{"title":"Concertgebouw Orchestra","description":"\u003cp\u003eThe Concertgebouw Orchestra is a Dutch orchestra based in Amsterdam.\u003c\/p\u003e\u003cp\u003eIt was founded in 1888 and later became known as the Royal Concertgebouw Orchestra.\u003c\/p\u003e\u003cp\u003eThe orchestra is one of the major European symphony orchestras and is closely associated with the Concertgebouw concert hall.\u003c\/p\u003e","products":[{"product_id":"pasc312","title":"CURZON Brahms, Grieg: Piano Concertos (1951\/3) - PASC312","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1\u003cbr\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Piano Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1953 \u0026amp; 1951\u003cbr\u003eTotal duration: 77:45\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eClifford Curzon\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEduard van Beinum\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnatole Fistoulari\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf he was capable of playing a routine bar I have yet to hear it.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe 1953 Brahms is the second of three \nstudio recordings Clifford Curzon made for Decca, between the Enrique \nJordá\/National Symphony Orchestra (1945–46) and the George Szell\/London \nSymphony Orchestra (1962). All are available in Decca’s gathering of his\n complete studio recordings in a series of bargain-priced Original \nMasters boxes. Although the difference in transfers is not huge, the \nadvantage here goes to Pristine’s (from LPs, as usual), sounding richer,\n warmer, and with an expanded dynamic range compared to Decca’s own from\n the master tapes. If, in comparison to his stereo remake with Szell, \nthe recording of the piano still comes across as rather colorless, \nlacking something in impact, that’s simply a limitation of the mono \noriginal. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCurzon was famous for completely \nrethinking his interpretations with every new performance or recorded \nremake of the same piece. Despite being very recognizably himself in \nfastidious nuance and refinement in all three versions, there are some \nvery striking differences, most notably in the huge disparity of tempo \nin the Adagio, from a briskish 12 minutes with van Beinum to an \nincredibly spacious 16 (!) with Szell in 1962. On the other hand the \nfinale got much slower between 1945 (though slackly conducted by Jordá) \nand 1953. Overall, the middle recording comes across as the most \nclassical of the three, which has much to do with van Beinum’s \nconducting—lean-textured and buoyant, with finely drawn lines sharply \nprojected by the Concertgebouw’s nasal, cutting sound, in striking \ncontrast to Szell’s weighty, monumental approach with the \nricher-textured LSO. If much of the piano writing (starting from the \nfirst solo entry, which can come over as rather gray at the best of \ntimes) is inevitably more effectively projected in the better-recorded \nstereo remake, there is still much to relish, whether the virtuoso fire \nand attack of the first-movement development, the spontaneous, \nforward-pressing rhapsody of the Adagio’s restless second theme, or the \ninimitably Curzonian blend of visceral emotional engagement and minutely\n considered nuance in the finale’s two cadenzas. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs Pristine’s Andrew Rose notes, the \nGrieg (1951) was never a sonic prize, the recording of the orchestra \nrather grainy and opaque. If the Original Masters transfer seems to have\n a little more body and hall acoustic, that is outweighed by its \nmarkedly flat pitch, which Rose has corrected to the recording’s great \nadvantage. The obvious comparison here is to the stereo remake with \nØivin Fjeldstad (1959), which found the LSO in much better form than it \nwas for Fistoulari in 1951; the earlier recording also suffers from an \nexcessively slow Adagio (Fistoulari’s 7:16 to Fjeldstad’s 6:07). As for \nCurzon, if he was capable of playing a routine bar I have yet to hear \nit. He can certainly thunder when required, but the performance is most \nmemorable for its delicacy and finesse of voicing, with breathtaking \ndynamic control at the quiet end of the spectrum, refinement of \npedaling, and his trademark combination of singing luminosity with \nrhythmic tautness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eCurzon aficionados will probably find \nit worth supplementing their Original Masters discs with these new \ntransfers. More general collectors are probably better served by the \npianist’s stereo remakes. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:5 (May\/June 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC312.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Most memorable for its delicacy and finesse of voicing, with breathtaking dynamic control, and his trademark combination of singing luminosity with rhythmic tautness\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite the presence at both sessions which produced \nthese recordings of Decca's crack recording duo, producer John Culshaw \nand engineer Kenneth Wilkinson, there was a marked difference sonically \nin the results they achieved. Indeed, the earlier recording of the \nGrieg, made in London in 1951 - and still prepared as for a 78rpm \nrelease which didn't happen (an additional Chopin fill-up side was also \nrecorded but never issued) - sounds particularly dim and dusty. Reviving\n this recording has perhaps been the major achievement in this release, \nwith 32-bit XR remastering injecting a sense of life and reality missing\n from the Decca LP.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy contrast, the 1953 Brahms is a different matter \naltogether, recorded with a clarity that surely makes it a model \nrecording of its era. Both recordings have also benefitted audibly from \nthe latest pitch stabilisation techniques, especially again the Grieg, \nwhere what would have been the third 78pm side (the final third of the \nfirst movement) was distinctly flat by comparison to the rest of the \nrecording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCURZON\u003c\/b\u003e \u003cb\u003eBrahms\u003c\/b\u003e, \u003cb\u003eGrieg\u003c\/b\u003e: Piano Concertos (1951\/3)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 19 May-1 June 1953, Concertgebouw, Amsterdam\u003cbr\u003eTransfer from Decca LTX 2825\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Piano Concerto in A minor, Op. 16\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro molto moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro moderato molto e marcato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 15-16 October 1951, Kingsway Hall, London\u003cbr\u003eTransfer from Decca LTX 2657\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEduard van Beinum\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnatole Fistoulari\u003c\/b\u003e conductor\u003cbr\u003e\u003cb\u003eClifford Curzon\u003c\/b\u003e piano\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\/PASC312.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC312.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":32485354317,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32485354381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32485354445,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32485354509,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC312.jpg?v=1487695177"},{"product_id":"paco012","title":"MENGELBERG Brahms: Ein Deutsches Requiem (1940) - PACO012","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003e Ein Deutsches Requiem, Op. 45\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in Amsterdam, 7th November 1940\u003cbr\u003eDuration 65:50\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eMax Kloos\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eAmsterdam Toonkunst Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere are moments of great choral climaxes in Parts II and VI that are as great or greater than I've ever heard them578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe Brahms German Requiem has been close to my heart ever since, as a \ncollege freshman, I sung in it at age 19. We rehearsed it for eight \nmonths under Hugo Strelitzer, an exile from the Nazis who had been an \naide to Richard Strauss. Strelitzer had often prepared the Requiem for \nStrauss to conduct; he made it clear that he thought little of our \nefforts. We turned to Brahms for solace. \u003cbr\u003e \u003cbr\u003e One wonders what \nStrauss would have thought of Mengelberg's performance. They were close \nand admiring friends. On the one hand, Mengelberg's German Requiem is a \ngreat and a magnificent performance even with the usual Mengelberg \nquirks; there are moments of great choral climaxes in Parts II and VI \nthat are as great or greater than I've ever heard them. On the other \nhand, Mengelberg has stuck a knife in his artistic creation that has \nwounded but not killed it. More anon. \u003cbr\u003e \u003cbr\u003e I Selig Sind \u003cbr\u003e \u003cbr\u003e \nThe opening movement is very good, but not great, due to Mengelberg's \ntypical tempo instabilities. Because of this, the beautiful modulation \nat \"Sie gehin hin\" does not make as great an impact as it could. Still, \nthere are many beautiful moments. \u003cbr\u003e \u003cbr\u003e II Denn alles Fleisch \u003cbr\u003e \u003cbr\u003e\n The opening funeral march is remarkably steady and the choral \nfortissimo is shocking and very clear. The trio is lovely and the repeat\n of the funeral march is archingly beautiful and forward in movement. \nThe Handelian fugue that follows is one of the greatest things I've \nheard from Mengelberg: entries strong and brilliantly clear; \ncounterpoint dazzling. Have I ever heard it this good before? And then, \nsuddenly, it's OVER. I can't believe it. A small poisonous doubt creeps \nin--can he have cut it? I don't have a score and I check timings with \nother performances and it's within the time limits, so I let it go. \u003cbr\u003e \u003cbr\u003e III Herr, lehre doch mich \u003cbr\u003e \u003cbr\u003e\n A superb baritone, Max Klos, opens with \"Lord, let me know mine end\" \nand the chorus is very beautiful in consoling him. And then Mengelberg \ndoes what no other conductor, not even Furtwängler, Toscanini or \nKlemperer has done: he conducts the usual murky pedal fugue as if it \nwere Mozart with great clarity and beauty. Every strand is clear; the \nchoral fugue above and the unyielding orchestral pedal below. A \nmagnificent accomplishment. \u003cbr\u003e \u003cbr\u003e IV Wie lieblich \u003cbr\u003e \u003cbr\u003e This acme of sweetness, this bob-bon is superb and the little contrapuntal acid in the middle cuts it very well. \u003cbr\u003e \u003cbr\u003e V I habt nun Traurigkeit \u003cbr\u003e \u003cbr\u003e Jo Vincent is not Elizabeth Schwartzkopf in the 1947 Karajan recording of the Requiem and that says it all. \u003cbr\u003e \u003cbr\u003e VI  Denn wir habel \u003cbr\u003e \u003cbr\u003e\n The great climax of the Requiem. Again Max Klos (nearly equal to Hans \nHotter) opens and Mengelberg creates great mystery and suspense. The \nmood finally breaks into tempestuous choral fury. The Pristine Audio \nrestoration has performed a real miracle here. The choral power is \"in \nyour face\"! The final \"Death, where is thy sting?\" is thrown out like \nhammerblows from heaven. I have never heard it with such power. I \nunderstand Strelitzer's contempt for our puny efforts. \u003cbr\u003e \u003cbr\u003e Then \nthe great Handelian fugue begins: \"Thou art worthy, o Lord\" and again \nMengelberg's mastery of chorus and orchestra is a thing to behold: \nclarity, power, unstoppable momentum. And it STOPS! \u003cbr\u003e And I know, \nbeyond the shadow of a doubt, that he has made a large cut! I search on \nthe Internet and find two references to large cuts in the 6th movement. \u003cbr\u003e \u003cbr\u003e\n What can one say to such an unbelievable, arrogant artistic blunder? \nCuts have been made to works, of course, to sections that were too long \nor where inspiration lagged. But to cut Brahms at the acme of his \ninspiration and Mengelberg at the height of his recreation? To me it is \nincomprehensible. It suggests to me that Mengelberg's great genius was \nmixed with considerable arrogance, that he did not feel as Schnabel did \nthat \"the music is always better than we can perform it\". \u003cbr\u003e \u003cbr\u003e VII Selig sind \u003cbr\u003e \u003cbr\u003e Strong, heavy. It is perhaps now WE who need the consolations of the Requiem. \u003cbr\u003e \u003cbr\u003e\n It is obvious that I feel strongly about the cuts. Even so, this is a \nmagnificent performance of the German Requiem with miraculous sound \nespecially in the fortissimo choral pssages. I cannot forbear to listen \nto it, even while I realize that Mengelberg lacked the artistic \ngreatness of a Schnabel, a Toscanini or a Furtwängler.\u003cbr\u003e\u003cbr\u003eReviewer: Bill Rosen\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO012.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nBrahms' German Requiem, given its first full performance in Leipzig in \n1869, began life over a decade earlier in sketches for a projected first\n symphony, which became the first Piano Concerto. It is unclear whether \nthe death of Brahms' great friend and mentor, Schumann, became the \noriginal impetus for the work; what is clear is that the death of his \nmother in 1865 inspired the composer to put his full effort into the \nwork.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eA first performance in 1867, of the opening three \nmovements, was not a great success - the playing was poor and it was \nbadly received. Five months later a six-movement version, then intended \nto be complete, was given in Bremen Cathedral with the composer \nconducting, and his father, and friends Clara Schumann and the violinist\n Joachim amongst those present in what was a deeply moving event. The \nfifth movement was then added, giving a symmetry and balance to the \nwhole piece. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAt the age of thirty-five, Brahms was finally fully\n established as a composer with the success of this piece, and the \nproclamation made many years earlier by Schumann, that in Brahms the \nworld had a worthy successor to Beethoven, began to look possible. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe\n text is not drawn from the Catholic Mass, as with a majority of Requiem\n Masses set to music at this time; Brahms instead drew on Luther's \nGerman Bible to produce a text designed to console and inspire the \nliving, rather than offering prayers to the dead. (See below for links \nto further detailed information about this piece)\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis \nrecording, made onto acetate 78rpm discs by a Dutch radio station in \n1940, was one of a number of Mengelberg's live output that has survived \nreasonably well. I say reasonably, as the recording itself was \noriginally very good, but wear and tear of the delicate and unique disc \nsurfaces in the twenty years prior to their transfer to tape and then LP\n had caused significant damage.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOnly very recently has the \ntechnology become available to correct the problems inherent in the \noriginal discs, and by the slow and painstaking application of new \nrestoration techniques we are now able to present this wonderful \nrecording in a sound quality far superior to anything heard before. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBrahms\u003c\/b\u003e: Ein Deutsches Requiem (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003e Ein Deutsches Requiem, Op. 45\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSelig sind, die da Leid tragen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDenn alles Fleisch, es ist wie Gras\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHerr, lehre doch mich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWie lieblich sind deine Wohnungen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIhr habt nun Traurigkeit\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDenn wir haben hie keine bleibende Statt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSelig sind die Toten\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live in Amsterdam, 7th November 1940\u003cbr\u003eDuration 65:50\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eMax Kloos\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eAmsterdam Toonkunst Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO012.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO012.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":33988856845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":33988856909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO012.jpg?v=1489415075"},{"product_id":"pasc414","title":"The Columbia Beethoven Centennial Symphony Series, Volume 4 (1926\/27) - PASC414","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7\u003cbr\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture, Op. 62\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eEgmont Overture, Op. 84\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8, 2nd mvt.\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings · 1926\/27\u003cbr\u003eTotal duration: 73:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFelix Weingartner\u003c\/b\u003e,conductor\u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis continues Pristine Audio’s \nreissue of British Columbia’s complete Beethoven symphony series, the \nfirst to be issued on electrical recordings. To get down to basics, \nalthough they are very important historically, neither of these \nperformances can be called “competitive” no matter how good they may \nhave sounded to 1927 ears. Although they could hardly be called \n“self-effacing,” the performances strike me as solid, conventional \nreadings. The violins sound a little thin but they still dominate the \nproceedings much of the time. Weingartner makes no attempt to observe \nBeethoven’s metronome markings, possibly because he thought them \ninvalid, so tempos tend to be on the moderate side. The basses seem more\n audible later in the recording of the Seventh than they did in the \nfirst movement, for whatever reason. Few repeats are observed, as was \napparently the case in those days if we can believe the evidence on \nrecordings from the monaural era. In the Eighth Symphony, he observes \nthe first and third repeats in the third movement. As in the Seventh, he\n skips the exposition repeat in movement one. I mention these omissions \nnot because they particularly bother me but because they do bother some \nlisteners. I would call his tempos in these symphonies \n“middle-of-the-pack” with no extremes one way or the other. I could say \nthe same about Mengelberg’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n overtures, which are more vividly recorded. I await Weingartner’s first\n electrical Ninth, since his second one is one of my very favorites. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC414.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis volume is the fourth of five which will reissue, for the first \ntime in one series, the complete symphony cycle which English Columbia \ncommissioned to commemorate the centennial of Beethoven’s death in 1927.\n The first four symphonies were assigned to British conductors \n(Henschel, Beecham, Wood and the Northern Irish Harty) while the \nremainder were given to Weingartner, already generally acknowledged as a\n Beethoven specialist.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor the Seventh and Eighth Symphonies, Weingartner was returning to \nscores he had only relatively recently recorded for Columbia using the \nold acoustical process. In the Seventh, he restored a cut he had made in\n the Scherzo in the previous nine-sided version, while the remade Eighth\n took one side less due to the elimination of a large overlap of \nrepeated music in the third movement. Both of the present versions are \nswifter than their 1936 remakes, but the differences are not as marked \nas those between his 1927 and 1933 versions of the Fifth Symphony \n(detailed in the notes to Volume 3).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe two overtures date from the Concertgebouw Orchestra’s first \nrecording sessions in May, 1926. The early electrical sound is \nnoticeably more primitive than that of the symphonies, showing the great\n advances Columbia had made over the intervening months. The single \nmovement from the Eighth Symphony was included as the filler side to \nMengelberg’s recording of Cherubini’s Anacreon Overture. While not part \nof the Centennial Symphonies series per se, these sides have been \nincluded not only to fill out an otherwise short program, but also \nbecause, along with Henry Wood’s Leonore Overture No. 3 in Volume 1 and \nthe symphonies, they comprise the complete electrical orchestral \nrecordings of Beethoven which Columbia had in print by the end of the \nCentennial year of 1927, (excluding Louis Zimmermann’s recording of the \nViolin Concerto, released only in Holland).\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the present transfers were American Columbia \n“Viva-Tonal” pressings. While these are usually the quietest versions \navailable, a higher-than-average amount of surface noise will be \nnoticeable in the Mengelberg items. When played using the typical \nrecording curve for the early electric era, these sides sound dull and \nbass-heavy; however, by playing them with a “flat” equalization and then\n significantly boosting the upper frequencies, the balance and detail of\n the original recordings comes into focus, albeit at the expense of \nsignificantly increased hiss. The severe speed fluctuations of the \noriginals have been corrected through the application of Celemony \nCapstan, allowing the performances to be heard with rock-solid pitch for\n the first time since the original recording sessions.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003eThe Columbia \u003cb\u003eBeethoven\u003c\/b\u003e Centennial Symphony Series, Volume 4 (1926\/27)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20, 25 – 26 January 1927 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2383-2, 2390-2, 2391-2, 2392-1, 2393-1, 2394-2, 2397-2, 2398-2, 2399-2 \u0026amp; 2400-2\u003cbr\u003eFirst issued on Columbia L 1898 through 1902\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 – 28 January 1927 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2412-2, 2413-2, 2404-2, 2405-2 2406-2 \u0026amp; 2407-2\u003cbr\u003eFirst issued on Columbia 1903 through 1905\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFelix Weingartner\u003c\/b\u003e  conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan, Op. 62 – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOverture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 1546-2 \u0026amp; 1547-2\u003cbr\u003eFirst issued on Columbia L 1848\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Egmont, Op. 84 – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEgmont, Op. 84 -Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 1544-3 \u0026amp; 1545-1\u003cbr\u003eFirst issued on Columbia L 1799\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93 - \u003ci\u003e2nd Mvt.: Andante molto moto\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto moto (2)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: WAX 2844-1\u003cbr\u003eFirst issued on Columbia L1973\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC414.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC414.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":31976002765,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976002829,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC414_ba3eac8a-7e84-42ca-bdde-fc64d2c808f1.jpg?v=1487682648"},{"product_id":"pasc414-cd","title":"The Columbia Beethoven Centennial Symphony Series, Volume 4 (1926\/27) - PASC414 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC414.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976375053,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC414_ae1047c4-e302-4823-a38e-cd73b19c3f9a.jpg?v=1658742158"},{"product_id":"pasc312-cd","title":"CURZON Brahms, Grieg: Piano Concertos (1951\/3) - PASC312 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478062157,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC312_6f415484-cb92-4347-a0b5-a16fcf7e789e.jpg?v=1658307302"},{"product_id":"paco012-cd","title":"MENGELBERG Brahms: Ein Deutsches Requiem (1940) - PACO012 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478102541,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO012_83ad71c8-024e-40b4-a12f-7192d1c4b4ca.jpg?v=1657120120"},{"product_id":"pasc221","title":"MENGELBERG Beethoven and Brahms: First Symphonies (1940) - PASC221","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in 1940, Amsterdam\u003cbr\u003eTotal duration: 73:28\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAltogether exceptional, and I eagerly anticipate further Pristine releases of Mengelberg578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese performances have been previously available \non other labels, often with confusingly different dates attributed: \ne.g., the Beethoven on Music \u0026amp; Arts, dated 4\/14\/1940; the Brahms on \nLys, dated 12\/13\/1940. But they’re certainly the same performances, \neasily verifiable by a quick spot-check of details. The AVRO radio \nrecordings were very good for their time, and the question is how these \nnew Pristine transfers measure up to previous releases. The appetite is \nwhetted by Andrew Rose’s high claims for his XR remastering’s yielding \n“extended sections … where we’ve been able to present a true \nfull-frequency, 20–20,000 Hz frequency response, coupled with a dynamic \nrange more befitting of a 1960s or 1970s analog recording—sound quality \nwhich is quite astonishing for its age. … One will rarely get closer to \nhearing a 1940 concert than this.” By and large, Rose’s claims are \njustified: The sound does indeed leap from the speakers with a visceral,\n colorful tangibility far surpassing any previous remasterings I’ve \nheard. So if you have these performances in previous incarnations and \nare wondering if the new purchase is warranted, the answer is an \nemphatic yes.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performances are vintage Mengelberg: a fiery, \nClassical approach that was decades ahead of its time in its radically \nlight, pungent textures, hand-in-hand with a penchant for extremes of \ntempo modification that have earned him (wrongly, I think) his \nreputation for ultra-romantic subjectivity. The Beethoven is one of the \nmost characterful performances of this symphony I’ve ever heard, \ndispatched with rare brio and often a Rossini-like bubble, a miracle of \nrhythmic pointing and nuanced subtlety; dynamics are differentiated with\n fine-tuned precision (e.g., the light, airy single \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at bars 69 ff. in the first movement—compare Toscanini’s brutal assault\n here). Contrary to received wisdom, Mengelberg’s tempo flexibility was \noften at the service of articulating formal structure rather than \nsubjective expression. Consider, for example, the purely musical \nrationale for his various tempo modifications in the first-movement \nexposition: to accentuate the chromatic drama at bars 17–19, heighten \nthe form-defining rhetorical gestures at bars 69 ff., and dramatize the \nmodal contrast at bars 77 ff. (Interestingly, his 1930 studio recording \nwith the NYPO [Biddulph] is much smoother, with less pronounced tempo \nmanipulation.) There is an almost incredible level of attention to \ndetail (in the closing-section material of the Andante, hear how \npersuasively he shapes the delicate violin triplets [bars 54 ff.] \nthrough subtly differentiated accents and note-lengths); yet always with\n the larger purpose in mind (e.g., in the Menuetto, the immensely \npowerful effect of long, supple phrasing in a single breath). Unusually \nfor its time, the outer-movement repeats are both observed (though not \nin the Andante).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eComparison with two live NBC versions from the \nprevious year is instructive: Toscanini (Music \u0026amp; Arts or Naxos) is \nbrightly lit and hard-driven, with little of Mengelberg’s subtlety; \nWalter, on the other hand (Arbiter), intriguingly comes across as a \n“missing link” between the Italian and the Dutchman, marrying the \nbright, highly charged NBC sound to a surprising degree of tempo \nflexibility.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the Brahms, the first-movement introduction has\n enormous plasticity of ebb and flow at an uncommonly brisk tempo for \nits time (like Stokowski and Weingartner, he didn’t take \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eun poco sostenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n to mean slow). The Allegro is characterized by a fanatical precision \nand rigor: Mengelberg invests the scherzando main theme with a “swung” \nrhythmic lift in common with other conductors—Walter (VPO, 1937\/Opus \nKura), Weingartner (LSO, 1939\/EMI or Centaur), and Abendroth (BPO, \n1941\/Tahra); but none of these approach Mengelberg’s ferocious bite. \nProjection of phrase structure is set in high relief by an “organ stop” \nedge to the wind choirs (Stokowski achieves a similar sculpted clarity \nin his Philadelphia version of 1936, available on Andante). In the \nexposition, the variation in tempo between primary and secondary \nmaterial is extreme, the latter slowing down to near-immobility in the \nhorn\/clarinet dialogue, bars 149 ff. (interesting to hear the young \nKarajan emulating the Concertgebouw\/Mengelberg tradition of tempo \nmodification in his 1943 version with the orchestra [DG Collector’s \nEdition]—but not very successfully, with surprisingly flaccid orchestral\n response).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Andante is taken very moderately (at 10: 15, a\n halfway house between the speedy Toscanini at 8:39 [NBC, 1940\/Music \n\u0026amp; Arts] and the very slow Walter at 12:57), and with an unusually \nsolemn, sacramental quality. The autumnal third movement has more \ntension and point than usual, the B-Major Trio taken with a dashing, \nclipped precision that is quite unlike any other conductor. The finale \nis notable for its obsessive clarity—hear the extraordinarily sharp \nfocus of the hocket-like passage for divided violins in the introduction\n (bars 24 ff.); the punctilious, indeed rather didactic, phrase \narticulation in the main theme; or the climax at bars 279 ff., delivered\n with an overwhelming ferocity and whiplash precision. But equally \nremarkable is its expressive spontaneity, from the amazingly vocal horn \nsolo in the introduction to the soloistically singing massed strings in \nthe second group. Compared to the first movement, the tempo range is \nsurprisingly narrow.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAltogether exceptional, and I eagerly anticipate further Pristine releases of Mengelberg’s radio recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC221.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWillem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMany of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. Howver, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at. There are extended sections in both 1940 concert recordings present here where we've been able to present a true full-frequency, 20-20,000 Hz frequency response, coupled with a dynamic range more befitting of a 1960s or 1970s analogue recording - sound quality which is quite astonishing for its age.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOf course these discs were by no means perfect, and trying to go \"the extra mile\" in restoring it to modern standards is fraught with difficulties. Modulation distortion abounds in the original - basically whenever the music gets louder, so does the hiss and noise levels, especially at the higher frequencies which were previously largely inaudible. The majority of the restoration effort has then been involved in trying to ameliorate this problem, though sharper ears may still hear its effect from time to time. There is at times also very slightly higher general background hiss than one might expect of a more recent recording, and one of course has to deal with the low level click and crackle present in just about any disc recording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElsewhere the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. The use of multiple references for the remastering of the recordings has ensured that the tonal balance is as natural and realistic as possible, and that the two recordings resulted in an orchestral sound which was consistent for both recordings. One will rarely get closer to hearing a 1940 concert than this.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e and \u003cb\u003eBrahms\u003c\/b\u003e: First Symphonies (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1 in C major, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuetto (Allegro molto e vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro — Allegro molto e vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Un poco sostenuto — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante sostenuto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Un poco allegretto e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Allegro non troppo, ma con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 13th October, 1940\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 27th October, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003ePlayed by Royal \u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in October 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from Philips LPs W 09907 L \u0026amp; 6597 009 in the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 73:28\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC221.