{"title":"NBC Symphony Orchestra","description":"\u003cp\u003eThe NBC Symphony Orchestra was an American radio orchestra created in 1937 for the National Broadcasting Company.\u003c\/p\u003e\u003cp\u003eIt was formed especially for Arturo Toscanini, who became its most famous conductor.\u003c\/p\u003e\u003cp\u003eThe orchestra was central to American broadcast music and to mid-twentieth-century orchestral recording.\u003c\/p\u003e","products":[{"product_id":"pasc319","title":"CANTELLI NBC Concert No. 29: Bach, Cherubini, R. Strauss (1952) - PASC319","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eChristmas Oratorio - \u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSinfonia\u003c\/span\u003e\u003c\/span\u003e\u003c\/em\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCHERUBINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony in D major \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tod und Verklärung\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 58:22\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhat makes the concert a keeper is the extraordinary performance of the Strauss578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003ePristine’s Cantelli series continues to unearth material not otherwise available. This 1952 NBC concert is quite new to me. Andrew Rose’s source was a tape copy in the private collection of Keith Bennett (author of the recent Cantelli biography), and it seems to have presented quite a challenge to his transfer skills. While the sound is not up to the standard of the best Cantelli\/NBC sources, relatively rough and opaque, it is perfectly listenable. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCantelli followed Toscanini in championing this rarity by Cherubini (the older maestro made his studio recording for RCA in the same year). The work is skillfully crafted, much preoccupied with counterpoint, and with many moments of genuine originality, including a notable penchant for Beethovenian harmonic touches—though Cherubini’s tend to be confined to the level of local effects, with none of Beethoven’s long-range power. Not surprisingly, Cantelli conducts a performance of impressive refinement and discipline. On the debit side, however, textures are excessively string-dominated, tending to heaviness. Tuttis become tiring to listen to, unrelenting and opaque (though the close-up, colorless recording no doubt does not help). For my money, it is all just too monumental for the music’s own good—it needs a lighter touch, more light and shade (as can be heard in Toscanini’s contemporaneous studio recording, despite the use of what sounds like an equally large string section). \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Bach adds little to the disc’s attractions, in its very dated performance style—slow, heavy, and legato, with no harpsichord continuo. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eWhat makes the concert a keeper is the extraordinary performance of the Strauss. The slow introduction is clear-eyed, precise, and unusually articulate at a robust dynamic level—again the close recording may be the culprit, but this patient sounds suspiciously hale, far from death’s door! The ensuing Allegro molto agitato is unforgettable, in its combination of Cantelli’s trademark virtues—solidity, precision, clean articulation, and lucid contrapuntal textures—with expressive intensity of an exceptional order: an elemental outpouring of tone from the NBC musicians, who play as though the concert will be their last! The final transfiguration is played quite swiftly and straight, and is all the more overwhelming for it. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe notes reprint an excerpt from Bennett’s Cantelli biography, which on this evidence could have used a little more copy-editing before seeing the light of day. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis is obviously self-recommending for Cantelli collectors, perhaps less so for the rest of us, but the Strauss really has to be experienced. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eBoyd Pomeroy \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC319.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli conducts Bach, Cherubini and Strauss for Christmas, 1952\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eNew transfers given a complete audio makeover with XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAll three of these recordings were restored from recordings in\nthe private collection of Keith Bennett, to whom we're very grateful. The\nCherubini and Strauss, from later BBC rebroadcasts, were in better condition\nthan the Bach, but all suffered considerable sonic deficiencies which I've been\nable to largely alleviate. I noticed some considerable variation in hiss, which\ntended to be at its highest at the beginning of the recordings. I've dealt to a\ndegree with this, as well as removing or reducing a considerable number of\naudience coughs, though some do remain.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eJ. S. BACH \u003c\/b\u003eChristmas Oratorio - \u003cem\u003eSinfonia\u003c\/em\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eCHERUBINI \u003c\/b\u003eSymphony in D major\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eR. STRAUSS\u003c\/b\u003e Tod und Verklärung \u003cbr\u003e\u003cbr\u003eBroadcast live from Carnegie Hall, New York City, 27 December 1952\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eGuido Cantelli \u003c\/b\u003econductor\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2011\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003e\u003cbr\u003eTotal duration: 58:22\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC319.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC319.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eJohann Sebastien BACH (1685 - 1750)\u003c\/b\u003e Weinachtoratorium, BWV 248: Part 2, Sinfonia\u003c\/p\u003e\u003cp class=\"body\"\u003eSeven Performances with Three Orchestras Cantelli's Recorded Broadcasts\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"177\"\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"137\"\u003e\n\u003cp class=\"body\"\u003e24 December 1949\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"79\"\u003e\n\u003cp class=\"body\"\u003e6:51\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eNBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e27 December 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e6:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of the performances with the NBC Symphony Orchestra\n have been issued on CD. We ot the twenty-first century are very aware \nof the research which has been undertaken concerning performance \npractice in the eighteenth century and there are plenty of recordings \nwith period instruments available. But what, one wonders, would have \nbeen the reaction to these perfonnances for those present at either of \nthese concerts? It comes as no surprise that the orchestra's strings are\n superb and — ior monaural recordings of broadcasts — the woodwinds are \nclear enough. There are, mercifully, no interpretive quirks, but the \nmusicians were inflicted with a bronchial audience during the 1952 \nconcert.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eLuigi CHERUBINI (1760 - 1842)\u003c\/b\u003e Symphony in D major\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eSeven Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"body\"\u003eLargo — Allegro\u003c\/li\u003e\n\u003cli class=\"body\"\u003eLarghetto cantabile\u003c\/li\u003e\n\u003cli class=\"body\"\u003eMenuetto. Allegro non tanto\u003c\/li\u003e\n\u003cli class=\"body\"\u003eAllegro assai\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 685px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"373\"\u003e \u003c\/td\u003e\n\u003ctd width=\"128\"\u003e \u003c\/td\u003e\n\u003ctd align=\"center\" width=\"47\"\u003e1\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"30\"\u003e2\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"36\"\u003e3\u003c\/td\u003e\n\u003ctd align=\"center\" width=\"31\"\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e27 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:19\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:37\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:58\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:35\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e10:11\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e6:33\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:55\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e\u003cb\u003e4:31\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eCelibidaclie\/Orchestra della Fenice\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e31 October 1965\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e7:30\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:31\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eRenzetti\/Orchestra della Toscana*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e14\/18 May 1987\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:10\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e8:06\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:08\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e5:00\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp\u003e10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e10:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e6:50\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:35\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp\u003e4:19\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHave there been more than half a dozen recordings \nperformances of this symphony? Possibly not and for many, the name \nCherubini is merely that of an historical figure, 'a conservative \nrevolutionary' as The New Grove put it: probably his most well-known \nwork is the overture \u003cem\u003eAnacreon, ou L'amour fugitif\u003c\/em\u003e recorded by \nboth Furtwängler and Toscanini (and was scheduled for Cantelli's \nconcerts with the Philharmonic-Symphony Orchestra of New York in \nDecember 1956). However, it is well to bear in mind that Beethoven \nthought highly of his contemporary although, with the passing of the \nyears, we know that Beethoven was ahead of his time whereas Cherubini \nwas of it.\u003c\/p\u003e\u003cp class=\"body\"\u003eToscanini's insatiable curiosity often led him to the \nbyways away from the generally accepted repertoire of the period and for\n those who do not know this symphony his performance will refute any \nsuggestion that Cherubini was a dull old stick. The symphony has a \nvigorous first movement, with a melody in the second movement that \nlingers in the memory, a bucolic Haydnesque minuet followed by a cheeky \ntrio as near to Rossini as one could hope to find (surely one cannot \nhear it without smiling, at least inwardly) and ends with a vigorous \nfinale.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt the Maestro's enthusiasm sparked Cantelli's \ninterest. It is quite possible that after Cantelli's final concert with \nthe NBC Symphony Orchestra in the Fifteenth Season on 1 March 1952 he \nstayed on in New York to hear both Toscanini's concert the following \nweek — which included this work — and the Maestro's recording two days \nlater. Whether or not that speculation is misplaced, he must have spoken\n of the symphony with the Maestro which made such deep impression that \nhe included the symphony in his very next concerts in June with the \nOrchestra della Scala as well as giving a perfonnance with the \nPhilharmonia Orchestra during his next visit to London in October. Even \nmore interesting is that he included it in his next series of concerts \nwith the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of his performances are delightful with just a \ntouch more poise than Toscanini in the first, third and fourth movements\n but yielding to the older conductor's restraint in the second.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eRichard STRAUSS (1864-1949)\u003c\/b\u003e Tod und Verklarung, Op.24\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eEight Performances with Four Orchestras\u003c\/p\u003e\u003cp class=\"body\"\u003eCantelli's Recorded Broadcasts and Selected Comparisons\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eStrauss: 1929 \u003c\/b\u003e23:12\u003cb\u003e; 1939 \u003c\/b\u003e22:07\u003cb\u003e; 1944 \u003c\/b\u003e23:32\u003cb\u003e.\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 671px;\" border=\"1\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"354\"\u003e\n\u003cp class=\"body\"\u003eBohtn\/ Wiener Philhannoniker\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"252\"\u003e\n\u003cp class=\"body\"\u003e19 May 1963\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\" width=\"43\"\u003e\n\u003cp class=\"body\"\u003e23:04\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/NBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 December 1952\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e23:28\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e21 March 1954\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e22:21\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Philharmonia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e2 \u0026amp; 3 July 1953\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:24\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e22 - 30 June 1960\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:43\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKarajan\/Berliner Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e4 November 1972 and 26 January 1973\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e26:53\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKaraj an\/Berliner Philhamioniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJanuary 1982\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e25:20\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eKempe\/Dresden Staatskapelle*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eJune 1970\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e22:17\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eReiner\/Wiener Philharmoniker*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSeptemberl956\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:52\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eSzell\/Cleveland Orchestra*\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eMarch 1957\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:54\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e1 Jatiuary 1938\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:05\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Philadelphia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e11 January 1942\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e23:27\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/Orchestra della Scala\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e5 July 1946\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:44\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\"\u003e8 \u0026amp; 10 March 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd align=\"right\"\u003e\n\u003cp class=\"body\"\u003e24:47\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e The biographer Richard Specht stated that the programme \nfor this piece was based on Strauss's personal experience and it is true\n that Strauss was seriously ill in 1891 but only eighteen months after \nthe completion of the score. In 1894 the composer completely refuted \nSpecht's fanciful suggestion and stated that the idea of portraying a \nman close to death came to him some time in 1888.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe reader's attention is drawn once again to the fact \nthat Karajan's performance withe the Wiener Philharmoniker is not only \nthe quickest by a substantial margin but is also the nearest to the \ncomposer's own timings.\u003c\/p\u003e\u003cp class=\"body\"\u003eOne hesitates to draw attention to die fact that \nToscanini and Beecham — whose attitude to music-making was so very \ndifferent — had at least one quality in common: both had the ability to \nconvince the listener that under their direction a second-rate piece \ncould actually be made to sound much better than usually perceived. \nThere can be no doubt that \u003cem\u003eTod und Verklärung \u003c\/em\u003eis a lesser work \nthan Don Juan but it had — judging from the number of times Toscanini \nperformed the piece when other superior Strauss compositions received \nvery few perfomances (eg Ein Heldenleben) — a fascination for the \nconductor. His first commercial recording was with the Philadelphia \nOrchestra in 1942 but the broader paced performance with the NBC \nSymphony Orchestra ten years later is better in terms of clarity while \nstill avoiding any feeling of mawkishness. It is worth comment that many\n musicians regarded the rehearsal of the work for this 1952 performance \nas a highlight of their careers.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo doubt Cantelli benefitted for Toscanini's work with \nthe orchestra when he gave his performance a little over nine months \nlater and he certainly avoids all hint of extreme exaggeration by \nensuring that the shattering climax actually had expressive meaning.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e© Keith Bennett 2009\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eKeith Bennett is the author of \u003cb\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/b\u003e(published\n 2009) which is only available from GC Publishers. For further details \neither write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \nSuffolk IP12 4UL, UK or e-mail\u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34131841421,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34131841485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34131841549,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34131841613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC319_52f9d365-3d9c-49ba-b37c-65370ea16d2f.jpg?v=1489572919"},{"product_id":"pasc457","title":"CANTELLI Tchaikovsky: Symphony No. 5, Romeo \u0026 Juliet (1952) - PASC457","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHULMAN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Laurentian Overture\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\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\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert recordings, 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:08 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\u003cbr\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance is full of passion yet control is consistently maintained578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe death of Guido Cantelli (1920-1956) in a plane crash was a grievous \nloss to music. Fortunately we have a good legacy of recordings, both \nstudio-made and live, which show us how great was his talent. The \nTestament and Music \u0026amp; Arts labels have issued a good number of \nCantelli recordings but Pristine Audio have been no less assiduous and I\n was delighted to read on their website the following statement: “These \ntransfers come from a newly-acquired archive of the complete NBC \nbroadcast recordings of Guido Cantelli, very gratefully received here at\n Pristine, which promises many further treasures to come.” The prospect \nof further Cantelli releases is an enticing one, especially if they \nmatch this present one in terms of artistic and sonic quality.\u003cbr\u003e \u003cbr\u003e \nThe unfamiliar name on the programme may be that of Alan Shulman. An \nAmerican, he was a cellist in the NBC Symphony Orchestra between 1937 \nand 1954, though his time with the orchestra was disrupted by wartime \nservice. I understand that his compositions enjoyed some early success, \nnotably his \u003cem\u003eTheme and Variations for Viola and Orchestra\u003c\/em\u003e (1940) and his \u003cem\u003eCello Concerto\u003c\/em\u003e. However, his music has now largely faded from view though a CD of some of his pieces was issued a few years ago (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2003\/May03\/Shulman.htm\"\u003ereview\u003c\/a\u003e). That disc includes the present performance of \u003cem\u003eA Laurentian Overture\u003c\/em\u003e.\n Shulman had sent the score to Cantelli in 1951 and the conductor \nresponded favourably, giving the work its first performance with the New\n York Philharmonic in January 1952. The performance preserved here was \nthe second outing for the score\u003cbr\u003e \u003cbr\u003e Shulman’s score is very \nAmerican in accent, especially in its lively outer sections. Between \n4:04 and 6:10 there’s a quieter, more reflective episode in which \nwoodwind solos predominate. It’s an uncomplicated piece that sounds to \nbe well written for the orchestra. It may not be great music but it’s \nthoroughly engaging and deserves to be more widely heard.\u003cbr\u003e \u003cbr\u003e \nInevitably, the main interest here lies in the Tchaikovsky performances.\n I’m familiar with both – and with the Shulman – because they were \nincluded in a 12-CD set from Music \u0026amp; Arts, \u003cem\u003eThe Art of Guido Cantelli. New York Concerts and Broadcasts (1949-1952)\u003c\/em\u003e\n (CD-1056). That set is indispensable for Cantelli admirers though I \nthink there are good reasons to invest in this Pristine disc, even if \nyou have that box. It should also be said that Pristine already have two\n Cantelli recordings of the Fifth Symphony in their catalogue: a live \nBoston performance, which I’ve not heard (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2014\/Oct14\/Tchaikovsky_sy5_PASC085.htm\"\u003ereview\u003c\/a\u003e) and his 1951 studio recording (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/Sept12\/Tchaikovsky_sy5_PASC316.htm\"\u003ereview\u003c\/a\u003e). In terms of playing quality and sheer electricity the NBC performance outshines the studio version.\u003cbr\u003e \u003cbr\u003e In the first movement I like Cantelli’s sprightly approach after the \u003cem\u003eAndante\u003c\/em\u003e introduction. There’s lots of electricity and drive in his handling of the \u003cem\u003eAllegro con anima\u003c\/em\u003e\n but we also find that the lyrical passages are sympathetically handled.\n The performance is full of passion yet control is consistently \nmaintained. The NBC principal horn gets the slow movement off to a \ndistinguished start. The movement as a whole is full of feeling and I’m \ntempted to say that there’s evidence of an ardent Italian temperament \nyet, as in the preceding movement, the ardour is never allowed to \novercome the discipline of the conducting. Cantelli’s way with the \u003cem\u003eValse\u003c\/em\u003e is winning. He makes a powerful start to the finale. When the \u003cem\u003eAllegro vivace\u003c\/em\u003e\n is reached the performance is very exciting though the pace that \nCantelli adopts will seem sober to those who have heard the electrifying\n \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2014\/Feb14\/Tchaikovsky_sys456_PASC396.htm\"\u003eMravinsky\u003c\/a\u003e.\n I rather prefer Cantelli’s slightly more measured approach, which \nallows for good definition. At times the timpani are quite prominent but\n it all adds to the sense of excitement. When the motto theme returns in\n the major key (9:57) the music sounds to be full of optimism. In the \nclosing pages (from 11:58) Cantelli whips up the speed, though I don’t \nthink that’s marked in the score. Unsurprisingly there’s a rapturous \novation.\u003cbr\u003e \u003cbr\u003e As I mentioned, this performance is included in a \nlarge Cantelli box from Music \u0026amp; Arts, issued in 2003, in which the \ntransfers were done by Maggi Payne. Her transfer of this performance is \ngood but Andrew Rose has achieved better results. On my equipment the \nPristine transfer has much more warmth, especially in the treble (the \noboes, for example) while there’s greater depth in the bass than Music \n\u0026amp; Arts provide.\u003cbr\u003e \u003cbr\u003e \u003cem\u003eRomeo and Juliet\u003c\/em\u003e was performed a \nmonth earlier. It’s a very intense, dramatic reading and the NBC \nSymphony plays very well indeed. The fight music is very exciting while \nCantelli keeps the love music moving forward with no little urgency. \nIt’s a terrific performance. Incidentally, you may notice that at the \nvery end the timpanist sustains his roll right the way through the final\n chord. This piece was given by Cantelli as part of his London debut \nconcert with the Philharmonia in 1951. He and the orchestra made a \nstudio recording for HMV shortly afterwards. That performance has been \nissued by Pristine (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/Sept12\/Tchaikovsky_sy5_PASC316.htm\"\u003ereview\u003c\/a\u003e)\n and also by Testament (SBT 1316). Unsurprisingly, the HMV sound is \nbetter but this NBC performance has the edge in terms of attack and \nelectricity. The NBC performance is similarly available in the Music \n\u0026amp; Arts box but the Pristine transfer is finer.\u003cbr\u003e \u003cbr\u003e If, like me,\n you have that Music \u0026amp; Arts set you may feel disinclined to invest \nin this Pristine release. However, there’s a significant gain in the \nquality of recorded sound and that, I think, would justify the \nduplication. Other collectors will find this Pristine disc a most \ntempting proposition, especially as the transfers are so good. The \nperformances are fantastic and show why the loss of Guido Cantelli at \nthe age of just 36 was such a crippling blow to the world of music.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJohn Quinn\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC457.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli shines in Tchaikovsky - and Shulman\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n performances are fantastic and show why the loss of Guido Cantelli at \nthe age of just 36 was such a crippling blow to the world of music\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThese transfers come from a newly-acquired archive of the complete \nNBC broadcast recordings of Guido Cantelli, very gratefully received \nhere at Pristine, which promises many further treasures to come. The two\n concerts form which the recordings were drawn took place a month apart \nat the start of 1952, and our source material was, by and large, \nexcellent. If there is a slight difference in quality it is to be heard \nin the Shulman, where the upper treble is less well captured than in the\n two Tchaikovsky pieces.\u003c\/p\u003e\n\u003cp\u003eThe latter, by contrast, were excellent. Happily both concerts took \nplace in Carnegie Hall, rather than the NBC studio from where Toscanini \nbroadcast the majority of his NBC SO concerts. Thus we get the benefit \nof a much more sympathetic acoustic - something that really adds to \nthese superb performances - rather than the dry and claustrophobic sound\n associated with the orchestra as heard in Studio 8H. \u003c\/p\u003e\n\u003cp\u003eThe audiences were exceptionally quiet, especially so in the second \nof the two concerts; occaisonal coughing and other unwanted noises have \nbeen removed from the \u003cem\u003eRomeo and Juliet\u003c\/em\u003e recording. I'm grateful once more to Keith Bennett for his insight and excellent notes to what is a fabulous Cantelli release.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\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\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e  Symphony No. 5 in E minor, Op. 64\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\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e  *Romeo and Juliet (overture-fantasia)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eSHULMAN\u003c\/b\u003e  A Laurentian Overture\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\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive performances, Carnegie Hall, New York City\u003cbr\u003e1 March, 1952 and *2 February 1952 \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGuido Cantelli\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 Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC457.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC457.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eLet \nus start at the beginning. Guido Cantelli graduated as a professional \nmusician on 3 February 1943 and his first engagement was in his home \ntown of Novara when he conducted \u003cb\u003eLa Traviata\u003c\/b\u003e eighteen days later.\n His meteoric rise to fame came after an unseen Arturo Toscanini \nwitnessed Cantelli’s rehearsal during May 1948 with the Orchestra della \nScala for a concert which was to be his first appearance in the Teatro \nalla Scala. The rest is well-known and it is an unequivocal fact that \nCantelli’s international career was launched from that informal \nencounter.\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;\"\u003eUp until the end of 1948 only one Tchaikovsky symphony (the \u003cb\u003e\u003cem\u003ePathétique\u003c\/em\u003e\u003c\/b\u003e)\n had been performed (twice) by the young conductor and the only other \nperformances of Tchaikovsky were the violin and the piano concerto which\n were conducted just once.\u003cb\u003e \u003c\/b\u003eCantelli gave his first performance of the Tchaikovsky \u003cb\u003eSymphony No.5\u003c\/b\u003e\n when the Orchestra della Scala took part in the 1950 Edinburgh \nFestival: this was Cantelli’s first visit to the UK. Such was the \nacclaim of his performances on the 5\u003csup\u003eth\u003c\/sup\u003e and 9\u003csup\u003eth\u003c\/sup\u003e \nSeptember that he was persuaded to record the work later that same month\n when the orchestra was appearing in London. There followed another \nseven performances in Italy with the same orchestra. In 1951 there were \nonly five performances, all in the USA – two with the Pittsburgh \nSymphony Orchestra and three with the San Francisco Symphony Orchestra.\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;\"\u003eThus,\n by the time that Guido Cantelli mounted the podium on 1 March 1952 in \nCarnegie Hall, the late Harris Goldsmith made the very valid comment \nthat the conductor had already given a dozen performances of this \nsymphony since he made the commercial recording and that experience can \nbe heard for three reasons: first, as Harris Goldsmith pointed out, \nCantelli had considered his interpretation further in the light of these\n performances; second, he had a fabulous orchestra at his disposal; and \nthird, this was his 22\u003csup\u003end\u003c\/sup\u003e appearance with the NBC Symphony \nOrchestra and the musicians were well aware of the young conductor’s way\n with Tchaikovsky, since they had played the Fantasy Overture \u003cb\u003eRomeo and Juliet\u003c\/b\u003e twice and the \u003cb\u003eSymphony No.4\u003c\/b\u003e once. This was to be his only performance of \u003cb\u003eSymphony No.5 \u003c\/b\u003ewith\n this orchestra and, understandably, Cantelli had already honed his \nvision of the work to a remarkable degree. That is not to say that he \nfollowed every instruction contained in Tchaikovsky’s score, but there \nis never the impression of manipulation or sentimentality and there are \nplenty of instances where Cantelli was meticulous in observing \nTchaikovsky’s wishes. Maybe there a wind of change in the air during the\n 1950s and - for this listener - it was like a breath of fresh air.\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;\"\u003eThe performance of Tchaikovsky’s \u003cb\u003eRomeo and Juliet \u003c\/b\u003efrom\n a few weeks earlier (2 February) has all the ardour, passion and drama \ncontained in the score, and while Cantelli’s commercial recording with \nthe Philharmonia Orchestra (recorded 13 October 1951) is more subtle \nthere is considerable disappointment that James Bradshaw’s tympany is \nrecorded at too low a level, which is very obvious when one hears the \nNBCSO’s Karl Glassman ferocious attacks. Those who eyes are glued to the\n score will note that that Karl Glassman continues his drum roll through\n the very last note (apparently, Toscanini did this in a performance \nwith the NBC Symphony Orchestra in 1938, but never repeated it again).\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;\"\u003eThe concert on 1 March had opened with Alan Shulman’s \u003cb\u003eA Laurentian Overture. \u003c\/b\u003eHe\u003cb\u003e \u003c\/b\u003ewas\u003cb\u003e \u003c\/b\u003ea\n cellist in the NBC symphony orchestra from 1937 until its disbandment \nin 1954, although he enlisted for military service during 1942-1945. He \nwas also a composer (1915-2002). He had sent the score, which is \ndedicated to Tallulah Bankhead, to Cantelli on 6 June 1951 and Cantelli \nindicated in his reply dated 10 August that he had already decided to \ninclude the work in his concerts with the New York Philharmonic \nOrchestra (as it is known today) and possibly the NBC Symphony Orchestra\n as well: this he did. It may not be a great work, but it is one of \nthose compositions which can delight audiences (even some critics as \nwell) although, sadly, it did not find its way into the accepted \nrepertoire. The outer sections are rumbustious and the central part has a\n meditative atmosphere. It has that sense of wide open spaces and a \nfeeling that life, although quirky, is very much worth living. Anyway, \nCantelli obviously liked it and the performances with both orchestras \nwere brilliant.