{"title":"London Symphony Orchestra","description":"The London Symphony Orchestra (LSO), founded in 1904, is the oldest of London's symphony orchestras. It was set up by a group of players who left Henry Wood's Queen's Hall Orchestra because of a new rule requiring players to give the orchestra their exclusive services. The LSO itself later introduced a similar rule for its members. From the outset, the LSO was organised on co-operative lines, with all players sharing the profits at the end of each season. This practice continued for the orchestra's first four decades.\u003cbr\u003e\u003cbr\u003eThe LSO underwent periods of eclipse in the 1930s and 1950s when it was regarded as inferior in quality to new London orchestras, to which it lost players and bookings: the BBC Symphony Orchestra and the London Philharmonic in the 1930s and the Philharmonia and Royal Philharmonic after the Second World War. The profit-sharing principle was abandoned in the post-war era as a condition of receiving public subsidy for the first time. In the 1950s the orchestra debated whether to concentrate on film work at the expense of symphony concerts; many senior players left when the majority of players rejected the idea. By the 1960s the LSO had recovered its leading position, which it has retained subsequently. In 1966, to perform alongside it in choral works, the orchestra established the LSO Chorus, originally a mix of professional and amateur singers, later a wholly amateur ensemble.\u003cbr\u003e\u003cbr\u003eAs a self-governing body, the orchestra selects the conductors with whom it works. At some stages in its history, it has dispensed with a principal conductor and worked only with guests. Among conductors with whom it is most associated are, in its early days, Hans Richter, Sir Edward Elgar, and Sir Thomas Beecham, and in more recent decades Pierre Monteux, André Previn, Claudio Abbado, Sir Colin Davis, and Valery Gergiev.\u003cbr\u003e\u003cbr\u003eSince 1982, the LSO has been based in the Barbican Centre in the City of London. Among its programmes there have been large-scale festivals celebrating composers as diverse as Berlioz, Mahler and Bernstein. The LSO claims to be the world's most recorded orchestra; it has made gramophone recordings since 1912 and has played on more than 200 soundtrack recordings for the cinema, of which the best known include the Star Wars series.","products":[{"product_id":"paco096","title":"BLISS Tobias and the Angel - HOPKINS Hands Across the Sky (1960) - PACO096","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBLISS \u003c\/b\u003eTobias and the Angel\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive recording, BBC Television, 19 May 1960\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eHOPKINS \u003c\/b\u003eHands Across The Sky\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eBBC studio recording, c. 1960\u003cbr\u003eTotal duration: 2hr 9:53\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: 14px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eNorman Del Mar\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: 14px;\"\u003e\u003cb\u003eIntimate Opera Chamber Ensemble\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Antony Hopkins\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTobias and the Angel is a very fine opera. The BBC did a wonderful job with this in 1960578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe history of British opera is so full of injustices, inertia, \ndiscouragements, false starts and aborted projects and careers that \nsingling out a particular case for re-evaluation will always be \ncontentious. There is an obvious danger that as different groups lobby \nfor different composers and different operas the collective case for \nBritish opera actually weakens, and British opera companies can excuse \nthemselves from righting wrongs by politely observing that they can’t \nplease everyone, though they welcome suggestions. Meanwhile, the release\n of recordings like the one under review does at least allow a \nreasonably happy compromise between staged revival and complete \noblivion. A realistic prediction is that anyone who loves the music of \nArthur Bliss will have to have it, anyone with a serious interest in \ntwentieth-century British opera might (and \u003ci\u003eshould\u003c\/i\u003e) add it to \ntheir collection, and everyone else will simply ignore it. But let me be\n wildly optimistic for a moment and suggest that maybe, just maybe, it \ncould bring Bliss the opera composer a little of the justice he has long\n been denied. Perhaps, in the next few years, there could be one less \nproduction of a Benjamin Britten opera, and one more of another British \n‘B’. \u003cbr\u003e   \u003cbr\u003e Bliss’s entire operatic ‘career’ - though that is \nhardly the right word - was lived in the gigantic shadow cast by \nBritten, and has never emerged from it. His first and most ambitious \nopera, \u003ci\u003eThe Olympians\u003c\/i\u003e, was produced at Covent Garden in 1949. It \nis by no means a perfect opera, if such a thing exists, though its \nweaknesses can be largely blamed on J. B. Priestley, Bliss’s \ndistinguished librettist, whose rejection of anything like Brittenesque \nrealism produced some rather two-dimensional characters. Musically it is\n stirring, magnificent, and the story really grips the imagination. The \ninitial production was massively under-rehearsed, but still impressed \nmany reviewers, including that hard-to-please Wagnerian Ernest Newman. \nJohn Allison recently told me that he knows people alive today who \nattended the premiere, and that they still go misty eyed when speaking \nof it. In some countries an opera which had achieved this much would \nsoon have merited a revival. Not in Britain. It was not performed again \nuntil 1972, when a single concert performance of a shortened version of \nthe score was put on to mark Bliss’s eightieth birthday (a recording of \nthis has been released on CD). The fact that \u003ci\u003eThe Olympians\u003c\/i\u003e was so\n quickly placed on the institutional shelf seems to have killed off \nBliss and Priestley’s original plan to work on further operas together -\n what a loss. \u003cbr\u003e   \u003cbr\u003e Towards the end of the 1950s, fortunately, \nBliss was tempted by a BBC commission to write a second opera. This time\n his librettist was Christopher Hassall, who had honed his skills in his\n collaborations with Ivor Novello. The resulting work, \u003ci\u003eTobias and the Angel\u003c\/i\u003e,\n was given a single BBC television broadcast on 19 May 1960. The \neconomics of television opera have always been baffling, but the BBC \nspent a lot of money on \u003ci\u003eTobias\u003c\/i\u003e, and it received good reviews, so \nthe corporation’s decision not to broadcast it again stands out as \nextraordinary even in this admittedly surreal world. Bliss did not \nintend \u003ci\u003eTobias\u003c\/i\u003e to be simply a television opera, and he prepared a \nslightly adapted version of the score suitable for conventional \ntheatrical performance. Amazingly, the opera still awaits its theatrical\n premiere, and after this second demonstration of his country people’s \napathy Bliss unsurprisingly wrote no more operas. The sound recording of\n the 1960 broadcast that is now available gives a good idea of what has \nbeen lost, both actually and potentially. \u003cbr\u003e   \u003cbr\u003e \u003ci\u003eTobias and the Angel\u003c\/i\u003e is a very fine opera. Bliss was faulted for over-egging the pudding a bit in \u003ci\u003eThe Olympians\u003c\/i\u003e, and \u003ci\u003eTobias\u003c\/i\u003e\n can be recognised as an intelligent artist’s response to such \ncriticism, though the TV medium, too, probably played its part in \nencouraging him to adopt a leaner, more economical approach. \u003ci\u003eTobias\u003c\/i\u003e\n is instantly recognisable as by the same composer, however, and the \ndramatic material is in fact quite similar, with the Archangel Raphael \nhaving assumed human form as the ‘hired man’ Azarias in the same way \nthat the ancient Greek deities had been transformed into strolling \nactors in the earlier opera. The dramatic shaping of the material is \nfiner in \u003ci\u003eTobias\u003c\/i\u003e, and the excitement mounts steadily through a \nseries of succinct and nicely contrasted and nuanced scenes until the \nclimactic encounter between Raphael and the demon Asmoday is reached. I \nuse the word ‘excitement’ in its normal sense, incidentally, not as it \nis sometimes used in arts criticism, to signify something like aesthetic\n arousal. The climactic scene of \u003ci\u003eTobias and the Angel\u003c\/i\u003e is \ngenuinely chilling, and it was a masterful stroke of Bliss’s to make \nAsmoday a spoken role, with the voice, according to the libretto, ‘\u003ci\u003enot seem[ing] to come from the\u003c\/i\u003e SHAPE \u003ci\u003eitself but to be in the air around us, or even not external at all, like a thought in our own minds\u003c\/i\u003e.’ The BBC did a wonderful job with this in 1960. A similar effect has since been contrived for Lloyd Webber’s \u003ci\u003ePhantom of the Opera\u003c\/i\u003e. \u003cbr\u003e   \u003cbr\u003e\n The present recording is of course of a television broadcast, and with \nno libretto supplied, following the action is not always easy - \nespecially as Bliss, who had been writing for the cinema long before he \nturned to opera, often relies on the orchestra to carry the story. At \nsuch moments it is frequently easy to guess what has happened so \ndescriptive is the music: for example when a quarrel between Tobias and \nAzarias is averted by the latter ‘\u003ci\u003ebow[ing] his apology\u003c\/i\u003e’. At other\n times, though, it is impossible to tell from the music alone what was \nbeing represented on the television screen, for Bliss was choosing to be\n more broadly atmospheric. Nevertheless, the energy and conviction of \nthe music carry the listener through the obscurer parts, and it is the \ntreatment of the orchestra which most clearly reveals Bliss’s \ndistinctive, film-influenced, concept of opera and fine feeling for \ndramatic effects. \u003cbr\u003e   \u003cbr\u003e The companion work, or filler, is Antony Hopkins’ \u003ci\u003eHands Across the Sky\u003c\/i\u003e,\n less than half the length of Bliss’s opera. It was apparently chosen \nbecause, though written for stage performance by the Intimate Opera \nCompany (who gave the premiere in 1959), it was broadcast by the BBC \njust three months before \u003ci\u003eTobias and the Angel\u003c\/i\u003e, on 7 February \n1960. This does not seem a particularly strong reason for placing it \nbeside the Bliss work, and moving from one opera to the other is a \nlittle disconcerting, for they are totally different in character. \nHopkins’ work, with a libretto by Gordon Snell, was described as ‘an \nopera of the near future’, and concerns the arrival on earth of the \nalien Squeg (a strange green creature), and the romantic havoc he causes\n when he inspires passion in the matronly bosom of Miss Fothergill. \nOpinions will differ as to whether it is more fun than silly or more \nsilly than fun, but there can be no doubt that it is very dated, in the \nsame way that the flying saucer scene in \u003ci\u003eSalad Days\u003c\/i\u003e is dated. \nProbably not thinking much of posterity, Hopkins clearly delighted in \nhis subject, for which he composed tongue-in-cheek music with a \ndelightful Mozartean sparkle. \u003ci\u003eHands Across the Sky\u003c\/i\u003e is much easier to follow than \u003ci\u003eTobias and the Angel\u003c\/i\u003e,\n partly because it actually includes a spoken narration of the kind \noften used in radio broadcasts, and partly because it all takes place in\n one room, in standard Intimate Opera style. Nevertheless, like many \npurely farcical works itreally has to be seen to hold the \nattention. If such material as this survives, I would personally rather \nhave heard one of Hopkins’ earlier, non-sci-fi operas for Intimate \nOpera, written in collaboration with Michael Flanders, for they were \ntelevised too. Perhaps they will make up some future release. \u003cbr\u003e   \u003cbr\u003e I was one of the fortunate few (apparently) who already had a recording of the 1960 \u003ci\u003eTobias and the Angel\u003c\/i\u003e.\n Comparing the Pristine Audio release with that, I am very impressed \nwith how much the sound quality has been improved through Andrew Rose’s \ncareful remastering. The music has far more brightness and clarity - one\n must suppose that it sounds greatly superior to what it would have done\n through a 1960 television set! The only disappointment is the soprano \npart, which now sounds screechy where before it sounded slightly \nmuffled: I assume that this has something to do with what Rose \napologetically calls ‘peak top-end distortion’ in his ‘Producer’s Note’.\n The sound quality of \u003ci\u003eHands Across the Sky\u003c\/i\u003e is superb, as are the performances, and this must stand as a definitive record of the work by those for whom it was composed. \u003cbr\u003e   \u003cbr\u003e\n I shall enter a small grumble at the packaging offered with the CD. It \ncontains a single folded sheet printed on one side, and the information \nthat ‘Full programme notes can be found online’. In fact the useful \nnotes by Lewis Foreman online are not particularly full, and could for \nthe most part have been accommodated on the reverse side of the CD \ninsert. It is hard to believe much in the way of costs was saved by not \nprinting them, and in printed form they would have been insured against \nany closure of the website. And a correction: Andrew Rose’s ‘Note’ \n(which is printed on the CD insert) states that ‘It seems doubtful that \nany video images remain of either TV broadcast.’ Yet Jennifer Barnes’ \nbook \u003ci\u003eTelevision Opera\u003c\/i\u003e (2003) states categorically that there is a video recording of \u003ci\u003eTobias and the Angel\u003c\/i\u003e in the National Film and Television Archive. And Helga Bertz-Dostal’s classic but scarce \u003ci\u003eOper in Fernsehen\u003c\/i\u003e\n of 1970 reproduces three photographs of the production. Assuming Barnes\n is right, there is a slim but mouth-watering possibility that the 1960 \u003ci\u003eTobias and the Angel\u003c\/i\u003e\n will one day be available for purchase in a video medium. In the \nmeantime, can some opera company please just go ahead and stage it? \u003cbr\u003e   \u003cbr\u003e \u003cem\u003e\u003cb\u003eDavid Chandler\u003c\/b\u003e\u003c\/em\u003e  \u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eMusicWeb International\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO096.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBLISS Tobias and the Angel - HOPKINS Hands Across the Sky\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eTwo incredibly rare British operas from BBC TV productions in 1960\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003eThese two remarkable productions \noriginate from the archives of Lewis Foreman, who has generously \nprovided both the recordings and his own notes, as well has offering \ninvaluable help with tracking and annotating the works. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003eOf the two, the Bliss is the \nless-well preserved, though for live TV sound of this era it's still \nremarkably good. A lot of work has gone into getting as clean, full and \nclear a sound as possible here, and despite a lack of very high treble \nand some peak top-end distortion (largely tamed), it has come out very \nwell. This is the only known recording and performance of this work. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003eAntony Hopkins' Hands Across the Sky \ncame from a BBC Transcription disc which delivered much better sound \nquality - clean, crisp and with an excellent frequency range. Although \none title from the opera has appeared on recent compilations of the \ncomposer's music, we can find no other recording of the complete work. \nIt seems doubtful that any video images remain of either TV broadcast.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO096.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO096.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fTobias \u0026amp; The Angel578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSir Arthur Bliss (1891-1975):   Tobias and the Angel\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eOpera in Two Acts for Television (1960)\u003cbr\u003eLibretto: Christopher Hassall after the Apocryphal Book of Tobit\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eAct I Scene I: Nineveh. The market square.\u003c\/li\u003e\n\u003cli\u003eScene II: A door in a back street\u003c\/li\u003e\n\u003cli\u003eScene III: the river bank\u003c\/li\u003e\n\u003cli\u003eScene IV: The embattled City of Ecbatane.\u003c\/li\u003e\n\u003cli\u003eRachel’s garden\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eAct II Scene I: Sara’s bedchamber and adjoining terrace. Evening\u003c\/li\u003e\n\u003cli\u003eScene II: The same. Next morning.\u003c\/li\u003e\n\u003cli\u003eScene III: Nineveh. The market square.\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFirst performance:\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eTrevor Anthony (Bozru)\u003c\/li\u003e\n\u003cli\u003eCarolyn Maia (Rhezia)\u003c\/li\u003e\n\u003cli\u003eJohn Ford (Tobias)\u003c\/li\u003e\n\u003cli\u003eRonald Lewis (Azarias)\u003c\/li\u003e\n\u003cli\u003eJess Walters (Tobit)\u003c\/li\u003e\n\u003cli\u003eJanet Howe (Anna)\u003c\/li\u003e\n\u003cli\u003eRichard Golding (Raguel)\u003c\/li\u003e\n\u003cli\u003eElaine Malbin (Sara),\u003c\/li\u003e\n\u003cli\u003eRoy Patrick (Asmoday)\u003c\/li\u003e\n\u003cli\u003eWilliam Lyon-Brown (Beggar)\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eElectronic sounds by the BBC Radiophonic Workshop.\u003c\/li\u003e\n\u003cli\u003eSpecial effects: Jack Kine and Bernard Wilkie. \u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003eProducer: Rudolf Cartier. Associate conductor and chorus master Brian Priestman.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eNorman Del Mar\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eLive recording, BBC Television, 19 May 1960.\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNotes\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eSir Arthur Bliss’s opera Tobias and the Angel was commissioned by BBC\n Television and it was first seen in a live telecast on 19 May 1960, its\n only production, the performance reissued here. The libretto is by \nChristopher Hassall − after the Apocryphal Book of Tobit − who sets the \nstory in two acts. The score is dedicated to Trudy Bliss bythe composer \nand the author.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBliss was probably best known for his pioneering ballet scores \nCheckmate, Miracle inthe Gorbals and Adam Zero, and his film music for \nThings to Come. His varied catalogue of orchestral works spans more than\n fifty years from A Colour Symphony of 1921-2, to the Metamorphic \nVariations of 1972, as well as concertos for piano and violin. His \nchoral music is crowned by his First World War memorial to lost \ncomrades, Morning Heroes, and his chamber music includes memorable oboe \nand clarinet quintets and two string quartets. As Master of the Queen’s \nMusic after 1954 his occasional works and fanfares for royal occasions \nare iconic. His three-act opera The Olympians, seen at Covent Garden in \n1949, and his version of The Beggar’s Opera, produced for a film \nreleased in 1953, are all that precede this television opera for the \noperatic stage.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBliss takes the story from the Apocrypha – the Book of Tobit. In the \n8th century BC the people of Israel are in exile among the Assyrians, \nand the story opens and closes in the city of Ninevah. We first hear a \nmarket scene where Bozru is selling slaves and hiring workers. Tobias \nseeks to hire a guide to the city of Ecbatane in Media. His choice, is \nunknown to Bozru, has no baggage and asks an impossibly small payment. \nAgainst his mother, Anna’s feelings Tobias’s blind father − Tobit − is \nsending Tobias on a journey to reclaim a loan in order to relieve their \nthreatening destitution. The hired man, Azarias, is to be his guide. On \nthe journey, by a river Tobias is seized by a great fish which drags him\n down. Azarias tells him how to catch it and when landed insists Tobias \nremove the gall and liver and place them in his bundle.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOver an animated orchestral link the scene changes to Raguel’s garden\n in the embattled City of Ecbatane. Enter Sara, the beautiful daughter \nof the house, surrounded by her attendant women. Among them is Rhezia \nwhom we first encountered being sold in the slave market at the outset. \nWe gather that Sara is in a rage and is haunted by the memory of seven \ndead husbands, killed in their marriage beds. We soon learn that she is \npossessed by the baleful spirit Asmoday.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTobias now encounters Sara and is instantly smitten by her. Her \nfather, Raguel, enters and is hostile until he realizes Tobias’s \nidentity. He is the very person Tobias is looking for and the traveler \nis warmly received. Tobias’s declarations of love for Sara are resisted \nby her father who knows the fate of his daughter’s previous spouses. \nTobias insists he will stay but prays for salvation. Azarias (whom we \nsoon learn is in fact the Archangel Raphael) raises his arms as if to \nprotect him. The first Act ends as, terror-stricken, Tobias falls \nprostrate.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Prelude to Act two leads us to Sara’s bedchamber where she is \nbeing dressed for her wedding ceremony by her young women. As one of \nthem takes the veil from a cupboard the shadow of what might be a claw \nand forearm momentarily passes over the open cupboard. The women sing a \nwedding song, and an uproarious drinking song follows sung by members of\n the household (male chorus). Azarias rallies his master’s courage, and \ninstructs Tobias to chop up the fish’s liver from his bundle, crumble it\n to powder and burn it in the incense burner by the open shutters of the\n bedchamber. Raguel makes one last attempt to discourage Tobias but as \nhe leaves the lovers launch into a love duet (‘Like streams we are met, \nmy dear one’).\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSarah’s mood changes and she attempts to belittle and dismiss \nAzarias, Sara’s voice suddenly becoming the spoken voice of Asmoday. \nTobias frantically places the powder on the flaming burner and smoke \nbillows round the room. Azarias summons Asmoday and commands him to \nstand away from the house. Asmoday appears and Azarias reveals himself \nas Raphael ‘manifest in the golden panoply of the heavenly host’. They \nbattle over an orchestral interlude (done in stylized silhouette on the \nblack and white television screen) until the Archangel’s Victory is \nmajestically sounded by the orchestra and we move to Scene II with an \norchestral introduction. It is the next morning ‘One can hear the birds \nwaking. There is benediction in the air. Sara lies on her bed where she \nfell. Tobias is sitting with his back against the door. Azarias, the \nordinary manservant again, is seen asleep on the terrace below the open \nshutters of Sara’s window.’ They wake amazed to find all is well, and as\n Rhezia, then Raguel and finally Azarias join the ensemble, as they sing\n a hymn of thanks.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAzarias urges Tobias to return to his father and they depart for \nNineveh. An orchestral prelude to Scene 3 returns us to the market at \nNineveh where Bozru is in full flow selling slaves. Among them are \nTobias’s parents. In an episode of grotesque comedy Tobias bids for them\n and then rubs the fish’s gall in his blind father’s eyes. Tobit’s sight\n returns and he stares into the face of the Archangel Raphael – revealed\n alone to him – and as the opera ends Bliss writes in the score: ‘they \nare seen bowed with their heads to the earth, in a semi-circle of \nadoration around a slowly forming column of light’.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNOTES BY LEWIS FOREMAN\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHands Across The Sky578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eAntony Hopkins (b. 1921):   Hands Across the Sky\u003c\/b\u003e\u003c\/span\u003e\u003c\/li\u003e\u003cp\u003eA chamber opera in one act (1959)\u003cbr\u003eLibretto: Gordon Snell\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eEric Shilling (Professor Neutron)\u003c\/li\u003e\n\u003cli\u003eAnn Dowdall (Miss Fothergill, his Assistant)\u003c\/li\u003e\n\u003cli\u003eStephen Manton (Squeg, a Thing)\u003c\/li\u003e\n\u003cli\u003eRichard Baker (?) Narrator \u0026amp; announcer\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eIntimate Opera Chamber Ensemble\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAntony Hopkins\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003eScene:\u003cb\u003e Professor Neutron’s Laboratory\u003c\/b\u003e\u003cbr\u003eTime: \u003cb\u003eThe near future. \u003cbr\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBBC studio recording, ca 1960\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cb\u003eNotes\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAntony Hopkins\u003cem\u003e\u003c\/em\u003e was long known to a wide audience for\n his BBC Radio series ‘Talking About Music’ in which, notable for the \nease and informality of his delivery, each week he analyzed a major work\n from the repertoire, illustrated at the piano. The series ran for \nnearly forty years – over a thousand scripts – and survives as a series \nof published guides to the repertoire.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIn his autobiography, Beating Time, Hopkins lists music composed by \nhim from 1943 revealing that he won a Cobbett Prize for a String Quartet\n in that year. He quickly established a career writing incidental music \nfor the theatre, for BBC radio productions, films, ballet and occasional\n works for a variety of instruments including three Piano Sonatas, \ninstrumental music and choral music. His one act operas are largely \nopera buffa in intention and he also produced two operas for young \npeople – Rich man, Poor Man, Beggarman, Saint and Dr Musikus. He was \nawarded the CBE in 1976.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eHe enjoyed a long association with the Intimate Opera Company \npresenting a variety of chamber operas, many of them newly composed. His\n operas include Lady Rohesia (1948), Three's Company (1954), and the \nwork recorded here. To celebrate the 25th anniversary of the Company in \n1959 a competition was held for the best libretto for an opera suitable \nfor the Company’s limited means. The prize went to Gordon Snell for his \nHands Across the Sky. Hopkins tells us that several composers were \napproached to set this libretto, but ‘finally I agreed to do it myself, \nalthough I deprecate too much “in-breeding” in an opera company, and \nwould have preferred to bring in some new blood. In the event, I have \nseldom enjoyed composing anything so much as this gay and witty libretto\n with its opportunities for comedy, drama, and pathos.’\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThere are three characters in this comedy: Professor Neutron, Miss \nFothergill, his Assistant; and Squeg, a Thing. In his laboratory \nProfessor Neutron and his middle-aged assistant, Miss Fothergill, are \nengaged in a hazardous search for a new rocket fuel. The experiment \nfails – again – and to encourage him Miss Fothergill sings a waltz-song \nof encouragement: ‘Science, science is my passion’. As it becomes a duet\n the professor reveals his hidden devotion: ‘ I much prefer the sight of\n her to further exploration’.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThey see an approaching object from space which delivers an unusual \nvisitor to the laboratory – with green skin, horns and long hair. It is \nSqueg, a Thing. Squeg is shy and sings: ‘I’ve searched the Solar System \nfrom end to end, no friendly welcome . . . no wish to offend’. This \nbecomes a duet with Miss Fothergill, and as the professor offers a cup \nof tea the duet becomes a trio. When the Thing announces ‘my name is \nSqueg’, the professor responds ‘One of the Saturn Squegs I assume!’ Miss\n Fothergill has fallen for Squeg and launches into her love song in \nswing style – as she boogies she declares ‘I love Squeg’. She grapples \nwith the reluctant Squeg, singing ‘Squeg, dear Squeg, we’ll fly away \ntogether’. The professor returns and thinks the Thing has gone insane \nand announces he will shoot him. A trio ensues as she sings ‘Because I \nlove him till I die’. Miss Fothergill leaves, dragging Squeg with her, \nand the Professor sings disconsolately of what might have been: ‘Side by\n side, teacher and guide’. He determines to dispose of his rival, and \nsets out to concoct a potion.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMeantime, Miss Fothergill continues to pursue Squeg and she, too, \ndetermines to invent a potion to make her a ‘monster just like Squeg’. \nThe unhappy professor sings: ‘This way to the tomb’ and then sings of \nhis adoration for Miss Fothergill but she rejects him. He decides to \ndie, and drinks the potion he prepared for Squeg. However, he picks up \nthe wrong glass, and drinks Miss Fothergill’s potion instead. His \nappearance changes to that of Squeg. She sings of her love and all three\n join in a closing trio ‘Glorious life’.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAntony Hopkins wrote about the score: ‘The music is almost entirely \nbased on four very brief 'motifs'. The most important is the two \nconflicting intervals of a fourth, one rising and one falling, with \nwhich the work begins. This might be called the Squeg motif no. 1, \nrepresenting the fear a creature from outer space might well inspire in \nhumans. Squeg motif no. 2 is a note repeated four times and rising a \ntone on the next beat (Ta-ta-ta-ta TUM). This represents Squeg as he \nreally is − timid and insecure, and it is frequently used as an \naccompaniment. Also important is a three note phrase, mi-fa-mi in sol-fa\n notation, which is used to represent love, either forlorn or \ntriumphant. For example, the soprano has a sad little lament when Squeg \nhas left her; it is based on these three notes, treated as a canon \nbetween voice and orchestra. The same pattern reappears in a different \nharmonisation in the finale. The equivalent lament for the baritone, \n\"side by side, her teacher and guide,\" is worth mentioning; it is a \nground bass, in which dark thoughts concerning Squeg are represented by \nthe ‘fourths’ motif in the bass, and the idea of partnership − “side by \nside, hand in hand” − suggested by a canon. This number appears later as\n a duet when soprano and baritone alike bewail their loneliness. For all\n its nonsense, this score is very tautly constructed; however, in a 45 \nminute opera, the scale of ensembles and arias must be\u003cbr\u003esomewhat reduced to preserve the right proportions.’\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eHands Across the Sky was first produced at the Cheltenham Festival on 8 July 1959 and on BBC television on 7 February 1960.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNOTES BY LEWIS FOREMAN\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32534778317,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32534778381,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32534778445,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32534778509,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO096_5d8eeed3-a80b-42e9-be99-f694e70f0958.jpg?v=1487758834"},{"product_id":"pasc304","title":"COATES conducts Rimsky, Mussorgsky, Borodin \u0026 Stravinsky (1926-30) - PASC304","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Petrushka Ballet\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003eBORODIN\u003c\/b\u003e Prince Igor - excerpts\u003cb\u003e\u003cbr\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Czar Sultan - Suite\u003cb\u003e\u003cbr\u003eRIMSKY-KORSAKOV\u003c\/b\u003e May Night - Overture\u003cb\u003e\u003cbr\u003eMUSSORGSKY\u003c\/b\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eElectric HMV recordings 1926-30\u003cbr\u003eTotal duration: 73:15\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHmm! Stravinsky! Now we're in for something weird!578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003ePetrushka (1930):\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"...Of\n Stravinsky on her programme, \" Hmm ! Stravinsky ! Now we're in for \nsomething weird ! \" What we actually were in for was the Berceuse and \nFinale of The Fire Bird, which, had the printer of the programme \nerroneously attributed to the pen of Rimsky-Korsakov, the good lady \nwould assuredly have applauded as vehemently as she did Scheherazacle at\n the same concert. So much for the average Briton's attitude towards \nmusical progress. Yet why should early Stravinsky still be imagined by \nso many to be so revolutionary and incomprehensible 7 The Fire Bird was \nwritten in 1910— surely nineteen years is sufficient time even for an \naverage British concert-goer to assimilate its idiom. The answer must \nlie in the fact that ever since Petrouchka Stravinsky has been such an \nexperimentalist, and his idiom has been so elusive, that his reputation \nis better known than his music, and so our conservative concert-goers \nget afraid, and refuse to become conversant with any form of music later\n than Wagner. To these I would say : \"Ladies and Gentlemen, go to your \ngramophone dealer and listen to a few records of contemporary music ; it\n will cost you nothing, and you will gain the knowledge that there is \nnothing at all offensive in such works as The Fire Bird, nothing in fact\n that is incompatible with the traditions of Rimsky-Korsakov, Borodin \nand others ; then you will go to the concert hall and hear with \nunprejudiced ears the same works, and will enjoy them.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e... \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003eIn\n 1911 appeared Petrouchka, which is still regarded by many as \nStravinsky's masterpiece, though none can maintain that he ceased \ndeveloping at this date. Certainly his later works are more abstruse and\n objective, but Stravinsky never stands still, he always moves forward, \nforward, forward, and even though his followers may sometimes be led \ninto somewhat cacophonic by-roads, the discursions are always \ninteresting, and open up new paths of development. Nevertheless \nPetrouchka is certainly the apex of his genius in multi-coloured \norchestral resourcefulness, and it is probably the most musically \ninfluential of all his works ; hardly one of the younger generation of \nRussian Ballet composers has escaped the influence of Petrouchka in some\n form or another, and probably that is why it is the best known of his \nworks. Stravinsky, as I have said before, changes his style so often \nthat it is almost impossible to say which is the most representative of \nhis works, yet to a grarnophile who knows nothing of this amazing \ncomposer's works I would recommend Petrouchka as his first introduction \nto Stravinsky. Two excellent sets of Petrouchka records are available ; \none on six sides of Columbia (L2173-5), conducted by the composer, and \nthe other on eight sides of H.M.V. (D1521-4) by the London Symphony \nOrchestra under Albert Coates. Both renderings are extremely - good the \nColumbia version is the noisier, yet I think on the whole the clearer \nand more supple, but I greatly regret the excision of the trumpet, flute\n and bassoon trio where the Moor makes love to the ballerina. I \npersonally chose the H.M.V. version for its completeness.\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\"These Moderns 1.—Russia: Stravinsky and Prokofiev\" (excerpts) by A. M. Gordon-Brown, The Gramophone, March 1930\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC304.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Czar Sultan - Suite\u003c\/span\u003e\u003cbr\u003eRecorded 16 February 1928. matrices CR-1699-1A and CR-1700-1; \u003cbr\u003eHMV D1491. \u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e May Night - Overture\u003c\/span\u003e\u003cbr\u003eMatrix\n CR-2454-3, Recorded 8 October 1929, Queen’s Hall, transmitted by phone \nline to Small Queen’s Hall; matrix   Cc-17848-2, recorded 5 November \n1929, Hayes Main Studio. \u003cbr\u003eIssued on HMV D1744. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMUSSORGSKY\u003c\/b\u003e Khovanshchina: Persian Dances\u003c\/span\u003e\u003cbr\u003eRecorded 7 May 1930, Queen’s Hall, transmitted by phone line to Small Queen’s Hall. \u003cbr\u003eMatrices CR-2486-2 and CR-2487-2; Issued on HMV D1855. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor - Overture\u003c\/span\u003e\u003cbr\u003eRecorded 26 October 1926, Kingsway Hall, transmitted by phone line to Small Qqueen’s Hall. \u003cbr\u003eMatrices CR-815-1 and CR-816-1;Issued on HMV D1210. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBORODIN\u003c\/b\u003e Prince Igor – Ballet of the Polovetsian Maidens\u003c\/span\u003e\u003cbr\u003eRecorded\n 24 October 1927, Queen’s Hall, transmitted by phone line to Small \nQueen’s Hall; matrices CR-1554-1 and CR-1555-1A; Issued on HMV D1528. \u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e Petrushka Ballet\u003c\/span\u003e \u003cbr\u003eRecorded\n 19 and 24 October 1927, Queen’s Hall, transmitted by phone line to \nSmall Queen’s Hall;; 5 January and 15 February 1928. Kingsway Hall; \ntransmitted by phone line to Small Queen’s Hall. \u003cbr\u003eIssued on HMV D1521-1524. \u003cbr\u003eThis set was also issued on Italian and Czech HMV as well as Electrola but never on Victor. \u003cbr\u003eThe matrix and date information is as follows: \u003cbr\u003eSide 1. CR-1542-2B (19 October 1927) \u003cbr\u003eSide 2. CR-1543-3A (5 January 1928) \u003cbr\u003eSide 3. CR-1544-1A (19 October 1927) \u003cbr\u003eSide 4. CR-1545-4 (15 February 1928) \u003cbr\u003eSide 5. CR-1546-1A (19 October 1927) \u003cbr\u003eSide 6. CR-1547-2 (15 February 1928) \u003cbr\u003eSide 7. CR-1552-1A (24 October 1927) \u003cbr\u003eSide 8. CR-1553-2 (24 October 1927) \u003cbr\u003e\u003cbr\u003eThe present transfer was made from mid-1930s Electrola pressings, EJ381-384. \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eElectric HMV recordings 1926-30\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 73:15\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC304.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC304.pdf578a9379d1e540bd96d26f03a79628d9tab2_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":14116557029437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116557062205,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC304_eecf7b72-5873-42b3-8a79-5b85f536865b.jpg?v=1554801530"},{"product_id":"pasc303","title":"COATES conducts Russian and French music (1921-24) - PASC303","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003cb\u003e\u003cbr\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite\u003cbr\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003cbr\u003eMusic by\u003cb\u003e Glinka, Liadov, Debussy\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fColourful, euphoric and above all, musical578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI have been unhappy with Pristine Audio’s attempts to make early LPs \nsound like digital CDs, but here we have a collection of acoustic \nrecordings and the transfer engineer is Ward Marston. I have not been \nable to compare any other transfers of these same recordings – the \nvarious sites offering early recordings for free download, such as \nShellackophile and Damian’s 78s, have not so far branched into Coates \nvery much. My impression is that we hear these ancient recordings about \nas well as we are ever likely to. Readers who came to music in the 1960s\n will remember that in those days the typical LP player also had \nprovisions for playing 78s. They invariably reproduced the discs with a \nhigh level of scratchy hiss. On the rare occasions that I actually heard\n some 78s played by a collector with an old player and a stock of fibre \nneedles, the hiss was gentler, more of a swish, and the music somehow \nemerged from it remarkably well. That’s about how we get it here, but \nwith more detail than most of those old players could ever extract. When\n the textures are relatively spare, as in the Ravel, it’s amazing how \nmuch nuance and timbre comes across. But there’s no denying that \nclimaxes get strident, often confused, and the lack of depth is tiring \nto the ear. \u003cbr\u003e \u003cbr\u003eThere are historical recordings where one can still\n be caught up in an enthralling experience. There are others where the \nmusical lessons to be gleaned are so great that it is worth persevering.\n But there are also some where one says “so that’s what it sounded like”\n and passes on to other things. \u003cbr\u003e \u003cbr\u003eThese considerations were \nparticularly aroused by the Glinka and Rimsky-Korsakov items. This is \nthe sort of music that thrives on modern sound. Nor does it call for the\n sort of interpretative insight reserved for the few. One can note that \nCoates’s “Symphony Orchestra”, whatever it was, was a crack band. In \nfast string passages he gets the sort of brilliant articulation \ngenerally associated, in recordings from that period, with Mengelberg \nand the Concertgebouw. Given that fast tempi go at a real lick, anyone \nwho expects to find slack orchestral standards in London of the 1920s is\n in for a surprise. All the same, brilliant playing and high energy \nlevels are not unknown in more recent times, so one would need some \nfurther reason for listening again. Not only do I not find this, I began\n to feel, particularly in the Golden Cockerel music, that Coates’s \nrelentlessly up-front approach has its limits. It was interesting to \nturn to a little-remembered version of this suite set down, I think for \nPye in the 1960s, by the London Philharmonic under Hugo Rignold - you \ncan download this from Rediscovery Paperbacks if you’re interested. The \nLPO was not a virtuoso band at that time but there is a strong feeling \nof affectionate enjoyment of the music by all concerned and a welcome \nreminder that Rignold was a dab hand at music with a strong \nstory-telling content. This is important with music that risks seeming \nthe fruit of the drawing-board more than of inspiration. \u003cbr\u003e \u003cbr\u003eAgainst\n all odds, the performance that gave me most pleasure here was that of \nthe Stravinsky. With the music only thirteen years old, one rather \nexpects to find a bemused orchestra treading warily and none too \nunanimously through the music on a note-by-note basis. Such early \nrecordings of Stravinsky certainly exist – some of them under the \ncomposer’s own baton – but Coates’s band seems to have known the music \nall its life. The score is not played as an extravagant piece of noisy \nmodernism but as a refined successor to Debussy, colourful, euphoric and\n above all, musical. \u003cbr\u003e \u003cbr\u003eIt’s interesting to have this followed by \nKikimora, since Diaghilev had initially asked Liadov to compose the \nFirebird ballet. Stravinsky himself is down as saying that Liadov would \nnever have had the energy to write a score like that. Strangely, in \nCoates’s super-energetic hands the two composers’ styles seem remarkably\n similar! \u003cbr\u003e \u003cbr\u003eThe Debussy is a slightly unsettled performance, \nthough Coates, a noted Wagnerian, makes the most of the Tristan quote. \nIn the Ravel we may note his skill in realizing every detail of the \norchestration but we may also note a pervasively heavy, over-regular \nbeat. How much more flexible is the 1949 Cluytens version, included in \nan Andante compilation of historical Ravel performances, “Le jardin \nfëerique” caressed and built up lovingly where Coates is almost \nperfunctory. Was he at his best only in music that is fast and noisy? \u003cbr\u003e \u003cbr\u003e\n This compilation was sent to me in tandem with another containing \nCoates’s performances, from the same period, of Tchaikovsky’s 5\u003csup\u003eth\u003c\/sup\u003e Symphony and Francesca da Rimini and Borodin’s Polovtsian Dances. For a rounded picture, the reader should now read my \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Dec11\/Tchaikovsky_5_Coates_PASC297.htm\"\u003ereview\u003c\/a\u003e of the companion disc. \u003cbr\u003e \u003cbr\u003e\u003cb\u003e\u003ci\u003eChristopher Howell\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC303.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmilla - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 5 May 1922; Matrix Cc1292-2; Issued on HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e Coq d'Or - suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cbr\u003eRecorded 10 May and 14 July 1922.\u003cbr\u003eIssued on HMV D732-734.\u003cbr\u003eSide 1 recorded 14 July 1922; matrix Cc1307-4; HMV D732.\u003cbr\u003eSide 2 recorded 10 May 1922; matrix Cc1308-2; HMV D732.\u003cbr\u003eSide 3 recorded 10 May 1922; matrix Cc1309-2; HMV D733.\u003cbr\u003eSide 4 recorded 14 July 1922; matrix Cc1310-4; HMV D733.\u003cbr\u003eSide 5 recorded 14 July 1922; matrix Cc1659-1; HMV D734.\u003cbr\u003eSide 6 recorded 14 July 1922; matrix Cc1660-3; HMV D734.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e The Snow Maiden - Dance of the Tumblers\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 14 July 1922; matrix Cc1661-1; HMV D658.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Firebird Suite (1911 version)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 24 and 29 October 1924. Issued on HMV D958 and 959.\u003cbr\u003eSide 1:\u003cb\u003e 1. Introduction – Kashchei's Enchanted Garden – Dance of the Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5298-1; HMV 958\u003cbr\u003eSide 2: \u003cb\u003e2. Supplication Of The Firebird\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5297-2; HMV D958.\u003cbr\u003eSide 3: \u003cb\u003e3. The Princesses' Game With The Golden Apples; 4. The Princesses’ Khorovod\u003c\/b\u003e\u003cbr\u003erecorded 24 October 1924; matrix Cc5291-1; HMV D959.\u003cbr\u003eSide 4: \u003cb\u003e5. Infernal Dance Of All Kashchei's Subjects\u003c\/b\u003e\u003cbr\u003erecorded 29 October 1924; matrix Cc5296-2; HMV D959.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLIADOV\u003c\/b\u003e Kikimora\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 28 October 1921; matrix Cc608-2; HMV D620\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e Golliwog's Cakewalk from Children's Corner Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003eRecorded 25 April 1922; matrix Cc1243-2; HMV D620.\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e Ma Mère l'Oye - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 25 November 1921, and 25 April 1922. Issued on HMV D708 and 709.\u003cbr\u003eSide 1, \u003cb\u003ePavane de la Belle au Bois Dormant; Petit Poucet.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc709-2; HMV D708.\u003cbr\u003eSide 2, \u003cb\u003eLaideronette, Impératrice des Pagodes.\u003c\/b\u003e\u003cbr\u003erecorded 25 November 1921; matrix Cc710-3; HMV D708.\u003cbr\u003eSide 3, \u003cb\u003eLes entretiens; De la Belle et de la Bête.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1241-3; HMV D709.\u003cbr\u003eSide 4, \u003cb\u003eLe Jardin Férique.\u003c\/b\u003e\u003cbr\u003erecorded 25 April 1922; matrix Cc1242-2; HMV D709.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAcoustic HMV recordings 1921-24\u003cbr\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003cbr\u003eTotal duration: 70:19\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC303.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC303.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eReview of this Firebird Suite recording, 1925:\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"I can imagine strife in many a peaceful home when Part 4 of this suite is reached.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFather: \u003c\/b\u003e\"I call that a noise.\"\u003cbr\u003e\u003cb\u003e\u003cbr\u003eSon or Daughter\u003c\/b\u003e,\n with that desire to irritate so conspicuous in happy families : \"Noise?\n A term used by the Elizabethans to denote a band or company of \nmusicians.\"\u003cbr\u003e\u003cbr\u003e(Confused sounds from father.)\u003cbr\u003e\u003cb\u003e\u003cbr\u003eMother\u003c\/b\u003e, reading newspaper, quite irrelevantly remarks \"How terrible these Bolshevists are.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSon\u003c\/b\u003e,\n of course, misunderstands, and replies with withering scorn \"Naturally \nyou cannot understand that the juxtaposition of tonal masses, the \nempirical atonalities, etc., etc.\" (until the entire family is flattened\n out!)\u003cbr\u003e\u003cbr\u003eThe Firebird music suffers more from being detached from \nits proper setting—the theatre—than did the later work Petrouchka. It \nwill sound extraordinarily scrappy and disjointed to anyone who has not \nseen the ballet. Moreover, the titles affixed to the records do not \ncorrespond very satisfactorily with the plot given in the supplement. \nFurther, Mr. Percy Scholes' excellent analytical notes, done for a \nB.B.C. concert at Covent Garden, from which I have culled some \ninformation, present the music in a different sequence to that given \nhere. Perhaps, therefore, the following analysis, merely a personal \ninterpretation fused with the main outlines of the story, will be \nhelpful.\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePart 1.\u003c\/b\u003e—An enchanted garden with something \nsinister and evil lurking in the background. A scene bathed in \nhalf-light. After many obscure mutterings the air suddenly grows \ntremulous with sound, a rich glow dispels the shadows. The wonderful \nexotic fire bird flutters into the garden.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 2.\u003c\/b\u003e—She \ndances round a silver tree loaded with golden fruit, seeming to the \nyoung Prince Ivan (hidden in the bushes) the loveliest thing he has ever\n seen. Greatly daring he captures her, but she begs to be released, \noffering him a gift of one of her feathers.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 3.\u003c\/b\u003e—She \ndeparts. The garden is now filled with a band of maidens headed by a \nPrincess. They too dance with charming vivacity and have a game with the\n golden apples. At dawn they disappear.\u003cbr\u003e\u003cb\u003e\u003cbr\u003ePart 4.\u003c\/b\u003e—The Prince\n is seeking them when suddenly there appears the monstrous retinue of \nthe evil spirit of the place, the demon king Kastchei The magic feather \npreserves Ivan's life, but the Firebird also comes to his rescue. She \nmakes the bevy of wild Indians, warrior Turks, Chinamen, Clowns, Imps, \nHobgoblins, Ogres, and Apes burst into a frenzied dance. While they are \nthus engaged she directs Ivan to smash a huge egg in a casket in which \nis hidden the demon's life. This done the monster dies and the loathsome\n creatures vanish. Ivan marries the princess.\u003cbr\u003e\u003cbr\u003eThe highly coloured\n orchestration rather blinds one to the lack of any real \"meat\" in the \nmusic. It is a positive relief on reaching Part 3 to encounter a genuine\n tune, one which seems better than it actually is by reason of what has \ngone before. Rhythmically the music is feverishly alive; melodically it \nhas to rely on actual or spurious folk tunes for sustenance. These sound\n very like concessions. The final section with its blocks of harmonies \npushed this way and that makes a terrific din that fits the stage \npicture, but is meaningless without. As a study for Petrouchka the music\n has a definite interest and as all of us like a bit of \"twopence \ncoloured\" at times, these records will find a place in our cabinets. \u003cbr\u003e\u003cbr\u003eWhatever\n criticisms one may make of this Debussy–Scriabin–Stravinsky confection,\n there are none to be made about the recording. Real oboe tone, that \nfloating incisive quality, is heard at last; the string background, the \noccasional solo violin relief, the writhings and posturings of the wind \nand brass are excellently reproduced. Everyone, at least, will be able \nto take genuine pleasure in the Dance of the Princesses (Part 3).\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eN.P.,\u003c\/b\u003e The Gramophone, April 1925, review of the Albert Coates recording of Stravinsky's The Firebird\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":14116554932285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116554965053,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC303_cc0062e4-597d-48e0-be23-5f9977353135.jpg?v=1554801480"},{"product_id":"pasc455","title":"COATES Mozart: Symphony No. 41; Beethoven: Symphony No. 3 (1926-27) - PASC455","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 41\u003cb\u003e\u003cbr\u003eMOZART\u003c\/b\u003e The Impressario, Overture\u003cb\u003e\u003cbr\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 3\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eHMV Studio Recordings ∙ 1926 – 1927\u003cbr\u003eTotal duration: 71:42\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\"Symphony Orchestra\"\u003c\/b\u003e\u003cbr\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\r\n\u003c\/div\u003e\r\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe LSO play with fire and conviction, while the spruced up 1926 Kingsway Hall recorded sound is the best we’re ever likely to hear578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBorn in Russia of English \r\nparents—as a boy, he once played for Tchaikovsky—Albert Coates studied \r\nwith Rimsky-Korsakov in St. Petersburg (where his father was a \r\nsuccessful businessman) and in Leipzig with Arthur Nikisch, who gave him\r\n his first job as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003erépétiteur\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\r\n at the Leipzig Opera. By 1910, he had made his debut with the London \r\nSymphony, serving as its chief conductor from 1919 to 1922, after which \r\nhe never again held a permanent post in Britain. Along with famously \r\nspoiling the world premiere of Elgar’s Cello Concerto by allotting the \r\ncomposer insufficient rehearsal time, he made some of the great \r\nrecordings of the 78-rpm era, including the 1929 Frieda Leider\/Lauritz \r\nMelchior recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003elove duet whose vocal opulence and sheer intensity have yet to be surpassed. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\r\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCoates’s 1926 recording of Mozart’s “Jupiter” Symphony begins with an \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro vivace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewhose\r\n sheer blistering speed beggars the imagination, although incredibly \r\nenough the acoustical version from 1923 is even faster. (Coates was \r\nfamous for unbuttoned tempos: Witness that breathlessly exhilarating \r\nversion of Borodin’s Second Symphony.) The craziest thing is how \r\nconvincing it becomes on repeated hearings, as shock gives way to \r\ndumbfounded amazement which yields open admiration. At very least, as \r\nproducer Mark Obert-Thorn correctly points out, “Conventional wisdom \r\nmaintains that the Historically Informed Performance movement rescued \r\nClassical-era works from the stodginess of big orchestra performances. \r\nThe present recordings are, perhaps, exceptions that prove the rule.” \r\nWhile the elegantly shaped second movement and bouncing minuet are far \r\nmore normal, the finale underscores the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emolto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emolto allegro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emood\r\n indication, and—as in the opening movement—the conductor observes the \r\nexposition repeat. Although clearly at odds with today’s belligerent \r\nneo-Puritanism, this—and a genuinely mad, three-and-a-half minute \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eImpresario \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture—is a heartening reminder of a kind of interpretive individuality and courage that have all but vanished today. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\r\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTempos in the Coates “Eroica” are \r\nbrisk but never break-neck, with a quarter-hour funeral march that tugs \r\nat the heart-strings in a direct and very moving way. The oozing string \r\nslides that were Mengelberg’s signature in Beethoven (and elsewhere) are\r\n almost entirely absent, and what rubato creeps in is applied in a \r\nuniformly tasteful manner. Apart from a scherzo that clocks in at under \r\nfour minutes—a combination of a snappy tempo and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eno \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erepeats—the outer movements sound surprisingly modern, with a bracing sense of inevitability in the most famous of all \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\r\n and a sequence of variations which—as in all great performances—add up \r\nto considerably more than the sum of their richly various parts. The \r\nLSO—as the “Symphony Orchestra” on the labels almost certainly was—play \r\nwith fire and conviction, while the spruced up 1926 Kingsway Hall \r\nrecorded sound is the best we’re ever likely to hear. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\r\n\r\n\r\n\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJim Svejda\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC455.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCoates' astonishing 1920s Beethoven \u0026amp; Mozart\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Mozart’s\n “Jupiter” Symphony begins with an Allegro vivace whose sheer blistering\n speed beggars the imagination ... a heartening reminder of a kind of \ninterpretive individuality and courage that have all but vanished today\"\u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan\u003eConventional wisdom maintains that the Historically Informed \nPerformance movement rescued Classical-era works from the stodginess of \nbig orchestra performances.  The present recordings are, perhaps, \nexceptions that prove the rule.  No one could ever accuse Albert Coates \n(1882 - 1953) of being stodgy in \u003cem\u003eany\u003c\/em\u003e repertoire; but his tempi \nin the works of Mozart and Beethoven stand out particularly in the \ncontext of most other conductors of his era.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCoates had previously recorded Mozart’s \u003cem\u003eJupiter\u003c\/em\u003e \nSymphony acoustically in 1923 (reissued on Pristine PASC 298), a \nperformance whose tempos are, amazingly, even faster than the present \nelectrical remake, although its running time is longer due to the \ninclusion there of the second movement repeat.  The \u003cem\u003eImpressario\u003c\/em\u003e\n Overture was the filler side for both versions.  Both the symphony and \nthe overture were recorded at an August, 1927 session, incongruously \nseparated by excerpts from \u003cem\u003eDie Walküre\u003c\/em\u003e and \u003cem\u003eGötterdammerung\u003c\/em\u003e\n for the “Potted Ring”, and the first movement was re-recorded at makeup\n session two months later.  The fact that HMV chose Coates to do the \nelectric remake suggests that both they and the public did not find his \ntempi to be unacceptably outrageous.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf the tempos of the \u003cem\u003eJupiter\u003c\/em\u003e still seem a bit extreme, the \u003cem\u003eEroica\u003c\/em\u003e\n would strike today’s sensibilities as perfectly acceptable, with crisp \nexecution and an inevitable forward momentum.  Coates had already \nrecorded the Beethoven Seventh twice, both acoustically (PASC 298) and \nan unpublished early electric, and the Ninth had similarly been done in \nboth acoustic and electric (PASC 296) versions.  Clearly, HMV looked \nupon Coates as their “go-to” conductor for this repertoire.  It is odd, \nover a year into electrical recording, to hear acoustic-style tuba \nreinforcement of the bass lines; yet, this practice was to continue even\n into the Kreisler\/Blech Beethoven Violin Concerto, recorded in Berlin \nat the end of 1926.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA word is in order about the unnamed “Symphony Orchestra” heard\n in the Beethoven.  At the time it was recorded, the London Symphony \nOrchestra was under contract to the rival Columbia label.   Coates had \nbeen the principal conductor of the LSO from 1919 to 1922, and he \ncontinued to be closely associated with the ensemble.  It is likely that\n the anonymous orchestra is in whole or greater part the LSO.  By 1927, \nthe orchestra was under exclusive contract to HMV, and is so credited \nfor the Mozart recordings.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe quietest shellac sources were used for the present \ntransfers – the best sides from two copies each of prewar US Victor “Z” \npressings for the Mozart (album M-30) and a late prewar black label \nVictor reissue (set G-2) of the Beethoven. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 41 in C major, K.551 ‘Jupiter’\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 26 August and 25 October 1927 in Queen’s Hall, London\u003cbr\u003eMatrix nos. - CR 1476-3A, 1477-2, 1478-2A, 1479-2A, 1480-2A, 1481-1A and 1482-1A\u003cbr\u003eFirst issued on HMV D 1359\/62\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003e The Impressario, K. 486 (Der Schauspieldirektor) - Overture \u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 26 August 1927 in Queen’s Hall, London\u003cbr\u003eMatrix nos. - CR 1488-1A\u003cbr\u003eFirst issued on HMV D 1362\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003e Symphony No. 3 in E flat major, Op. 55, ‘Eroica’\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003eRecorded 16 September and 26 October 1926 in Kingsway Hall, London\u003cbr\u003eMatrix nos. - CR 678-3A, 679-1, 680-2A, 681-1A, 682-1A, 683-1A, 684-3A, 685-1,  686-1, 687-1 and 688-1\u003cbr\u003eFirst issued on HMV D 1158\/63\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC455.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC455.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":31975470093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975470157,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC455.jpg?v=1773741403"},{"product_id":"pasc301","title":"COATES Tchaikovsky: Symphony No. 6 etc. (1926-30) - PASC301","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6, \"Pathétique\"\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e March Slave\u003cb\u003e\u003cbr\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet Fantasy Overture\u003cb\u003e\u003cbr\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmila Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eElectric HMV recordings 1926-1930\u003cbr\u003eTotal duration: 74:46\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fGlowering, gloomy, colourful, exciting and passionate by turns – piece and performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAlbert Coates has always stimulated the interest of the \nhistorically-minded collector. Naturally that is because his \nperformances are stamped with his unique personality – mainly volcanic, \nand often the purveyor of sizzling accelerandi. But there is another \nreason to seek out recordings by him, which is that some are very rare. \nThis may seem puzzling, given the wide currency many projects enjoyed on\n HMV and its American affiliate. But it remains true for a small \npercentage of his recordings and such is the case for all but the \nSymphony in this release.\u003cbr\u003e  \u003cbr\u003e Some may well have acquainted \nthemselves with this Sixth, largely recorded in Kingsway Hall, London, \nand transmitted down the phone line to the Small Queen’s Hall. The \nlightness of bass frequencies has led Ward Marston to boost them \nsomewhat. The pressings are Italian HMVs, quieter than British ones.\u003cbr\u003e  \u003cbr\u003e\n The performance is commanding, charged and full of Coates’s typical \nauthentic-sounding control of the ebb and flow of the music’s syntax. \nIts luscious elasticity burgeons splendidly in his hands, and the LSO \nplays with distinction, if not always immaculate discipline – it hardly \nbothered me when the voltage meter is set so high. The expressive power \nled me to consider what the state of affairs might have been had Coates \nbeen allowed to record Wagner operas in the late 30s, to supplement his \nextensive but creaky sounding earlier performances.\u003cbr\u003e  \u003cbr\u003e HMV was \nstill using bass reinforcements at this time, despite the fact that this\n was an electrical recording. Maybe the land line recording encouraged \nthem still further in the belief that a galumphing bass was needed, but \nto our ears it most certainly isn’t. So the demerit of the second \nmovement is the huffing and puffing element engendered by the \nunnecessary bass, whilst the plus is the often lovely and affectionate \nstring portamentos. Coates is typically in his element in this work, and\n directs the finale with huge and communicative élan. If you listen \ncarefully you can hear the first movement side change following which a \nlater recording was used, not taken via landline. You can also hear the \nperfectly appropriate side join at around 4:20 in the finale.\u003cbr\u003e  \u003cbr\u003e After the incendiary delights of Coates’ Sixth, we turn to the rarities. \u003cem\u003eMarche Slave\u003c\/em\u003e is jubilant and proto-Ivesian in its mesh of sounds. It’s a rare disc, recorded in October 1930. \u003cem\u003eRomeo and Juliet\u003c\/em\u003e\n was recorded in October 1928. It’s glowering, gloomy, colourful, \nexciting and passionate by turns – piece and performance. It was, for \nsome reason, only ever issued on Czech HMVs. Lucky them! The filler was \nGlinka’s \u003cem\u003eRuslan and Ludmila\u003c\/em\u003e overture – not as amazing as Mravinsky’s, but showing Coates in dynamic form once again.\u003cbr\u003e  \u003cbr\u003e Fine transfers ensure that Coates’ message comes across loud and clear.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC301.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAlbert Coates: Tchaikovsky's Pathétique Symphony and more\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Fine transfers ensure that Coates’ message comes across loud and clear.\"\u003cbr\u003e- MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThe Pathetique symphony is transferred from quiet \nItalian pressings, the only set of quiet pressings I have ever seen - \nlate 1930s Italian VDP pressings which yield far quieter surfaces than \ndomestic HMV pressings. This recording has wonderfully ambient sonics \nbut very little low frequency content, The reason being that the \nperformance was transmitted over phone line from Kingsway Hall to Small \nQueen’s hall. I did what I could to boost the lower frequencies. One can\n hear that sides 2 and 5 were recorded under different conditions than \nthe rest of the recording. One can also hear some low frequency \nelectronic noises during the final side.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Romeo and Juliet, with the Glinka filler, was only \nissued on Czech HMV. I have only seen 3 sets in 30 years and my set is \nthe only one of the three that has no blasting on the loud passages. VDP\n numbers AW46-48 are listed in Alan Kelly's compilation files, but I \nhave not heard of a copy in circulation. The March Slav is also very \nscarce.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan class=\"body\"\u003eWard Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Symphony No. 6 in B minor, Op. 74 \"Pathétique\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003eRecorded 15 September 1926 \u0026amp; 6 January 1927. \u003cbr\u003eIssued on English HMV D1190-94, on VDP AW148-152, Gramola ES232-236, and Electrola EJ116-120\u003cbr\u003eMatrices:\u003cbr\u003eMovement I: CR665-2A, CR666-3, CR667-2, CR668-2.\u003cbr\u003eMovement II: CR669-2A, CR670-1.\u003cbr\u003eMovement III: CR671-1, CR672-1.\u003cbr\u003eMovement IV: CR673-1A, CR674-1A \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e March Slave Op. 31\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003ematrices Cc20616-2 and Cc20617-1; \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet Fantasy Overture\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11 October 1928\u003cbr\u003eIssued on HMV ES481-3\u003cbr\u003eMatrices: Cc13707-2, Cc13701-1, Cc13702-2, Cc13703-1, and Cc13704-1.\u003cbr\u003eissued only on Czech HMV  ES481-3.\u003cbr\u003eVDP numbers AW46-48 are listed in Alan Kelly's compilation files, but I have not heard of a copy in circulation. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGLINKA\u003c\/b\u003e Ruslan and Lyudmila Overtur\u003cem\u003ee\u003c\/em\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 17 October 1928\u003cbr\u003eIssued on HMV ES483\u003cbr\u003eMatrix Cc13723-2\u003cbr\u003e\u003cbr\u003eAll recordings: Kingsway Hall, London\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/b\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC301.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC301.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":14116554047549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14116554080317,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC301_4dbe1709-c003-408d-94de-77a5fc1347e8.jpg?v=1554801438"},{"product_id":"paco107","title":"COATES, BLECH Wagner: The Potted Ring, Vol. 1 (1926-32) - PACO107","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eWAGNER \u003c\/b\u003eThe Potted Ring - Volume One\u003cbr\u003e\u003cp\u003e\u003cb\u003eDas Rheingold\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eDie Walküre\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eStudio recordings, 1926-32\u003cbr\u003eTotal duration: 2hr 33:07 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eFrida Leider ∙ Friedrich Schorr ∙ Emmi Leisner\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eFlorence Austral ∙ Walter Widdop ∙ Göta Ljungberg\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eAlbert Coates ∙ Leo Blech,\u003c\/b\u003e conductors\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor anyone who knows and loves this music, what we have here is an invaluable experience578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eA standard \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eheadnote\n would be nonsensical for this release; it would have to come with a \nCaptain Marvel De-Coding Ring (yes, the “Ring” pun was intended, and no,\n I’m not sorry). Instead, I will list the contents here in a format that\n should be simpler. I will use last names only, and abbreviations that \nshould be obvious to Wagnerians, which is the presumed audience for this\n set. (B St Op = Berlin State Opera Orch). I am also condensing the \ncomplete listing of singers, which is not included in a booklet but \navailable easily online from Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"main\" frame=\"box\" rules=\"all\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eOpera \u0026amp; Excerpt\u003c\/b\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESb\"\u003eSinger(s)\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESb\"\u003eConductor\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESb\"\u003eOrch\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\" colspan=\"4\"\u003e\u003cspan class=\"TIMESi\"\u003eDas Rheingold:\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003ePrelude \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\n\u003cspan class=\"TIMES\"\u003e \u003c\/span\u003e\u003cbr\u003e\n\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCoates \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eUnident. \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eSpottet nur zu!\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eTrenton; Suddaby; Walker; Fear \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCoates \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLSO. \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eWotan, Gemahl \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eWiddop; Walker; MacKenna; Fry \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCoates \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLSO \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eZur Burg führt die Brücke\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eSchorr; Henke; Guszalewicz \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eBlech \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eB St Op \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\" colspan=\"4\"\u003e\u003cspan class=\"TIMESi\"\u003eDie Walküre: \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003ePrelude….Wes Herd \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eWiddop; Ljungberg \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCoates \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLSO \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eFinale of act I \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eWiddop; Ljungberg \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCoates \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLSO \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\" colspan=\"2\"\u003e\u003cspan class=\"TIMESi\"\u003ePrelude, act II \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eBlech \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eB St Op \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eHojotoho! \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLeider \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eBlech \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eB St Op \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eAct II Excerpts \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLeider, Schorr, Leisner \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eBarbirolli \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLSO \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eO heilige Schmach!