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC221.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34452452237,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452452301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452452365,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452452493,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC221_8c31d153-6190-43fd-9ea8-94d99a6bd757.jpg?v=1490032596"},{"product_id":"pasc221-cd","title":"MENGELBERG Beethoven and Brahms: First Symphonies (1940) - PASC221 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478198541,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC221_e1106d85-143f-4b5f-a0c4-9229c7002b0c.jpg?v=1658244257"},{"product_id":"pasc229","title":"MENGELBERG Beethoven: Symphonies 2 \u0026 8, Fidelio Overture (1940) - PASC229","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in 1940, Amsterdam\u003cbr\u003eTotal duration: 71:09\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnother truly exceptional disc from Pristine. Keep ’em coming!578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAndrew Rose continues to work his restorative \nmagic on Mengelberg’s wartime performances, and the results are again \nrevelatory in terms of improvements in dynamic range and presence, far \noutclassing previous CD releases from Music \u0026amp; Arts and Philips. I \nhave one small reservation: The Pristine transfers are perhaps very \nslightly over-filtered in the quietest passages, occasionally resulting \nin a “disappearing” effect at the extreme end of the dynamic range. A \ncase in point is the diminuendo to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eppp\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e before the crashing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n C♯ near the beginning of the finale of No. 8—the Philips sounds a \nlittle more natural here, through its heavy acetate crackle. But in \nevery other respect, the superiority is Pristine’s all the way.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNo. 2 is played for clarity, at deliberate tempos,\n with weighty precision. The first movement (complete with exposition \nrepeat) has a remarkable sharpness of focus, with a fanatical concern to\n make every note count (e.g., the amazing fullness and breadth achieved \nin the descending figure in cellos and basses at bars 88 ff.). \nMengelberg’s refusal to hurry this movement is altogether a far cry from\n the impulsive dash of Krauss (VPO, 1929\/Preiser) or the extrovert \nassertiveness of Beecham (LPO, 1936\/Beecham Collection), closer to the \npliable, richly detailed approach of Kleiber (Berlin State Opera \nOrchestra, 1929\/Dutton Labs or Naxos). The Larghetto is slow (12:33), \nplayed with great freedom and immense care over detail (hear the singing\n second theme, bars 48 ff., and the “speaking” quality of the \nstrings\/wind interchanges at 66 ff.). In the main theme of the finale, \nMengelberg’s obsession with clarity of articulation might be thought to \ncourt pedantry. The controlled rigor of the approach culminates in a \ncoda of ferocious, crushing power.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eInterestingly, Toscanini takes a similarly \nweightier than usual approach in his 1939 cycle (Music \u0026amp; Arts), a \nperformance of great intensity and élan, though less nuance than the \nDutch maestro. Fascinating, too, to hear Mengelberg in another live \nversion from three years later (1943\/Tahra), now taking an altogether \nless extreme view of the work, notably faster and lighter.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first movement of No. 8 has an exceptionally \ntrenchant force and clarity, combining extreme rhythmic and \nphrase-structural precision with huge tempo flexibility in the secondary\n and closing material. Mengelberg radically lightens the dense textures \nof the minuet, imparting a rare degree of real dance lift. The finale is\n a miracle of refinement and precision at its moderate tempo, with \nplenty of time for the attention to detail to speak (and quite a \ncontrast with Toscanini’s fierce, clipped approach in 1939, at a tempo \nuniquely—for its time—close to Beethoven’s metronome mark). For one \nsmall example, hear his dramatically enhanced timing of the deceptive \nchromatic resolutions at bars 48 and 224, setting the scene for the \npayoff of playing it straight at the motive’s third appearance (bar \n408), where it finally resolves to the tonic—Mengelberg was ever the \nmusician’s musician, for all his penchant for outsize gestures.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture is decades ahead of its time in lightness, verve, and sheer \ncoruscating brilliance, anticipating the period-performance movement in \nits rhythmic snap (hear the Allegro’s main horn theme, the notes briskly\n clipped for maximum airiness and punch).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnother truly exceptional disc from Pristine. Keep ’em coming! \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBoyd Pomeroy  \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:3 (Jan\/Feb 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC229.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003cbr\u003e Willem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMany of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. Howver, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at. There are extended sections in both 1940 concert recordings present here where we've been able to present a true full-frequency, 20-20,000 Hz frequency response, coupled with a dynamic range more befitting of a 1960s or 1970s analogue recording - sound quality which is quite astonishing for its age.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElsewhere the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. The use of multiple references for the remastering of the recordings has ensured that the tonal balance is as natural and realistic as possible, and that the two recordings resulted in an orchestral sound which was consistent for both recordings. One will rarely get closer to hearing a 1940 concert than this.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eThese transfers\u003c\/b\u003e\u003cbr\u003e The discs which originally held the present recordings were variable in condition, and at times quite extensive repair work has been necessary in order to remove or reduce bumps, clicks, scratches, swish and high-end noise. In order to maintain as much musical information as possible there is therefore some small variation in background noise, though I've tried to retain smooth progressions between the various sections of the recordings so this does not jar. Overall the sound is once again amazing for its vintage - despite repeated listening I remain astonished at what was achieved in 1940 and what I've been able to extract and reveal in these superlative recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphonies 2 \u0026amp; 8, Fidelio Overture (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 2 in D major, Opus 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (Allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8 in F major, Opus 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro vivace e con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Tempo di menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio Overture, Op. 72c\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFidelio Overture, Op. 72c\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 21st April, 1940\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 18th April, 1940\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eConcert variously attributed to April 28th or October 13th, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003ePlayed by Royal \u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in April\/October 1940 at the Concertgebouw, by AVRO Radio\u003cbr\u003eTransfers from Philips LPs 6597 010 and 6597 009 in the Pristine collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May-June 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:09\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC229.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC229.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34452603149,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452603277,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452603341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452603405,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC229_a8b52e35-7c47-4854-bf76-c1ada3e594ea.jpg?v=1490032711"},{"product_id":"pasc229-cd","title":"MENGELBERG Beethoven: Symphonies 2 \u0026 8, Fidelio Overture (1940) - PASC229 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478205581,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC229_285c3a77-9866-44b9-8df1-75b42d658cd9.jpg?v=1658244480"},{"product_id":"pasc236","title":"MENGELBERG Beethoven: Symphonies 4 and 5 (1940) - PASC236","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in 1940, Amsterdam\u003cbr\u003eTotal duration: 68:23\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fYou’re in for a uniquely exciting and rewarding Beethovenian experience578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s Andrew Rose continues his traversal of \nMengelberg’s live 1940 Beethoven cycle, with (once again) amazing \nresults. Applying his XR remastering system to mint Philips LPs, Rose’s \ntransfers (after some poor sound at the beginning of the Fourth \nSymphony, owing to damage to the original acetate source) far surpass \nthe quality of any previous CD release, including Philips’s own.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first movement of No. 4 (with exposition \nrepeat) is rich and weighty, with Mengelberg’s characteristic highly \npolished sheen to the orchestral tone, together with minutely detailed \ncharacterization to the end of clarifying phrase structure—listen, for \nexample, to the way the main theme is subjected to constant tempo \nmanipulation and rhetorical emphases, or his leisurely swinging into the\n second theme. Yet along with such license, there is a remarkable \nfeeling of authentically classical elegance deriving from his phenomenal\n rhythmic control. The Adagio is notable for its operatic vividness of \n“vocal” phrasing (the main theme memorably molded, with more agogic \nmanipulations than you would think the music can take, but Mengelberg \nmakes it work). The Scherzo achieves a remarkable balance between \nwhiplash snap with graceful shapeliness. The finale (with exposition \nrepeat) is again unhurried, with time for nuanced shaping, and \ntremendous bite and articulacy.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first movement of the Fifth is deliberate, \nthough very flexible, and notable for his highly calculated \nintensification of rhetorical underlining as the movement \nprogresses—most obviously in the increasingly dramatized treatment of \nthe motto at each appearance, but also in more subtly structural ways, \nas in the degree of controlled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eaccelerando\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n he applies toward the closing section of exposition and recapitulation.\n The exposition repeat is not observed (surprisingly, given both his \ngenerosity with repeats elsewhere in this cycle, and his observance of \nit in the Telefunken studio recording of a few years before). His \nobsessive clarity of phrase articulation reaches rare heights of \nferocity in the coda. At 10:07, the Andante is a whole minute slower \nthan the brisk 1937 studio version, and a miracle of grace, fluidity, \nand pungent clarity—for a small example, hear the woodwind arabesques at\n bars 132 ff., combining minutely nuanced shaping with an extraordinary \nsinging freedom. The Scherzo is phrased in long arcs, continued in an \nexceptionally fluid account of the Trio. The finale combines massive \nrhetorical freedom, at a constantly ebbing and flowing tempo, with \narticulation of phenomenal precision. The orchestra members play as if \ntheir lives depended on it; I don’t think it’s reading too much into \nthese performances to hear in them the same kind of anxiety-tinged edge \nto the musical intensity that distinguished Furtwängler’s wartime \nconcerts. At the same time, the German maestro’s (1943) conception of \nBeethoven’s symphonic drama remained something altogether loftier, more \nidealized, less personal and idiosyncratic than the Dutchman’s, \nreflected in his more seamless, gradual approach to tempo adjustment. At\n the other extreme, Toscanini’s straight-ahead, uncompromising 1939 \ntreatment—for all its incandescence—comes across as comparatively \nlacking in complexity and nuance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you don’t know these performances, you’re in \nfor a uniquely exciting and rewarding Beethovenian experience. If you \ndo, you’ll hear them with new ears in these revelatory transfers. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC236.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003cbr\u003e Willem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMany of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. However, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at. There are extended sections in both 1940 concert recordings present here where we've been able to present a true full-frequency, 20-20,000 Hz frequency response, coupled with a dynamic range more befitting of a 1960s or 1970s analogue recording - sound quality which is quite astonishing for its age.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElsewhere the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. The use of multiple references for the remastering of the recordings has ensured that the tonal balance is as natural and realistic as possible, and that the two recordings resulted in an orchestral sound which was consistent for both recordings. One will rarely get closer to hearing a 1940 concert than this.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eThese transfers\u003c\/b\u003e\u003cbr\u003e Although the Fourth Symphony appears to get off to a slightly rough start, thanks to damage to the original acetates, and misses the characteristic clicks of Mengelberg's baton, things soon settle down and once again in this series, excellent sound quality can be heard in both recordings. Opening up the top end frequencies of these recordings has revealed flaws previously buried in the original - distortion and swishing both had to be tamed or eliminated, with many thousands of individual manual restoration interventions required for each symphony. Inevitably the odd shortcoming will remain audible, but ultimately the sonic impact of these restorations has been hugely satisfying and enjoyable.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphonies 4 and 5 (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 4 in B flat major, Opus 60\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5 in C major, Opus 67\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 25th April, 1940\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 18th April, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in April 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from mint Philips LPs 6597 012 and 6597 016 in the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May-July 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 68:23\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC236.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC236.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34492381325,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34492381389,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34492381453,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34492381517,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC236.jpg?v=1490083810"},{"product_id":"pasc236-cd","title":"MENGELBERG Beethoven: Symphonies 4 and 5 (1940) - PASC236 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478216653,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC236_28bf2650-7c29-4895-9c1d-f89ed8f8d79b.jpg?v=1658244693"},{"product_id":"pasc243","title":"CASADESUS Beethoven: Piano Concertos 1 \u0026 4 (1959) - PASC243","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1959 in stereo\u003cbr\u003eTotal duration: 61:48\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRobert Casadesus\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Eduard van Beinum\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended as both a tribute to a great pianist and an amazing audio experience578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt’s a funny thing; I’ve had Robert Casadesus on \nthe brain lately. A couple of recent releases of Mozart concertos \nperformed by current pianists elicited recollections of a number of LPs I\n once had of Casadesus and Szell performing Mozart’s last half-dozen or \nso piano concertos, some with the Cleveland Orchestra, others with the \nColumbia Symphony Orchestra. Those LPs are long gone from my collection,\n and I never replaced them with their CD reincarnations, but I believe \nsomething more than simple nostalgia was at work in triggering my memory\n of those recordings. Casadesus and Szell, I think, had a special \nrapport with each other and with Mozart.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine Audio, as readers will know from previous\n reviews, is a high-end audiophile enterprise dedicated to the \nremastering of older and in some cases historical recordings. The magic \nof the company’s XR process has been applied here to these 1959 studio \nstereo recordings with unbelievable results.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn approaching these readings, one must begin by \nsetting aside prevailing notions about modern-performance practices, for\n in the years that have passed since these recordings were made \nattitudes have changed drastically with regard to how music of the 18th \nand early 19th centuries \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eought\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n to be performed. Unless one takes that into account, these readings are\n bound to sound regressive. The first thing you will notice, for \nexample, is the fairly deliberate tempo at which the first movement of \nthe C-Major Concerto proceeds. There’s not much “brio” in this Beethoven\n “Allegro con … .” You will also notice a sense of earnestness, even \nperhaps solemnity, in the interpretational posture that says, “I’m \nBeethoven, and I’m important.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut there are other things to note here as well. \nYou will hear one of the world’s great orchestras in its prime under the\n baton of arguably its greatest conductor after Mengelberg, Eduard van \nBeinum. There’s a rhythmic exactness, almost of military precision, to \nthe entrances and volleying exchanges between winds and brass, with all \nof the orchestral choirs dynamically balanced and perfectly in sync. It \nmay be hard to believe, but I absolutely guarantee that you will hear in\n this 52-year-old recording the inner clockwork moving parts of this \ntimepiece as you’ve never heard them, that’s how meticulous the playing \nis and how revealing Pristine’s restoration.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNow Casadesus makes his entrance, at first as \nunassuming and unpretentious as van Beinum’s exposition was confident \nand proud. It’s obvious that Casadesus sees Beethoven’s Piano Concerto \nNo. 1 (actually his second in order of composition) as an extension of \nMozart’s final essays in the form. Casadesus’s runs are strands of \npearls and his passagework precisely weighted. The pianist plays his own\n cadenzas, which in the case of the First Concerto is a bit shorter and \nmore modest than Beethoven’s own, but draws upon some of the composer’s \nfamiliar material and is eminently well-suited to the score. As for \nCasadesus’s cadenza to the Fourth Concerto, I’ll comment later.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eContrary to expectations, the second movement \nmoves along at a pace rather more animated than the marked Largo. In \nfact, just for grins, I checked Casadesus against the recent Paul Lewis,\n and found that Casadesus is even faster than I thought—8:44 to Lewis’s \n11:41. That’s an astonishing difference, but it further illustrates what\n I said above about the pianist seeing this early Beethoven concerto as \nhaving its roots in Mozart, for none of the slow movements in Mozart’s \nlast eight concertos has a tempo marking any slower than \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Casadesus’s finale is filled with boisterous fun, proving he can hiccup\n and guffaw as well as anyone in this puckish movement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf I’m a little less sanguine about van Beinum’s \nand Casadesus’s reading of the Fourth Concerto, it’s because I hold it \napart from Beethoven’s other piano concertos not only as unique and the \nmost extraordinary among them but as a work that, for me, has very \nspecial communicative powers. Therefore, I tend to seek in this score a \nfeeling of radiance and rapture and a sense of the exalted. Till Fellner\n with Kent Nagano leading the Montreal Symphony Orchestra on an ECM \nrecording captured those feelings, and deservedly made my 2010 Want \nList. The aforementioned Paul Lewis with Jiří Bělohlávek and the BBC \nSymphony Orchestra on Harmonia Mundi was a close runner-up.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf the first movement of the C-Major Concerto was \non the slowish side, downplaying the “con brio,” the first movement of \nthe G-Major Concerto is on the fast side, tending to ignore the \n“moderato” of Beethoven’s Allegro. The result sounds a bit perfunctory. \nCasadesus doesn’t stumble once in any of the movement’s tricky \npassagework, sounding nimble-fingered throughout, but the beautiful \nrippling effects, so different from the scales and arpeggios in the \nother concertos, and so much a part of the music’s ecstasy, tend to be \nsacrificed at the altar of virtuosic display.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for Casadesus’s cadenza to the Fourth Concerto,\n fitting as it may be stylewise, it’s no proxy for the first of \nBeethoven’s own cadenzas. Nothing in my mind can substitute for those \nshocking 16th- and eighth-note chords in the left hand that cross the \nright hand in the concluding measures. The composer’s cadenza is such a \nbold, original stroke, I’m tempted to say that it ought to be considered\n as much a fixed and irreplaceable part of the score as is the cadenza \nin the “Emperor” Concerto.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the second movement, Casadesus and van Beinum \ndon’t quite see eye to eye, though technically Casadesus is probably \ncloser to the mark. It’s customary—as it already was 52 years ago when \nthis recording was made—to heighten the drama of this movement by taking\n it rather slower than Beethoven’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n marking, sustaining the phrases and making the music sound foreboding. \nVan Beinum observes the tradition, beginning with portentously drawn-out\n gestures, the way I think we’re mostly accustomed to hearing it. Forget\n the “con moto”; it’s not even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n But as soon as Casadesus enters, you can feel him pressing forward. He \nwants to reestablish Beethoven’s original tempo marking. And so we have a\n bit of a tug-of-war going on here between the podium and the piano, \nwith the conductor slowing down for each entrance and the pianist \nspeeding up. In the end, it all comes out in the wash because as the \nmovement progresses the entrances grow closer together until they \nfinally converge, at which point agreement is reached. The concluding \nRondo vivace is nicely done, except for Casadesus’s cadenza, which goes a\n bit bonkers toward the end.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhile neither of these performances would be my \nfirst choice in these concertos, anyone harboring the slightest doubt \nabout Casadesus’s artistry really needs to hear this release. And that \nbrings me finally to the recording, a triumph of modern digital \ntechnology. If only Bob Rose of Pristine Audio could figure out a way to\n use his XR remastering technique to rejuvenate the aged, he’d be \ncelebrated and sainted for discovering the fountain of youth. Whatever \nreservations I may have about these performances, I cannot bring myself \nto believe I am listening to recordings made over a half-century ago. \nBut they were indeed transferred from stereo test pressings made for \nPhilips LP SABL 118. Recommended then as both a tribute to a great \npianist and an amazing audio experience. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC243.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese two recordings are notable for a number of reasons. They were Eduard van Beinum's final studio recordings – within six weeks he was dead. The recording of the\u003cem\u003e First Concerto\u003c\/em\u003e is the only one Casadesus made, the recording of the \u003cem\u003eFourth\u003c\/em\u003e is the second of two, and the only one in stereo (he had recorded it in December 1947 with Ormandy and the Philadelphia Orchestra, also for Columbia). They were reissued by Sony Classical on CD in 2002 but already copies are almost impossible to find, except at highly inflated prices – at the time of writing all three copies available through Amazon.com sellers are priced at over $70.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe disc I worked from was a Philips test pressing, barely played and in near-mint condition. Apart from some very mild (and easily rectified) surface swish at the beginning of side two it was as ideal a source as one could hope for from this era. What it did reveal (and I don't know whether this affected the Sony reissue) was a rather nasty tape dropout in the finale of the first movement, where the left hand channel was rather severely mangled for a second or to. Extensive repair work on this short section has improved things dramatically. XR remastering has lifted a veil from the top end, and I've also been able to reduce residual tape hiss to a considerable extent, especially on the \u003cem\u003eFourth Concerto\u003c\/em\u003e. Overall they are excellent recordings – of excellent and rare performances from one of the great pianists of the 20th century.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCASADESUS\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Piano Concertos 1 \u0026amp; 4 (1959)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 1 in C major, Op. 15\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Largo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo — Allegro scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1st March, 1959\u003cbr\u003eNB. This was Casadesus' only studio recording of this work\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 4 in G major, Op. 58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2nd March, 1959\u003cbr\u003eNB. This was Casadesus' only stereo studio recording of this work\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eAll cadenzas by \u003cb\u003eRobert Casadesus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Casadesus\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Concertgebouw Orchestra, Amsterdam\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eEduard van Beinum\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfers by Andrew Rose from stereo test pressings for Philips LP SABL 118\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003eCover artwork based on a photograph of Robert Casadesus\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 61:48\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC243.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC243.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":34501922637,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34501922765,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34501922829,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC243.jpg?v=1490096802"},{"product_id":"pasc243-cd","title":"CASADESUS Beethoven: Piano Concertos 1 \u0026 4 (1959) - PASC243 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478219725,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC243_37f8b246-6d72-410c-939c-29d1caf49979.jpg?v=1658245003"},{"product_id":"pasc258","title":"MENGELBERG Beethoven: Symphony No. 9 \"Choral\" (1940) - PASC258","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 'Choral'\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in 1940, Amsterdam\u003cbr\u003eTotal duration: 68:47\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTo van der Sluys\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eSuze Luger\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eLouis van Tulder\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eWillem Ravelli\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eAmsterdam Toonkunst Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Oratorio Society\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAn indispensable release for anyone who loves this work578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOnce again, Pristine Audio turns its digital \nwizardry to the superb refurbishing of another deserving historical \nperformance—in this case, one of the truly great performances of the \nBeethoven Ninth of all time. Compared to the original Philips issue the \nsound quality has been opened up and expanded, with richer highs and \nlows, less ambient noise of various sorts, and much greater clarity of \ninstrumental detail, though until the opening of the finale the bass \nfrequencies still remain a touch dry and less robust than would be \nideal. Particularly arresting is the extraordinary instrumental color of\n the woodwinds and brass; while much of that is owed both to \nMengelberg’s expert ear and the uniformity of the orchestral equipment \n(at the time, all members of the orchestra were required to obtain their\n instruments from a single famous Dutch maker), I also wonder if \nMengelberg used any of Mahler’s retouchings of the orchestration or did \nsome of his own. Hopefully some knowledgeable \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e reader or fellow critic will kindly enlighten us here.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy intense enthusiasm for this performance is all \nthe more remarkable because Mengelberg is a conductor for whose work I \ngenerally have respect rather than empathy. Here, however, we have one \nof those imperishable readings of a monumental score with innumerable \nfine touches, both great and small, that repeatedly shatter complacently\n held conceptions and cause one to re-hear the work in a new and \nrefreshing light. There is an incredible febrile energy to the first \nmovement, powerful but not frantic as in some performances by Toscanini.\n The second movement is more measured (with exposition repeats taken) \nbut not slow, and characterized by extraordinary rhythmic precision in \nall the instrumental parts; even the timpani does not turn blurry in the\n repeated dotted eighth-note rhythms. In the third movement the opening \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is expansive, whereas the succeeding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is rather brisk—much more so than is my usual preference, which is for \nFurtwängler—and yet absolutely convincing, with a fine buildup to the \nclimactic trumpet fanfare; a few \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eportamento\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n slides appear in the strings toward the end. Only regarding the finale \ndo I have minor reservations, as a few distracting idiosyncrasies \nappear. The rhythm becomes eccentrically stilted at the entrance of the \nvocal quartet; “Seid umschlungen, Millionen” is delivered with oddly \nclipped and over-emphatic phrasing, and then there is the notorious \nbizarre drop of the tempo to half speed for the last two bars of the \nmovement. The chorus and soloists are sound if not stellar. To van der \nSluys and Suze Luger are both competent; bass Willem Ravelli does well \nby his opening peroration; tenor Louis van Tulder does not possess the \nmost ingratiating voice in timbre and lumbers a bit in the florid \npassagework at the end of his solo, but nonetheless acquits himself \nrespectably. Still, the faults are but small and momentary blemishes in a\n broadly paced rendition that successfully weds monumentality to \necstatic fervor. One would never guess from this triumphant and joyful \nperformance that only eight days later Nazi Germany would unleash its \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBlitzkrieg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n against hapless Holland and usher in its nightmarish occupation for \nfour and a half years, with one of the musical casualties ultimately \nbeing a politically compromised Mengelberg.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNo text for the choral finale is provided; program\n notes for the album are, per Pristine’s usual practice, posted on its \nwebsite. While my register of potential candidates for the 2011 Want \nList is already overflowing with worthy entries, this is surely a \nleading contender—an indispensable release for anyone who loves this \nwork and values immortal historic interpretations despite their sonic \nlimitations. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC258.