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese notes © 2015 Keith Bennett\u003cbr\u003e\u003cbr\u003eKeith Bennett \u003cem\u003eis the \nauthor of Guido Cantelli – Just Eight Years of Fame (published 2009) \nwhich is only available from GC Publishers. For further details either \nwrite to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk \nIP12 4UL, UK or e-mail gcpublishers@keithbennett.waitrose.com\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\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":31975442637,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975442701,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975442765,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC457_62b446c0-3300-405c-872a-68d562c83f97.jpg?v=1588842595"},{"product_id":"pasc411","title":"REINER conducts Richard Strauss (1952-57) - PASC411","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Also Sprach Zarathustra\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Burleske\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. Strauss\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Till Eulenspiegels lustige Streiche\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings · 1952-57\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 67:28\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Reiner, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eByron Janis, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eChicago Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReiner makes such good use of the few extra seconds he takes with the NBC group that I prefer Pristine’s vivid reproduction of it578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI love the cover on this Pristine \nrelease. Imagine yourself as a “fright-palsied oboist” (to borrow a \nphrase from Oscar Levant) and Fritz Reiner is scowling at you the way he\n glares out of the cover of this release (“Did I hear a C♯ instead of a \nC♮?”). Is the ax about to fall? Fortunately for them, the oboists on \nthis recording were spared “the look” (at least I hope so). In June of \n1950, Decca recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Clemens Krauss leading the Vienna Philharmonic. The sound was \nclose to the then-current “state-of-the-art” and it still holds up \nreasonably well in Decca’s recent reissue of Krauss’s Strauss recordings\n with the Vienna Philharmonic, including even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n As a performance, it need not yield to anyone’s, including even this \nsplendid Reiner\/CSO made nearly four years later, in March 1954. The \nbiggest advantage Reiner’s has is the magnificent two-channel sound, \neven though some listeners may be put off by its not sounding like a \n“real” stereo recording since, at that time, Reiner had his violins \ndivided with the cellos at stage right. The earliest Reiner\/Chicago \nrecordings were made that way. For the following season Reiner, \nconvinced that the two violin sections would hear each other better, \nswitched the second violins over to his left and put the cellos to his \nright, outside the violas, the same seating that Eugene Ormandy used in \nPhiladelphia. Reiner’s early \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was made the same way, and I suspect that that was the main reason that\n RCA had Reiner record them over again a few years later. What I don’t \nunderstand is, having experienced the sonic delights of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, Dance of the Seven Veils, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n why did RCA then record some Mozart pieces monaurally? Reiner’s \nBeethoven Third was apparently recorded stereophonically but was never \nissued in that format in the United States. Why? Reiner’s way with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is, perhaps inevitably, more hard-edged than that of Krauss, but it and\n the splendid sound (well preserved by Pristine) certainly put the \ncomplicated tone poem across. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAlthough the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBurleske\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was eventually issued stereophonically, I had heard only the original \nmono issue until I received this welcome Pristine release. I think just \nabout every performance of this early piece that I’ve heard treats it as\n an over-ripe specimen of late Romanticism. Perhaps that was the \nintention of Janis and Reiner, but their approach tends to emphasize the\n piece’s eccentric rhythms and mood-swings, bringing out a heavy-handed \nwit that, who knows, may have been Strauss’s intention. Janis’s \naggressive pianism runs the gamut from brittle brilliance to melting \ndelicacy and the orchestra contributes the expected precision. In any \nevent, it may not be for all tastes but it works. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAccording to his biographer, Philip Hart, Reiner conducted \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at least 35 times with 15 different orchestras, which may even be a \nmodest estimate. Judging by the four Reiner recordings I’ve heard, I’d \nsay that there was probably little difference among them, but my narrow \npreference is for the two live ones which, though only marginally \nslower, seem just a little warmer and, perhaps, even a bit more relaxed.\n One of them was issued by the Chicago Symphony Orchestra years ago and \nis no longer available, all the more reason why I take pleasure in \ntouting this similar NBC Symphony broadcast from 1952, which has quite \nvivid mono sound (or “ambient stereo,” as Pristine calls it) and \nterrific playing. If real stereo is an important consideration, there’s a\n rich-sounding Reiner\/Vienna Philharmonic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e coupled with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTod und Verklärung\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In their efficient way they are both splendid performances, but I think\n Reiner makes such good use of the few extra seconds he takes with the \nNBC group that I prefer Pristine’s vivid reproduction of it. Odd that he\n never recorded the two Strauss tone poems with his own orchestra when \nhe did just about everything of any note except \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien, Macbeth, Metamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlpine Symphony. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC411.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFritz Reiner's masterful way with Richard Strauss\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eCelebrating the composer's 150th anniversary year\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFritz Reiner is of course closely associated with the music of \nRichard Strauss. His first stereo recordings, and the first conducted by\n RCA for what would become their legendary Living Stereo imprint \nfeatured Strauss, and it's from those first sessions that Also Sprach is\n taken. In fact the programme here was to an extent chosen for me - it \nmirrors precisely that of my first concert in New York at Carnegie Hall \nin April 2014, celebrating Strauss's 150th birthday. And how better to \nbecome intimately acquainted with the music than by presenting an XR \nremastering of the maestro at work in sound quality that conveys every \nfine detail better than ever before?\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Also sprach Zarathustra, Op. 30\u003cbr\u003eRecorded 8 March 1954, Orchestra Hall, Chicago\u003cbr\u003eA stereo recording\u003cbr\u003e\u003cb\u003eJohn Weicher\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Burleske in D minor, TrV 145\u003cbr\u003eRecorded 4 March 1957, Orchestra Hall, Chicago\u003cbr\u003eA stereo recording\u003cbr\u003e\u003cb\u003eBryon Janis\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eChicago Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche, Op.28\u003cbr\u003eLive recording, 19 January 1952, Carnegie Hall, New York\u003cbr\u003eAn ambient stereo recording\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003cbr\u003eFritz Reiner\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\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\/PASC411.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC411.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":31975873293,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975873357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975873421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC411_60abd709-bb89-49c1-b368-7b0821532843.jpg?v=1487682460"},{"product_id":"pasc442","title":"STOKOWSKI CD Premières: Purcell, Tchaikovsky, Wagner (1941-50) - PASC442","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tannhäuser – Overture and Venusberg Music ∙ Prelude to Act 3; Tristan und Isolde – Prelude and Liebestod (First Release)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePURCELL-STOKOWSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e “When I am laid in earth” (Dido and Aeneas)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Andante cantabile from Symphony No. 5; Dance of the Sugar Plum Fairy from The Nutcracker\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Three excerpts from The Love for Three Oranges\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\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941-50\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 65:02  \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York City Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a performance that needs to be heard by any Wagnerite578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs producer and restoration engineer \nMark Obert-Thorn notes in his booklet note, this release takes us one \nstep closer to having every last note recorded by Leopold Stokowski \navailable on CD. (His recording of Panufnik’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUniversal Prayer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n remains at large, and presumably will remain so until 2041, when it \nenters the public domain.) This is excellent news for Stokowski \ncompletists, and good news for his many admirers. For everyone one else \nreading this headnote, they might be taken aback by the grab-bag nature \nof this release, which features an odd assortment of works, some of them\n in incomplete recordings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpts, recorded in 1945, are accidentally incomplete, one assumes. \nApparently this comes from a two-disc test pressing, and the second disc\n (which would include the second and third sides) was either broken or \nhas not been found. Thus, we get the first half of the Prelude and the \nsecond half of the Liebestod. Stokowski’s music-making is white hot, but\n you have to be fairly dedicated to put up with such bleeding chunks, \nwhich are even more bloody than usual. The excerpt from the second \nmovement of Tchaikovsky’s Fifth (the movement’s second half, roughly) is\n a result of it having been featured in the 1947 film \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarnegie Hall\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n It was intended more for movie-goers than for serious music lovers (not\n that the two groups can’t intersect).Too bad, because it’s an excellent\n performance, even though it is incomplete. The “Dance of the Sugar Plum\n Fairy” (Walter Hendl on celesta!) seems to have been a “B side” to a \n1949 recording of Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSleigh Ride\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The tempo is luxuriously slow, and the effect is most seductive, \nespecially if you have a venereal sweet tooth. Stokowski’s arrangement \nof Purcell also makes Dido sound hot and bothered; “When I am laid” \nindeed! Obert-Thorn guesses that the cello soloist here, in this \nrecording from 1950, is Leonard Rose. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Prokofiev excerpts were recorded in\n 1941 in New York’s “Cosmopolitan Opera House.” (Really?) The March has \nbeen on CD before, but not the other two movements. “The Prince and the \nPrincess” languish with searing intensity, and so this is another \nworthwhile albeit incomplete find. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI’ve saved the best for last. The excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTannhäuser\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n date from 1950 and feature the conductor and his musicians at the top \nof their form; even the women’s chorus (unidentified) in the Venusberg \nMusic makes a memorable contribution. Although the music-making has a \nsweeping, theatrical spontaneity, one also senses Stokowski’s brain \nticking away as he deploys one gorgeous effect after another. Unless you\n like Wagner to be boring and sedate, this is a performance that needs \nto be heard by any Wagnerite, perfect of otherwise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn’s transfers probably get \neverything out of the source material that there is to be gotten; they \nsound remarkable for their age. But then again, so did Stokowski. \nScraping the bottom of the barrel? Well, maybe, but what happy \nscrapings!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRaymond Tuttle\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC442.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous Stokowski recordings unheard for decades\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"They sound remarkable for their age. But then again, so did Stokowski\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eWith the publication this month of a Music \u0026amp; Arts set \ndevoted to all of Stokowski’s recordings with the All-American Youth \nOrchestra and Hollywood Bowl Symphony Orchestra that had not yet been \nreissued on CD, the number of the conductor’s post-acoustic era output \nin that category has been greatly reduced.  The present release brings \ntogether all but one of the remaining such recordings, and adds a first \nrelease.  (The single holdout is Stokowski’s 1970 Unicorn LP of \nPanufnik’s \u003cem\u003eUniversal Prayer\u003c\/em\u003e, which will not enter the public domain until 2041.)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe original labels of most of the items featured here credited\n “Leopold Stokowski and his Symphony Orchestra”, a pickup ensemble with \nwhich the conductor recorded almost exclusively for his RCA sessions \nfrom 1947 through 1953.  It has always been known that during these \nyears, it consisted of members of the New York Philharmonic (which \nrecorded exclusively for rival label Columbia at the time), the NBC \nSymphony, and top New York freelancers.  But what critic and \ndiscographer James H. North brought to light in an article published in \nthe Spring, 2013 issue of the \u003cem\u003eARSC Journal\u003c\/em\u003e was the actual mix of personnel:   Philharmonic members and freelancers far outweighed NBC players in participation.  The \u003cem\u003eTannhäuser\u003c\/em\u003e\n selections which begin our program provide a case in point:  All of the\n players came from the New York Philharmonic except freelance oboist \nRobert Bloom.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eFor all the various arrangements of music from \u003cem\u003eTristan\u003c\/em\u003e\n that Stokowski recorded over his career, it is remarkable that he made \nonly a single published version of the “standard” Prelude and Liebestod,\n and that only in 1973, toward the end of his career.  The previously \nunissued recording presented here was made with the New York City \nSymphony, an ensemble that Stokowski created in 1944.  Only the first \nand last sides of the set survive in test pressings, but they are enough\n to indicate the white-hot intensity of Stokowski’s performance.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe cello soloist in Stokowski’s deeply-felt Purcell \ntranscription is most likely Leonard Rose, who was listed as the first \nchair at that session.  The foreshortened single movement from the \nTchiakovsky Fifth is a souvenir of the conductor’s appearance in the \n1947 film, \u003cem\u003eCarnegie Hall\u003c\/em\u003e, in which he led this music.  The \nrecording of the “Dance of the Sugar Plum Fairy” which was issued on \nsingle 78 and 45 rpm discs coupled with Mozart’s “Sleigh Ride” has often\n incorrectly been thought to come from Stokowski’s 1950 recording of the\n entire \u003cem\u003eNutcracker\u003c\/em\u003e Suite, but it predates it by a year.  The celesta soloist here is future conductor Walter Hendl.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Prokofiev selections with the NBC Symphony were originally \nrecorded on three separate 12-inch matrices and then were dubbed to two \nsides.  I was lucky to be able to work from undubbed vinyl test \npressings for the “Infernal Scene” and “March”, but had to use the \nsonically-compromised dubbed shellac release for “The Prince and the \nPrincess”.  While the March has appeared on CD previously, it is now \njoined to the other movements to conclude our program of “firsts”.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn (April 2015)\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            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tannhäuser\u003cbr\u003e\u003cbr\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cb\u003eOverture and Venusberg Music                                     \u003c\/b\u003e                                   \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2          \u003cb\u003ePrelude to Act 3*                                                                                                    \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 1 and 15 February 1950 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor LM-1066 and *WDM-1383\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eWAGNER:\u003c\/b\u003e  Tristan und Isolde\u003c\/p\u003e\u003cp\u003e3          \u003cb\u003ePrelude to Act 1 (beginning)\u003c\/b\u003e                                                                              \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4          \u003cb\u003eLiebestod (conclusion)\u003c\/b\u003e                                                                                       \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 2 March 1945 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  D5-RC-866-2A \u0026amp; 869-1A                            \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Previously unpublished\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e5          \u003cb\u003ePURCELL\u003c\/b\u003e (trans. Stokowski):  \u003cb\u003e“When I am laid in earth\u003c\/b\u003e” from Dido and Aeneas\u003c\/p\u003e\u003cp\u003e            Recorded 8 August 1950 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor LM-1875\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e6          \u003cb\u003eTCHAIKOVSKY:\u003c\/b\u003e  Symphony No. 5 in E minor, Op. 64\u003c\/p\u003e\u003cp\u003e           \u003cb\u003e 2nd Mvt.:  Andante cantabile, con alcuna licenza\u003c\/b\u003e (abridged)                         \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 26 February 1947 in the Lotos Club, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  D7-RC-7330 and 7331\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor 11-9574\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e7          \u003cb\u003eTCHAIKOVSKY:  Dance of the Sugar Plum Fairy\u003c\/b\u003e from The Nutcracker\u003c\/p\u003e\u003cp\u003e            Recorded 2 March 1949 in Manhattan Center, New York City\u003c\/p\u003e\u003cp\u003e            Matrix no.:  D9-RB-244\u003c\/p\u003e\u003cp\u003e            First issued on RCA Victor 10-1487\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e            \u003cb\u003ePROKOFIEV:  \u003c\/b\u003eThe Love for Three Oranges, Op. 33\u003c\/p\u003e\u003cp\u003e8          \u003cb\u003eInfernal Scene \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e9          \u003cb\u003eThe Prince and the Princess   \u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e10      \u003cb\u003e  March    \u003c\/b\u003e  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            Recorded 27 November 1941 in the Cosmopolitan Opera House, New York City\u003c\/p\u003e\u003cp\u003e            Matrix nos.:  CS-071264-1, 071266-1R \u0026amp; 071265-1A\u003c\/p\u003e\u003cp\u003e            First issued on Victor 18497\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e            \u003cb\u003eTracks 1, 2, 5 – 7: Leopold Stokowski and his Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Tracks 3 - 4:  New York City Symphony Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e            Tracks 8 – 10:  NBC Symphony Orchestra ∙ Leopold Stokowski\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\/PASC442.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC442.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":31975993613,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975993677,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC442_e998b253-2dad-431e-a148-e1a5c3d70677.jpg?v=1487682628"},{"product_id":"paco106","title":"TOSCANINI All-Verdi Concert (1943) - PACO106","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLuisa Miller - Don Carlo - Un ballo in maschera  -La forza del destino - Rigoletto excerpts\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording · 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:14 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGertrude Ribla, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNan Merriman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003emezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJan Peerce, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrank Valentino, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNicola Moscona, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr class=\"bodybigblue\" data_liveedit_tagid=\"000000000D776290\"\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNever have I heard the entire broadcast in such excellent sound ... one of the greatest of all Toscanini concerts578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis, one of the greatest of all \nToscanini concerts, is finally presented here in outstanding quality \nsound. It has been floating around on various pirate issues for years, \nbut almost always in dry, boxy, cramped sound. (You can hear a typical \nexample of what it sounded like previously at \nyoutube.com\/watch?v=F5qQ2OAYi34.) In the brief liner notes, Andrew Rose \nstates that he was able to restore this concert “from a set of very high\n quality acetate dubs supplied to me by a donor who prefers to remain \nanonymous,” to which he gave “the notoriously dry 8H sound just the \nslightest bit of acoustic softening, retaining the directness Toscanini \ndesired whilst just slightly rounding out the voices and orchestra tone \nwith the merest hint of Sydney Opera House convolution reverb.” Thus \nthose of you who are Toscanini Purists, and only wish to hear his \nrecordings in their dead, cramped, airless original acoustic, are \nforewarned. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat makes this concert so wonderful to\n me is that it is not conducted in the taut, relatively uninflected \nstyle which came to characterize so many (but not all) Toscanini \nperformances of the period 1943–47. On the contrary, it is much closer \nin style and feeling to his New York Philharmonic performances of the \nearly-to-middle 1930s, which even such notorious Toscanini haters as \nJoseph Horowitz deem fit to rave about. Toscanini’s phrasing in “O don \nfatale,” “Eri tu” and “Pace, pace mio Dio” is expansive and elastic, \nsurprisingly so when one considers how tense he was over the events of \nthe war. (This was the broadcast during which Mussolini’s downfall was \nannounced, prompting Toscanini’s clutching his hands and looking \nheavenward while the NBC audience erupted in applause, but this came \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eafter \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehe had already performed the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLuisa Miller \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture and the various arias, and those were also relaxed and expansive performances.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAttention is drawn in this concert to \nsoprano Gertrude Ribla (birth name Ribler, 1914–1980), of whom this is \none of only two recordings known to me. (The other is a complete RCA \nVictor studio recording of Raffaello de Banfield’s obscure opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLord Byron’s Love Letter, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n 1958.) This concert, which is the only example of her singing I’ve \nheard, reveals her to have been a remarkably fine vocalist and a \nfascinating interpreter. The voice is bright but also powerful, able to \nascend the scale to high Cs without apparent effort, and just youthful \nenough to make her a much more appropriate-sounding Gilda than Zinka \nMilanov, whom Toscanini used a year later in the much more famous \nreprise of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eact\n III at his famous Madison Square Garden concert using both the NBC \nSymphony and New York Philharmonic. Comparing the baritones, I won’t say\n that Frank Valentino is the equal of young Leonard Warren, who sang the\n title role in 1944, but he more than holds his own. In fact, Valentino \nin this act reveals a fine grasp of the character’s moods and feelings, \nchanging them at various points like a chameleon. The other three \nsingers—Peerce, Merriman, and Moscona—repeated their roles in 1944, and \nsound pretty much the same, but within these more flexible tempos \n(particularly in “La donna è mobile,” where Toscanini actually utilizes a\n slight rubato effect in the second half of each strophe, a performance \npractice that harks back to at least the era of Bonci and Caruso) his \nsinging is somewhat more relaxed and more engaging. There is any number \nof such touches throughout this performance, great and small, but the \nbottom line is that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ebroadcast has the feel of an actual stage performance, like Toscanini’s 1937 Salzburg \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFalstaff, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewhereas the 1944 one has the feel of a “symphonic synthesis on themes from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e” which is not the same thing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the transfer, it is immaculate \nin sound quality. Never have I heard the entire broadcast in such \nexcellent sound, though to be honest the V-Disc issues of the “Pace, mio\n Dio” and “O don fatale” always had clearer, cleaner sound than the \ntransfers I’ve heard of the whole concert. The only glitch I noticed was\n a skip in the grooves at the 19-minute mark of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewhich\n surprised me that it was not corrected. Otherwise, this is a fabulous \nreissue. Many years ago, when RCA finally issued the superior \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLucia \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esextet\n that Caruso made with Luisa Tetrazzini on LP, the late critic Tom \nVillella suggested that the far inferior (but more famous) version with \nAmelita Galli-Curci be permanently retired. I would make the same \nsuggestion for the Milanov version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRigoletto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eact\n III. This is by far the greater and more impressive performance, and I \nfor one will never listen to the Milanov version again except to get a \ngood laugh from her clumsy, over-heavy, matronly Gilda. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eLynn René Bayley\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO106.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's historic 1943 all-Verdi War Bonds concert in fabulous sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLive on air as news of Mussolini's downfall came through - an electric moment in history\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording was restored from a set of very high quality acetate \ndubs supplied to me by a donor who prefers to remain anonymous. The \nsound quality of these is unprecendented and gave me a huge head start \nin preparing this release. For extended sections I was lucky enough to \nhave two different copies to choose from with different degrees of wear -\n each side lasted roughly a quarter of an hour. Wear and tear was uneven\n across the entire concert, with lengthy sections of the broadcast \nimmaculate, but elsewhere surface noise clearly in evidence and \nrequiring extensive restoration work.\u003c\/p\u003e\u003cp\u003eI have preserved the concert exactly as broadcast save for two cuts: \nthe long interval talk by short-wave radio has been faded out at the \nstart then back in at the end, and the look-ahead in Ben Grauer's \nclosing announcement has been cut. Elsewhere you'll hear evidence of a \nlack of communication between Grauer and Toscanini as the music cuts \nacross two of the announcements. I've also retained the newsroom \nannouncement of the end of Mussolini's reign over Italy as broadcast.\u003c\/p\u003e\u003cp\u003eThese are, however, mere historical details. What's most important is\n of course the music, which has been superbly preserved here. I've given\n the notoriously dry 8H sound just the slightest acoustic softening, \nretaining the directness Toscanini desired whilst just slightly rounding\n out the voices and orchestral tone with the merest hint of Sydney Opera\n House convolution reverb, an acoustic which seemed most sympathetic to \nthe performances.  \u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI Luisa Miller:\u003c\/b\u003e Overture; “Quando le sere,” \u003cem\u003ewith Jan Peerce, tenor\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI Don Carlo:\u003c\/b\u003e “O don fatale,” \u003cem\u003ewith Nan Merriman, mezzo-soprano\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI La forza del destino:\u003c\/b\u003e “Pace, pace, mio Dio,” \u003cem\u003ewith Gertrude Ribla, soprano \u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eVERDI Un ballo in maschera:\u003c\/b\u003e “Eri tu,” \u003cem\u003ewith Frank Valentino, baritone\u003c\/em\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eVERDI Rigoletto:\u003c\/b\u003e Act III, \u003cem\u003ewith all of the above and Nicola Moscona, bass\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eGertrude Ribla\u003c\/b\u003e - soprano\u003cbr\u003e\u003cb\u003eNan Merriman\u003c\/b\u003e - mezzo-soprano\u003cbr\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e - tenor\u003cbr\u003e\u003cb\u003eFrank Valentino\u003c\/b\u003e - baritone\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e - bass\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e - conductor\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eBroadcast recording from NBC Studio 8H\u003cbr\u003eNew York City, 25 July 1943\u003cbr\u003eBroadcast live by NBC, 5.00 - 6.15pm\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\/PACO106.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO106.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\u003cb\u003eA Moment In History\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eIt was during this broadcast that Mussolini’s downfall was announced. Harvey Sachs has described what occurred in the studio:\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cem\u003eToscanini and soprano Gertrude Ribla \nhad just left the stage when an announcement was broadcast into the hall\n and over the air: Benito Mussolini had been deposed. Toscanini, beside \nhimself, rushed back on the stage, clasped his hands and gazed \nheavenwards, in a sign of thanksgiving, while the audience, equally \nbeside itself, applauded, cheered, screamed, and all but tore the studio\n to pieces.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eNone of this bedlam could have been apparent to those listening on \nthe radio. Two announcements of Mussolini’s deposition went over the \nair, the first in an intermission talk carried by shortwave from the \nPacific given by Admiral Harold R. Stark. It was probably during this \ntalk that the audience erupted. After Stark concluded, the broadcast \nswitched to the NBC newsroom, where a “roundup of the important events \nof the day from Italy” was given that included a second announcement of \nthe deposition. When Ben Grauer then returned to introduce Act III of \nRigoletto, no audience reaction was evident.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFrom \u003cb\u003e\"Arturo Toscanini: The NBC Years\"\u003c\/b\u003e by\u003cb\u003e Mortimer H. Frank\u003c\/b\u003e, Amadeus Press\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":31976025101,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976025229,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976025357,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976025421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO106_9648b042-63a5-4f69-b3e9-19c062253bcf.jpg?v=1487682678"},{"product_id":"paco105","title":"TOSCANINI All-Wagner Concert (1941) - PACO105","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLohengrin - Tannhäuser - Die Walküre - Tristan und Isolde - Götterdämmerung excerpts\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording · 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 2hr 9:43 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHelen Traubel, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLauritz Melchior, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fShould be snapped up by Wagner lovers and fans of these singers and Toscanini without hesitation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine Audio’s Andrew Rose made this \nproduction from a set of acetate radio checks that were donated to him. I\n have found Rose’s work to be uneven (or, more accurately, his source \nmaterial has been uneven), but this release is astonishing. My quick \ncheck for the success of a so-called “improved” reissue of historic \nmaterial is to listen to the strings. They sound like bows drawn across \nstrings here, not a gelatinous mess, or a screechy computer-generated \nfacsimile. The overall sound has excellent depth and clarity, if just a \nbit of compression of the dynamic range, but this is not distracting, \ncertainly not once you fall under the spell of the performance. I happen\n to own an LP copy of RCA’s 1968 rerelease of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Walküre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt (which used the infamous “stereo effect” technique), and the \ndifference is night and day. Rose essentially eliminates any background \nnoise. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCollectors of vintage opera, especially\n Wagner lovers, do not need to be told that this is a legendary \ncollection of artists. I am not much of a believer in “golden ages,” nor\n am I a Wagnerite in the league of colleague Andrew Quint, but this \nFebruary 1941 concert performance captures an era when giants walked the\n musical world. Melchior’s thrilling tenor, captured here in all of its \nradiant glow, is inimitable. Traubel does not quite match him tonally so\n well as Kirstin Flagstad, but her voice has an alluring, humanizing \nwarmth that is more down to earth than the rather icy Swedish soprano. \nToscanini’s Wagner is delivered in the same, no-nonsense way that he \npresented Brahms and Beethoven. This aesthetic is the basis of most \ncriticism of the conductor, especially \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evis-à-vis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n his great contemporary Furwängler, whose fans considered Toscanini’s \nmanner to be lacking in personality. This, of course, is exactly the \npoint. Toscanini wanted to be the conduit for the composer, and nothing \nmore. His greatness, and it is on full display here, is the technique he\n employed to achieve this. He was a genius at finding the proper pulse \nand pace, and in executing the specific direction of the score. A\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e forte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a crescendo is a crescendo. Of course all of these musical decisions \ninvolve some degree of interpretation, but Toscanini always went back to\n the score to make his choices. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eToscanini’s signature, above all, was \nhis sound. There is always a remarkable lucidity in the playing of his \norchestras (mainly the NBC Symphony Orchestra, but it is evident in his \nexceptional 1930s recordings with the BBC Symphony Orchestra as well), \nas if you can hear any individual instrument at any given time. It gives\n his sound a richness and depth that is unmatched. His Wagner has an \nopen-throated power that is unparalleled. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eI know that I join several other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n writers in my praise of Pristine’s superb remasterings of so many \nwonderful old recordings. The productions are bare-bone and a bit sloppy\n (Melchior’s name is misspelled on the rear cover), but this is not at \nthe expense of the recording itself, which should be snapped up by \nWagner lovers and fans of these singers and Toscanini without \nhesitation. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003ePeter Burwasser\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO105.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's brilliant 1941 all-Wagner concert in groundbreaking sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“Toscanini\n had a single absorbing purpose which hypnotized all his associates — \nthe proper articulation of the music of Richard Wagner”- New York Times,\n 1941\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eA couple of weeks ago I was contacted by a donor who prefers to \nremain anonymous, and offered a set of superior transfers of the \noriginal NBC acetate discs which make up this recording. With more than \none set, covering a number of the side changes, this allowed me an \nunprecedented choice of material, all of it in a quality and with a \nfrequency range one simply doesn't expect from this era in recorded \nsound. My correspondent was familiar with the raw transfers, but eager \nto hear what a Pristine XR remastering might achieve with them.\u003c\/p\u003e\u003cp\u003eThe result is, for the bulk of the recording, little short of \nmiraculous - only occasionally does the source give itself away to \nremind you that this is a recording made over 73 years ago. The \norchestral and vocal balance is excellent, the acoustic almost ideal, \nthe performances sublime, as the Times reviewer described the following \nday.\u003c\/p\u003e\u003cp\u003eHere we present the full, unedited broadcast, including the interval \ntalk on Wagner. I have tracked the final masters such that those who \nwish to skip the commentary can easily do so, whilst those who'd rather \nenjoy the full experience, in unprecendented high fidelity sound \nquality, may also find their demands fully met. \u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003ePart 1\u003c\/b\u003e\u003cbr\u003eIntroduction, announcer: Ben Grauer (2:09)\u003cbr\u003e\u003cb\u003eLohengrin\u003c\/b\u003e - Prelude to Act 1 (9:32)\u003cbr\u003e\u003cb\u003eTannhäuser\u003c\/b\u003e - Act 2, \"Dich, teure halle\" (5:41)\u003cbr\u003e\u003cb\u003eDie Walküre\u003c\/b\u003e - Act 1, Scene 3 (27:46)\u003cbr\u003eBack anno, part 1 (0:50)\u003cbr\u003eIntermission talk: Samuel Chotzinoff on Wagner (9:17)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003ePart 2\u003c\/b\u003e\u003cbr\u003eIntroduction to part 2 (6:02)\u003cbr\u003e\u003cb\u003eTristan und Isolde\u003c\/b\u003e - Prelude to Act 1 (12:24)\u003cbr\u003e\u003cb\u003eGötterdämmerung\u003c\/b\u003e - Dawn Duet and Siegfried's Rhine Journey (20:38)\u003cbr\u003e\u003cb\u003eGötterdämmerung\u003c\/b\u003e - Siegfried's Death and Funeral March (13:14)\u003cbr\u003e \u003cb\u003eGötterdämmerung\u003c\/b\u003e - Brünnhilde's Immolation (20:21)\u003cbr\u003eBack anno, part 2; programme close (1:50)\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\n\u003cb\u003e\u003cbr\u003eHelen Traubel\u003c\/b\u003e - soprano\u003cbr\u003e\u003cb\u003eLauritz Melchoir\u003c\/b\u003e - tenor\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\n\u003cbr\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e - conductor\u003cbr\u003e\u003cbr\u003eThis release comprises the full, unedited NBC broadcast of the concert of 22 February 1941 \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\/PACO105.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO105.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fConcert Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eThe New York Times, 1941\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e \u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eTOSCANINI OFFERS WAGNER PROGRAM\u003c\/b\u003e\u003cbr\u003e\u003cem\u003eConducts the NBC Symphony With Lauritz Melchior and Helen Traubel as Soloists\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003cb\u003e‘WALKUERE' SCENE GIVEN\u003c\/b\u003e\u003cbr\u003e\u003cem\u003e‘Goetterdaemmerung’ Excerpts and ‘Tannhaeuser’ Number Heard at Carnegie Hall\u003cbr\u003e \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIt is perhaps only heroes who can talk with heroes, and this seemed \nespecially evident last night when Arturo Toscanini conducted the NBC \nSymphony Orchestra in a Wagner program which he discoursed unforgettably\n in Carnegie Hall, with Helen Traubel and Lauritz Melchior of the \nMetropolitan Opera Association as assisting soloists.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBoth singers were in excellent vein, but singers and players were \nalike the instruments of Toscanini’s will, and Toscanini had a single \nabsorbing purpose which hypnotized all his associates — the proper \narticulation of the music of Richard Wagner. He read this music in an \noverwhelming fashion; everything was fused and unified in his imperious \ninterpretation.\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eHeroic Quality Noted\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWherefore the audience entered into the presence of Wagner. There is \nthat in Wagner’s heroic music, and equally in the spirit of this leader,\n which shakes alike performers and listeners and makes them at least for\n the moment the greater for the experience.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe circumstances of the occasion were a symphony concert given for \nthe benefit of the Lenox Hill Neighborhood Association and a program \nconsisting of the “Lohengrin” Prelude, the air from Tannhaeuser, “Dich \ntheure Halle”; the duet from “Walkuere,” the Prelude to “Tristan und \nIsolde,” and the opening scenes, including the duet of Siegfried and \nBruennhilde, “Siegfried’s Rhine Journey,” the Funeral March and the \nImmolation scene from “Goetterdaemmerung.”\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMelchior in Fine Voice\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese were the offerings. When the orchestra was heard without the \nsingers it was sublimated song, plus the elemental power and the \nmonumental lines of Wagner’s symphonic style. Mr. Melchior sang with a \nwealth and brilliancy of tone that indicated his exceptional condition \nand spirits, the authority his experience as a Wagner singer bestowed \nhim, and a sincerity which reflected the earnestness of the leader.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIt is also to be noted that Mr. Melchior sang strictly in time. And \nwhen it came to “Waelse, Waelse” from ‘‘Walkuere,” where he loves to \nhold onto the sustained high tones for a time which is at least double \ntheir length in the score, he held these tones to their exact values and\n on observing a little wigwag of Mr. Toscanini’s finger promptly \nrenounced them.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBut it was neither exactness of detail nor technical brilliancy which\n gave Miss Traubel her inspired eloquence. Her “Dich theure Halle” was a\n warming process, creditable enough, before the duet which she and Mr. \nMelchior delivered with a fine sweep over the glories and tumults of the\n orchestra. Notable were the sensitive proportions in this duet and \nlater observed by Miss Traubel in the music from “Goetterdaemmerung.\" In\n this way, for once, the shattering climaxes were balanced and \nproportious and the grandeur of Wagner’s form fully revealed.\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eHelen Traubel Is Heard\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWe thus heard something more than an excited soprano clamoring \nagainst the Bayreuth tubas. We heard, for example, the unearthly \npianissimo of “Ruhe, du Gott,” as well as the wild exaltation of the \nfinal cry to Siegfried and the welcoming flames. Miss Traubel can well \nafford so to utilize her resources and reserve her powers. She has in \nher throat the instrument that can cope with any dramatic demands. Mr. \nToscanini, as he so often has done with other artists, seemed to release\n all her capacities.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe hall was packed, as a matter of course. At the end the whole \naudience stood for minutes and cheered. Mr. Toscanini, who in these days\n of horror overseas is not an over-happy man, would fain have \ndisappeared and left to the audience Wagner’s memory, for which he has \ndone all that his genius permitted. But he saw to it that the gentlemen \nof the orchestra as well as the distinguished artists who stood by him \nwere adequately recognized for their deeds of the evening, and at last \nthe audience went home.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eReview by\u003cb\u003e Olin Downes, New York Times\u003c\/b\u003e, 23 February 1941 (\u003cem\u003eexcerpt\u003c\/em\u003e)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31976026317,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976026381,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976026509,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976026573,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO105_67a73842-2ce2-4630-a33a-6ea6e185566b.jpg?v=1487682680"},{"product_id":"paco077","title":"TOSCANINI Beethoven: Fidelio (1944) - PACO077","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\" type=\"_moz\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFidelio\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\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast performance, 1944\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 51:08\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eJan Peerce\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e Florestano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eRose Bampton \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e Leonora\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eChorus \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003edirected by Peter Wilhousky\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor \u003c\/span\u003e\u003c\/span\u003e \u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f It is daring, fierce, mesmerizing, to be heard when you're feeling strong of spirit and mind578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003eThis isn't music-making for the timid, used to the \nsanitized, faultless performances on your everyday CD. In its raw, \nunvarnished way, it is daring, fierce, mesmerizing, to be heard when \nyou're feeling strong of spirit and mind. Toscanini views Fidelio and \nindeed Leonore No. 3 as stark drama, devoid of sentimentality. The winds\n leap from the speakers, the brass blare ferociously as the old wizard \ntells a story of the struggle for freedom in a year when, even in the \nUnited States, events far away in Europe must have felt very present. In\n achieving his end, he demands and mostly receives superhuman efforts \nfrom his charges: speeds are nervously fast, rhythms alert, as though \nthe events were happening in the conductor's presence. The wind section \nis prominent in a way we have since heard from Norrington in Beethoven, \nindubitably influenced by his predecessor. An occasional untidiness is a\n price worth paying for such an edge-of-your-seat interpretation. \nInevitably the epithet 'hard-driven' has been used about the \nperformance: a visionary conductor, inclined to the dictatorial, demands\n much from his performers and listeners. No compromises can be made. We \nwon't always want to hear the score done like this; once in a way, it is\n cleansing and salutary.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAccording to Harvey Sachs's notes, Rose Bampton once \nsaid that Toscanini declared \"the words came first and that the music \nwas composed afterwards. So we had to understand the deepest \nsignificance of the words in order to be expressive.\" Certainly all the \nsingers enunciate with the utmost clarity, to a fault in the case of the\n inadequate Rocco, whose German is poor. Bampton herself, although no \nLehmann (Toscanini's Salzburg interpreter) in matters of voice or \ndiction, is a determined and dedicated Leonore, whose \"Abscheulicher\" \ncomes from a later session and is the best part of her \nperformanceelsewhere she is sometimes off form vocally. The young Steber\n is a lovely Marzelline. Although not one's ideal Florestan, Peerce \nsings with his customary honesty and technical security. Janssen may not\n have the incisive bass-baritone for Pizarro, but he projects his part \nwith biting venom. Nobody else makes much of an impression and the \nchorus is no more than adequate-Robert Shaw hadn't yet arrived on the \nscene-but the sum is greater than the parts.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eMuch as one may regret the break for Leonore No. 3, the \nperformance is so electrifying as to silence criticism, but exception \nhas to be taken to the complete absence of dialogue, an essential part \nof this score. The digital tapes, made from NBC acetates rather than RCA\n originals, have a little more breadth and reliability than previous \ntransfers to LP. In any case, reservations about sound should deter \nnobody from sampling this unique experience.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eA.B., Gramophone\u003c\/b\u003e October 1992 (CD reissue, RCA)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW - \u003c\/b\u003eLP ISSUE, 1956\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThree names - Beethoven, Fidelio, and Toscanini - will \nbe enough for many people and will ask no more. Though they may find the\n following of interest.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe new Fidelio goes onto four LP sides, as opposed to \nthe six occupied by the previous complete version (reviewed by A.R. in \nMay 1954). \"Complete\" in the sense that room is found for the Leonora \nNo. 3, without which we should probably feel cheated, though it really \nhas no business herewhile the spoken dialogue, except in the melodrames \nof the dungeon scene, is cut—giving an effect to anyone who did not know\n the work that this was an opera of continuous music and not an opera \ncorrtique, as it properly is. Moods are sometimes hereby made to change \ntoo rapidly; but one concedes the omissions, in the interest of \ntime—space—money. The interpolated Leonora No. 3 starts the last side \nand is \"scrolled off\", so that it may be left out if one wishes. \nOtherwise the new set is not scrolled at all, as the Vienna performance \nwas, so that it is difficult to pick out individual \"numbers\", should \nyou wish to.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\"New\" is also a relative term meaning: publication over \nhere. Actually this Toscanini version, made up from two broadcasts of 12\n years ago, is older in time than Furtwängler's, which was made just \nafter the inaugural gala seasion at the new Vienna opera and with the \ncast and orchestra which had performed it on the opening night. These \ndiscs get more on to each side—the first side for instance concludes \nwith the little march, which in the Vienna set is already the second \nband of the second side, and so on. Also, Toscanini's speeds are \nappreciably faster in many instances.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eJudging between the two is not at all easy; to this \nopera, unique, one brings a special set of expectations and very varying\n responses. Music which is alternately sublime and homely, heroic and \nsimple almost to the point of being humdrum, establishes a whole phalanx\n of contradictory postulates. Is one to insist on heroism and make \nallowances for the fact that heroes find it hard to wear clogs? Or \ninsist first on the homely, the simple and the natural sounding and make\n corresponding allowance for \"ordinary\" characters dealing somewhat \nunheroically with the sublime? Comparing these two versions is made \nfurther difficult by the actual variability of one issue being taken \nfrom broadcast tapes.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIn a very general way, I would say that those who \nalready have the grand Furtwängler set, with its somewhat overstrained \nLeonora (Martha Mödl) but generally very authentically German sounding \ncast, should hesitate before abandoning it in favour of the Toscanini \nwith a cast not so noticeably better, at least as far as Germanic \nauthenticity goes. Rose Bampton enunciates German clearly and plausibly,\n but she acts with her voice less well than Mödl : there is less \nInnigkeit, less of the heroism we remember from Lotte Lehmann's \ninterpretation. On the other hand her voice sounds better placed and \nless out of condition than Mödl's; the top is free and has a real \nsoprano ring (as in the allegro of \"Abscheulicher\"). The veteran \nJanssen, too, sounds better than Edelmann in the villain's formidable \naria—though there the quality of the recording is better in the Vienna \nset. In the matter of cast otherwise I would somewhat prefer the Vienna \nsoloists, though the N.B.C. chorus in the ultimate pans of joy sound as \nif they had more deeper reserves of exuberant joy.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFurtwängler's handling of the score was masterly and the\n recording was all very much of a piece: Toscanini's is also masterly, \nbut the recorded quality varies from bright to just faintly distorted. \nAnd there are one or two curious smudges in the ensemble, as if the \nmaestro's titanic spontaneity had taken the players off their guard (one\n such occurs in the menacing orchestral passage which ushers in \nFlorestan's \"Welch dunkel . . \" in the dungeon scene). Then there are \nsome shifts of level hard to account for: for instance the Prisoners' \nChorus seems to have been inserted afterwards like a gusset in a coat \n(and it will be recalled that it did not make its true theatrical effect\n in the Vienna set either). After it is over, we jump back to the \nsoloists, like a sudden close-up in a film. Again towards the end of the\n dungeon scene where in the theatre the mounting excitement comes out at\n you in a rising tide, the performance here seems, on the contrary, to \nrecede like a camera slowly panning backwards to take in an ever \nwidening (but more distant) scene.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBut, and it is an over-riding \"but\" for a great many \npeople, Toscanini at many points brings an exhilaration to the music \nwhich is, quite simply, more purely thrilling than the stately and \ndeeply considered interpretation by Furtwängler. I suggest that you try,\n one against the other, the trio beginning \"Mein Sönnchen...\" and play \nthrough each version from there to the end of Scene 1. It is not that \nToscanini is a fraction brisker; it is that the ideal concept of the \nmusic and the performance of it suddenly fuses into one and the same \nthing. One is no longer conscious of music being made; it is the thing \nitself, and as the short orchestral postlude lets the pressure down \nagain, one resumes one's ordinary breath rate exactly as one does in a \ntheatre at the fall of a cutain on some scene which has burned you up \nlike oxygen and made you forget everything about yourself and where you \nare. The scene, which brings the American players and singers to full \nincandescence, is an example of Toscanini's unique deamon (and unique is\n the keyword for this opera). For it, and some other like wonders, you \nmay be prepared to jetison the steadier and finally less obtrusive \nqualities of Furtwängler and the honourable Vienna gala cast.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eI should make it clear that the American cast \"copes\" \nmagnificently - however much one may feel them out of touch with the \nGerman character of the dramatic element and the declamatory German \nstyle. Both Peerce and Miss Bampton are marvellously on top of \"0 \nnamenlose Freude\" even at this pace, and for once Toscanini never seems \nto be overdriving anyone. It must indeed have been a thrilling couple of\n broadcasts and the issue is one well worth making, possibly of buying, \ncertainly of comparing with the fine six-sided Furtwängler performance \nfrom Vienna. That either version makes a quite wonderful impression is \nof course only to be expected.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eP.H.-W., The Gramophone \u003c\/b\u003eOctober 1956\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO077.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's Fidelio: \"daring, fierce, mesmerizing\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAnd now in fabulous sound quality in these new XR transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe broadcasts from which this recording originated were\n transmitted a week apart, and the normal mid-programme talk was omitted\n in order to fit each act into a one-hour slot. Also omitted was almost \nall dialogue, with the opera staged more as a concert piece than a \nstaged work. An error by soprano Rose Bampton in the Abscheulicher led \nto a re-recording of this at an RCA Toscanini recording session in \nCarnegie Hall the following June 14th, and it is this version which RCA \nsubsequently used in their releases of the recording - we have stayed \nwith this version for our issue.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sound quality of the original recording was \nadequate, but huge strides forward have been made with the application \nof 32-bit XR remastering, which has particularly favoured the solo \nvoices here. Although the frequency range tops out at around 10kHz, \nthere is plenty of 'air' and brightness to be heard, albeit with a \ndegree of background hiss at times. I was also able, for the first time,\n to iron out some quite pronounced pitch variations caused by the \noriginal recording equipment drifting up and down in speed.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eAct 1\u003c\/b\u003e transmitted 10th December 1944 \u003cbr\u003e \u003cb\u003eAct 2\u003c\/b\u003e transmitted 17th December 1944 \u003cbr\u003e NBC Studio 8H, New York City \u003cbr\u003e \u003cbr\u003e \u003cb\u003eAbscheulicher\u003c\/b\u003e recorded 14 June 1945 \u003cbr\u003e Carnegie Hall, New York City\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e \u003cb\u003eJan Peerce\u003c\/b\u003e (\u003cem\u003etenor\u003c\/em\u003e) - Florestano\u003cbr\u003e \u003cb\u003eRose Bampton\u003c\/b\u003e (\u003cem\u003esoprano\u003c\/em\u003e) - Leonora\u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e (\u003cem\u003ebass\u003c\/em\u003e) - Don Fernando\u003cbr\u003e \u003cb\u003eHerbert Janssen\u003c\/b\u003e (\u003cem\u003ebass\u003c\/em\u003e) - Don Pizarro\u003cbr\u003e \u003cb\u003eSidor Belarsky \u003c\/b\u003e(\u003cem\u003ebass\u003c\/em\u003e) - Rocco\u003cbr\u003e \u003cb\u003eEleanor Steber\u003c\/b\u003e (\u003cem\u003esoprano\u003c\/em\u003e) - Marcellina\u003cbr\u003e \u003cb\u003eJoseph Laderoute\u003c\/b\u003e (\u003cem\u003etenor\u003c\/em\u003e) - Giacchino\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cbr\u003e NBC Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e Chorus Director \u003cb\u003ePeter Wilhousky\u003c\/b\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e Arturo Toscanini \u003c\/b\u003econductor \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\/PACO077.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO077.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":32417904333,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417904397,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417904461,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417904589,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO077_563b11b4-acd0-4dc1-8b6e-b2ac6625c77f.jpg?v=1487682683"},{"product_id":"paco034","title":"TOSCANINI Beethoven: Missa Solemnis (1953, live) - PACO034","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMissa Solemnis in D major, Op. 123\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, Carnegie Hall, 28th March, 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:27 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eLois Marshall, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNan Merriman, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003emezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugene Conley, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eJerome Hines, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Shaw Chorale\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUnquestionably one of the most important Toscanini releases to have appeared in recent years578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAnd now, finally, on to the two Pristine releases of Beethoven’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa Solemnis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n both from 1953 with Toscanini conducting the NBC Symphony Orchestra, \nand each on a single disc. One of these (Pristine PACO026) is a welcome \nremastering, in full, rich sound, of Toscanini’s commercial recording \nmade over several days for RCA in Carnegie Hall, though even Andrew Rose\n could not offset the frustratingly distant acoustical placement of the \nsoloists inherent to the original tapes. The other (Pristine PACO034) is\n of the Carnegie Hall broadcast that preceded RCA’s commercial recording\n by two days and which, to my knowledge, has never previously \ncirculated. Just as Toscanini’s recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e has always served for me as a touchstone, so too, among commercial recordings, has his RCA account of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa Solemnis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—even\n when comparing it to the conductor’s justly famous 1940 NBC Symphony \nbroadcast (available on numerous CD labels), his powerful 1939 BBC \nSymphony performance (on BBC Legends), and his astonishing, though \npoor-sounding, 1935 New York Philharmonic broadcast. (The latter, which \nshowed up decades ago on pirate LPs and 10 years ago in a 4-disc \nDante-Lys set of Toscanini\/New York Philharmonic Beethoven broadcasts, \nhas been listed recently as due again on CD from Archipel.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s issue of the 1953 broadcast performance\n is unquestionably one of the most important Toscanini releases to have \nappeared in recent years, not only as a fascinating gloss on the 1953 \ncommercial recording, but also in its own right as one of the most \npowerful live \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n one might hope to encounter. Aside from the Kyrie and Gloria both being\n a bit broader than in the commercial recording (the opening of the \nKyrie instantly reminded me of the 1935 Philharmonic broadcast), there’s\n also the fact that, because of the closer miking, the details of the \nperformance (whether accents, phrasings, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003erubati\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or individual orchestral and vocal lines, not to mention overall \ninstrumental and choral textures) are from beginning to end consistently\n clearer and more audible, making for a remarkably potent listening \nexperience—as from a close-up seat in the orchestra, or a box \noverlooking the stage, vs. a seat up in the balcony. Then, on going back\n to the commercial recording, one notices myriad details that were of \ncourse present there to begin with, but which, due to the recorded \nacoustic, failed to speak as clearly. I’d say it matters not at all that\n the Carnegie Hall organ malfunctioned during the Kyrie and so became \nunusable for the rest of the performance (Andrew Rose’s notes cite \nMortimer Frank’s book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eArturo Toscanini: The NBC Years\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n on this point); the only real caveat for me to mention is that Lois \nMarshall’s voice at full cry is not at all flattered by the close \nmiking. Beyond that, the only thing left to say is that it’s time now \nfor those of you enticed by what you’ve read here to head for the \nImmortal Performances and Pristine Web sites, to place your orders \nwithout further delay. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMarc Mandel  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO034.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's superb live 1953 radio broadcast Missa Solemnis\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eA completely different sound balance and performance to the RCA LP recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording provides us with a truly fascinating \nopportunity to compare Toscanini in the studio and Toscanini in the \nconcert hall. Two days after this concert was given on a \nspecially-extended NBC radio broadcast. live from Carnegie Hall, the \nsame forces reassembled there with RCA's engineers for the first of \nthree days of recording sessions in order to produce an LP recording of \nthe same work - this can be heard in excellent XR-remastered sound here \nas Pristine PACO026 (\"\u003cem\u003esimply overwhelming\u003c\/em\u003e\" - Fanfare)\u003c\/p\u003e\u003cp class=\"body\"\u003eI noted in my comments on that release that \"\u003cem\u003ein many places the soloists are simply too far back in the mix. Their sound is distant, quiet and at times thin\u003c\/em\u003e\".\n This is not something which is a problem in this radio concert \nperformance - indeed the whole sound is quite disctinctly different, and\n an excellent example of just how huge a difference microphone placement\n can have on the overall balance of the same musical forces.\u003c\/p\u003e\u003cp class=\"body\"\u003eWhilst the RCA sound has a real 'sheen' to it, the NBC \nsound is far more direct and forceful, if a little more hissy. But more \nthan this, the two performances themselves differ quite considerably in \npacing, most especially in the \u003cem\u003eKyrie\u003c\/em\u003e, which at 10'36\" is a full minute and a half longer than Toscanini's LP rendition. Likewise he takes a minute longer in the \u003cem\u003eGloria\u003c\/em\u003e, and it's only really in the second half of the piece that things start to even out (his \u003cem\u003eSanctus\u003c\/em\u003e, at 16'31\", is identical in duration in both recordings).\u003c\/p\u003e\u003cp\u003eIt should be noted, too, that there's another \nfundamental difference here - though not one of choice by the \nperformers, conductor or broadcasters. The Carnegie Hall organ \nmalfunctioned during the opening \u003cem\u003eKyrie\u003c\/em\u003e and was rendered \ninoperable for the rest of the performance. Naturally, given the nature \nof the performance, the show had to go on...