\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLeider, Schorr \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eBlech \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eB St Op. \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eSo nimm meinen Segen\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLeider; Schorr \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eBlech \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eB St Op. \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\" colspan=\"4\"\u003e\u003cspan class=\"TIMESi\"\u003eRaste non \nhier….Hinweg!...Siegmund! Sie auf mich.!...Fänd ich in Walhall; So jung \nund schön; Zauberfest bezähmt ein Schlaf….Wehwalt!...Geh’ hin.\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\n\u003cspan class=\"TIMES\"\u003e \u003c\/span\u003e\u003cbr\u003e\n\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eWiddop; Ljungberg; Austral; Trenton \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCoates \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLSO \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMESi\"\u003eAct III Excerpts \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLeider; Schorr \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eBlech \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eB St Op. \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAt the dawn of electrical recording, from 1926 through 1932, HMV recorded a series of albums featuring excerpts from Wagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecycle, which came to be called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Potted Ring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n HMV focused on Frida Leider and Friedrich Schorr as the greatest \nBrünnhilde and Wotan of that era, and of course Melchior as well. But \nbecause the recordings were made in different places with different \norchestras and conductors, the casts were not kept consistent either. So\n we hear a good deal of Walter Widdop’s fine Siegmund; given the wide \nexposure of Melchior in that music it is refreshing to rediscover just \nhow good Widdop was. Listening to this set one is reminded again of the \nimportance of Frida Leider—who sings the music with tonal beauty and an \nenormous sense of authority and power—and of Friedrich Schorr, a \nbaritone whose legato was as even and firmly bound as the greatest \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ebel canto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esingers\n such as Battistini, but who also brought Wotan to life through his \nvivid articulation of texts and specificity of inflection. Every inner \nfeeling of Wotan is expressed vocally in the Farewell, which is as \nheartbreaking here as I have ever encountered it. (Blech’s conducting is\n a big part of that too). Having so much of their singing in one \nwell-transferred set is of enormous importance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese were landmark recordings, \npreserving for future generations the finest Wagner singing of the day \n(and some very fine Wagnerian conducting as well). It was beyond either \nthe ability or imagination of recording company executives at that time \nto conceive of a truly complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n that had to wait for John Culshaw and Decca to produce the Solti cycle.\n It makes me feel very old to remember, from having been there, the \nhistoric nature of that first \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand to know that Arkivmusic lists 53 cycles now! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSo, what we have here is no substitute for a complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n nor is it a substitute for some of the live complete Wagner recordings \nfrom this era restored by the Immortal Performances label. However, one \nshould not minimize the value of this set, which Pristine says is the \nfirst of three sets which will bring together all 122 78-rpm sides from \nHMV’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePotted Ring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n series! What HMV’s recordings give us is a series of professionally \nmade studio recordings, rather than haphazardly made live broadcasts \nfrom this era. The control that the engineers had guaranteed a certain \nminimum standard of balances and overall sound quality that cannot be \nfound in the broadcasts, though it must be admitted that HMV’s engineers\n were not driven by a consistent philosophy or approach. Thus the \nquality here varies, and Mark Obert-Thorn, who oversaw the superb \ntransfers, has some helpful observations about that. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere was a prior CD release of these \nrecordings on the Pearl label, also overseen by Obert-Thorn, and they \nwere wonderful for their time (1995). However, technology and the \nestimable Mr. Obert-Thorn have both made gains in the 20 years since \nthen, and these are significantly more vivid and colorful than the Pearl\n set. (Another prior release, on the Claremont label, provided \nfirst-rate booklet notes but even muddier recorded sound.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe downside of these recordings is \nobvious: the lack of continuity, the incompleteness, the jumping around \nin casting and conductors. All of those are limitations. But for anyone \nwho knows and loves this music, what we have here is an invaluable \nexperience. This is how the music sounded in the golden era of great \nWagnerian singing, largely between the two world wars. Some of these \nsingers have been perhaps equaled but never surpassed (Leider, Schorr), \nand some have not even been equaled (Melchior). As good as the work that\n Obert-Thorn did for the Pearl set was, this is definitely at a \nsignificantly higher level. The degree of color and the vividness of the\n orchestra and the voices in, for example, the scene with all the \nValkyries in the third act, before the big Brünnhilde-Wotan scene, is \nstunning for a recording that dates from 1927. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eI do wish that Pristine would make the\n details available in a booklet. Yes one can easily find it on its web \nsite (which provides specific instructions), but unless you are a whiz \nwith printers, you wind up with something that doesn’t fit in the box \nand takes up too much room on your shelves. If Pristine offered a \nversion of the CDs with a real booklet for an extra $2.00, I know I \nwould happily pay it. Do not, however, let that stand in your way. This \nis a Wagnerian feast of the highest order. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:3 (Jan\/Feb 2015) of Fanfare Magazine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO107.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHMV's Potted Ring, Volume 1: Das Rheingold and Die Walküre\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a set no enquiring Wagnerian, whatever complete version of The Ring he or she owns, should be without\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"western\"\u003eThe present release is the first of three which will \nbring together the 122 78 rpm sides of extended excerpts from Wagner’s \ntetralogy which His Master’s Voice recorded in London, Berlin and Vienna\n between 1926 and 1932. The scope of this project centers around the \nRing albums – not every disc of music from the Ring which HMV issued \nduring this period. It is, however, “more than complete” in that two HMV\n recordings which were not part of the Ring albums, but which feature \nsome of the same performers, have been added: Coates’ \u003cem\u003eRhinegold\u003c\/em\u003e Prelude, and Schorr’s Wotan\/Fricka duet with Leisner from Act 2 of \u003cem\u003eDie Walküre\u003c\/em\u003e. The present volume gathers together excerpts from \u003cem\u003eDas Rheingold\u003c\/em\u003e and \u003cem\u003eDie Walküre\u003c\/em\u003e; the second will focus on Melchior’s \u003cem\u003eSiegfried\u003c\/em\u003e recordings; and the final one will feature scenes from \u003cem\u003eGötterdämmerung\u003c\/em\u003e, as well as an appendix featuring alternate recordings from the series and an outline of motives from the Ring cycle.\u003c\/p\u003e\u003cp class=\"western\"\u003eWhile \u003cem\u003eRheingold\u003c\/em\u003e got rather short shrift in HMVs plans (only two discs in an album otherwise devoted to \u003cem\u003eSiegfried\u003c\/em\u003e excerpts), more attention was paid to \u003cem\u003eDie Walküre\u003c\/em\u003e.\n The sessions were split between a Berlin cast centering around the \nBrunnhilde of Frida Leider and the Wotan of Friedrich Schorr, conducted \nby Leo Blech, and a London cast with Walter Widdop as Siegmund and \nFlorence Austral singing Brunnhilde, primarily led by Albert Coates. \nGöta Ljungberg appeared as Sieglinde in both, save for a single London \nside. The Act 1 excerpts were all made in London, while Act 3 was done \nin Berlin and the second act split between the two.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe recordings capture Leider and Schorr, both \nconsidered the finest exponents of their roles at the time (and \ncertainly among the finest of all time), at the height of their powers. A\n decade later, when Kirsten Flagstad came on the international scene, \nshe was invariably compared to Leider, and not always to the latter’s \ndetriment. And while later singers could bring more psychological \ncomplexity to Wotan (Hans Hotter, for example), few could match the \ncombination of legato and authoritative declamation that Schorr brings \nto the role.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe original recording quality is variable, coming as\n it does within a couple years of the introduction of electrical \nrecording. The London sessions were distantly miked in large halls, and \nthe singers are often overwhelmed by Coates’ surging orchestra. Some of \nthe Berlin sides can also sound rather dim, depending on the engineering\n of a particular session. Multiple copies of the finest pressings on \nwhich these discs were available (prewar American Victor “Z” and “Gold” \nlabel editions) were drawn upon for the present transfers, except for \none \u003cem\u003eRheingold\u003c\/em\u003e disc which only came out on HMV.   \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eCD 1 (76:13)\u003c\/b\u003e\u003cb\u003e \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: large;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: large;\"\u003e\u003cb\u003eDas Rheingold\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: large;\"\u003eWWV 86A\u003c\/span\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e1. Prelude (4:01)\u003cbr\u003e\u003cb\u003eSymphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 2 February 1926, Queen’s Hall, London ∙ Matrix: CR 142-1 ∙ HMV D 1088\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e2. \u003cem\u003eSpottet nur zu!\u003c\/em\u003e (4:44)\u003cbr\u003eLouise Trenton, sop.; Elsie Suddaby, sop.; Nellie Walker, con.; Arthur Fear, bs. \u003cbr\u003e\u003cbr\u003e3. \u003cem\u003eWotan, Gemahl\u003c\/em\u003e (4:46)\u003cbr\u003eNellie Walker, con.; Walter Widdop, ten.; Kennedy MacKenna, ten.; Howard Fry, bar.; Arthur Fear, bs.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 January 1928, Kingsway Hall, London ∙ Matrices: CR 1540-3\/1541-2B ∙ HMV D 1546\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e4. \u003cem\u003eZur Burg führt die Brücke … Abendlich strahlt \u003c\/em\u003e(8:32)\u003cbr\u003eFriedrich Schorr, bar.; Waldemar Henke, ten.; Genia Guszalewicz, con.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 17 June 1927, Singakademie, Berlin ∙ Matrices: CDR 4700-2\/4701-3 ∙ HMV D 1319\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e \u003c\/ul\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: large;\"\u003e\u003cb\u003eWAGNER \u003cspan class=\"bodybigblue\"\u003eDie Walküre \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: large;\"\u003eWWV 86B\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 1\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e5. Prelude . . . \u003cem\u003eWes Herd dies auch sei\u003c\/em\u003e (4:03)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 August 1927, Queen’s Hall, London ∙ Matrix: CR 1485-1A ∙ HMV D 1320\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e6. \u003cem\u003eEin Schwert verhieß mir der Vater\u003c\/em\u003e (4:26)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1467-1A ∙ HMV D 1320\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e7. \u003cem\u003eSchläfst du, Gast?\u003c\/em\u003e (0:45)\u003cbr\u003e8. \u003cem\u003eDer Männer Sippe\u003c\/em\u003e (3:51)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 May 1927, Kingsway Hall, London ∙ Matrix: CR 1367-1A ∙ HMV D 1321\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e 9. \u003cem\u003eDich, selige Frau\u003c\/em\u003e (1:05)\u003cbr\u003e10. \u003cem\u003eWinterstürme wichen dem Wonnemond\u003c\/em\u003e (2:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1465-2 ∙ HMV D 1321\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e11. \u003cem\u003eDu bist der Lenz\u003c\/em\u003e (7:51)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 16 August 1926, London ∙ Matrices: CR 611-2A\/613-1 ∙ HMV D 1322\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eOrchestra ∙ Lawrance Collingwood\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e12. \u003cem\u003eSiegmund heiß ich\u003c\/em\u003e (3:12)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1466-2A ∙ HMV D 1323\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003eWalter Widdop, ten.; Göta Ljungberg, sop.\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 2\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e13. Prelude . . . \u003cem\u003eNun zäume dein Roß . . . Hojotoho!\u003c\/em\u003e (4:14)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 12 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1116-2 ∙ HMV D 1323\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e14. \u003cem\u003eDer alte Sturm, die alte Müh!\u003c\/em\u003e (4:38)\u003cbr\u003e15. \u003cem\u003eSo ist es den aus mit den ewigen Göttern\u003c\/em\u003e (8:06)\u003cbr\u003e16. \u003cem\u003eWas verlangst du?\u003c\/em\u003e (4:51)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded April, 1932, Abbey Road Studio 1, London ∙ Matrices: 2B2840-2\/2841-1\/2842-2\/2843-1 ∙ HMV DB 1720\/21\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ John Barbirolli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e17. \u003cem\u003eO heilige Schmach!\u003c\/em\u003e (4:20)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 12 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1117-2 ∙ HMV D 1324\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eFrida Leider, sop.; Emmi Leisner, m-s.; Friedrich Schorr, bar.\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cb\u003eCD 2 (76:58)\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eDie Walküre\u003c\/b\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 2 (continued)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e1. \u003cem\u003eSo nimm meinen Segen\u003c\/em\u003e (4:13)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 12 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1118-1 ∙ HMV D 1324\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eFrida Leider, sop.; Friedrich Schorr, bar.\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e2. \u003cem\u003eRaste nun hier\u003c\/em\u003e (3:01)\u003cbr\u003e3. \u003cem\u003eHinweg! Hinweg!\u003c\/em\u003e (5:53)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 27 May 1927, Kingsway Hall, London ∙ Matrices: CR 1368-2\/1369-1 ∙ HMV D 1325\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e4. \u003cem\u003eSiegmund! Sieh auf mich!\u003c\/em\u003e (4:53)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1462-1 ∙ HMV D 1326\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e5. \u003cem\u003eFänd’ich in Walhall\u003c\/em\u003e (4:21)\u003cbr\u003e6. \u003cem\u003eSo jung und schön\u003c\/em\u003e (3:29)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 26 August 1927, Queen’s Hall, London ∙ Matrices: CR 1483-1A\/1484-1A ∙ HMV D 1326\/27\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e7. \u003cem\u003eZauberfest bezähmt ein Schlaf\u003c\/em\u003e (4:38)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 25 October 1927, Queen’s Hall, London ∙ Matrix: CR 1463-3 ∙ HMV D 1328\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e8. \u003cem\u003eWehwalt! Wehwalt!\u003c\/em\u003e (2:31)\u003cbr\u003e9. \u003cem\u003eGeh hin, Knecht!\u003c\/em\u003e (1:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 23 August 1927, Queen’s Hall, London ∙ Matrix: CR 1464-1A ∙ HMV D 1328\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003eWalter Widdop, ten.; Göta Ljungberg, sop.; Florence Austral, sop.; Louise Trenton, sop.; Howard Fry, bar.\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cspan style=\"font-size: x-small;\"\u003e(\u003cem\u003eNote\u003c\/em\u003e: Trenton sings Sieglinde on CR 1463 only, while Fry sings both Hunding and Wotan on CR 1464)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e \u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eAct 3\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e10. Prelude . . . \u003cem\u003eHojotoho!\u003c\/em\u003e (6:55)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded October, 1927, Singakademie, Berlin ∙ Matrices: CwR 1163-6\/1164-2 ∙ HMV 1329 \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e11. \u003cem\u003eRette mich, Kühne!\u003c\/em\u003e (3:45)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 November 1927, Singakademie, Berlin ∙ Matrix: CwR 1188-2 ∙ HMV 1327\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e12. \u003cem\u003eWo ist Brünnhild’\u003c\/em\u003e (8:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded October, 1927, Singakademie, Berlin ∙ Matrices: CwR 1161-2\/1162-1 ∙ HMV 1330\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e13. \u003cem\u003eWar es so schmählich\u003c\/em\u003e (3:31)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 November 1927, Singakademie, Berlin ∙ Matrix: CwR 1190-5 ∙ HMV 1331\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e14. \u003cem\u003eDu zeugtest ein edles Geschlecht\u003c\/em\u003e (3:46)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 September 1927, Singakademie, Berlin ∙ Matrix: CwR 1189-3 ∙ HMV 1331\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e15. \u003cem\u003eLeb wohl, du kühnes, herrliches Kind!\u003c\/em\u003e (3:59)\u003cbr\u003e16. \u003cem\u003eDer Augen leuchtendes Paar\u003c\/em\u003e (6:35)\u003cbr\u003e17. \u003cem\u003eLoge, hör!\u003c\/em\u003e (4:54)\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 17 June 1927, Singakademie, Berlin ∙ Matrices: CDR 4695-1\/4696-2\/4697-1\/4698-1 ∙ HMV D 1332\/33\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eFrida Leider, sop.; Friedrich Schorr, bar.; Göta \nLjungberg, sop.; (Valkyries: Ljungberg; Elfriede Marherr; Genia \nGuszalewicz; Alberti; Lydia Kindermann)\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO107.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO107.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":31975470285,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975470349,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO107_ae974c95-277b-464e-9e07-72c7bf6560f6.jpg?v=1487682009"},{"product_id":"paco118","title":"COATES, BLECH Wagner: The Potted Ring, Vol. 3 (1926-31) - PACO118","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp\u003e\u003cb\u003eWAGNER \u003c\/b\u003eThe Potted Ring - Volume 3: Götterdämmerung, Motives and Extras\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eStudio recordings, 1926-31\u003cbr\u003eTotal duration: 2hr 23:59 and 60:30 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eFlorence Austral ∙ Walter Widdop\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eRudolf Laubenthal ∙ Maartje Offers ∙ Ivar Andrésen\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eLauritz Melchior ∙ Friedrich Schorr\u003c\/b\u003e\u003cbr\u003eGötterdämmerung: \u003cb\u003eAlbert Coates ∙ Leo Blech\u003c\/b\u003e\u003cbr\u003eAppendix: \u003cb\u003eLawrance Collingwood ∙ Leo Blech ∙ Karl Muck \u003c\/b\u003e\n\n\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere are some singers here whose natural abilities still match or even transcend anything we can hear today578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eIt may be perverse, but it makes some sense to deal in the first \ninstance with the supplementary disc provided here containing the \nAppendices. Just over half of this disc consists of six excerpts from \u003cem\u003eSiegfried\u003c\/em\u003e\n featuring Rudolf Laubenthal, which were jettisoned from the original \n78rpm boxes in favour of the tracks featuring Lauritz Melchior which \nwere issued by Pristine as Volume 2 of their ‘potted Ring’. One can see \nthe reasons for the substitution; Melchior was, as I have observed in \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2015\/May\/Wagner_Siegfried_PACO114.htm\"\u003emy review of Volume 2\u003c\/a\u003e, the most recommendable feature of the \u003cem\u003eSiegfried\u003c\/em\u003e\n recordings, and moreover the excerpts given there were much less \ntruncated than those here. Nor is Laubenthal anything like as impressive\n as Melchior, sounding unpleasantly strained in the more strenuous \npassages of the role; and although Frida Leider is excellent as \nBrünnhilde in the extracts from the final love duet, the massive \nomissions from the score do much to vitiate the viability of what we are\n given here.\u003cbr\u003e \u003cbr\u003e Nor does the singing on the first CD of \u003cem\u003eGötterdämmerung\u003c\/em\u003e\n do much to substantiate the often-trumpeted notion of the 1920s and \n1930s as a ‘golden age’ of Wagnerian singing. The Prologue, briskly \ndespatched by Coates, features a trio of Norns none of whom would pass \nmuster today and in particular the pipingly small-voiced Noel Eadie who \ncompletely fails to engender any sense of drama as the scene moves \ntowards its climax. When the lovers finally appear, Florence Austral and\n Walter Widdop seem to be flailing frantically to keep up with the \nheadlong pace that is set for them by Albert Coates; and once the \ncurtain has descended, he despatches the Rhine Journey at a speed that \nwould give the Flying Dutchman pause for thought. Even Alan Blyth, \nnormally an admirer of this conductor, describes his pace here as \n“ridiculously fast.” Nor, when we reach the Gibichung court, do things \nimprove much, since neither Arthur Fear and Frederic Collier begin to \ncome to terms with the dramatic element of their characters and it is \nleft to Göta Ljungberg in her few phrases to supply an element of vocal \ndistinction.\u003cbr\u003e \u003cbr\u003e The record containing the oath of blood \nbrotherhood did not form part of the original boxed set of 78s but was \nclearly intended to fill in a gap in the plot which would otherwise have\n existed, and here everything suddenly comes to life. Lauritz Melchior \nand Friedrich Schorr make an ideal coupling, and the excerpt here leads \nnicely into Hagen’s Watch which is given a performance by Ivan Andrésen \nwhich is quite simply superlative, encompassing the lowest notes with \nease and producing tone and diction which are black as night. He is \nequally good in the high notes of his summoning of the vassals (slightly\n cut) where the chorus respond superbly to his call, although no attempt\n is made to comply with Wagner’s request for a smaller number of voices \nin the opening section. Before that, at the end of the first CD, we have\n heard a solidly contralto performance of Waltraute’s scene from Maartie\n Offers, although she displays distinct signs of uneasiness on her \nhighest notes, some of which she truncates very abruptly. This excerpt \ngoes on through the exchanges with Brünnhilde, only concluding on the \nentry of this disguised Siegfried. Albert Coates takes surprisingly slow\n tempos throughout this scene, except in the passage describing Wotan’s \nfelling of the World Ash Tree which takes on a sudden spurt of energy \nwhich verges on the jaunty. One suspects that this, and perhaps other \nunexpectedly fast tempi, may have been conditioned by the need to fit \nthe music onto one side of a 78rpm record.\u003cbr\u003e \u003cbr\u003e Widdop and Austral \nare efficient rather than exciting in their taking of their conflicting \noaths, and the trio which concludes the Second Act relies largely on \nAustral to generate much sense of drama although Collier and Fear are in\n better voice than before. The opening scene of Act One (complete with a\n niggling cut of some ten bars) suffers from a totally unengaged trio of\n Rhinemaidens. Their warning to Siegfried of the curse on the Ring is so\n dismally unthreatening that one can hardly blame the hero for ignoring \nthem. Laubenthal is in better voice here than in Siegfried, with less \npurely heldentenor tones required for the delivery of his narration. \nHere we are given the interjections of the vassals with the solo voice \nthat Wagner designates, but it sounds as though the lines are given to \nDesider Zador as Gunther – which can be the only explanation that the \none tenor vassal’s lines are simply omitted. Alan Blyth describes this \nrecording of the narration as “one of the most clearly balanced 78s I \nhave ever heard” – and although Mark Obert-Thorn has done wonders with \nthe sound throughout, it is true nonetheless that this section has a \npresence that one might well expect from a mono recording made more than\n twenty years later. Leo Blech is an excellent conductor in these \nsections, with a greater sense of moderation in speed than Coates. But \nthen Coates also springs a surprise with a very measured account of the \nFuneral March, although an editing quirk introduces a couple of \nadditional timpani beats just after the march begins (presumably the \nresult of combining two different takes).\u003cbr\u003e \u003cbr\u003e Florence Austral’s \nImmolation Scene suffers from a similar combination of material from two\n sessions, her voice sounding very much more distant at the beginning \nthan at the end. There is also an inexcusable cut of some fifteen bars \nbefore the line “Ruhe, ruhe, du Gott!” which is all the more galling \nwhen one realises that this omission comes at the expense of the \nexchange between Brünnhilde and Gutrune which precedes the scene itself,\n and which is not helped by a very underpowered delivery by Ljungberg \n(or maybe she was just too far away from the microphones). We hear the \nvoice of Hagen (uncredited) at the end, and I am pleased to note that he\n really sings his line “Give back the Ring” rather than shouting as so \nmany modern exponents of the role do.\u003cbr\u003e \u003cbr\u003e Coates thankfully avoids \nany sense of rush in the closing pages, but he does adopt the bad habit \nof making an unmarked ‘air pause’ before the last ten bars and the final\n chord is truncated rather abruptly. In the earlier part of the scene, \ndespite the inferior recording, Lawrence Collingwood takes a properly \nmeasured and dignified approach.\u003cbr\u003e \u003cbr\u003e Collingwood is also \nresponsible for the delivery of the brief snippets of leitmotifs on the \nAppendix CD (which was originally issued on 78s separately). Each of \nthese is preceded by an announcer giving a number, which refers the \nlistener to the booklet where an explanation of each motif is given. \nThis may have been valuable to audiences at the time, but it hardly \ncomes up to the standards of Deryck Cooke’s marvellous exposition of \nWagner’s compositional methods on his 2-CD lecture which originally \naccompanied Solti’s Ring (it remains available separately, as well as in\n the Decca luxury limited edition). The identification of the numbered \nmotifs here also leaves much to be desired, with the principal love \ntheme described as ‘Flight’ in accordance with Walzogen’s original error\n in his analysis published during Wagner’s lifetime and criticised by \nthe composer for its inaccuracies. The two other tracks on the Appendix \nCD contain performances of the two orchestral sections of \nGötterdämmerung which were superseded in the 78rpm boxed sets; but they \nhave a particular interest in that they are conducted by the veteran \nWagnerian Karl Muck, whose association with Bayreuth extended back to \nthe nineteenth century. Both extracts are truncated rather curiously, \njust coming to a halt before the music actually stops. In the main set \nthe Funeral march is provided with a concert conclusion, but otherwise \nthe excerpts stick to Wagner’s operatic score. There are some other \npoints of historical interest, such as a bass trumpet which is clearly \nnot the valved trombone that one finds used on other recordings of the \nperiod; and the cowhorns in the summoning of the vassals are simply \ntrombones and not the specially constructed instruments that were at \nthat stage still employed at Bayreuth.\u003cbr\u003e \u003cbr\u003e I have had much pleasure\n in reviewing the seven CDs that Pristine have produced over the last \nyear enshrining what has been described as the “Old Testament” of \nWagnerian interpretation in the period immediately following the First \nWorld War. There are some singers here whose natural abilities still \nmatch or even transcend anything we can hear today; but it has to be \nsaid that the much-admired conducting of Albert Coates hardly bears \nscrutiny on the basis of these recordings, and the same could be said \nfor a good deal of the singing in minor roles. Even as late as the 1950s\n live performances of The Ring show a propensity for performers to make \nmistakes which would hardly be tolerated today (see the Clemens Kraus \nBayreuth Ring for an example, riddled with horrific errors of various \nsorts) but on these discs, without presumably much opportunity for \nretakes, the performers display a sense of security which is admirable. I\n note with some surprise the manner in which the singers slow down for \ncadences at the end of phrases to an extent which might occasion comment\n today, although Wagner does not always seem to expect them to do so; \none wonders to what degree he accepted this in his own performances? \nThose who have an interest in such matters, as well as those who would \nlike to encounter a sense of vocal history in the making, are earnestly \nrecommended to hear these discs, with transfers which are unlikely ever \nto be bettered.\u003cbr\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003e \u003cb\u003e\u003cem\u003ePaul Corfield Godfrey\u003c\/em\u003e\u003c\/b\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003eMusicWeb International, July 2015\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO118.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHMV's Potted Ring, Volume 3: Götterdämmerung, Motives and Extras\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"We\n encounter truly great Wagner singing ... Laubenthal’s Siegfried is not \nfar short of ideal ... Andresen sings with the kind of firm, black tone \nsimply not encountered today\"\u003cbr\u003e- Alan Blyth, Opera on Record (1979)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis third and final volume of our “Potted Ring” series centers on \u003cem\u003eGötterdämmerung\u003c\/em\u003e, whose recording, like the earlier \u003cem\u003eWalküre\u003c\/em\u003e\n set, was divided between London and Berlin, with different casts, \nconductors and orchestras.  I have interpolated two recordings not \ncontained in the original sets in order to make the performance more \ncomplete.  First, by including the first side of Coates’ “Rhine Journey”\n (missing in the albums) and editing it around “Zu neuen Taten”, I have \nbeen able to present the Prologue uncut.  Secondly, I have included the \nMelchior\/Schorr recording of “Hast du, Gunther, ein Weib?” in order to \nfill in a scene which went unrecorded in the original albums, one which \nleads directly into Hagen’s Watch (and one which I did not originally \ninclude in my 1994 “Potted Ring” set for Pearl).\u003c\/p\u003e\u003cp\u003eThe Appendix contains several recordings from the HMV and Electrola editions of \u003cem\u003eSiegfried\u003c\/em\u003e and \u003cem\u003eGötterdämmerung\u003c\/em\u003e\n which were replaced in the versions issued by Victor in America.  The \nsix sides with Laubenthal (three of them with Leider), as well as \nBlech’s orchestral version of the “Forest Murmurs”, were contained in \nthe first album of \u003cem\u003eSiegfried\u003c\/em\u003e excerpts issued in Europe.  By the time Victor issued their first \u003cem\u003eSiegfried\u003c\/em\u003e\n set, several sides had been re-recorded with Melchior, and these were \nchosen for the American release, although the abridged final scene with \nLaubenthal and Leider was retained.  Eventually, Melchior recorded the \ncomplete scene; and since that appears in Volume 2 of our series, these \nduplicated earlier sides are presented here.\u003c\/p\u003e\u003cp\u003eMuck’s “Rhine Journey” and “Funeral Music” appeared in the European editions of the \u003cem\u003eGötterdämmerung\u003c\/em\u003e\n albums, but Victor replaced them with the Coates recordings.  As Coates\n conducts the rest of the Prologue and most of the Immolation Scene, I \nthought it would be more consistent to go with the Victor choices here \nand put the Muck versions in the Appendix.  Finally, the two discs of \nillustrated motives from the Ring cycle were not originally part of any \nset, but were issued separately.  Two different, uncredited announcers \nare heard.  The first sounds like a seasoned BBC presenter; but I have \noften wondered whether the second might be producer\/conductor \nCollingwood himself.\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were American Victor editions \n(primarily “Z” pressings) for everything except the Melchior\/Schorr \nduet, the three Laubenthal \u003cem\u003eSiegfried\u003c\/em\u003e solos, Blech’s “Rhine Journey”, a portion of the end of Act 2 of \u003cem\u003eGötterdämmerung\u003c\/em\u003e, and the side with “Schweigt eures Jammers” (dubbed on Victor), which all came from British HMV pressings.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eGötterdämmerung\u003cb\u003e \u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Prologue\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cem\u003eWelch Licht leuchtet dort?\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Noel Eadie, sop.; Evelyn Arden, sop.; Gladys Palmer, con.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 October 1928 and 3 \nJanuary 1929 in Kingsway Hall, London ∙ Matrices: Cc \n13724-2\/13725-1A\/13726-5\/13727-5A ∙ HMV D 1572\/3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2          Dawn\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 January 1926 in Queen’s Hall, London ∙ Matrix: CR 136-3 [part] ∙ HMV D 1080\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e3          \u003cem\u003eZu neuen Taten\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eFlorence Austral, sop.; Walter Widdop, ten.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 18 October 1928 in Kingsway Hall, London ∙ Matrices: Cc 13730-2\/13731-3 ∙ HMV D 1574\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4          Siegfried’s Rhine Journey\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eSymphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 January 1926 in Queen’s Hall, London ∙ Matrices: CR 136-3 [part]\/137-1 ∙ HMV D 1080\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAct 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e5          \u003cem\u003eBegrüße froh, o Held\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eArthur Fear, bar.; Walter Widdop, ten.; Frederic Collier, bs.; Göta Ljungberg, sop.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 October 1928 in Kingsway Hall, London ∙ Matrix: Cc 13699-1 ∙ HMV D 1575\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e6          \u003cem\u003eHast du, Gunther, ein Weib?\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Lauritz Melchior, ten.; Friedrich Schorr, bar.; Rudolf Watzke, bs.; Lieselotte Krumrey-Topas, sop.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Berlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 15 June 1929 in the Philharmonie, Berlin ∙ Matrices: CLR 5458-2A\/5459-1A ∙ HMV D 1700\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e7          \u003cem\u003eHier sitz’ ich zur Wacht\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eIvar Andrésen, bs.