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWillem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time. Many of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. Howver, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at, and I've been able to bring out a pleasing amount of detail in the high treble, often extending right up to near 20kHz. At times this detail is astonishingly clean and clear, but elsewhere it is marred by a degree of hiss, requiring a delicate balance to be struck between the two.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMeanwhile the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. However much of the very lowest bass, below 100Hz, has been very poorly preserved where it exists at all, and these frequencies caused considerable problems in the restoration process. Indeed, much of what was present at these frequencies turned out to be rogue tones derived from interference at higher frequencies and had to be removed, along with a variety of unwanted bumps and thumps.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI was also required to carry out some judicious editing in the opening movement, where a small fragment of music was missing and a skip could be heard on my source discs which appeared to originate from the acetate masters. Fortunately I've been able to make a seamless repair by dropping in material from a repeated phrase, leaving the join hopefully undetectable.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphony No. 9 \"Choral\" (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo, un poco maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio e cantabile — Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Presto — Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(26:07)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 2nd May, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTo van der Sluys\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eSuze Luger\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eLouis van Tulder\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eWillem Ravelli\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eAmsterdam Toonkunst Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Oratorio Society\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in May 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from Philips LPs 6597 015 \u0026amp; 6597 016 from box set 6767 003\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, October-November 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 68:47\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC258.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC258.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":34639975821,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34639975885,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34639976013,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34639976141,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC258_730c16fc-e965-4a3f-b5eb-5ee00e57203b.jpg?v=1490246583"},{"product_id":"pasc258-cd","title":"MENGELBERG Beethoven: Symphony No. 9 \"Choral\" (1940) - PASC258 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478230221,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC258_028e571f-c1d8-4614-86b7-2012e12ebbdc.jpg?v=1658245505"},{"product_id":"pasc265","title":"KLEMPERER Mahler: Symphony No. 2 \"Resurrection\" (1951) - PASC265","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 2 'Resurrection'\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded Amsterdam, 1951\u003cbr\u003eTotal duration: 71:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eKathleen Ferrier\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eHolland Festival Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eOtto Klemperer\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended, if you’re in the market for a good-sounding edition of this unique performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s edition of this famous, and \noften-reissued, performance is very welcome. The recording was never a \nsonic prize. The transfer I have for comparison is Guild’s; the new one \nis more open, though it still lacks impact and needs a volume boost. As \nwith some other Pristine releases, I find the noise reduction employed \nexcessive in the quietest passages—e.g., Rehearsal 24 in the first \nmovement, which sounds muffled and distant.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performance is the fastest, by a considerable \nmargin, of Klemperer’s many versions of this symphony—indeed one of the \n(if not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) \nfastest ever, by anyone (for all his reputation for slowness, Klemperer \ncould really go to the other extreme in some works, most notably \nBruckner’s Fourth and the present one). It’s exciting all right, but \noften, I find, at the price of an impatient, ruthless feeling.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first movement flies by at 17:42, in a \nstraight-ahead, take-no-prisoners approach with little concession to \nMahler’s detailed directions for tempo modification—in this respect, the\n diametrical opposite of Scherchen’s imaginative response to detail and \nextreme rhetorical molding (Vienna State Opera Orchestra\/Westminster, \n1958). The great opening paragraph is jagged, angular, and clipped, and \nnot ideally firm in rhythmic control. The lyrical episodes (Rehearsals \n3, 7, etc.) sound perfunctory, as if Klemperer was bored by them. But he\n is superbly cutting and dramatic in the development section, inspiring a\n memorably brilliant, abrasive response from the orchestra. In the coda,\n the intricate contrapuntal textures are given insufficient breathing \nspace; the effect is merely impatient, Mahler’s magisterial spookiness \nhere going for little. The ending’s descending chromatic scale is \ngalloped through at breakneck speed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe second-movement \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLändler\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is brisk and unsentimental. There is a severe quality, a refusal to \ningratiate; although the strings play with plenty of portamento there is\n curiously little Viennese feeling. The twisting, turning Scherzo is a \nhighlight of the performance, its edgy, sardonic character caught to \nperfection. Kathleen Ferrier’s (or rather, Klemperer’s) \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUrlicht\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is brisk, straight, and businesslike. The finale has high drama aplenty, as in the volcanically eruptive opening, or the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ekräftig\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n march after Rehearsal 15. There is a compelling seat-of-the-pants \nspontaneity to the whole thing; listen to those recitative-like passages\n at Rehearsals 7 and 21—perilously hard-driven, with some \nall-too-obvious confusion in the orchestra’s ranks! The final section \nhas an exciting sweep, though it’s a little short on breadth. Both \nsoloists are excellent.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs I say, the performance represents an extreme, \neven in the context of Klemperer’s uncompromising conception of the \nwork. Another live version from the same year (Vienna Symphony, \nTestament) is a little more sympathetic, less hard-driven, but the \nVienna Symphony is not the Concertgebouw. By the 1960s, his conception \nhad mellowed to a degree, and two further live versions with the Vienna \nPhilharmonic (1963, Music \u0026amp; Arts) and Philharmonia (1964, Testament)\n exhibit, to my ears, a more satisfying balance of excitement and \nbreadth (a Bavarian Radio version from 1965 [EMI] certainly has its \nmoments, but by this time his conducting was beginning to lose something\n of its former grip). And of course there’s a lot to be said for the \nstudio refinement of the classic EMI recording with the Philharmonia in \n1961–62 (as for his other studio recording, with the Vienna Symphony in \n1951 for Vox, it’s hard to imagine preferring it to anything). \nComparison to other conductors is hardly to the point here—this is \nobviously worlds apart from Walter’s richly idiomatic, Viennese way with\n the composer; and of course both conductors’ approaches could claim an \nunbroken link to Mahler himself.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRecommended, if you’re in the market for a good-sounding edition of this unique performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC265.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite this recording being made well into the age of tape and widespread use of the magnetic recording medium, there were numerous clues to suggest that this recording was originally made onto pretty standard 12\" 78rpm acetate discs by the Dutch radio station, Katholieke Radio Omroep, albeit well-made, well-preserved and quiet ones. Because the discs would have been cut on alternating machines, it was possible to see an increase in rumble below about 40Hz every other disc, with disc changes thus obvious at roughly 4-minute intervals. Furthermore some very light repetitive surface ticks at the start of the first movement indicated a speed of almost exactly 78rpm. Finally a side join during the first movement suffers slight phasing (which I've attempted to diminish) as the music crossfades from the end of one disc to the beginning of the next.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, the biggest shortcoming of this recording lies in its frequency range, which pretty much gives up just above 10kHz, thus depriving the listener of the very high frequencies which give a sense of 'air' around a recording, as well as enhancing particularly the brightest brass and percussion. However, by a careful use of XR remastering's tonal rebalancing I've been able to create a much fuller, clearer sound than previously heard, one which greatly enhances the dynamic impact of this superb performance.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e \u003cb\u003eMahler\u003c\/b\u003e: Symphony No. 2 \"Resurrection\" (1951)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 2 in C minor, Op. 47 \"Resurrection\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. In ruhig fließender Bewegung\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Urlicht — Sehr feierlich, aber schlicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. pt 1 — Im Tempo des Scherzos — Wild herausfahrend\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. pt 2 — Wieder zurueckhaltend — Langsam — Misterioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Holland Festival, Concertgebouw, Amsterdam, 12th July, 1951\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eKathleen Ferrier\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eHolland Festival Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eOtto Klemperer\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2011\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:26\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC265.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC265.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":36726545677,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":36726545805,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":36726545869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":36726545933,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC265.jpg?v=1493473368"},{"product_id":"pasc265-cd","title":"KLEMPERER Mahler: Symphony No. 2 \"Resurrection\" (1951) - PASC265 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478233933,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC265_fb3d6bac-2e81-4b9b-b0ae-93105ce3da77.jpg?v=1658245756"},{"product_id":"pasc280","title":"MENGELBERG Beethoven: Symphonies 6 \"Pastoral\" and 7 (1940) - PASC280","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in 1940, Amsterdam\u003cbr\u003eTotal duration: 78:57\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fXR remastering has opened out the sound very impressively, easily surpassing previous transfers578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnother welcome installment in Pristine’s live \nMengelberg series. Once again, Andrew Rose’s XR remastering procedure \nhas opened out the sound very impressively, easily surpassing previous \ntransfers on Philips and Music \u0026amp; Arts.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMengelberg’s “Pastoral” was an incredibly radical \nconception for its time: light, lean, stripped-down, sharply focused. As\n always with Mengelberg (or nearly always), there’s a cogent musical \nrationale for the seeming eccentricities. If his way with the opening at\n first strikes us as dangerously indulgent, his point is precisely to \ndetach the first four bars as a “frame” for the movement proper, before \npouncing on bar 5 with up-tempo zest (Pletnev recently attempted the \nsame thing, not very convincingly, in his erratic cycle with the Russian\n National Orchestra; among Mengelberg’s contemporaries, Mitropoulos was \nthe only one to share his conception of the basic tempo, in his \nMinneapolis recording from the same year). Clarity and airiness are the \nwatchwords—hear his radically \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003edetaché\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n articulation of the second theme, and the incredible definition of the \nstring figures in the closing section. The “Scene by the Brook” is taken\n as a real four-in-the-bar Andante, with a fluid flexibility of pace and\n vibrant fullness that he shared with Furtwängler, though accomplished \nwithin a faster basic pulse. More controversial is his eccentric \nrewriting of the rhythm in the main theme, resulting in a complex \npolyrhythmic effect—essentially superimposing a temporary 4\/4 on the \nmovement’s basic 12\/8—that I have never understood the rationale for (he\n maintains it, though not with complete consistency, throughout the \nmovement). Mengelberg’s “Storm” is one of the most amazingly vivid on \nrecord, deliberate and unhurried (Beethoven’s metronome mark is only 80 \nhere, in contrast to the needless frenzy often whipped up) but with a \nheadlong sweep, controlled ferocity, and subtly nuanced but pungently \ntangy coloristic range—\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esul ponticello\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n string chills, sudden glints of brass tone through the downpour. The \nclimax (bars 106 ff.) is overwhelming. The “Shepherd’s Hymn” has a (for \nits time) exhilarating up-tempo buoyancy and detached articulacy, with \nwonderful forward momentum in the coda, where so many conductors bog \ndown. On the debit side, there are some fussy tempo changes (e.g., his \ndisruptive slamming on of the brakes in bar 32); from the viewpoint of \ntempo modification, this is one case where Furtwängler’s more seamless, \ngradual approach was more convincing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMengelberg’s approach to the Seventh was equally \noriginal. The first movement is played for precision and weight at a \nmoderate, flexible tempo. His Allegretto is like no one else’s in its \nheavily stylized clarity of legato\/staccato articulation, and the \ncontrasting major-mode section is a miracle of coloristic subtlety. The \nScherzo is unhurried and trenchant; the Trio slow and songful, with much\n agogic manipulation. The finale is once again notable for its constant \nmodification of the tempo, but here more in terms of a subtle flux than \nthe abrupt gear-changes heard in the “Shepherd’s Hymn.” There is an \nextraordinary sense of each of the movement’s rhythmic elements leading \nits own autonomous life—e.g., the way he swings the swirling string \nlines against the massive, deliberate treatment of the wind-and-timpani \npunctuations. In comparison to alternative live versions (Mengelberg \nnever made a studio recording of the Seventh), this one is notably \nslower overall, and more given to flexibility of rhetorical emphasis \nthan those with the Concertgebouw in 1936 (Tahra) and Berlin Radio \nOrchestra in 1939 (on the British specialist Mengelberg label Archive \nDocuments). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC280.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eMengelberg's Beethoven Symphonies:\u003cbr\u003e\"Hear them with new ears in these revelatory transfers\" (Fanfare)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with the other recordings in our series of Mengelberg's 1940 Beethoven cycle, these two live symphony performances were captured unusually well by the ARVO engineers on high quality glass acetate discs, and these recordings have responded especially well to Pristine Audio's XR remastering system. I have been able to tackle tonal deficiencies which in the originals manifested themselves in a rather hard, cramped acoustic characteristic of the microphones then in use. Fortunately almost all the frequencies required for true high fidelity had been recorded - the re-equalisation of the XR process merely rearranges them in volume a little to bring a far more natural tone to the orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFrom a restoration perspective, large swathes of the recordings were excellent, with just short sections where swish and low frequency bumps had to be eliminated, and the occasional side join tidied up. Both recordings are on a par with anything previously issued in this series with respect to sound quality, with the 7th Symphony perhaps showing the greater improvement over the original source.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphonies 6 \"Pastoral\" and 7 (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F major, Op. 68 \"Pastoral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 14th May, 1940\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 25th May, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in May 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from Philips LPs 6597 013 \u0026amp; 6597 014 from box set 6767 003\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February-March 2011\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:57\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC280.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC280.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":34584971021,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34584971085,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34584971149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34584971213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC280.jpg?v=1490178982"},{"product_id":"pasc280-cd","title":"MENGELBERG Beethoven: Symphonies 6 \"Pastoral\" and 7 (1940) - PASC280 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478249549,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC280_361d39d7-5d04-4883-a83c-b0a494c7dca9.jpg?v=1658246826"},{"product_id":"pasc287","title":"MENGELBERG Beethoven: Symphony No. 3 \u0026 R. Strauss: Don Juan (1940)- PASC287","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 'Eroica'\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Don Juan\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1940\u003cbr\u003eTotal duration: 62:41\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you have any affection for great historic performances, this disc is an indispensable acquisition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith this release Andrew Rose of Pristine Audio \nfinishes his reissue of Mengelberg’s cycle of the Beethoven symphonies. \n(For those who favor downloads rather than buying CDs, the entire cycle \nis now available from pristineclassical.com at a reduced price for the \ncomplete set.) As usual—there has been the rare exception, an “XR \nstereo” version of Toscanini’s 1947 performance of Verdi’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Otello\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that made the voices well-nigh unrecognizable—Rose triumphs with a \nremastering from near-mint Philips LPs that easily surpasses all \nprevious versions for sonic breadth, depth, and clarity. In this case \npart of the material was particularly intractable; as Mengelberg \ncollectors know, the surviving broadcast performance from November 11, \n1940, of the “Eroica” suffers from such bad distortion that Philips (and\n virtually everyone else) uses this 1940 Telefunken studio recording \ninstead to fill in the cycle despite the decidedly flat, dry acoustic of\n the 78s. Even with the result that Rose achieves here, I personally \nthink that the discreet addition of some extra reverberation for warmth \nwould have improved the sound still further; as it is, listening to it \ncontinuously still remains somewhat aurally fatiguing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAural fatigue is not a term that applies to the \ninterpretation, however. In his reviews of previous CD issues of this \nperformance, James H. North, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n resident Mengelberg authority, seems to have shifted his estimation of \nit considerably over the years. Back in 1994 (17: 6) he opined that it \n“is as flaky a performance as the Dutch conductor ever gave. In three of\n the four movements, tempos vary wildly from much too fast to rather \nslow. The Scherzo and Trio have no repeats and some absurdly fast \ntempos.” But in 2000 (23:5) he wrote, “This studio recording has \nimagination, superb playing, and fine sound. Tempos are generally faster\n than in 1930; the very rapid finale suffers some loss of coherence. \nThere are many cases of the rhythmic adjustments that are part and \nparcel of this conductor’s essence.” I agree with his later rather than \nearlier opinion, save that I find no loss of coherence in the finale. \nThis performance of the “Eroica” will startle those unfamiliar with it, \nbut familiar with Mengelberg’s reputation as a hyper-Romantic conductor.\n It is taut, lean, swift, and electric, in the mode of Toscanini and \nWeingartner—the timings of the four movements are 14:22, 15:56, 4:01, \nand 11:14—and the trademark fluctuations in tempi and use of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003erubato\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are fewer and more subtle and economical than one often encounters from\n this flying Dutchman. Given that my favorite “Eroica” at present is the\n 1952 RIAS broadcast with Furtwängler and the Berlin Philharmonic (with \nmovement timings of 16: 37, 18:55, 6:37, and 12:57), I was surprised at \njust how taken I was with this antipodal interpretation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is another matter. The oft-refurbished and fabled 1938 Telefunken \nstudio recording has received multiple encomiums in these pages from \nNorth (21:6 and 23:5), William Zagorski (27:5), and Mortimer H. Frank \n(24:2, Want List for 2000). Here we have instead the live performance \nfrom a month after the studio “Eroica” recording. North believes the \nstudio recording to be the superior version; it may be Rose’s auditory \nsorcery at work (and let’s hope he remasters the 1938 performance as \nwell), but for me this 1940 performance is easily superior. The sound is\n far warmer and more natural—the Telefunken 78s here still suffer from a\n certain dry deadness, if not to the same degree as in the “Eroica” \nrecording—and instrumental details of solo instruments such as the \nglockenspiel and harp are astonishingly vivid. In the 1938 recording the\n solo violin sounds a bit wiry at its first entrance, with intonation \nnot quite centered, here in 1940 it is incredibly lush, suave, and \nseductive. I also find this performance to have a more continuous \nlyrical flow than its studio predecessor.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSo, as Emperor Joseph II is made to say repeatedly to Mozart in Peter Shaffer’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAmadeus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n “Well, there it is.” If you have any affection for great historic \nperformances, this disc is an indispensable acquisition, and no more \nneed be said. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC287.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording here has often been used to \"complete\" Mengelberg's 1940 Beethoven cycle, which otherwise consists of recordings made by Dutch radio from live concert broadcasts - the source of the recording here of Don Juan.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, this recording of the Eroica Symphony was actually made as a studio recording and issued on German Telefunken 78s, and as such I've distanced it slightly from our series of 1940 live Beethoven recordings. Although the sound quality is excellent for 78s of this era, especially following XR remastering, it lacks the clarity, a product of a particularly wide frequency and dynamic range, achieved on the glass acetates used by AVRO's radio engineers when preserving their broadcasts.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Beethoven discs showed large differences in both high treble and background noise between the starts and ends of each side, and much work was required to try to retain as much of the former whilst reducing as much of the latter and providing smooth side changes. By contrast the Strauss was a much more straightforward affair, with the main task being reduction of swish.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphony No. 3 \u0026amp; \u003cb\u003eR. Strauss\u003c\/b\u003e: Don Juan (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 in E flat, Op. 55 \"Eroica\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Marcia funebre Adagio assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Finale Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11th November, 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Telefunken 78s, SK 3117-22\u003cbr\u003eMatrix Nos. CB 025350-61\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eDon Juan, Op. 20\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRichard Strauss: Don Juan, Op. 20\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live at Royal Concertgebouw, Amsterdam, 12th December, 1940\u003cbr\u003eTransfer from Philips LP W 09908 L\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 62:41\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC287.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC287.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":34587342157,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34587342221,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34587342285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34587342349,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC287.jpg?v=1490183179"},{"product_id":"pasc287-cd","title":"MENGELBERG Beethoven: Symphony No. 3 \u0026 R. Strauss: Don Juan (1940)- PASC287 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478253517,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC287_ab3580b0-e9cf-461e-9f06-7ed2a5122333.jpg?v=1658246962"},{"product_id":"pasc103","title":"MENGELBERG R. Strauss: Ein Heldenleben (1941) - PASC103","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eR STRAUSS \u003c\/b\u003eEin Heldenleben\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 21st April, 1941\u003cbr\u003eDuration 42:13\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFerdinand Helman\u003c\/b\u003e, solo violin\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt is the Concertgebouw performance that scores more points in the overall presentation of the music, and which in the final analysis gives us a much more “legendary” performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis surprising dual issue of both of Mengelberg’s recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and both in superbly reengineered sound, gives one a rare opportunity \nto compare and contrast them. I owned the New York Philharmonic-Symphony\n Orchestra recording on an RCA Victrola LP from the early 1970s and, \nthough I liked it, I was not altogether convinced of its legendary \nstatus. In 1986 I bought the Concertgebouw Orchestra version on an old \nTelarc CD and, though it had your typically harsh, congested radio sound\n and lots of acetate crackle, I found the performance much more intense,\n cohesive, and emotional—even in the soft passages.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eComparing them now, one notices immediate \ndifferences. The New York Philharmonic-Symphony Orchestra of that era \n(1928) had a simply gorgeous sound quality; every section was equal in \ntimbre, weight, and color, and each section had superb first-chair \nplayers (Mishel Piastro was concertmaster, Bruno Janicke the first horn,\n and both get their fair share of solo passages here). The Concertgebouw\n Orchestra (in 1941), on the other hand, was a much more uneven band. \nDue to either Mengelberg’s preferences or his reluctance to replace \ninferior players, the violins sounded harsher, the woodwinds edgier. Yet\n to my ears, it is the Concertgebouw performance that scores more points\n in the overall presentation of the music, and which in the final \nanalysis gives us a much more “legendary” performance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor example, the strings in the first half of “Der\n Held” are far more beautiful in the New York version, but about halfway\n through the orchestra sounds a bit sluggish rhythmically while the \nConcertgebouw version maintains a forward pulse. In the beginning of \n“Des Helden Widersacher,” the winds of the CO are much livelier, more \nincisive than the NY P-SO. “Des Helden Gefährtin” is supposedly five \nseconds longer in the CO version than the NY P-SO, but it doesn’t sound \nit. Both solo violinists (I believe it is Piastro on the NY P-SO \nrecording) use portamento that is no longer heard in the music but, \noverall, there is much \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eportamento\n throughout the NY P-SO recording, and it becomes annoying after a \nwhile. The one section in which the NY P-SO is markedly superior to the \nCO is in “Des Helsen Walstatt” (The Hero’s Battlefield), where the more \nsolid sound of the NY P-SO , combined with a slightly brisker tempo \n(8:18 compared to 8: 39), creates slightly more tension, but the CO \nperformance is certainly not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003elacking \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etension.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOf course, your proclivity to buy one performance \nrather than another will depend on your familiarity with both of them. \nExcept for the extra portamento in the 1928 recording and the extra \nclarity in the 1941, there’s not really a tremendous amount of \ndifference in overall musical concept, certainly not as widely varied \nas, say, certain earlier and later performances by Toscanini or \nFurtwängler. Yet if you like Mengelberg and believe that this was one \nscore that he “owned,” you may certainly want to get both. The sound \nrestoration was, to my ears, even more striking in the 1941 broadcast \nthan the 1928 studio version. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 31:5 (May\/June 2008) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC103.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eNotes on the restoration\u003c\/b\u003e: Mengelberg's second recording of Strauss's Ein Heldenleben, and the only one recorded by the orchestra and conductor for whom it was written, benefits hugely from the advances being made in recording technology at the time. Though perhaps not quite up to the performance quality of his 1928 New York recording, it certainly is better captured, and responded exceptionally well to XR remastering. Both recordings are essential to any understanding of this piece.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG R.\u003c\/b\u003e \u003cb\u003eStrauss\u003c\/b\u003e: Ein Heldenleben (1941)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR STRAUSS \u003c\/b\u003eEin Heldenleben\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDer Held (The Hero)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDes Helden Widersacher (The Hero's Adversaries)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDes Helden Gefährtin (The Hero's female Companion)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDes Helden Walstatt (The Hero's Battlefield)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDes Helden Friedenswerke (The Hero's Works of Peace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDes Helden Weltflucht und Vollendung (The Hero's Retreat from the World and Consummation)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21st April, 1941\u003cbr\u003eDuration 42:13\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFerdinand Helman\u003c\/b\u003e, solo violin\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC103.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC103.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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Strauss: Ein Heldenleben (1941) - PASC103 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478263949,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC103_305de413-c3c9-43e3-b758-536300181c57.jpg?v=1658241135"},{"product_id":"pasc154","title":"KLEIBER Beethoven: Symphonies 3 'Eroica' and 7 (1950) - PASC154","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 'Eroica'\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1950\u003cbr\u003eTotal duration: 78:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Erich Kleiber\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis “Eroica” is the finest historical transfer I have ever experienced.