\u003cbr\u003e\n\u003cbr\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_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003e\u003cspan\u003eMissa Solemnis in D major, Op. 123\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive broadcast recording, Carnegie Hall, 28th March, 1953\u003cbr\u003eSource recording from the private collection of Christophe Pizzutti\u003cbr\u003e Radio announcements and audience applause have been edited in order to fit CD duration limit\u003cbr\u003e NB. An organ malfunction during the Kyrie rendered it inoperable for the rest of the performance\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, October 2009\u003cbr\u003e Cover artwork based on a photograph of Arturo Toscanini\u003cbr\u003eTotal duration: 79:27 \u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLois Marshall, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eNan Merriman, \u003c\/b\u003emezzo-soprano\u003cb\u003e\u003cbr\u003eEugene Conley, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eJerome Hines, \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003eRobert Shaw Chorale\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Arturo Toscanini\u003c\/b\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\/PACO034.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO034.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":32417912269,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417912525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417912781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417912973,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO034_8d597366-0408-4b9a-a6a4-ca651b097dae.jpg?v=1487682686"},{"product_id":"paco026","title":"TOSCANINI Beethoven: Missa Solemnis (1953, studio) - PACO026","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eMissa Solemnis in D major, Op. 123\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded by RCA in Carnegie Hall, New York on 30-31 March and 2 April, 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 74:12 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLois Marshall, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNan Merriman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003emezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugene Conley, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJerome Hines, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Shaw Chorale\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe drama is unleashed like a sequence of lightning bolts...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor most of my brief tenure at \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I’ve dropped hints regarding Toscanini’s style and why I enjoy it so \nmuch despite feeling that roughly 15 percent of his performances were \nill conceived. This seems like as good a time as any to explain my \nviews, though I shall try to be brief.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn short, Toscanini’s basic personality was \nnature-driven. Aside from music, he responded very deeply and powerfully\n to nature in all its grandeur, beauty, brute force, and almost \nlimitless power. Many are the anecdotes of his proclamations that nature\n overwhelms all. As a conductor, then, he felt that he must channel \nthese natural forces into the music he was performing, which for him \nmeant total dedication to presenting the textures and rhythms of music \nas he saw them in the score—even if it meant touching up the score a \nbit—in order to conform to his vision of nature as the omnipotent force \nof the universe. This is particularly apropos in a work like the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa solemnis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Beethoven’s pantheistic hymn to nature. Toscanini’s earlier \nperformances (1935, 1938, 1939, 1940) had an underlying fury but also a \ncontrolled sense of drama in which the music unfolded slowly, like yarn \nfrom a skein. In this 1953 recording, the tempos are faster (five \nminutes swifter than 1940), and the drama is unleashed like a sequence \nof lighting bolts. Oddly for late Beethoven, there are no metronome \nmarkings; the Kyrie, for instance, is simply marked \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAssai sostenuto. Mit Andacht\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (Very sustained. With devotion).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you look at the score of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n or any piece he conducted, you’ll discover that Toscanini was fanatic \nabout three things that many conductors compromise on: note values, \naccents and dynamics, and bringing out the inner voices of every \ninstrument. While it is true that his tempos were often faster than are \nthose of contemporary conductors, they were only sometimes faster than \nthe written scores. What made them \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esound\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n faster was his extreme textural clarity and his fanatic emphasis on \nwritten rhythms. Indeed, his entire career as one hears it on broadcasts\n and recordings may be said to be a lifelong battle to create a legato \nstyle of phrasing while remaining true to the accents of the notes. You \ncan hear this in the opening pages of the Kyrie here, where the organ is\n in perfect proportion to the (for Beethoven) massive orchestra, yet the\n astringency of the woodwinds is clearly audible, even in this mass of \nsound. His pitch was also \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003every\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e true, a real tuning fork A=440, which made his performances sound sharp to those used to relaxed pitch.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNear the end of the Gloria, the solo bassoon is in\n equipoise with the solo singers. I don’t think any other conductor ever\n thought of or particularly wanted the bassoon to be equal with the \nvoices, but for Toscanini it was a point of honor. Fans may recall his \ninsistence on overdubbing a solo trumpet part in his recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGötterdämmerung\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Immolation Scene because it wasn’t audible to him in the final \nplayback. This overdubbing, crudely done at the time (1941), resulted in\n a low-level hum that took 50 years and quite sophisticated digital \nequipment to eliminate.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa solemnis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n had no such problems, being recorded on high-quality tape in Carnegie \nHall by professional engineers. Even its original LP edition had a \nwarmer, more realistic soundstage than his 1952 recording of the \nBeethoven Ninth (also remastered by Pristine), but in this new “ambient \nstereo” edition it is simply overwhelming. I would caution, however, \nthat ambient stereo is not two-channel separation, but merely a \nspreading of sound between two speakers without creating discrete \nchannels. Thus the result is not only warmer but less \nartificial-sounding than the electronic stereo of old. Oddly, the \nsingers are quite receded in the soundstage, a problem that also \nafflicted his late-1930s BBC broadcasts of this piece. I always thought \nthat was merely an error in microphone placement, but after relistening \nto this recording I’m beginning to think that it was Toscanini’s choice.\n Certainly, he had to insist that bass Jerome Hines sing softer than the\n others, because Hines had a massive voice and would have drowned them \nout. I always felt that Eugene Conley was a vastly underrated tenor, and\n his singing here is superb. Lois Marshall, who went flat occasionally \nin her recording of Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAbduction\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with Beecham, is right on the mark here. Nan Merriman, who also had a light lyric voice, is the angelic-sounding mezzo.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eA few comments, also somewhat truncated, about the\n NBC Symphony. Many critics, including Toscanini supporters like B. H. \nHaggin, have perpetuated the myth that his greatest rapport was with the\n New York Philharmonic, and that his NBC years were (as Harvey Sachs put\n it) an “odd pendant” to his career. This ignores the evidence when \nheard in its totality. The fact was that Toscanini, after decades of \ncompromising his deeply held views on style, slowly but surely shed \nold-world European values of excessive rubato, rallentando, and \nportamento. Perhaps (as I believe), due to performing more 20th-century \nworks during his NBC years, he developed a post-modern view towards \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eall\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n music, believing that his conversations with living composers and their\n opinions of his interpretations would have been echoed by, say, Haydn, \nBeethoven, Berlioz, or Wagner. And yet his Wagner, as well as his \nStrauss, slowed down over the years, while his Haydn, Beethoven, and \nBerlioz became quicker. Thus did Toscanini divide styles and schools of \nmusic into separate niches. Moreover, the basic sound quality of NBC was\n brighter, less bass-rich, and more chameleon-like than the \nPhilharmonic. Listen to every recording and broadcast he did with the \nPhilharmonic. The orchestral sound remains constant regardless of \ncomposer or style. Listen to the same pieces performed by NBC, and \nyou’ll hear a wider variety of sound colors: very bright for Mozart, \nHaydn, some Beethoven, and Verdi; warmer for Schubert, Mendelssohn, \nBrahms, Harris, Tchaikovsky, and Barber; rich and deep for Wagner \nespecially, but also at times for particular works by various composers,\n this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e among them.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe bottom line is that neither Toscanini’s \nsupporters nor his critics can ever pin him down. You simply can’t \ngeneralize about how he would perform a particular piece at any given \ntime. Even the Bruckner Seventh does not match one’s mental image of how\n Toscanini “should” have conducted this work. He marched to the beat of a\n different drummer his entire life, which is why I’ve always considered \nhim a splendid isolationist and not a centrist. Had he indulged in more \ntempo fluctuations and a warmer, deeper orchestral sonority, his \nresemblance to Wilhelm Furtwängler would be much more pronounced. He was\n certainly a bridge to the future, and our modern style, but, alas, many\n conductors who traveled that bridge left the keenness of what their \nears told them behind on the other side of the river. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 32:4 (Mar\/Apr 2009) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO026.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's superb 1953 studio recording revitalised\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIn 21st Century sound quality - especially with Ambient Stereo\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAlthough undoubtedly one of the best-made recordings of \nToscanini's lengthy career both with the record companies and with the \nradio broadcasters, there remain a number of sonic issues which we have \nattempted to address here, as well as one which we have not.\u003c\/p\u003e\u003cp class=\"body\"\u003eI'll start with the latter: there is no doubt that in \nmany places the soloists are simply too far back in the mix. Their sound\n is distant, quiet and at times thin. Alas this is something for which \nnothing can currently be done, any more than one can un-bake a cake in \norder to add more sugar. Short of finding a multitrack master tape \n(which doesn't exist) it's simply not possible to separate out \nperformers and instruments and re-balance the mix, especially when \nworking from a mono source.\u003c\/p\u003e\u003cp class=\"body\"\u003eWhat we can tackle are a number of other aspects of the \nrecording: correcting the pitch so that A=440Hz; using XR processing to \ncounteract the tonal shortcomings of the original recording equipment; \nusing the latest amazing digital noise reduction technology to clean up \nresidual tape hiss and noise.\u003c\/p\u003e\u003cp class=\"body\"\u003eFinally there's what is for me the icing on the cake: \nAmbient Stereo. Suddenly we hear the sound of Carnegie Hall around us, \nand the recording finds a true three-dimensional quality. This is not \nthe addition of reverberation or an attempt to make a 'stereo' spread of\n the recording itself - rather it is the extraction of the natural \nreverberation as captured in the original recording and the opening of \nthis out onto a stereo soundfield. The effect here is truly sensational.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eNB. A live NBC broadcast performance of this work was \ngiven by the same ensemble in Carnegie Hall on 28th March, 1953, two \ndays before this recording was begun. It is available from Pristine \nClassical as PACO034.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003e\u003cspan\u003eMissa Solemnis in D major, Op. 123\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded by RCA in Carnegie Hall, New York on 30-31 March and 2 April, 1953\u003cbr\u003e First issued in the UK in 1954 as HMV LPs ALP 1182-3\u003cbr\u003e Restoration and XR remastering by Andrew Rose, September 2008\u003cbr\u003e Cover artwork based on a photograph of Arturo Toscanini\u003cbr\u003eTotal duration: 74:12 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eLois Marshall, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eNan Merriman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003emezzo-soprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eEugene Conley, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eJerome Hines, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRobert Shaw Chorale\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\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\/PACO026.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO026.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":32417914317,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417914381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417914445,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417914509,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO026_a7c67a43-75d0-47e0-9bc5-76f49384b231.jpg?v=1487682688"},{"product_id":"pasc472","title":"TOSCANINI Beethoven: Symphony No. 3, Coriolan Overture (1949) - PASC472","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Coriolan Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3, \"Eroica\"\u003c\/span\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\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recording, 1949\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 59:17\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor those who, like me, often find themselves wondering why this conductor had the reputation for greatness that he undeniably did, hearing these performances provide a riveting answer578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s Andrew Rose has preserved here, in \nstunning sonics, the complete NBC Symphony broadcast of February 19, \n1949, complete with Ben Grauer’s announcements (which are separately \ntracked so you may skip them). Almost a year later, in late November and\n early December of 1949, Toscanini and the NBC Symphony made a studio \nrecording of the “Eroica” for RCA, which is best heard on a compact disc\n (RCD1-7197) excellently remastered by Ray Hall. The studio recording \nwas made in Carnegie Hall, which gives it an inherent advantage over the\n dry acoustics of Studio 8H. Pristine has solved that to some degree, \nwith the addition of some very natural-sounding ambience and his XR \nstereo method, giving a real sense of space to this originally quite dry\n recording. Since Toscanini evidently preferred a close-in microphone \nplacement, his Carnegie “Eroica” lacks the true spaciousness of the \nacoustic of that hall, so the difference in sound between the two \nrecordings is now quite insignificant.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhat is significant is the extra flexibility and \nsuppleness of phrasing, particularly in the Funeral March, but also in \nthe other movements, found in this performance when set against the 1949\n studio version. It is hard to know whether to pin that on the presence \nof an audience, or the fact that it is a true performance given without a\n safety net, but there is a stronger emotional impact in this \nperformance than in the later commercial recording. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSforzandi \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eare\n a bit more extreme in the outer movements, rhythmic pulse is just a \ntouch stronger, dynamic variety just a bit wider here. The slashing \nchords and dissonances of the first movement come alive here in a way \nthat they do not, for me in any other Toscanini recording of this piece.\n  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere are five Toscanini “Eroica” performances of \nwhich I am aware, and what is most impressive about them is the \nconsistency of his view of the music between 1939 and 1953, though \nsurely the 1939 recording is somewhat more plastic in its phrasing than \nthe later ones. Different Toscanini reviewers have expressed preferences\n for different versions, but the truth is that they are all similar and \ngreat readings (and this is coming from someone who frequently fails to \nrespond to Toscanini’s conducting). This piece seems to bring out the \nbest in the conductor, marrying his rhythmic energy and his sense of \ndrama to a broad singing line and depth of orchestral sonority that I \nhave not always found present in his conducting. For what it is worth, \nthis 1949 radio broadcast is the one to which I will return most \nfrequently. There is a relentless drive to the music that keeps hurling \nus all toward its conclusion, a power blended with a nobility of \nphrasing that stays in the memory. The raw power of Toscanini’s \nconception is cumulative in all of his recorded performances, nowhere \nmore than here. Part of my preference for this performance is the sound \nachieved by Andrew Rose in his restoration. Just compare the opening two\n chords of this with the RCA studio recording made nine months later. \nThose famous chords have a solidity and weight here that is not matched,\n despite the Carnegie locale of the later sessions.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe broadcast opened with a sizzling account of Beethoven’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture,\n equally well reproduced here. For Toscanini collectors, this is a very \nimportant release. For those who, like me, often find themselves \nwondering why this conductor had the reputation for greatness that he \nundeniably did, hearing these performances provide a riveting answer. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis CD contains a complete NBC broadcast including announcements before and after both works. The \u003cem\u003eCoriolan\u003c\/em\u003e overture was written for a production of Heinrich von Collin’s play of the same name rather than Shakespeare’s \u003cem\u003eCoriolanus\u003c\/em\u003e.\n The NBC announcer acknowledges this but, presumably reading from a \nscript, repeatedly refers to the work as “The Coriolanus Overture”.\u003cbr\u003e \u003cbr\u003e\n This oddity need not deter us from enjoying Beethoven’s masterly seven \nor eight minute distillation of the tragedy of a Roman general torn \nbetween what he perceived as his military duty and the pleadings of his \nwife for peace. The dramatic music at the beginning and later represents\n the martial side of his dilemma while the tender music symbolises his \nwife’s supplications. This reading lasts for less than seven minutes. \nWhen Toscanini performed this overture a few years later he took about a\n minute longer, which you would expect to have allowed greater scope for\n characterising both aspects of the music. Still, I wouldn’t suggest \nthat this powerfully played 1949 performance necessarily sells the \ncharacterisation short, despite its faster speed.\u003cbr\u003e \u003cbr\u003e It has been said that in the late 1920s, Toscanini took five minutes longer over the \u003cb\u003e\u003cem\u003eEroica\u003c\/em\u003e\u003c\/b\u003e \u003cb\u003e\u003cem\u003eSymphony\u003c\/em\u003e\u003c\/b\u003e\n than he did during his subsequent tenure with the NBC Symphony \nOrchestra. Those earlier performances, seemingly not preserved in \nrecordings, must have been majestic indeed. Nevertheless, this 1949 NBC \nevent has its share of majesty and other qualities.\u003cbr\u003e \u003cbr\u003e In the first movement, the sharp rhythm with which the main theme is first played announces that this will indeed be a \u003cem\u003econ brio\u003c\/em\u003e\n performance. It does not lack the necessary spaciousness, as one senses\n rather than observes the subtle rubato Toscanini uses as the music \nunfolds. In the liner notes, Jack Diether calls attention to the end of \nthe \u003cem\u003ecoda\u003c\/em\u003e, where Beethoven repeats the opening theme four times.\n In the final repetition, Toscanini departs from the score but follows \nhis usual NBC practice in having his trumpets dominate as they play the \nwhole theme, rather than part of it. Diether says that “the dramatic \npower of this practice is overwhelming, it is aesthetically right …”. I \nagree with this in the context of Toscanini’s view of the work, but \nwould note that, as other conductors have shown, it is not the only way \nof playing the passage convincingly.\u003cbr\u003e \u003cbr\u003e The slow movement has always been the centrepiece of this conductor’s \u003cem\u003eEroica\u003c\/em\u003es\u003cem\u003e.\u003c\/em\u003e\n He doesn’t rush it and no performances I’ve heard surpass his in \nexpressing the feeling of tragedy implicit in Beethoven’s score. There \nis some string playing of great eloquence and around 1:40 the grieving \ncellos almost seem to speak. A mighty climax is built. Throughout, there\n is great textural clarity.\u003cbr\u003e \u003cbr\u003e The third movement is suitably \nsprightly but, compared to many others, the horns in the trio are \nnoticeably reticent. The clipped nature of their playing provides a clue\n that the conductor is mainly responsible. Under many conductors, the \nhorns play \u003cem\u003eespressivo\u003c\/em\u003e here, regardless of what the score may \nsay. I suspect Toscanini didn’t relax his beat sufficiently to allow \nthis to happen. In addition, the engineers may have balanced the horns \ntoo distantly. The players should, I think, be exonerated.\u003cbr\u003e \u003cbr\u003e The \nFinale gets off to an arresting start without the kind of unpleasant, \nwhiplash attack which seems to occur in Toscanini’s 1939 broadcast – \ndiscussed below. This 1949 performance proceeds majestically with much \ndetail observed on the way. In the coda, however, the horns again \ndisappoint and the reasons are the same as in the previous movement: not\n enough flexibility from the podium and a somewhat backward balance. \nStill, nothing really stops this \u003cem\u003eEroica\u003c\/em\u003e from reaching a rousing conclusion.\u003cbr\u003e \u003cbr\u003e\n The sound quality of this restoration is warm, which is untypical of \nmost recordings emanating from this venue: the notoriously dry Studio \n8H. For this, we can thank Pristine’s addition of an acoustic \n‘fingerprint’ from an unnamed but excellent concert hall. The \nfrequencies are slightly attenuated at both ends of the range but the \nsound is very serviceable, distortion free and blessed with a quiet \nbackground. The audience is quiet, too.\u003cbr\u003e \u003cbr\u003e In order to compare \nperformances and sound, I listened to Toscanini’s 1939 broadcast of the \nSymphony which almost certainly came from Studio 8H, also. My CD was \nproduced by Grammophono 2000 using the CEDAR process. To judge by its \nresults, this process was able to minimise distortion and noise but did \nnot add warmth. The sound is of the dry, harsh, top-heavy type \ntraditionally associated with NBC recordings made in this studio. The \nperformance has also been issued on other labels, including Music and \nArts in their set of the conductor’s 1939 survey of all the Beethoven \nsymphonies (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2009\/May09\/beethoven_toscanini_cd1203.htm\"\u003ereview\u003c\/a\u003e) and by Living Era coupled with the Fifth Symphony on a single CD (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2005\/July05\/Beethoven3_Toscanini_AJC8551.htm\"\u003ereview\u003c\/a\u003e).\u003cbr\u003e \u003cbr\u003e\n The 1939 performance is similar in outline to its 1949 successor, \nexcept that the slow movement at 16:25 takes just over a minute longer. \nThere is remarkable internal clarity, which can be attributed to the \ngreat precision of the playing but also to the dry acoustic. I would \nrate this reading of the movement as even finer than the 1949 traversal \nbut the sound is not enticing.\u003cbr\u003e \u003cbr\u003e The other three movements in 1939 \u003cem\u003esound\u003c\/em\u003e\n faster than their 1949 counterparts, but the timings show that they are\n not. Each movement runs to within a few seconds of the same movement in\n the other performance. I put the apparent speed of the earlier \nperformance down to the sometimes-remarked tendency of thin sound to \nmake a tempo sound faster than it is. I now think the \naggressive-sounding opening of the 1939 final movement may be due to the\n sound quality as much as the conductor.\u003cbr\u003e \u003cbr\u003e Taking it as a whole, \nthis 1949 performance is, I think, a great one, despite any incidental \nniggles one might have. The much superior sound of Pristine’s \nrestoration makes it a better choice than the 1939 recording, even if \nthe latter rivals it in artistic quality.\u003cbr\u003e \u003cb\u003e\u003cem\u003e \u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\u003cem\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/em\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC472.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's brilliant 1949 NBC Eroica\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"No\n performances I’ve heard surpass his in expressing the feeling of \ntragedy implicit in Beethoven’s score\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eThis 1949 \u003cem\u003eEroica\u003c\/em\u003e, one of seven broadcast performances Toscanini\n conducted during his years with the NBC Symphony Orchestra, is regarded\n by the few who have heard it as one of his greatest performances of the\n work - possibly even his finest. We present the full broadcast here, \ncomplete with announcements and the preceding \u003cem\u003eCoriolan Overture\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eMy source material was drawn from two original recordings: \nwhilst the first two announcements are of lower, perhaps AM radio \nquality, all of the music and the final announcement derive from \nnear-mint full-frequency high fidelity discs which I would assume were \ncut directly by NBC. I've tried to minimise the effect of transitions \nbetween these two sources; suffice to say that the opening announcement \ndoes not faithfully represent the glorious sound quality of the music \nwhich follows, so don't be alarmed!\u003cbr\u003e\u003cbr\u003eAs with previous NBC\/Toscanini recordings, I've modified the \ndry studio acoustic using the sonic \"fingerprint\" of one of the world's \nfinest symphony halls, something which greatly enhances the orchestral \ntimbre in a completely natural manner. This really is a quite wonderful \naddition to our Toscanini catalogue.\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\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\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 3, \"Eroica\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eArturo Toscanini, \u003c\/b\u003econductor\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eLive broadcast\u003cb\u003e, \u003c\/b\u003eNBC Studio 8H, 19 February 1949 \u003cb\u003e\u003cbr\u003e\u003c\/b\u003eAnnouncer: Ben Grauer\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\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\/PASC472.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC472.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":32417914829,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417914893,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417914957,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC472_542ae049-edf6-4cf4-bd29-c878aac4de43.jpg?v=1487682691"},{"product_id":"pasc431","title":"TOSCANINI Bizet War Bonds Concert (1944\/45) - PASC431","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBIZET \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e La Jolie Fille de Perth\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBIZET \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e L'Arlésienne\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBIZET \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Carmen\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eGERSHWIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e An American in Paris \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\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1943 \u0026amp; 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:34\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC431.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eAn all-Bizet War Bonds concert from Toscanini in 1943\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus Gershwin's An American In Paris - a bonus recording from 1945!\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eThe bulk of this release was sourced from discs prepared for South \nAmerican Spanish-language re-broadcasts of the 1943 all-Bizet special \nWar Bonds concert which omitted the excerpts from Carmen. These have \nbeen transferred from a second, full source which was marginally less \nwell-preserved. Meanwhile a third, lower quality source of the full \nconcert with Ben Grauer's announcements provided the commentary and \napplause heard here.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003eThe sound quality of the excerpts from La Jolie Fille de \nPerth and L'Arlesienne was particularly high for 1943 and I've been able\n to do great work on this to produce a particularly wonderful, clear and\n full orchestral sound. The Carmen excerpts come close to matching this,\n though with less top end extension the sound isn't quite as clear.\u003cbr\u003e\u003cbr\u003eThe 1945 recording of Gershwin's An American in Paris was \nsuggested to me as an interesting and \"kind of\" appropriate extra for \nthis release. It's an exuberant performance I'd not heard before, and \ndespite some slight surface noise that's been largely dealt with it's \nbeen brilliantly preserved here, coming across with much more life and \npizzazz than the RCA studio recording which Toscanini made a couple of \nmonths later.       \u003cem\u003e \u003c\/em\u003e\n\u003c\/li\u003e\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\u003cdiv\u003e\n\u003cb\u003eBIZET \u003c\/b\u003e La Jolie Fille de Perth\u003c\/div\u003e\u003cdiv\u003e\n\u003cul\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eSerenade\u003c\/li\u003e\n\u003cli\u003eMarch\u003c\/li\u003e\n\u003cli\u003eGypsy Dance\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBIZET \u003c\/b\u003e L'Arlésienne\u003c\/div\u003e\u003cdiv\u003e\n\u003cul\u003e\n\u003cli\u003ePrelude\u003c\/li\u003e\n\u003cli\u003eMinuet\u003c\/li\u003e\n\u003cli\u003eAdagietto\u003c\/li\u003e\n\u003cli\u003ePastorale \u003c\/li\u003e\n\u003cli\u003eCarillon\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cb\u003e\u003cbr\u003e\u003cbr\u003eBIZET \u003c\/b\u003e Carmen\u003c\/div\u003e\u003cdiv\u003e\n\u003cul\u003e\n\u003cli\u003eAragonaise\u003c\/li\u003e\n\u003cli\u003eIntermezzo\u003c\/li\u003e\n\u003cli\u003eLes Dragons d'Alcala \u003c\/li\u003e\n\u003cli\u003eLes Toréadors\u003c\/li\u003e\n\u003c\/ul\u003e\n\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eBroadcast of 19 September, 1943\u003cbr\u003eNBC Studio 8H, New York\u003c\/span\u003e\u003c\/b\u003e\u003c\/div\u003e\u003cp\u003e\n\n\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cb\u003eGERSHWIN\u003c\/b\u003e An American in Paris\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003cb\u003eBroadcast of 18 March, 1945\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNBC Studio 8H, New York\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003eArturo Toscanini, conductor\u003c\/span\u003e\n\u003c\/div\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\/PASC431.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC431.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eToscanini, we are told, was fond of Bizet's music - Carmen in \nparticular was \"led many times in the theater\" (Mortimer H. Frank) - and\n yet it rarely appeared on his NBC Symphony Orchestra broadcasts. The \nmajor exception to this was a concert outside of the regular yearly \nbroadcast seasons, given on 19th September 1943 in NBC's Studio 8H as a \nWar Bonds fund-raiser. (\"Send $1000 to your radio station for War Bonds \nand you'll receive a special signed photograph of Arturo Toscanini...\")\u003cbr\u003e\u003cbr\u003eThe\n concert featured three suites derived and adapted by Toscanini from the\n operas of Bizet: La Jolie Fille de Perth (The Fair Maid of Perth), \nL'Arlésienne and Carmen, none of which coincides exactly with the \nregular published suites connected with each work. Items are cut, suites\n are mixed and matched, and Toscanini even gets down to a little \ncomposition himself, with a harp cadenza written for Carmen. \u003cbr\u003e\u003cbr\u003eAs I\n explain in my notes, this came to me in a variety of transcriptions, \nsome complete, others partial. My task was not only restore each of four\n options to the point at which I could reliably select the best for each\n part of the broadcast performance, but then to mix and match these in \nas seamless a manner as possible and squeeze the very best possible \nsound quality from each.