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Berlin State Opera Orchestra ∙ Fritz Zweig \u003cem\u003e(credited to Leo Blech on label)\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 February 1928 in the Singakademie, Berlin ∙ Matrix: CLR 3883-1 ∙ HMV D 1576\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e8          \u003cem\u003eSeit er von dir geschieden\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e          \u003cb\u003e  Maartje Offers, con.; Florence Austral, sop.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 23 August and 25 \nOctober 1927 in Queen’s Hall, London and 16 February 1928 in Kingsway \nHall, London ∙ Matrices: CR 1460-3A\/1461-2\/1473-3\/1474-3 ∙ HMV D 1576\/8\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eCD 2\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAct 2\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cem\u003eHoiho! Hoihohoho!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e           \u003cb\u003e Ivar Andrésen, bs.\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e            \u003cb\u003eBerlin State Opera Orchestra and Chorus ∙ Leo Blech\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 June 1927 in the Singakademie, Berlin ∙ Matrices: CDR 4708-2\/4709-1 ∙ HMV D 1578\/9\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2          \u003cem\u003eHelle Wehr!\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Walter Widdop, ten.; Florence Austral, sop.; Chorus\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 October 1928 in Kingsway Hall, London ∙ Matrix: Cc 13728-3A ∙ HMV D 1579\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e3          \u003cem\u003eWelches Unholds List\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eFlorence Austral, sop.; Frederic Collier, bs.; Arthur Fear, bar.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 18 October 1928 in Kingsway Hall, London ∙ Matrices: Cc 13732-2A\/13733-2\/13734-1 ∙ HMV D 1580\/1\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAct 3\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e4          \u003cem\u003eFrau Sonne sendet lichte Strahlen\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Tilly De Garmo, sop.; Lydia Kindermann, sop.; Elfriede Marherr, con.; Rudolf Laubenthal, ten.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 September 1928 in the Singakademie, Berlin ∙ Matrices: CLR 4488-1\/4489-1\/4490-2\/4491-2 ∙ HMV D 1581\/3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e5          \u003cem\u003eMime heiß ein mürrischer Zwerg\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e6          \u003cem\u003eBrünnhilde, heilige Braut!\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Rudolf Laubenthal, ten.; Desider Zador, bar.; Emmanuel List, bs.; Berlin State Opera Chorus\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 7 September 1928 in the Singakademie, Berlin ∙ Matrices: CLR 4482-2\/4483-1\/4484-1 ∙ HMV D 1583\/4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e7          Siegfried’s Funeral Music\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eSymphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 January and 26 March 1926 in Queen’s Hall, London ∙ Matrices:  CR 217-2\/141-3 ∙ HMV D 1092\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e8          \u003cem\u003eSchweigt eures Jammers\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e9          \u003cem\u003eStarke Scheite schichtet mir dort\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eFlorence Austral, sop.; Göta Ljungberg, sop.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Lawrance Collingwood\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 1 December 1927 in Queen’s Hall, London ∙ Matrix:  CR 1472-3A ∙ HMV D 1586\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e10        \u003cem\u003eSein Roß führet daher\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e11        \u003cem\u003eRuhe, ruhe, du Gott!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e12        Finale \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Florence Austral, sop.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 25\/26 August and 25 October 1927 in Queen’s Hall, London ∙ Matrices:  CR 1486-3\/1487-1\/1475-2 ∙ HMV D 1586\/7\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eCD 3: APPENDIX \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1 – 90  90 Motives from The Ring (\u003cem\u003esee booklet for details\u003c\/em\u003e) \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Lawrance Collingwood\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 April and 23 May 1931 in Kingsway Hall, London, Matrix nos.:  2B 504-2A\/505-2A\/562-1A\/563-1A ∙ HMV C 2237\/8\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cb\u003eDOWNLOAD MOTIVES SCORE\u003c\/b\u003e by clicking \u003cspan style=\"text-decoration: underline;\"\u003e\u003cspan style=\"color: #0000ff;\"\u003e\u003ca href=\"s3:\/covers\/90_Motives.pdf\" target=\"_blank\"\u003e\u003cb\u003eHERE\u003c\/b\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eSIEGFRIED\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAct I\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e91        \u003cem\u003eNothung!  Nothung!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 25 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1058-1 ∙ HMV D 1530\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAct II\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e92        \u003cem\u003eDaß der mein Vater nicht ist\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e \u003cem\u003eRecorded 25 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1059-2 ∙ HMV D 1530\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e93        Forest Murmurs \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 26 June 1928 in the Singakademie, Berlin. Matrix nos.: CLR 4305-2\/4306-2 ∙ HMV D 1531\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e94        \u003cem\u003eHeiß ward mir\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 25 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1060-2 ∙ HMV D 1532\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAct III\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e95        \u003cem\u003eHeil dir, Sonne!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 27 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1064-2 ∙ HMV D 1532\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e96        \u003cem\u003eEwig war ich\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 27 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1065-2 ∙ HMV D 1535\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e97        \u003cem\u003eO Siegfried!  Dein war ich von je!\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 27 August 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1066-1 ∙ HMV D 1535\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eFrida Leider (soprano) \u003c\/b\u003e(Tracks 95 – 97)\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eRudolf Laubenthal (tenor) \u003c\/b\u003e(Tracks 91, 92, 94 – 97)\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eBerlin State Opera Orchestra ∙ Leo Blech\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eGÖTTERDÄMMERUNG\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003ePrologue\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e98        Siegfried’s Rhine \nJourney                                                                                          \n (4:24)\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 December 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1418-2 ∙ HMV D 1575\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAct III\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e99        Siegfried’s Funeral \nMusic                                                                                          \n (8:04)\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 10 December 1927 in the Singakademie, Berlin. Matrix no.:  CwR 1419-3A\/1420-2A ∙ HMV D 1585\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e                \u003cb\u003eBerlin State Opera Orchestra ∙ Karl Muck\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO118.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO118.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e: Opera on Record (1979)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eBefore\n the days of LP, there were desultory efforts to record substantial \nchunks, bleeding or otherwise, of the opera. The first of these, still \nin the acoustic era, was the set of four discs added on to the ones from\n Siegfried, sung in English, These 78s (D 703-6) include the dawn duet \n(Austral and Davies in their usual forthright form), Radford in Hagen’s \nWatch and Call (good, solid work) and a cut version of the Immolation \nwith Austral. The conductors are Coates, Percy Pitt and Eugene Goossens.\n As soon as electric recording came in, Fred Gaisberg of HMV was keen to\n record more Wagner. As he wrote: ‘In 1925 Coates, who was recognised as\n England’s greatest conductor of Wagner, joined with me in the endeavour\n to satisfy the eager appetite for Wagner’s music, which had been denied\n throughout the war ... ’ I have already commented on his Walküre and \nSiegfried excerpts, with other conductors also concerned. The \nGötterdämmerung set, two volumes of eight 78s (D 1572-87), were made \npartly in London with Coates, partly in Berlin with Leo Blech and Karl \nMuck.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThese\n records are fascinating for various reasons. In the first place there \nis Muck’s rich, authoritative account of the Rhine Journey and Funeral \nMarch with the then superb Berlin State Opera Orchestra, discs that are \nalso a tribute to the spacious sound being achieved as early as 1927. \nThe vocal records start with an only moderate Prelude and Norns' Scene \n(Noel Eadie, Evelyn Arden, Gladys Palmer). Then come Austral and Widdop \nin a rousing Dawn duet (transferred to COLH 147), taken at an almost \nincredibly fast pace. (All Coates’s Wagner is speedy, but this is \nridiculous.) After the Rhine Journey, Gunther and Gutrune welcome \nSiegfried. ‘Siegfried Drinks the Potion’ in the inimitable words on the \nold record. An unremarkable disc, with Göta Ljungberg (Gutrune), \nFrederic Collier (Gunther) and Arthur Fear (Hagen) joining Widdop until \nthe tenor reaches ‘Vergäss’ ich alles’, which he phrases more tenderly, \nmore accurately than any other tenor except Windgassen.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eAndresen,\n in both Hagen’s Watch, and later in Hagen’s Call, sings with the kind \nof firm, black tone simply not encountered today, a truly menacing \nfigure. He is accompanied by Blech in Berlin. Back to London and another\n sterling artist, Maartje Offers, for Waltraute’s Narration. The Dutch \ncontralto, who was Erda and Fricka during Toscanini’s regime at La Scala\n in the 1920s, sings with the expression kept within the musical bounds,\n a typical attribute of an age when the perfection of tonal delivery \nduring the ‘Golden Age’ had not been forgotten but feeling had entered \ninto singers’ consideration. After the scene with the vassals done in \nBerlin, back to London for Siegfried’s oath, Widdop clear but \nuninvolved. Austral as honest and womanly as ever. She is joined by an \nindifferent Collier and Fear for the second act’s final trio.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eIn \nAct 3 we encounter truly great Wagner singing. The Rhinemaidens (listed \nas Tilly de Garmo, Lydia Kindermann and Marker, but who are apparently \nde Garmo, Kindermann and Elfriede Marherr) are nothing special, but \nLaubenthal’s Siegfried, which I admired in Siegfried, is not far short \nof ideal in this scene, the Narration (reissued on LV 213) and Death. He\n can be most aptly and briefly characterized as being a Wagnerian \nMartinelli, with the same taut, pencil-edged tone, the same clear \nenunciation, and something of the same piercing intensity of declamation\n in his bright, incisive delivery of Siegfried’s previous exploits. This\n is also one of the most clearly balanced 78s I have ever heard. Blech \nis the conductor here up to the Funeral March, then back to Austral \nand Coates and his urgency for the Immolation (also on COLH 147), where I\n again admire Austral’s unaffected, unforced delivery - not an \nindividual performance but a lovable one. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cstrong\u003eAlan Blyth \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eOpera on Record Vol. 1 (1979)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":32417088973,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417089037,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO118.jpg?v=1487682013"},{"product_id":"paco114","title":"COATES, HEGER, ALWIN Wagner: The Potted Ring, Vol. 2 (1928-32) - PACO114","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eWAGNER \u003c\/b\u003eThe Potted Ring - Volume Two: Siegfried\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eStudio recordings, 1928-32\u003cbr\u003eTotal duration: 2hr 31:10\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eLauritz Melchior ∙ Florence Easton ∙ Friedrich Schorr\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eHeinrich Tessmer ∙ Eduard Habich ∙ Albert Reiss\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eRudolf Bockelmann ∙ Emil Schipper ∙ Maria Olszewska ∙ Nora Gruhn\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eRobert Heger ∙ Albert Coates ∙ Karl Alwin,\u003c\/b\u003e conductors\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f Melchior is again superb with a real sense of loss as he sings of his loneliness after the deaths of everyone he has cherished in his life...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI first encountered this recording in the shape of a substantial box of \n78s (19 discs in all) belonging to Claire Campbell, to which I and a \nnumber of friends listened rapturously in her rooms at Somerville \nCollege in Oxford in 1970 or 1971. We were enraptured chiefly by the \nsound of the voice of Lauritz Melchior, so self-evidently \u003cem\u003emade\u003c\/em\u003e \nto sing the role of Siegfried and producing heroic tones which far \nsurpassed the assumption of the role by Wolfgang Windgassen for the \nSolti \u003cem\u003eRing\u003c\/em\u003e with which we were familiar. At the same time we \nwere disappointed by the severely scrawny sound of the recording, and \neven more by the barbarous butchery inflicted on the score by the need \nto cram the extracts from the opera onto the lengths of 78 sides. I had \nnot heard the recording since then, and although Pristine have done \nwonders with the sound in this re-mastering there is nothing they can do\n about the swingeing cuts which remove around half the score. Mark \nObert-Thorn in his booklet note claims that “Melchior’s unsurpassed \nassumption of the role was captured nearly complete at the height of his\n considerable powers in these recordings”. In fact there is nearly a \nthird of even \u003cem\u003ehis\u003c\/em\u003e part missing (at a guess) including the whole\n of his two encounters with Mime in Act Two and the greater part of his \nconfrontation with the Wanderer in Act Three, as well as more minor cuts\n elsewhere. Nevertheless we do have the most salient parts of his \nassumption of the part here, in a series of studio recordings that \ninevitably have more vocal presence than the stage transcriptions made \nten or more years later which have appeared on CD over the years.\u003cbr\u003e \u003cbr\u003e\n Melchior was frequently criticised for his slack sense of rhythm and \ncareless disregard for note values, but it must be observed that at this\n early stage of his career these faults are nowhere in evidence. He even\n manages a creditable top C on his entrance in Act One, which is more \nthan can be said for many Siegfrieds even today. The hammer-strokes in \nthe forging scene are spot-on, which if Melchior is actually hammering \nhimself is remarkable; but I suspect that the job is delegated to a \npercussionist, although John Culshaw seems to think that this ‘trick’ \nwas not employed until the Decca recording the \u003cem\u003eRing\u003c\/em\u003e under \nKeilberth at Bayreuth in the 1950s. Mime’s hammering at the opening of \nthe Act, however, sounds quite different in tone — more like a wood \nblock than an anvil — and since there \u003cem\u003eare\u003c\/em\u003e errors here one \nsuspects that the effects were recorded live by Heinrich Tessmer. This \nis one of the few slips in his performance, steady and firmly voiced. \nThis is more than can be said for Albert Reiss who takes over the role \nin the later sections of the Act, with a feeble tone which is afflicted \nby a wobble on sustained notes and frequently departs from the notated \npitch altogether. That, coupled with the fact that the forging scene is \nrecorded with less immediate impact — it is surprising how much electric\n recording techniques improved in a short period — leaves an impression \nthat is unfortunately less than ideal even though Melchior is thrilling.\n On the other hand we do have Tessmer in the first half of his scene \nwith the Wanderer. Here Friedrich Schorr is firm and trenchant even if \nsome later interpreters have sounded more noble and less tetchy. There \nis a short cut in the scene, of the passage where he challenges Mime to \ntheir duel of wits.\u003cbr\u003e \u003cbr\u003e Schorr returns again for the opening of Act\n Two and his scene with Alberich, which is disappointingly shorn of its \natmospheric Prelude. The dispute itself is barbarously abridged, which \nrobs both protagonists of any chance to build up atmosphere, with even \nthe closing bars of the scene brutally hacked off. Eduard Habich is a \ncharacterful Alberich, but it was definitely a mistake to ask him to \ndouble the bass role of Fafner; quite apart from the dramatic nonsense \nwhen he immediately responds to his own questioning, his voice is quite \nunsuitable and totally lacks any sense of distance; this dragon in his \ncave is clearly standing shoulder to shoulder in front of the microphone\n with the other characters. Habich also takes on the role of Fafner in \nhis (heavily abridged) fight with Siegfried, and here his lack of the \nrequisite bottom notes is simply embarrassing. Melchior is properly \ntender in the forest murmurs, but even his horn-call is reduced to a \nsingle phrase and it is in passages like this that the phrase “potted” \nrears its head in entirely the wrong sense. The best section of this Act\n is the short duet between the two Nibelung brothers, where Habich and \nTessmer build up quite a head of steam. In the final scene of the Act \n(somewhat trimmed) Nora Gruhn is a rhythmically free Woodbird, but \nMelchior is again superb with a real sense of loss as he sings of his \nloneliness after the deaths of everyone he has cherished in his life.\u003cbr\u003e \u003cbr\u003e\n The first scene of Act Three is given absolutely complete — if with a \nrather abruptly cut off ending — but it is probably the least \nsatisfactory rendition of this set, as well as the worst recorded. The \norchestral playing under Karl Alwin is horribly imprecise, and the \nsinging of the husband-and-wife team of Emil Schipper and Maria \nOlszewska is nothing special. He petulantly resorts to shouting in \nplaces, and she strains ineffectually for desperately thin high notes as\n she tears into Wotan’s treachery. Rudolf Bockelmann is considerably \nbetter, although clearly no Schorr, at the end of his scene with \nSiegfried. This is ruined by the extraordinarily fast speed adopted by \nCoates which leaves both singers flailing to keep up. It is hard here to\n understand the high reputation that Coates enjoyed as a Wagnerian \nconductor, except perhaps to attribute it to the chauvinism of British \ncritics at the time. In the following interlude there is a sudden \ncramming on of the brakes at the climax, which has no warrant whatsoever\n in the score. Heger is far more effective in the scene on the mountain \ntop, again slightly cut but at a far more reasonable speed. Florence \nEaston sounds rather matronly at the beginning of the long duet, but by \nthe end she finds a more appropriate tone and she and Melchior are well \nmatched.\u003cbr\u003e \u003cbr\u003e This set is of course no match for more modern \nrecordings of Siegfried, and could hardly be regarded as a sole \nrepresentation of the opera for a collection but it stands as an ‘Old \nTestament’ of Ring recordings. In this sense it illustrates both the \nvery best and sometimes the worst of Wagnerian singing in the inter-War \nperiod. Mark Obert-Thorn has done wonders with the sound, reducing \nbackground noise to an almost undetectable silence which pays real \ndividends, for example, in the long passage for unaccompanied violins as\n Siegfried arrives on the mountain top. It certainly knocks spots off \nthe scratching of the original 78s as I recall them from my first \nacquaintance.\u003cbr\u003e \u003cbr\u003e It is a pity that fuller details of the \nrecordings themselves and the artists could not have been provided in a \nmore substantial booklet, but as usual with Pristine there are plentiful\n notes available on their website including a review of the original 78 \nset by Alan Blyth drawn from his Opera on Record. There were also \nrecordings of the forging scene and the final duet (cut) made at the \nsame time as the Schipper\/Olszewska duet featuring Horst Laubenthal and \nFrida Leider as Siegfried and Brünnhilde. We are advised that these \nexcerpts will be included as an appendix to Volume Three of Pristine’s \nPotted Ring.\u003cbr\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003e \u003cem\u003e\u003cb\u003ePaul Corfield Godfrey\u003c\/b\u003e\u003c\/em\u003e\u003cbr\u003eMusicWeb International, May 2015\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO114.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHMV's Potted Ring, Volume 2: Siegfried\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a set no enquiring Wagnerian, whatever complete version of The Ring he or she owns, should be without\" - Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe present release is the second of three which will bring together \nthe 122 78 rpm sides of extended excerpts from Wagner’s tetralogy which \nHis Master’s Voice recorded in London, Berlin and Vienna between 1926 \nand 1932.  The scope of this project centers around the Ring albums – \nnot every disc of music from the Ring which HMV issued during this \nperiod.  The first volume (PACO107) gathered together excerpts from \u003cem\u003eDas Rheingold\u003c\/em\u003e and \u003cem\u003eDie Walküre\u003c\/em\u003e; the present set focuses on Melchior’s \u003cem\u003eSiegfried\u003c\/em\u003e recordings; and the final one will feature scenes from \u003cem\u003eGötterdämmerung\u003c\/em\u003e, as well as an appendix featuring alternate recordings from the series and an outline of motives from the Ring cycle.\u003c\/p\u003e\u003cp\u003eThe \u003cem\u003eSiegfried\u003c\/em\u003e recordings have a particularly convoluted \nhistory in the “Potted Ring” saga.  Initially, HMV released an album of \neight discs, combining two from \u003cem\u003eDas Rheingold\u003c\/em\u003e (featured in Volume 1 of our series) with six from \u003cem\u003eSiegfried\u003c\/em\u003e,\n in recordings made between June, 1927 and April, 1928.  This set \nincluded the Wotan\/Erda duet featured here (the only “Potted Ring” \nrecordings to come from Vienna), as well as six sides with Rudolf \nLaubenthal as Siegfried.  In three of these, he was joined by Frida \nLeider in excerpts from the final duet.  (Oddly, a disc with an \norchestral version of the “Forest Murmurs” led by Leo Blech was included\n along with Laubenthal’s vocal excerpts from the same scene.)\u003c\/p\u003e\u003cp\u003eMelchior’s absence from these sides can be explained by the fact that\n he did not make his first recordings for the HMV labels until June, \n1928.  In May of the following year, sessions were scheduled in London \nfor him to record \u003cem\u003eSiegfried\u003c\/em\u003e selections under Albert Coates, \nincluding re-recordings of material already covered in Laubenthal’s solo\n sides.  These were collected into a second, five disc volume on HMV.  \nFurther recordings in May, 1930 (“Selige Öde” and “Das ist kein Mann”) \nunder Robert Heger were issued on two single discs.  In America, Victor \ncollected these, the 1929 recordings and the unduplicated 1927-28 \u003cem\u003eSiegfried\u003c\/em\u003e sides from the first volume in a ten-disc set. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFurther recordings of excerpts from Acts 1 and 2 in May, 1931 and the\n Act 3 duet in May, 1932, all under Heger, were issued as separate \nvolumes both in Europe and America.  Ultimately, HMV released a 19-disc \nset of the 37 sides presented here, although it was never offered this \nway on Victor.  Fortunately for posterity, Melchior’s unsurpassed \nassumption of the rôle was captured nearly complete at the height of his\n considerable powers in these recordings.\u003c\/p\u003e\u003cp\u003eThe sources for the transfers were multiple copies of American Victor\n editions:  prewar “Z” and “Gold” label pressings, as well as a \nparticularly quiet postwar album, for the 1928-30 recordings; “Z” and \n“Gold” editions for the 1931 recordings; and two sets of “Z” pressings \nfor the 1932 final scene.  The progress of electrical recording during \nthis period can be traced through the variable sound of the originals, \nfrom the dim Vienna sides of 1928 and the occasionally strident and \noverloaded London sessions of 1929, to the warm, detailed sound obtained\n in Abbey Road in 1932.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eSiegfried\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCD 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Act 1\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e1          Prelude \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e2          \u003cem\u003eZwangwolle Plage!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e3          \u003cem\u003eHoiho! Hoiho! Hau ein! Hau ein!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e4          \u003cem\u003eAls zullendes Kind zog ich dich auf\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e5          \u003cem\u003eSoll ich der Kunde glauben \u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e6          \u003cem\u003eAus dem Wald fort\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e7          \u003cem\u003eHeil dir, weiser Schmied!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e8          \u003cem\u003eDein Haupt pfänd’ ich\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e          \u003cb\u003e  Heinrich Tessmer\u003c\/b\u003e, ten.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eFriedrich Schorr\u003c\/b\u003e, bar.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 9 May 1931 in Kingsway\n Hall, London ∙ Matrices: 2B \n529-1A\/528-2\/531-2\/532-2A\/533-2A\/534-1A\/525-1A\/526-2  ∙ HMV DB 1713 and \nDB 1578\/81\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e9          \u003cem\u003eFühltest du nie im finstren Wald\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e10        \u003cem\u003eNothung! Nothung! Neidliches Schwert!  \u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e11        \u003cem\u003eHoho! Hoho! Hahei! Schmiede, mein Hammer\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eAlbert Reiss\u003c\/b\u003e, ten.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 16\/17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2197-3\/2198-2B\/2199-3A\/2200-2 ∙ HMV D 1690\/1\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eAct 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e12        \u003cem\u003eIn Wald und Nacht\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e13        \u003cem\u003eZur Neidhöhle fuhr ich bei Nacht\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e14        \u003cem\u003eDeine Hand hieltest du vom Hort?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eEduard Habich\u003c\/b\u003e, bar.; \u003cb\u003eFriedrich Schorr\u003c\/b\u003e, bar.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e          \u003cb\u003e  London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 May 1931 in Kingsway Hall, London ∙ Matrices: 2B 554-2\/555-2 ∙ HMV DB 1582\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e15        \u003cem\u003eDaß der mein Vater nicht ist\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e16        \u003cem\u003eDu holdes Voglein!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eLauritz Mechior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e          \u003cb\u003e  London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2401-2\/2402-2A ∙ HMV D 1692\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e17        \u003cem\u003eHaha! Da hätte mein Lied\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e18        \u003cem\u003eWohin schleichst du eilig und schlau\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Lauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eHeinrich Tessmer\u003c\/b\u003e, ten.; \u003cb\u003eEduard Habich\u003c\/b\u003e, bar.*\u003c\/p\u003e\u003cp\u003e         \u003cb\u003e   London Symphony Orchestra ∙ Robert Heger\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 21 May 1931 in Kingsway Hall, London ∙ Matrices: 2B 557-1A\/556-2 ∙ HMV DB 1583\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003e*(Note: Habich sings both Fafner and Alberich)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e        \u003cspan style=\"font-size: small;\"\u003e    \u003cb\u003eCD 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e            Act 2 (continued)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e1          \u003cem\u003eDa lieg auch du, dunkler Wurm!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e2          \u003cem\u003eGönntest du mir wohl ein gut Gesell?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e3          \u003cem\u003eHei! Siegfried erschlug nun den schlimmen Zwerg!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e           \u003cb\u003e Lauritz Melchior\u003c\/b\u003e, ten.; \u003cb\u003eNora Gruhn\u003c\/b\u003e, sop.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eLondon Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 29 \u0026amp; 17 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2404-2B\/2403-1 ∙ HMV D 1693\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e        \u003cspan style=\"font-size: small;\"\u003e    \u003cb\u003eAct 3\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e4          Prelude  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e5          \u003cem\u003eWache, Wala!\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e6          \u003cem\u003eStark ruft das Lied\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e7          \u003cem\u003eDir Unweisen ruf’ ich ins Ohr\u003c\/em\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Emil Schipper\u003c\/b\u003e, bar.; \u003cb\u003eMaria Olszewska\u003c\/b\u003e, con.\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e Vienna State Opera Orchestra ∙ Karl Alwin\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 20 \u0026amp; 26 April 1928 in Vienna ∙ Matrices: CK 2939-2\/2899-1\/2900-2\/2938-1 ∙ HMV D 1533\/4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e8          \u003cem\u003eKenntest du mich, kühner Sproß\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e9          \u003cem\u003eZieh hin!\u003c\/em\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e10        Siegfried mounts the rocky height \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eRudolf Bockelmann\u003c\/b\u003e, bar.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e London Symphony Orchestra ∙ Albert Coates\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 22 May 1929 in Queen’s Hall, London ∙ Matrices: CR 2405-3\/2406-2 ∙ HMV D 1694\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e11        \u003cem\u003eSelige Öde auf sonniger Höh’!\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e12        \u003cem\u003eDas ist kein Mann!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e           \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/p\u003e\u003cp\u003e           \u003cb\u003eLondon Symphony Orchestra ∙ Robert Heger\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 12 May 1930 in Queen’s Hall, London ∙ Matrices: CR 2498-3\/2499-1\/2500-1 ∙ HMV D 1836\/7\u003c\/em\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e13        \u003cspan style=\"font-size: small;\"\u003e \u003cem\u003eHeil dir, Sonne!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e14       \u003cem\u003eO Siegfried! Siegfried!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e15        \u003cem\u003eEwig war ich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e16        \u003cem\u003eDich lieb’ ich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e17        \u003cem\u003eOb jetzt ich dein?\u003c\/em\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e            \u003cb\u003eFlorence Easton\u003c\/b\u003e, sop.; \u003cb\u003eLauritz Melchior\u003c\/b\u003e, ten.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e          \u003cb\u003e  Orchestra of the Royal Opera House, Covent Garden ∙ Robert Heger\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cem\u003eRecorded 29 May 1932 in EMI \nAbbey Road Studio No. 1, London ∙ Matrices: 2B \n2896-2\/2897-1B\/2898-2\/2899-2B\/2900-2\/2901-1B\/2902-1B ∙ HMV DB 1710\/3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO114.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO114.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e: Opera on Record (1979)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThere\n is no consistency here of orchestras, conductors or singers - except \nthat Melchior is the Siegfried throughout, and what a Siegfried! I am \nwell aware of his sometimes faulty sense of rhythm and vagueness over \nnote values, but what are these set against his unsurpassed fullness of \ntone, his ability to convey the part’s many moods (in particular its \nyouthful ardour) and his peculiar vividness of articulation? All \nprospective Siegfrieds should be locked up with his Sword and Forging \nsongs (‘Nothung’ and ‘Schmiede, mein Hammer’) until they can manage them\n both with Melchior’s control and perception. He is just as exemplary in\n the peace of the Forest Murmurs, and the worry and sadness of ‘Selige \nÖde’, once available separately on the HMV German list as EJ 485, almost\n my first acquaintance with the singer along with ‘Nothung’ from this \nset (backed by a matchless Prize Song, DB 1858).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThe \nrest of the cast, all from Covent Garden, is more variable. Heinrich \nTessmer’s truly sung Mime turns into Albert Reiss’s caricature by the \nend of Act 1. Eduard Habich is a menacing Alberich. Schorr’s Wanderer, \nsubtle and often poetic in Act 1, is succeeded by Bockelmann’s more \nprosaic but not inconsiderable portrayal in Act 3 (Schipper is, of \ncourse, heard in Act 2). Nora Gruhn holds up British interests with a \nperky Woodbird. Florence Easton, London’s 1932 Brünnhilde and one of New\n York’s regular interpreters of the role from 1924, presents a human, \nvulnerable goddess (a contradiction in terms I know). Her bell-like tone\n and superfine diction, much admired at the Metropolitan, are much in \nevidence here. Heger and Coates, both expert Wagnerians, share the \nconducting.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003e\u003cstrong\u003eAlan Blyth \u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino;\"\u003eOpera on Record Vol. 1 (1979)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":32417089741,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417089869,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO114.jpg?v=1487682016"},{"product_id":"pasc447","title":"CORTOT Concertos, Volume 2: Schumann \u0026 Bach (1927-37) - PASC447","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003ePiano Concerto\u003cb\u003e\u003cbr\u003eBACH \u003c\/b\u003eBrandenburg Concertos\u003cb\u003e\u003cbr\u003eBACH (arr. Cortot)\u003c\/b\u003e Organ Concerto No. 5\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1927-1937\u003cbr\u003eTotal duration: 2hr 0:27  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eAlfred Cortot, \u003c\/b\u003epiano, conductor\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eLandon Ronald, \u003c\/b\u003econductor\u003cbr\u003e\u003cb\u003eGabriel Bouillon\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eRoger Cortet\u003c\/b\u003e, flute\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eOrchestre de l'Ecole Normale de Musique de Paris\u003c\/b\u003e\u003c\/p\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC447.