecond volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eGramophone's reviewer in 1951 notes some blasting on \nlouder passages on his LP copy, and likewise I had to deal with \nshortcomings of the recording which I firmly ascribe to the early tape \nsystem in use - which was much improved by November 1953 for the later \nthree recordings in this volume. Whether or not the reviewer was hearing\n disc blasting, there was often a tendency towards a mushy kind of tape \nhiss to surround the upper frequencies of louder notes and chords, and \nI've spent a lot of time removing or taming these.\u003c\/p\u003e\u003cp class=\"body\"\u003eElsewhere, pitch has once again been susprisingly \nvariable, both in terms of overall tuning, and in clear issues with both\n tape machines and editing, all of which can now be remedied. Sound \nquality was generally good - my aim here, which I feel has been \nachieved, has been to clarify the piano tone whilst reducing background \nnoise and hiss.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 5 in C minor, Op. 10 No. 1\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded March 1951\u003cbr\u003e Issued as Decca LXT 2603\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 6 in F major, Op. 10 No. 2\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded March 1951\u003cbr\u003e Issued as Decca LXT 2603\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 7 in D major, Op. 10, No. 3 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2809\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 8 in C minor, Op. 13, \"Pathétique\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2903\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 9 in E major, Op. 14, No. 1 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953\u003cbr\u003e Issued as Decca LXT 2903\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM052.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM052.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":31975203597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975203725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975203853,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975203917,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM052_6230b1b8-ff1e-4d25-9830-0fa27cd78ba5.jpg?v=1487681850"},{"product_id":"pakm053","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 3 (1950-53) - PAKM053","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 10-13\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded between 1950 and 1953\u003cbr\u003eTotal duration: 66:40\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis feeling for classical balance and his sometimes-impish sense of humor enliven these pieces and give full measure to the music.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVolumes 2 \u0026amp; 3\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy earlier enthusiasm for the first \nfour Beethoven sonatas by Wilhelm Backhaus cooled considerably with \nthese releases, especially when I came to the “Pathétique” Sonata. Here \nBackhaus is being either deliberately perverse or uncaringly inaccurate.\n The introduction is played both much too fast and without the correct \ndynamic contrasts in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efp\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e chords, and when he moves into the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e section of the movement, his playing is entirely glib, on the surface of the music, and with strange, uncalled-for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eritards\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n when he plays the minor-key melody in the middle. In short, there is \nnothing to recommend this performance beyond the range of a curio, and \nthere are certainly enough cold and perverse readings of Beethoven out \nthere the way it is. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHis performance of the second movement \nof this sonata is also rather fast and glib—except for the ending, which\n he suddenly slows down to a crawl. The last movement is OK in both \ntempo and phrasing, but has all the excitement of stewed prunes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus is considerably better in the \nsmaller-scaled sonatas, Nos. 5–7 and 9–11. Here, his feeling for \nclassical balance and his sometimes-impish sense of humor enliven these \npieces and give full measure to the music. (In a few places, for \ninstance the final scherzo of No. 10, his method of rubato—shortening \ncertain bars in tempo while slightly extending others to balance \nout—reminds me of Annie Fischer’s and Craig Sheppard’s approaches.) \nBackhaus is also good in the quirky opening of Sonata 11; the second \nmovement, again, sounds as if played on autopilot, but he’s good in the \nlast two movements. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn the “Funeral March” Sonata (No. 12),\n Backhaus plays the first movement with fine classical balance but \nrather dispassionately. The second movement has lilt and lift, but in \nthe third (the funeral march) Backhaus’s tempo is right but the mood is \ntoo glib. True, he gives the music a certain amount of punch, but here \nit sounds lively and happy, not the least bit funereal. The last \nmovement, almost predictably, is excellent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWe end with the sonata that comes just \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebefore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the “Moonlight,” op. 27 No. 1. By this point, Beethoven was moving away\n from the more classical structure and style of the early sonatas and \nworking his way toward not only a grander but more impassioned form of \nexpression. In this respect, Backhaus’s performance of Sonata No. 13 is \ngood but does not explore the undertow of the music. Even John O’Conor, \nwhose Beethoven cycle is resolutely lyrical in approach, draws more out \nof this music than Backhaus does here, and I won’t even make the \nobviously unfair comparison with Schnabel. The bottom line: What was a \ngood Beethoven sonata cycle in its day has not worn its uneven approach \nwell. If you want a lyrical sonata cycle, you can buy O’Conor in digital\n stereo. If you want a dynamic and individual approach, you can try \nSheppard. If you want the most consistent musical approach to all 32 \nsonatas, however, you must get either Schnabel or Fischer, and Fischer \nhas the edge in both sonics and technical security. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM053.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThird volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nAs with other releases in this series I've taken great care to bring \nconsistency to the tuning of Backhaus's piano where previously it was \nabsent - the average pitches for each of these four sonatas as presented\n by Decca were A4 = 433.9, 442.5, 432.7 and 438.7 hertz respectively. \nFurthermore the 12th started low, before drifting gradually upwards, \nwhilst the opposite effect was to be heard in the 13th. Owners of the \nJapanese Decca (London) CD reissue of the 13th will also be familiar \nwith a 'sticky edit' pitch lurch of more than a tone in the finale, not \npresent here, as well as several completely missing notes in the middle \nof first movement!