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eErich Kleiber’s 1953 Concertgebouw recordings of \nBeethoven’s Fifth and Sixth Symphonies were regarded as instant \nclassics, but these two 1950 Decca recordings stayed under the critical \nradar. Being a big fan of the Concertgebouw, then as now, I rushed out \nand bought both as soon as they appeared (1951). I was much disappointed\n by this “Eroica.” With recent Walter and Mengelberg LPs on the shelf, \nand Weingartner and Toscanini 78s from the college library, Kleiber \nseemed like weak tea. Furtwängler and Klemperer would soon bury him even\n deeper. Perhaps because I played it so rarely, I still have a pristine \n(oops!) copy of London LL 239. Pristine’s Andrew Rose had a theory: \nDecca had screwed up the recording, which lacked punch because it was \ndeficient at the low end, as well as being too reverberant; he felt he \ncould cure it by exercising his well-known magic on it. The results are \nsensational. The performance proves vital and thrilling after all; it is\n as if Mengelberg (then sequestered in his Alpine cabin) had returned \nand was given even better recorded sound than for his superb 1940 \nTelefunkens. Better yet, the Scherzo is not cut here, as it was by \nTelefunken, and Kleiber nails the final variations, which were the \nAchilles heel of Mengelberg’s performance. This is as crisp, as potent a\n finale as you will ever hear, with woodwind playing that outdoes even \nother Concertgebouw performances. The opening Allegro con brio of the \n“Eroica” has always been for me the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esumma plus ultra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of all music; Kleiber now makes the finale a rival.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOn the other hand, I do not possess a copy of LL \n240, because I wore out two of them. I loved the Kleiber Seventh from \nthe first moment, only later realizing that it was the Concertgebouw \nSeventh that was so fine, that this orchestra owned the piece. \nMengelberg, Kleiber, his son Carlos, Jochum, Sawallisch (twice), \nHaitink—it didn’t matter who was in charge. In a review of all the \nrecordings of all the Beethoven symphonies about 1970, the musicologist \nPaul Henry Lang proclaimed the Jochum\/Concertgebouw Seventh to be the \nonly completely satisfactory recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eany\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the symphonies. Among other touches, this orchestra plays the \nfanfares that rule the finale more cleanly than any other outfit—there \nare four chords to each measure, not the three one usually hears. Part \nof the secret is not to rush it: Most performances treat the finale as a\n mad dash to the finish line; the Concertgebouw savors the music. I had \nno problem with the sound of Decca\/London’s LP, because I preferred a \nlight touch in the Seventh. If this realization is less spectacular than\n Rose’s “Eroica,” it is mainly because there was less wrong in the first\n place; perhaps he also had cleaner sources for the “Eroica”—there is \nless punch to his Seventh and more distortion; the bass line is stronger\n but not as clean as it was on the London LP. The sweet sound of the \nConcertgebouw is still here, too sweet for major Beethoven, perhaps, as \nToscanini demonstrated with the New York Philharmonic. Mort Frank knows \nthat I am not a fan, but there are things “The Maestro” did to \nperfection, and that recording heads the list. Kleiber’s first three \nmovements now sound a bit soft by comparison, but I still like the \nmeasured tread of the finale, with its myriad of details.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI had read all of Lynn René Bayley’s encomiums of \nPristine’s work on historical material with great interest, but—life \nbeing what it is—I only got to hear its stuff from the 1920s, which it \nat least made listenable. Now I’ve joined the club: This “Eroica” is the\n finest historical transfer I have ever experienced. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames H. North  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 33:6 (July\/Aug 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC154.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThese two Decca recordings were made back-to-back in Amsterdam on 8th and 9th May, 1950, and released the following year as consecutive LPs, LXT2546 and LXT2547. Since then they have both been reissued on a number of occasions, and indeed the current Decca CD issue is a faithful reproduction of the sound that Kenneth Wilkinson had managed to capture on tape on those two spring days nearly sixty years ago.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlas, this is not necessarily a good thing, as the tone of both recordings is not particularly pleasant. Even back in April 1951, when the discs were released, the Gramophone's reviewer was easily able to put his finger on the problem: \"\u003cem\u003eThe Eroica began with a rather acid quality, and maintained this thinness of tone throughout much of the two sides. The second side was not quite up to the standard of the first. There was good individual colouring of instruments, but bass was light, and even the drums seemed to be higher in pitch than they really are...\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlas, a quick preview of both recordings in their current incarnation (they can be downloaded from iTunes if you want to hear them) suggests that nothing has changed - this was not a fault in the pressing, but an inherent quality of those very early Decca taped master recordings, as we found a couple of weeks ago with our survey of early Mozart symphony LP recordings, \u003ca href=\"http:\/\/www.pristineclassical.com\/LargeWorks\/Orchestral\/PASC151.php\"\u003ePASC151\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough Decca were quick to resolve these issues, and went on to make some of the finest recordings of that decade, this leaves us with a series of otherwise excellent recordings from the very start of the 1950s in dire need of some tonal assistance - which means they're ideally suited for an XR-remastering makeover. Fortunately all of the basic ingredients of the recording are there - excellent microphone placement, acoustics and so forth - and one can only conjecture that something in the recording chain itself (microphones, amplifiers, tape recorders) had a far less than flat frequency response. This allows the tonal rebalance aspects of XR remastering to really do all the hard work and bring out a much fuller and more realistic sound than has previously been heard, something which is further rounded out by the application of Ambient Stereo processing, which we wholeheartedly recommend hearing.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWe're also lucky here in that father Erich Kleiber takes the 7th Symphony significantly faster than his son Carlos was to a few years later, and we've been able to fit these two recordings back-to-back on this release with just over a minute to spare before hitting the 80-minute barrier of modern CD timing. At Carlos's pace this would have been impossible by a matter of some 2 or 3 minutes.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOne other thing of note about this recording, again picked up first by the Gramophone reviewer, and then in an article by Edward Sackville-West, is the use of pizzicato in a section in the Allegretto of the 7th Symphony that might more often be heard \u003cem\u003earco\u003c\/em\u003e. Here's the article which fills in the details, from May 1951:\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    \u003ci\u003eWHEN the Concertgebouw\/Kleiber LP. disc of Beethoven's Seventh Symphony was issued I pointed out that, contrary to custom, the final string phrase in the Allegretto was played pizzicato instead of arco. Dr. Kleiber has since explained to me the reason for this procedure. It appears that when he was to give his first performance of the symphony, in Berlin, he consulted the MS of the score (which happens to be in Berlin) and noticed that over the passage in question the word arco was pencilled in, but not in the composer's own hand. This suggested to Dr. Kleiber that during the original rehearsal Beethoven, seated in the body of the hall, called out to the assistant conductor \"I can't hear the strings there ! \"—i.e. through the wind and horns which had entered, forte, with the concluding A minor chord. It is Dr. Kleiber's conjecture that at this point the conductor himself scribbled the word arco into the score, in order to dispose of the difficulty. This ingenious explanation ignores the obvious objection that if Beethoven, who was not easy to push aside, had intended the phrase to be played pizzicato he was not likely to allow a conductor to alter his scoring. It is possible that he found the emendation an improvement, although, if we rid ourselves of all the prejudice created by innumerable hearings of the passage played arco, we shall, I think, find the persistence of the pizzicato up to the end more logical. It seems, moreover, that in the nineteenth century some great conductors (notably Hans von Billow) adhered to Beethoven's own marking. Dr. Kleiber admitted to me that although Strauss had accepted his explanation he had been unable to induce most of his eminent confreres to change the usual reading. A correspondent, however, informs me that Otto Klemperer has for many years insisted on the pizzicato ending. In the matter of the Finale, of which I had criticised Kleiber's tempo as being too slow, he objected that the tune was an Austrian folk dance and should therefore be delivered as such. But, treated symphonically, a dance tune surely ceases to be a dance, and the sense of this particular Finale does, it seems to me, demand a speed as fast as is compatible with clarity in the divisions.\u003c\/i\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEIBER\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphonies 3 'Eroica' and 7 (1950)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 'Eroica' in E flat major, Op. 55\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Marcia funebre\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Scherzo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8th May, 1950, at the Grote Zaal of the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Decca LXT 2546, Matrix Nos: ARL 483-3A; 484-3B\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9th May, 1950, at the Grote Zaal of the Concertgebouw, Amsterdam.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Decca LXT 2547, Matrix Nos: 485-2B; 486-3A\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos. E2 KP 6991-1C, E2 KP 6992-1B\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003cb\u003e Erich Kleiber\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, March 2009\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Erich Kleiber\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:20\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC154.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC154.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34747026765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34747026829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34747026893,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":39481423560765,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC154_6d878e3b-19e1-47a6-82ba-eb647ecb7d54.jpg?v=1636980777"},{"product_id":"pasc154-cd","title":"KLEIBER Beethoven: Symphonies 3 'Eroica' and 7 (1950) - PASC154 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478301581,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC154_d7d3ec12-edb6-45be-9253-284835bb62be.jpg?v=1658242452"},{"product_id":"pasc498","title":"VAN BEINUM conducts Mahler (1946-56) - PASC498","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde\u003cbr\u003e\u003cb\u003eMAHLER \u003c\/b\u003eLieder eines fahrenden Gesellen (2 performances)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1946-56\u003cbr\u003eTotal duration: 2hr 25:56\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMargaret Ritchie\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eNan Merriman\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eEugenia Zareska\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eErnst Haefliger\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eEduard van Beinum\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC498.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release brings together for the first time all of Eduard van Beinum’s\nstudio recordings of Mahler works. The LPO version of    \u003cem\u003eLieder eines fahrenden Gesellen\u003c\/em\u003e, Decca’s first Mahler recording,\n    was transferred from original 78 rpm discs. The remaining items were\n    remastered from Japanese, Dutch and American LP pressings.\n\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1 The Decca Recordings\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (69:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMAHLER: Lieder eines fahrenden Gesellen\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e Wenn mein Schatz Hochzeit macht*\u003cspan style=\"font-size: 12px;\"\u003e (4:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e Ging heut’ morgen übers Feld\u003cspan style=\"font-size: 12px;\"\u003e (4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e Ich hab’ ein glühend Messer\u003cspan style=\"font-size: 12px;\"\u003e (3:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e Die zwei blauen Augen\u003cspan style=\"font-size: 12px;\"\u003e (5:13)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEugenia Zareska (contralto)\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra ∙ Eduard van Beinum\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER\u003c\/b\u003e: Symphony No. 4 in G major\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e 1st mvt.: Bedächtig. Nicht eilen – Recht gemächlich\u003cspan style=\"font-size: 12px;\"\u003e (15:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e 2nd mvt.: In gemächlicher Bewegung. Ohne Hast\u003cspan style=\"font-size: 12px;\"\u003e (8:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e 3rd mvt.: Ruhevoll (Poco adagio)\u003cspan style=\"font-size: 12px;\"\u003e (20:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e 4th mvt.: Sehr behaglich – “Wir genießen die himmlischen Freuden”\u003cspan style=\"font-size: 12px;\"\u003e (8:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Decca LXT 2718\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMargaret Ritchie\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam ∙ Eduard van Beinum\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded April\/May 1952 in the Grote Zaal, Concertgebouw, Amsterdam\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2 The Philips Recordings\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER: Lieder eines fahrenden Gesellen\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1\u003c\/span\u003e Wenn mein Schatz Hochzeit macht\u003cspan style=\"font-size: 12px;\"\u003e (3:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2\u003c\/span\u003e Ging heut’ morgen übers Feld\u003cspan style=\"font-size: 12px;\"\u003e (3:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3\u003c\/span\u003e Ich hab’ ein glühend Messer\u003cspan style=\"font-size: 12px;\"\u003e (2:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4\u003c\/span\u003e Die zwei blauen Augen\u003cspan style=\"font-size: 12px;\"\u003e (5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 November 1946 and *16 December 1947 in Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: AR 10891-3, 10892-1, 10893-1 \u0026amp; 10894-2\u003cbr\u003eFirst issued on Decca K 1624\/5 in album EDA-71\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 8 – 12 December 1956 in the Grote Zaal, Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Philips A00410\/1L\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNan Merriman (contralto)\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam ∙ Eduard van Beinum\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER: Das Lied von der Erde\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5\u003c\/span\u003e Das Trinklied vom Jammer der Erde\u003cspan style=\"font-size: 12px;\"\u003e (8:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6\u003c\/span\u003e Der Einsame im Herbst\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7\u003c\/span\u003e Von der Jugend\u003cspan style=\"font-size: 12px;\"\u003e (3:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8\u003c\/span\u003e Von der Schönheit\u003cspan style=\"font-size: 12px;\"\u003e (6:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9\u003c\/span\u003e Der Trunkene im Frühling\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10\u003c\/span\u003e Der Abschied\u003cspan style=\"font-size: 12px;\"\u003e (28:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 – 6 December 1956 in the Grote Zaal, Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Philips A00410\/1L\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eErnst Haefliger (tenor) ∙ Nan Merriman (contralto)\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam ∙ Eduard van Beinum\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 25:56\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC498.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC498.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\n    \u003cstrong\u003eEduard van Beinum\u003c\/strong\u003e\n(1901 – 1959) was born in    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Arnhem\" title=\"Arnhem\"\u003eArnhem\u003c\/a\u003e,\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Netherlands\" title=\"Netherlands\"\u003e\n        Netherlands\n    \u003c\/a\u003e\n    , where he received his first violin and piano lessons at an early age. He\n    joined the Arnhem Orchestra as a violinist in 1918. His grandfather was\n    conductor of a military band. His father played the double bass in the\n    local symphony orchestra. His brother was a violinist, and the two\n    performed as a violin-piano duo in concerts. As a student at the Amsterdam\n    Conservatoire, he gained conducting experience with several concerts by\n    amateur ensembles. He also conducted concerts by the choir of the church of\n    St. Nicholas in Amsterdam.\n\u003c\/p\u003e\u003cp\u003e\n    Van Beinum was the conductor of the Haarlem Orchestral Society from 1927 to\n    1931. He first conducted the Concertgebouw Orchestra of Amsterdam in 1929.\n    He became second conductor of the orchestra in 1931, under the supervision\n    of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Willem_Mengelberg\" title=\"Willem Mengelberg\"\u003e\n        Willem Mengelberg\n    \u003c\/a\u003e\n    . In 1938 he was named co-principal conductor, alongside Mengelberg. After\n    World War II, Mengelberg was dismissed as principal conductor because of\n    controversy over his (still-disputed) behavior and attitude towards the\n    Nazi occupiers in the Netherlands. According to Kees Wisse, van Beinum\n    \"detested the Nazis and kept himself as aloof as he could.\" Van Beinum did\n    receive a reprimand after the post-war de-Nazification activities, but this\n    was not so severe as to keep him from his post with the Concertgebouw. Van\n    Beinum remained as sole principal conductor of the orchestra after the war.\n\u003c\/p\u003e\u003cp\u003e\n    In 1947 he took over the leadership of the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/London_Philharmonic_Orchestra\" title=\"London Philharmonic Orchestra\"\u003e\n        London Philharmonic Orchestra\n    \u003c\/a\u003e\n    , but left after two successful seasons. According to\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Michael_Kennedy_%28music_critic%29\" title=\"Michael Kennedy (music critic)\"\u003e\n        Michael Kennedy\n    \u003c\/a\u003e\n    in his biography of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Sir_Adrian_Boult\" title=\"Sir Adrian Boult\"\u003e\n        Sir Adrian Boult\n    \u003c\/a\u003e\n    , van Beinum was \"not well\", which led the LPO to seek Boult as a successor\n    to him. In general, van Beinum suffered from health problems, including a\n    heart condition, which left him unable to conduct for much of the 1950–1951\n    season of the Concertgebouw Orchestra.\n\u003c\/p\u003e\u003cp\u003e\n    Van Beinum made his US guest-conducting debut in 1954, with the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Philadelphia_Orchestra\" title=\"Philadelphia Orchestra\"\u003e\n        Philadelphia Orchestra\n    \u003c\/a\u003e\n    . He took the Concertgebouw Orchestra on its first U.S. tour later in 1954.\n    In 1956, the year of van Beinum's 25th anniversary with the Concertgebouw\n    Orchestra, he was invested as a Grand Officer of the Order of Orange\n    Nassau, and also received an honorary doctorate from the University of\n    Amsterdam. Outside of the Netherlands, he also served as music director of\n    the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Los_Angeles_Philharmonic\" title=\"Los Angeles Philharmonic\"\u003e\n        Los Angeles Philharmonic\n    \u003c\/a\u003e\n    from 1956 to 1959.\n\u003c\/p\u003e\u003cp\u003e\n    Van Beinum suffered a fatal heart attack on 13 April 1959, on the\n    Concertgebouw podium while rehearsing the orchestra for a performance of\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Johannes_Brahms\" title=\"Johannes Brahms\"\u003e\n        Johannes Brahms\n    \u003c\/a\u003e\n    '\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Symphony_No._1_%28Brahms%29\" title=\"Symphony No. 1 (Brahms)\"\u003e\n        Symphony No. 1\n    \u003c\/a\u003e\n    . He was buried in\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Garderen\" title=\"Garderen\"\u003e\n        Garderen\n    \u003c\/a\u003e\n, in the    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Veluwe\" title=\"Veluwe\"\u003eVeluwe\u003c\/a\u003e\n    region, where he maintained a residence.\n\u003c\/p\u003e\u003cp\u003e\n    \u003cem\u003e(Notes adapted from Wikipedia)\u003c\/em\u003e\n\u003c\/p\u003e\u003cp\u003e\n\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":35577118477,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":35577118605,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC498_7eb543f2-9ff9-4efa-ac6c-6b3b1de2b704.jpg?v=1491547830"},{"product_id":"pasc498-cd","title":"VAN BEINUM conducts Mahler (1946-56) - PASC498 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":35264220493,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC498.jpg?v=1658744320"},{"product_id":"pasc013","title":"RENARDY Brahms: Violin Concerto (1948) - PASC013","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1948\u003cbr\u003eDuration 37:11\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOssy Renardy\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Charles Münch\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a very fine performance of the Brahms violin concerto by a violinist that few of us know578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI find it difficult to review performances of great masterpieces. There are so many recordings and most of them are very good. Only a small percentage have the musical depth, the virtuosity and the individuality to qualify as \"great\". This one doesn't make it but is well above the pack.\u003cbr\u003e\u003cbr\u003eOssy Renardy was born Oscar Reiss in Vienna in 1920 and made his debut at the age of 13. He came to the United States, changed his name and was building a a very good career when he was killed in an automobile accident in 1953 at the age of 33. This recording, the only concerto recording he made, shows what a loss his death was for us.\u003cbr\u003e\u003cbr\u003eMünch shows his characteristic vigor and drive in the orchestral introduction.\u003cbr\u003e\u003cbr\u003eRenardy makes a fiery entrance and a superb transition to the second theme. With clean double-stopping, Renardy rides the lovely third theme into the extremely exciting triple-stopping to complete the exposition. Shrillness is avoided throughout the development, although I feel some slackening of tension and focus toward the end of the development and the beginning of the recapitulation. Somehow, Renardy gets all the power back and the recapitulation is terrific. The cadenza is not the standard Joachim, but is very musical.\u003cbr\u003e\u003cbr\u003eThe slow movement is possibly the finest I've ever heard. The oboist is incredibly eloquent and Renardy matches him. This slow movement is one of the few I've heard that balances the first and third movements.\u003cbr\u003e\u003cbr\u003eThe finale is very good, but it does not quite match the other two movements. It seems to lack the brilliance and panache that they have.\u003cbr\u003e\u003cbr\u003eStill, this is a very fine performance of the Brahms violin concerto by a violinist that few of us know. The reproduction is very clean and beautiful and allows us to hear what might have been but for that automobile accident.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC013.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn 1948 Ossy Renardy was a rising star as a solo violinist, and at the age of just 28, made what was to be both his first and his last concerto recording. Five short years later he was dead, victim of a car accident, leaving us with a legacy of a few assorted 78rpm recordings, and this excellent recording of the Brahms Violin Concerto.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI'll leave the description of this recording to our reviewer Bill Rosen and merely comment that by the late 1940's the Decca engineers had really got to grips with their \u003cem\u003effrr\u003c\/em\u003e (full frequency range recording) system for producing 78rpm discs. I have tried to retain as much air, space and high frequency content whilst battling against what were at times quite noisy surfaces in creating this newly remastered recording. I think I may have succeeded!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eRENARDY\u003c\/b\u003e \u003cb\u003eBrahms\u003c\/b\u003e: Violin Concerto (1948)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFirst movement — Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(20:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSecond movement — Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eThird movement — Allegro giocoso, ma non troppo vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded on 27th June, 1948.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eOriginally issued on five 78rpm discs as Decca ffrr AK.2205-AK.2059\u003cbr\u003eMatrix Numbers: HAR41-3, HAR42-2, HAR43-2, HAR44-2, HAR45-1,\u003cbr\u003eHAR46-3, HAR47-2, HAR48-2, HAR49-2, HAR50-2\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 37'11\"\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eOssy Renardy\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Charles Münch\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC013.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC013.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":36140954637,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205572641102,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC013_56b7719a-2cd8-4003-9682-d21be4569a1e.jpg?v=1492507405"},{"product_id":"pasc013-cd","title":"RENARDY Brahms: Violin Concerto (1948) - PASC013 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205572411726,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC013_9f923589-ef13-4966-9e38-6a3077f0fecd.jpg?v=1657198504"},{"product_id":"pasc023","title":"ANDA Franck: Symphonic Variations (1943) - PASC023","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003eSymphonic Variations\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1943\u003cbr\u003eDuration 15:28\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGéza Anda\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e,\u003cbr\u003eConducted by\u003cb\u003e Eduard van Beinum\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis performance belongs with the most French-right up there with Casadesus and Cortot.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eCesar Franck, along with Leos Janacek, is one of the great late-bloomers in music. A prodigy piano virtuoso and composer as a child, Franck settled into being a very capable organist, teacher and composer of religious works. Suddenly, in his late 50's, he burst into 11 years of greatness, producing a piano quintet (F Minor) of blazing intensity. As with Janacek, this was due to a passionate but platonic love affair with an attractive student. Madame Franck walked out at the quintet's premiere, perhaps smelling a rat. Smelling a somewhat different kind of rat was Camille Saint-Saëns, who played the piano at the premiere, but got up, neither acknowledging any applause nor picking up the dedicatory manuscript on the piano. What he perhaps smelled was a work whose power exceeded the boundaries of French romanticism which he had set and would lead the way to Debussy and Ravel. Six years later Franck fused this late life passion with wonderful classicism and produced the Variations Symphoniques, which although short, moves through all of the facets of a piano concerto.\u003cbr\u003e\u003cbr\u003eVan Beinum begins most gruffly and Anda replies with such silvery soft poetry. The same kind of piano orchestra intimacy exists as in the slow movement of Beethoven's Fourth Piano Concerto. But Anda takes command with forward motion, rubato and exquisite shading. I have never heard Anda this good before. The piano and orchestra are so intimate that they seem to dine of each other's endings. The ending is joyeuse, but not raucous. This performance belongs with the most French-right up there with Casadesus and Cortot.\u003cbr\u003e\u003cbr\u003eThe sound is adequate-perhaps a bit thin to my ears, sometimes a trifle harsh (in the finale), but it is very clear and thankfully! has unveiled the wonders of a performance that cannot go unheard.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC023.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAlthough sometimes regarded as French, \u003cb\u003eCésar-Auguste-Jean-Guillame-Hubert Franck\u003c\/b\u003e (1822-1890) was actually of Flemish birth, and musically can be seen as of the Germanic tradition, most notably in his resolution of formal problems and the chromaticism of his harmony. If in his overall work there is some unevenness, his best music is unquestionably that of a man of genius.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Symphonic Variations, scored for piano and orchestra, is generally Franck's happiest and most brilliant work. Written in 1885, it consists of a single movement of about fifteen minutes duration, and vies only with his symphony for the title of most-recorded orchestral work.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis particular interpretation is of particular interest. Recorded by Deutsche Grammophon Geschellschaft in 1943, it was later recalled with great affection and even admiration by the pianist Géza Anda, who wondered aloud how he could ever have played so well. In van Beinum he had an astute and senstive conductor, and the overall impression is quite ravishing.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe discs we've used for this transfer are also of interest. Rather than the standard DGG yellow label, we find a light blue label, ringed with the following: \"\u003cb\u003eMEISTERKLASSE DER DEUSCHEN GRAMMOPHON G.M.B.H - DAS RECHT ZUR RADIOSENDUNG BLEIST VORBEHALTEN\u003c\/b\u003e\". The label then states : \"\u003cb\u003eSEIMENS SPEZIAL - EXPERIMENTAL-SCHALLPLATTE NACH DEM SILBER-VERFAHREN DES ELEKTRO-AKOUSTISCHEN FORSCHUNGS-LABORITORIUMS\u003c\/b\u003e\". Each of the discs carries an additional message - in one case rubber-stamped, in the other a printed label stuck on, both reading: \"\u003cb\u003eDeutsche Grammophon GmbH, Hannover, Genehmigt 17.6.46, 30 Information Control Unit\u003c\/b\u003e\". The latter seems to suggest approval by post-war occupying forces.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWe'd be most interested to know quite what the experimental processes were that DGG or Seimens were experimenting with at the time - one can guess from what was written that some kind of silver electro-plating might have been involved. As it was, the sound quality was good, but marred by a heavy hiss which has taken a lot of very careful work and processing to reduce to acceptable levels. This is particularly crucial in this work as there are a number of extended sections of very quiet playing; at these points it was at times very difficult to separate piano from hiss!\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eNB.\u003c\/b\u003e When this recording was released on Pristine it was included on a compilation CD, since withdrawn, but never on its own CD. As we've had no requests for a CD copy of the recording in over a decade it remains a download-only issue. Consequently there is no downloadable artwork - the image shown on this page is that of the original compilation disc.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003eSymphonic Variations for Piano and Orchestra, M.46\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eGéza Anda\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e,\u003cbr\u003eConducted by\u003cb\u003e Eduard van Beinum\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded in 1943, remastered from Siemens Spezial 78s 68132-3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix numbers: 2363\/2-GE5, 2364\/4-GE5, 2365\/2-GE5, 2366\/2-GE5\u003c\/span\u003e\u003c\/p\u003e\u003cdiv class=\"pristine-generated-track-list\"\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePASC023\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:28)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 15:28\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":36343124109,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC023_8d19f751-d721-4ed4-8354-e6bf20cc45b5.jpg?v=1492786503"},{"product_id":"pasc055","title":"MENGELBERG Mahler: Symphony No. 4 (1939) - PASC055","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1939\u003cbr\u003eTotal duration: 57:01\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003eConductor: \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC055.