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCortot's Concerto Recordings, Volume Two - as performer, conductor and arranger\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The second movement, for the trio alone, is an everlasting retreat of beauty\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese recordings demonstrate three sides of Cortot's musicianship: \nhis second (of three!) outing as soloist in the Schumann Concerto, a \nfine 1927 recording; his conducting of the six Brandenburg Concertos, \nwhich include an outing as piano soloist in the fifth (it is unclear \nwhether he plays harpsichord in the other concertos), recordings of \nconsiderably variable sound quality; and his own arrangement for piano \nof Bach's Organ Concerto No. 5, itself a re-working of a concerto by \nVivaldi for two violins and cello, well-recorded in 1937.\u003c\/p\u003e\u003cp\u003eEach recording presented a variety of technical challenges, and some \nnoisy sides in the Brandenburgs proved exceptionally troublesome. \nCapstan pitch stabilisation has been deployed throughout, to \nconsiderable effect in solidifying the sound, whilst XR remastering has \ndone much to improve the tonal balance of each recording.  \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e  Piano Concerto in A minor, Op. 54 \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded: Queen's Hall, London, 22 June 1927\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued as HMV DB.1059-62, Matrix Nos. CR 1398-1405\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eLondon Symphony Orchestra, conductor: \u003cb\u003eLandon Ronald\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e \n\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBACH\u003c\/b\u003e  Brandenburg Concertos, BWV 1046-1051\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded: Salle de l'Ecole Normale, Paris\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 1: 1 June, 1933, HMV DB.2033-34, 2.PG.806-809\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 2: 30 May, 1933, HMV DB.2035-36, 2.PG.801-803\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 3: 2 December, 1931, HMV DB.1259-60, 0W.1024-27\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 4: 29 May, 1933, HMV DB.2037-38, 2PG.797-800\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 5: 16-17 May, 1932, HMV DB.1783-84, 2L.411-414\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eConc erto No. 6: 4 December, 1931, HMV DB.1626-27, 2W.1033-36\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, conductor, piano (concerto No. 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eGabriel Bouillon\u003c\/b\u003e, violin (concerto No. 4)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eRoger Cortet\u003c\/b\u003e, flute (concertos Nos. 4, 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin (concerto No. 5)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eOrchestre de l'Ecole Normale de Musique de Paris\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e \n\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBACH arr. Cortot\u003c\/b\u003e  Organ Concerto No. 5 in D minor, BWV 596\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded: Abbey Road Studio 3, 18 May 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIssued as HMV DB.3261-2, Matrix Nos. 2EA. 4930-32\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC447.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC447.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":31975487245,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975487373,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975487501,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975487565,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC447_fc33b925-fd80-48dc-8274-1b75c0acfca0.jpg?v=1487682026"},{"product_id":"pasc312","title":"CURZON Brahms, Grieg: Piano Concertos (1951\/3) - PASC312","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1\u003cbr\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Piano Concerto\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1953 \u0026amp; 1951\u003cbr\u003eTotal duration: 77:45\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eClifford Curzon, \u003c\/b\u003epiano\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eEduard van Beinum, \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eAnatole Fistoulari, \u003c\/b\u003econductor\u003c\/span\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=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eClifford Curzon's excellent Brahms and Grieg Concertos\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Most memorable for its delicacy and finesse of voicing, with breathtaking dynamic control\u003cspan class=\"TIMES\"\u003e, and his trademark combination of singing luminosity with rhythmic tautness\u003c\/span\u003e\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\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 class=\"body\"\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 class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 19 May-1 June 1953, Concertgebouw, Amsterdam\u003cbr\u003eTransfer from Decca LTX 2825\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eRoyal Concertgebouw\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Orchestra of Amsterdam\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eEduard van Beinum \u003c\/b\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGRIEG\u003c\/b\u003e Piano Concerto in A minor, Op. 16\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 15-16 October 1951, Kingsway Hall, London\u003cbr\u003eTransfer from Decca LTX 2657\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eLondon Symphony \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eOrchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eAnatole Fistoulari \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eClifford Curzon \u003c\/b\u003epiano\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/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":"pasc436","title":"HORENSTEIN Brahms: Symphony No. 1; Bruch: Scottish Fantasy (1962) - PASC436","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCH \u003c\/b\u003eScottish Fantasy \u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1962\u003cbr\u003eTotal duration: 76:18  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJascha Horenstein, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eDavid Oistrakh\u003c\/b\u003e, violin\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/b\u003e\n\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended for Horenstein’s outstanding Brahms578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eDavid Oistrakh’s 1962 recording of Bruch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is one I’ve been familiar with for years from a London reel-to-reel \ntape. That tape, however, couples the Bruch with Hindemith’s 1939 Violin\n Concerto in a performance by Oistrakh and the London Symphony Orchestra\n conducted by the composer. Something I did not know before reading \nPristine’s informative online notes was that the coupling intended for \nthe Hindemith Concerto on the original Decca LP was to have been \nMozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSinfonia Concertante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Oistrakh on violin and Hindemith taking the viola part, but the \nMozart was scrapped when Hindemith heard the playback of the tape and \nwas so “disgusted” by his own playing that he disowned the recording. \nThe Bruch was a last-minute substitution, which required Oistrakh to \nsalvage from mothballs a piece he hadn’t played in years. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePerhaps that’s the reason, without knowing why, I never cared much for this hastily prepared performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The feeling I’ve always had listening to it is that for long stretches \nOistrakh is on autopilot, playing the notes but without much expression.\n He did make another recording of the piece with Gennady Rozhdestvensky \nand the USSR Symphony Orchestra, coupled with a Berlioz \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHarold in Italy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. It’s available on a Russian Revelation CD, but I haven’t heard it, nor does it appear to have been reviewed in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne other possible reason that Oistrakh’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is not a favorite can be summed up in one word: Heifetz. He made rather\n a specialty of the piece, claiming it to be his favorite “concerto,” \nand even I, not Heifetz’s biggest fan, have to admit that his 1947 \nrecording with William Steinberg and the RCA Victor Symphony Orchestra, \nand his later 1961 recording with Malcolm Sargent and the New Symphony \nOrchestra, are possibly unmatched for searing emotional intensity by any\n other violinist, save perhaps for Michael Rabin in his 1957 recording \nwith Adrian Boult and the Philharmonia Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMost of the Pristine releases I’ve \nreceived for review have been recordings dating from the early days of \nLP and some going back even further to the 78-rpm era, all subjected to \nAndrew Rose’s amazing XR restoring and remastering technology that has \nrevitalized much important historical material. In this case, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eScottish Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and the Brahms Symphony No. 1, both led by Jascha Horenstein, are \nproducts of the modern analog LP era. Both were recorded in 1962, both \nin stereo, and both had already been digitized and transferred to CD \nbefore these Pristine refurbishments—the Oistrakh Bruch, coupled with \nthe Hindemith, exactly as on my reel-to-reel tape, and Horenstein’s LSO \nBrahms on a Chesky CD coupled with the Bacchanale from Wagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the Royal Philharmonic and Beecham Choral Society. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs usual, Andrew Rose works wonders to \nclean up and improve the sound, with benefit accruing mainly to \nHorenstein’s Brahms. The conductor’s tempos are a bit on the slow side, \nand of course the first-movement exposition repeat is skipped, but \nthere’s an elemental power to the performance that can’t be denied, and \nthe remastering makes that manifest with clarified textures and the \nhighlighting of instruments, particularly the timpani, within those \ntextures. The solo flute, too, towards the end of the slow introduction \nin the last movement, sings with a sweetness and luminosity of tone that\n would make the angels envious. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRose’s rationale for rejuvenating \nHorenstein’s LSO Brahms No. 1 was well considered, as the performance is\n quite a commanding one, and the extra measure of information extracted \nfrom the original recording attests to its excellence. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWith regard to the Oistrakh Bruch, I’m \nsomewhat less positive. I’ve not heard the Decca CD, but comparing this \nPristine version against my London reel-to-reel tape, I can’t say I hear\n much difference; and, in any case, whatever sonic improvement there may\n be, it doesn’t profit Oistrakh’s performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRecommended, then, for Horenstein’s outstanding Brahms. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJerry Dubins\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC436.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein conducts two stereo classics from 1962: Brahms and Bruch\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"A profoundly impressive account of Brahms's First Symphony\"\u003cbr\u003e\"The performance of the Bruch is superlative\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eBoth of these recordings were made within a few months of each other in \n1962 at the Walthamstow Assembly Rooms in north-east London. The Brahms \nwas made for Reader's Digest and engineered by legendary Decca wizard, \nKenneth Wilkinson, the Bruch for Decca without Mr. Wilkinson! They were \nthe first two of just eight studio recordings made by Horenstein with \nthe LSO (of the rest, all but one was recorded for Unicorn Records \nbetween 1969 and 1972). Both were excellent stereo recordings for their \nera and, with the lightest touch of XR remastering and minimal \nrestoration requirements, have come up marvellously here.\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecording producer: Charles Gerhardt\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 29-30 January 1962\u003cbr\u003eWalthamstow Assembly Hall\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCH  \u003c\/b\u003eScottish Fantasy in E flat major, Op. 46\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDavid Oistrakh, \u003c\/b\u003eviolin\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003eRecording producer: Erik Smith\u003cbr\u003eRecording Engineer: Alan Reeve\u003cbr\u003eRecorded 24 September 1962\u003cbr\u003eWalthamstow Assembly Hall\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e \u003cb style=\"font-size: medium;\"\u003eLondon Symphony Orchestra\u003cbr\u003eJascha Horenstein\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor\u003c\/span\u003e \u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC436.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC436.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":31975656845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975656909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975656973,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC436_4b06de78-d9fe-4579-8f57-d31cd0bf895f.jpg?v=1487682217"},{"product_id":"pasc434","title":"HORENSTEIN conducts Rathaus, Korngold and Schreker (1956-65) - PASC434","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRATHAUS \u003c\/b\u003eSymphony No. 3 (world première)\u003cbr\u003e\u003cb\u003eKORNGOLD\u003c\/b\u003e Prelude and Carnival Music from Violanta\u003cbr\u003e\u003cb\u003eSCHREKER \u003c\/b\u003ePrelude to a Drama \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eBroadcast and studio recordings, 1956-65\u003cbr\u003eTotal duration: 71:50  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eJascha Horenstein, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eBBC Symphony Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a superb disc, and a continuation of the wonderful harvest of recordings becoming available578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe major work here is the \n40-minute symphony by Karol Rathaus, an important discovery. There is a \nmore than adequate CPO stereo recording of the work conducted by Israel \nYinon, but it lacks the drama and power of Horenstein’s reading, which \nhappens to be the world premiere performance of the work, some 13 years \nafter it was composed and two years after Rathaus’s death. Rathaus was \nPolish-born and Viennese-trained; in fact, he studied with Schreker, as \ndid Horenstein. Active in Germany in the 1930s, Rathaus was smart enough\n to see what was coming and got out, going first to France, then to \nLondon, and finally to the U.S. He tried to catch on in Hollywood with \nother expatriates (Korngold, for instance) but did not make a name in \nfilm music. He was offered the position of professor of composition at \nQueens College in 1940, a job he held for most of the rest of his life \n(he died in 1954) and which gave him the financial security he had been \nmissing. He thus was able to compose as he wished without worrying about\n financial remuneration. It was two years after he obtained that \nposition that he wrote this work. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Third Symphony is a work of considerable power and beauty, with a singularly moving first movement \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Throughout the style is late or post-Romantic, with echoes of Mahler \nand Strauss, and perhaps a touch of Berg, but also with a musical \nlanguage that is his own. The prevailing tone of the work is dark, but \nnot excessively grim. The third movement \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndantino\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is marked by a touching tenderness and cumulative power, which \nHorenstein captures perfectly. This is a major mid-20th-century \nsymphony, a work with a deeply personal and individual profile. It is \nalso a work at the center of Horenstein’s strengths as a conductor, and \nbecause this was a BBC broadcast and recording, the quality of the \noriginal source is very high-level studio monaural from the middle \n1950s. Andrew Rose’s XR stereo adds warmth and richness without blurring\n detail. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKorngold, who of course sprang from that same Viennese atmosphere that nourished Schreker, Rathaus, and Horenstein, wrote \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eViolanta \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eat\n the age of 17. And, by the way, it was his second opera! The quality of\n the music, particularly the skill in orchestration, is remarkable. This\n is rich, exotic, late Romantic lushness and it is given a sizzling \nperformance by Horenstein. The recording was made during sessions \nHorenstein held for the Reader’s Digest, which released a number of \nHorenstein performances, but not this. Unlike the Rathaus and Schreker, \nthis was originally a fine studio recording engineered by Decca’s \nKenneth Wilkinson and produced by Korngold’s son George. To my knowledge\n this is its first release, and it is a wonderful addition to the \nHorenstein discography. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCuriously, Pristine Audio spells \nSchreker’s name with a second “c” before the “k” (Schrecker), a spelling\n I don’t find anywhere else. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to a Drama \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003edoes\n not appear to be intended for any specific dramatic work, but is rather\n a more generalized title. However, the work is an expansion (of \nsignificant proportion) of his Overture to the opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Gezeichneten\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (The Stigmatized), so we know this isn’t comedy. But there is little \ngloom in this 21-minute lush concert overture. Color and rhythmic drive \nare important ingredients, as is the ability to mold a long phrase. \nThese, of course, are qualities that define Horenstein’s work. There are\n good other recordings by Gielen, Conlon, and Sinaisky, but Horenstein \ndigs much more deeply into the late Romantic world of Schreker (which is\n not surprising since he studied with Schreker for a number of years, \nfollowing him from Vienna to Berlin). The monaural BBC broadcast sound \nas remastered here is fine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is a superb disc, and a \ncontinuation of the wonderful harvest of recordings becoming available \nbecause of Andrew Rose’s relationship with Jascha Horenstein’s cousin \nMisha. We owe them both a debt of gratitude, as Horenstein was one of \nthe most important (and most under-represented on records) conductors of\n the second half of the 20th century. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:6 (July\/Aug 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC434.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein conducts friends and contemporaries: Rathaus, Korngold, Schreker \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is rich, exotic, late Romantic lushness and it is given a sizzling performance by Horenstein\" \u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThese three rare recordings offer a fascinating insight into \nHorenstein's musical friends and contemporaries: each composer, in his \nown way, was close to the conductor's heart. The main item, Rathaus's \nSymphony No. 3, was receiving its world première in an audience-free BBC\n studio, some 13 years after it was completed, and two years after the \ncomposer's death. The Schreker was another BBC recording, this time from\n a live concert at Maida Vale. Finally, the Korngold was recorded in \nstereo by Decca engineer Kenneth Wilkinson and produced by the \ncomposer's son, George Korngold, during spare time following a 1965 \nReader's Digest session with the Royal Philharmonic.\u003c\/p\u003e\n\u003cp\u003eThere is considerable variation in sound quality: the 1965 stereo \nKorngold is by far the best, and we're grateful to the RPO for \npermission to release it here in light of considerable confusion over \ncopyright ownership. The other two works were transcribed at some point \nfrom disc sources unknown; the Rathaus is the better of the two, with a \nwider tonal and dynamic range, while the top end is somewhat limited on \nthe Schreker, though both have enormously improved by XR remastering \nover the thin and shrill source material with which I began.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eKORNGOLD  \u003c\/b\u003ePrelude and Carnival Music from Violanta  (1914)\u003cb\u003e \u003c\/b\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003eKingsway Hall, London, 2 June 1965\n\u003cp\u003e\u003cb\u003eReleased with kind permission of the Royal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e \n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRATHAUS  \u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eSymphony No. 3, Op. 50 (1942-43)\u003cspan class=\"bodymidarial\" style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eBBC Farringdon Studios, London, 13 March 1956\n\u003cp\u003e\u003cb\u003eWorld première performance and recording\u003c\/b\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: small;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSCHREKER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003ePrelude to a Drama (1913)\u003cspan class=\"bodymidarial\" style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eBBC Maida Vale Studio 1, London, 16 November 1957 \u003cbr\u003eBBC Third Programme, 8pm broadcast\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC434.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC434.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fMusical Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMusical Notes\u003c\/b\u003e by Misha Horenstein\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarol\n Rathaus: Symphony no. 3 op. 50 (1942-43), London SO, 13 March 1956 \n(recorded at BBC Farringdon studios), world premiere performance and \nrecording\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarol\n Rathaus was one of the most interesting composers of the exile \ngeneration. His musical language has its roots in the post-Romanticism \nof the early 20th century and in the early works of Schoenberg. During \nthe 1920s, the period of his greatest successes, he was considered very \nradical and \"inclined to atonality\" but today his style can best be \ndescribed as neo-Romantic, a fusion of the emotional surge of the \nnineteenth century with the vigor, motion and rhythmic vitality of the \ntwentieth.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eDespite\n his rich use of chromaticism and dissonance, Rathaus's musical world \nwas essentially harmonic and tonal. His great skill as an orchestrator \nand his outstanding sense of rhythm endow his music with unusual \nvibrancy and vitality, in a manner that is scintillating, transparent, \nand idiomatic. He is also capable of evoking and sustaining a haunting, \nintrospective lyricism that makes many of his slow movements memorable. \nIt was his ability to fuse \"tradition and evolution\" that so impressed \nsome of Berlin's most perceptive critics, who hailed him as \"one of the \nstrongest hopes of our new music.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eAfter\n his move to America Rathaus's harmonic language became leaner, bolder, \nmore acrid and dissonant, with an occasional digression into the \ngrotesque and satirical as an escape from sentiment, elements that aptly\n characterize the mood of his Third Symphony.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarol\n Rathaus was one of Horenstein's oldest and closest friends. A fellow \nstudent of Schreker's, they grew up and studied together in Vienna and \nthen in Berlin, both their careers developed simultaneously and rapidly,\n both survived the Nazi period in exile in France and in America and \nboth men saw a dramatic downturn in their fortunes after the war. But \nwhile Horenstein was eventually able to resurrect his career, Rathaus, \nwhose music was so admired during the Weimar period, was excommunicated,\n cold-shouldered by the post-war realignment of musical priorities that \ncast him out of consideration and from where he has still not fully \nemerged. He died in 1954 at the age of only fifty-nine, a respected and \nhonored professor of music at Queens College in New York but dispirited,\n disappointed and totally neglected as a composer.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThroughout\n his career Horenstein made enormous efforts to perform Rathaus's music \nand succeeded on a number of occasions, giving premieres of his works in\n France, Germany, Israel, Switzerland, Mexico and other Latin American \ncountries as well as in Britain, where the present recording was made. \nAs far as is known, this version of the Third Symphony, recorded in a \nBBC studio with no audience present, was the first performance of the \nwork and Horenstein considered it a posthumous tribute to his recently \ndeparted friend. He conducted the symphony again before an audience in \nBerlin two years later, but whether that occasion constituted the work's\n first public performance is unknown.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFranz Schreker: Prelude to a Drama, BBCSO, 16 Nov. 1957 (Maida Vale Studio rec)\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eContrary\n to what is generally assumed, Franz Schreker was not Horenstein's \ncomposition teacher at the Academy of Music in Vienna. He did study with\n him as a private student but only later joined his class after Schreker\n moved to the Hochschule in Berlin in 1920. Schreker was not enamoured \nof Horenstein's skills as a composer but very quickly recognized his \ntrue talent, procuring for him his first conducting job while still a \nstudent, in charge of two choirs directed until then by Hermann \nScherchen. He also had a say in some of Horenstein's other appointments,\n but his influence and popularity as a composer took a dramatic plunge \njust as Horenstein's conducting career was beginning to take wing and \nalthough he made several attempts to perform his old professor's music \nduring this period, none were successful before the arrival of the Nazis\n put a stop to everything. After the war there were several occasions \nwhen Horenstein programmed Schreker's music but it was not until 1952 \nand then 1957, the date of the present recording, that he was \nsuccessful. Both events featured \"Prelude to a Drama\" and are the only \nknown occasions that he conducted any music by Schreker.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eErich Wolfgang Korngold: Prelude and Carnival Music from Violanta, RPO, June 2, 1965 (at Kingsway Hall), London\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eErich\n Wolfgang Korngold and Horenstein, almost exact contemporaries, were \nboth raised and educated in Vienna before and during the First World \nWar. In April 1916 Korngold’s one-act tragic opera \"Violanta\" received \nits local premiere at the Hofoperntheater conducted by Leopold \nReichwein. Recalling the event many years later Horenstein told an \ninterviewer that he and his Academy friends, probably jealous of \nKorngold's wunderkind status, went to the premiere intending to boo and \nmake trouble but instead were so captivated by the opera that at the end\n they carried Korngold through the streets on their shoulders like a \nhero. This is the only known contact between Horenstein and Korngold \nduring the Weimar period, although they did meet socially after the war \nin California. The \"Prelude and Carnival Music\" from \"Violanta\" was \nrecorded by Charles Gerhardt and produced by George Korngold, the \ncomposer's son, for Reader's Digest Recordings. The recording was \nunplanned, an afterthought following the early completion of \nRachmaninoff's \"Isle of the Dead\", and was never published on the \nReader's Digest label although it has appeared in various pirate \neditions. It was only one of two occasions that Horenstein conducted \nKorngold's music, the other being a concert performance in 1960 of the \nincidental music to \"Much Ado About Nothing\" Opus 11 at the Royal \nFestival Hall in London. In 1969 plans were made by the BBC for a \ncomplete recording of \"Violanta\" that, much to his distress, had to be \nshelved because of budgetary constraints.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo and Ambient Stereo 24-bit FLAC","offer_id":31975659469,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo and Ambient Stereo 16-bit FLAC","offer_id":31975659533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo and Ambient Stereo MP3","offer_id":31975659597,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC434_cdadb12b-43eb-4623-88d1-1e18964ab335.jpg?v=1487682228"},{"product_id":"pasc440","title":"HORENSTEIN Mahler: Symphony No. 8; Wagner: Opera Excerpts (1959\/62) - PASC440","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 8 in E flat Major (\"Symphony of a Thousand\")\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eDer fliegende Holländer - Overture\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eTannhäuser - Bacchanale\u003cspan\u003e\u003cb\u003e\u003cbr\u003eWAGNER  \u003c\/b\u003eSiegfried Idyll\u003c\/span\u003e  Siegfried Idyll\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\n\u003c\/ul\u003e\n\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive and studio recordings, 1959 and 1962\u003cbr\u003eTotal duration: 2hr 1:13  \u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eJascha Horenstein, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWe can be nothing but grateful to Andrew Rose for his stunning remastering of this riveting performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe word “classic” is sometimes \napplied to a recording carelessly, but not in this case. This \nperformance has been praised almost universally by reviewers since it \nfirst saw the light of day on Discocorp LPs. You can read positive \nreviews in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n by William Youngren (7:4), Benjamin Pernick (20:3), Christopher Abbott \n(22:6), and me (22:5), and I included it on my 1999 Want List. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n release in 1999 seemed to be the last word, since it derived from the \nBBC’s own master tape. The original broadcast was in stereo (single \nmicrophone stereo, one must note), and while there are some balance \nproblems (some soloists are too distant), the overall sound was quite \nsatisfying. So what could Pristine offer that would improve on that? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe surprising answer is: quite a bit! \nPristine’s XR remastering has opened up the soundstage considerably, and\n the result is a very meaningful improvement even over the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n release in terms of clarity, impact, and firmness and focus of the bass\n line. There is a sense of space around the performance that did not \nexist before; the sound is akin to sitting mid-balcony in a good hall. \nThose who have admired this recording and felt satisfied with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e version are urged to reinvest. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI will not take a lot of space here \ndescribing the merits of the performance, as interested readers can look\n up any of the prior reviews for more detail. Briefly, what Horenstein \nmanages in this performance is what appears to be the perfect balance \nbetween spontaneous propulsion and intense drama on the one hand, and a \nfirm sense of organizational structure on the other. Moment-to-moment \ndramatic impact is never slighted, but there is a sense of inevitability\n about the direction of the performance so that it is always headed \nsomewhere. Horenstein judges tempo relationships perfectly, and makes \nhis transitions of tempo almost imperceptible as they are happening. \nThat is one of the major ingredients of a performance that flows. The \nother is appropriate relationships of dynamic variations, and again \nHorenstein hits his mark. The opening “Veni Creator Spiritus” has great \npower, but there is enough held back for the development of an 80-minute\n journey, and a final climax of immense weight and almost unbelievable \nfervor and intensity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe soloists are all adequate or \nbetter, and the choral and orchestral forces perform with remarkable \neffectiveness given that this is not only an unedited live performance, \nbut that they all had to learn the work for the event. Yes, there the \nmomentary instrumental bobbles and ensemble lapses, but they are \nremarkably few and far between. There are rare performances that even \nwhen heard years or decades after they occurred still have about them a \ngenuine sense of occasion. This is one of those. It is as if \neveryone—performers, conductor, and audience—were making a spectacular \ndiscovery at the same time. And we have the ability to relive it, \ncomplete with the unison roar of the usually staid English audience at \nthe end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Wagner excerpts were originally \nrecorded for the Readers’ Digest label, and reissued (coupled with a \npowerful Brahms First Symphony) on Chesky. I don’t have the Chesky at \nhand for comparison. Andrew Rose claims that the original version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried Idyll \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003edropped\n in pitch gradually, and I do not know whether Chesky corrected it. But \nit is fine here, and the sound of these 1962 studio recordings is warm \nand full. Horenstein’s way with Wagner is similar to his Mahler: a \nsuperb balance between impulsiveness and structure, along with genuine \nbeauty in the lyrical passages. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMinimal notes, and no texts, as is \ntypical of Pristine—but we can be nothing but grateful to Andrew Rose \nfor his stunning remastering of this riveting performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC440.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein's tremendous stereo Mahler 8 and Wagner in fabulous XR-remastered sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n word “classic” is sometimes applied to a recording carelessly, but not \nin this case. We can be nothing but grateful to Andrew Rose for his \nstunning remastering of this riveting performance\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eI was urged by the conductor's cousin, Misha Horenstein, to tackle \nthe BBC's splendid experimental stereo recording of Mahler's 8th \nSymphony, made with a single stereo microphone set-up in the vast, \nacoustically-untamed space of the Royal Albert Hall, in the hope that XR\n remastering might bring a greater focus and a better sense of the \nvastness of the forces employed.\u003c\/p\u003e\n\u003cp\u003e\"I can't praise it highly enough. The difference is immediate from \nthe opening bars, where the organ hits you where it should, in the \nstomach, but the gain is evident throughout. This is especially true of \nthe bass line, which now has the depth and weight missing in the \n[previous issue]. Your remake also compliments the vertical and \nhorizontal spaces of the Albert Hall, bringing the sound forward as \nthough you are sitting in better seats than before...\" came the \nresponse, to which I find little to add (beyond noting the high number \nof coughs I had to remove!).\u003c\/p\u003e\n\u003cp\u003eBy contrast the Wagner, whilst derived from excellent 1962 studio \nrecordings engineered by legendary Decca man Kenneth Wilkinson, suffered\n from major pitch problems in the Siegfried Idyll, which  dropped \ngradually from an initial A=443Hz to A=430Hz over the course of the \nrecording, the full correction of which has only recently become \ntechnically possible. These recording, too, have benefited from the \nadded fullness of sound brought by XR remastering that so pleased Mr. \nHorenstein in the Mahler.   \u003cbr\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eDer fliegende Holländer - Overture\u003cspan class=\"bodybigblue\" style=\"font-size: medium;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eTannhäuser - Bacchanale\u003cbr\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eSiegfried Idyll\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecording producer: Charles Gerhardt\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 29-30 September 1962 for Reader's Digest\u003cbr\u003eWalthamstow Town Hall\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 8 in E flat Major (\"Symphony of a Thousand\")\u003cspan class=\"bodybigblue\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eJoyce Barker\u003c\/b\u003e (sop.I) - Magna Peccatrix\u003cbr\u003e\u003cb\u003eBeryl Hatt\u003c\/b\u003e (sop.II) - Mater Gloriosa\u003cbr\u003e\u003cb\u003eAgnes Giebel\u003c\/b\u003e (sop.III) - Una Poenitentium\u003cbr\u003e\u003cb\u003eKirsten Meyer\u003c\/b\u003e (alt.I) - Mulier Samaritana\u003cbr\u003e\u003cb\u003eHelen Watts\u003c\/b\u003e (alt.II) - Maria Aegyptiaca\u003cbr\u003e\u003cb\u003eKenneth Neate\u003c\/b\u003e (ten.) - Doctor Marianus\u003cbr\u003e\u003cb\u003eAlfred Orda\u003c\/b\u003e (bar.) - Pater Ecstaticus\u003cbr\u003e\u003cb\u003eArnold van Mill\u003c\/b\u003e (bass) - Pater Profundus\u003c\/p\u003e\n\u003cp\u003eBBC Chorus; BBC Choral Society; Goldsmiths' Choral Union; Hampstead \nChoral Society; Emanuel School Boys' Choir; Orpington Junior Singers\u003c\/p\u003e\n\u003cp\u003eMusical Associate: Berthold Goldschmidt\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHugh Maguire\u003c\/b\u003e, leader; \u003cb\u003eCharles Spinks\u003c\/b\u003e, organ\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded for BBC broadcast, 20 March 1959, Royal Albert Hall, London\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC440.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC440.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":31975664013,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975664077,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975664141,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC440_642495a8-82ec-46c9-8fae-49f625e7bd91.jpg?v=1487682236"},{"product_id":"pasc459","title":"MENUHIN The First Concerto Recordings: Bruch, Elgar (1931\/32) - PASC459","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eBRUCH \u003c\/b\u003eViolin Concerto No. 1\u003cb\u003e\u003cbr\u003eELGAR \u003c\/b\u003eViolin Concerto\u003cb\u003e \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e \u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1931\/32\u003cbr\u003eTotal duration: 72:36\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eYehudi Menuhin \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eSir Edward Elgar \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eSir Landon Ronald\u003c\/b\u003e conductor\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cp\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe emotional tenor of the performance, well beyond Menuhin’s tender fifteen years, astounds for the versatility and stamina of a natural wunderkind578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe teenage Yehudi Menuhin recorded\n Bruch’s First Violin Concerto on November 25 and 26, 1931; and, due to \nthat early success, inherited the mantle of recording Elgar’s Violin \nConcerto with the composer, an honor that would have been accorded to \nFritz Kreisler, who had given the premiere with Elgar conducting in \n1910, had he not proved uncooperative. The two recordings (of Bruch and \nElgar) themselves have become legendary, and even those who, perhaps \nwith good reason, might prefer Jascha Heifetz or Isaac Stern in Bruch’s \nwork or Albert Sammons in Elgar’s (could Kreisler really have played it \nmore convincingly?) must acknowledge Menuhin’s recordings as important \nones, not only for the launching of his career but also as milestones in\n the history of violin recordings (at least it seems that way at a \ndistance of 85 years). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt’s hardly necessary to comment \nextensively on these ageless performances. Mark Obert-Thorn said almost \neverything that needs to be said in discussing the story of early \ntransfers. He mentions the centennial LP (for Elgar) in 1957 and the \nsubsequent loss of the metal masters, the use of shellacs for reissues \non CD, his own restoration for Naxos, and his decision to rely this \nsecond time on three Victor pressings (Z and Gold Label). In the case of\n the Bruch Concerto, for Pristine he again made use of Z and Gold Label \nrecordings. (Naxos Historical had also paired the two concertos on its \nearlier release.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThere’s considerable noise at the \nbeginning of Bruch’s concerto. As usual, Obert-Thorn has split the last \nmovement of Elgar’s into two separate tracks (which he also did for \nNaxos in Heifetz’s and Sammons’s reissues), the second beginning with \nthe accompanied cadenza. These desultory remarks don’t even pretend to \nbe a review. Here’s a review for those who need one: These recordings \nhave perhaps been legendary (as mentioned) since the days when Menuhin \nmade them—they came out of the figurative corner with a strong spotlight\n trained on them. They both sound magnificent and make a powerful impact\n in Obert-Thorn’s latest attempt to dust them off. As a duster, he’s \narguably the best (although I prefer some of BMG’s transfers of early \nHeifetz recordings). Everybody who cares about violin playing should \nacquire this piece of still developing history. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRobert Maxham\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 40:1 (Sept\/Oct 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eIn an extended note to this historic reissue, Mark Obert-Thorn \nprovides a personal anecdote of his February 1982 meeting with Yehudi \nMenuhin and their discussions of various musical topics. I, too, must \nshare a recollection that this latest incarnation of the 1909 Elgar\u003ci\u003e Violin Concerto \u003c\/i\u003e(rec.\n 14-15 July 1932) evokes, since it was in Atlanta that I heard Menuhin \nperform this same concerto with conductor Robert Shaw and the Atlanta \nSymphony Orchestra prior to my fateful first meeting with him at the \nFairmont Hotel.  Obert-Thorn remarks on Menuhin’s capacity for \narticulate communication, much in accord with his written persona in his\n book \u003ci\u003eUnfinished Journey\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003eI had seen Dick Cavett interview Yehudi Menuhin on Cavett’s TV show, \nand I had concluded after a few minutes that Cavett simply didn’t know \nenough to ask Menuhin important questions. I vowed that I would not so \nfalter. Armed with many LP documents, I met Yehudi Menuhin and proceeded\n to interview him for the newspaper I represented at the time, \u003ci\u003eCreative Loafing in Atlanta\u003c\/i\u003e. \n I recall foremost the rapt attention he gave me: he had a way of \narresting his own gaze with such steadfastnesss that I felt as if I had \nsomehow become the most important person he could be listening to at the\n moment!  When I asked him why he had no “current” recording of the \nTchaikovsky\u003ci\u003e Concerto\u003c\/i\u003e, he candidly confessed that, aside from what\n he considered an abortive attempt with Boult, he had no ambition to \ncompete with Jascha Heifetz in this piece, stating that in his opinion, \nthe Heifetz was tantamount to the ‘Beethoven Concerto.’ He did, however,\n vigorously recommend the performance taped with Ferenc Fricsay for \ntheir tour captured by DGG.\u003c\/p\u003e\n\u003cp\u003eFor those who already possess the Naxos incarnation of this concerto \ncombination, the Pristine may prove redundant. But for the novitiate or \nthe enthusiast, this performance in its latest format carries an urgency\n that sheds a new light on the authority of the conducting and the \nprecocity of the soloist.  The lilting theme of the first movement – \npresumably meant to celebrate Alice Stuart-Wortley – acquires an uncanny\n sense of wistful resignation as it moves through a series of sequences \nlikely taken from the example proffered by Brahms in his own concerto. \nThe robust\u003ci\u003e maestoso \u003c\/i\u003edevelopment seems to pit the orchestra’s \nfrenzy against a consoling violin part, though Menuhin at fifteen \ncertainly can explode passionately when required.  The Menuhin violin \ntone – which conductor Furtwaengler once characterized as ‘the most \nhuman’ – never fails to intone a vocal song eminently heart-rending.   \nThe coda increases in intensity, a gripping apotheosis in which solo and\n orchestra strike complementary Olympian sparks.\u003c\/p\u003e\n\u003cp\u003eFew idylls in music can equal the \u003ci\u003eB-flat Major Andante\u003c\/i\u003e of Elgar’s \u003ci\u003eConcerto \u003c\/i\u003ein\n this inscription, although my memory of the mature Menuhin in 1982 in \nperformance casts a valediction quite unique. The entire affect means to\n be\u003ci\u003e Nobilmente\u003c\/i\u003e, literally capitalized within the score and \ndeclared as Elgar’s intended tombstone epigraph.  The young Menuhin \nachieves the very mode of intimacy that marks his playing through a long\n and robust career. The enormously expansive last movement, \u003ci\u003eAllegro molto,\u003c\/i\u003e\n combines a fantasia sensibility with dervishly challenging bravura \nfigures for the solo, some of which remind me of similar martial \nfiligree in the Busoni \u003ci\u003eConcerto\u003c\/i\u003e. The dramatic leaps, however, I ascribe once more to the Brahms influence. The grand move here occurs at the novel \u003ci\u003eCadenza accompagnata: Lento\u003c\/i\u003e\n that has Menuhin’s weaving through past melodic tissue – “memories and \nhopes,” as Elgar put it – while the strings employ a strummed \u003ci\u003epizzicato tremolando\u003c\/i\u003e effect. If Elgar intended to express something of Coleridge’s “Aeolian Harp,” he effected it.  The lyric past will have its\u003ci\u003e nobilmente\u003c\/i\u003e\n utterance once more before Menuhin and Elgar catapult forward, marching\n to a moral victory. The inscription has been startlingly “present” \nthroughout.\u003c\/p\u003e\n\u003cp\u003eIt seems almost counter-intuitive to discuss the 25-26 November 1931 reading of the 1866 Bruch \u003ci\u003eFirst Conce\u003c\/i\u003erto,\n but the fact remains that for Menuhin’s debut in concerto repertory the\n performance bodes well. The young violinist readily carries the torch \nof his Enescu pedagogy, with throaty, deeply studied phraseology and \nlyric outpouring.  The seductive charm of the first movement has a \npowerful advocate in Ronald’s orchestral transition to the \u003ci\u003eAdagio\u003c\/i\u003e,\n which Ronald underlines by pregnant pauses within the emerging melodic \nline.  The virtually seamless side joins Obert-Thorn achieves only add \nto the sheer exotic curve of the expansive song. The last movement \u003ci\u003eAllegro energico\u003c\/i\u003e\n enjoys a lushly incisive approach, moving from its dance-motif to the \nardent secondary tune that builds up from half steps to a grand \nperoration. The emotional tenor of the performance, well beyond \nMenuhin’s tender fifteen years, astounds for the versatility and stamina\n of a natural wunderkind.\u003c\/p\u003e\n\u003cp\u003e—Gary Lemco\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003ca href=\"https:\/\/www.audaud.com\/yehudi-menuhin-the-first-concerto-recordings-193132-bruch-elgar-pristine-audio\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC459.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe young Yehudi Menuhin's groundbreaking first concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"Everybody who cares about violin playing should acquire this piece of still developing history\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eWhen the fifteen year-old Yehudi Menuhin stepped into the \nnewly-opened Abbey Road studios to make his first concerto recording in \nNovember, 1931, he was already not only a seasoned recording veteran, \nbut also a celebrated international phenomenon – a violin prodigy whose \nperformances had amazed musicians and audiences alike, not merely by his\n technical abilities, but also by the emotional depth and maturity he \nwas able to convey in his performances.\u003cli\u003e\n\u003cp\u003eLegendary producer Fred Gaisberg was sufficiently impressed by the \nsuccess of the Bruch sessions that he hit upon an idea of pairing him \nwith Elgar for a recording of the latter’s violin concerto. Gaisberg had\n tried unsuccessfully for years to get Fritz Kreisler to record the \nconcerto he had premièred with the composer in 1910, even offering to \nsend Elgar to Berlin to conduct it. With the composer’s advancing age \nand the sense that time was running out, he passed the score on to \nMenuhin, seeing the violinist as “a youthful and pliant performer \nwithout prejudice, who would respond best to [Elgar’s] instruction.”\u003c\/p\u003e\n\u003cp\u003eMenuhin quickly fell in love with the work. After trying it out \nbefore his mentor George Enescu, he travelled to London in July of 1932 \nto rehearse and record it with the composer, who was already an admirer \nof his artistry. The story of that meeting is well-known, with Elgar so \npleased that he cut the rehearsal short to go off to the races. The \nrecording which followed has attained a legendary status, rarely going \nout of the catalogue.\u003c\/p\u003e\n\u003cp\u003eThe Elgar was first reissued on LP for the composer’s centenary in \n1957, after which EMI destroyed their metal masters, per the practice of\n the time, believing they had preserved the recording in the ultimate \nlistening format. For a 1972 LP reissue, Anthony Griffith had to fall \nback on crackly British HMV shellac 78s for source material. EMI deemed \nthis unacceptably noisy for their first CD reissue in 1989, and the \nquieter but less vivid 1957 transfer was revived.\u003c\/p\u003e\n\u003cp\u003eBy the time of its second CD reissue in 1992, EMI had learned that \nsuperior copies existed on the Victor label, and engineer Andrew Walter \nborrowed a “Z” pressing set from an American collector for his transfer.\n The same copy was later lent to me for my Naxos restoration in 1999. \nFor the present release, I drew upon three Victor copies (one “Z” and \ntwo “Gold” label pressings), filtering minimally in order to present \nwhat I believe to be the most open sound yet for this classic recording.\n (The occasional recurring squeaking noises on the first sides of the \nfirst and last movements are in the original masters.)\u003c\/p\u003e\n\u003cp\u003eThe Bruch was not first issued on LP until 1976, when EMI brought out\n a box of early Menuhin recordings for the violinist’s 60th birthday. As\n far as I have been able to determine, there has never been an \n“official” CD transfer of the recording, although several labels have \nreissued it from commercial 78 pressings, including one I did for Naxos.\n I have newly transferred it here from the best sides of one “Z” and two\n “Gold” label Victor pressings, again making minimal adjustments to the \noriginal sound.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eBRUCH \u003c\/b\u003eViolin Concerto No. 1 in G minor, Op. 26\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eSir Landon Ronald\u003c\/b\u003e, conductor\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 25-26 November 1931 in Abbey Road Studio 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: 2B 2022-2, 2023-2, 2024-3, 2025-1A, 2026-2 \u0026amp; 2027-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on HMV DB 1611\/3\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eELGAR \u003c\/b\u003eViolin Concerto in B minor, Op. 61\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eSir Edward Elgar\u003c\/b\u003e, conductor\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 14-15 July 1932 in Abbey Road Studio 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos: 2B 2968-2A, 2969-2A, 2970-1A, 2971-2A, 2972-1A, 2973-2A, \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e2974-1A, 2975-1A, 2976-2A, 2977-1A, 2978-1 \u0026amp; 2979-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on HMV DB 1751\/6\u003c\/span\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eYehudi Menuhin\u003c\/b\u003e violin \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC459.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC459.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eEssay\u003c\/b\u003e: Meeting Menuhin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eAs \nsomeone who transfers recordings mainly from the 78 rpm era and whose \nconcert-going experiences only date from the 1970s onward, I’ve rarely \nhad the opportunity to hear the subjects of my restorations in \nperformance, let alone get to meet them. But one who I had the privilege\n not only of meeting but actually spending some time with in discussion \nwas Yehudi Menuhin.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eMenuhin\n was in Philadelphia in February, 1982 to give the long-delayed local \npremière of the Bloch Violin Concerto under Muti, and Ward Marston \narranged for the two of us to meet him at his hotel for a taped \ninterview. When we arrived on a Saturday morning at his suite at The \nBarclay on Rittenhouse Square (where Eugene Ormandy had a permanent \nresidence), we were greeted by the sound of his practicing through the \ndoor he had left open for us.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eHe \nushered us into the room, beginning with an apology for his performance \nat the concert the night before (which neither of us had attended, \nalthough I had a ticket for that evening’s performance), saying he had \nbeen told just before he stepped onstage of the death of his father in \nCalifornia. He immediately put us at ease, patiently putting up with our\n occasional ignorance with an avuncular benevolence.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eI \npulled out my old cassette tape the other night and played the interview\n again for the first time in many years. What struck me most, besides \nhis patience and kindness, was his remarkable articulateness. The \nwriting in his autobiography Unfinished Journey was exactly the way he \nspoke extemporaneously. We talked about his early career, his first \nrecordings, his long friendships with artists like Kreisler and Thibaud,\n his thoughts on Furtwängler and Karajan.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eOne \nthing in particular struck me now, in light of my having just finished \ntransferring his classic recording of the Elgar concerto with the \ncomposer conducting. He said that at the age of seven or eight, he was \nalready able to understand the emotions behind works like the \nTchaikovsky concerto and the Lalo Symphonie Espganole; but the short \nmorceaux of Kreisler like “Liebesfreud” and “Liebesleid” took longer to \ngrasp, for it meant learning to appreciate the whole of the Viennese \nexperience that had led to their composition – the meeting of disparate \ncultures, religions and history that developed the peculiar Viennese \ncharacter, which he saw as, to paraphrase, a love of pleasure almost \nbecause one had to accept what one couldn’t change.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIt \nput more into perspective what the sixteen year-old Menuhin was able to \naccomplish in his recording of the Elgar concerto. He had only first \ncome to England three years before, but already he was beginning to \nunderstand the character of the people, which he wrote in his \nautobiography was “a kind of passionate innocence, very different from \nthe passions – volcanic, aggressive, sophisticated, etc. – of other \ncountries.” Although he saw Elgar’s music as “English to the point of \nbeing almost unexportable”, he was able to understand – and, more \nimportantly, convey – what I would call the longing, relinquishment and \n“carrying on” in spite of things that the concerto embodies.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIt \nwas that preternatural musical maturity that set the young Menuhin above\n the kind of technique-based prodigies whose videos fill YouTube today. \nAnd in these new transfers of his first concerto recordings (also \nincluding the Bruch G minor concerto), issued to commemorate the \ncentenary of his birth, we can take the measure of this legendary \nperformer at nearly the start of his long and illustrious career.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":31975819085,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975819149,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC459_ca12110f-1b99-419d-96ac-afbc3b060f51.jpg?v=1487682388"},{"product_id":"pasc427","title":"The Columbia Beethoven Centennial Symphony Series, Volume 5 (1926) - PASC427","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 9\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recording · 1926\u003cbr\u003eTotal duration: 61:43\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eFelix Weingartner, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eMiriam Licette\u003c\/b\u003e (soprano)\u003cb\u003e\u003cbr\u003eMuriel Brunskill \u003c\/b\u003e(contralto)\u003cb\u003e\u003cbr\u003eHubert Eisdell \u003c\/b\u003e(tenor)\u003cb\u003e\u003cbr\u003eHarold Williams\u003c\/b\u003e (bass-baritone)\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eChorus and London Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhen he was a young man he was introduced to an elderly women who had sung in the chorus at the 1824 Vienna premiere, which was conducted by Beethoven...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\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\u003e\n\u003cbr\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\u003cspan class=\"TIMESb\"\u003e \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\/PASC427.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 5\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\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\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\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\u003cp\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\u003cp\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\u003cp\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\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 9 in D minor, Op. 125, \"Choral\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 16–17 March 1926 in the Columbia Studios, Petty France, London\u003cbr\u003eMatrix\n nos.: WAX 1350-2, 1351-2, 1352-2, 1353-2, 1354-2, 1355-3, 1356-2, \n1357-1, 1358-2, 1359-2, 1360-2, 1361-1, 1362-2, 1363-2, 1364-2 \u0026amp; \n1365-2\u003cbr\u003e First issued on Columbia L 1775 through 1782\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003eMiriam Licette (soprano)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eMuriel Brunskill (contralto)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eHubert Eisdell (tenor)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eHarold Williams (bass-baritone)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003eChorus and London Symphony Orchestra\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Weingartner \u003c\/b\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003eMUSSORGSKY  \u003c\/b\u003eSix Songs\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eThe Rite of Spring\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive stereo concert recording, 1962\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e*Download only - not on CD\u003cbr\u003eTotal duration: 91:42 (download); 67:42 (CD)\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGalina Vishnevskaya,\u003c\/b\u003e soprano\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/b\u003e \u003cb\u003e\u003cbr\u003eIgor Markevitch\u003c\/b\u003e, conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC493.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMarkevitch conducts the LSO at Edinburgh 1962 with Galina Vishnevskaya\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb live stereo recordings\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThis is the second in our short series of radio transcription recordings made by the BBC at the Edinburgh Festival of 1962. These concerts were not broadcast at the time but appeared on transcription discs, most likely aimed at the US radio market, which should have been destroyed after use. The announcements here suggest two programmes were intended. The concert  recording runs to nearly 92 minutes and is available in full in our download and streaming formats. We have had to cut the opening item, Tchaikovsky's Francesca di Rimini for this CD release in order to fit a single disc. Those buying the CD do of course get a free copy of the MP3 download which includes the Tchaikovsky and additional announcements not present on this disc. \u003c\/p\u003e\u003cp\u003eThe recording itself is in fine BBC stereo. XR remastering has served to bring out a rather light bass, especially in the Stravinsky, conveying much more of the power and intensity of the performance.    \u003c\/p\u003e\u003cp\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eRadio Introduction\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eFrancesca da Rimini (22:50)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSHOSTAKOVICH  \u003c\/b\u003eTwo Arias from Lady Macbeth of Mtsensk\u003c\/p\u003e\u003cp\u003eI Could See From My Window  (6:03)\u003cbr\u003eI Know a Lake in the Forest  (7:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMUSSORGSKY \u003c\/b\u003e(arr. Markevitch)  Six Songs\u003c\/p\u003e\u003cp\u003eCradle Song  (4:47)\u003cbr\u003eThe Magpie  (2:00)\u003cbr\u003eNight  (1:45)\u003cbr\u003eWhere art thou, little star?  (1:48)\u003cbr\u003e The Ragamuffin  (4:04)\u003cbr\u003eOn The Dnieper  (7:34)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGalina Vishnevskaya    soprano\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003eThe Rite of Spring \u003cbr\u003ePart 1: Adoration of the Earth -  Introduction  (3:27)\u003cbr\u003eThe Augurs of Spring - Dances of the Young Girls  (3:01)\u003cbr\u003eRitual of Abduction  (1:23)\u003cbr\u003eSpring Rounds  (3:26)\u003cbr\u003eRitual of the River Tribes  (1:53)\u003cbr\u003eProcession of the Sage  (0:43)\u003cbr\u003eThe Sage  (0:23)\u003cbr\u003eDance of the Earth  (1:14)\u003cbr\u003ePart 2: The Sacrifice - Introduction  (3:31)\u003cbr\u003eMystic Circles of the Young Girls  (2:55)\u003cbr\u003eGlorification of the Chosen One  (1:36)\u003cbr\u003eEvocation of the Ancestors  (0:48)\u003cbr\u003eRitual Action of the Ancestors  (3:10)\u003cbr\u003eSacrificial Dance  (4:55)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLondon Symphony Orchestra    Igor Markevitch\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003eXR remastering by XR remastering by Andrew Rose\u003cbr\u003e\u003cp\u003eCover artwork based on a photograph of Edinburgh\u003cbr\u003e\u003cbr\u003eLive concert recording, Edinburgh Festival\u003cbr\u003eUsher Hall, Edinburgh, August 26, 1962\u003cbr\u003e\u003cbr\u003eRecorded by BBC Transcription Services\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC493.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC493.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":32639612109,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32639612173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32639612237,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC493_836e1dae-8901-42dc-a6af-f3337b6d25ca.jpg?v=1487924495"},{"product_id":"pasc001-cd","title":"SCHNABEL Beethoven: Piano Concerto No. 5 \"Emperor\" (1932) - 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We've worked hard to tame the many rough sonic edges of this early recording to allow Schnabel's superlative playing to shine through on this new Pristine Audio restoration for 2005, easily and demonstrably better than certain other restorations on the market today!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003eNote:\u003c\/span\u003e at the end of January 2007 I returned to this recording following the development of the\u003cem\u003e Pristine Audio Natural Sound\u003c\/em\u003e method for the re-equalisation of vintage recordings. I had already made what I felt at the time were major inroads in the improvement of this deeply flawed recording, but nothing prepared me for what was possible. There will always be a degree of hiss and occasional distortion in a recording as poorly made as this. However, for the first time in 75 years, we could now claim to have a very good idea of what the performance actually sounded like at the time.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e \u003c\/p\u003e\n\u003ctable style=\"width: 520px; height: 155px;\" cellspacing=\"0\" cellpadding=\"8\" border=\"0\" align=\"center\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp style=\"text-align: center;\" align=\"center\"\u003e\u003cstrong\u003eInitial reactions to the \u003cem\u003ePristine Audio Natural Sound\u003c\/em\u003e remastering: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\"I heard your previous version of this, and liked it, but this is much better. Good work.\"\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\"The Schnabel is very good. The sound is equal throughout the whole range, no sudden discolorings audible.\"\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\"the clarity IS astonishing.......this sounds beautiful\"\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp class=\"body\" align=\"left\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003eFurther minor improvements were made following a new transfer in March 2007 using mainly US pressings which were generally quieter than their UK counterparts. This allowed for a reduction in the degree of noise processing and some further refinements to the Natural Sound processing technique to be applied.\u003c\/p\u003e \n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003eBEETHOVEN \u003c\/strong\u003ePiano Concerto No. 5 in E flat, \"Emperor\"\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eArtur Schnabel, \u003c\/strong\u003epiano\u003cstrong\u003e \u003cbr\u003e London Symphony Orchestra \u003cbr\u003e \u003c\/strong\u003eConducted by \u003cstrong\u003eMalcolm Sargent\u003cbr\u003e \u003c\/strong\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 24th March, 1932 at Abbey Road Studio 1, London \u003cbr\u003e Issued as 5 HMV 78s, D.B.1685-D.B.1689 \u003cbr\u003e Matrix numbers 2B 3244-53. \u003cbr\u003e Takes 2, 3, 1, 1, 1, 1, 1, 2, 1, 2\u003cbr\u003e\u003cbr\u003e Duration 36'14\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC001.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC001.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003eBeethoven's \"Emperor\" Concerto\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp class=\"body\"\u003eThe \u003cstrong\u003ePiano Concerto No. 5 in E-flat major\u003c\/strong\u003e, op. 73 by Ludwig van Beethoven, popularly known as the \u003cstrong\u003e\"Emperor Concerto\"\u003c\/strong\u003e,\n was his last piano concerto. It was written between 1809 and 1811 in \nVienna, and was dedicated to Archduke Rudolf, Beethoven's patron and \npupil. The first performance took place in December 1810 in Leipzig.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis concerto is very well known, and quite popular. In \nOctober 2007 it was voted number One in the Australian Broadcasting \nCompany's Classic FM Classic 100 Concertos.\u003c\/p\u003e\u003cp class=\"body\"\u003eLike the \"Moonlight Sonata\", the title of \"Emperor\" for \nthis concerto was not Beethoven's own. Its duration is approximately \nforty minutes.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymid\"\u003eInstrumentation\u003c\/p\u003e\u003cp class=\"body\"\u003eThe concerto is scored for solo piano, two flutes, two \noboes, two clarinets (one in B-flat, the other in A), two bassoons, two \nhorns, two trumpets, timpani in E-flat and B-flat, and strings.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymid\"\u003eMovements\u003c\/p\u003e\u003cp class=\"body\"\u003eThe \"Emperor\" is divided into a standard three \nmovements. As with Beethoven's other final concerti, this work has a \nrelatively long first movement. (At twenty-five minutes, the Violin \nConcerto has the longest; Piano Concerto Nos. 4 and 5 each have opening \nmovements about twenty minutes long.)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eI. \u003cem\u003eAllegro\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe piece begins with three full orchestra chords, each \nfollowed by a short cadenza, improvisatory in nature but written out in \nthe score. These short cadenzas recur intermittently throughout the \npiece.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs music's Classical era gave way to its Romantic era, \ncomposers began experimenting with the manner in which one or more solo \ninstruments introduced music. Beethoven had already explored such \npossibilities in his Piano Concerto No. 4, but the monumental piano \nintroduction in Piano Concerto No. 5 – it lasts for nearly two minutes –\n foreshadowed future concerti such as Mendelssohn's Violin Concerto or \nTchaikovsky's Piano Concerto in B-flat minor.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe first movement is deceptively complex. Despite its \nuse of simple chords, including a second theme constructed almost \nentirely out of tonic and dominant notes and chords, it is full of \ncomplex thematic transformations. The complexity is intensified once the\n piano enters with the first theme, as the expository material is \nrepeated with far more complex variations, virtuoso figurations, and \ncomplex modified chords. The second theme enters in B major.\u003c\/p\u003e\u003cp class=\"body\"\u003eAside from the opening cadenzas, the movement follows \nBeethoven's trademark three-theme sonata structure for a concerto. The \norchestral exposition is a typical two-theme sonata exposition, but the \n\"second exposition\" with the piano has a triumphant virtuoso third theme\n at the end that belongs solely to the solo instrument. Beethoven does \nthis in many of his concertos. The coda at the end of the movement is \nquite long, and, again typical of Beethoven, uses the open-ended first \ntheme and gives it closure to create a satisfying conclusion.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe heroic nature of the movement is perhaps exemplified\n in a passage in the development section, where it seems the piano and \nthe orchestra are going to war — and the piano wins.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eII. \u003cem\u003eAdagio un poco mosso\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe second movement in B major is, in standard contrast \nto the first, calm and reflective. It moves into the third movement \nwithout interruption when a lone bassoon note B drops a semitone to \nB-flat, the dominant note to the tonic key E-flat.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eIII. \u003cem\u003eRondo: Allegro ma non troppo\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe final movement of the concerto is in seven-part \nrondo form (ABACABA), a typical concerto finale form. The piano begins \nthe movement by playing its main theme, then followed by the full \norchestra. The rondo's B section begins with piano scales, before the \norchestra again responds. The C section is much longer, presenting the \ntheme from the A section in three different keys before the piano \nperforms a cadenza. Rather than finishing with a strong entrance from \nthe orchestra, however, the trill ending the cadenza dies away until the\n introductory theme reappears, played first by the piano and then the \norchestra. In the last section, the theme undergoes variation before the\n concerto ends with a short cadenza and robust orchestral response.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":36137360589,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":36137360653,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":36137360717,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC001_63ae8ada-0f5a-444e-a9a6-ae47c4b9aacd.jpg?v=1492502753"},{"product_id":"pasc334-cd","title":"WEINGARTNER conducts Brahms' Third and Fourth Symphonies (1938) - PASC334 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478146381,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478146445,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC334_5e8f4fa1-ef54-47ea-8c76-548994a5e4c3.jpg?v=1658308010"},{"product_id":"pasc334","title":"WEINGARTNER conducts Brahms' Third and Fourth Symphonies (1938) - PASC334","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 3 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 4 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 67:28\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eFelix Weingartner\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWeingartner may be the definitive Brahms interpreter. A mandatory acquisition.