\u003cbr\u003e\u003cbr\u003eTonally I've continued to accept slightly \nhigher than usual levels of tape hiss in order to bring out the full \ntone of Backhaus's piano, something which was considerably muted in the \nDecca incarnation. Once again it was no surprise to discover that the \nlater recordings were of somewhat better audio quality than the earlier \nones.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 10 in G major, Op. 14, No. 2 \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2931\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 11 in B flat major, Op. 22\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953 \u003cbr\u003e Issued as Decca LXT 2920\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 12 in A flat major, Op. 26 \"March Funébre\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded June 1950 \u003cbr\u003e Issued as Decca LXT 2532\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 13 in E flat major, Op. 27, No. 1 \"Quasi una fantasia\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1952 \u003cbr\u003e Issued as Decca LXT 2780\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM053.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM053.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":31975206925,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975206989,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975207053,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975207117,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM053_5c000dbb-a293-41dc-aa60-bbde59f86a8f.jpg?v=1487681853"},{"product_id":"pakm054","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 4 (1952\/53) - PAKM054","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 14-17\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1952 and 1953\u003cbr\u003eTotal duration: 75:26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe last movement, needless to say, is played in the grand manner and is undeniably exciting578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\"It is disagreeable to write about artists of \ndistinction as if they were candidates at a competitive festival, but it\n would be ingenuous not to make a comparison between Gieseking's and \nBackhaus's playing of the \" Moonlight \" Sonata. I have spoken elsewhere \nin this issue of the moving interpretation Gieseking gives of the \nAdagio. Backhaus takes a much more matter-of-fact view, is wayward over \nthe rhythm, and makes a very decided ritardando before the recapitu \nlation. I find here a serious meditation devoid of poetic impulse, a \nlack which shows in the treatment of the accompanimental triplets. There\n is rather a heavy stress on the first beats of the Allegretto and, in \nthe second section, the quaver figure sounds jerky (Gieseking plays it \nsmoothly, using no emphasis).\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eThe last movement, needless to say, is played in \nthe grand manner and is undeniably exciting, but without the fine \nnuances of phrasing and articulation Gieseking gives us. The recording \nstands up pretty well to the pianist's assault on the last movement and \nis rather fuller in tone than Gieseking's in the preceding movement, \nalthough never more than adequate.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eA.R. The Gramophone\u003c\/b\u003e, October 1953 (Reviewing LXT2780, \u003cem\u003eexcerpt concerning Sonata No. 14\u003c\/em\u003e)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e \u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\"His \" Pastoral \" Sonata can be compared with \nthat of Denis Matthews on Columbia 33SX1021, reviewed by L.S. last month\n (a review I am entirely at one with). In I Matthews is smooth, \nreflective and sober ; he observes the repeat. Backhaus, without repeat,\n is rougher ; on the last page he disregards the pianissimo. In the \nfirst section of II Matthews is far steadier and more sensitive than \nBackhaus, but he smooths down the discords too much. In the section \nmarked l' is tesso tempo Backhaus suddenly achieves that sparkling \nelegance which is a mark of his playing at its best here Matthews \nconveys the impression of alertness but with unsuitable timidity. In III\n the English pianist is too tame, slightly too slow. And his lack of \npower in IV is all too apparent ; how exciting Backhaus is as he works \ntowards the climax.\"\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eA.R. The Gramophone\u003c\/b\u003e, June 1954 (Reviewing LXT2903, \u003cem\u003eexcerpt concerning Sonata No. 15\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM054.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFourth volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eGenerally speaking these recordings provided reasonably straightforward \nwork for the remastering engineer, especially coming, as this volume \nhas, a good number of sonatas into the series, with many \ncarefully-chosen settings now determined for the series, restoration \ntechniques suitable for the material worked out, and only minor \nvariations to be found. The Moonlight offers slightly higher background \nhiss - this seems to be a characteristic of this work in a number of \nrecordings, possible as a result of the works intrinsically wide dynamic\n range.\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 14 in C sharp minor, Op. 27 No. 2 \"Moonlight\"\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded October 1952\u003cbr\u003e Issued as Decca LXT 2780\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 15 in D major, Op. 28 \"Pastorale\"\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953 \u003cbr\u003e Issued as Decca LXT 2903\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 16 in G major, Op. 31 No. 1 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953 \u003cbr\u003e Issued as Decca LXT 2950\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 17 in D minor, Op. 31 No. 2 \"The Tempest\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded May 1952 \u003cbr\u003e Issued as Decca LXT 2747\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM054.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM054.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":31975208013,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975208077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975208141,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975208205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM054_a4a921b9-5f9c-4019-8ec7-9862124d0157.jpg?v=1487681855"},{"product_id":"pakm055","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 5 (1950-54) - PAKM055","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 18-22\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded between 1950 and 1954\u003cbr\u003eTotal duration: 64:29\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fConfirms Backhaus’s reputation as one of the great Beethoven interpreters578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 5 \u0026amp; 6\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWilhelm Backhaus (1884–1969) recorded \ntwo Beethoven sonata cycles for Decca. These are the fifth and sixth \nvolumes in Pristine Audio’s reissue of the first, lesser-known cycle, \nwhich was recorded in mono between 1950 and 1954. Engineer Andrew Rose \nsuggests that the second cycle, from later in the 1950s through the \n’60s, was done for reasons other than the obvious change to stereo. He \ndescribes Decca’s first production team in Geneva as “struggling badly \nwith new technology” and has worked to correct peak distortion, wayward \nelectrical tones, high background hiss, poor overall tone, and most \negregiously, extreme changes in pitch. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe result is perfectly listenable \nsound. Backhaus’s basic sonority is full and rather bright, slightly \npiercing in the high treble, perhaps due to the Bösendorfer that he \nplayed. There’s still an impression of very close miking or recording at\n overly high levels. Rose takes issue with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic who, in the ’50s, complained that Backhaus “refuses” to play \nquieter than at a medium dynamic level, but even with Pristine’s \nadmirably reworked sound, I perceive the same thing. The fact that in a \nfew spots, such as at the opening of the last movement of No. 18 (op. \n31\/3), and in parts of the “Appassionata’s” first movement, we hear \nmoments of truly quiet playing confirms it. It’s a significant drawback \nin what I find to be an uneven series of performances that, all the \nsame, have a few superb highlights. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere is a survey of the performances: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 18: Compared to the first two, more\n experimental sonatas in Beethoven’s op. 31, the third is more like a \nsuite or divertimento. Three of its four movements stay, more or less, \nin one character. Backhaus understands the work’s comic spirit, and \ngives well-controlled, happy, but generally too loud performances of the\n second and fourth movements. The sonata’s most interesting feature is \nthe way in which Beethoven integrates slower lyrical material—heard at \nthe opening, where it has the effect of being an introduction—into the \ncheerful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nfirst movement. Backhaus responds with sensitivity to the pleading \nthree-note motive, though he pedals through the important rests that \nfollow it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNos. 19 and 20: Subtly paced phrasing \nand beautiful singing tone—Backhaus scales back his characteristically \nsturdy sound—make these model performances. His casual pedaling through a\n few rests is a small price to pay for such fresh, unassuming readings \nof these two sonatinas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 21: Successful performances of the \n“Waldstein” require, in the first movement, precise, energetic playing \ncontrasted with smooth legato in the second theme’s angelic chordal \nmelody. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n can operate at one of the slowest tempos anywhere in Beethoven, and the\n finale, employing long pedals at the opening, should be simple, quiet, \nand sublime in its main material, exciting in the episodes, and \nthrilling in the coda. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s looser approach doesn’t \nreally meet most of these requirements, but causes me to rethink them, \nsomewhat. The first movement’s second theme is played downright \nperversely; it’s loud, percussive, and lacking in line. There’s quite a \nbit of tempo fluctuation throughout the first movement, and even more in\n the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The finale is conceived along the right lines, though there’s no true \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Backhaus offers clarity, the long pedals are observed, and there’s \nvirtuosic abandon in the faster episodes. He humbly slows down to play \nthe famous glissando octaves as separate strokes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 22: This underappreciated, \nexperimental sonata owes much to Haydn in its construction and humor. In\n the first movement, a minuet parody with two variations is interrupted \nby unruly outbursts of octaves and parallel sixths. (I have always \nthought of the minuet sections as representing Haydn, and the subversive\n interruptions representing his student, Beethoven.) Backhaus notches up\n the tempo in the octave sections, heightening the contrast with the \nmain material, but the movement holds together better if they are united\n with the minuet in pulse if not in spirit. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLike most pianists, Backhaus plays the difficult second movement faster than I think it should go—it’s a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emoto perpetuo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e marked \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that should only give way to a faster tempo in its coda—yielding to the\n temptation of turning it into a showy toccata. In his performance \nthere’s no tempo increase at the end. There’s more wit and subtlety, \neven a kind of mystical stillness at the heart of its constant motion \nthan Backhaus provides, but he certainly plays it with great energy and \nfine fingerwork. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 23: The “Appassionata”s first \nmovement receives a taut, impassioned reading with carefully gauged \ndynamics. (Backhaus didn’t get around to remaking either the \n“Appassionata” or the “Hammerklavier” for his second cycle.) The playing\n is splendid from a technical point of view, steadier and more \ndisciplined than usual, as if Backhaus had borrowed Rudolf Serkin’s \nmetronome. In the finale, Beethoven, in an unusual sonata form that he \ndeveloped in the finale of op. 54, very clearly asks for the lengthier, \nsecond part of the movement to be repeated before arriving at the coda. \nI’m confounded as to why so many pianists, Backhaus included, don’t take\n this repeat. The design of the entire sonata is compromised and \ntrivialized by abbreviating this movement. Backhaus is also inclined to \nplay this movement loudly, even though so much material in it is meant \nto be quiet. He anticipates the final \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e by accelerating way too soon before it is indicated. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 78: After allowing the opening four\n measures to unfold expansively, Backhaus rattles off the first movement\n in a way that robs it of some of the lyricism that the opening phrase \ninvokes. His slightly measured tempo in the second movement is a \npleasant surprise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 79: The first movement could \nbenefit from a simpler steadiness. The second movement, which uncannily \nanticipates Mendelssohn’s Venetian boat songs, plods along at too slow a\n tempo, but Backhaus finds a witty, throwaway quality for the finale \nthat’s just right. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 81a: Here is a thoughtfully \nplanned, fully engaged performance that communicates the yearning and \nnostalgia in the first two movements and the last movement’s joyous \nexcitement. This “Les Adieux,” like his “Emperor” Concerto with Clemens \nKrauss (also issued on Pristine and reviewed elsewhere), confirms \nBackhaus’s reputation as one of the great Beethoven interpreters. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eDespite my feeling that many of \nBackhaus’s Beethoven sonatas aren’t characterized with enough detail, \nhis playing always seems sincere and alive, unegotistical, with a human \nquality. Schnabel’s pioneering EMI cycle from the 1930s delineates \nBeethoven’s dynamics and goes deeper interpretively. It has been issued \non Pristine with splendidly improved sound. Nonetheless, it’s good to \nhave Backhaus’s unfussy second opinion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePaul Orgel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM055.