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMahler's Fourth Symphony, written 1899-1901 and first performed under the composer's baton in Munich in 1901, is perhaps the most immediately approachable of his symphonies. Scored for a more modestly proportioned orchestra than elsewhere in his repertoire, and with a pastoral innocence which can sometimes serve to mask dark shadows and undercurrents, it really is a most delightful work. \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe finale, where we hear the soprano singing words from Des Knaben Wunderhorn (a collection of German folk poems dear to Mahler), was originally intended for his Third Symphony; instead it became the seed from which his fourth was to grow. Themes derived from the finale are heard through the first three movements, and yet are written in such a way as to successfully foreshadow that movement. In overall scale the Fourth Symphony is certainly more approachable than its immediate predecessor; its four movements run here to just over 55 minutes - contrast this with the hundred-minute, six movements of the Third.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis recording is remarkable in many ways. With regard to sound quality it is simply the most high fidelity recording I've ever heard from the 1930's. Recorded at a live concert (you'll hear the conductor's batton taps at the very start) onto 78rpm acetate discs, it has full frequency range and a huge dynamic range. Although subsequent playing and handling was to damage those discs, by careful, painstaking, and hugely time-consuming restoration work we have been able to restore sections of the recording previously lost under surface noise to something approaching their former glory. We have also tackled some of the sonic inadequacies of the microphones of the day to restore a more even tonal balance to the recording. The net result is quite astonishing to hear - as clean and clear as it must have sounded to the audience at the Concertgebouw in November 1939.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSecondly we have to look to the performance, as this is one which is simply unique. Mengelberg had been a close friend and associate of Mahler's; he had been present at the premiere of this symphony; the two conductors (for conducting was for what Mahler was chiefly known during his lifetime) worked on the score together, adding timing marks, annotations and fine detailed notes throughout. \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWe cannot know how Mahler paced the work, how he handled the phrasing, or whether Mengelberg's interpretation is even close to that of Mahler. Some will find his almost ceaseless tempo changes impossible to take (and hence we have no review from Bill Rosen!); for others here is a whole new insight into this marvellous piece of music which will both delight and inform at the same time. Personally, I love it!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eMahler\u003c\/b\u003e: Symphony No. 4 (1939)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 4 in G major\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Bedächtig — Nicht eilen — Recht gemächlich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. In gemächlicher Bewegung\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Ruhevoll (Poco adagio)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Sehr behaglich (words from Des Knaben Wunderhorn)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003eConductor: \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live on 9th November, 1939 onto 78rpm acetate discs.\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 57:01\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC055.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC055.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":36205195277,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":59210947887438,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC055_d848407c-055e-48b4-a0c1-eaa392c5a3c1.jpg?v=1773919728"},{"product_id":"pasc055-cd","title":"MENGELBERG Mahler: Symphony No. 4 (1939) - PASC055 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205565694286,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC055_dff9d57e-0445-4cc7-9a7d-bda197c7a156.jpg?v=1657717660"},{"product_id":"pasc098","title":"MENGELBERG Franck: Symphony in D minor (1940) - PASC098","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003eSymphony in D minor\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded live in 1940\u003cbr\u003eDuration 35:05\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC098.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIn the late 1930's and into the early 1940's a number of recordings of Mengelberg conducting the Royal Concertgebouw Orchestra were made to an astonishingly high quality by the semi-private Dutch broadcasting organisation AVRO. They were cut directly onto glass-backed acetates and later transcribed to tape, from which a number of releases have been sourced. Already on this site you'll find Mengelbergs' 1939 \u003cem\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc055\"\u003eMahler Symphony No. 4\u003c\/a\u003e \u003c\/em\u003e and his 1940 \u003cem\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco012\"\u003eBrahms Requiem\u003c\/a\u003e\u003c\/em\u003e, and now we're able to bring the XR process to bear on this superb 1940 \u003cem\u003eFranck\u003c\/em\u003e recording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFortunately in this case the acetates were in a much better state than the previous two recordings I worked on, which left me to concentrate on getting the very best sound quality out of the music, rather than the worst of the noise away from the music! What we hear is a superb performance, and a truly excellent recording for its day.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eFranck\u003c\/b\u003e: Symphony in D minor (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003eSymphony in D minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Lento — Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live in Amsterdam on 3rd October 1940\u003cbr\u003eTransfer and XR remastering by Andrew Rose, October 2007\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 35:05\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC098.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC098.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":36342102477,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205556977998,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC098.jpg?v=1492785308"},{"product_id":"pasc098-cd","title":"MENGELBERG Franck: Symphony in D minor (1940) - PASC098 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205556945230,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC098_dedb04f3-55ac-4d2e-ba43-a5a276e5a7e7.jpg?v=1657718717"},{"product_id":"pabx008","title":"MENGELBERG Beethoven: Complete Symphonies (1940) - PABX008","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphonies 1-9\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio Overture\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eDon Juan\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTo van der Sluys\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eSuze Luger\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eLouis van Tulder\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eWillem Ravelli\u003c\/b\u003e, baritone\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAmsterdam Toonkunst Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Oratorio Society\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fXR remastering has opened out the sound very impressively, easily surpassing previous transfers578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW OF SYMPHONIES 6 \u0026amp; 7\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnother welcome installment in Pristine’s live \nMengelberg series. Once again, Andrew Rose’s XR remastering procedure \nhas opened out the sound very impressively, easily surpassing previous \ntransfers on Philips and Music \u0026amp; Arts.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMengelberg’s “Pastoral” was an incredibly radical \nconception for its time: light, lean, stripped-down, sharply focused. As\n always with Mengelberg (or nearly always), there’s a cogent musical \nrationale for the seeming eccentricities. If his way with the opening at\n first strikes us as dangerously indulgent, his point is precisely to \ndetach the first four bars as a “frame” for the movement proper, before \npouncing on bar 5 with up-tempo zest (Pletnev recently attempted the \nsame thing, not very convincingly, in his erratic cycle with the Russian\n National Orchestra; among Mengelberg’s contemporaries, Mitropoulos was \nthe only one to share his conception of the basic tempo, in his \nMinneapolis recording from the same year). Clarity and airiness are the \nwatchwords—hear his radically \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003edetaché\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n articulation of the second theme, and the incredible definition of the \nstring figures in the closing section. The “Scene by the Brook” is taken\n as a real four-in-the-bar Andante, with a fluid flexibility of pace and\n vibrant fullness that he shared with Furtwängler, though accomplished \nwithin a faster basic pulse. More controversial is his eccentric \nrewriting of the rhythm in the main theme, resulting in a complex \npolyrhythmic effect—essentially superimposing a temporary 4\/4 on the \nmovement’s basic 12\/8—that I have never understood the rationale for (he\n maintains it, though not with complete consistency, throughout the \nmovement). Mengelberg’s “Storm” is one of the most amazingly vivid on \nrecord, deliberate and unhurried (Beethoven’s metronome mark is only 80 \nhere, in contrast to the needless frenzy often whipped up) but with a \nheadlong sweep, controlled ferocity, and subtly nuanced but pungently \ntangy coloristic range—\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esul ponticello\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n string chills, sudden glints of brass tone through the downpour. The \nclimax (bars 106 ff.) is overwhelming. The “Shepherd’s Hymn” has a (for \nits time) exhilarating up-tempo buoyancy and detached articulacy, with \nwonderful forward momentum in the coda, where so many conductors bog \ndown. On the debit side, there are some fussy tempo changes (e.g., his \ndisruptive slamming on of the brakes in bar 32); from the viewpoint of \ntempo modification, this is one case where Furtwängler’s more seamless, \ngradual approach was more convincing.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMengelberg’s approach to the Seventh was equally \noriginal. The first movement is played for precision and weight at a \nmoderate, flexible tempo. His Allegretto is like no one else’s in its \nheavily stylized clarity of legato\/staccato articulation, and the \ncontrasting major-mode section is a miracle of coloristic subtlety. The \nScherzo is unhurried and trenchant; the Trio slow and songful, with much\n agogic manipulation. The finale is once again notable for its constant \nmodification of the tempo, but here more in terms of a subtle flux than \nthe abrupt gear-changes heard in the “Shepherd’s Hymn.” There is an \nextraordinary sense of each of the movement’s rhythmic elements leading \nits own autonomous life—e.g., the way he swings the swirling string \nlines against the massive, deliberate treatment of the wind-and-timpani \npunctuations. In comparison to alternative live versions (Mengelberg \nnever made a studio recording of the Seventh), this one is notably \nslower overall, and more given to flexibility of rhetorical emphasis \nthan those with the Concertgebouw in 1936 (Tahra) and Berlin Radio \nOrchestra in 1939 (on the British specialist Mengelberg label Archive \nDocuments). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC236.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG Beethoven and Brahms: First Symphonies (1940) - PASC221\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\n\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWillem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMany of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. Howver, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at. There are extended sections in both 1940 concert recordings present here where we've been able to present a true full-frequency, 20-20,000 Hz frequency response, coupled with a dynamic range more befitting of a 1960s or 1970s analogue recording - sound quality which is quite astonishing for its age.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOf course these discs were by no means perfect, and trying to go \"the extra mile\" in restoring it to modern standards is fraught with difficulties. Modulation distortion abounds in the original - basically whenever the music gets louder, so does the hiss and noise levels, especially at the higher frequencies which were previously largely inaudible. The majority of the restoration effort has then been involved in trying to ameliorate this problem, though sharper ears may still hear its effect from time to time. There is at times also very slightly higher general background hiss than one might expect of a more recent recording, and one of course has to deal with the low level click and crackle present in just about any disc recording.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElsewhere the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. The use of multiple references for the remastering of the recordings has ensured that the tonal balance is as natural and realistic as possible, and that the two recordings resulted in an orchestral sound which was consistent for both recordings. One will rarely get closer to hearing a 1940 concert than this.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG Beethoven: Symphonies 2 \u0026amp; 8, Fidelio Overture (1940) - PASC229\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eMore superb Beethoven from Willem Mengelberg\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003e Utterly astonishing XR-remastered sound quality\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003cbr\u003e Willem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMany of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. Howver, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at. There are extended sections in both 1940 concert recordings present here where we've been able to present a true full-frequency, 20-20,000 Hz frequency response, coupled with a dynamic range more befitting of a 1960s or 1970s analogue recording - sound quality which is quite astonishing for its age.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElsewhere the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. The use of multiple references for the remastering of the recordings has ensured that the tonal balance is as natural and realistic as possible, and that the two recordings resulted in an orchestral sound which was consistent for both recordings. One will rarely get closer to hearing a 1940 concert than this.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eThese transfers\u003c\/b\u003e\u003cbr\u003e The discs which originally held the present recordings were variable in condition, and at times quite extensive repair work has been necessary in order to remove or reduce bumps, clicks, scratches, swish and high-end noise. In order to maintain as much musical information as possible there is therefore some small variation in background noise, though I've tried to retain smooth progressions between the various sections of the recordings so this does not jar. Overall the sound is once again amazing for its vintage - despite repeated listening I remain astonished at what was achieved in 1940 and what I've been able to extract and reveal in these superlative recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003e MENGELBERG Beethoven: Symphonies 4 and 5 (1940) - PASC236\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eMore superb Beethoven from Willem Mengelberg\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003e Continuing the series in astonishing XR-remastered sound quality\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003cbr\u003e Willem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMany of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. However, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at. There are extended sections in both 1940 concert recordings present here where we've been able to present a true full-frequency, 20-20,000 Hz frequency response, coupled with a dynamic range more befitting of a 1960s or 1970s analogue recording - sound quality which is quite astonishing for its age.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eElsewhere the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. The use of multiple references for the remastering of the recordings has ensured that the tonal balance is as natural and realistic as possible, and that the two recordings resulted in an orchestral sound which was consistent for both recordings. One will rarely get closer to hearing a 1940 concert than this.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003eThese transfers\u003c\/b\u003e\u003cbr\u003e Although the Fourth Symphony appears to get off to a slightly rough start, thanks to damage to the original acetates, and misses the characteristic clicks of Mengelberg's baton, things soon settle down and once again in this series, excellent sound quality can be heard in both recordings. Opening up the top end frequencies of these recordings has revealed flaws previously buried in the original - distortion and swishing both had to be tamed or eliminated, with many thousands of individual manual restoration interventions required for each symphony. Inevitably the odd shortcoming will remain audible, but ultimately the sonic impact of these restorations has been hugely satisfying and enjoyable.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG Beethoven: Symphony No. 9 \"Choral\" (1940) - PASC258\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eMengelberg's magnificent Beethoven Choral Symphony\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003e Our Mengelberg Beethoven series continues in superb XR-remastered sound\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWillem Mengelberg and the Concertgebouw Orchestra were recorded on a number of occasions by AVRO using high quality glass acetate discs, which produced significantly better results than those normally obtained by shellac discs of the era, with a much wider dynamic and frequency range than was usual at the time. Many of Mengelberg's AVRO recordings have long been available on LP and, later, CD, and their sonic advantages have been immediately clear to listeners for decades.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, using standard flat replay systems to produce those LPs and CDs has only told perhaps half of the story - the recordings gently rolled off both higher and lower frequencies. Howver, these essential details are often still intact, buried in the recordings as if awaiting a remastering method capable of extracting them and restoring their original levels.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis is, of course, precisely what Pristine's XR remastering system excels at, and I've been able to bring out a pleasing amount of detail in the high treble, often extending right up to near 20kHz. At times this detail is astonishingly clean and clear, but elsewhere it is marred by a degree of hiss, requiring a delicate balance to be struck between the two.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMeanwhile the bottom end has seen considerable improvement, with a much fuller and richer sound than originally heard in the flat transfers. However much of the very lowest bass, below 100Hz, has been very poorly preserved where it exists at all, and these frequencies caused considerable problems in the restoration process. Indeed, much of what was present at these frequencies turned out to be rogue tones derived from interference at higher frequencies and had to be removed, along with a variety of unwanted bumps and thumps.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI was also required to carry out some judicious editing in the opening movement, where a small fragment of music was missing and a skip could be heard on my source discs which appeared to originate from the acetate masters. Fortunately I've been able to make a seamless repair by dropping in material from a repeated phrase, leaving the join hopefully undetectable.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG Beethoven: Symphonies 6 \"Pastoral\" and 7 (1940) - PASC280 \u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eMengelberg's Beethoven Symphonies:\u003cbr\u003e\"Hear them with new ears in these revelatory transfers\" (Fanfare)\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eCompleting our Mengelberg Beethoven series in superb XR-remastered sound\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with the other recordings in our series of Mengelberg's 1940 Beethoven cycle, these two live symphony performances were captured unusually well by the ARVO engineers on high quality glass acetate discs, and these recordings have responded especially well to Pristine Audio's XR remastering system. I have been able to tackle tonal deficiencies which in the originals manifested themselves in a rather hard, cramped acoustic characteristic of the microphones then in use. Fortunately almost all the frequencies required for true high fidelity had been recorded - the re-equalisation of the XR process merely rearranges them in volume a little to bring a far more natural tone to the orchestra.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFrom a restoration perspective, large swathes of the recordings were excellent, with just short sections where swish and low frequency bumps had to be eliminated, and the occasional side join tidied up. Both recordings are on a par with anything previously issued in this series with respect to sound quality, with the 7th Symphony perhaps showing the greater improvement over the original source.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG Beethoven: Symphony No. 3 \u0026amp; R. Strauss: Don Juan (1940)- PASC287\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eMengelberg superb 1940 studio 'Eroica' sounding fabulous\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eCoupled with his live Don Juan from the same year\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording here has often been used to \"complete\" Mengelberg's 1940 Beethoven cycle, which otherwise consists of recordings made by Dutch radio from live concert broadcasts - the source of the recording here of Don Juan.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, this recording of the Eroica Symphony was actually made as a studio recording and issued on German Telefunken 78s, and as such I've distanced it slightly from our series of 1940 live Beethoven recordings. Although the sound quality is excellent for 78s of this era, especially following XR remastering, it lacks the clarity, a product of a particularly wide frequency and dynamic range, achieved on the glass acetates used by AVRO's radio engineers when preserving their broadcasts.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Beethoven discs showed large differences in both high treble and background noise between the starts and ends of each side, and much work was required to try to retain as much of the former whilst reducing as much of the latter and providing smooth side changes. By contrast the Strauss was a much more straightforward affair, with the main task being reduction of swish.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Complete Symphonies (1940)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG Beethoven and Brahms: First Symphonies (1940) - PASC221\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e and \u003cb\u003eBrahms\u003c\/b\u003e: First Symphonies (1940)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1 in C major, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuetto (Allegro molto e vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro — Allegro molto e vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Un poco sostenuto — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante sostenuto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Un poco allegretto e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Allegro non troppo, ma con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 13th October, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 27th October, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003ePlayed by Royal \u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in October 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from Philips LPs W 09907 L \u0026amp; 6597 009 in the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 73:28\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG Beethoven: Symphonies 2 \u0026amp; 8, Fidelio Overture (1940) - PASC229\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphonies 2 \u0026amp; 8, Fidelio Overture (1940)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 2 in D major, Opus 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (Allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:06)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8 in F major, Opus 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro vivace e con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Tempo di menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio Overture, Op. 72c\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFidelio Overture, Op. 72c\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:17)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 21st April, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 18th April, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert variously attributed to April 28th or October 13th, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003ePlayed by Royal \u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in April\/October 1940 at the Concertgebouw, by AVRO Radio\u003cbr\u003eTransfers from Philips LPs 6597 010 and 6597 009 in the Pristine collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May-June 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:09\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003e MENGELBERG Beethoven: Symphonies 4 and 5 (1940) - PASC236\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphonies 4 and 5 (1940)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 4 in B flat major, Opus 60\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:24)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:32)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5 in C major, Opus 67\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 25th April, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 18th April, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in April 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from mint Philips LPs 6597 012 and 6597 016 in the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May-July 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 68:23\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG Beethoven: Symphony No. 9 \"Choral\" (1940) - PASC258\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphony No. 9 \"Choral\" (1940)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo, un poco maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio e cantabile — Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Presto — Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(26:07)\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 2nd May, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTo van der Sluys\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eSuze Luger\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eLouis van Tulder\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eWillem Ravelli\u003c\/b\u003e, baritone\u003cbr\u003e\u003cb\u003eAmsterdam Toonkunst Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Oratorio Society\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in May 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from Philips LPs 6597 015 \u0026amp; 6597 016 from box set 6767 003\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, October-November 2010\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 68:47\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG Beethoven: Symphonies 6 \"Pastoral\" and 7 (1940) - PASC280 \u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphonies 6 \"Pastoral\" and 7 (1940)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F major, Op. 68 \"Pastoral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 14th May, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eConcert of 25th May, 1940\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded in May 1940 at the Concertgebouw, Amsterdam by AVRO Radio\u003cbr\u003eTransfers from Philips LPs 6597 013 \u0026amp; 6597 014 from box set 6767 003\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February-March 2011\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg at the Concertgebouw\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:57\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG Beethoven: Symphony No. 3 \u0026amp; R. Strauss: Don Juan (1940)- PASC287\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphony No. 3 \u0026amp; \u003cb\u003eR. Strauss\u003c\/b\u003e: Don Juan (1940)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 in E flat, Op. 55 \"Eroica\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Marcia funebre Adagio assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Finale Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11th November, 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as Telefunken 78s, SK 3117-22\u003cbr\u003eMatrix Nos. CB 025350-61\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eDon Juan, Op. 20\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRichard Strauss: Don Juan, Op. 20\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live at Royal Concertgebouw, Amsterdam, 12th December, 1940\u003cbr\u003eTransfer from Philips LP W 09908 L\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 62:41\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":40205007245,"sku":null,"price":96.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205554291022,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205554323790,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX008.jpg?v=1773919487"},{"product_id":"pabx008-cd","title":"MENGELBERG Beethoven: Complete Symphonies (1940) - PABX008 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CD only in plastic sleeve (+MP3)","offer_id":55205554258254,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC236_c33c891f-1b20-4932-9371-a94a069609b4.jpg?v=1657121843"},{"product_id":"pabx013","title":"The Columbia Beethoven Centennial Symphony Series complete (1926\/27) - PABX013","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eThe 9 Symphonies - and more\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003econducted by\u003cbr\u003e\u003cb\u003eSir George Henschel\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Henry J Wood\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Hamilton Harty\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFelix Weingartner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1926 \u0026amp; 1927\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI thought it exhilarating578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW OF VOLUME 5\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis concludes Pristine’s CD issue of \nthe first complete cycle of the Beethoven symphonies to be recorded \nelectrically. The series coincided with the centennial of Beethoven’s \n1827 death. Actually, the Ninth was the first to be recorded and \nreplaced an acoustic recording of the piece by Weingartner that was \nabandoned when electrical recording arrived. According to Mark \nObert-Thorn, who did the fine transfer and added just a touch of \nresonance to enliven the original’s dry sound, the centennial series was\n conceived after Weingartner’s recording was made and it became a part \nof the cycle by default. At the time, Weingartner, who went on to record\n Beethoven’s four previous symphonies as part of the cycle, was regarded\n as something of a Beethoven expert, though he was erratic about \nobserving cuts, reorchestrated if he thought it necessary, and pretty \nmuch ignored the composer’s metronome markings. This is an observation, \nnot a criticism. What gives his two recordings of the Ninth a certain \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecachet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n at least for me, is that, when he was a young man he was introduced to \nan elderly women who had sung in the chorus at the 1824 Vienna premiere,\n which was conducted by Beethoven himself. Imagine how thrilling \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e must have been—two degrees of separation from Beethoven! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHe recorded the symphony a second time\n in 1935 with the Vienna Philharmonic, and it was those 78s that I \nlearned the piece on. The performances are quite similar with two \nexceptions: The 1927 one, like two other early Ninths (Coates and \nStokowski) is sung in English, and he takes the finale faster on the \nearlier recording. The faster tempo bothered me not a bit; in fact, I \nthought it exhilarating and, while the English text, often \nincomprehensible, is no asset, the soloists are quite good—Harold \nWilliams still sounds like himself 20 years later. It seems to me that, \nperhaps due to the use of a slightly smaller string section and\/or \n“tighter” acoustics, more inner detail is heard on the 1927 recording \nthan on the later one. These two Weingartners, needless to say, have \nbeen surpassed sonically through the years, but in their \nstraightforward, no-nonsense directness, they still hold up very nicely \nas performances, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand I’m delighted to have them both.