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is the second half of Felix Weingartner’s London Brahms symphony cycle. The First and Second symphonies were reviewed in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 35: 1. Those performances date from 1939 and 1940, respectively, and \nwere also split between the London Symphony Orchestra and the London \nPhilharmonic. Pristine’s Andrew Rose did the remastering from U.K. \nColumbia 78s, and reviewing that disc in 35:1, I was so bowled over by \nRose’s restorations and by Weingartner’s electrifying readings that when\n I saw this companion CD advertised, I had to have it.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWeingartner made these in-studio recordings of the\n Brahms symphonies in almost reverse order. He began with No. 4 on \nFebruary 14, 1938, and followed it with No. 3 on October 6, 1938. Nos. 1\n and 2, in that order, came a year apart, in February 1939 and February \n1940, completing the project before the German bombing blitz on London \nbegan in September of that year.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLike the First and Second symphonies, the Third \nand Fourth are also taken from U.K. Columbia 78s, and even though \nthey’re of slightly earlier vintage, whatever Rose has done to achieve \nsuch astonishingly vivid sound is nothing short of miraculous.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEverything I said in my review of Weingartner’s \nBrahms First and Second could be repeated here. His tempo for the first \nmovement of the Third Symphony is a good deal faster than we tend to \nhear it in modern performances. But the kinetic energy and dramatic \ndrive Weingartner generates leads to massively powerful climaxes. It’s \nonly part of the story, however, to single out the first movement. \nTempos across the board tend to be swift and informed by some sort of \nprimordial, premonitory force. Listen, for example, to the last \nmovement. Weingartner finds a demonic fury in this music I’ve heard no \nother conductor match.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith this kind of dark and violent message in the \nThird Symphony, where does Weingartner go in the Fourth? Curiously, not \nwhere you might think, at least not at first. His tempo for the opening \nmovement is quite moderate, no faster really than what we hear in most \nmodern performances, and while the music isn’t exactly what I’d call \nplayful, Weingartner keeps it mostly light and transparent, emphasizing \nthe lyrical elements of the score and interpreting Brahms’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enon troppo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e marking to apply not just to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e tempo but to the general character of the movement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEven the funeral, Phrygian-based second movement \navoids a leaden tread and mournful mien. The first entry of the bowed \nstrings at bar 30, for example, immerses you in a flood of caressing, \nsensuous warmth. Devastation and desolation are saved for the last \nmovement, that shattering chaconne\/passacaglia, which gains enormously \nin its implacable malevolent determination as a result of the previous \nmovements downplaying the hint of catastrophe to come.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOnce again, Andrew Rose should be credited for \nhaving accomplished nothing short of a miracle in remastering these \nrecordings. There are truly moments when you forget you’re listening to \nanything other than a brand-new, modern recording. But beyond Rose’s \ncontribution, if you care at all about Brahms, these recordings are \nobligatory for your collection. Felix Weingartner is one of the closest \nand most important direct links to the composer who lived long enough \ninto the age of recording technology to have recorded Brahms’s \nsymphonies at a time when 78s had reached state-of-the-art conditions. \nIt’s not a word I often use, but Weingartner may be the definitive \nBrahms interpreter. A mandatory acquisition. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJerry Dubins  \u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC334.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eWeingartner's 1938 London recordings of Brahms' Third and Fourth Symphonies\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSuperb clarity and definition in these new XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAfter sampling a number of possible sources and making a variety of test transfers of these symphonies over a year ago I decided to admit defeat - temporarily at least. There is something about a number of symphonic recordings made in the late 1930s at Abbey Road's Studio 1 which make them particularly tricky to work on. The sound is often congested, there's a lot of what I term \"rubbish\" between the actual musical content that has been intermittently captured in the upper treble, and they can take a lot of unravelling. No source seems ideal in this respect, but after putting the project to one side I returned to it, both with my original options still open, and also with some 1960s Columbia LP transfers I'd previously dismissed when tackling Weingartner's recordings of the first two Brahms symphonies (\u003ca href=\"http:\/\/www.pristineclassical.com\/LargeWorks\/Orchestral\/PASC281.php\"\u003ePASC281\u003c\/a\u003e).\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis time around the LPs proved far more successful, and I was able to lift from their dimness some fine orchestral tone and detail. Sonically the Third Symphony has perhaps the edge, with slightly more of real value to be found in those vital upper reaches, and less crackle to content with. It also seems to be better recorded in the louder sections - where the Fourth too often seems about to coagulate into a rather heavy mush the Third retains clarity and good instrumental separation.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Symphony No. 3 in F major, Op. 90 \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 6 October 1938\u003cbr\u003eIssued as Columbia LX.748-51\u003cbr\u003eMatrix numbers CAX.8335-42\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLondon Philharmonic Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eFelix Weingartner \u003c\/strong\u003econductor\u003c\/span\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Symphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 14 February 1938\u003cbr\u003eIssued as Columbia LX.705-09\u003cbr\u003eMatrix numbers CAX.8174-83\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLondon Symphony\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eFelix Weingartner \u003c\/strong\u003econductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecording producer: \u003cstrong\u003eLawrance Collingwood\u003c\/strong\u003e\u003cbr\u003eRecorded at Abbey Road Studio 1, London\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2012\u003cbr\u003eCover artwork based on photographs of Weingartner and Brahms\u003cbr\u003e\u003cbr\u003eTotal duration: 67:28\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC334.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC334.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eReview (Symphony No. 3)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe first impression the recording gives is of sweetness and light; the weight is on the slight side, which suits the nature of the streaming music, and the pronounced all-through, unsentimental treatment by the conductor. It may be that the gentle glow in such places as the end of side 1 is thereby a little thinned on the other hand, the lightening helps to carry the music along, and to resolve some of the tonal problems; values can easily be muddied. I like the recording, therefore, because of this element, and also for the way in which the wood-wind falls into place and play, it really sounds like play, not work. The unity that the recording conveys is, too, enhanced by the strings' force being so nearly of the kind that transports one to the concert-room, not the foundry. Firmness and the bread-and-butter qualities of attack are always fine qualities under Weingartner's hand (he has, of course, written on this work in The Symphony since Beethoven). \"Brahms's Eroica,\" said Richter. One does not minutely compare the two; simply, here is the high heart and high humanity which (without accepting all Carlyle's thoughts about the Hero) he seems to have well defined as \"the divine relation which unites a great man to other men.\" The hero is not a superman, nor a man apart; always, he is the essence of the best of ourselves. In the expression of that, Weingartner's spirit, and the recording, seem united.\u003cbr\u003e\u003cbr\u003eSecond movement (sides 3 and 4). It swells and waves with earnest but not dark power. We may care to note the lift that the figure E, G, upper E gives to it (cf. the \" motto\" of the first movement, those three ascending-arpeggio notes—there, F, A flat, F—the A flat giving an additional lift. The steady motion rules out some of the emotional stresses that some may prefer, in other readings. You will mark, though, the broadening and quietening, towards the end, which comes all the more warmingly because the rest has been a little lacking in emphasis possibly, even slightly prosaic. Of this mellowing coda no other composer, to my mind, was so sure a master as Brahms. Others exhilarate, pulse with new life, even amaze: does anyone quite reconcile like Brahms ?\u003cbr\u003e\u003cbr\u003eThird movement, side 5 and half of 6. It would not, I think, be easy to find a better recorded account of the rich scoring of this - not that the richness floods over you, but that the never very easily-reproduced wind choir blends so well with the strings, and the whole maintains a feeling so elevated yet not aloof. There is a world of interest in the scoring alone, and the instrumental timbre and life are beautifully made moving in this recording.\u003cbr\u003e\u003cbr\u003eDeepest pleasure of all is the Finale it begins in the middle of side 6. The flexibility of the handling is apparent at once. Cf. the dark theme, half an inch from the end, with the one, of similar motion, in the second subject of the Andante. The drama: I wonder if it might a little lack power? Yet, though the tone is never aggressive, every note tells. You can hear the parts, even in the occasional dangerously scored sections. Is it tragedy ? The end points a philosophy. Without reading too much into non-programmatic music, one may modestly find, perhaps, some comfort in the end of the work: maybe even hope for some such assurance, after the evil upthrusts of to-day, of—what ? Each to his own heart's hope. I can only testify to the good that I think these records have wrought upon me, this overcast November day in the murky year 1938; and so commend them and their comfort to all who may be inclined to feel and think likewise.\u003cbr\u003e\u003cbr\u003eThe Gramophone, December 1938\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34139098381,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34139098445,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34139098509,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34139098573,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC334.jpg?v=1489587665"},{"product_id":"pasc354","title":"LEO BLECH Overtures and Dances (1931) - PASC354","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVARIOUS COMPOSERS\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOvertures and Dances\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003eStudio recordings, 1931\u003c\/span\u003e\u003cbr\u003eTotal duration: 77:50\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eLondon Symphony Orchestra \u003cbr\u003eLeo Blech, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you believe that something in the way of passion and character is missing from our current concert life, this CD will prove you right578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI don’t know of any conductor today who has a \nsound like Leo Blech’s. I’ve never heard more disciplined playing as \nthat on this disc, yet one doesn’t feel that it is enforced on the \norchestra. Blech never is as rigid as Toscanini. Along with this \ndiscipline, there is a lightness and flexibility that informs every bar.\n Blech spent most of his career in the opera house, and on this disc he \nis revealed as the theater conductor \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epar excellence\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Always one senses the dramatic impact of the music. Born in 1871, Blech\n represented the best of German Jewish culture in his generation. Like \nFelix Weingartner, Blech is a modern conductor in every sense, yet each \nbar under his direction pulses with life. His prestige in Germany was \nsuch that, despite being Jewish, he was able to remain in Germany under \nthe Nazis until 1937, four years after Bruno Walter and Otto Klemperer \nhad left the country. Blech was also a composer, particularly of opera \nand operetta, and as a result he seems to confront the music from the \ninside out, much as Leonard Bernstein did. The works on this CD were \nrecorded in the course of three days in London in 1931. The London \nSymphony under Blech’s direction never lets up, adapting with ease to a \nwide variety of repertoire. The overall effect is bracing and even \nrefreshing, as Blech dusts the cobwebs off novelties and warhorses \nalike.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Mozart works on this CD were great rarities in\n 1931. Unlike today’s maestros, Blech uses the full orchestra for \nMozart, yet the effect is never lumpy or heavy handed. The overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Petits Riens \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas\n warmth and grace, while the subsequent dances from that ballet possess a\n golden hue one associates with dances from the French Baroque. Luigi \nCherubini’s overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAnacréon \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ebrings\n us into the world of opera seria from the time of Spontini. Blech’s \nperformance has an ideal blend of dramatic intensity and lyricism. The \noverture to Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOberon\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n receives the wildest performance on this disc, with some tempos in the \nmain section so quick that they virtually defy the orchestra to play \nthem. I have heard this overture many times, and I can assure you that \nyou never have heard it played like this. At the start of Mendelssohn’s \noverture \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCalm Sea and Prosperous Voyage\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Blech creates balances that result in far more musical interest than \nthe indifferent stasis that most conductors usually aim for in this \nopening. As the work ends, Blech slows down just enough to bring out the\n piece’s nobility.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy favorite selection on this CD is Daniel-François Auber’s overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe domino noir\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. German conductors of Blech’s generation were not known for leading French repertoire, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n a specialty of his, and he finds just the right combination of dash and\n mellifluousness for the Auber. In Offenbach’s overture to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOrpheus in the Underworld\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n there is a thrill a minute. It’s amazing that the same conductor could \nalso make the delicate tempo adjustments in music from Brahms’s First \nSerenade to ensure a play of light and shadow, wistfulness and energy. \nUnfortunately, there is a brief, loud electronic noise in the scherzo of\n the Brahms that is distracting. Finally, Blech conducts the most \nunsentimental version of Grieg’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNorwegian Dances \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eyou are ever going to hear. There is always forward motion and no dawdling, while details, such as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emarcato\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n accents in the first dance and the oboe solo in the second, jump out at\n you with their beauty. How Blech recorded music as different as Auber \nand Grieg on the same day is a mystery to me.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn has done a fine job remastering \nthese 78s. The transfers are usually warm and clear, with just enough \nsurface noise left in to preserve atmosphere and resonance. I hope \nObert-Thorn will turn his attention to Blech’s great recording of \nRichard Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Should you never have heard Leo Blech conduct, this CD, with its wide \nvariety of repertoire, is a great place to begin. If you believe that \nsomething in the way of passion and character is missing from our \ncurrent concert life, this CD will prove you right. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC354.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eLeo Blech's 1931 recordings with the London Symphony Orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eA fine cross-section of material in Mark Obert-Thorn's 50th Pristine Audio transfer release\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cp class=\"body\"\u003eThis program presents a wide cross-section of Leo Blech’s repertoire, from opera and operetta to ballet and concert music. Blech had recorded with the London Symphony Orchestra before (a pioneering Schubert 9th in 1927); but the impetus for having the present series done with them rather than with his usual Berlin State Opera Orchestra may have been HMV’s contract with the LSO, which mandanted a certain number of sessions each year with the ensemble.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOver three days of recording in both Kingsway and Queen’s Hall, Blech led the orchestra in some 23 sides, all but three of which are presented here. (The odd side, the Mozart Divertimento Minuet, had to wait until the following year for Blech to record a discmate with the Berlin Philharmonic.) The missing items from the London sessions, all by Mendelssohn, were two orchestrated “Songs without Words” on a 12-inch side, and the finale of the Italian Symphony on two 10-inch sides. (Longtime Blech reissue collectors may have them on the 1978 Past Masters LP, PM-14.)\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers of the Cherubini and Mendelssohn works, as well as the last two Grieg dances, were American Victor “Z” pressings. The Mozart ballet music and the Brahms Serenade movements came from pre-war Victor “Gold” label pressings, while the first two Grieg dances came from a later “Silver” label disc. The Weber overture was transferred from an Italian Voce del Padrone pressing, and the remaining items came from British HMV shellacs.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAn electrical problem in the original recording sessions produced low frequency sputters and pops on several of the masters. These are particularly noticeable in the quiet passages on the first side of the Mendelssohn. I have removed the worst of them and attempted to filter the rest, but some of the noise remains on a few of the recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\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\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART Les petits riens\u003c\/strong\u003e, K.299b - Ballet\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 2B 1515-2 and 1516-2 • First issued on HMV DB 1676\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART Minuet from Divertimento No. 17\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan class=\"bodybigblue\"\u003e in D major, K.334\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrix: 2B 1197-1 • First issued on HMV DB 1714\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCHERUBINI Anacréon\u003c\/strong\u003e - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 2B 1190-2 and 1191-1 • First issued on HMV DB 1674\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBER Oberon\u003c\/strong\u003e - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 2B 1511-2 and 1512-2 • First issued on HMV DB 1675\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMENDELSSOHN Calm sea and prosperous voyage\u003c\/strong\u003e, Overture, Op. 27\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 2B 1523-2, 1524-2 and 1525-1 • First issued on HMV DB 1671 and 1672\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eAUBER Le domino noir\u003c\/strong\u003e - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 0B 1517-2 and 1518-2 • First issued on HMV DA 1264\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eOFFENBACH Orpheus in the Underworld\u003c\/strong\u003e - Overture\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 2B 1194-2 and 1195-2 • First issued on HMV DB 1673\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS Serenade No. 1\u003c\/strong\u003e in D major, Op. 11\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 2B 1193-2 and 1192-2 • First issued on HMV DB 1670\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eGRIEG Norwegian Dances\u003c\/strong\u003e, Op. 35\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eMatrices: 2B 1519-2, 1520-1, 1521-2 and 1522-1 • First issued on HMV DB 1668 and 1669\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eLondon Symphony Orchestra \u003cbr\u003eLeo Blech \u003c\/strong\u003econductor\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation by Andrew Rose \u003cbr\u003eCover artwork based on a photograph of Leo Blech\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 77:50\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC354.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC354.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e - CHERUBINI Anacréon - Overture \u003cspan class=\"bodymidarial\"\u003e(HMV 78rpm release, 1938)\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eCherubini (1760-1842), an old friend of my youth, is \nremembered by only the overtures of his operas. I should like to see one\n of them. Perhaps this classical soul was too easily satisfied with a \nlibretto- -a weakness that has put many an opera on the shelf, though I \ndo not think it is entirely crippling. \"Anacreon, or Fugitive Love,\" \ncame out in 1803, and went in very soon after. The overture is the kind \nof music that, I think, can be heard now and again with brisk pleasure. \nThere is a pompous chordal preface, and then some sweet wood-wind calls \nand answers. The material deals considerably in one or two figures (mark\n the quiet start, and the long crescendo, a plan which Rossini used so \nfreely). The music is no brain-stormer, or barn-stormer rather, a \nmostly-Mozartean spirit working with French needs in view. Anacreon may \nnot be the ideal subject for an opera, though he sang of themes that \nfilled so many stages—pleasure, the sportive life, lyricism, and the \ngrape (without a headache) ; not forgetting lovely woman, bless her, \nwho, as the poet sings, denied the weapons of all other creatures, is \ngiven \" Beauty ; this Both her arms and armour is : She, that can this \nweapon use, Fire and sword with ease subdues.\" And so forth (but \ndistrust the too trustful Moore's translations of what he thought was \nAnacreon). Dr. Blech always turns out reliable, tasteful work. The level\n of recording is such as my fibre can endure, and I enjoy. Enough, but \nnot too much.\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eW.R.A., The Gramophone\u003c\/strong\u003e, April 1938\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":3134675550234,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":3134675583002,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC354_e0930d88-39f2-417e-8d30-42b21ea2493a.jpg?v=1512227309"},{"product_id":"pasc354-cd","title":"LEO BLECH Overtures and Dances (1931) - PASC354 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478155533,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478155597,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC354_98f866ef-5d2f-4417-8f1f-3959e8bd6a87.jpg?v=1658308577"},{"product_id":"pasc366","title":"The Columbia Beethoven Centennial Symphony Series, Volume 1 (1926\/27) - PASC366","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonore Overture No. 3\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eStudio recordings, 1926\/27\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 66:56\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSir George Henschel • Royal Philharmonic Orchestra\u003cbr\u003eSir Thomas Beecham • London Symphony Orchestra \u003cbr\u003eSir Henry J. Wood • New Queen’s Hall Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTruly deserving of the designation “historic” and I look forward to the rest of the series578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn 1927, the British Columbia recording company marked the Beethoven centennial by issuing the first \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eelectrical\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recordings of his nine symphonies. In another 14 years, these \nrecordings will have been recorded as close to the year of Beethoven’s \ndeath as they are to us. Pristine Audio will eventually reissue new \ntransfers of all these historic recordings. These were not, however, the\n first recordings of Beethoven symphonies. Quite a few go back even \nfurther. According to Mark Obert-Thorn, who is responsible for these \nexcellent transfers, “All of the Beethoven symphonies were recorded \nmultiple times complete, acoustically. Claude G. Arnold’s discography of\n acoustic orchestral recordings (The Orchestra on Record, 1896-1926) \nlists nine pages of them...Frieder Weissmann came closest to doing a \ncomplete cycle; his lacked only the Seventh and the final movement of \nthe Ninth (which was recorded with Eduard Mörike conducting the Ode to \nJoy).” Appropriately enough, the first CD in Pristine’s reissue contains\n Beethoven’s first two symphonies, which still carry traces of the 18th \ncentury with them. Malcolm Sargent once suggested that, if Beethoven’s \nsymphonies had come down to us without numbers or dates, one could \nprobably place the First, Second, and Ninth Symphonies in their proper \nplaces but putting the rest in sequence would be difficult. It seems to \nbe generally assumed that musical performances were more “expressive” \nand “free-wheeling” or just plain eccentric a century ago. There is, to \nbe sure, some recorded evidence of this, but my guess would be “it \ndepends.” Some conductors undoubtedly were more individualistic and \nself-indulgent than those we are accustomed to hearing but you may be \nsure that there were many virtuous straight-arrows who were less willing\n to inflict their personalities on the music. There were also, no doubt,\n a considerable number of hacks.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGeorg (later “George”) Henschel was born in \nGermany but lived most of his career in the English-speaking world and \nwas eventually knighted. Oddly, for a conductor, his principal \ninstrument was his baritone voice but he could play the piano well \nenough to accompany himself and did, on several recordings. He was a \nfriend of Brahms and wrote a memoir of his friendship with the composer.\n When Henschel was born, in 1854, Brahms was 20 years old and Beethoven \nhad been dead for only 27 years. Can you remember events that took place\n 27 years ago, in 1986? Chernobyl? Iran–Contra? The space-shuttle \nChallenger exploding? Bill Buckner’s unfortunate misadventure? Is it \nreally \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e long \nago? It is possible that Henschel was the oldest conductor of any \ncelebrity to make an electrical recording. His contemporaries, Robert \nKajanus (1856-1933), Max Fiedler (1859-1939), and Karl Muck (1859-1940) \nalso made some. Artur Nikisch (1855-1922) only lived long enough to make\n some acousticals. Interestingly, three of them, Nikisch, Fiedler, and \nMuck, eventually followed Henschel as music directors of the Boston \nSymphony Orchestra, of which he was the very first one. A photograph of \nHenschel and the orchestra reveals a peculiarity of the seating \narrangement: the basses and cellos are divided, with half on the \norchestra’s extreme left, behind the violins, and half on the extreme \nright. Brahms reputedly approved of this setup.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHenschel’s performance of the First Symphony is a fairly leisurely one; he doesn’t feel a need for urgency in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n first movement but the tempo is a comfortable one and what I assume to \nbe a smaller-than-usual orchestra mitigates any feeling of heaviness. \nLikewise, he observes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of the second movement but minimizes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003econ moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The effect is quite pleasant; in fact, the whole performance has a \nrelaxed lightness that I found quite enjoyable. The Minuet is \nmore-or-less conventional, and perhaps his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto e vivace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n fast enough but not particularly urgent and the orchestra certainly \nplays well enough. Can we infer anything about 19th-century performance \npractices from this recording? I doubt it. Incidentally, he observes all\n the repeats, which did not always happen on 78s, whether for musical or\n practical reasons. Unhappily, this is his only recording as a conductor\n though he lived until 1934. I wonder how he would have done a Brahms \nsymphony.  \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, Thomas Beecham, while he \nadheres to convention in the Second Symphony’s Scherzo, ignores the \nfirst movement’s exposition repeat. Beecham’s moderately paced \nintroduction leaves one unprepared for the way he takes off at the \noutset of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I think I can say with the utmost sobriety that this is the fastest \nperformance of the movement you are likely to hear. As Obert-Thorn \nwrites, the performance “threatens to go off the rails.” The playing of \nthe strings is astonishingly accurate and nearly unanimous though, \ninevitably, some of the fast passagework is a bit blurred. He dispatches\n the movement in 7:28! The rest of the performance, at least, resembles \nhis two very good subsequent ones from 1936 and 1957. Was he trying to \nsqueeze the first movement onto two sides? Given that the original “78” \nrpm recording (it was actually recorded at a speed of 84.4 rpm!) uses \nfour discs, I don’t see the necessity. Perhaps it was merely a momentary\n eccentricity, like the pauses he makes before and after the Trio in the\n Scherzo. Henry Wood’s supple and intense \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3 serves as a nice bonus. Given the age of these pioneering \nrecordings, I was pleasantly surprised at how good they sounded.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI once lived next to a switching yard with the \noccasional rumble and squeal of train wheels going on all day; the only \ntime I would notice it was when I had a visitor who would ask something \nto the effect of “How can you stand all that noise?” The rest of the \ntime I was oblivious to it. Although the producer issues a warning that \nthese early electricals were inherently noisy, it’s no big deal. I had \nno problem with it at all and found myself quite absorbed in the \nperformances. Obviously, they do not compete with the best modern ones \n(though I really enjoyed Henschel’s First Symphony), but they are truly \ndeserving of the designation “historic” and I look forward to the rest \nof the series, which will line up as follows: No. 3 (Henry Wood), No. 4 \n(Hamilton Harty), and the rest (Felix Weingartner). \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:5 (May\/June 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC366.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eGroundbreaking Symphonic series first issued in 1927 begins here in new Obert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\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 class=\"body\"\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 class=\"body\"\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 class=\"body\"\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 class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 1 in C, Op. 21\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 14 and 21 December 1926 and 4 February 1927 in the Scala Theatre, London\u003cbr\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\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eRoyal Philharmonic Orchestra\u003cbr\u003eSir George Henschel\u003c\/strong\u003e conductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 2 in D, Op. 36\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 9 - 10 November 1926 in the Scala Theatre, London\u003cbr\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\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Symphony Orchestra\u003cbr\u003eSir Thomas Beecham \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Leonore Overture No. 3, Op. 72b\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 28 February 1927 in London\u003cbr\u003eMatrix nos.: WRAX 2467-2, 2468-1, 2469-1 and 2470-1\u003cbr\u003eFirst issued on Columbia L 1978 and 1979\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNew Queen's Hall Orchestra\u003cbr\u003eSir Henry Wood\u003c\/strong\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 66:56\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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(+MP3)","offer_id":40478161741,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478161805,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC366.jpg?v=1658308869"},{"product_id":"pasc200","title":"ALWYN conducts Tchaikovsky - first Decca stereo LP (1958) - PASC200","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSK\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e1812 Overture\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eCapriccio Italien\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarche Slave\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e\u003cbr\u003eRecorded 1958\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e\u003cbr\u003eTotal duration: 39:06\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e \u003cb\u003eLondon Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eKenneth Alwyn \u003cbr\u003e \u003c\/b\u003ewith \u003cb\u003eThe Band of H.M. Grenadier Guards\u003cbr\u003e \u003c\/b\u003eDirector of Music \u003cb\u003eMajor F. J. Harris MBE\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC200.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eDecca's first \"SXL\" stereo LP - a Tchaikovsky spectacular\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eA new series launched - literally - with a bang, now fully XR remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBy 1958, Decca has been recording in stereo for four years, regularly sending out two production teams, one to make the stereo master, the other the mono master. Each team of producer and engineer worked independently of the other to produce the optimum sound for their system. However, when a system for the successful replay of stereo discs was finally unveiled in 1958, it seems the company decided a new and spectacular recording was required for the very first record in their new stereo series of SXL discs, something that could utilise all of the experience amassed over the previous as-then-unreleased stereo sessions.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eClearly the 1812 Overture here is designed as a showpiece. The stereo imagery is both very wide and very precise, and if the studio trickery that produced the \"cannon shots\" (over-dubbed speeded-down gunshots panned around on tape and chopped roughly together) sounds desperately primitive today, the effect when heard for the first time was surely enough to launch a hundred discs of stereo marching bands and steam trains to thunder through your living room. Yet, as the Gramophone reviewer in October 1958 pointed out, \"\u003cem\u003eThis is all loud music ; or at least it certainly has its share of loud moments. It would seem to be a good programme for showing off the, new medium (not only in consideration of the more massive passages); and as a programme it is helped notably by 1812 being allowed to conclude a side, as it clearly must a programme... This combination should be, and is, shattering; but, even so, the virtues of the recording are perhaps more readily perceived in some quieter moments—particularly in the Italian Capriccio, which reproduces the music in places with quite startling clarity.