\u003cbr\u003e\u003cbr\u003eThe finest quality was to be found in \ndiscs prepared for rebroadcast in South America - and quite possibly \nlive short-wave transmission there as well. I'm told that these were \nprepared simultaneously to the live broadcast, with the Spanish \ncommentator sitting in a booth next to the one in which Ben Grauer \nintroduced the programme to US and Canadian listeners.\u003c\/p\u003e\u003cdiv\u003e\n\u003cbr\u003eMy source tells me: \"So far as I know all the discs were cut \nsimultaneously - usually copy A was master, copy B was backup in case A \nwas damaged, copy C was Spanish, copy D was for Toscanini. If the \ntechnology in cutting the discs was the same, presumably the results \nshould have been pretty similar even if allowing for small variations in\n machines.\" \u003cbr\u003e\u003cbr\u003eThis makes a lot of sense, so I was somewhat \nconfused to find that the Spanish broadcast transcriptions have a clear \nand vivid frequency extension way above that found in the US discs: the \nlatter get very dim and nasty above around 5.5kHz, while the former \nextend cleanly and brightly up to nearly 10kHz. Unfortunately they \ncontain only the first half (up to but excluding the interval talk and \nthe Carmen Suite), but what we do have is of excellent quality.\u003cbr\u003e\u003cbr\u003eIt\n was then down to a selection contest between the other three sources to\n find something as close to this as possible for the Carmen excerpts, \nand to use all the technology at my disposal to try and squeeze every \nlast drop of upper-end information out of the \"best of the rest\". The \nresults, whilst not quite up to the same standard as the \u003cem\u003eJolie Fille de Perth \u003c\/em\u003eand \u003cem\u003eL'Arlésienne\u003c\/em\u003e,\n to happily come pretty close. The original, full recording then \nprovided me with Ben Grauer's introductions (curiously up almost a \nsemitone by the halfway point until I fixed them), which has been \nlightly trimmed to remove some references to sponsors and the midway \ntalk, also omitted.\u003c\/div\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eWith a little space to spare I was able to add another recording to \nthis release - after all that French music, why not explore the idea of \nan American in Paris, as conjured up by George Gershwin in 1928. By this\n time the saxophone was starting to become more associated with jazz, \nand it can be heard in this score - but you'll also hear it in the Bizet\n concert of 1943, Bizet being the first major composer to write for the \ninstrument in an orchestral context.\u003cbr\u003e\u003cbr\u003eAs with the Bizet concert - \nand particularly the Spanish transcriptions - the sound quality here is \nsuperb, and after XR remastering sounds more 1950s or even 1960s than \nmid-forties. It really is spectacular, and one senses Toscanini would \nhave made fine work of other jazz-influenced composers of the day, given\n the inclination and opportunity based on what he achieves here. There's\n a life and zip to this live performance that perhaps exceeds that of \nhis studio recording made a couple of months after.\u003c\/p\u003e\u003cp\u003e\n\n\u003cspan class=\"TIMESb\"\u003e\u003cem\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/em\u003e\u003cbr\u003eNewsletter editorial, January 2015\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":"Ambient Stereo 24-bit FLAC","offer_id":31976040653,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976040781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976040973,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976041101,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC431.jpg?v=1487682695"},{"product_id":"paco050","title":"TOSCANINI Brahms: Ein Deutsches Requiem (1943) - PACO050","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e \u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eEin Deutsches Requiem, Op. 45\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of January 24th 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eVivian della Chiesa, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert Janssen, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis broadcast provides a stunning walk into history and a prime example of Toscanini’s giving new life and meaning to work that was often thought to be depressingly dreary578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis release offers Toscanini’s only NBC performance of Brahms’s \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"TIMESi\"\u003eGerman Requiem\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"TIMES\"\u003e\n and constitutes its second CD appearance, coming six years after an \nimpressive one released by Guild (2290). Neither in sound nor in content\n are they identical. Differences in the latter are minor, the Guild disc\n offering more of the announcements that frame this broadcast \nperformance, which is sung in English. But although both releases \napparently draw upon a prime source, the sound of this new one is \nbrighter and more forward, a virtue that proves especially welcome in \nthe choral sections. Usually the Westminster Choir, when under John \nFinley Williamson’s direction (as it is in this performance), produced a\n rounded, blended sonority, which, although pleasing, often caused a \nblurring of texture and text. Evidently Toscanini would have none of it,\n the choir here projecting a clarity that comes far closer to what the \nRobert Shaw Chorale produced for the Maestro—textural transparency with a\n clear delineation of the choral lines. Musically, the reading may well \nsurprise those accustomed to hearing the music in another performance. \nFast sections are sometimes slower than usual, traditionally slow ones \nsometimes faster. Although some of the solo singing is not up to the \nhighest standards, it remains adequate. What may surprise many is the \nexceptionally fine sound of Studio 8H, as heard here. Granted, it \nremains dry, but with a presence, clarity, and dynamic range never \nmatched in studio recordings of the period. In short, this broadcast \nprovides a stunning walk into history and a prime example of Toscanini’s\n giving new life and meaning to work that was often thought to be \ndepressingly dreary. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eMortimer H. Frank \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO050.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's only recording of A German Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAstounding sound quality from this 1943 radio broadcast\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIt is unfortunate for students of Toscanini this is the only recorded performance of Brahms' \u003cem\u003eA German Requiem\u003c\/em\u003e under his baton, as Mortimer H. Frank rightly comments in \u003cem\u003eArturo Toscanini - The NBC Years\u003c\/em\u003e:\n “Not that it is an inferior account; on the contrary, it is \nmagnificent.” The question remains as to whether this would have been \nToscanini's interpretation a decade later, or a decade earlier, prone as\n he was to the constant revision and reinterpretation of his readings.\u003c\/p\u003e\u003cp class=\"body\"\u003eCertainly this is one of those great performances which \ngoes contrary to the received wisdom that Toscanini was often too \ninclined to faster tempi – Frank again: “some of his tempos here are \nconsiderably slower than the norm. The effect of this approach is to \nstrip away the halo of Victorian sobriety that have hung over many \naccounts of this score...”. He also notes the fact that the performance \nis in English and wonders whether this was due to wartime anti-German \nsentiment.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs the sole recording from Toscanini it is no great \nsurprise that this specially-extended broadcast, the last in a \nsix-programme Brahms season for NBC, has been made available on a number\n of issues, and one might question the need for another. I was strongly \ninfluenced in my decision to at least investigate this recording by the \nincredible quality of the original transfer supplied to me. For a 1943 \nbroadcast it was exceptionally clean, clear and had a wonderfully \nextended frequency and dynamic range. It would appear that the \ntranscription was a straight and high-quality dub of near-mint \noriginals, with no interference whatsoever – even the side joins \nremained undone. In my experience it has been rare to have such strong \nsource material to work on from this period.\u003c\/p\u003e\u003cp class=\"body\"\u003eBut the fact remains that others may have started with \nsimilar sources. Thus I decided that it was worth going a step further \nthan I might otherwise do. Naturally the recording received a full XR \nremastering; this performed wonders on the already clear sound quality, \nremoving perhaps a decade or two from the perceived age of the \nrecording. Then we come, inevitably, to the sound of NBC's Studio 8H. At\n the time it had recently been overhauled to try and improve the \nacoustic, and NBC's engineers were busy trying various microphone \nset-ups to bring out the best in it. But the recording here was rendered\n nearly dead by an acoustic as dry as the desert.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis is where convolution reverberation comes in, \nsomething I've written extensively about before. By effectively placing \nthe recording in the acoustic of a real hall (as opposed to the \nartificial sound of generic digital reverb), it acquired a new and \nentirely natural life that was totally sympathetic to the recording. \nIndeed, I suggest that only the listener used to – and conditioned to – \nthe dryness of 8H would even think for a moment that this is not what \nthe audience experienced on the day (as indeed they might have - \ndepending on how the microphones were hung we may have little real idea \nas to the actual sound as heard by those attending these concerts.)\u003c\/p\u003e\u003cp class=\"body\"\u003eThe result is for me a particularly satisfying \nachievement, and one which allows me to be further absorbed in the music\n than before, when subject to the constant irritant of the original \nsound and the way it to often made certain sections of the music sound \nraw and almost amateur in delivery. In short, I believe this is closer \nto how this performance would have sounded in a real concert hall than \nhas ever been heard before, and is all the better for it.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003e \u003cspan\u003eEin Deutsches Requiem, Op. 45\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of January 24th 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Transfers from the private collection of Christophe Pizzutti \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e XR remastering by Andrew Rose at Pristine Audio, September 2010\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:46\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eVivian della Chiesa, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e Herbert Janssen, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003ebaritone\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e The Westminster Choir\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 14px;\"\u003eDirector: John Finlay Williamson\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e NBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003econductor\u003c\/span\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cb\u003e Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO050.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO050.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":32417920717,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417920909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417921165,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417921421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO050_7cf0c428-b682-4e1a-a216-da14ea68d011.jpg?v=1487682698"},{"product_id":"paco110","title":"TOSCANINI Puccini: La Bohème (1946) - PACO110","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePUCCINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Bohème \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings · 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 41:34\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLicia Albanese\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJan Peerce\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra and Choruses \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Pristine Audio restoration immediately becomes the preferred restoration of the Toscanini Bohème578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eArturo Toscanini (1867–1957) conducted the world premieres of three Puccini operas: \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa bohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (1896), \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa fanciulla del West\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (1910), and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTurandot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (1926). Toscanini had many opportunities to confer with Puccini about \nthe interpretation of his works. And while it was inevitable that two \nsuch strong-willed personalities would have their differences, Puccini \nmaintained a profound admiration for Toscanini’s abilities on the \npodium, and what he brought to the composer’s operas. Fifty years after \nthe world premiere of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa bohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Toscanini conducted a concert presentation of the work. The \nperformance, broadcast from NBC’s Studio 8-H in New York, took place \nover two weeks, February 3 and 10, 1946. The NBC broadcast was issued by\n RCA, and has maintained a place in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ediscography ever since. Given Toscanini’s association with Giacomo Puccini and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa bohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n as well as the Maestro’s towering role in 19th- and 20th-century \nmusical performance history, the recording is self-recommending. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut not only is this 1946 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n a unique historic document, it is one of the great performances of \nPuccini’s lyric masterpiece. Toscanini’s Rodolfo, tenor Jan Peerce, \nrecalled: “When we did \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n tears were coming down [Toscanini’s] face; it wasn’t put on: nobody saw\n it, just us. We singers … could see the man and what the music meant to\n him.” Of course, those who listen to the broadcast recording likewise \ncannot see Toscanini’s displays of emotion. But we can hear the Maestro \ntime and time again singing robustly along with the soloists and \norchestra. And we can also hear a performance that, from the playful \nopening bars to the opera’s tragic close, crackles with the energy and \nintensity of the theater. To be sure, this is a lightning-quick \nperformance, clocking in at 1:34:18. Compare that with two iconic studio\n recordings from the 1950s; Beecham\/EMI (1:47:16), and Serafin\/Decca \n(1:51:53). But the performance, while fleet, is never metronomic or \nperfunctory. Quite the contrary, Toscanini always gives Puccini’s \nglorious orchestral and vocal writing its full due. Listen, for example,\n to the expert pacing of the comic Benoit scene in act I, or the way the\n orchestra sustains a radiant glow for Mimì’s entrance into Rodolfo’s \ngarret. These are just a few examples of a reading that provides unique \nand fulfilling insights throughout. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eToscanini assembled a worthy cast for his anniversary \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The great singing-actress Licia Albanese was one of the finest Mimìs of\n the 20th century, and she offers a beautifully sung performance, \nbrimming with humanity and intensity. Probably the biggest surprise is \nJan Peerce’s Rodolfo. The American tenor, a fine musician and reliable \nvocalist, enjoyed a long and distinguished career. But for this \nreviewer, his performances rarely offered the kind of visceral thrills \ndelivered by many of Peerce’s contemporaries. In this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Peerce throws himself both vocally and dramatically into the role, and \nthe results are electrifying. The rest of the cast is, at the very \nleast, adequate to do justice to Puccini’s creation, and to Toscanini’s \ninterpretation. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThose who have already heard this Toscanini \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in one of its many issues by RCA are familiar with the recording’s \nsingular greatness. Those who are currently seeking to acquire the \nrecording face something of a dilemma. The individual 1991 issue, Vol. \n55 of the complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eArturo Toscanini Collection\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, is currently available only as an ArkivMusic reissue. The 2012 RCA reissue of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eToscanini Collection\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of course includes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, but only as part of the complete 85-disc set. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThanks to Andrew Rose and Pristine \nAudio, there is a new and compelling alternative. In the liner notes to \nthe Pristine Audio reissue, past reviewers and Rose point to the sonic \nshortcomings of the 1946 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I have to confess that while the recorded sound of past releases is \nindeed dry and somewhat constricted, it has never constituted a barrier \nto my enjoyment. There is plenty of sonic detail, and the commitment of \nthe artists carries the day. That said, the sonics of the Pristine Audio\n restoration bring a remarkably significant improvement. The acoustic \ndisplays far more depth and warmth, without any loss of detail. The \ninclusion of audience applause and some of Ben Grauer’s broadcast \ncommentary heightens the sense of occasion. Rose acknowledges the \napplication of modern technology to the original source recording, but \nnone of it sounds artificial or inappropriate. The Pristine Audio \nrestoration immediately becomes the preferred restoration of the \nToscanini \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n And since this is a performance that demands to be heard in the best \npossible sound, the Pristine Audio release is a must, even for those who\n own prior versions of this great document. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eKen Meltzer\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO110.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's legendary 50th anniversary performance of La Bohème in a stunning XR-remastered sonic makeover\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A\n performance which thrilled and excited me so much that I had to go into\n the garden and cool down before writing this review\" - The Gramophone\u003cbr\u003e\u003cbr\u003e\"Every other that has been made or will be made in the future, will be reduced to fighting it out for the number two position. \u003cbr\u003eNumber one will remain, unassailably, Arturo Toscanini's. \" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe legendary Toscanini 50th anniversary performance of La Bohème - \nthe only recording of a Puccini opera by the conductor of its première -\n rightly holds a place as one of the most important live operatic \nrecordings of the 20th century. In this XR remastering I have worked on \nmultiple aspects of the sound.\u003c\/p\u003e\u003cp\u003eXR balancing brings immediate and huge improvements to the general \nsound quality; convolution reverberation, exceptionally gently applied, \ngives the sense of the genuine opera hall to the acoustic; Capstan pitch\n stabilisation corrects the wow that plagued earlier transfers; careful \nrestoration and remastering have dealt with multiple minor flaws and \nirritations.\u003c\/p\u003e\u003cp\u003eFinally the restoration of radio announcements brings an extra sense \nof occasion to these historic broadcasts. (These have been edited to \nexclude excess sponsor promotion, and have had the interval talks \nexcised.) The restoration of the rapturous applause not heard on RCA's \nreleases likewise feels appropriate with these magnificent \nperformances. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis is a very special recording indeed - never has it sounded anywhere near so good.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePUCCINI  \u003c\/b\u003eLa Bohème\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003eMimì - \u003cb\u003eLicia Albanese\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eRodolfo - \u003cb\u003eJan Peerce\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eMarcello - \u003cb\u003eFrancesco Valentino\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eMusetta - \u003cb\u003eAnne McKnight\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eSchaunard - \u003cb\u003eGeorge Cehanovsky\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eColline - \u003cb\u003eNicola Moscona\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eBenoît\/Alcindoro -\u003cb\u003e Salvatore Baccaloni\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003ePeter J. Wilhousky - chorus director\u003cbr\u003eEduardo Petri - boys chorus director\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNBC Symphony Chorus \u0026amp; Orchestra \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBroadcast 3 \u0026amp; 10 February 1946, from NBC Studio 8H, New York City\u003cbr\u003eAnnouncer: Ben Grauer\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\/PACO110.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO110.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":31976043149,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976043213,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976043341,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PACO110.jpg?v=1768477210"},{"product_id":"paco098","title":"TOSCANINI Verdi: La Traviata (1946) - PACO098","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Traviata\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast live from New York, 1946\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 43:18\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLicia Albanese\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJan Peerce\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Merrill\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra and Choruses \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Pristine remastering is a significant improvement over any earlier incarnation I have heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with other Pristine “XR Ambient \nStereo” remasterings, I list the recording as monaural in the headnote \nbecause what Andrew Rose does at Pristine does not turn it into a \nstereophonic recording, but rather creates (very effectively) a kind of \nstereophonic ambience around the original recorded sound. For those \nreaders who already know the RCA edition this recording (this is the \nactual broadcast, spread over two dates a week apart; it is not the \ndress rehearsal which was released by Music \u0026amp; Arts), you know how \nyou view it and will be most curious about the sound quality. The \nPristine remastering is a significant improvement over any earlier \nincarnation I have heard of this performance, on RCA LPs and CDs. Rose \nhas gotten a warmth out of the sound, and has created a perspective that\n offsets some of the horrible closeness and dryness of the 8H sound so \nbeloved by Toscanini and few others. In Rose’s own notes, he says “I’ve \nalso made judicious use of the reverberant profile of one of the world’s\n great opera houses, a technique which greatly aids the projection and \nenhances the enjoyment of the singers here who, as a result, probably \ndeserve something of a reappraisal.” One might think that a bit of \nself-serving puffing of the wares, but in fact it is a fair statement of\n his accomplishment. Anyone who loves this performance will want this \nedition of it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhen this arrived from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eheadquarters\n I almost sent it back, since I am rarely sympathetic to Toscanini’s \nconducting despite many years of really trying. (I know it is not a \nprejudice, because if I turn on the radio in the midst of a Toscanini \nperformance without hearing the announcement identifying it, I generally\n don’t react well to it and only find out later who the conductor is). \nThere are exceptions, of course. And I recognize that so many great and \nimportant musicians and critics do react positively to Toscanini, and \ntherefore the problem is mine. Although I do own this performance I have\n not heard it in years, and so I decided to take on the review and give \nit a reappraisal. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the most part, my reaction remains \nunchanged, though perhaps I gained a somewhat greater understanding of \nthose feelings. For me, music is first and foremost about \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esound—\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emore\n than it is about any of the formal elements (harmony, melody, rhythm) \nthat make it up. Clearly all are important, and harmony is in particular\n a crucial component of sound, but the quality of orchestral, \ninstrumental, or vocal sound is a key determinant of my identification \nwith a performance. It is precisely in this area where Toscanini falls \nmost seriously short. The famed dry acoustic of Studio 8H, which we now \nknow that he liked and even tried to replicate on broadcasts and \nrecordings made at Carnegie Hall, is simply not a pleasant listening \nexperience. But Toscanini’s sonic ideal was the sound that he heard on \nthe podium directly in front of the orchestra. Almost every other \nconductor in history has understood the important difference between \non-the-podium sound and that heard by the audience out in the house. \nConductors will frequently go out into the house for a few moments of \nrehearsal to listen to the sound, and they also learn what a hall is \nlike by hearing other conductors’ concerts. I spent a great deal of my \nprofessional life working with great conductors and talking with them, \nand I never heard one express that the sound they were seeking to create\n either in a concert hall or a recording would duplicate what they heard\n on the podium. So it is impossible for me to blame RCA for this problem\n with 8H recordings: Toscanini had as much power as any conductor alive \nat the time, and he got the sound he wanted. It is not a sound I find \nappealing. It is not just recorded sound to which I am referring, though\n that is symbolic of the problem. I prefer orchestral sound built from \nthe bottom up, constructed on a foundation of basses and cellos. \nToscanini’s sonority seems to me more top-down. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBeyond quality of sound there is the \ndriven, intense quality to much of Toscanini’s music-making. It is not \njust a matter of fast tempos; in fact, tempo is a minuscule component of\n the quality. Some of it is rigidity of phrasing, much of it is the \nnature of orchestral attacks. It is apparent early on, in the opening \nPrelude, when the big tune comes. The strings bite into the first note \nof that tune, and over-articulate the entire melody. It is important to \nnote that there are many quite extraordinary qualities Toscanini brings \nto the score. The precision and commitment of the orchestral playing, \nthe unmistakable sense of momentum, the excitement of the big scenes, \nthe fact that there is not one measure that seems “phoned in,” these are\n all admirable qualities that are not always found in standard opera \nperformances. There is a sense of occasion about this whole performance \nthat one feels from beginning to end. But there is also, at least for \nme, the lack of some important elements of the score: charm, elegance, \nbeauty, and tenderness are a significant part of the makeup of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa traviata\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and they seem undervalued here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt takes Albanese a bit to warm up, or \nperhaps to relax into the role, but when she does she gives a more \ncomplete portrayal than many. She manages the coloratura for “Sempre \nlibera” better than one might have expected, but fully comes into her \nown in the second act. She may lack the vocal richness of Ponselle, or \nthe range of color and inflection of Callas, but she brings Violetta to \nlife more convincingly than most. Her reading of the letter is \nparticularly touching, as is her singing of “Addio del passato.” Peerce \nis in good voice here, but there is very little variety of tone or \ndynamic shading in his performance; it lies mostly between \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emezzo-forte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and there is a bumpy approach to what should be legato singing. It must\n be admitted that there was a shortage of quality lyric tenors in the \nItalian repertoire in the mid-1940s, but wouldn’t it have been wonderful\n if Toscanini and NBC had gotten Bjoerling for this recording? Merrill \nmay possess the most luscious, juicy baritone voice ever to record the \nrole of Giorgio Germont, and he sings with a natural and innate \nmusicality. In the end, this role needs characterization of the kind \nthat Gobbi gives it on the EMI recording (or even Zanasi on Callas’s \nCovent Garden recorded performance). The contrast between Albanese’s \ncomplete involvement in the character and Merrill’s gorgeous vocalism in\n the big scene between Violetta and Germont is not a comparison that \nfavors Merrill. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe remainder of the cast is good, and \nas indicated earlier the orchestra plays brilliantly. As usual, minimal \nnotes and no libretto are provided. This performance has been reviewed \ntwice previously in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e:\n Marc Mandel was even more negative in 15:4 than I am here, though we \nbasically hear the same faults, but Jon Tuska, in 16:1, entered it into \nthe Classical Hall of Fame. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe most interesting comparison for me\n was with the Music \u0026amp; Arts release not of this broadcast \nperformance, but of the dress rehearsal and other rehearsal material \nedited down to a complete performance (CD-4271). It is true that this \nrehearsal compilation is in many ways more relaxed than the broadcast; \nMerrill in particular seems more dramatically convincing here, and the \nconducting is a bit more relaxed (notably in the first act Prelude). But\n it remains a curiosity for most listeners, interspersed as it is with \nshouts of instruction or encouragement from the conductor. They are too \nfrequent and too loud for this to pass as a legitimate recording of the \nopera. The sound lacks the warmth and space that Pristine has given the \nbroadcast, but it is a bit less fierce than RCA’s sound for the \nbroadcast. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO098.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's Traviata - The electrifying 1946 NBC broadcasts\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eEven livelier in this new 32-bit XR Pristine remastering for Verdi's 200th birthday\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eToscanini's broadcast recordings of La Traviata spanned two live \ntransmissions a week apart in December 1946, and that is how we've split\n them here: first Act 1 and Act 2, Scene 1, then Act 2, Scene 2 and Act \n3.The pace is certainly brisk - some twenty minutes quicker than Callas \nunder Santini in 1953 - yet Toscanini's brilliantly-drilled musicians \nbring it off with aplomb.\u003c\/p\u003e\u003cp\u003eAs with most of Toscanini's NBC broadcasts of this era, the original \nsound has been well-preserved. It's no great surprise to find \nGramophone's reviewer baulking at the Studio 8-H acoustics; as a part of\n this remastering, which has greatly improved the overall sound quality,\n I've also made judicious use of the reverberant profile of one of the \nworld's great opera houses, a technique which greatly aids the \nprojection and enhances the enjoyment of the singers here who, as a \nresult, probably deserve something of a reappraisal.\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_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eVERDI La Traviata \u003c\/b\u003e\u003cbr\u003eBroadcast performances\u003cbr\u003eCD1: 1 December, 1946\u003cbr\u003eCD2: 8 December, 1946\u003cbr\u003eNBC Studio 8-H\u003cbr\u003eNew York City\u003cbr\u003eFirst issued as RCA LM-6003\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eVioletta Valery\u003cb\u003e - Licia Albanese\u003cbr\u003e\u003c\/b\u003eAlfredo Germont\u003cb\u003e - Jan Peerce\u003cbr\u003e\u003c\/b\u003eGiorgio Germont\u003cb\u003e - Robert Merrill\u003cbr\u003e\u003c\/b\u003eFlora Bervoix\u003cb\u003e - Maxine Stellman\u003cbr\u003e\u003c\/b\u003eGastone \u003cb\u003e- John Garris\u003cbr\u003e\u003c\/b\u003eBaron Douphol \u003cb\u003e- George Cehanovsky\u003cbr\u003e\u003c\/b\u003eMarquis d'Obigny \u003cb\u003e- Paul Dennis\u003cbr\u003e\u003c\/b\u003eDr. Grenvil \u003cb\u003e- Arthur Newman\u003cbr\u003e\u003c\/b\u003eAnnina\u003cb\u003e - Johanne Moreland\u003cbr\u003e\u003cbr\u003eNBC Symphony Orchestra and Chorus\u003cbr\u003eChorus Director - Peter Wilhousky\u003cbr\u003e\u003cbr\u003eConductor - Arturo Toscanini\u003c\/b\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\/PACO098.