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC366.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1 (1926\/27) - PASC366\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\n\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis volume is the first of five which will reissue, for the first time in one series, the complete symphony cycle which English Columbia commissioned to commemorate the centennial of Beethoven’s death in 1927.  It was a bold move for the label, perennially in the shadow of its larger competitor, HMV, to embark on such a project at a time when no other company had recorded all nine symphonies using the relatively new electrical process.  Indeed, HMV and Polydor would not complete their cycles until several years after the centennial had passed.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first four symphonies were assigned to British conductors (Henschel, Beecham, Wood and the Northern Irish Harty) while the remainder were given to Weingartner, already generally acknowledged as a Beethoven specialist.  The German-born Sir George Henschel (1850–1934) was equally noted for his appearances as a baritone recitalist as he was for his conducting.  He was the first music director of the Boston Symphony Orchestra, and this Beethoven First Symphony is his only recording as a conductor.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBeecham’s recording of the Second Symphony was the first of three he would make (the others were in 1936 with the LPO and 1956\/7 with “his” RPO).  While all share an exuberant approach to the main theme of the first movement, the present performance threatens to go off the rails with tempi that are just short of humanly impossible to play.  The \u003cem\u003eLuftpausen\u003c\/em\u003e just before and after the Trio in the Scherzo were an interpretive indulgence Beecham did not repeat in his later versions.  It has never been reissued on CD before, perhaps in part due to the unusually high playback speed required (84.4 rpm at A4 = 440Hz, quite the fastest speed I’ve ever encountered for an electrical recording).  Henry Wood’s contemporaneously-recorded \u003cem\u003eLeonore\u003c\/em\u003e Overture, although not part of the Centennial Symphonies series, has been included to fill out the short program, as a sort of preview for his \u003cem\u003eEroica\u003c\/em\u003e on Volume 2.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers were first edition American Columbia “Viva-Tonal” pressings.  Multiple copies of each were assembled, and the best sides were chosen for transfer, although it must be kept in mind that these early electrics are inherently rather noisy.  The Henschel set was plagued by pitch fluctuation throughout each side, which has been corrected in this transfer.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 2 (1926) - PASC386\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 2\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003e Continuing this groundbreaking Symphonic series, first issued in 1927, in new Mark Obert-Thorn transfers\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis volume is the second of five which will reissue, for the first time in one series, the complete symphony cycle which English Columbia commissioned to commemorate the centennial of Beethoven’s death in 1927. It was a bold move for the label, perennially in the shadow of its larger competitor, HMV, to embark on such a project at a time when no other company had recorded all nine symphonies using the relatively new electrical process. Indeed, HMV and Polydor would not complete their cycles until several years after the centennial had passed.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe first four symphonies were assigned to British conductors (Henschel, Beecham, Wood and the Northern Irish Harty) while the remainder were given to Weingartner, already generally acknowledged as a Beethoven specialist.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHenry Wood had already set down an abridged acoustic version of the \u003cem\u003eEroica\u003c\/em\u003e for Columbia on six sides in 1922 when he was approached to record it complete for the microphone. The recording locale is not precisely known; I have seen references to both the Scala Theatre and Columbia’s Large Studio in Petty France. We do know, however, that the New Queen’s Hall Orchestra did not record it in Queen’s Hall, which was under exclusive contract to HMV at the time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWood’s approach is surprisingly modern for its time – fleet, unmannered, and with hardly any string portamenti to be heard. Apparently, Wood was originally intended to play a greater role in Columbia’s Beethoven Centennial series. In March of 1927, he recorded two concerti, the \u003cem\u003eEmperor\u003c\/em\u003e with Ignaz Friedman and the Violin Concerto with Albert Sammons; but neither was ever released, and the original matrices were destroyed.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe Fourth would turn out to be the only Beethoven symphony Harty recorded. His approach here is similar to Wood’s, albeit with a bit more portamenti on display, and he benefitted from the almost-too-ample acoustics of Manchester’s Free Trade Hall. For the final side (the last half of the fourth movement), the engineers must have told Harty that he was running perilously close to the four-minute maximum Columbia was apparently enforcing at the time for twelve-inch matrices, as he speeds up his already energetic reading to an exhilarating conclusion, the Hallé following him with great precision and virtuosity.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the transfers were American Columbia “Viva-Tonal” pressings for the \u003cem\u003eEroica\u003c\/em\u003e and laminated English Columbias for the Fourth. Pitch fluctuations throughout each side, which were particularly severe in the Fourth Symphony, have been corrected in this transfer.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 3 (1927) - PASC399\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 3\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003e Continuing this groundbreaking Symphonic series, first issued in 1927, in new Mark Obert-Thorn transfers\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis volume is the third of five which will reissue, \nfor the first time in one series, the complete symphony cycle which \nEnglish Columbia commissioned to commemorate the centennial of \nBeethoven’s death in 1927. The first four symphonies were assigned to \nBritish conductors (Henschel, Beecham, Wood and the Northern Irish \nHarty) while the remainder were given to Weingartner, already generally \nacknowledged as a Beethoven specialist.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOddly, even though he had already recorded a complete\n acoustic version of the Fifth Symphony three years earlier, Weingartner\n was not Columbia’s first choice for their Centennial series. On \nNovember 19th and 22nd of 1926, Bruno Walter led the (old, pre-Beecham) \nRoyal Philharmonic in their first electrical version. Copies of the \nshells were even shipped to Columbia’s American affiliate before the \nrecording was cancelled on January 24th of the following year and the \nmatrices destroyed. Four days later, Weingartner began recording the \nversion heard here.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs he did in his 1932 set with the British Symphony \nOrchestra (but not in his recordings of 1924 and 1933), Weingartner here\n omits the first movement repeat. But the most anomalous feature of the \npresent version is the incredibly swift tempo of the second movement, \nwhich starts at ♪ = 96, faster even than Beethoven’s metronome marking \nof ♪ = 92. This movement beats his final recording by nearly two and a \nhalf minutes – 7:30 vs. 9:55 (not counting the pauses after the tracks).\n Almost certainly, this was due to Columbia’s enforcement of a \nfour-minute limit on the duration of the sides of their early electrical\n recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThat same reason would account for the \u003cem\u003ePastoral\u003c\/em\u003e’s\n 33 minutes being lavishly spread over ten 12-inch sides. The brief \nduration of the symphony is due not only to similarly fast tempi, but \nalso to the omission of all repeats. Although Weingartner had begun an \nacoustic recording of the symphony in 1924, it was never completed; and,\n alone among his 1926\/27 series of the Fifth through the Ninth, this one\n was not re-recorded by him in the 1930s. Of particular note is his \nhandling of the brass in the last movement, bringing it to the fore in \npassages where most conductors keep it as accompaniment.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the present transfers were American \nColumbia “Viva-Tonal” pressings. While these are usually the quietest \nversions available, a higher-than-average amount of surface noise will \nbe noticeable, particularly in the Fifth Symphony. The best portions of \nmultiple copies of the recordings were used for transfer, so it is \npossible the noise may be inherent in the masters. The severe speed \nfluctuations of the originals have been corrected through the \napplication of Celemony Capstan, allowing the performances to be heard \nwith rock-solid pitch for the first time since the original recording \nsessions.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 4 (1926\/27) - PASC414\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 4\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003ePenultimate issue in this groundbreaking Symphonic series, first issued in 1927, in new Mark Obert-Thorn transfers\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis volume is the fourth of five which will reissue, for the first \ntime in one series, the complete symphony cycle which English Columbia \ncommissioned to commemorate the centennial of Beethoven’s death in 1927.\n The first four symphonies were assigned to British conductors \n(Henschel, Beecham, Wood and the Northern Irish Harty) while the \nremainder were given to Weingartner, already generally acknowledged as a\n Beethoven specialist.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor the Seventh and Eighth Symphonies, Weingartner was returning to \nscores he had only relatively recently recorded for Columbia using the \nold acoustical process. In the Seventh, he restored a cut he had made in\n the Scherzo in the previous nine-sided version, while the remade Eighth\n took one side less due to the elimination of a large overlap of \nrepeated music in the third movement. Both of the present versions are \nswifter than their 1936 remakes, but the differences are not as marked \nas those between his 1927 and 1933 versions of the Fifth Symphony \n(detailed in the notes to Volume 3).\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe two overtures date from the Concertgebouw Orchestra’s first \nrecording sessions in May, 1926. The early electrical sound is \nnoticeably more primitive than that of the symphonies, showing the great\n advances Columbia had made over the intervening months. The single \nmovement from the Eighth Symphony was included as the filler side to \nMengelberg’s recording of Cherubini’s Anacreon Overture. While not part \nof the Centennial Symphonies series per se, these sides have been \nincluded not only to fill out an otherwise short program, but also \nbecause, along with Henry Wood’s Leonore Overture No. 3 in Volume 1 and \nthe symphonies, they comprise the complete electrical orchestral \nrecordings of Beethoven which Columbia had in print by the end of the \nCentennial year of 1927, (excluding Louis Zimmermann’s recording of the \nViolin Concerto, released only in Holland).\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the present transfers were American Columbia \n“Viva-Tonal” pressings. While these are usually the quietest versions \navailable, a higher-than-average amount of surface noise will be \nnoticeable in the Mengelberg items. When played using the typical \nrecording curve for the early electric era, these sides sound dull and \nbass-heavy; however, by playing them with a “flat” equalization and then\n significantly boosting the upper frequencies, the balance and detail of\n the original recordings comes into focus, albeit at the expense of \nsignificantly increased hiss. The severe speed fluctuations of the \noriginals have been corrected through the application of Celemony \nCapstan, allowing the performances to be heard with rock-solid pitch for\n the first time since the original recording sessions.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 5 (1926) - PASC427\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 5\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eThe\n final instalment in this groundbreaking Symphonic series, Weingartner's\n brilliant 1926 Ninth, in new Mark Obert-Thorn transfers\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis volume is the last of five which have reissued, for the first \ntime in one series, the complete symphony cycle which English Columbia \ncommissioned to commemorate the centennial of Beethoven’s death in \n1927.  The first four symphonies were assigned to British conductors \n(Henschel, Beecham, Wood and the Northern Irish Harty) while the \nremainder were given to Weingartner, already generally acknowledged as a\n Beethoven specialist.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis final symphony of Beethoven’s was actually the first in the \nseries to be recorded.  In fact, the Centennial Symphony Series had not \nyet been envisioned when it was taken down, and it became a part of it \nlater by default.  Columbia had only been making electrical recordings \nfor five months when the ambitious project of recording the Beethoven \nNinth was undertaken.  By that time, Weingartner had already made \nacoustic recordings of the Fifth, Seventh and Eighth Symphonies, and had\n begun an acoustic Sixth that was abandoned when the microphone came \nin.  It was natural that Columbia would turn to him for the electrical \nrecording première of the Ninth.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWeingartner’s reading is, overall, faster than his 1935 remake with \nthe Vienna Philharmonic, although most of the difference is in the final\n movement, which is swifter by nearly a minute and a half here, and \nadmittedly sounds rushed in places.  Part of this may have been due to \nColumbia’s enforcement of a four-minute limit for twelve-inch sides at \nthis early stage of electrical recording.  Like a couple other early \nrecordings of the symphony – Albert Coates’ version from seven months \nlater with much the same orchestral forces (Pristine PASC 296) and \nStokowski’s 1934 Philadelphia version – the “Ode to Joy” was sung in \nEnglish.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe sources for the present transfer were American Columbia \n“Viva-Tonal” and large label, post-“Royal Blue” shellac pressings.  \nWhile these are usually the quietest versions available, a \nhigher-than-average amount of surface noise will be noticeable due to \nthe early date of the recording.  The downward pitch drift on each side \nthe originals has been corrected through the application of Celemony \nCapstan, allowing the performance to be heard with rock-solid pitch for \nthe first time since the original recording sessions.  I have added a \nsmall amount of digital reverberation to bring some warmth to the rather\n dry studio which Columbia had previously used for acoustic recordings.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003eThe Columbia \u003cb\u003eBeethoven\u003c\/b\u003e Centennial Symphony Series complete (1926\/27)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1 (1926\/27) - PASC366\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003eThe Columbia \u003cb\u003eBeethoven\u003c\/b\u003e Centennial Symphony Series, Volume 1 (1926\/27)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1 in C, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Allegro molto e vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 14 and 21 December 1926 and 4 February 1927 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2284-1, 2285-1, 2286-2, 2287-6, 2303-6, 2304-2, 2305-1 and 2306-2\u003cbr\u003eFirst issued on Columbia L 1889 through 1892\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 2 in D, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 - 10 November 1926 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2142-2, 2143-2, 2144-2, 2145-2, 2149-3, 2150-2, 2151-2 and 2152-2\u003cbr\u003eFirst issued on Columbia L 1864 through 1867\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Leonore Overture No. 3, Op. 72b\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLeonore Overture No. 3\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 February 1927 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2467-2, 2468-1, 2469-1 and 2470-1\u003cbr\u003eFirst issued on Columbia L 1978 and 1979\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir George Henschel\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Beecham\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew Queen's Hall Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Henry Wood\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 66:56\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 2 (1926) - PASC386\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003eThe Columbia \u003cb\u003eBeethoven\u003c\/b\u003e Centennial Symphony Series, Volume 2 (1926)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 3 in E flat, Op. 55 \"Eroica\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Marcia funebre Adagio assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 November and 2 and 5 December, 1926 in London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2212\/16, 2249\/54, and 2262\/64 (all Take 1)\u003cbr\u003eFirst issued on Columbia L 1868 through 1874\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 4 in B flat, Op. 60\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26 – 27 November, 1926 in the Free Trade Hall, Manchester\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2233-1, 2234-1, 2235-1, 2236-2, 2237-2, 2238-2, 2239-2, 2240-2, 2241-1 and 2242-2\u003cbr\u003eFirst issued on Columbia L 1875 through 1879\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eNew Queen's Hall Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Henry J. Wood\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Hallé Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Hamilton Harty\u003c\/b\u003e  conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003cbr\u003eSpecial thanks to Richard Kaplan for providing source material\u003cbr\u003eCover artwork based on a photograph of Sir Henry Wood\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 73:45\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 3 (1927) - PASC399\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003eThe Columbia \u003cb\u003eBeethoven\u003c\/b\u003e Centennial Symphony Series, Volume 3 (1927)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 28 – 29 January 1927 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2414-2, 2415-2, 2417-2, 2418-2, 2419-2, 2420-2, 2421-2 \u0026amp; 2422-3\u003cbr\u003eFirst issued on Columbia L 1880 through 1883\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F major, Op. 68 \"Pastoral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 – 19 January 1927 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2363-1, 2364-2, 2365-1, 2366-2, 2377-3, 2378-1, 2379-2, 2380-2, 2381-2 \u0026amp; 2382-1\u003cbr\u003eFirst issued on Columbia 1893 through 1897\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFelix Weingartner\u003c\/b\u003e  conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eCover artwork based on a photograph of Felix Weingartner\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 60:52\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 4 (1926\/27) - PASC414\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003eThe Columbia \u003cb\u003eBeethoven\u003c\/b\u003e Centennial Symphony Series, Volume 4 (1926\/27)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20, 25 – 26 January 1927 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2383-2, 2390-2, 2391-2, 2392-1, 2393-1, 2394-2, 2397-2, 2398-2, 2399-2 \u0026amp; 2400-2\u003cbr\u003eFirst issued on Columbia L 1898 through 1902\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27 – 28 January 1927 in the Scala Theatre, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WRAX 2412-2, 2413-2, 2404-2, 2405-2 2406-2 \u0026amp; 2407-2\u003cbr\u003eFirst issued on Columbia 1903 through 1905\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFelix Weingartner\u003c\/b\u003e  conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan, Op. 62 – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eOverture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 1546-2 \u0026amp; 1547-2\u003cbr\u003eFirst issued on Columbia L 1848\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Egmont, Op. 84 – Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eEgmont, Op. 84 -Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 1544-3 \u0026amp; 1545-1\u003cbr\u003eFirst issued on Columbia L 1799\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93 - \u003ci\u003e2nd Mvt.: Andante molto moto\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto moto (2)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: WAX 2844-1\u003cbr\u003eFirst issued on Columbia L1973\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 5 (1926) - PASC427\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 20px;\"\u003eThe Columbia \u003cb\u003eBeethoven\u003c\/b\u003e Centennial Symphony Series, Volume 5 (1926)\u003c\/p\u003e\n\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 9 in D minor, Op. 125, \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo, un poco maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio e cantabile — Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Presto — Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 16–17 March 1926 in the Columbia Studios, Petty France, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 1350-2, 1351-2, 1352-2, 1353-2, 1354-2, 1355-3, 1356-2, 1357-1, 1358-2, 1359-2, 1360-2, 1361-1, 1362-2, 1363-2, 1364-2 \u0026amp; 1365-2\u003cbr\u003eFirst issued on Columbia L 1775 through 1782\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMiriam Licette\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cb\u003eMuriel Brunskill\u003c\/b\u003e (contralto)\u003cbr\u003e\u003cb\u003eHubert Eisdell\u003c\/b\u003e (tenor)\u003cbr\u003e\u003cb\u003eHarold Williams\u003c\/b\u003e (bass-baritone)\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eChorus and \u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eFelix Weingartner\u003c\/b\u003e  conductor\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":61630447642,"sku":null,"price":55.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205553668430,"sku":null,"price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC366.jpg?v=1769527816"},{"product_id":"pabx013-cd","title":"The Columbia Beethoven Centennial Symphony Series complete (1926\/27) - PABX013 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"5 CDs only in plastic sleeve (+MP3)","offer_id":55205553602894,"sku":null,"price":63.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC366_3cd3c9b1-abde-459d-a138-7fbc53bf5a57.jpg?v=1657122114"},{"product_id":"pasc511","title":"MENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 4 in F minor\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eRomeo and Juliet – Fantasy Overture\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eWaltz from Serenade for Strings\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1927-1930\u003cbr\u003eTotal duration: 2hr 08:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC511.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Willem Mengelberg had a long history as a champion of Tchaikovsky going\n    back to some of his earliest appearances as chief conductor of the\n    Concertgebouw Orchestra in 1895. The rhythmic flexibility, passionate\n    intensity and inexorable forward momentum of his performances were ideally\n    suited to the Russian composer’s works.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Among his earliest acoustic recordings with the New York Philharmonic for\n    Victor were two abridged movements from the \u003cem\u003ePathétique\u003c\/em\u003e Symphony,\n    each on a single side, and the Waltz from the Serenade for Strings. With\n    the introduction of electrical recording and the signing of his Dutch\n    orchestra to the Columbia label, however, his recorded Tchaikovsky\n    repertoire expanded significantly.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg’s first attempt at recording Tchaikovsky’s Fifth Symphony was in\n    June, 1927, when only the middle two movements were taken down. Although\n    this session was recorded by Columbia, these sides were issued only on\n    French Odeon, and are among Mengelberg’s rarest discs. In December of the\n    same year, Mengelberg recorded the symphony complete with the New York\n    Philharmonic for Brunswick. This set was never released, however,\n    reportedly because it failed the “wear test” with regard to blasting during\n    loud passages, and the masters were destroyed.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Five months later, he recorded the complete performance presented here,\n    which has remained a gramophone classic despite its inherent speed\n    fluctuation problems (definitively fixed here using Capstan pitch\n    stabilisation software). He would go on to re-record the work in 1940 with\n    the Berlin Philharmonic (Pristine PASC 348), and a live broadcast with the\n    Concertgebouw from 1939 has also been released. In all of these, Mengelberg\n    takes two cuts in the finale: a large one in the development section, and a\n    smaller one at the start of the coda. He claimed for these the authority of\n    the composer’s brother, Modest, who had told him that Tchaikovsky himself\n    made these elisions in his later performances of the work in order to\n    tighten the structure of the movement.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nIn contrast to the many versions of the Fifth, both the Fourth Symphony and    \u003cem\u003eRomeo and Juliet\u003c\/em\u003e only received the single recordings presented\n    here. The \u003cem\u003eRomeo\u003c\/em\u003e is particularly noteworthy in being one of the few\n    versions from the 78 rpm era to fit on four sides, although it is\n    accompanied by a noticeable tempo acceleration at the start of Side 3. The\n    Waltz from the Serenade for Strings was originally issued as the filler for\n    the Fifth Symphony. Mengelberg and the Concertgebouw would go on to\n    re-record it as part of the complete Serenade for Telefunken in 1938.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sources for the transfers were U.S. Columbia “Viva-Tonal” label\n    pressings, and French Odeons for the two movements from the Fifth Symphony\n    from 1927.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (60:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eTCHAIKOVSKY: Romeo and Juliet – Fantasy Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (18:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 5599-2, 5600-2, 5601-2 and 5602-2\u003cbr\u003eFirst issued on Columbia LX 55\/6\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Symphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt.: Andante sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (17:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt.: Andantino in modo di canzone\u003cspan style=\"font-size: 12px;\"\u003e (8:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Pizzicato ostinato\u003cspan style=\"font-size: 12px;\"\u003e (5:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th Mvt.: Finale – Allegro con fuoco\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 - 15 June 1929 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 5034-5, 5035-1, 5036-2, 5037-1, 5038-2, 5039-1, 5040-3, 5041-1, 5042-2 and 5043-1\u003cbr\u003eFirst issued on Columbia L 2366\/70\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (68:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 2nd Mvt.: Andante cantabile, con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (14:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 3rd Mvt.: Valse – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (6:12)\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (13:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd Mvt.: Andante cantabile, con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (14:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd Mvt.: Valse – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (6:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th Mvt.: Finale – Andante maestoso\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 2831\/6 (Columbia) and 7855\/60 (Odeon)\u003cbr\u003eFirst issued on Odeon (France) 123.533\/5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1928 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 3629-3, 3630-3, 3631-3, 3632-3, 3633-2, 3634-3, 3635-2, 3636-2, 3637-4, 3638-2, 3639-3, 3640-3 and 3641-3\u003cbr\u003eFirst issued on Columbia L 2176\/82\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt.: Waltz\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1928 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: WAX 3646-3\u003cbr\u003eFirst issued on Columbia L 2182\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWillem Mengelberg ∙ Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003ePitch stabilisation (CD 2, Tracks 3 – 7): Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on photographs of Tchaikovsky and Mengelberg\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 08:26\u003c\/b\u003e\u003c\/p\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\/PASC511.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC511.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":545342783514,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205551964494,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC511.jpg?v=1504098089"},{"product_id":"pasc511-cd","title":"MENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205551931726,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC511_008e19b3-258c-44dd-9328-27c268de3f0c.jpg?v=1658744713"},{"product_id":"pasc514","title":"KEMPEN conducts Sibelius and Grieg (1939-50) - PASC514","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG \u003c\/b\u003ePeer Gynt Suite No. 1\u003cbr\u003e\u003cb\u003eGRIEG \u003c\/b\u003ePeer Gynt Suite No. 2\u003cbr\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 5\u003cbr\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eSymphony No. 7\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1939-1950\u003cbr\u003eTotal duration: 72:43\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDresden Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHilversum Radio Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Paul van Kempen\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC514.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Dutch conductor Paul van Kempen was born in\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Zoeterwoude\" title=\"Zoeterwoude\"\u003e\n        Zoeterwoude\n    \u003c\/a\u003e\n    ,\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Netherlands\" title=\"Netherlands\"\u003e\n        Netherlands\n    \u003c\/a\u003e\n    in 1893. His studies at the Amsterdam conservatory from 1910 to 1913\n    included composition and conducting with\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Julius_Roentgen\" title=\"Julius Roentgen\"\u003e\n        Julius Roentgen\n    \u003c\/a\u003e\n    and\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Bernard_Zweers\" title=\"Bernard Zweers\"\u003e\n        Bernard Zweers\n    \u003c\/a\u003e\n    , as well as violin with Louis Zimmerman. From 1913, he was a second\n    violinist with the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Royal_Concertgebouw_Orchestra\" title=\"Royal Concertgebouw Orchestra\"\u003e\n        Concertgebouw Orchestra\n    \u003c\/a\u003e\n    . A year later, he was in the first violin section. After 1916, he began to\nmake his career more in    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Germany\" title=\"Germany\"\u003eGermany\u003c\/a\u003e\n    , and served as concertmaster in orchestras in Posen, Bad Nauheim und\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Dortmunder_Philharmoniker\" title=\"Dortmunder Philharmoniker\"\u003e\n        Dortmund\n    \u003c\/a\u003e\n    .\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In 1932, Van Kempen became a German citizen. He was music director in\n    Oberhausen for two years. From 1934 to 1942, he was principal conductor of\n    the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Dresden_Philharmonic\" title=\"Dresden Philharmonic\"\u003e\n        Dresden Philharmonic\n    \u003c\/a\u003e\n    . In 1942, he succeeded\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Herbert_von_Karajan\" title=\"Herbert von Karajan\"\u003e\n        Herbert von Karajan\n    \u003c\/a\u003e\nas Kapellmeister in    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Aachen\" title=\"Aachen\"\u003eAachen\u003c\/a\u003e,\n    serving through 1944. Several years after\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/World_War_II\" title=\"World War II\"\u003e\n        World War II\n    \u003c\/a\u003e\n, in 1953, Van Kempen became general music director of the city of    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Bremen\" title=\"Bremen\"\u003eBremen\u003c\/a\u003e.