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFifth volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cblockquote\u003e\n\u003cp class=\"bodybigblue\"\u003e\"The two little Sonatas, for many of us our first\n steps in Beethoven, are given with charm and simplicity. The recording \nof all these is good.\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eA.R. The Gramophone\u003c\/b\u003e, October 1953 (Reviewing LXT2780\u003cem\u003e, excerpt concerning Sonatas Nos. 19 \u0026amp; 20\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\"In the C major, Backhaus is frequently allowed \nto \"play through the piano\" (the two sides were listened to \nconsecutively at exactly the same level of dynamics, on the same set, \nand in the same room). Colour-range is good, but the atmosphere is \nstudio-like, and the total effect resembles Beethoven's instrument much \nnearer than Backhaus's. The second movement opened with warmer tone, but\n I was out of sympathy with the playing here. There is one triumph for \nBackhaus on this side—his magnificent handling of the Rondo with its \nalmost magical (certainly fairystory) quality of mysteriousness. From \nthis the pianist builds up a castle-like structure. The recording \nengineers were kind (at last) to his opening but allowed unlikeable \nthinness to creep in as he warmed up his interpretation.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eH.F. The Gramophone\u003c\/b\u003e, June 1951 (Reviewing LXT2532, \u003cem\u003eexcerpt concerning Sonata No. 21, \"Waldstein\"\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\u003cp class=\"body\"\u003eOf the two contemporary reviews quoted here, the second,\n of the Waldstein, perhaps puts its finger on a significant point \nregarding a good number of the mono Beethoven sonata recordings made by \nBackhaus for Decca between 1950 and 1954 and represented in this series -\n and their often less-than-glowing reception at the time . It also \nsuggests to me that their remakes later in the same decade and through \nthe 1960s were for reasons more varied than simply the advent of stereo.\u003c\/p\u003e\u003cp class=\"body\"\u003ePut simply, I believe that the Decca production team in \nGeneva were struggling badly with new technology, particularly in the \nearlier of the recordings, and all too frequently either made basic \nerrors or were let down by the new-fangled tape equipment at their \ndisposal.\u003c\/p\u003e\u003cp class=\"body\"\u003eNever in this era have I seen pitch change as much as is\n heard in the original recording of Sonata No. 19. It begins more or \nless in tune, though with some wavering through the first of the two \nmovements. But the second, across just three minutes, sinks an entire \nsemitone, leaving the piano tuned to 422Hz rather than 440Hz. It's \nastonishing that a player as sensitive to pitch as Backhaus could have \napproved this.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe acoustic was often desperately lacking in sympathy, \nsomething I've aimed to ameliorate. But I've also had to tackle peak \ndistortion, wayward electrical tones, high background hiss, and poor \noverall tone. I can only wonder at how much more favourable some of the \nreviews might have been had the performances been properly recorded in \nthe first place.\u003c\/p\u003e\u003cp class=\"body\"\u003eCritical assessment of performances can too often be \nbadly skewed by inadequate recordings, where crucial aspects of those \nperformances are lost. Backhaus deserved better - I hope this series \nrectifies this.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 18 in E flat major, Op. 31, No. 3 \"The Hunt\"\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded May 1954\u003cbr\u003e Issued as Decca LXT 2950\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 19 in G minor, Op. 49, No. 1\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1952 \u003cbr\u003e Issued as Decca LXT 2780\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 20 in G major, Op. 49, No. 2 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded January 1953 \u003cbr\u003e Issued as Decca LXT 2780\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 21 in C major, Op. 53 \"Waldstein\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded July 1950\u003cbr\u003e Issued as Decca LXT 2532\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 22 in F major, Op. 54\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2931\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM055.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM055.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":31975208333,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975208397,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975208461,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975208525,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM055_dc4283ed-db23-4ee3-9c80-166b4c35d356.jpg?v=1487681858"},{"product_id":"pakm056","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 6 (1951-53) - PAKM056","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 23-26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded between 1951 and 1953\u003cbr\u003eTotal duration: 55:41\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis playing always seems sincere and alive578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 5 \u0026amp; 6\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWilhelm Backhaus (1884–1969) recorded \ntwo Beethoven sonata cycles for Decca. These are the fifth and sixth \nvolumes in Pristine Audio’s reissue of the first, lesser-known cycle, \nwhich was recorded in mono between 1950 and 1954. Engineer Andrew Rose \nsuggests that the second cycle, from later in the 1950s through the \n’60s, was done for reasons other than the obvious change to stereo. He \ndescribes Decca’s first production team in Geneva as “struggling badly \nwith new technology” and has worked to correct peak distortion, wayward \nelectrical tones, high background hiss, poor overall tone, and most \negregiously, extreme changes in pitch. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe result is perfectly listenable \nsound. Backhaus’s basic sonority is full and rather bright, slightly \npiercing in the high treble, perhaps due to the Bösendorfer that he \nplayed. There’s still an impression of very close miking or recording at\n overly high levels. Rose takes issue with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic who, in the ’50s, complained that Backhaus “refuses” to play \nquieter than at a medium dynamic level, but even with Pristine’s \nadmirably reworked sound, I perceive the same thing. The fact that in a \nfew spots, such as at the opening of the last movement of No. 18 (op. \n31\/3), and in parts of the “Appassionata’s” first movement, we hear \nmoments of truly quiet playing confirms it. It’s a significant drawback \nin what I find to be an uneven series of performances that, all the \nsame, have a few superb highlights. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere is a survey of the performances: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 18: Compared to the first two, more\n experimental sonatas in Beethoven’s op. 31, the third is more like a \nsuite or divertimento. Three of its four movements stay, more or less, \nin one character. Backhaus understands the work’s comic spirit, and \ngives well-controlled, happy, but generally too loud performances of the\n second and fourth movements. The sonata’s most interesting feature is \nthe way in which Beethoven integrates slower lyrical material—heard at \nthe opening, where it has the effect of being an introduction—into the \ncheerful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nfirst movement. Backhaus responds with sensitivity to the pleading \nthree-note motive, though he pedals through the important rests that \nfollow it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNos. 19 and 20: Subtly paced phrasing \nand beautiful singing tone—Backhaus scales back his characteristically \nsturdy sound—make these model performances. His casual pedaling through a\n few rests is a small price to pay for such fresh, unassuming readings \nof these two sonatinas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 21: Successful performances of the \n“Waldstein” require, in the first movement, precise, energetic playing \ncontrasted with smooth legato in the second theme’s angelic chordal \nmelody. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n can operate at one of the slowest tempos anywhere in Beethoven, and the\n finale, employing long pedals at the opening, should be simple, quiet, \nand sublime in its main material, exciting in the episodes, and \nthrilling in the coda. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s looser approach doesn’t \nreally meet most of these requirements, but causes me to rethink them, \nsomewhat. The first movement’s second theme is played downright \nperversely; it’s loud, percussive, and lacking in line. There’s quite a \nbit of tempo fluctuation throughout the first movement, and even more in\n the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntroduzione\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The finale is conceived along the right lines, though there’s no true \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Backhaus offers clarity, the long pedals are observed, and there’s \nvirtuosic abandon in the faster episodes. He humbly slows down to play \nthe famous glissando octaves as separate strokes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 22: This underappreciated, \nexperimental sonata owes much to Haydn in its construction and humor. In\n the first movement, a minuet parody with two variations is interrupted \nby unruly outbursts of octaves and parallel sixths. (I have always \nthought of the minuet sections as representing Haydn, and the subversive\n interruptions representing his student, Beethoven.) Backhaus notches up\n the tempo in the octave sections, heightening the contrast with the \nmain material, but the movement holds together better if they are united\n with the minuet in pulse if not in spirit. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eLike most pianists, Backhaus plays the difficult second movement faster than I think it should go—it’s a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emoto perpetuo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e marked \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegretto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that should only give way to a faster tempo in its coda—yielding to the\n temptation of turning it into a showy toccata. In his performance \nthere’s no tempo increase at the end. There’s more wit and subtlety, \neven a kind of mystical stillness at the heart of its constant motion \nthan Backhaus provides, but he certainly plays it with great energy and \nfine fingerwork. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo. 23: The “Appassionata”s first \nmovement receives a taut, impassioned reading with carefully gauged \ndynamics. (Backhaus didn’t get around to remaking either the \n“Appassionata” or the “Hammerklavier” for his second cycle.) The playing\n is splendid from a technical point of view, steadier and more \ndisciplined than usual, as if Backhaus had borrowed Rudolf Serkin’s \nmetronome. In the finale, Beethoven, in an unusual sonata form that he \ndeveloped in the finale of op. 54, very clearly asks for the lengthier, \nsecond part of the movement to be repeated before arriving at the coda. \nI’m confounded as to why so many pianists, Backhaus included, don’t take\n this repeat. The design of the entire sonata is compromised and \ntrivialized by abbreviating this movement. Backhaus is also inclined to \nplay this movement loudly, even though so much material in it is meant \nto be quiet. He anticipates the final \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e by accelerating way too soon before it is indicated. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 78: After allowing the opening four\n measures to unfold expansively, Backhaus rattles off the first movement\n in a way that robs it of some of the lyricism that the opening phrase \ninvokes. His slightly measured tempo in the second movement is a \npleasant surprise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 79: The first movement could \nbenefit from a simpler steadiness. The second movement, which uncannily \nanticipates Mendelssohn’s Venetian boat songs, plods along at too slow a\n tempo, but Backhaus finds a witty, throwaway quality for the finale \nthat’s just right. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOp. 81a: Here is a thoughtfully \nplanned, fully engaged performance that communicates the yearning and \nnostalgia in the first two movements and the last movement’s joyous \nexcitement. This “Les Adieux,” like his “Emperor” Concerto with Clemens \nKrauss (also issued on Pristine and reviewed elsewhere), confirms \nBackhaus’s reputation as one of the great Beethoven interpreters. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eDespite my feeling that many of \nBackhaus’s Beethoven sonatas aren’t characterized with enough detail, \nhis playing always seems sincere and alive, unegotistical, with a human \nquality. Schnabel’s pioneering EMI cycle from the 1930s delineates \nBeethoven’s dynamics and goes deeper interpretively. It has been issued \non Pristine with splendidly improved sound. Nonetheless, it’s good to \nhave Backhaus’s unfussy second opinion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePaul Orgel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM056.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSixth volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"bodybigblue\"\u003e\"While Backhaus's understanding of Beethoven is \nnot, at this time of day, in any dispute, there is room to question \nwhether these particular performances succeed in conveying it to the \nlistener. They are dominated by a savage attack, and a refusal to play \nbelow an mp-mf degree of volume; a refusal that may be the result of \nmany years' experience of recording under less satisfactory technical \nconditions than to-day's—which are here not on their very best \nbehaviour, but are nevertheless good, and of course greatly superior to \nthose that may be in Backhaus's mind .. The Appassionata stands up to \nthe strain fairly well ; and is, indeed, particularly in the last \nmovement, an impressive display of technical powers of the most advanced\n kind.\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eM.M. The Gramophone\u003c\/b\u003e, September 1952 (Reviewing LXT2715, \u003cem\u003eexcerpt concerning Sonata No. 23\u003c\/em\u003e) \u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\"The classical, precise, authoritative Backhaus \nis presented here with uncommonly lifelike quality. He has his minor \nerraticisms, but they are no more than a part of the person who is \npresenting a great master for our full attention. Backhaus's own intense\n conviction of the composer's mastery fully overcomes any doubts one \nmight have about the music. In truth, not one of these three sonatas is \nof great magnitude—that in G major (op. 79), Beethoven himself entitled \"\n sonate facile ou sonatine.