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIt is a very well-recorded album, and this transfer, from a near-mint and very well pressed first edition LP, demonstrates this very well. I have resisted the temptation to pull in the extreme stereo width a little. Beyond correcting an odd frequency gap at around 260Hz and lifting the extreme top end (above 10kHz) a little, the sound is pretty much unaltered beyond a general 'tightening up' . Some surface swish on the second side required intervention, but otherwise it's a pretty honest representation of that 1958 release. As the Gramophone reviewer concluded, \"\u003cem\u003eIn every respect, in fact, this is a first-class record\u003c\/em\u003e\".\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e*N.B. The title of this release, \"Tchaikovsky First Stereo Orchestral Recordings\", isn't intended to suggest that these were the first recordings of music by Tchaikovsky ever made in stereo, which is highly unlikely! It refers, of course, to this being Decca's first stereo LP issue. \u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e1812 Overture\u003c\/strong\u003e, Op. 49*\u003c\/span\u003e (15:05)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCapriccio Italien\u003c\/strong\u003e, Op. 45\u003c\/span\u003e (14:04)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMarche Slave\u003c\/strong\u003e, Op. 31\u003c\/span\u003e (9:57)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eLondon Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conductor \u003cstrong\u003eKenneth Alwyn\u003c\/strong\u003e\u003cbr\u003e with *\u003cstrong\u003eThe Band of H.M. Grenadier Guards\u003c\/strong\u003e\u003cbr\u003e Director of Music \u003cstrong\u003eMajor F. J. Harris MBE\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 2nd and 8th May, 1958, Kingsway Hall, London\u003cbr\u003e Mono production team: Pr: Erik Smith, Eng: Peter van Biene\u003cbr\u003e Stereo production team: Pr: Michael Williamson, Eng: Kenneth Wilkinson\u003cbr\u003e \u003cbr\u003eFirst issued in August 1958 as Decca SXL2001\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTransfers and XR remastering by Andrew Rose at Pristine Audio, November 2009\u003cbr\u003e Total duration: 39:06\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC200.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC200.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":34425093389,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34425093453,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34425093517,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC200.jpg?v=1489999818"},{"product_id":"pasc200-cd","title":"ALWYN conducts Tchaikovsky - first Decca stereo LP (1958) - PASC200 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478186061,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478186125,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC200_d2780bdc-d422-480a-9d4d-8a1e3e682edb.jpg?v=1658243670"},{"product_id":"pasc204","title":"BEECHAM, HEWARD, KAJANUS, KOUSSEVITZKY, ORMANDY conduct Sibelius (1930-41) - PASC204","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eA C\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eollection of Shorter Works\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1930-41\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 73:44 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"body\"\u003eFeaturing various orchestras conducted by: \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Beecham, Heward, Kajanus, Koussevitzky, Ormandy \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eplus chamber music recordings featuring: \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Emil Telmanyi \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eLouis Jensen\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC204.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eA fascinating collection of shorter works from the 78rpm era\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFeaturing some of the finest conductors, orchestras and performers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis anthology of recordings was entirely drawn from a single album compiled by the late professor of music at a UK university whose extensive collection of 78s was acquired by Pristine Audio some years ago. It supplemented the Sibelius Society collection of some six volumes, and together with a handful of other recordings, represents a pretty successful attempt to bring together just about all of the recordings of Sibelius available to the British record buyer in the 1930s and early 1940s from the two major record companies.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI have kept very closely to the professor's order of discs, merely reversing the two recordings made by Emil Telmanyi and Gerald Moore from their order on a single disc side in order to bring together the two Danses Champêtres. Alas two discs arrived broken - the perpetual peril in shipping shellac discs, and thus we do not have Beecham's RPO Tapiola. However, the rest of the discs survived in remarkably good condition, with very few scratches indeed, and almost no evidence of wear. All possessed the typical 'bacon frying' crackle of British pressings, all replayed well, and swish was remarkable by its general absence. Although there is some difference in sound quality between the earlier and later recordings, all have responded exceptionally well to XR remastering, and sound quality is generally excellent.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eKarelia Suite\u003c\/strong\u003e, Op.11\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cstrong\u003e1. Intermezzo \u003cbr\u003e 3. Alla marcia\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Royal Philharmonic Society's Orchestra*\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eRobert Kajanus\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eMay 1930\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e UK Columbia DX307, Matrices WYX19-20, 1st takes\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eRakastava\u003c\/strong\u003e (The Lover), Op. 14\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eKing Christian II\u003c\/strong\u003e, Suite Op.27 \u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e2.Elegie \u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Leslie Heward String Orchestra**\u003c\/strong\u003e\u003cbr\u003e (Drawn from the City of Birmingham Orchestra's string section)\u003cbr\u003e conducted by \u003cstrong\u003eLeslie Heward\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eFebruary 14, 1941\u003c\/span\u003e\u003cbr\u003e UK Columbia DX.1004-5, Matrices CAX 8834-7, 1st takes\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eThe Swan of Tuonela\u003c\/strong\u003e, Op.22, No.2\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Philadelphia Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eEugene Ormandy\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eOctober 20, 1940\u003c\/span\u003e\u003cbr\u003e HMV DB.5832, Matrices 2A.047823-4\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eScenes Historiques\u003c\/strong\u003e, Op. 25 \u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e3. Festivo (Tempo di Bolero)\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eSir Thomas Beecham\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eDecember 14, 1935\u003c\/span\u003e\u003cbr\u003e UK Columbia LX.501, Matrices CAX 7769-70, 1st takes\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBelshazzar's Feast\u003c\/strong\u003e, Op. 51\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eRobert Kajanus\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eJune 24 \u0026amp; 29, 1932\u003c\/span\u003e\u003cbr\u003e HMV DB.3937-8, Matrices 2B.2943-5 \u0026amp; 2960 Takes 1, 2, 1, 1\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSwanwhite\u003c\/strong\u003e, Op. 54 \u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e3. The Maidens with Roses\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eBoston Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conducted by \u003cstrong\u003eSerge Koussevitzky\u003c\/strong\u003e, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eDecember 12, 1936\u003c\/span\u003e\u003cbr\u003e HMV DB.3171, Matrix 2A.03175\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDanses Champêtres\u003c\/strong\u003e, Op. 106\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e1. Largamente assai\u003cbr\u003e 2. Alla polacca\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodymidarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRomance in F major\u003c\/strong\u003e, Op.78, No.2\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmil Telmanyi\u003c\/strong\u003e, violin\u003cbr\u003e \u003cstrong\u003eGeorg Vasarhelyi\u003c\/strong\u003e, piano \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(Op106\/1), March 3, 1936\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eGerald Moore\u003c\/strong\u003e, piano \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e(Op106\/2, Op78\/2), March 28, 1935\u003c\/span\u003e\u003cbr\u003e HMV DB.2893, Matrices 2RA.1042, 2EA.1348, Takes 1,3\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMalinconia\u003c\/strong\u003e, Op. 20\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eLouis Jensen\u003c\/strong\u003e, cello\u003cbr\u003e \u003cstrong\u003eGalina Werschenskaya\u003c\/strong\u003e, piano, \u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003eAugust 26, 1936\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e HMV DB.5223, Matrices 2CS.955-6, 2nd takes \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e*\u003c\/strong\u003eThis recording is sometimes ascribed \nto the London Symphony Orchestra. However, the orchestra's discography, \ncompiled by Philip Stuart, states: \"\u003cem\u003eKajanus’ recordings of the first\n two symphonies were made in May 30 with an anonymous orchestra, \nsometimes labelled as the LSO, but\u003c\/em\u003e \u003cem\u003enow identified as the Royal Philharmonic Society’s orchestra\"\u003c\/em\u003e\n - likewise this recording does not appear in the LSO discography, was \nrecorded at the same time, and is simply labelled \"Symphony Orchestra\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e**\u003c\/strong\u003eAlthough labelled as \"The Leslie \nHeward String Orchestra\", it was in fact the string section of the City \nof Birmingham Orchestra, now the CBSO. This was confirmed in an e-mail \nfrom the CBSO's current archivist, Beresford King-Smith: \"\u003cem\u003eI can \nconfirm that the information you have about that 1941 Sibelius recording\n is absolutely correct - the players were members of the City of \nBirmingham Orchestra, but Walter Legge (who always had his own nefarious\n reasons for what he decided to do !) opted to use the 'Leslie Heward \nString Orchestra' formula, instead. The recording took place on 14th \nFebruary 1941, in Birmingham Town Hall.\u003c\/em\u003e\"\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers and XR remastering by Andrew Rose at Pristine Audio, November 2009 \u003cbr\u003e All disc information taken from transfers used for this compilation \u003cbr\u003e Cover artwork based on a photograph of Jean Sibelius\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 73:44 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC204.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC204.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":34452003597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452003661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452003725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452003789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC204_5d6d73c5-e8d4-4ebd-ad35-fe443da6aad4.jpg?v=1490032238"},{"product_id":"pasc204-cd","title":"BEECHAM, HEWARD, KAJANUS, KOUSSEVITZKY, ORMANDY conduct Sibelius (1930-41) - PASC204 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478188237,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478188301,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC204_5044f945-f6b2-435e-a31b-2530a6cec282.jpg?v=1658243740"},{"product_id":"pasc223","title":"HAMBOURG The Concerto Recordings (1926\/29) - PASC223","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1926 and 1929\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 63:28 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eMark Hambourg, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eRoyal Albert Hall Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLandon Ronald\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Malcolm Sargent \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEssential listening for anyone with an interest in the history of piano interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis valuable release couples Mark Hambourg’s only\n two concerto recordings (the Tchaikovsky from 1926, Beethoven from \n1929). Much celebrated in his day, Hambourg has been largely forgotten \n(though his complete Liszt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Rhapsodies\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n has been reissued on APR). Technically and aesthetically, his playing \non these early electricals inhabits a very different world from \ncontemporaries as varied as Rubinstein, Moiseiwitsch, Horowitz, \nBackhaus, and Schnabel, among others; despite living until 1960, in a \nsense his playing never really adapted to the 20th century. This disc \noffers a fascinating window into what even in its day was an \nanachronistic style of playing.  \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 Beethoven, his first solo entry commands \nattention in its extraordinary rhetorical freedom. Phrases are vividly \nsculpted, with a delicately supple spring to the touch, velvety with \nsilver hues, and often with a pronounced desynchronization of the hands.\n His conception of the basic tempo is rhapsodically free (in the \nE♭-Major second subject, listen to his volatile scampering off, only to \nbe sternly reined in by Sargent at the first opportunity!). Virtuoso \npassagework is vividly shaped but technically approximate and \noverpedaled, with much swallowing of detail. He opts for Moscheles’s \nflamboyantly anachronistic cadenza, which he lays into with thunderous \nabandon. In the Largo, his deep velvet pile is absolutely gorgeous, \nthough the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nbeginning disconcerts. The finale is a wild ride, with much technical \napproximation and a pronounced mannerism of “disappearing” phrasing \n(e.g., in the central A♭-Major episode). Sargent’s accompaniment is ever\n game and expert (he really earned his fee that day!). Comparisons are \nmoot; though Hambourg’s penchant for snatched or swallowed phrasing is \nsometimes reminiscent of Schnabel, and his nuances of sound and touch \ncan bring Moiseiwitsch to mind, the discipline and rigor of these \nartists is conspicuous by its absence.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Tchaikovsky has a wonderful idiomatic sweep, \nrealized with a hair-raising degree of technical approximation: Some of \nthe first-movement cadenza verges on unrecognizable. When not out of his\n league technically, he can play with exquisite lyricism, as in the \nsecond theme of the first movement. In the slow movement, the central \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro vivace assai\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (bars 59 ff.) has great delicacy, and the subsequent waltz episode \n(bars 81 ff.) is radically conceived at a real waltz tempo instead of \nthe usual breathless chase. The finale goes with a headlong dash that is\n undeniably exciting if you can overlook such a casual indifference to \nthe right notes. Altogether a unique experience, of an entirely \ndifferent kind from other early electrical classics Solomon\/Harty (1929,\n Naxos) and Rubinstein\/Barbirolli (1932, RCA).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSuperb transfers from Mark Obert-Thorn. Essential listening for anyone with an interest in the history of piano interpretation. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC223.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan class=\"bodybig\"\u003e\u003cem\u003e\u003cbr\u003e \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eMark Hambourg's only known Piano Concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eStar pianist toasted by Brahms, heralded \"the greatest talent of his time\" by Busoni\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eMark Hambourg shared several commonalities with his younger friend (and fellow Savage Club member and bridge partner), Benno Moiseiwitsch. Both were pianists in the grand Romantic tradition who came from Russian territory, settled in England, and recorded extensively for HMV from the acoustic period onward (where they were both relegated to the cheaper black – later plum – label releases reserved for popular domestic artists). Their repertoire overlapped a good deal; indeed, both of them recorded the Beethoven C Minor concerto with Sargent (who also set it down on disc with another Leschetizky pupil, Artur Schnabel).\u003c\/p\u003e\n\u003cp\u003eBut while Moiseiwitsch has remained familiar to record collectors over the years, Hambourg seems a figure from a distant past. Part of this is certainly due to the fact that while Moiseiwitsch recorded almost up to the time of his death in 1963, even leaving several stereo LP recordings, Hambourg, who predeceased him by only three years, made his last commercial 78 rpm disc in 1935.\u003c\/p\u003e\n\u003cp\u003eThe present release couples the only two concerto recordings Hambourg made. The Tchaikovsky is of particular interest in that it has never appeared in an LP or CD transfer. The first electrical recording of the work, it suffers from a too-distant recording perspective and some occasionally slapdash accompaniment (the first side in particular really should have been redone). But it preserves some Romantic-era touches that are simply not heard today, such as the octave-higher echoing Hambourg interpolates in the first movement cadenza (Track 4, 15:02 – 15:18) and the slow, dreamlike tempo in which the second movement waltz episode is taken (starting at 3:35 in Track 5).\u003c\/p\u003e\n\u003cp\u003eAs neither recording came out on particularly quiet shellac, the sources used for the present transfers were British HMVs for the Beethoven and American Victor “Orthophonic” pressings for the Tchaikovsky.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eP.S. Mark added in an e-mail just prior to release: \"\u003cem\u003eFor the demo track for the Hambourg, I was thinking that maybe the latter half of the second movement of the Tchaikovsky (Track 5, from 3:12 on to the end of the track) would be good, in that it highlights an approach to the middle section of the movement that I've heard in no other performance.\u003c\/em\u003e\"\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e    \u003cb\u003eBEETHOVEN\u003c\/b\u003e: Piano Concerto No. 3 in C minor, Op. 37 [notes \/ score]\u003cbr\u003e    Malcolm Sargent · London Symphony Orchestra*\u003cbr\u003e    Recorded 13th - 14th November, 1929 in Kingsway Hall, London\u003cbr\u003e    Matrix nos.: Cc 17876-2, 17873-1, 17874-2, 17875-2, 17877-2, 17878-2, 17879-1 and 17880-2\u003cbr\u003e    First issued on HMV C 1865 through 1868\u003cbr\u003e*Although the orchestra was originally credited simply as \"Symphony Orchestra\", these sessions are listed in HMV’s contractual account with the LSO. To preserve the LSO’s “Red Label” status, recordings made in 1929-30 issued on the cheaper Plum Label concealed the orchestra’s identity.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e    \u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e: Piano Concerto No. 1 in B flat minor, Op. 23\u003cbr\u003e    Landon Ronald · Royal Albert Hall Orchestra\u003cbr\u003e    Recorded 28th September, 1926 in Kingsway Hall, London\u003cbr\u003e    Matrix nos.: CR 736-1A, 737-1, 738-1A, 739-1, 732-2A, 733-1A, 734-1A and 735-1A\u003cbr\u003e    First issued on HMV D 1130 through 1133\u003cbr\u003e\u003cbr\u003e    \u003cb\u003eMark Hambourg\u003c\/b\u003e (Blüthner piano)\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Mark Hambourg\u003c\/span\u003e\u003cbr\u003e\nTotal duration: 63:28 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC223.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC223.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":34444204621,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34444204685,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC223_aca859a7-7a64-4b68-a1ca-47b02599b414.jpg?v=1490026094"},{"product_id":"pasc223-cd","title":"HAMBOURG The Concerto Recordings (1926\/29) - PASC223 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478200717,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478200781,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC223_544ac61c-57fd-4562-8f74-f00861386a08.jpg?v=1658244296"},{"product_id":"pasc226","title":"RICCI Mendelssohn \u0026 Bruch: Violin Concertos (1957) - PASC226","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRUCH \u003c\/b\u003eViolin Concerto No. 1\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1957 in stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 50:40 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRuggiero Ricci, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003ePierino Gamba\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC226.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003e\"Very good performances indeed\" - The Gramophone, 1958\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eRicci is superb in these XR-remastered stereo masterpieces\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e \u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording dates from a time when Decca was almost certainly unable to release it in its stereo format - the only possible way to hear purchased stereo recordings in a domestic environment at the time was the handful of open-reel tapes commercially available from around 1956. However the new format was clearly imminent, and many recordings like this were made for both mono and stereo release prior the development of the stereo LP and its launch in 1958.\u003c\/p\u003e\n\u003cp class=\"body\"\u003ePerhaps as a result, at this time Decca's standard policy was to send out two teams of engineers and producers, each complete with their own recording equipment, microphones and so forth. One team was entirely responsible for the mono recording, the second concentrated on the stereo version. As a result, microphone placement could have been quite different for each, as indeed could microphone types. This suggests therefore that the differences noted above by The Gramophone's perceptive reviewer could have been due to more than simply the ability to hear the work with a full stereo spread before him.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOf course later mono issues were simply reworkings of their stereo masters, summing the two channels to produce a single central mono recording. The Ricci however was made at a time when greater differences than the mere opening up of a soundstage might be heard, and thus further judgements needed to be made between the merits of each issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThese recordings are certainly very good indeed for their era. I worked from a later pressing, in mint condition, for the transfers presented here, something which obviously eases my workload. However I was able to bring to the recordings some considerable improvements - XR remastering produced results akin to lifting a sonic veil from the originals, considerably sweetening Ricci's upper treble tone and bringing the whole recording several steps closer to the listener. When heard side by side with the original the effect is immediate and utterly convincing - the 1958 recording sounds dull and dusty; the 2010 XR remastering sounds almost as if it had been recorded last week.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e    \u003cb\u003eMENDELSSOHN \u003c\/b\u003eViolin Concerto in E minor, Op. 64 [notes \/ score]\u003cbr\u003e    \u003cb\u003eBRUCH \u003c\/b\u003eViolin Concerto No. 1 in G minor, Op. 26 [notes \/ score]\u003cbr\u003e\u003cbr\u003e    Played by Ruggiero Ricci\u003cbr\u003e    London Symphony Orchestra\u003cbr\u003e    conductor Pierino Gamba\u003cbr\u003e\u003cbr\u003e    Recorded 15-16 January, 1957, Kingsway Hall, London\u003cbr\u003e    First issued in mono as Decca LXT5334 in July 1957\u003cbr\u003e    First issued in stereo as Decca SXL2006 in September 1958\u003cbr\u003e    Stereo recording produced by Erik Smith, engineered by Cyril Windebank\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTransfers from Decca LP SPA 88 in the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2010\u003cbr\u003eCover artwork based on a photograph of Ruggiero Ricci\u003cbr\u003e\u003cbr\u003eTotal duration: 50:40 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC226.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC226.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\"Ricci gives very good performances indeed of both concertos; caught out nowhere, even on the margin of intonation, by their technical demands in the outer movements, he manages also to communicate both poetry and impulse to the slow movements.\u003cbr\u003e\u003cbr\u003eIndeed the monaural coupling was a strong competitor among the best of each concerto; and the sound, always good, is now further improved by qualities of spaciousness and separation. The latter quality is especially important in concerto recording; for it allows the ear to hold to the solo line against an orchestral accompaniment which might otherwise be in danger of swamping it. In the concert hall, balance in a solo string concerto is seldom ideal, but sometimes manages to deceive the ear into thinking it so largely by a geographical advantage denied monaural recording. Hence the tendency hitherto on records to emphasise the soloist in balance, often with a resulting improvement on the concert hall. Now, in stereo, the two mediums are closer; and the balance on this disc, which in the monaural version seemed sometimes to favour the orchestra, seems in the new version to be ideal.\u003cbr\u003e\u003cbr\u003eI am not suggesting that good recording should not continue to pluck up courage and try to improve on the concert hall where that is possible. But I am suggesting that this particular record always was a good one, and is now even better. \"\u003cbr\u003e\u003cb\u003e\u003cbr\u003eM.M., The Gramophone, October 1958\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34445845837,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34445846157,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34445846349,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC226.jpg?v=1490027334"},{"product_id":"pasc226-cd","title":"RICCI Mendelssohn \u0026 Bruch: Violin Concertos (1957) - PASC226 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478201421,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478201485,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC226_060ec185-ab67-4919-b3e2-7e38cf909215.jpg?v=1658244420"},{"product_id":"pasc231","title":"KRIPS Brahms: Symphony No. 4; Mozart: Symphony No. 39 (1950\/51) - PASC231","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 39\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1950 and 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 64:54\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLondon Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Josef Krips\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAltogether a surprisingly compelling listening experience. Recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAt first, these mono Decca sessions from 1950–51 \nseemed like a surprising choice for the Pristine treatment: While Krips \nled some fine Mozart opera recordings in the postwar period, his \nsymphonic sessions, while solidly musical, have not generally been known\n for setting the pulses racing. Plus these performances had already \nappeared in a Decca Original Masters set. The sound there was \nsurprisingly poor, however—grey, papery, and pitched flat. Pristine’s \nremasterings restore them to their correct pitch, along with a great \nimprovement in openness, warmth, and definition. The result makes a real\n difference, significantly enhancing the performances’ projection of \nvitality and engagement.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Mozart No. 39 is the second, and finest, of \nKrips’s three studio recordings, between his less personal earlier \n(1947) version with the same orchestra and label (available on Andante) \nand his much later Concertgebouw remake, mellifluous and rather bland \n(Philips, 1972). The 1951 performance is natural, unforced, mellow, and \nvery Viennese in character—singing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efortes,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n transparent balance, a timelessly idiomatic Mozartean sound. The \nfirst-movement introduction is very sedate by today’s standards, but the\n Allegro is buoyant, full of affectionate details, which are always \ngiven plenty of time to speak. In the Andante, the expressive string \nplaying reminds us of Krips’s violin-playing background. The finale is \nleisurely but with real effervescence and point. Altogether a \ndistinctive point of view to complement other classic versions from the \ntime: the sleek élan of the young Karajan\/VPO (EMI, 1949); the highly \ninflected liberties of Beecham\/RPO (CBS\/Sony, 1955); Walter’s \nirresistible marriage of romantic flexibility and classical point (NYPO,\n Columbia\/Sony, 1953\/56); Jochum’s rich, songful, zesty treatment \n(Bavarian Radio SO, DG, 1954); and the radically modern Szell\/Cleveland \nin their first version of 1947 (Sony Original Jacket Collection)—brisk, \nclipped, and shapely.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Brahms is conducted with a light, sure touch, \ngaining much from the lean, silvery sound of the LSO at this time—tight,\n focused strings; slightly acidic woodwinds; punchy brass. Krips’s \ninterpretation is decidedly classical, straightforward, yet always \nnaturally breathing. The first movement features some elegantly turned \nstring playing, with fine momentum culminating in an exciting \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003estringendo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in the coda—quite gripping! The Andante is straightforward and \nunmannered, but eloquently sung; the Scherzo taut and excitingly built. \nThe Passacaglia is swift and direct, with a masterly controlled \ntightening of the screws in its final stages. Among other 1950s \nversions, the closest in approach to Krips is perhaps the fleet, \nclassical van Beinum\/Concertgebouw (Philips, 1958). For a richer, \nweightier Brahmsian experience, listeners of this era were (and we today\n are still) well served by Karajan\/Philharmonia (EMI, 1955), Jochum\/BPO \n(DG, 1953), and Walter\/NYPO (Columbia\/Sony, 1951).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAltogether a surprisingly compelling listening \nexperience. Recommended, whether or not you already have the Decca \nOriginal Masters set. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\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 34:3 (Jan\/Feb 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC231.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eKrips' Brahms \"sensitive, vigorous, and poised to a nicety\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eSuperb new transfer finally does proper justice to marvellous recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eOne has to smile today at the final sentence in the \u003cem\u003eGramophone \u003c\/em\u003ereview reproduced above of Decca's 1950 LP issue of this recording - the 78s referred to appeared a few months after the Brahms Symphony's vinyl issue, and it's hard to believe today that many critics seriously felt that 78s had more to offer the music lover than the LP which so swiftly eradicated them after half a century of total dominance.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFor sure some of the early LPs could be a bit hit and miss, quality wise, and the same can be said for the recordings, as witnessed here. Analysis of the 1950 Brahms recording shows a true full frequency response heading right up to the maximum available on a modern CD, whereas the 1951 Mozart recording, made by the same company in the same hall with the same producer, orchestra and conductor (the engineer in unknown for the Brahms but the legendary Kenneth Wilkinson was chief knob-twiddler for the Mozart) peters out with an upper limit of 12kHz, something one might have expected from a wartime recording, but not in late 1951.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBut it seems that even today these recordings have suffered. Having first heard the quality of the LPs from which these transfers were taken, I was rather surprised to hear the hard-toned, overly-hissy and quite flat-pitched transfers they received in a Decca CD issue a very few short years ago. I had heard the Brahms first, and was delighted by both the performance and the recording, especially after initial investigations (using XR remastering for my own pleasure). When I heard how much improvement I had been able to make over Decca's own CD transfers I decided to press on, later adding the Mozart to the set for this release.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sound here is clear, clean, full and well-focussed, perhaps more so in the Brahms than the Mozart, with its aforementioned frequency deficiency. Both, however, are a clear improvement on the now apparently-deleted Decca CD box set of 2003.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 17th, 19th \u0026amp; 20th April, 1950, Kingsway Hall, London\u003cbr\u003e First issued in October 1950 as Decca LXT2517\u003cbr\u003e Transferred from Ace of Clubs ACL.132\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 39 in E flat major, K.543 \u003c\/span\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 18th December, 1951, Kingsway Hall, London\u003cbr\u003e Transfered from and first issued in the UK in June 1952 as Decca LXT2689\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003ePlayed by London Symphony Orchestra\u003cbr\u003econductor Josef Krips \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eTransfers by Andrew Rose from the Pristine Audio collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April-June 2010\u003cbr\u003eCover artwork based on a photograph of Josef Krips\u003cbr\u003e\u003cbr\u003eTotal duration: 64:54\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC231.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC231.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e    \"It has become fashionable in recent years to belittle Brahms's achievement as a symphonist. Some critics have gone so far as to say that Brahms in wasn't really a symphonist, which suggests to me that they aren't really critics...\u003cbr\u003e\u003cbr\u003e    One might not care for Brahms's idiom, but that is no reason for trying to deny the existence of Brahms's architectural genius. \"The defence of his works,\" says Tovey, \"is an infinitely more faithful line of criticism than that of attack; for attacks are easy on superficial grounds, while the defence rests on bedrock.\" The bedrock of the Fourth Symphony is a masterly display of musical invention and imagination that is demonstrable by analysis. But to the average music-lover musical architecture is a quality that is felt intuitively rather than recognised by analysis. So the fact remains that most people who have ears to hear, nerves to feel, and a sublime ignorance of technical principles find the romantic fervour and sheer musical beauty of the Fourth Symphony a great experience.\u003cbr\u003e\u003cbr\u003e    And I think they will find the performance of the London Symphony Orchestra under Krips reproduces superbly this great experience. There are no histrionics about Krips's reading, in which everything is beautifully proportioned and carefully calculated. The music moves forward to its natural climaxes, in each of the four movements, with a wonderful feeling of inevitability that leads logically and dramatically to the crowning achievement of the great Finale. The orchestral playing is sensitive, vigorous, and poised to a nicety, and the recording does full justice to it. I look forward to the issue of this recording on 78's\"\u003cbr\u003e\u003cbr\u003e    \u003cb\u003eExcerpt from LP review in The Gramophone, November 1950 by R. 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