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In 1949, Van Kempen returned to the Netherlands as principal conductor of\n    the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Netherlands_Radio_Philharmonic_Orchestra\" title=\"Netherlands Radio Philharmonic Orchestra\"\u003e\n        Hilversum Radio Philharmonic Orchestra\n    \u003c\/a\u003e\n    . His activities during\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/World_War_II\" title=\"World War II\"\u003e\n        World War II\n    \u003c\/a\u003e\n    , which included conducting concerts for the\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Wehrmacht\" title=\"Wehrmacht\"\u003e\n        Wehrmacht\n    \u003c\/a\u003e\n    , made him a controversial figure in the Netherlands. On one occasion, in\n    1951, Van Kempen was engaged as a substitute conductor at the Concertgebouw\n    Orchestra in place of the ill\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Eduard_van_Beinum\" title=\"Eduard van Beinum\"\u003e\n        Eduard van Beinum\n    \u003c\/a\u003e\n    . During the first night, audience members protested strongly, but the\n    concert took place. On the second night, the audience disruptions were so\n    severe that 62 musicians left the stage and refused to continue. Van Kempen\n    died in\n    \u003ca href=\"https:\/\/en.wikipedia.org\/wiki\/Amsterdam\" title=\"Amsterdam\"\u003e\n        Amsterdam\n    \u003c\/a\u003e\n    in 1955 at age 62.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cem\u003e(Biographical notes adapted from Wikipedia)\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present release brings together all but one of van Kempen’s recordings\n    of Scandinavian works (he also recorded Grieg’s \u003cem\u003eSymphonic Dances\u003c\/em\u003e)\n    and includes one particular rarity: his Sibelius Seventh Symphony.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Grieg’s \u003cem\u003ePeer Gynt\u003c\/em\u003e Suites were recorded with van Kempen’s own\n    Dresden Philharmonic, with whom he made many memorable recordings for\n    Grammophon\/Polydor from the late 1930s through the early ‘40s (including a\n    Beethoven Fifth reissued on Pristine PASC 327). They were pressed on\n    wartime shellac with a higher-than-usual level of surface noise.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Sibelius Fifth was one of three recordings van Kempen made with the\n    Concertgebouw Orchestra (the other two being Haydn’s “London” Symphony and\n    Schubert’s Ninth) at a time when Grammophon was spotlighting guest\n    conductors, including Karajan and van Beinum, appearing with Mengelberg’s\n    ensemble for the first time on disc. A postwar yellow-label DGG pressing\n    with relatively quieter surfaces than wartime pressings was located for\n    this transfer.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Sibelius Seventh was one of three recordings van Kempen made with the\n    Hilversum Radio Philharmonic for Telefunken, which included the Mahler\n    Fourth reissued on Pristine PASC 466. It appeared on a pair of 78s and also\n    as the filler side to a two-LP version of the Bruckner Fourth with the same\n    orchestra. I have transferred it from the LP due to its quieter source\n    material, fixing the awkward side joins on the original LP as well as\n    attempting to smooth out the frequent volume fluctuations on that rather\n    rare release. Clocking in at a little over 16 minutes, it remains one of\n    the fastest – and most exciting – accounts of the work ever committed to\n    disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e: Peer Gynt – Suite No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Morning Mood\u003cspan style=\"font-size: 12px;\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e The Death of Åse\u003cspan style=\"font-size: 12px;\"\u003e (3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Anitra’s Dance\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e In the Hall of the Mountain King\u003cspan style=\"font-size: 12px;\"\u003e (2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 8579\u003csup\u003e2\u003c\/sup\u003e, 8580\u003csup\u003e2\u003c\/sup\u003e, 8581\u003csup\u003e2\u003c\/sup\u003e \u0026amp; 8582\u003csup\u003e2\u003c\/sup\u003e GR 9\u003cbr\u003eFirst issued on Grammophon 11383\/4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDresden Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May 1939\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e: Peer Gynt – Suite No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e The Abduction of the Bride – Ingrid’s Lament\u003cspan style=\"font-size: 12px;\"\u003e (3:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Arabian Dance\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Peer Gynt’s Homecoming (Stormy Evening on the Sea)\u003cspan style=\"font-size: 12px;\"\u003e (2:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e Solveig’s Song\u003cspan style=\"font-size: 12px;\"\u003e (4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 1319 ½, 1320 ½, 1321 ½ \u0026amp; 1322 ½ GE 9\u003cbr\u003eFirst issued on Grammophon 57167\/8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDresden Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded April 1940\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e: Symphony No. 5 in E flat major, Op. 82\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 1st Mvt.: Tempo molto moderato – Largamento – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (12:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd Mvt.: Andante mosso, quasi allegretto\u003cspan style=\"font-size: 12px;\"\u003e (8:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 3rd Mvt.: Allegro molto\u003cspan style=\"font-size: 12px;\"\u003e (8:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 2400\u003csup\u003e4\u003c\/sup\u003e, 2401\u003csup\u003e2\u003c\/sup\u003e, 2402\u003csup\u003e3\u003c\/sup\u003e, 2403 \u003csup\u003e4\u003c\/sup\u003e, 2404\u003csup\u003e4\u003c\/sup\u003e, 2405\u003csup\u003e4\u003c\/sup\u003e \u0026amp; 2406\u003csup\u003e2\u003c\/sup\u003e GE 5\u003cbr\u003eFirst issued on Grammophon 68082\/5S\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 May 1950 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: 035779\/82\u003cbr\u003eFirst issued on Telefunken SK 3799\/800 (LP: LGX 66026\/7)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May 1943 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cb\u003eSIBELIUS: Symphony No. 7 in C major, Op. 105\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (16:14)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eHilversum Radio Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePaul van Kempen \u003ci\u003econductor\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Michael Gartz for providing source material\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003eTotal Timing: 72:45\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\/PASC514.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC514.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":2510761590810,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205550391630,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC514_592c7255-8ec6-4026-9552-2763b646591a.jpg?v=1508318240"},{"product_id":"pasc514-cd","title":"KEMPEN conducts Sibelius and Grieg (1939-50) - PASC514 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC514.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205550358862,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC514_acc00757-b71a-452d-8705-466f95e21d9b.jpg?v=1658744774"},{"product_id":"pasc595","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eJ S BACH\u003c\/b\u003e Suite No. 2 for Flutes and Strings\u003cbr\u003e\u003cb\u003eJ C BACH \u003c\/b\u003eSinfonia in B flat\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overtures 1 \u0026amp; 3, Coriolan Overture et al\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz, Euryanthe, Oberon - Overtures\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eLes Préludes\u003cbr\u003emusic by \u003cb\u003eCHEUBINI, MENDELSSOHN, BERLIOZ\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-31\u003cbr\u003eTotal duration: 2hr 33:24\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC595.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release, along with the Tchaikovsky recordings previously reissued on\n    Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\"\u003ePASC 511\u003c\/a\u003e and another volume to follow, will present Willem\n    Mengelberg’s complete recordings with his Concertgebouw Orchestra for the\n    Columbia label. Early versions will be included as well as their remakes,\n    along with alternate takes (one of them in the next volume unpublished on\n    78 rpm).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg’s Columbias are significant in several respects: they include\n    his first recordings with the Concertgebouw, an ensemble whose partnership\n    with the conductor dated back to 1895; they feature the works of some\n    contemporary composers with whom Mengelberg had personal friendships and\n    special insights, such as Mahler in our next volume; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e, which have\n    never been bettered on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present volume focuses on works from the Baroque to the early Romantic\n    era. The music of Johann Sebastian Bach was considered a Mengelberg\n    specialty during his career, and he was noted for his annual performances\n    of the \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e in Amsterdam. The conductor’s\n    big-orchestra Romantic era approach would not pass muster today – flute\n    solos are doubled, one commentator has reported hearing an organ in the\nbackground, and I’m sure there’s a glockenspiel tinkling away in the    \u003cem\u003eBadinerie\u003c\/em\u003e \u003cem\u003e– \u003c\/em\u003eyet I think we are the poorer for it.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Only two movements of the \u003cem\u003eSinfonia\u003c\/em\u003e by Bach’s youngest son were\n    recorded by Columbia, but Mengelberg was able to complete it in a\n    near-contemporaneous recording with his “other” orchestra, the New York\n    Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc378\"\u003ePASC 378\u003c\/a\u003e), a reading which is surprisingly similar, not only\n    in overall interpretive approach but also in orchestral execution.\n    Mengelberg was an early champion of the works of Cherubini, and his\n    recording of the \u003cem\u003eAnacreon\u003c\/em\u003e Overture reveals the composer’s\n    influence on Beethoven.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Columbia had already recorded Weingartner in the Beethoven Eighth Symphony\n    earlier in the year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc414\"\u003ePASC 414\u003c\/a\u003e), so Mengelberg had to make do with only a\n    single movement as a filler side to the Cherubini. (He was later to record\n    it complete for Telefunken.) It is replete with humorous detail, as well as\n    some inadvertent studio noises. The conductor also brings the grandiose\n    humor of the “Turkish March” to the fore in another recording he was later\n    to remake for Telefunken.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Beethoven overtures taken down during these sessions are classic\n    readings which belie the caricature of the conductor as “Mangleberg”. Here,\n    there is no self-indulgent phrase-pulling, but rather finely judged rubato\n    and rhetorical emphases. (And here again, as with the J. C. Bach, one can\n    compare the two Concertgebouw versions of the \u003cem\u003eEgmont\u003c\/em\u003e with a New\n    York recording made between them.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the Weber overtures, one can hear Mengelberg’s fusion of forward\n    momentum coupled to a sense of magical wonder. Listen, for example, to the\n    bridge between the boisterous opening of the \u003cem\u003eEuryanthe\u003c\/em\u003e Overture\n    and the lyrical second subject. Here, unlike many other interpreters,\n    Mengelberg takes an extremely broad tempo accompanied by tender string\n    portamenti. It’s usually a throwaway transitional moment; but Mengelberg\n    elevates it to something sublime.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Mendelssohn Scherzo appeared in two different takes, the somewhat less\n    tidy earlier one issued only in America. A cut is taken in both for disc\n    timing reasons, although the conductor performed it complete in a 1938 BBC\n    Symphony broadcast (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc184\"\u003ePASC 184\u003c\/a\u003e). The two Berlioz excerpts were hampered by\n    dim early sound and pitch drift (corrected here), but restoration reveals\nidiomatic performances. Arguably best of all is Mengelberg’s Liszt, with    \u003cem\u003eLes Préludes\u003c\/em\u003e blazing in a grandeur only one born with a\n    Romantic-era sensibility could truly grasp and convey. (Or, as Humpty\n    Dumpty observed to Alice, “\u003cem\u003eThere’s\u003c\/em\u003e glory for you!”)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 24px;\"\u003eColumbia Recordings ∙ Volume I\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (74:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. \u003cb\u003eBACH\u003c\/b\u003e: Suite No. 2 in B minor for Flutes and Strings, BWV 1067\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Ouverture: Grave; Allegro\u003cspan style=\"font-size: 12px;\"\u003e (8:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Rondeau: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Sarabande: Andante\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Bourées I and II\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Polonaise: Moderato\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Menuet: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Badinerie: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6134-2, 6135-1, 6136-2, 6137-2, 6138-1 \u0026amp; 6139-2 ∙ First issued on Columbia LX 134\/6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. C. \u003cb\u003eBACH\u003c\/b\u003e (arr. Stein): Sinfonia in B flat, Op. 18, No. 2 (“Lucio Silla” Overture)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1st Mvt.: Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2837-1 \u0026amp; 2838-1 ∙ First issued on Columbia L 2047\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2841-2, 2842-1 \u0026amp; 2843-1 ∙ First issued on Columbia L 1972\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eCHERUBINI: Anacreon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:39)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e: Symphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 2nd Mvt.: Allegretto scherzando\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 2844-1 ∙ First issued on Columbia L 1973\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN: The Ruins of Athens – Op.113\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e No. 4 – Turkish March\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5607-2 ∙ First issued on Columbia LX 130\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6128-2 \u0026amp; 6129-2 ∙ First issued on Columbia LX 167\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6132-1 \u0026amp; 6133-2 ∙ First issued on Columbia LX 160\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5593-2, 5594-2 \u0026amp; 5595-2 ∙ First issued on Columbia LX 129\/30\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6130-2 \u0026amp; 6131-2 ∙ First issued on Columbia LX 161\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6126-2 \u0026amp; 6127-3 ∙ First issued on Columbia LX 154\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6124-2 \u0026amp; 6125-3 ∙ First issued on Columbia LX 157\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 3642-3, 3643-2 \u0026amp; 3644-2 ∙ First issued on Columbia L 2312\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:47)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 1, Op. 138\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 3, Op. 72b\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:07)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:05)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWEBER: Der Freischütz – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:58)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWEBER: Euryanthe – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:26)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWEBER: Oberon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:08)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBERLIOZ: The Damnation of Faust, Op. 24\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Dance of the Sylphs\u003cspan style=\"font-size: 12px;\"\u003e (2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Hungarian March\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5044-2, 5045-2, 5046-2 \u0026amp; 5047-2 ∙ First issued on Columbia L 2362\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1543-3 \u0026amp; 1542-2 ∙ First issued on Columbia L 1810\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eLISZT: Les Préludes, G97\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (15:26)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eEarly Versions and Alternate Takes\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1546-2 \u0026amp; 1547-2 ∙ First issued on Columbia L 1848\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1544-3 \u0026amp; 1545-1 ∙ First issued on Columbia L 1799\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-2 ∙ First issued on Columbia 9560\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-1 ∙ First issued on American Columbia 67486-D\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration:  2hr 33:24\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC595.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC595.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31671998054461,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205533712718,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC595_cd8fd46f-e37c-4f86-a204-688e9553436c.jpg?v=1587100525"},{"product_id":"pasc595-cd","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC595.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205533679950,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC595.jpg?v=1658750540"},{"product_id":"pasc616","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTannhäuser Overture - Lohengrin Prelude\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 - Academic Festival Overture\u003cbr\u003e\u003cb\u003eGRIEG \u003c\/b\u003eTwo Elegiac Melodies\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003eBoléro\u003cbr\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Perpetuum Mobile\u003cbr\u003emusic by \u003cb\u003eSUPPÉ, BIZET, MAHLER, TCHAIKOVSKY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-32\u003cbr\u003eTotal duration: 2hr 18:29\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC616.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release, along with our first volume (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc595\"\u003ePASC 595\u003c\/a\u003e) and the\n    Tchaikovsky works featured on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\"\u003ePASC 511\u003c\/a\u003e, present Willem Mengelberg’s\n    complete recordings with his Concertgebouw Orchestra for the Columbia\n    label. Mengelberg’s Columbias are significant in several respects: they\n    include his earliest recordings with the Concertgebouw, an ensemble whose\n    partnership with the conductor dated back to 1895; they feature the works\n    of some contemporary composers with whom Mengelberg had personal\n    friendships and special insights, such as Mahler; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e in our previous\n    volume, which have never been bettered on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present collection focuses on works from the Romantic era through the\n    music of the conductor’s contemporaries. Mengelberg only recorded a handful\n    of Wagner orchestral works; yet the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture which\n    opens our program stands among the finest ever made. Critic Rob Cowan has\n    written that it “vies with \u003cem\u003eLes Préludes\u003c\/em\u003e as the perfect show-case\n    for Mengelberg’s striking personality.” Aided by Columbia’s superb\n    engineering in one of his last recordings for the label, Mengelberg\n    achieves in the final pages the same overwhelming sense of glory he evoked\n    in the Liszt tone poem. Hardly less noteworthy is the \u003cem\u003eLohengrin\u003c\/em\u003e\n    Prelude, which highlights the string portamenti that were a hallmark of\n    Mengelberg’s interpretations.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg only recorded three of the Brahms symphonies – the Second and\n    Fourth for Telefunken, and this Columbia version of the Third. (A live\n    broadcast of the First, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc221\"\u003ePASC 221\u003c\/a\u003e, was released after his death.) As\n    there was already a recent Weingartner recording of the First in the\n    Columbia catalog, Mengelberg had to make do with only a single movement as\na filler side for his expansive performance of the \u003cem\u003eAcademic Festival\u003c\/em\u003e Overture. In the Third Symphony, the    \u003cem\u003eAndante\u003c\/em\u003e is taken at a surprisingly fast tempo. But lest one think\n    this was done solely to fit the movement onto a side and a half, he takes a\n    similar approach in a 1944 broadcast.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The next selections display Mengelberg’s deft touch with lighter music. A\n    highlight of the Suppé overture is the beautifully played solo by longtime\n    Concertgebouw principal cellist Marix Loevensohn. The Johann Strauss work\n    is a showcase for the various sections of the orchestra, each displaying a\n    memorable individuality. The Bizet again draws attention to the portamenti\n    of the Concertgebouw strings, as they work up to an expertly paced\n    crescendo.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Three composers Mengelberg knew personally follow in our program. Both\n    Grieg and Ravel expressed admiration for the conductor; and Mahler was a\n    close friend whose works Mengelberg championed for years, both before and\n    after the composer’s death. The \u003cem\u003eAdagietto\u003c\/em\u003e from Mahler’s Fifth\n    presented here is perhaps the most important document in this set; for in\n    addition to being the conductor’s only commercial recording of a Mahler\n    work, its notably faster pacing reveals it in a much different light than\n    that of subsequent interpreters.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Ravel was one of the four earliest recordings of the work, made between\n    January and May of 1930, after those of Piero Coppola, the composer himself\n    and Serge Koussevitzky. Though it drives to an impressively loud\n    conclusion, the performance is somewhat hobbled by the players’ requirement\n    to stop every four minutes to start a new matrix, with tempi and volume\n    levels becoming inconsistent from side to side.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe final work is an unpublished take of the Waltz from Tchaikovsky’s    \u003cem\u003eSerenade for Strings\u003c\/em\u003e, which was omitted from our earlier\n    all-Tchaikovsky set. There is some untidy ensemble around 2:50, which may\n    have been the reason Mengelberg recorded another two takes before he\n    approved the result. Such was his sense of perfectionism, even in a\n    seemingly minor filler side like this. \u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 24px;\"\u003eColumbia Recordings ∙ Volume II\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (73:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eWAGNER: Tannhäuser – Overture (Dresden version)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6413-3, 6414-3, 6415-2 \u0026amp; 6416-1 ∙ First issued on Columbia LX 170\/1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWAGNER: Lohengrin – Prelude to Act 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2839-1 \u0026amp; 2840-2 ∙ First issued on Columbia L 1948\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eBRAHMS: Academic Festival Overture, Op. 80\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5596-1, 5597-2 \u0026amp; 5598-2 ∙ First issued on Columbia LX 58\/9\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Un poco allegretto e grazioso\u003cspan style=\"font-size: 12px;\"\u003e (4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5608-2 ∙ First issued on Columbia LX 59\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt.: Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (13:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (7:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt.: Poco allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt.: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6417-2, 6418-1, 6419-2, 6420-1, 6421-2, 6422-2, 6423-3 \u0026amp; 6424-2 ∙ First issued on Columbia LX 220\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6425-2 \u0026amp; 6426-2 ∙ First issued on Columbia LX 179\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 6428-1 ∙ First issued on Columbia LX 240\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5048-3 ∙ First issued on Columbia DX 6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (65:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eSUPPÉ: Poet and Peasant – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II: Perpetuum Mobile, Op. 257\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:04)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eBIZET: L’Arlésienne - Adagietto\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG: Two Elegiac Melodies, Op. 34\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e No. 1 – Heart Wounds (Hjertesår)\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 2 – The Last Spring (Våren)\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6140-2 \u0026amp; 6141-1 ∙ First issued on Columbia LX 168\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER\u003c\/b\u003e: Symphony No. 5 in C sharp minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th Mvt.: Adagietto: Sehr langsam\u003cspan style=\"font-size: 12px;\"\u003e (7:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5603-1, 5604-1, 5605-1 \u0026amp; 5606-2 ∙ First issued on Columbia LX 48\/9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1548-2 \u0026amp; 1549-2 ∙ First issued on Columbia L 1768\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eRAVEL: Boléro\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (14:40)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eEarly Versions and Alternate Takes\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eWAGNER: Tannhäuser – Overture (Dresden version)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (14:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1538-1, 1539-3, 1540-2 \u0026amp; 1541-3 ∙ First issued on Columbia L 1770\/1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd Mvt.: Waltz\u003cspan style=\"font-size: 12px;\"\u003e (3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3646-1 ∙ Take unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWillem Mengelberg and the Concertgebouw Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frank Forman and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 18:29\u003c\/b\u003e\u003c\/p\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\/PASC616.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC616.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":32953403572285,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205529813326,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC616_00c6e69a-6f56-4765-a1d6-b59042da1ca6.jpg?v=1624958216"},{"product_id":"pasc616-cd","title":"MENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC616.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2 CDs only in plastic sleeve (+MP3)","offer_id":55205529780558,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC616_fdd0d2c0-9240-4b3d-8f5e-ca26521b968d.jpg?v=1658750968"},{"product_id":"pabx032","title":"MENGELBERG The Complete Columbia Concertgebouw Recordings (1926-32) - PABX032","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eJ S BACH\u003c\/b\u003e Suite No. 2 for Flutes and Strings\u003cbr\u003e\u003cb\u003eJ C BACH\u003c\/b\u003e Sinfonia in B flat\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overtures 1 \u0026amp; 3, Coriolan Overture et al\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 - Academic Festival Overture\u003cbr\u003e\u003cb\u003eGRIEG \u003c\/b\u003eTwo Elegiac Melodies\u003cbr\u003e\u003cb\u003eLISZT \u003c\/b\u003eLes Préludes\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003eBoléro\u003cbr\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Perpetuum Mobile\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 4 in F minor\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eRomeo and Juliet – Fantasy Overture\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eWaltz from Serenade for Strings\u003cbr\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTannhäuser Overture - Lohengrin Prelude\u003cbr\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz, Euryanthe, Oberon - Overtures\u003cbr\u003emusic by \u003cb\u003eCHEUBINI, MENDELSSOHN, BERLIOZ\u003c\/b\u003e, \u003cb\u003eSUPPÉ, BIZET, MAHLER, TCHAIKOVSKY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1926-32\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC616.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 16px; text-align: left;\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Willem Mengelberg had a long history as a champion of Tchaikovsky going\n    back to some of his earliest appearances as chief conductor of the\n    Concertgebouw Orchestra in 1895. The rhythmic flexibility, passionate\n    intensity and inexorable forward momentum of his performances were ideally\n    suited to the Russian composer’s works.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Among his earliest acoustic recordings with the New York Philharmonic for\n    Victor were two abridged movements from the \u003cem\u003ePathétique\u003c\/em\u003e Symphony,\n    each on a single side, and the Waltz from the Serenade for Strings. With\n    the introduction of electrical recording and the signing of his Dutch\n    orchestra to the Columbia label, however, his recorded Tchaikovsky\n    repertoire expanded significantly.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg’s first attempt at recording Tchaikovsky’s Fifth Symphony was in\n    June, 1927, when only the middle two movements were taken down. Although\n    this session was recorded by Columbia, these sides were issued only on\n    French Odeon, and are among Mengelberg’s rarest discs. In December of the\n    same year, Mengelberg recorded the symphony complete with the New York\n    Philharmonic for Brunswick. This set was never released, however,\n    reportedly because it failed the “wear test” with regard to blasting during\n    loud passages, and the masters were destroyed.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Five months later, he recorded the complete performance presented here,\n    which has remained a gramophone classic despite its inherent speed\n    fluctuation problems (definitively fixed here using Capstan pitch\n    stabilisation software). He would go on to re-record the work in 1940 with\n    the Berlin Philharmonic (Pristine PASC 348), and a live broadcast with the\n    Concertgebouw from 1939 has also been released. In all of these, Mengelberg\n    takes two cuts in the finale: a large one in the development section, and a\n    smaller one at the start of the coda. He claimed for these the authority of\n    the composer’s brother, Modest, who had told him that Tchaikovsky himself\n    made these elisions in his later performances of the work in order to\n    tighten the structure of the movement.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nIn contrast to the many versions of the Fifth, both the Fourth Symphony and    \u003cem\u003eRomeo and Juliet\u003c\/em\u003e only received the single recordings presented\n    here. The \u003cem\u003eRomeo\u003c\/em\u003e is particularly noteworthy in being one of the few\n    versions from the 78 rpm era to fit on four sides, although it is\n    accompanied by a noticeable tempo acceleration at the start of Side 3. The\n    Waltz from the Serenade for Strings was originally issued as the filler for\n    the Fifth Symphony. Mengelberg and the Concertgebouw would go on to\n    re-record it as part of the complete Serenade for Telefunken in 1938.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The sources for the transfers were U.S. Columbia “Viva-Tonal” label\n    pressings, and French Odeons for the two movements from the Fifth Symphony\n    from 1927.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release, along with the Tchaikovsky recordings previously reissued on\n    Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\"\u003ePASC 511\u003c\/a\u003e and another volume to follow, will present Willem\n    Mengelberg’s complete recordings with his Concertgebouw Orchestra for the\n    Columbia label. Early versions will be included as well as their remakes,\n    along with alternate takes (one of them in the next volume unpublished on\n    78 rpm).