\"... I like the brittle, guitarry effect \nBackhaus creates for the opening movement of Op. 79: it has a kind of \npeasant air about it. The andante is taken well under walking pace, and I\n could bear the vivace finale more headlong. From this disc I had slight\n trouble with blast, which remained even if one turned the dynamics \ndown. Backhaus's percussive style need not lead to this fault.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eH.F. The Gramophone\u003c\/b\u003e, October 1951 (Reviewing LXT2603, \u003cem\u003eexcerpt concerning Sonata No. 25\u003c\/em\u003e) \u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eI have pointed out in previous technical notes that it \nhas increasingly become my opinion that this series of Beethoven sonata \nrecordings is one neglected - and, in its day, often disparaged - not \nprimarily as a result of the playing by Backhaus of these works, but the\n by the raw deal he was served up by Decca's inadequate recordings.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn this volume pitch is, for the most part, not the issue seen previously, the exception being the first movement of the \u003cem\u003eAppassionata\u003c\/em\u003e,\n which dips alarmingly to begin with before proceeding to waver and jump\n about throughout the movement, most probably the result of editing \ntogether various takes as much as poor general tape speed stability. \nThis has, for the first time, been corrected.\u003c\/p\u003e\u003cp class=\"body\"\u003eI would have to take issue with \u003cem\u003eThe Gramophone\u003c\/em\u003e reviewer's suggestion that Backhaus refuses to play below \u003cem\u003emp-mf \u003c\/em\u003ethroughout\n the work - but can well imagine that impression being given by poor \nreproduction of his playing. Much of this is now happily alleviated \nhere, and these interpretations can be more clearly judged within the \nexcellent sonata cycle they so clearly combine to produce.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003ePiano Sonata No. 23 in F minor, Op. 57 \"Appassionata\"\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2715\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 24 in F sharp major, Op. 78 \"A Thérèse\"\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded April 1952 \u003cbr\u003e Issued as Decca LXT 2931\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 25 in G major, Op. 79\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded March 1951 \u003cbr\u003e Issued as Decca LXT 2603\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 26 in E flat major, Op. 81a \"Les Adieux\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953 \u003cbr\u003e Issued as Decca LXT 2902\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM056.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM056.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":31975208653,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975208717,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975208781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975208845,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM056_ce0fb841-4230-437c-bad1-1052f2c61e84.jpg?v=1487681861"},{"product_id":"pakm057","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 7 (1952\/54) - PAKM057","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 27-29\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1952 and 1954\u003cbr\u003eTotal duration: 71:01\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor collectors interested in late-period Beethoven, what Backhaus has to say is important578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 7 \u0026amp; 8\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese discs were originally Decca \nstudio recordings made between 1952 and 1954—No. 27, op. 90, No. 28, op.\n 101, No. 29, op. 106—and between 1950 and 1953—No. 30, op. 109, No. 31,\n op. 110, No. 32, op. 111. They constitute, respectively, Volumes 7 and 8\n of Pristine’s Backhaus Beethoven Edition. Wilhelm Backhaus was one of \nthe very great pianists of the last century. He was a contemporary of \nArtur Schnabel. There is information (possibly inaccurate) that in the \n1930s HMV Records first approached Backhaus for the project of recording\n all the Beethoven piano sonatas, but eventually settled on Schnabel \nbecause an agreement with Backhaus could not be reached. Here we have \nPristine Audio’s remastering in the form of two of Backhaus’s Beethoven \nsonata discs based on recordings made 20 years after the failed attempt \nby HMV. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s approach to these sonatas \nis, in many places, unique but idiosyncratic. The idiosyncrasies are not\n necessarily conducive to good judgment. The two-movement op. 90 sonata \nis played effectively, admirably in fact. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSturm und Drang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement is met contrastingly by the sunny disposition of \nthe second movement. The first movement of op. 101 is played \ninappropriately fast; it’s all over in 3:07. By comparison, Pollini \ntakes 3:44 (very fast but not inappropriately so), Schnabel takes 4:02, \nArrau takes 4:46, and Serkin takes 4:47. In the second movement (Vivace \nalla Marcia in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003escherzo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n form), Backhaus ignores the second repeat, but this may have been the \nresult of limited vinyl disc space. In any event, this is an undesirable\n omission. At bar 20 in the third movement where a large group of grace \nnotes introduces the final movement, the notation \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enon presto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e appears (in the Schnabel edition and I presume in the autograph). Backhaus plays this as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, if not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eprestissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n obscuring the distinction between the four sets of quintuplet eighth \nnotes and the 10 sets of triplet eighth notes that comprise the \ngrace-note group. At this tempo it is unrealistic, if not physically \nimpossible, to follow Beethoven’s instruction of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNach und nach mehrere Saiten\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (to pass gradually from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003euna corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e). I know of no other performance where Backhaus’s approach is taken. Otherwise, op. 101 comes off well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Hammerklavier” is a mixed bag of \ngreat inspiration and questionable judgment. Although Beethoven’s \nnotorious metronome marking for the beginning of the first movement (a \nvery fast minim of 138) is often ignored for a slower tempo, Backhaus \ncarries this to the level of malicious noncompliance resulting in the \nslowest opening I can recall—noticeably slower than Rudolf Serkin’s \ndidactically (but pleasingly) slow tempo. Throughout the first movement \nBackhaus introduces many tempo fluctuations, which seems to work for a \nwhile. The third movement has Backhaus at his best. Superb phrase \nshaping by subtle tempo and dynamic adjustments reveals the internal and\n external architecture of this magnificent movement. The final \nmovement’s giant fugue starting at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro risoluto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is again managed masterfully by Backhaus, but the introductory 10 bars \nare played frenetically, ignoring the many indicated tempo variations in\n favor of an always-frenetic pulse. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opening movement of op. 109 repeats\n the ill of that of op. 101—an inappropriately fast tempo. At an \nover-before-it-begins 2:40, this is to be compared to Pollini’s fast \n3:15, Schnabel’s 3:58, Arrau’s 3:57, and Serkin’s 4:04. On the other \nhand, in the third-movement variations, Backhaus’s excursion is a \nrevelation of Beethoven’s genius in this musical form. The first \nmovement of op. 110 is again at a fast tempo, but this time it merely \nblurs the passagework and gives the music no time to breathe, but the \nfinal two movements of op. 110 are again a revelation. From the first \nappearance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKlagender Gesang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s second appearance and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eErmattet Klagend\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Backhaus is phenomenal. In the two appearances of the fugue, he again \nis the master, bringing forth clarity of line and delineation of \nstructure. But there is a downside. The nine G-Major chords that bridge \nthe second \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the second fugue are not played with a continuous crescendo, but rather are allowed to die away at their conclusion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s first movement of op. 111 is\n so powerful and so revealing that it is the most rewarding performance \nthat I can recall. His treatment of the second-movement variations is \nmarked (or marred) by some peculiarly fast tempos. The first variation \nis played rather fast, which has the effect of having the slow and \nheavenly Arietta theme followed by an awakening, almost jarring, first \nvariation. Several of the succeeding variations are also played at \nunconventionally fast tempos. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHow does one judge these discs in \nrecommendatory terms? For collectors interested in late-period \nBeethoven, what Backhaus has to say is important, whether in agreement \nor in disagreement with one’s views or expectations. In many ways, \nBackhaus and Schnabel each represent very different approaches to this \nmusic. Both approaches should be availed for a more enriching \nunderstanding of these sonatas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBurton Rothleder\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM057.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSeventh volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eListening to these three recordings it's not difficult \nto distinguish the sonata recorded in 1954 from those recorded two years\n previously. The overall tone of Sonata 27 has a richer quality than \nI've been able to bring out in Sonatas 28 and 29, and in its original \nreview in The Gramophone (not quoted here) the reviewer ends with an \nobservation that: \"The whole of this disc is very well recorded\", \nsomething of a contrast to the criticism directed at the \u003cem\u003eHammerklavier\u003c\/em\u003e recording.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe latter sounds, to modern ears, especially flat and \nboxy, with a very limited lower extension which appears almost to hollow\n out the sound of the piano. The result is indeed a recording which \nsuggested a much poorer performance than Backhaus actually gives as it \nminimises the impact of both the dynamic range of his playing and the \nsubtleties therein.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn all three sonatas in this volume I've been able to \nenact a dramatic transformation in the sound of the piano, despite \nalmost constantly having to fight against multiple shortcomings in the \noriginal recordings, something that has been a constant throughout this \nseries. Pitchwise, apart from a sag during the first movement of Sonata \n28, these were generally fine. But in the recovery of piano tone I've \nhad to lift a lot of tape \"shash\" into the realms of audibility - and \nthen try to suppress this whilst retaining the piano. By and large this \nhas been a successful mission, but at times one may still be reminded of\n the vintage of these recordings.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 27 in E minor, Op. 90\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded January 1954 \u003cbr\u003e Issued as Decca LXT 2902\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 28 in A major, Op. 101\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded April 1952 \u003cbr\u003e Issued as Decca LXT 2715\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 29 in B flat major, Op. 106 \u003cbr\u003e \"Große Sonate für das Hammerklavier\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded April 1952 \u003cbr\u003e Issued as Decca LXT 2777\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM057.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM057.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":31975212045,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975212109,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975212173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975212237,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM057_eb8339ec-5a61-4139-8fd1-803e757b60b6.jpg?v=1487681864"},{"product_id":"pakm058","title":"BACKHAUS Beethoven: Complete Piano Sonatas, Vol. 8 (1950\/53) - PAKM058","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonatas 27-29\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1950 and 1953\u003cbr\u003eTotal duration: 56:26\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBackhaus and Schnabel each represent very different approaches to this music. Both approaches should be availed for a more enriching understanding of these sonatas.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVolumes 7 \u0026amp; 8\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese discs were originally Decca \nstudio recordings made between 1952 and 1954—No. 27, op. 90, No. 28, op.\n 101, No. 29, op. 106—and between 1950 and 1953—No. 30, op. 109, No. 31,\n op. 110, No. 32, op. 111. They constitute, respectively, Volumes 7 and 8\n of Pristine’s Backhaus Beethoven Edition. Wilhelm Backhaus was one of \nthe very great pianists of the last century. He was a contemporary of \nArtur Schnabel. There is information (possibly inaccurate) that in the \n1930s HMV Records first approached Backhaus for the project of recording\n all the Beethoven piano sonatas, but eventually settled on Schnabel \nbecause an agreement with Backhaus could not be reached. Here we have \nPristine Audio’s remastering in the form of two of Backhaus’s Beethoven \nsonata discs based on recordings made 20 years after the failed attempt \nby HMV. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s approach to these sonatas \nis, in many places, unique but idiosyncratic. The idiosyncrasies are not\n necessarily conducive to good judgment. The two-movement op. 90 sonata \nis played effectively, admirably in fact. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSturm und Drang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the first movement is met contrastingly by the sunny disposition of \nthe second movement. The first movement of op. 101 is played \ninappropriately fast; it’s all over in 3:07. By comparison, Pollini \ntakes 3:44 (very fast but not inappropriately so), Schnabel takes 4:02, \nArrau takes 4:46, and Serkin takes 4:47. In the second movement (Vivace \nalla Marcia in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003escherzo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n form), Backhaus ignores the second repeat, but this may have been the \nresult of limited vinyl disc space. In any event, this is an undesirable\n omission. At bar 20 in the third movement where a large group of grace \nnotes introduces the final movement, the notation \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enon presto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e appears (in the Schnabel edition and I presume in the autograph). Backhaus plays this as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, if not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eprestissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n obscuring the distinction between the four sets of quintuplet eighth \nnotes and the 10 sets of triplet eighth notes that comprise the \ngrace-note group. At this tempo it is unrealistic, if not physically \nimpossible, to follow Beethoven’s instruction of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNach und nach mehrere Saiten\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (to pass gradually from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003euna corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003etutti corda\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e). I know of no other performance where Backhaus’s approach is taken. Otherwise, op. 101 comes off well. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Hammerklavier” is a mixed bag of \ngreat inspiration and questionable judgment. Although Beethoven’s \nnotorious metronome marking for the beginning of the first movement (a \nvery fast minim of 138) is often ignored for a slower tempo, Backhaus \ncarries this to the level of malicious noncompliance resulting in the \nslowest opening I can recall—noticeably slower than Rudolf Serkin’s \ndidactically (but pleasingly) slow tempo. Throughout the first movement \nBackhaus introduces many tempo fluctuations, which seems to work for a \nwhile. The third movement has Backhaus at his best. Superb phrase \nshaping by subtle tempo and dynamic adjustments reveals the internal and\n external architecture of this magnificent movement. The final \nmovement’s giant fugue starting at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro risoluto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is again managed masterfully by Backhaus, but the introductory 10 bars \nare played frenetically, ignoring the many indicated tempo variations in\n favor of an always-frenetic pulse. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe opening movement of op. 109 repeats\n the ill of that of op. 101—an inappropriately fast tempo. At an \nover-before-it-begins 2:40, this is to be compared to Pollini’s fast \n3:15, Schnabel’s 3:58, Arrau’s 3:57, and Serkin’s 4:04. On the other \nhand, in the third-movement variations, Backhaus’s excursion is a \nrevelation of Beethoven’s genius in this musical form. The first \nmovement of op. 110 is again at a fast tempo, but this time it merely \nblurs the passagework and gives the music no time to breathe, but the \nfinal two movements of op. 110 are again a revelation. From the first \nappearance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKlagender Gesang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, through the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s second appearance and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eErmattet Klagend\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Backhaus is phenomenal. In the two appearances of the fugue, he again \nis the master, bringing forth clarity of line and delineation of \nstructure. But there is a downside. The nine G-Major chords that bridge \nthe second \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the second fugue are not played with a continuous crescendo, but rather are allowed to die away at their conclusion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBackhaus’s first movement of op. 111 is\n so powerful and so revealing that it is the most rewarding performance \nthat I can recall. His treatment of the second-movement variations is \nmarked (or marred) by some peculiarly fast tempos. The first variation \nis played rather fast, which has the effect of having the slow and \nheavenly Arietta theme followed by an awakening, almost jarring, first \nvariation. Several of the succeeding variations are also played at \nunconventionally fast tempos. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHow does one judge these discs in \nrecommendatory terms? For collectors interested in late-period \nBeethoven, what Backhaus has to say is important, whether in agreement \nor in disagreement with one’s views or expectations. In many ways, \nBackhaus and Schnabel each represent very different approaches to this \nmusic. Both approaches should be availed for a more enriching \nunderstanding of these sonatas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBurton Rothleder\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM058.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eEighth and final volume in Backhaus's magnificent first Beethoven Sonata cycle\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLong only available on rare imports, and in new 32-bit XR remasters - this is unmissable\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eSonata No. 30 was among the earliest recorded in this series and \namong the few to be released on 78s alongside an LP. Nevertheless it's \nalmost on a par with the two 1953 recordings with regard to technical \nquality. All three were again less than ideal, with various flaws \nfamiliar to this cycle, yet beyond a tendency to upper-frequency \nfuzziness and some pre- and post-echo they were generally at the higher \nend of the quality scale when looked at in that context. Perhaps the \nfact of a 78rpm issue of the first of these three works should serve as a\n reminder of the somewhat primitive technical origins of Backhaus's \nfirst complete cycle - by the time he returned to Beethoven sonatas in \nthe Decca studios a few short years later, recording technology had \nadvanced considerably.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 30 in E major, Op. 109\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded July 1950 \u003cbr\u003e Issued as Decca LXT 2535 and on 78s as AX361-62\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 31 in A flat major, Op. 110\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded November 1953 \u003cbr\u003e Issued as Decca LXT 2939 \u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 32 in C minor, Op. 111\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded November 1953 \u003cbr\u003e Issued as Decca LXT 2939 \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e Wilhelm Backhaus\u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recording producer: Victor Olof\u003cbr\u003e Recorded at Victoria Hall, Geneva \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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