\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg’s Columbias are significant in several respects: they include\n    his first recordings with the Concertgebouw, an ensemble whose partnership\n    with the conductor dated back to 1895; they feature the works of some\n    contemporary composers with whom Mengelberg had personal friendships and\n    special insights, such as Mahler in our next volume; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e, which have\n    never been bettered on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present volume focuses on works from the Baroque to the early Romantic\n    era. The music of Johann Sebastian Bach was considered a Mengelberg\n    specialty during his career, and he was noted for his annual performances\n    of the \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e in Amsterdam. The conductor’s\n    big-orchestra Romantic era approach would not pass muster today – flute\n    solos are doubled, one commentator has reported hearing an organ in the\nbackground, and I’m sure there’s a glockenspiel tinkling away in the    \u003cem\u003eBadinerie\u003c\/em\u003e \u003cem\u003e– \u003c\/em\u003eyet I think we are the poorer for it.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Only two movements of the \u003cem\u003eSinfonia\u003c\/em\u003e by Bach’s youngest son were\n    recorded by Columbia, but Mengelberg was able to complete it in a\n    near-contemporaneous recording with his “other” orchestra, the New York\n    Philharmonic (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc378\"\u003ePASC 378\u003c\/a\u003e), a reading which is surprisingly similar, not only\n    in overall interpretive approach but also in orchestral execution.\n    Mengelberg was an early champion of the works of Cherubini, and his\n    recording of the \u003cem\u003eAnacreon\u003c\/em\u003e Overture reveals the composer’s\n    influence on Beethoven.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Columbia had already recorded Weingartner in the Beethoven Eighth Symphony\n    earlier in the year (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc414\"\u003ePASC 414\u003c\/a\u003e), so Mengelberg had to make do with only a\n    single movement as a filler side to the Cherubini. (He was later to record\n    it complete for Telefunken.) It is replete with humorous detail, as well as\n    some inadvertent studio noises. The conductor also brings the grandiose\n    humor of the “Turkish March” to the fore in another recording he was later\n    to remake for Telefunken.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Beethoven overtures taken down during these sessions are classic\n    readings which belie the caricature of the conductor as “Mangleberg”. Here,\n    there is no self-indulgent phrase-pulling, but rather finely judged rubato\n    and rhetorical emphases. (And here again, as with the J. C. Bach, one can\n    compare the two Concertgebouw versions of the \u003cem\u003eEgmont\u003c\/em\u003e with a New\n    York recording made between them.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In the Weber overtures, one can hear Mengelberg’s fusion of forward\n    momentum coupled to a sense of magical wonder. Listen, for example, to the\n    bridge between the boisterous opening of the \u003cem\u003eEuryanthe\u003c\/em\u003e Overture\n    and the lyrical second subject. Here, unlike many other interpreters,\n    Mengelberg takes an extremely broad tempo accompanied by tender string\n    portamenti. It’s usually a throwaway transitional moment; but Mengelberg\n    elevates it to something sublime.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Mendelssohn Scherzo appeared in two different takes, the somewhat less\n    tidy earlier one issued only in America. A cut is taken in both for disc\n    timing reasons, although the conductor performed it complete in a 1938 BBC\n    Symphony broadcast (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc184\"\u003ePASC 184\u003c\/a\u003e). The two Berlioz excerpts were hampered by\n    dim early sound and pitch drift (corrected here), but restoration reveals\nidiomatic performances. Arguably best of all is Mengelberg’s Liszt, with    \u003cem\u003eLes Préludes\u003c\/em\u003e blazing in a grandeur only one born with a\n    Romantic-era sensibility could truly grasp and convey. (Or, as Humpty\n    Dumpty observed to Alice, “\u003cem\u003eThere’s\u003c\/em\u003e glory for you!”)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 16px; text-align: left;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\" style=\"font-size: 16px; text-align: left;\"\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    This release, along with our first volume (Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc595\"\u003ePASC 595\u003c\/a\u003e) and the\n    Tchaikovsky works featured on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc511\"\u003ePASC 511\u003c\/a\u003e, present Willem Mengelberg’s\n    complete recordings with his Concertgebouw Orchestra for the Columbia\n    label. Mengelberg’s Columbias are significant in several respects: they\n    include his earliest recordings with the Concertgebouw, an ensemble whose\n    partnership with the conductor dated back to 1895; they feature the works\n    of some contemporary composers with whom Mengelberg had personal\n    friendships and special insights, such as Mahler; and they present some\n    classic interpretations, like Liszt’s \u003cem\u003eLes Préludes\u003c\/em\u003e in our previous\n    volume, which have never been bettered on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The present collection focuses on works from the Romantic era through the\n    music of the conductor’s contemporaries. Mengelberg only recorded a handful\n    of Wagner orchestral works; yet the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture which\n    opens our program stands among the finest ever made. Critic Rob Cowan has\n    written that it “vies with \u003cem\u003eLes Préludes\u003c\/em\u003e as the perfect show-case\n    for Mengelberg’s striking personality.” Aided by Columbia’s superb\n    engineering in one of his last recordings for the label, Mengelberg\n    achieves in the final pages the same overwhelming sense of glory he evoked\n    in the Liszt tone poem. Hardly less noteworthy is the \u003cem\u003eLohengrin\u003c\/em\u003e\n    Prelude, which highlights the string portamenti that were a hallmark of\n    Mengelberg’s interpretations.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg only recorded three of the Brahms symphonies – the Second and\n    Fourth for Telefunken, and this Columbia version of the Third. (A live\n    broadcast of the First, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc221\"\u003ePASC 221\u003c\/a\u003e, was released after his death.) As\n    there was already a recent Weingartner recording of the First in the\n    Columbia catalog, Mengelberg had to make do with only a single movement as\na filler side for his expansive performance of the \u003cem\u003eAcademic Festival\u003c\/em\u003e Overture. In the Third Symphony, the    \u003cem\u003eAndante\u003c\/em\u003e is taken at a surprisingly fast tempo. But lest one think\n    this was done solely to fit the movement onto a side and a half, he takes a\n    similar approach in a 1944 broadcast.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The next selections display Mengelberg’s deft touch with lighter music. A\n    highlight of the Suppé overture is the beautifully played solo by longtime\n    Concertgebouw principal cellist Marix Loevensohn. The Johann Strauss work\n    is a showcase for the various sections of the orchestra, each displaying a\n    memorable individuality. The Bizet again draws attention to the portamenti\n    of the Concertgebouw strings, as they work up to an expertly paced\n    crescendo.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Three composers Mengelberg knew personally follow in our program. Both\n    Grieg and Ravel expressed admiration for the conductor; and Mahler was a\n    close friend whose works Mengelberg championed for years, both before and\n    after the composer’s death. The \u003cem\u003eAdagietto\u003c\/em\u003e from Mahler’s Fifth\n    presented here is perhaps the most important document in this set; for in\n    addition to being the conductor’s only commercial recording of a Mahler\n    work, its notably faster pacing reveals it in a much different light than\n    that of subsequent interpreters.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The Ravel was one of the four earliest recordings of the work, made between\n    January and May of 1930, after those of Piero Coppola, the composer himself\n    and Serge Koussevitzky. Though it drives to an impressively loud\n    conclusion, the performance is somewhat hobbled by the players’ requirement\n    to stop every four minutes to start a new matrix, with tempi and volume\n    levels becoming inconsistent from side to side.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThe final work is an unpublished take of the Waltz from Tchaikovsky’s    \u003cem\u003eSerenade for Strings\u003c\/em\u003e, which was omitted from our earlier\n    all-Tchaikovsky set. There is some untidy ensemble around 2:50, which may\n    have been the reason Mengelberg recorded another two takes before he\n    approved the result. Such was his sense of perfectionism, even in a\n    seemingly minor filler side like this. \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG\u003c\/b\u003e The Complete Columbia Concertgebouw Recordings (1926-32)\u003c\/p\u003e\u003cdiv class=\"pristine-boxset-track-listing--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG conducts Tchaikovsky - The Complete Columbia Recordings (1927-1930) - PASC511\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (60:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eTCHAIKOVSKY: Romeo and Juliet – Fantasy Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (18:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 5599-2, 5600-2, 5601-2 and 5602-2\u003cbr\u003eFirst issued on Columbia LX 55\/6\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Symphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt.: Andante sostenuto\u003cspan style=\"font-size: 12px;\"\u003e (17:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt.: Andantino in modo di canzone\u003cspan style=\"font-size: 12px;\"\u003e (8:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Pizzicato ostinato\u003cspan style=\"font-size: 12px;\"\u003e (5:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th Mvt.: Finale – Allegro con fuoco\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 - 15 June 1929 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 5034-5, 5035-1, 5036-2, 5037-1, 5038-2, 5039-1, 5040-3, 5041-1, 5042-2 and 5043-1\u003cbr\u003eFirst issued on Columbia L 2366\/70\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (68:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 2nd Mvt.: Andante cantabile, con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (14:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 3rd Mvt.: Valse – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (6:12)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 1st Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (13:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 2nd Mvt.: Andante cantabile, con alcuna licenza\u003cspan style=\"font-size: 12px;\"\u003e (14:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 3rd Mvt.: Valse – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (6:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th Mvt.: Finale – Andante maestoso\u003cspan style=\"font-size: 12px;\"\u003e (10:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 2831\/6 (Columbia) and 7855\/60 (Odeon)\u003cbr\u003eFirst issued on Odeon (France) 123.533\/5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1928 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: WAX 3629-3, 3630-3, 3631-3, 3632-3, 3633-2, 3634-3, 3635-2, 3636-2, 3637-4, 3638-2, 3639-3, 3640-3 and 3641-3\u003cbr\u003eFirst issued on Columbia L 2176\/82\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt.: Waltz\u003cspan style=\"font-size: 12px;\"\u003e (3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1928 in the Concertgebouw, Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix no.: WAX 3646-3\u003cbr\u003eFirst issued on Columbia L 2182\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWillem Mengelberg ∙ Concertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003ePitch stabilisation (CD 2, Tracks 3 – 7): Andrew Rose\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on photographs of Tchaikovsky and Mengelberg\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 08:26\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 1 (1926-31) - PASC595\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 20px;\"\u003eColumbia Recordings ∙ Volume I\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (74:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. \u003cb\u003eBACH\u003c\/b\u003e: Suite No. 2 in B minor for Flutes and Strings, BWV 1067\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e Ouverture: Grave; Allegro\u003cspan style=\"font-size: 12px;\"\u003e (8:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e Rondeau: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e Sarabande: Andante\u003cspan style=\"font-size: 12px;\"\u003e (2:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e Bourées I and II\u003cspan style=\"font-size: 12px;\"\u003e (3:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e Polonaise: Moderato\u003cspan style=\"font-size: 12px;\"\u003e (3:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Menuet: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Badinerie: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (1:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6134-2, 6135-1, 6136-2, 6137-2, 6138-1 \u0026amp; 6139-2 ∙ First issued on Columbia LX 134\/6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. C. \u003cb\u003eBACH\u003c\/b\u003e (arr. Stein): Sinfonia in B flat, Op. 18, No. 2 (“Lucio Silla” Overture)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 1st Mvt.: Allegro assai\u003cspan style=\"font-size: 12px;\"\u003e (2:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (4:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2837-1 \u0026amp; 2838-1 ∙ First issued on Columbia L 2047\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2841-2, 2842-1 \u0026amp; 2843-1 ∙ First issued on Columbia L 1972\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eCHERUBINI: Anacreon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:39)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e: Symphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e 2nd Mvt.: Allegretto scherzando\u003cspan style=\"font-size: 12px;\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 2844-1 ∙ First issued on Columbia L 1973\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN: The Ruins of Athens – Op.113\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e No. 4 – Turkish March\u003cspan style=\"font-size: 12px;\"\u003e (2:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5607-2 ∙ First issued on Columbia LX 130\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6128-2 \u0026amp; 6129-2 ∙ First issued on Columbia LX 167\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6132-1 \u0026amp; 6133-2 ∙ First issued on Columbia LX 160\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5593-2, 5594-2 \u0026amp; 5595-2 ∙ First issued on Columbia LX 129\/30\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6130-2 \u0026amp; 6131-2 ∙ First issued on Columbia LX 161\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6126-2 \u0026amp; 6127-3 ∙ First issued on Columbia LX 154\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 1 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6124-2 \u0026amp; 6125-3 ∙ First issued on Columbia LX 157\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 3642-3, 3643-2 \u0026amp; 3644-2 ∙ First issued on Columbia L 2312\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:47)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 1, Op. 138\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Leonore Overture No. 3, Op. 72b\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (78:29)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWEBER: Der Freischütz – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eWEBER: Euryanthe – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cb\u003eWEBER: Oberon – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (9:08)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBERLIOZ: The Damnation of Faust, Op. 24\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e Dance of the Sylphs\u003cspan style=\"font-size: 12px;\"\u003e (2:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e Hungarian March\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5044-2, 5045-2, 5046-2 \u0026amp; 5047-2 ∙ First issued on Columbia L 2362\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1543-3 \u0026amp; 1542-2 ∙ First issued on Columbia L 1810\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eLISZT: Les Préludes, G97\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (15:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eEarly Versions and Alternate Takes\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Coriolan, Op. 62 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1546-2 \u0026amp; 1547-2 ∙ First issued on Columbia L 1848\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eBEETHOVEN: Egmont, Op. 84 – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1544-3 \u0026amp; 1545-1 ∙ First issued on Columbia L 1799\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e No. 1 - Scherzo\u003cspan style=\"font-size: 12px;\"\u003e (3:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-2 ∙ First issued on Columbia 9560\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3645-1 ∙ First issued on American Columbia 67486-D\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration:  2hr 33:24\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\" style=\"font-size: 20px; font-weight: bold;\"\u003eMENGELBERG Columbia Concertgebouw Recordings, Volume 2 (1926-32) - PASC616\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"font-size: 20px;\"\u003e\u003cb\u003eMENGELBERG and the CONCERTGEBOUW ORCHESTRA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 20px;\"\u003eColumbia Recordings ∙ Volume II\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (73:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eWAGNER: Tannhäuser – Overture (Dresden version)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (13:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6413-3, 6414-3, 6415-2 \u0026amp; 6416-1 ∙ First issued on Columbia LX 170\/1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eWAGNER: Lohengrin – Prelude to Act 1\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 June 1927 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 2839-1 \u0026amp; 2840-2 ∙ First issued on Columbia L 1948\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eBRAHMS: Academic Festival Overture, Op. 80\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (11:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 30 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5596-1, 5597-2 \u0026amp; 5598-2 ∙ First issued on Columbia LX 58\/9\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Un poco allegretto e grazioso\u003cspan style=\"font-size: 12px;\"\u003e (4:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5608-2 ∙ First issued on Columbia LX 59\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e: Symphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt.: Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (13:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt.: Andante\u003cspan style=\"font-size: 12px;\"\u003e (7:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt.: Poco allegretto\u003cspan style=\"font-size: 12px;\"\u003e (5:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt.: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 10 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6417-2, 6418-1, 6419-2, 6420-1, 6421-2, 6422-2, 6423-3 \u0026amp; 6424-2 ∙ First issued on Columbia LX 220\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6425-2 \u0026amp; 6426-2 ∙ First issued on Columbia LX 179\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 May 1932 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 6428-1 ∙ First issued on Columbia LX 240\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 11 June 1929 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 5048-3 ∙ First issued on Columbia DX 6\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (65:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eSUPPÉ: Poet and Peasant – Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cb\u003eJ. STRAUSS II: Perpetuum Mobile, Op. 257\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:04)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cb\u003eBIZET: L’Arlésienne - Adagietto\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRIEG: Two Elegiac Melodies, Op. 34\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e No. 1 – Heart Wounds (Hjertesår)\u003cspan style=\"font-size: 12px;\"\u003e (3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e No. 2 – The Last Spring (Våren)\u003cspan style=\"font-size: 12px;\"\u003e (4:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 June 1931 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 6140-2 \u0026amp; 6141-1 ∙ First issued on Columbia LX 168\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER\u003c\/b\u003e: Symphony No. 5 in C sharp minor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 4th Mvt.: Adagietto: Sehr langsam\u003cspan style=\"font-size: 12px;\"\u003e (7:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 31 May 1930 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 5603-1, 5604-1, 5605-1 \u0026amp; 5606-2 ∙ First issued on Columbia LX 48\/9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1548-2 \u0026amp; 1549-2 ∙ First issued on Columbia L 1768\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cb\u003eRAVEL: Boléro\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (14:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003ci\u003eEarly Versions and Alternate Takes\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cb\u003eWAGNER: Tannhäuser – Overture (Dresden version)\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (14:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded May, 1926 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: WAX 1538-1, 1539-3, 1540-2 \u0026amp; 1541-3 ∙ First issued on Columbia L 1770\/1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e 2nd Mvt.: Waltz\u003cspan style=\"font-size: 12px;\"\u003e (3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 12 May 1928 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrix: WAX 3646-1 ∙ Take unissued on 78 rpm\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWillem Mengelberg and the Concertgebouw Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frank Forman and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 18:29\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":32954858733629,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205529747790,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX032_c161586f-3b20-413d-b4b6-99f022e52869.jpg?v=1773923374"},{"product_id":"pabx032-cd","title":"MENGELBERG The Complete Columbia Concertgebouw Recordings (1926-32) - PABX032 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":55205529682254,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC616_cc4d2946-49d4-4339-892e-35868826f34d.jpg?v=1657122641"},{"product_id":"pasc624","title":"MENGELBERG The Concertgebouw Telefunken Recordings, Vol. 1 (1937-38) - PASC624","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6, 'Pastoral'\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 6, 'Pathétique'\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSerenade for Strings\u003cbr\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eRoman Carnival Overture\u003cbr\u003e\u003cb\u003eFRANCK \u003c\/b\u003ePsyché et Éros\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1937-1938\u003cbr\u003eTotal duration: 2hr 33:44\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC624.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    In celebration of the 150th anniversary of the birth of Willem Mengelberg\n    (28 March 1871), Pristine is pleased to present the first in a series of\n    releases surveying the conductor’s recordings with the Concertgebouw\n    Orchestra for Telefunken, the label for which he made the bulk of his\n    commercial discs. They will be presented in roughly chronological order,\n    with the present volume featuring all the recordings Mengelberg made in\n    1937, along with the first he did the following year. (The conductor’s\n    Telefunken recordings with the Berlin Philharmonic have already been\n    released on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC348\"\u003ePASC 348\u003c\/a\u003e.)\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    After the completion of his May, 1932 Columbia sessions (featured in \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC616\"\u003ePASC    616\u003c\/a\u003e), Mengelberg found himself without a recording contract for the first\n    time in a decade. Six sides made for Decca in June, 1935 did not lead to\n    any further recordings with that label. In 1937, he was approached by the\n    German electronics giant, Telefunken, which had launched its own recording\n    subsidiary eight years earlier. Telefunken had established a reputation for\n    being on the cutting edge of recording and reproducing technology; and the\n    conductor released a statement lauding their “decisive commitment in\n    placing all the resources of modern electro-acoustics at the service of\n    music” which had produced “such convincing results.”\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The first sessions were held in May, 1937 not in the Grote Zaal (Great\n    Hall) of the Concertgebouw, where concerts and previous recording sessions\n    had taken place, but oddly in the Kleine Zaal, a smaller venue usually\n    devoted to chamber music and recitals. Mengelberg was particularly keen to\n    record works which had he had not been able to set down while at Columbia.\n    Beethoven was central to his repertoire; but although he had recorded the\n    First and \u003cem\u003eEroica\u003c\/em\u003e symphonies with the New York Philharmonic for\n    Victor (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC412\"\u003ePASC 412\u003c\/a\u003e), he had not been allotted any by Columbia, which already\n    had all nine in its catalog, conducted mainly by Weingartner.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    Mengelberg began his cycle with a fiery reading of the Fifth. If the second\n    movement seems a bit too brusque, perhaps it was due to trying to squeeze\n    it onto two sides (his 1940 broadcast [\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC236\"\u003ePASC 236\u003c\/a\u003e] is nearly a minute longer\n    here), while the last two movements feature several brass errors which the\n    conductor uncharacteristically allowed to pass. In the \u003cem\u003ePastoral\u003c\/em\u003e\n    from the following December, by which time the sessions had been moved to\n    the Grote Zaal, Mengelberg puts his stamp on the second movement with a\n    pronounced rubato at the outset, and causes time to stand still before the\n    bird calls toward the end.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    While Mengelberg was more successful in being able to record Tchaikovsky\n    symphonies for Columbia (the Fourth and Fifth are on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC511\"\u003ePASC 511\u003c\/a\u003e), the label\n    had assigned the \u003cem\u003ePathétique\u003c\/em\u003e to Oskar Fried, so he was particularly\n    eager to get his interpretation onto disc. After a recording in May was not\n    passed, a second one was made in December. The biggest difference between\n    this version and his 1941 remake is in the final movement, which is nearly\n    a minute longer in the later recording, and more appropriately “lamentoso”.\nIn the composer’s String Serenade, the Waltz is slower and has a bit less    \u003cem\u003eélan\u003c\/em\u003e than the Columbia version of a decade earlier; but Mengelberg\n    ends the work with a rousing finish, full of high spirits.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\n    The two short French works are each successful, but for opposite reasons.\n    In the Berlioz, Mengelberg turns in a straight, unexaggerated performance\n    of great beauty and excitement; while in the Franck, his often-criticized\n    indulgences of tempo variation and string portamenti are completely in the\n    spirit of the piece, and create an ecstatic, passionate rhapsody which\n    ranks among the conductor’s finest realizations on disc.\n\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG \u003c\/b\u003eand the \u003cb\u003eCONCERTGEBOUW ORCHESTRA\u003c\/b\u003e: Telefunken Recordings ∙ Volume 1\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:55)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e 1st Mvt.: Allegro con brio\u003cspan style=\"font-size: 12px;\"\u003e (7:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 2nd Mvt.: Andante con moto\u003cspan style=\"font-size: 12px;\"\u003e (9:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 3rd Mvt.: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 4th Mvt.: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (8:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 4 May 1937 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 022110\/7 ∙ First issued on Telefunken SK 2210\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F major, Op. 68 ‘Pastoral’\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 1st Mvt.: Allegro ma non troppo\u003cspan style=\"font-size: 12px;\"\u003e (8:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 2nd Mvt.: Andante molto moto\u003cspan style=\"font-size: 12px;\"\u003e (11:53)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 3rd Mvt.: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (5:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 4th Mvt.: Allegro\u003cspan style=\"font-size: 12px;\"\u003e (3:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 5th Mvt.: Allegretto\u003cspan style=\"font-size: 12px;\"\u003e (7:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 \u0026amp; 23 December 1937 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 022708\/17 ∙ First issued on Telefunken SK 2424\/8\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 December 1937 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 022676\/7∙ First issued on Telefunken SK 2489\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1937 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 022718\/9 ∙ First issued on Telefunken SK 2463\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cb\u003eBERLIOZ Roman Carnival Overture\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (8:34)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e (76:52)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cb\u003eFRANCK Psyché et Eros\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e (7:36)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 in B minor, Op. 74 ‘Pathétique’\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e 1st Mvt.: Adagio – Allegro non troppo\u003cspan style=\"font-size: 12px;\"\u003e (17:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e 2nd Mvt.: Allegro con grazia\u003cspan style=\"font-size: 12px;\"\u003e (8:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e 3rd Mvt.: Allegro molto vivace\u003cspan style=\"font-size: 12px;\"\u003e (8:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e 4th Mvt.: Adagio lamentoso\u003cspan style=\"font-size: 12px;\"\u003e (8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 20 \u0026amp; 22 December 1937 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 022666\/75 ∙ First issued on Telefunken SK 2214\/8\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e 1st Mvt.: Pezzo in forma di sonatina: Andante non troppo – Allegro moderato\u003cspan style=\"font-size: 12px;\"\u003e (9:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e 2nd Mvt.: Valse: Moderato – Tempo di valse\u003cspan style=\"font-size: 12px;\"\u003e (4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e 3rd Mvt.: Élégie: Larghetto elegiaco\u003cspan style=\"font-size: 12px;\"\u003e (7:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e 4th Mvt.: Finale (Tema russo) – Andante – Allegro con spirito\u003cspan style=\"font-size: 12px;\"\u003e (5:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 7 November 1938 \u003cspan style=\"font-size: 12px;\"\u003e∙ Matrices: 023643\/8 ∙ First issued on Telefunken SK 2901\/3\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Willem Mengelberg\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Grote Zaal, Concertgebouw, Amsterdam except Beethoven Symphony No. 5, made in the Kleine Zaal\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 33:44\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC624.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC624.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":33045263876157,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205528338766,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC624_b0d3e2bf-d748-4656-9625-0a2b7d96c232.jpg?v=1613718905"}],"url":"https:\/\/www.pristineclassical.com\/collections\/ensemble-concertgebouw-orchestra.oembed?page=7","provider":"Pristine Classical","version":"1.0","type":"link"}