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO098.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":32417946381,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417946445,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417946509,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32417946573,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO098_b667fa7f-c227-47dc-9d3b-3d707bece61d.jpg?v=1487682709"},{"product_id":"paco033","title":"TOSCANINI Verdi: Otello (1947) - PACO033","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOtello\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast 1: 6th December, 1947 (Acts 1 \u0026amp; 2)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Broadcast 2: 13th December, 1947 (Acts 3 \u0026amp; 4)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 2hrs 15min 58sec\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra and Choruses \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review - Recording of the Month578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a performance which every lover of the opera has to have578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis was one - or, more accurately, two - of the all-time\n                classic nights in American opera. Toscanini famously played the\n                cello\n                in the La Scala orchestra at the world\npremiere of \u003ci\u003eOtello\u003c\/i\u003e and his authority in this work has to be acknowledged,\neven by those who might not prefer his style. The merits of this performance\nhardly need rehearsing: it has been reviewed many times before on this site.\nSuffice it to say that Vinay’s Otello remains one of the great interpretations\nof the role, heroic yet vulnerable, while Nelli’s Desdemona manages to\ncombine beauty, strength and vulnerability in miraculous fashion. I’ve\nnever been as convinced by Valdengo’s Iago, not least for his mistimed\nentries in Acts 1 and 2 - can you imagine what Toscanini must have said to him\nat the end - but he certainly has character to spare. \u003cbr\u003e\n\u003cbr\u003e\nThe real interest here is in the remastering. Pristine Audio has been doing fantastic\nwork recently breathing new life into agèd recordings that are well loved.\nTheir \u003ca href=\"http:\/\/pristineclassical.com\/\" target=\"_blank\"\u003ewebsite\u003c\/a\u003e is\nwell worth a look and they also offer downloads of fabulous quality. Andrew Rose\nhas managed to\nachieve astonishing clarity with this issue. Yes, there are still occasional\nhisses and crackles, but how could there not be in a recording of this age? He\nhas managed to, as it were, strip away the varnish that has accumulated in other\nissues and there are plenty of things that are freshly audible here which may\nwell have passed the listener by before, such as the clarity of the big tuttis\nin the storm scene, or the bubbling woodwinds at the third verse of Iago’s\ndrinking song. Nelli’s top notes are captured without a hint of strain\nor interference, yet the passage at the beginning of Act 4 flows with openness\nand not a hint of congestion. Rose has used “a number of sources from various\navid Toscanini collectors” - how mysterious! His aim was to find the best\nrecording of each section of the opera and then edit them together to produce\nthe finest possible version of the performance. Without doubt he has succeeded\nmightily. To my ears at any rate it was impossible to hear the joins and the\nwhole performance flowed beautifully from one moment to the next. He finished\nhis note by saying “I am convinced that this release has succeeded in making\ngreat sonic advances over all previous issues, both on LP and CD.” I certainly\nhaven’t heard any other version to make me disagree. As a fun little extra\nwe’re also given the original radio commentary and audience applause. \u003cbr\u003e\n\u003cbr\u003e\nThis is a performance which every lover of the opera has to have. Love him or\nhate him, Toscanini has an unending ability to surprise: listen to the way he \u003ci\u003ebroadens\nout\u003c\/i\u003e the tempo for the climax of the storm yet \u003ci\u003espeeds up\u003c\/i\u003e for the conclusion\nof the love duet, and the way he plays around with the textures of the Willow\nSong is quite remarkable. Extraordinary, maybe: perverse, arguably: but effective?\nCertainly. This, to my mind, is the clearest version of this performance that\nyou’re likely to find, so if you’re choosing between versions then\nyou can pick this one with confidence.\u003cbr\u003e\n\u003cbr\u003e\n\u003cb\u003e\u003ci\u003eSimon Thompson\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO033.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's classic 1947 Otello newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePossibly the best recording of Otello ever made - now in stunning XR sound\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording, taken from two specially-lengthened broadcasts on 6th\n and 13th December, 1947, is widely regarded as perhaps the greatest \never made of Verdi's masterpiece, Otello. As NBC announcer Ben Grauer \nnotes in his introduction to the first broadcast, it has a special link \nto Toscanini, who as a young cellist had played in the world première of\n the piece, under Verdi's baton, in La Scala, Milan on 5th February, \n1887, some 60 years earlier.\u003cbr\u003e\u003cbr\u003eVerdi is regarded by many as \nespecially important to Toscanini, and this is among his greatest \nrecordings - Mortimer Frank writes: \"Of all the composers in Toscanini's\n repertory, Verdi was probably closest to him... what NBC preserved... \nif not necessarily representative of his staged performances or of his \nbest work, is often compelling. Given limitations such as occasionally \nweak casting, they are uneven. Bet when everything more or less fell \ninto place, as in the complete Otello, a performance of towering merit \nresulted.\"\u003cbr\u003e\u003cbr\u003eMeanwhile we see in the notes on this work at \nWikipedia: \"most music-guide reviewers contend that a recording made of a\n 1947 radio broadcast of the opera, conducted with thrilling verve and \nprecision by Arturo Toscanini and featuring such solid singers as Herva \nNelli, Ramón Vinay and Giuseppe Valdengo, is musically (if not in terms \nof sound quality) the best of these versions\".\u003cbr\u003e\u003cbr\u003eFor the \nrestoration and remastering engineer tackling this recording today it is\n the phrase in paratheses above which is in sore need of justified \nremoval. One discography of Toscanini lists sux separate releases of \nthis recording, and I'm reasonably confident that there are actually \nmore than this. Yet when I visited ardent Toscanini fan and collector \nChristophe Pizzutti earlier this year to take temporary charge of a \nlarge number of rare recordings for transfer and restoration, it was \nthis recording he repeatedly pressed me to work upon, convinced that my \nXR remastering technique could finally reveal the full sonic \nmagnificence of this immortal performance.\u003cbr\u003e\u003cbr\u003eAnd so, with sources \nprovided both by Christophe and by other collectors, I've endeavoured to\n assemble the very best quality material from which to assemble what I \nhope can be seen as a definitive recording of the two broadcasts (note \nthat some recordings switch between live and rehearsal material, others \ninclude sections of severly reduced fidelity, none has had the benefit \nof XR re-equalisation and the latest remastering techniques associated \nwith it).\u003cbr\u003e\u003cbr\u003eThe recording was made in the very end of the pre-tape \nera, and would have been preserved over a number of acetate discs. \nFortunately these have been remarkably well-preserved in various \nincarnations, and the results of careful selections of the best possible\n sources and the magic of both XR remastering and Ambient Stereo \nprocessing (direct mono is of course also available) makes a huge impact\n on the final overall sound quality of the recording. This is one of \nToscanini's greatest masterpieces, and it's never sounded better.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Otello\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eRamón Vinay\u003c\/b\u003e (\u003cem\u003eOtello\u003c\/em\u003e)\u003cb\u003e\u003cbr\u003e Herva Nelli \u003c\/b\u003e(\u003cem\u003eDesdemona\u003c\/em\u003e)\u003cb\u003e \u003cbr\u003e Giuseppe Valdengo\u003c\/b\u003e (\u003cem\u003eIago\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Virginio Assandri \u003c\/b\u003e(\u003cem\u003eCassio\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Leslie Chabay\u003c\/b\u003e (\u003cem\u003eRoderigo\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nicola Moscona \u003c\/b\u003e(\u003cem\u003eLodovico\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Arthur Newman\u003c\/b\u003e (\u003cem\u003eMontàno\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e Nan Merriman\u003c\/b\u003e (\u003cem\u003eEmilia\u003c\/em\u003e) \u003cb\u003e\u003cbr\u003e \u003c\/b\u003eThe NBC Symphony Orchestra and Choruses \u003cbr\u003e conducted by Arturo Toscanini \u003c\/span\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\/PACO033.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO033.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":37144177613,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144177677,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144177741,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37144177805,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO033.jpg?v=1494337508"},{"product_id":"paco038","title":"TOSCANINI Verdi: Requiem (1940) - PACO038","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eAida\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCASTELNUOVO-TEDESCO\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Taming of the Shrew\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRadio broadcasts from 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 100.01 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZinka Milanov, Bruna Castagna, Jussi Björling, Nicola Moscona\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis new Pristine edition is the finest I have heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"TIMES\"\u003eEspecially compelling is his 1940 NBC broadcast of \nthe Verdi Requiem. This has, of course, received a good transfer from \nMusic \u0026amp; Arts, but this new Pristine edition is the finest I have \nheard, one that does full justice to Toscanini’s conception. Almost \nsonically competitive with his 1951 RCA edition, it features superior \nsoloists and somewhat greater flexibility.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eWant List for \u003cb\u003eMortimer H. Frank\u003c\/b\u003e [2010]\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO038.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eNew source discovered for Toscanini's classic 1940 Verdi Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus Aida Overture première and an unreleased overture by Castelnuovo-Tedesco\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe discovery of a new source copy of Toscanini's 1940 Verdi \u003cem\u003eRequiem\u003c\/em\u003e\n will be of great interest to collectors. The tape appears to be a \nstraight dub of 16-inch acetate discs, with no editing between sides \nwhich (just) overlap sufficiently to create a seamless recording. \nItalian collector Luciano Crivello acquired the tapes recently and, in \naddition to making them available to online Toscanini groups in a \nstraight copy transfer, offered them to Pristine Audio for editing and \nrestoration, commenting: \"...of this Requiem several were the issues \n(Arturo toscanini Society, Music and Arts and many others, I have one \nalso with commentaries and the Deum, but the sound is not so good). The \nmaterial is really very rare and certainly has never been used even by \nprivate labels. This material has never been put in Commerce. It seems \nto me that the previous releases for sale do not have this sound so \ngood, although some were of excellent quality. But there are some points\n of this record that sound so natural and strong, as I had never heard \nbefore.\"\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sound quality was indeed remarkably good, if at \ntimes a little strident and prone to overload distortion during some \nlouder passages. The treble is reasonably extended and it's been \npossible to remove some background noise as well as to extend and \nreinforce the bass. Various minor faults and flaws in the recording have\n been tackled, including occasional pitch instability and small disc \nsurface defects.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe other two recordings included here both date from \nearlier in 1940 and have been preserved in remarkably good sound quality\n - both are cleaner and have considerably higher treble response than \nthe \u003cem\u003eRequiem.\u003c\/em\u003e Whilst it is well known that Toscanini premièred Verdi's discarded overture to \u003cem\u003eAida\u003c\/em\u003e\n at the 1940 concert of March 30th, it has been impossible at the time \nof writing to find out much about the Castelnuovo-Tedesco overture.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe composer had been supporting of Toscanini in Italy \nwhen the conductor was under scrutiny by Mussolini, and eventually was \nforced to flee to the United States, where Toscanini sponsored his \nrelocation in 1939. The overture was played twice in concerts given by \nToscanini and the NBC Symphony Orchestra (the second performance, on 3rd\n March 1944, is also available on CD), and in 1945 Toscanini also gave a\n single performance of the Castelnuovo-Tedesco's overture \u003cem\u003eA Fairy Tale\u003c\/em\u003e. I have failed to locate any other recording of the present \u003cem\u003eTaming of the Shrew Overture\u003c\/em\u003e, nor any further information about the work.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs such it is impossible to state whether this is the \noverture's world première, its broadcast première, its US première, or \nindeed, all three - or of course none of the above. Should this or any \nother pertinent information become available I will of course update \nthis page. Alas my recording of the work contained too little \nrapidly-faded applause to include here - suffice to say, therefore, that\n the audience response was certainly positive, and not the silence \nimplied by the present transfer.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Missa da Requiem\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI\u003c\/b\u003e - Overture to Aida (world première performance)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eCASTELNUOVO-TEDESCO\u003c\/b\u003e - Overture to The Taming of the Shrew (previously unissued)\u003cbr\u003e \u003cbr\u003e \u003cb\u003eZinka Milanov\u003c\/b\u003e, soprano\u003cbr\u003e \u003cb\u003eBruna Castagna\u003c\/b\u003e, contralto\u003cbr\u003e \u003cb\u003eJussi Björling\u003c\/b\u003e, tenor\u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e \u003cb\u003eThe Westminster Choir\u003c\/b\u003e, director \u003cb\u003eJohn Finlay Williamson\u003c\/b\u003e\u003cbr\u003e \u003cb class=\"body\"\u003eThe NBC Symphony Orchestra\u003cbr\u003e conductor Arturo Toscanini\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eSource information:\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003e\u003cb\u003eREQUIEM\u003c\/b\u003e: The Alma Gluck Memorial concert, benefitting the Roosevelt Hospital\u003cbr\u003e Live broadcast from Carnegie Hall, 23rd November 1940 \u003cbr\u003e New source material courtesy of Luciano Crivello\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eOVERTURES\u003c\/b\u003e: Studio 8H, 30th March 1940\u003cbr\u003e Aida Overture: disc transfer from Penzance Records LP #37\u003cbr\u003e Taming of the Shrew Overture: tape transfer from the Pristine archives\u003cbr\u003e Transfers by Andrew Rose, January 2010\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO038.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO038.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":32417949645,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417949709,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417949837,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417949965,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO038_ca12fdad-9ef9-4f94-bbc5-cc2d1e50fb9c.jpg?v=1487682714"},{"product_id":"paco048","title":"TOSCANINI Verdi: Requiem (1951, stereo) - PACO048","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27th January, 1951, Carnegie Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:45\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerva Nelli\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eFedora Barbieri \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e- mezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eGiuseppe di Stefano \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e- tenor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eCesare Siepi\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e - bass\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Robert Shaw Chorale\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e \u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt is certainly fascinating, often riveting, and, considering its provenance, sonically amazing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003eThis release is neither in synthetic stereo nor a \nduplication of RCA’s edition of the performance: To quote Pristine’s \ninsert it is “a stereo reconstruction using two separate mono recordings\n made by NBC and Carnegie Hall each from differently positioned \nmicrophones.” Skepticism was my initial response, but listening proved \notherwise. This is genuine stereo that adds significant realism to the \nsound. If it lacks the depth and dynamic range typical of today’s best \nengineering it nonetheless offers considerably more sonically than what \nRCA’s edition provides, not only in its stereo spread but also in \nincluding the passages that Toscanini objected to and insisted on being \nreplaced by rehearsal material before endorsing an “official” release. \nThose familiar with earlier Toscanini-NBC performances of this work, \nnotably those of 1940 and 1948, may find this one falls short of them. \nBoth are available from Music \u0026amp; Arts. The earlier one offers good \nsound, but it is not quite so full as that of a Pristine transfer (PACO \n038.) I have not heard the Music \u0026amp; Arts transfer of the 1948 \nconcert, which was not broadcast. Musically, this 1951 account does not \nquite match those earlier performances. But despite the blemishes that \nToscanini could not accept, its documentary value is indisputable. For \nthose with a special interest in the conductor it provides the \nopportunity to hear a celebrated performance as it has never been heard \nin a recording before. It is certainly a fascinating, often riveting, \nand, considering its provenance, sonically amazing. None of Ben Grauer’s\n commentary is included.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eMortimore H. Frank, Fanfare\u003c\/b\u003e, Issue 34:3 \u003cem\u003e(Jan\/Feb 2011)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO048.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's award-winning concert in stereo for the first time\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAn astonishing milestone in 21st century digital remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eNB.\n The official mono LP release of this concert included sections spliced \nin from rehearsals to replace some sections of the live performance \nwhich didn't come up to Toscanini's high standards of approval. The \nnature of this stereo recording means that we cannot perform the same \nedits, and thus we present the unexpurgated live concert as performed - \nfluffs and all!\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\n\u003cbr\u003eIn the notes which accompany a current reissue of this \u003cem\u003eRequiem\u003c\/em\u003e recording, as displayed on one eminent retailer's website, there is an error of which perhaps the writer was unaware:\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003ci\u003e“Seven hundred hours of editing went into the original \nlp release of this recording, caused by the fact that only NBC's radio \nrecording was left from the performance in 1951. The balance was \nproblematic and the end result included the original NBC tape relayed \nfrom Carnegie Hall with some fillings in from the rehearsal takes. The \noriginal release was highly acclaimed and won the Grand Prix du Disque \nas well as the Preise der Deutschen Schallplatten Kritik.”\u003c\/i\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe error is a simple one to make – you see, the NBC tape was \u003cem\u003enot\u003c\/em\u003e\n the only recording left from the performance. A second recording was \nmade inside the hall from a second microphone; it has been preserved \nthese past 59 years, and arrived in better shape than the \u003cem\u003eunedited\u003c\/em\u003e\n NBC recording. This fact, however, is somewhat secondary to the most \ncrucial, vital point about the second recording: it was made using a \nsecond microphone, positioned separately to the NBC's microphone. This \nmeans it is, in theory at least, possible to reconstruct a stereophonic \nrecording using the two sources – or at least stereo of a kind.\u003c\/p\u003e\u003cp class=\"body\"\u003eA normal stereo recording, at it's most simple level, is\n best made using two microphones carefully placed and directed in order \nto create the most naturalistic stereophonic effect. The two outputs are\n recorded onto two tracks or channels which run concurrently – in 1951 \nthis would have meant two tracks on one tape, had the technology been \navailable at the time. Because the two tracks are physically \nside-by-side on a single tape and read by a single head, any fluctuation\n in tape speed will not cause a divergence in the juxtaposition of the \ntwo channels and the stereo image will remain absolutely stable.\u003c\/p\u003e\u003cp class=\"body\"\u003eBy contrast, this Verdi recording begins with two \nmicrophones which have been placed independently of each other. Each was\n positioned to record the performance, but it's safe to assume both \naimed to record the entire ensemble, rather than concentrating on the \nleft or right hand side of the stage. As such we almost certainly don't \nhave what recording engineers term a 'coincident pair'. (Where they were\n actually positioned is anyone's guess.)\u003c\/p\u003e\u003cp class=\"body\"\u003eNext we have two independent recording machines, each \nwith its own minute speed fluctuations, something which will be further \nexacerbated on replay. Without some kind of time-code locking, no two \nanalogue recorders or replay machines will ever stay perfectly \nsynchronised, so our ideal of two channels on one tape and one replay \nhead is also lost.\u003c\/p\u003e\u003cp class=\"body\"\u003eTo add another complication to this already complex \npicture, one of the two recordings appears to be 'straight', whereas the\n other has had some kind of 'gain riding' – raising the volume levels of\n the quieter sections and attenuating the levels of the louder sections.\u003c\/p\u003e\u003cp class=\"body\"\u003eFinally, and unsurprisingly, both have different tonal \ncharacteristics (different microphones and recording equipment) and both\n have emerged in differing states of disrepair some six decades after \nthe event.\u003c\/p\u003e\u003cp class=\"body\"\u003eTo attempt to deal with all of these issues would have \nperhaps been an insurmountable task until very recently indeed. The key \ntechnologies which have made the present release possible are only \nrecently developed – and though no doubt further advances might at some \nday in the future make this kind of work simpler, and possibly produce \nbetter results, I think the results here are truly something to marvel \nat and savour. I try to remain modest here – I have been the mere \nmanipulator of tools I could not hope to construct.\u003c\/p\u003e\u003cp class=\"body\"\u003eWork began on the project in much the same way as I \nwould normally proceed. The recordings were re-pitched to a standard \nA440 following basic de-clicking. The issues of tonal differences \nbetween them become irrelevant during the XR process, as each is \nre-equalised to a common reference, and then to each other, in order \nproduce as close a tonal match as possible. This is done using high \nresolution computer analyses of the average frequency responses of each \nrecording across its entirety and using very precise equalisation tools \nto match the two.\u003c\/p\u003e\u003cp class=\"body\"\u003eNext comes the tricky part – mixing the two halves into a\n single 'stereo' track. I used an educated guess as to the relative \nposition of the microphones in order to determine which was left and \nwhich was right. Then began the painstaking task of lining the two up. \nSpeed fluctuations on each track meant that synchronisation was forever \nbeing lost: the two tracks went in and out of tune with each other, one \ngalloped ahead as the other fell behind, and so on. After hundreds of \nedits and endless re-pitching and fine-tuning of short sections, often \ncorresponding to a handful of notes or a few short seconds of music, \nsome kind of result was achieved.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe resulting “stereo” mix was rather wild – voices and \ninstruments lurched from one side to another thanks to the gain-riding \napplied to one track only. An automated procedure to centre the tracks \nseemed the best solution here, adjusting the two channels simultaneously\n in volume to balance out the discrepancies between them. This is \ninevitably a compromise, but it seems to work.\u003c\/p\u003e\u003cp class=\"body\"\u003eNow began the fine-tuning – thousands of manual \ncorrections to deal with pops, clicks, crackles, slight shifts in \nsynchronisation previously missed and so forth. One particular brass \nentry, for just two notes, suddenly diverged in pitch – for a moment the\n glass-like clarity NBC brass section became more like the sound of a \ndrunken Oom-Pah band at the tail-end of a Munich beer festival.\u003c\/p\u003e\u003cp class=\"body\"\u003eGradually these flaws were addressed and things began to\n fall together, and I was able to unleash another new 'secret weapon' – \nthe automatic phase corrector. This analyses the two channels and looks \nfor similarities and phase discrepancies between them, constantly \nadjusting their relative position in order to further fine-tune \nsynchronisation. (A coarser version of the same would have saved me a \nhuge amount of work, but this operates in the realms of milli- and \nmicro-seconds.) The result is a further marriage of the two halves and a\n highly integrated stereo image – at least for much of the time.\u003c\/p\u003e\u003cp class=\"body\"\u003eNow although an 'accidental stereo' recording such as \nthis cannot match an intentional one, it is clear by switching between \nthe two individual mono channels and the stereo hybrid that a massive \nleap has been made on behalf of the listener. At its best, and this is \ntrue for long sections of the recording, the stereo is remarkably \nconvincing and adds hugely to the experience of the listener. At its \nlesser moments there is some blurring of the picture, some apparent \nwandering of the image, but although the fine detail of soundstage is \nlost, the impact rarely diminishes.\u003c\/p\u003e\u003cp class=\"body\"\u003eOne can but hope that the discovery of these two \nindependent recordings of this concert may lead to other similar \ninstances coming to light. In the meantime one can only marvel at the \ngood fortune that such an important concert recording turned out to have\n a long-hidden partner, ready to be reconstructed into the dramatic and \nthrilling musical document we present here. My thanks again go out to \nthose who have freely contributed source recordings for this project, \nwho discovered that such a reconstruction was possible, and took the \nfirst experimental steps in the realisation of this project.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eVERDI \u003c\/b\u003e\u003cspan\u003eRequiem\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 27th January, 1951, Carnegie Hall, New York City\u003cbr\u003e \"Accidental stereo\" reconstruction from NBC and Carnegie Hall recordings\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, June-July 2010\u003cbr\u003e Cover artwork based on a photograph of Toscanini\u003cbr\u003eTotal duration: 77:45\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eHerva Nelli\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e - \u003c\/span\u003e\u003cspan class=\"body\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Fedora Barbieri \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e- mezzo-soprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Giuseppe di Stefano \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e- tenor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Cesare Siepi\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e - bass\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003c\/span\u003e The Robert Shaw Chorale\u003cbr\u003e NBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Arturo Toscanini\u003c\/b\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO048.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO048.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":32417952781,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32417952909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32417953037,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO048_816bf8f8-a9e5-4761-babc-bf52fc2c4854.jpg?v=1487682717"},{"product_id":"paco032","title":"TOSCANINI Verdi: Un Ballo in Maschera (1954) - PACO032","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eUn Ballo in Maschera\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live at Carnegie Hall, 17th January 1954 (Act 1) \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e and 24th January 1954 (Acts II and III)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 121:55 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Shaw Chorale \u0026amp; Soloists\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe sheer urgency with which Toscanini drives the NBC Symphony Orchestra is tremendous578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eIt is a never-ending source of wonder to find modern audio technology \n                giving new life to recordings originally made many decades ago. \n                The best technicians – usually those with a strong musical background \n                - can remove not only clicks, crackles and pops but, indeed, the \n                whole opaque fuzziness that we had always assumed to be inherent \n                in “primitive” recording processes. And now, thanks to the application \n                of even more advanced technologies, we can hear sounds that, while \n                certainly captured at the time of the original recording, have \n                never since – thanks to relatively poor playback mechanisms – \n                been suspected to have been there at all. \u003cbr\u003e \n              \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eThus, \n                    last year Music \u0026amp; Arts’s re-release of the best known \n                    of Furtwängler’s Bruckner recordings, “digitally remastered \n                    ... by Aaron Z. Schnyder, using the revolutionary new harmonic \n                    balancing technique”, offered striking new clarity to those \n                    classic accounts. And now I have in front of me Pristine Audio’s \n                    reissue of Toscanini’s incandescent account of Ballo, \n                    originally recorded over two sessions in January 1954 and \n                    newly remastered in the “XR” process. \n                  \n              \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eMost \n                technological developments these days are beyond my limited understanding, \n                but there is a lucid and very helpful – as well as thought-provoking \n                – explanation of XR on Pristine Audio’s \u003ca href=\"http:\/\/www.pristineclassical.com\/More\/NaturalSound.html\" target=\"_blank\"\u003ewebsite\u003c\/a\u003e. \n                And I can certainly confirm that, on the basis of this release, \n                the results of applying XR technology can be very striking.  \n              \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eUn \n                    Ballo in Maschera \n                    is my personal favourite of Verdi’s operas and Toscanini’s \n                    account has always been my first choice of recordings. Of \n                    all the 71 volumes in RCA’s collected Arturo Toscanini \n                    Collection, it – volume 59 in case you are wondering – \n                    is probably the one I take most frequently from my shelves. \n                    The star of the whole show is Toscanini himself displaying \n                    unrivalled passion, drive and fervour. “This”, the conductor \n                    observed after making the recording, “was my last opera performance. \n                    I began by hearing a performance of Un Ballo in Maschera \n                    at the age of four (his memory was playing him false: \n                    he had actually been just three years old!) up in the gallery, \n                    and I’ve finished by conducting it at 87”. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eThe \n                    sheer urgency with which Toscanini drives the NBC Symphony \n                    Orchestra is tremendous – and must have been tremendously \n                    challenging – but the players respond as if their lives depended \n                    on it - their careers quite possibly did. Thanks to the survival \n                    of a great deal of filmed material, notably the famous pioneering \n                    “TV concerts” of the late 1940s, we are quite familiar with \n                    the conductor’s baton technique and, as one listens to these \n                    discs, it is quite easy in the mind’s eye to see him slashing \n                    away with a degree of energy more appropriate to a man half \n                    his age. XR technology successfully and strikingly uncovers \n                    a great deal of orchestral detail – notably among some especially \n                    plangent woodwinds – that has hitherto remained largely hidden. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eIt \n                    has sometimes been suggested that Toscanini preferred working \n                    with less than top rank singers as they were more likely to \n                    be amenable to his strict disciplinary style and less likely \n                    to have minds of their own. There is some evidence to contradict \n                    that idea – notably the fact that, for this very recording, \n                    the stellar Jussi Björling had actually been scheduled to \n                    sing Riccardo (yes, we are in Boston, not Stockholm) and was only prevented \n                    from doing so by last minute indisposition. Nevertheless, \n                    the way in which Toscanini exercised psychological domination \n                    over many singers can easily be seen in the 1949 televised \n                    concert performance of Aida where soprano Herva Nelli \n                    resembles at times nothing so much as a terrified rabbit caught \n                    in the headlights of an approaching sports car - the maestro \n                    eventually made amends to some extent by leaving her his baton \n                    in his will. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eHere \n                    the conductor has assembled a strong and dependable vocal \n                    team, many of whom – Nelli, Peerce, Moscona, Scott – he worked \n                    with repeatedly in this final stage of his career. It is, \n                    if you like, a sort of “in-house” company and, as such, the \n                    various voices here are well known, though, with XR’s apparent \n                    ability to draw the ear to sounds that can, no matter how \n                    familiar you are with previous incarnations of this recording, \n                    come as something of a surprise, Nelli’s voice emerges here \n                    as notably stronger in its lower registers. As her noble paramour, \n                    Jan Peerce, never the most subtle of singers, delivers a forthright \n                    account fully in accordance with Toscanini’s high voltage \n                    approach: the Act 2 love duet between Riccardo and Amelia, \n                    Teco io sto, is a real show-stopper and an undoubted \n                    highlight of the whole performance. \n                  \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"MsoNormal\" style=\"margin-bottom:0cm;margin-bottom:.0001pt;text-align:\njustify;line-height:normal\"\u003eThe \n                    late Verdi from Toscanini that is most often singled out for \n                    special praise – and rightly so – is his unrivalled Falstaff \n                    but this new remastering of Ballo - marred only \n                    by disappointingly dreary artwork, inadequate packaging and \n                    the fact that full notes can only be accessed online – may \n                    well help it achieve the equal recognition it deserves as \n                    a definitive account of a wonderful score.\u003cbr\u003e\n                    \u003cbr\u003e\n                    \u003cb\u003e\u003ci\u003e\u003cspan style=\"font-size:12.0pt;font-family:\" times new roman\u003eRob \n                    Maynard\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e \n                  \n              \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO032.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's 1954 operatic farewell newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eOne of the finest recordings of this opera in a stunning XR makeover\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eToscanini's final opera performance took place over two \nconcerts at Carnegie Hall, both broadcast live on radio in \nspecially-extended programmes. The original cast included the tenor \nJussi Björling, replaced at short notice by Jan Peerce. This performance\n uses the 'censored text' version of the opera (see below), which moves \nthe setting from Sweden to Massachusetts.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe source discs for this transfer were six LP sides \nissued as promotional gifts by \"the makers of Mobilgas and Mobiloil\", \nwho had sponsored the broadcasts. Packaged in an album reminiscent more \nof typical US 78rpm sets than their LP equivalents, the set includes \nsleevenotes by NBC announcer Ben Grauer and a montage of press cuttings \n(see below) reviewing the concerts.\u003c\/p\u003e\u003cp class=\"body\"\u003eEach of the disc labels includes the words \"Air Check\" \non it, which does raise the outside possibility that the discs do not \ninclude retakes Toscanini recorded in June 1954 at his final recording \nsessions, also in Carnegie Hall, and which are present in RCA's \ncommercial issue. However, this seems unlikely - there is no radio \nannouncer or applause on the recording, and clearly some efforts would \nhave been made to produce the finest quality discs. Without catalogue \nnumbers or further details it is difficult to know exactly when these \ndiscs were pressed and to whom they were sent, or indeed how many sets \nwere ever made.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sides themselves proved to be in excellent condition\n with the exception of the fifth, which was slightly scratched during \nthe final four minutes or so, some remnants of which may still be \napparent. Sound quality is excellent throughout - the close-up \nmicrophone technique, whilst holding back much of the ambience of \nCarnegie Hall, does allow for excellent clarity in both voices and \norchestra.\u003c\/p\u003e\u003cp class=\"body\"\u003eFurthermore, this new transfer has benefitted enormously\n from XR remastering, bringing fabulous new depth and clarity to the \nsound and opening it out tremendously, something further enhanced when \nlistening to the Ambient Stereo version, which helps create the sense of\n space lacking in the original by drawing out ambience from the \nrecording and spreading it subtly across the soundstage.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e- Un Ballo in Maschera \u003c\/span\u003e(A Masked Ball)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCD One\u003cbr\u003e1. Act 1 - Prelude  (4:14)\u003cbr\u003e2. Posa in pace  (1:47)\u003cbr\u003e3. Amici miei...soldati - La rivedrà nell' estasi  (3:20)\u003cbr\u003e4. Il cenno mio de là  (2:13)\u003cbr\u003e5. Alla vita che t'arride  (2:21)\u003cbr\u003e6. Il primo giudice  (1:28)\u003cbr\u003e7. Cavatina: Volta la terrea...  (1:40)\u003cbr\u003e8. Signori oggi d'Ulrica...Orni cura (2:55)\u003cbr\u003e9. Zitti, l'incanto non dessi turbare  (3:45)\u003cbr\u003e10. Arrivo il primo...Villano, dà indietro  (2:26)\u003cbr\u003e11. Su fatemi largo  (3:20)\u003cbr\u003e12. Che v'agita cosi  (4:51)\u003cbr\u003e13. Su profetessa monta il treppiè  (3:38)\u003cbr\u003e14. Chi voi siate l'audace parola  (5:43)\u003cbr\u003e15. Finale - Finisci il vaticinio  (4:14)\u003cbr\u003e16. Act II - Prelude - Ecco l'orrido campo  (8:41)\u003cbr\u003e17 Teco io sto...Gran Dio...  (8:05)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eCD Two\u003cbr\u003e1. Ahimè!...s'appressa alcun!...  (4:44)\u003cbr\u003e2. Seguitemi!...Mio Dio!  (7:07)\u003cbr\u003e3. Act III - A tal colpo è nulla il pianto  (5:53)\u003cbr\u003e4. Alzati! Là tuo figlio a te concede riveder...  (5:53)\u003cbr\u003e5. Siam soli...udite...  (8:11)\u003cbr\u003e6. Alle danze questa sera  (4:01)\u003cbr\u003e7. Forse la soglia attinse...  (4:58)\u003cbr\u003e8. Ah! Dessa è là (Festa de Ballo e Coro)  (5:24)\u003cbr\u003e9. Fervono amori e danze...  (1:46)\u003cbr\u003e10. Ah! Perchè qui!.. fuggite...  (5:02)\u003cbr\u003e11. Finale - Ella è pura, in braccio a morte...  (4:15)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e (Riccardo), \u003cbr\u003e \u003cb\u003eHerva Nelli \u003c\/b\u003e(Amelia), \u003cbr\u003e \u003cb\u003eRobert Merrill \u003c\/b\u003e(Renato), \u003cbr\u003e \u003cb\u003eClaramae Turner\u003c\/b\u003e (Ulrica), \u003cbr\u003e \u003cb\u003eVirginia Haskins\u003c\/b\u003e (Oscar), \u003cbr\u003e \u003cb\u003eGeorge Cehanovsky \u003c\/b\u003e(Silvano), \u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e (Samuel), \u003cbr\u003e \u003cb\u003eNorman Scott \u003c\/b\u003e(Tom), \u003cbr\u003e \u003cb\u003eJohn Carmen Rossi\u003c\/b\u003e (Judge, Servant of Amelia)\u003cbr\u003e \u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e Robert Shaw Chorale\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003econducted by Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded live at Carnegie Hall, 17th January 1954 (Act 1)\u003cbr\u003eand 24th January 1954 (Acts II and III)\u003cbr\u003eTransfer from Air Check discs \"presented by the makers of MobilGas and MobilOil\" No catalogue numbers, matrix numbers E4RP8241-6\u003cbr\u003eDiscs provided from the private collection of Christophe Pizzutti\u003cbr\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, August 2009\u003cbr\u003eCover artwork based on a photograph of Arturo Toscanini conducted at Carnegie Hall\u003c\/p\u003e\u003cp\u003eTotal duration:  2hr 01:55\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\/PACO032.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO032.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":32417954701,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417954765,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417954829,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417954893,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO032_1c0b5db8-dfa1-43bd-aa45-32c4c710f86c.jpg?v=1586772921"},{"product_id":"pasc411-cd","title":"REINER conducts Richard Strauss (1952-57) - 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This was American music for a country at\nwar. \u003cbr\u003e\n \u003cbr\u003e\nI was lucky to receive what I believe may be a previously unused source for the\npresent transfer. Certainly the sound quality is significantly better than that\nheard in previous transfers of this concert. Indeed, after XR remastering and\nconsiderable work on surface swish and other minor irritants associated with\neven rarely-played acetates of this vintage, the sound quality is more\nreminiscent of a studio recording of the 1950s than a radio broadcast from the\nearly 1940s.\u003cbr\u003e\n\u003cbr\u003e\nThe frequency range of the present recording is pleasantly wide, extending to\nmore than double that of contemporary commercial discs. Backgrounds are quiet.\nXR remastering has added depth and detail, whilst subtle use of convolution\nreverberation has greatly improved the notoriously unaccommodating acoustic\nproperties of NBC's Studio 8H. Announcements have been included where\navailable, in some cases patched in from inferior sources. The music is all of\nthe highest audio quality for its era.\u003cbr\u003e\n\u003cbr\u003e\n\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f1 NBC Radio Introduction (0:30)\u003cbr\u003e\n2 \u003cb\u003eLOEFFLER \u003c\/b\u003eMemories of My Childhood (Life in a Russian Village) (13:47)\u003cbr\u003e\n3 \u003cb\u003eCRESTON \u003c\/b\u003eChoric Dance No. 2 (5:50)\u003cbr\u003e\n4 \u003cb\u003eGOULD \u003c\/b\u003eLincoln Legend (17:29)\u003cbr\u003e\n5 \u003cb\u003eGERSHWIN \u003c\/b\u003eRhapsody In Blue (16:27)\u003cbr\u003e\n\u003cbr\u003e\n\u003cb\u003eEarl Wild, \u003c\/b\u003epiano\u003cb\u003e \u003c\/b\u003e(5)\u003cb\u003e\u003cbr\u003e\nBenny Goodman, \u003c\/b\u003eclarinet\u003cb\u003e \u003c\/b\u003e(5)\u003cb\u003e\u003cbr\u003e\nNBC Symphony Orchestra\u003cbr\u003e\nArturo Toscanini, \u003c\/b\u003econductor\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProgramme introduced by Ben Grauer\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\nCover artwork based on a photograph of Arturo Toscanini\u003cbr\u003e\n\u003cbr\u003e\nBroadcast of 1 November 1942\u003cbr\u003e\nStudio 8H, NBC Radio City, New York City\u003cbr\u003e\n\u003cbr\u003e\nTotal duration: 54:03\u003c\/p\u003e\u003cp\u003e\n\n\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\/PASC495.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC495.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5fLoeffler’s tone poem is peasant dark with an admixture of\nRussian threnody to which we can add Mussourgskian surge and a sense of\nevocative romanticism; maybe also a sly reference to Volga Boatmen. Its last movement,\ncommemorating a death, is eerie in the extreme and beautifully extrapolated by\nToscanini. Paul Creston’s Choric Dance No. 2 opens quite melodramatically and\nsoon explores rhythmic implications with concentration and vivacity; more an\nexercise than a totally convincing piece but certainly bracing. This was the\npremière of Morton Gould’s A Lincoln Legend, a piece that opens with\ncontemplative string writing but soon introduces a raft of quotations (John\nBrown’s Body among a number) in a determinedly vulgar melange – at least I\nthink it’s determinedly vulgar. After the tumultuous Americana we return to the\nmore reflective intimacies that had ushered us in.\u003cbr\u003e\n\u003cbr\u003e\nThe 1942 concert and the first disc conclude here with Rhapsody in Blue in a\nperformance given by Earl Wild. He was the youngest soloist to have played with\nthe orchestra and always wondered why he and not a raft of others had been\nselected. Wild reminisced elsewhere that he later found out that Toscanini used\nto listen in to NBC’s chamber concerts on Sunday mornings and had heard Wild\nthere – a more or less humble NBC staffer catapulted to fame. The Rhapsody\ncomes complete with a celebrity clarinettist in the shape of Benny Goodman,\nsoon to test classical waters with the Budapest Quartet but not yet a student\nof the legendary English player Reginald Kell. His nervousness shows with a\nfluffed note at a registral change but it’s salutary to hear Goodman’s wailing\nopening bars. Toscanini unfolds during the performance and Wild is fine though\nnot as idiomatic as he was later to become (especially with Fiedler); the\nending is magnificent though and properly conclusive.\u003cbr\u003e\n\u003cb\u003e\u003cbr\u003e\nJonathan  Woolf \u003c\/b\u003e MusicWeb International, 2004\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":29385335668797,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":29385335701565,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":29385335734333,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC495_7146a711-7976-44de-ad56-14636f669d88.jpg?v=1562836917"},{"product_id":"pasc495-cd","title":"TOSCANINI conducts American Music, Volume 1 (1942) - PASC495 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478077645,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478077709,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC495_64d6b423-1891-41d5-bf49-652e274afdbf.jpg?v=1658744263"},{"product_id":"pasc319-cd","title":"CANTELLI NBC Concert No. 29: Bach, Cherubini, R. 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Their better recorded sound explains why the\nFirst and Second Symphonies have long been available and very recommendable\nto anyone tolerant of mono. Now all four symphonies have some air around\nthem, the glare and harshness tamed and erratic pitch corrected. They are\nstill no aural feast but as with the Pristine re-mastering of\nFurtwängler’s Brahms from the 1940s and 1950s, the obvious\nperformances for purposes of comparison, a new depth and spaciousness have\nbeen revealed and the listener’s enjoyment of the very different\napproach to Brahms by both maestros has been enormously enhanced. \n    \u003cbr\u003e\n\u003cbr\u003e\n          Furtwängler’s interpretation is generally much warmer and \n          more Romantic than Toscanini’s but there is certainly no lack \n          of feeling in the latter’s Andantes and Adagios, even though he \n          is on average some two minutes faster than Furtwängler. However, \n          the default position criticism of Toscanini - “he conducts everything \n          at breakneck speed” - hardly applies here, even if it is true \n          that he takes the opening to the First faster than any other conductor \n          I know. As is often the case when re-encountering Toscanini after listening \n          to more modern or later accounts of Brahms symphonies by Abbado and \n          Karajan, my first thoughts were that he was rather perfunctory and unyielding \n          - but the ear soon adjusts to what he is about. Once the second subject \n          of the magical Andante second movement in the First Symphony spirals \n          heavenward on soaring strings, you know that you are safe in the hands \n          of a master Brahms interpreter. It is possible to miss the depth of \n          sound we enjoy in those more recent recordings but Toscanini's insistence \n          upon individual instrumental lines emerging clearly pays dividends; \n          one hears harmonic details and nuances you do not always catch in warmer, \n          stereo sound. He is never speedy for its own sake; his direction is \n          always taut and purposeful, his frequent use of ritenuto judicious and \n          his phrasing sublime: the dotted second subject in the Andante sostenuto \n          in the First Symphony really sings, helped by the sweetness of the solo \n          by the NBC’s first violinist and the sonority of the contribution \n          of the principal horn. There is often a kind of febrile joy in Toscanini's \n          music-making which sweeps the listener along; thus the Scherzo is breathless \n          but exhilarating - more \"allegro\" than a true \"allegretto\" - but it \n          works. Not that Toscanini cannot plumb the depths; there is a brooding \n          majesty to the Adagio opening of the fourth movement, as a bemired C \n          minor struggles to emerge into the sunlit uplands of C major via those \n          plangent horn and flute solos and the Big Tune builds massively to an \n          explosive finale which is simply glorious with its uplifting, climactic \n          chorale. \u003cbr\u003e\n \n    \u003cbr\u003eProbably recognising Brahms’ reference to his symphony no.2 as\n“elegiac and melancholy” as another of the sardonic\ncomposer’s little ironic jokes, Toscanini eschews the dragginess which\nafflicts recordings by such as Giulini and refuses to linger. He does not\nreplicate the fluidity that Karajan achieves, or the melodramatic\n“Sturm und Drang” approach of Furtwängler, or the dark\nwarmth of Klemperer but, surprisingly, instead, aims for charm, again\nphrasing gorgeously, catching Brahms’ Alpine holiday mood. The finale\nis a little breathless and frenetic but Toscanini relaxes for the second\nvariation and eventually steers us home in the most exhilarating fashion\nimaginable without adopting an especially fast tempo.\n    \u003cbr\u003e \n    \u003cbr\u003e\nThe Third is in many ways the most straightforward of Brahms’\nsymphonies\nand elicits the most relaxed of Toscanini’s interpretations. He brings\na\nconfident swing to the frequent, swaying three-quarter-time rhythms which\nrun\nthroughout this symphony. Toscanini maintains a gentle pulse, moving\ninexorably\ntowards a grand finale which is another of Brahms’ trademarks. The\nAndante\nfinds Toscanini at his most genial, hence he is even slower than\nFurtwängler,\nLevine, Abbado and van Zweden. Then in the finale all that restraint is\nthrown\naside for a rip-roaring Allegro before the return to serenity.\u003cbr\u003e\n  \u003cbr\u003e\n“Relaxed” is not the first word we usually apply to this\nconductor, but the Fourth again finds him effortlessly synthesising the\nplethora of ideas based around the interval of a third that flood this most\nmusically fertile of Brahms’ symphonies. There is a massive exuberance\nabout the conclusion, following the pattern we have seen in\nToscanini’s love-affair with Brahms. Technically, there are some\nproblems in the synchronisation between the violins and the rest of the\norchestra, symptomatic of the sense of urgency characteristic of Toscanini’s typical forward momentum. \n    \u003cbr\u003e\n\u003cb\u003e\u003ci\u003e\u003cbr\u003e\n          Ralph Moore\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC349.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eToscanini's \"ardent, blazing performances\" of the complete Brahms Symphonies\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eNew XR remasters have completely revitalised the sound of these masterworks\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eIt comes as no surprise to find Toscanini's studio LP recordings of Brahms' four symphonies still in RCA's catalogue. Alas the sound quality , whilst adequate for the first two symphonies, slips dramatically for the Third and Fourth, and all have anomalies throughout. This remastering aims to set the balance straight, to raise first the sound quality of Symphonies 1 and 2, and then to bring Symphonies 3 and 4 up to this same new standard. Careful application of the XR remastering system has achieved this and more - Toscanini's magnificent recordings of the Brahms symphonic canon have never sounded as wonderful as this!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI've also been able to fix some pitch anomalies, most acute in the Third Symphony, where both the second half of the 1st movement and the entire finale were considerably sharp.\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS \u003c\/strong\u003eSymphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS \u003c\/strong\u003eSymphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS \u003c\/strong\u003eSymphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS \u003c\/strong\u003eSymphony No. 4 in E minor, Op. 98\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eNBC Symphony Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eArturo Toscanini \u003c\/strong\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded at Carnegie Hall, New York City\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eSymphony No. 1\u003c\/strong\u003e\u003cbr\u003eRecorded 6 November 1951 \u003cbr\u003eFirst issued as RCA LM-1702 \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSymphony No. 2\u003c\/strong\u003e\u003cbr\u003eRecorded 11 February 1952 \u003cbr\u003eFirst issued as RCA LM-1731 \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSymphony No. 3 \u003c\/strong\u003e\u003cbr\u003eRecorded 4 November 1952 \u003cbr\u003eFirst issued as RCA LM-1836 \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSymphony No. 4 \u003c\/strong\u003e\u003cbr\u003eRecorded 3 December 1951 \u003cbr\u003eFirst issued as RCA LM-1713\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover artwork based on a photograph of Brahms\u003cbr\u003e\u003cbr\u003eTotal duration: 2hr 36:17\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\/PASC349.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC349.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - complete Brahms Symphonies\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe reappearance of Toscanini's recordings of all the Brahms symphonies on the R.C.A. label is a most welcome event, for they should never be unavailable. As commercial ramifications are the only reason for their ever being off the market I had intended to give them what I believe is called in book circles a \"reviewer's reading\", a skim through. But, started on the first, I could not leave these ardent, blazing performances alone. They are wonderful and it is certain that, whatever the claims of other conductors, no Brahms lover should be without these. On their new label they sound very well and one need not fear the unpleasant sound associated with many Toscanini recordings, only the 3rd being less good...\u003cbr\u003e\u003cbr\u003eT.H. The Gramophone, May 1959 (Reviewing R.C.A. RB16097-16100, LP reissues, excerpt)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW - Symphonies 1 \u0026amp; 2\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAs a second-best for those unable to hear Toscanini's \"live\" performances of the Brahms symphonies in the Royal Festival Hall, which will have taken place by the time these words appear—and as a permanent reminder for the fortunate others—these records should have a considerable appeal. When they were made I do not know, but despite the great man's advancing years they are as full of fire and finesse as ever. (I am irresistibly reminded of Widor, at the age of nearly ninety, ripping his way through the finale of his Fifth Symphony for H.M.V.). The meticulous care over every detail, the beautiful phrasing and the breadth of line, the rhythmic bite, are hallmarks of the master. It has been claimed that, as an Italian, Toscanini is not the ideal interpreter of Brahms' typically Teutonic genius; but the Second Symphony elicits from him a perfectly appropriate lyricism, and there is not the smallest suggestion of stylistic impropriety in the more virile First. Besides, remembering Furtwängler's wilful exaggerations, is the German spirit necessarily more en rapport? There are, needless to say, none of these distortions here, but instead a choice of tempi which is made to seem inevitable: I would draw attention to the perfect tempo-transitions in the third movement of No. 2. The \"bell-chime\" horn tune and the trombones' chorale-like passage in the finale of No. 1 are taken slower than usual, and later in the movement the speeds do vary somewhat, but there is the evidence of Brahms' markings to justify this. In the orchestra's playing there is much of great beauty—I instance the glowing 'cello tone in the Adagio of No. 2 and the truly sotto voce quality of the start of the finale; and indeed the only real flaw I can find anywhere is the out-of-tune held A on trumpet and horn at the close of the first movement of the same symphony. Students of Brahms' scores will notice with interest that in No. 1 Toscanini suppresses the viola-and-timpani triplets at the two breakoffs a couple of dozen bars before the end.\u003cbr\u003e\u003cbr\u003eOn the technical side these issues are less satisfactory, though never enough seriously to detract from appreciation of the music. The worst fault for me is the extremely sharp pitch at which both works are recorded—I cannot get used to a Brahms' symphony in D sharp—but others without perfect pitch may not be worried by this. I suspect, however, that the consequent increase in speed may be partly responsible for the metallic tone of the strings (the wood-wind suffer less). The quality in general is rather coarse and thick, particularly in forte sections (e.g., in the Allegretto of No. 1 and the finale of No. 2); and the engineers seem to have been reluctant to allow a true p or pp level: the solo violin in the Andante of the First Symphony has been unduly amplified. In the SP version of No. 2 there is an overlap of four bars on the change-over from side 1 to side 2, and of three bars from side 7 to side 8; and in the first movement of No. 1 the gap between sides 2 and 3 comes just at that dramatic change of harmony between the chords of G7 and the 6-4 of B minor, so that Brahms' effect is lost. In these regards, at any rate, the LP issue which is promised is bound to be an improvement.\u003cbr\u003e\u003cbr\u003eL.S. The Gramophone, October 1952 (Reviewing HMV 78rpm issues) \u003cbr\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":36979633741,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":36979633805,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":36979633869,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":36979633933,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC349_a9415f76-a613-4cef-b156-46d3550836fa.jpg?v=1494050045"},{"product_id":"pasc349-cd","title":"TOSCANINI conducts BRAHMS Complete Symphonies (1951\/52) - PASC349 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":7551362760765,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":7551362793533,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC349.jpg?v=1658308399"},{"product_id":"pasc364","title":"TOSCANINI conducts Sibelius (1939\/40) - PASC364","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePohjola's Daughter\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Swan of Tuonela\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSIBELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFinlandia\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1939 and 1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:43\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is very much for lovers of the great conductor and of these marvellous works578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003eFirstly, I congratulate Pristine Audio for another very successful \n                  release. Andrew Rose has completely transformed what was an \n                  uncomfortable listen into a great document from one of the conducting \n                  giants of the twentieth century. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Sibelius’s reputation in the late 1930s was very high. \n                  Despite not writing the eagerly awaited “Eighth Symphony” \n                  his music was played frequently. Pioneers including Robert Kajanus \n                  and Thomas Beecham have left us lucky listeners with recordings \n                  from those times although there are gaps. No recording seems \n                  to exist of Klemperer who conducted the Second Symphony; I’d \n                  love to hear it! \u003cbr\u003e\n                    \u003cbr\u003e\n                  Toscanini conducted Sibelius infrequently in his latter days \n                  and there are few recordings. The only two symphonies available \n                  to record collectors are the Second and Fourth (also available \n                  on Pristine PASC87). I’m not aware that he did any others. \n                  He conducted the Second Symphony with the BBC Symphony Orchestra \n                  at a concert on 9 June 1938 and this was available in 1990 on \n                  EMI CD 63307 but EMI have not re-released it since. It can be \n                  found on two labels: is “Maestro Celebre” and “Entertainment \n                  Products”, the latter as a download from Amazon US. In \n                  1939 and 1940 he conducted the work with his NBC Orchestra plus \n                  several shorter pieces. The present 1940 performance, which \n                  is for review, has also been issued on RCA as part of their \n                  \u003ci\u003eToscanini Edition\u003c\/i\u003e originally separately (Vol.21), and \n                  recently in last year’s bargain Box set of 84 CDs RCA \n                  791631. Naxos Historical also released it in 1998 (Naxos 8.110811) \n                  but this now only available as a download. Strangely I can’t \n                  find it on Naxos Music Library, although I have streamed it \n                  from the French site Qobuz. All three companies added the 1940 \n                  \u003ci\u003ePohjola’s Daughter\u003c\/i\u003e but whereas Naxos included performances \n                  of the latter two from 1940, Pristine have used the 1939 recordings. \n                  They explain that they have done this to get the best source \n                  material. RCA, on the other hand, have a 1944 \u003ci\u003eSwan\u003c\/i\u003e and \n                  a 1952 \u003ci\u003eFinlandia\u003c\/i\u003e.  \u003cbr\u003e\n                  \u003cbr\u003e\n                  Toscanini was a mere 73 at the time of these concerts and tremendous \n                  drive and intensity is in evidence from the beginning. Pristine \n                  have opened up the sound to such an extent that the listener \n                  experiences a real feeling of being in the concert. Before playing \n                  this I listened to the BBC recording from Spotify which is obviously \n                  in inferior sound. The BBC SO from 1938 and Adrian Boult made \n                  a formidable team and the orchestra plays splendidly. The sound \n                  is so good on the New York recording that comparisons are difficult \n                  but, My Word, they both play as if their lives depended on it. \n                  The versions are fairly similar; timings are not as one would \n                  expect: the fastest, the first movement, is half a minute slower \n                  than Kajanus. Playing the RCA version I felt I was being steam-rollered \n                  whereas on this transfer the orchestral sound is wonderfully \n                  clear. I particularly liked the sublime second movement but \n                  it’s all wonderful and we get to hear the well deserved \n                  applause. I must confess not to be very familiar with \u003ci\u003ePohjola’s \n                  Daughter\u003c\/i\u003e but the playing is again very powerful and the \n                  woodwind comes through very clearly. It avoids what Beecham \n                  referred to as that “Sousa” effect that plagues \n                  so many recordings from Studio 8H.  \u003cbr\u003e\n                  \u003ci\u003e\u003cbr\u003e\n                  The Swan of Tuonela\u003c\/i\u003e comes from 1939 and is quite simply \n                  magical and makes one wish Toscanini had conducted more Sibelius; \n                  his “Fifth” would have been quite something. The \n                  NBC Orchestra was put together for Toscanini and their prowess \n                  shines through. One of the criticisms of the “Maestro” \n                  was his lack of humanity. I disagree and would use this piece \n                  as an example of his softer side.\u003ci\u003eFinlandia\u003c\/i\u003e completes \n                  the disc. Several versions exist. I love this piece and it’s \n                  a splendid rendition. The introduction of the hymn tune is very \n                  affecting. As with \u003ci\u003eThe Swan of Tuonela\u003c\/i\u003e the sound is slightly \n                  inferior to that of the first two works but it’s very \n                  marginal. It’s a nice touch to have the radio announcer \n                  at the end. \u003cbr\u003e\n                    \u003cbr\u003e\n                  I had intended to compare other versions from this period but \n                  in the end decided that Toscanini was unique, although he had \n                  imitators; not the great Cantelli. Yet Sibelius’s genius \n                  shines through every bar. This is very much for lovers of the \n                  great conductor and of these marvellous works.   \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003e\u003cbr\u003e\n                  David R Dunsmore \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC364.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003eA feast of Sibelius from Toscanini at his brilliant best\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003eFabulous orchestral sound in these new 32-bit XR remasters\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHere we bring together broadcast recordings from two \nall-Sibelius concerts that Toscanini conducted with the NBC Symphony \nOrchestra in February 1939 and December 1940. The concerts were similar \nin content - the only difference in programming being the replacement in\n 1940 of \u003cem\u003eEn Saga\u003c\/em\u003e by \u003cem\u003ePojhola's Daughter\u003c\/em\u003e, cutting the \noverall duration of the later broadcasts's musical content by \napproximately 7 minutes. Alas, the time contraints of CDs do not allow \nus to include representations of all the works here -\u003cem\u003ePohjola's Daughter\u003c\/em\u003e won out on grounds of rarity (Toscanini's only US performance, it appears) and sound quality (our copy of the 1939 \u003cem\u003eEn Saga\u003c\/em\u003e suffered some radio cross-talk, an issue also for our 1939 \u003cem\u003eSymphony No. 2\u003c\/em\u003e).\u003c\/p\u003e\u003cp class=\"body\"\u003eMy aim with these reissues was to bring the full battery\n of XR-remastering technology to bear on these recordings. Many \nlisteners will be familiar with at least half of the recordings here - \nthe Symphony and \u003cem\u003ePohjola's Daughter\u003c\/em\u003e were both issued by RCA \nwith Toscanini's approval - but they will not be familiar with the \nastonishing sound quality it has been possible to achieve with the raw \nmaterial at hand.\u003c\/p\u003e\u003cp class=\"body\"\u003eGone is the scratchy, hissy and crackly sound of the RCA\n transfers, as well as the boxiness of the acoustic and a lack of real \ndepth, to be replaced by a broader, more open sense of the space and \nmusical vision Sibelius's music implies. Meanwhile, the 1939 recordings,\n whilst lacking the very high end treble of the later broadcast, still \nretain much of the same captivating sound quality and sense of \natmosphere, the latter being particularly spellbinding and enthralling \nin \u003cem\u003eThe Swan of Tuonela\u003c\/em\u003e.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSIBELIUS\u003c\/strong\u003e Symphony No. 2 in D major, Op. 43 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSIBELIUS\u003c\/strong\u003e Pohjola's Daughter, Op. 49 \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eLive broadcast, 7 December 1940\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eSIBELIUS\u003c\/strong\u003e \u003c\/strong\u003eThe Swan of Tuonela (No. 2 from Lemminkäinen Suite, Op. 22) \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eSIBELIUS\u003c\/strong\u003e\u003c\/strong\u003e Finlandia, Op. 26\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eLive broadcast, 18 February 1939\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003eNBC Symphony Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eArturo Toscanini\u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, October 2012\u003cbr\u003eCover artwork based on a photograph of Jean Sibelius\u003cbr\u003e\u003cbr\u003eTotal duration: 70:43\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\/PASC364.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC364.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":34181732045,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34181732109,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34181732173,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34181732237,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC364.jpg?v=1489661501"},{"product_id":"pasc364-cd","title":"TOSCANINI conducts Sibelius (1939\/40) - PASC364 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478161165,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478161229,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC364_90256bdb-b4e6-4b1d-98b1-27645c9facfe.jpg?v=1658308834"},{"product_id":"pasc208","title":"TOSCANINI conducts Prokofiev, Debussy, Saint-Saëns, R. Strauss (1950) - PASC208","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eImages: No. 2 - Ibéria\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSAINT-SAËNS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Danse Macabre \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Juan\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live, 25th March, 1950\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:53 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC208.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eOne of the great Toscanini broadcast concerts of the 1950s\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eIssued for the first time - a real treat for all music-lovers, in superb sound\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis concert recording was sent to me earlier in the year, but it was only very recently that I got around to listening to it properly for the first time - and was immediately blown away by it. In particular, Toscanini's reading of the \u003cem\u003eClassical Symphony\u003c\/em\u003e by Prokofiev came as a revelation to me. It's not a work I have in any other Toscanini reading, but if this live performance is anything to go by it's something I need to investigate immediately!\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBut perhaps this recording will suffice. Throughout the concert both conductor and orchestra are on top form, and I've rarely heard Studio 8H sounding as fabulous as it does here. The source recording was fine, if a little boxy and shrill at times, but XR remastering has done more than just cure these - it's really opened out the whole sound of the orchestra, something further enhanced by the Ambient Stereo processing available should you choose these options on CD or FLAC download orders. I'd certainly recommend it!\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\u003col\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003eIntroduction to concert \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(0:17) - Announcer: Ben Grauer\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003ePROKOFIEV\u003c\/strong\u003e Symphony No. 1 \"Classical\" in D, Op. 25\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e1st mvt. - \u003cem\u003eAllegro\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (3:37)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e 2nd mvt. - \u003cem\u003eLarghetto\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (3:52)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e 3rd mvt. - \u003cem\u003eGavotte\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (1:34)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e4th mvt. - \u003cem\u003eMolto vivace\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (4:50)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDEBUSSY\u003c\/strong\u003e Images: No. 2 - Ibéria\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e1st mvt. - \u003cem\u003ePar les rues et par les chemins\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (7:05)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e2nd mvt. - \u003cem\u003eLes parfums de la nuit\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (6:34)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e3rd mvt. - \u003cem\u003eLe matin d'un jour de fête\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (4:50)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSaint-Saëns\u003c\/strong\u003e Danse macabre in G minor, Op.40\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (7:33)\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e Don Juan, Op. 20\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e (17:41)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eThe NBC Symphony Orchestra\u003cbr\u003e conductor Arturo Toscanini\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eBroadcast from Studio 8H, 25th March 1950\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, December 2009\u003cbr\u003e Cover artwork based on a photograph of Toscanini during his summer tour of 1950\u003cbr\u003e\nTotal duration: 57:53 \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\/PASC208.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC208.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":34452129805,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452129869,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452129933,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452130061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC208_0612cc78-4fa2-46ac-8192-30c673501d36.jpg?v=1490032335"},{"product_id":"pasc208-cd","title":"TOSCANINI conducts Prokofiev, Debussy, Saint-Saëns, R. Strauss (1950) - PASC208 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork","offer_id":34428353869,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve","offer_id":34428353933,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC208_8dfe7a0c-667c-4591-9d70-69f25863516f.jpg?v=1658243825"},{"product_id":"pasc234","title":"SARGENT \u0026 MITROPOULOS Vaughan Williams: Symphonies 2 and 9 (1945\/58) - PASC234","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e A London Symphony (Symphony No. 2)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1958 and 1945\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 77:50 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Malcolm Sargent\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Dimitri Mitropoulos\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI was wondering when this Vaughan Williams Ninth \nwas going to be issued on CD. I had assumed it would come out on a label\n like BBC Classics but here it is, finally, on Pristine Audio. I have \nhad the original 10-inch BBC transcription disc in my possession for \nmany years. I even had a friend transfer it to CD. This Pristine Audio \nreissue sounds fuller and quieter and that is merely one reason I am \ndelighted to see this CD appear. Vaughan Williams, after extensive \ndiscussions with the conductor, Sir Malcolm Sargent, supervised the \nrehearsals and even paid for an extra one to make sure things went right\n at the 1958 premiere, which this recording preserves. The Ninth is an \nodd symphony. One might tend to think of it as a sort of farewell to \nlife but there is little of the valedictory about it. The Eighth \nSymphony sounds like a transitional work to me. The mystical, visionary \nNinth, with the composer seemingly staring off into the future, strikes \nme as a new phase in his creative life, one that might have generated \nseveral new symphonies but it was not to be. Sargent’s tempos, it will \nbe noted, are faster, in some cases very much so, than nearly all the \nconductors who went on to record the symphony (Pristine’s timings are \ndeceptive because they include the pauses between the movements); I \nthink Leonard Slatkin does the Scherzo just a shade faster and Kees \nBakels’s total timing is just under Sargent’s (but Bakels wasn’t part of\n British tradition and was apparently uninfluenced by it). In fact, if I\n were determined to obtain a modern, two-channel recording, it is to \nBakels (Naxos) that I would turn, though I think his last movement falls\n a bit flat, but this Sargent performance has that elusive sense of \noccasion and Pristine has preserved and enhanced it. Why, then, didn’t \nother conductors follow Sargent’s example? I have a theory about that: \nSir Adrian Boult, who was closely associated with Vaughan Williams and \nhad already recorded the existing eight symphonies, was informed about \nthe composer’s death shortly before the session during which he was to \ndo the Ninth Symphony for Everest. It goes without saying that Boult \nwould have found the death of one he so admired saddening and I think \nthat, in his mind, the symphony took on a valedictory quality that it \nreally doesn’t have—it is a step into the future, not a summing up. The \nresult was slower tempos and a more solemn approach to the music than \nthat of Sargent, who, in any case, was not closely associated with \nVaughan Williams during his career; I am aware of BBC recordings of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSea Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (with a big cut in “The Explorers”) and a very good Fourth, and that’s \nall, except for this one. It would make sense that subsequent \nconductors, knowing Boult’s authority (after this, he went on to record \nthe entire cycle all over again), were probably influenced by him. In \nany case, for me, Sargent’s energetic, swift attack gives the music more\n sharp edges and I think it is the way the piece should go and, \napparently, the way the composer thought it should go. I have one minor \ncomplaint and that is the difficulty of hearing the harp glissandos \ntoward the end of the symphony; they really impart an air of mystery, \nand some conductors do bring those passages off to great effect.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Dimitri Mitropoulos “London” Symphony is a \nfrustrating case. It just doesn’t sound very good. One company that \nspecializes in historical reissues considered issuing it but finally \ndecided that it just couldn’t be brought up to their standards. In \ntruth, it isn’t up to Pristine Audio’s standards, either, but I’m glad \nthey decided to take their chances and make it available. The 1945 NBC \ntranscription is somewhat muffled, often distorted, on rare occasions \neven a bit wobbly, but something about this music really engaged \nMitropoulos, who delivers a sensitive, by turns poetic and dynamic \naccount of the score. In my A\u0026amp; R fantasies, I have envisioned \nMitropoulos recordings of the Sixth, Seventh, Eighth, and Ninth—if I may\n judge by his studio and live Fourths, they would have been something to\n hear and, really, so is this Second, if you can listen through the \ndistractions, which do diminish somewhat after the first movement. The \nconductor’s one unorthodox gesture is the Scherzo, which, though very \nwell done, moves along quite briskly. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \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\/PASC234.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eWorld première of the Ninth - Rare recording of the Second\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eTwo very special Vaughan Williams symphony recordings newly remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eI first received copies of these two remarkable and rare concerts back in February of this year in cassette form from Edward Johnson. We were both enthusiastic about the performances but just a little sceptical about the medium. I began by transferring the Ninth Symphony and set about its restoration, but soon realised that despite the finest Nakamichi replay equipment and all the digital restoration tools at my disposal, I would be unable to do full justice to the original recording from this particular copy. And so began the hunt for a better source.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA few weeks later, Edward came back to me with the suggestion that the renowned writer, musicologist and expert on British classical music, Lewis Foreman, thought he might have copies of these on tapes stored “in his shed”, and would we like him to dig them out? One likes to hope that, tucked away in attics and sheds around the world are carefully preserved gems like this, as when Mr. Foreman's own tape-to-CD transfer of the 9th arrived I immediately knew we were on track for an excellent-sounding release.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recording was taken from a later BBC FM rebroadcast, and I've been able to add in announcements from the original broadcast, preserved in a second transfer by Mr. Foreman of discs prepared for overseas broadcasts by the BBC in the 1950s, but of lower overall sound quality. Aside from very occasional bursts of static, which have been largely eradicated, the sound quality was excellent throughout, and it is a pleasure and privilege to be able to make this historic world première recording available to the public.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Mitropoulos is another stunning and very rare recorded performance, and again Mr. Foreman's source has been used almost throughout (some small patches from Edward Johnson's cassette were required for the opening announcement). However, this originated in another era, and suffered a wide range of faults originating in the acetate 78s onto which it would have been first recorded. I have dealt as best I can with thousands of ticks, pops and scratches, aimed to reduce or eliminate where possible peak distortion, corrected multiple pitch variation problems and kept the sound as open and vital as I possibly can. Sonically, after the 9th; it takes a moment or two for the ears to adjust, but the listener will soon find him or herself drawn into Mitropoulos' magical recreation of Vaughan Williams' London. It really is a superb rendition of this classic English symphony, one which easily transcends the limitations placed upon it by the shortcomings of the original recording.\u003c\/p\u003e\n\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\u003cb\u003eVAUGHAN WILLIAMS \u003c\/b\u003eSymphony No. 9 in E minor (1956-7) (World Première) \u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003econducted by Sir Malcolm Sargent\u003cbr\u003eRoyal Festival Hall, 2nd April, 1958\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e A London Symphony (Symphony No. 2) (1913) \u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003econducted by Dimitri Mitropoulos\u003cbr\u003eStudio 8H, New York, 9th December, 1945\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSpecial thanks to Lewis Foreman for these transfers from his private collection\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, February-June 2010\u003cbr\u003e Cover artwork based on a photograph of Vaughan Williams\u003cbr\u003e \u003cbr\u003e Total duration: 77:50 \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\/PASC234.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC234.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":37144555213,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144555277,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144555405,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37144555533,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC234_22413143-1087-41ef-9f21-607af3bf8f03.jpg?v=1494338157"},{"product_id":"pasc234-cd","title":"SARGENT \u0026 MITROPOULOS Vaughan Williams: Symphonies 2 and 9 (1945\/58) - PASC234 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478216141,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478216205,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC234_af523f02-eafe-43a4-8de0-6361af54940a.jpg?v=1658244648"},{"product_id":"pasc237","title":"CANTELLI NBC Concert No. 26: Vivaldi and Brahms (1952) - PASC237","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVIVALDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto Grosso Op.3, No. 8\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1952, New York City\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:48 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fCertainly for the Brahms this is a release that should be heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe prize of this release is the Brahms, which, \nfor a number of reasons, is the finest of three Cantelli performances of\n the work that I have heard. Probably, the most familiar is his 1953 \nstudio account with the Philharmonia Orchestra reissued by Testament in \n1993 (SBT 1012). It is a strong, unmannered reading, but without the \nintensity and seeming commitment of two live performances: one from 1954\n with the Boston Symphony (Pristine PASC O83), and this new one, \nwhich—from beginning to end—is riveting.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThough the Boston performance certainly proved \nrefreshing with a greater rhythmic elasticity than the Philharmonia \naccount featured, it does not match the controlled intensity of this NBC\n version. Here the line is tauter, the bite stronger, and the cumulative\n impact of the whole more overwhelming. Then, too, it reveals \nToscanini’s orchestra in a more natural perspective than that projected \nin many of his Carnegie Hall broadcasts. Evidently the microphone was \nplaced at a slightly greater distance than had been customary for him. \nAs a result the ample resonance of the hall was captured more fully.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOf the many Cantelli performances I have heard, \nthis one, perhaps, comes closest to those of Toscanini in its rhythmic \nrectitude, concern for detail, and freedom from mannerism. At the same \ntime, it is not a mimic of his mentor. For one thing, he does not \nincorporate some significant Toscanini emendations: the addition of \ntrumpets in parts of the first movement, the imposition of accents in \nthe horn call of the introduction to the finale, or the modifications of\n the timpani part in the coda of that movement. But Cantelli’s treatment\n of the Andante, like Toscanini’s, is never unduly sustained and utterly\n free of sentimentality. And the overall sound of the orchestra is less \nastringent than it often was under Toscanini. At the same time, it is \nleaner than what one heard from Bruno Walter or Wilhelm Furtwängler.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the Vivaldi that opened the concert, the \nbest that can be said for it is that it illustrates how far we have \nadvanced as a result of the impact made by the period-instrument \napproach. Today, for example, the weighty sonority and plodding tempo of\n the first movement seem utterly misplaced. But as an example of what \nnow seems anachronistic, the performance tells us something of our \nrecent past. As such it has historical value. And certainly for the \nBrahms this is a release that should be heard. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eMortimer H. Frank  \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\/PASC237.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eSuperb concert recording from Toscanini's 'anointed' successor\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eCrowned by a marvellous Brahms 1st - in superb sound quality throughout\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003eThese transfers were taken from a high quality open-reel tape copy preserved by Cantelli specialist and author Keith Bennett, whose comprehensive notes on this concert can be found below, a condensed version of which is also available on the CD cover. The tape\u003c\/span\u003e preserved a BBC rebroadcast of the concert, which omitted the opening and closing announcements of the original but included Ben Grauer's commentary between the Vivaldi and Brahms. Additional BBC announcements have been removed from this reissue, but Grauer's words have been preserved.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOverall sound quality of the originals was generally excellent for its era, and the recordings have responded very well indeed to XR remastering, producing a fuller and more vivid sound where it had perhaps been just a little flat and overly strident in the upper registers.\u003c\/p\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e 578a9379d1e540bd96d26f03a79628d9tab1_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 class=\"bodybigblue\"\u003e\u003cb\u003eVIVALDI \u003c\/b\u003eConcerto Grosso in A minor, Op.3, No. 8 (from L'Estro Armonico) \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eDaniel Guilet, Remo Bolognini, \u003c\/b\u003esolo violins \u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1 in C minor, Op. 68 \u003c\/span\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econductor \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003eLive NBC broadcast from Carnegie Hall, 6th December, 1952\u003cbr\u003e Transfer tape from the collection of Keith Bennett\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, August 2010\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 57:48 \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\/PASC237.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC237.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n    \u003cspan style=\"font-size: 18px;\"\u003eCantelli’s Twenty-sixth Concert with the\n\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\n    NBC Symphony Orchestra - 6 December 1952\n    \u003c\/span\u003e\u003cem\u003e\n        \u003c\/em\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem\u003e\u003cbr\u003e\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eVivaldi: \u003c\/strong\u003e\n    Concerto Grosso for Two Violins, Op.3, No.8\n\u003c\/p\u003e\n\u003cp\u003e\n    The majority of readers seeing the name of Vivaldi in the programme will\n    not see anyting remarkable in that. However, the first time the writer\n    heard any of this composer’s music was as a 22 year-old: it was in a\n    concert given by Cantelli in the Royal Festival Hall in October 1951 and it\n    was the first time that any Vivaldi had been played in the hall which had\n    been inaugurated the previous May. The NBC Symphony Orchestra came into\n    being at the end of 1937 but, despite the fact that Toscanini included\n    Vivaldi’s \u003cstrong\u003eConcerto Grosso Op.3, No.11\u003c\/strong\u003e in his very first\n    concert, the conductor who included the works of Vivaldi in his programmes\n    with this orchestra more often than any other was Guido Cantelli. Although\n    Cantelli gave more concerts with this orchestra (40) than any other\n    conductor apart from Toscanini, he still only gave three of the four works\n    in his repertoire with the orchestra and Vivaldi was only played in six\n    concerts.\n\u003c\/p\u003e\n\u003cp\u003e\n    Cantelli had conducted this concerto for the first time while still a\n    student in 1942 and his only other performances were both with the NBC\n    Symphony Orchestra: on 15 January 1951 the first-desk soloists were Mischa\n    Mischakoff and Max Hollander but for the performance on this CD (which was\n    his last) the violinists were Daniel Guilet (who had become leader after\n    Mischakoff’s departure) and Remo Bolognini.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n    \u003cstrong\u003eBrahms: \u003c\/strong\u003e\n    Symphony in C minor, No.1, Op.68\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n    Toscanini’s last appearances in London were when he conducted two\n    all-Brahms concerts with the Philharmonia Orchestra on 29 September and 1\n    October 1952 which included all four symphonies and Cantelli was present at\n    rehearsals and the concerts.\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\nPrior to Toscanini’s concerts Cantelli had conducted the    \u003cstrong\u003eSymphony No.1\u003c\/strong\u003e less than a week earlier just twice (with\n    the Orchestra della Scala on 23 and 24 September). In the following\n    December Cantelli gave his only performance with the NBC Symphony Orchestra\n    and after the concert he and his wife Iris went as usual back to Riverdale\n    (Toscanini’s home) for a meal. The Maestro had enjoyed the performance and\n    on the arrival of his young colleague came forward to congratulate him but\n    was dumbfounded when Cantelli announced that his interpretation ‘was one of\n    the best around’. The meal took place in silence. Cantelli’s outburst was\n    arrogant – after all, this was only his third performance – but to make\n    such a comment to the Maestro who had performed this same symphony in the\n    young conductor’s presence just a few weeks earlier showed a total lack of\n    sensitivity. Ignoring Cantelli’s shortcoming in this particular instance,\n    the irony is that his performances of this symphony \u003cem\u003ewere \u003c\/em\u003esome of\n    the best around and as a record collector the writer prefers not only his\n    commercial performance of 1953 to the two that Toscanini recorded in 1941\n    and 1951, but also the majority of the live performances by the Maestro\n    that he has heard, preferences being given to those given on 6 May 1940 and\n    29 September 1952. The Maestro inserted additional work for the timpanist\n    in the fourth movement which Cantelli followed (in toto for this\n    performances with the NBC Symphony Orchetra but only partially for his\n    commercial recording).The outstanding feature of that commercial recording\n    is that he does nothing which detracts from the music – as the critic (MM)\n    in \u003cem\u003e\u003cstrong\u003eThe Gramophone \u003c\/strong\u003e\u003c\/em\u003eput it (July 1954) there is\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003e\n        a studied avoidance of abnormality. The music is presented, both phrase\n        by phrase and in the build-up of the phrases into the shape of a\n        movement, in exactly the way one feels that Brahms wanted, and indeed\n        specified within the limitations that any score has of being specific.\n    \u003c\/em\u003e\n    \u003cbr\u003e\n    \u003cbr\u003e\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n    When Karajan recorded the symphony with the Philharmonia Orchestra (the\nsecond of his six commercial recordings) in 1952 it was once described as a    \u003cem\u003egemütlich \u003c\/em\u003eview of the work: it certainly does not possess the\n    drive and passion of a Toscanini performance (does any?) and the\n    introduction of \u003cem\u003erallentandi \u003c\/em\u003edeprives some of the symphony’s\n    strength. The author attended the 1954 Edinburgh Festival with the main\n    purpose of hearing the three concerts to be conducted by Cantelli and he\n    also heard Karajan conduct this symphony. Between the author’s seat in the\n    Usher Hall and the conductor was a young person who was continually shaking\n    his head during the Brahms (his presence had not been noticed earlier in\n    the programme) – whether from approval or displeasure was difficult to\n    ascertain – that individual turned out to be Guido Cantelli.\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCantelli’s Commercial Recording and Recorded Broadcasts\n    \u003cbr\u003e\n    \u003cbr\u003e\n    1 Un poco sostenuto – Allegro\n    \u003cbr\u003e\n    2 Andante sostento\n    \u003cbr\u003e\n    3 Un poco allegretto e grazioso\n    \u003cbr\u003e\n    4 Adagio – Più andante – Allegro non troppo ma con brio – Più allegro\n    \u003cbr\u003e\n    \u003cbr\u003e\n    \u003cbr\u003e\n\u003c\/p\u003e\n\u003ctable cellspacing=\"0\" cellpadding=\"7\" align=\"center\" border=\"1\"\u003e\n    \u003ccolgroup\u003e\n        \u003ccol width=\"189\"\u003e\n        \u003ccol width=\"106\"\u003e\n        \u003ccol width=\"34\"\u003e\n        \u003ccol width=\"34\"\u003e\n        \u003ccol width=\"34\"\u003e\n        \u003ccol width=\"46\"\u003e\n    \u003c\/colgroup\u003e\n    \u003ctbody\u003e\n        \u003ctr valign=\"TOP\"\u003e\n            \u003ctd\u003e\n            \u003c\/td\u003e\n            \u003ctd\u003e\n            \u003c\/td\u003e\n            \u003ctd align=\"center\"\u003e\n                \u003cstrong\u003e1\u003c\/strong\u003e\n            \u003c\/td\u003e\n            \u003ctd align=\"center\"\u003e\n                \u003cstrong\u003e2\u003c\/strong\u003e\n            \u003c\/td\u003e\n            \u003ctd align=\"center\"\u003e\n                \u003cstrong\u003e3\u003c\/strong\u003e\n            \u003c\/td\u003e\n            \u003ctd align=\"center\"\u003e\n                \u003cstrong\u003e4\u003c\/strong\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr valign=\"TOP\"\u003e\n            \u003ctd width=\"189\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"106\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\u003cstrong\u003e6 December 1952\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\u003cstrong\u003e12:17\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\u003cstrong\u003e7:56\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\u003cstrong\u003e4:27\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"46\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\u003cstrong\u003e16:09\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr valign=\"TOP\"\u003e\n            \u003ctd width=\"189\"\u003e\n                \u003cp\u003e\n                    Cantelli\/Philharmonia Orchestra\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"106\"\u003e\n                \u003cp\u003e\n                    21 \u0026amp; 22 May 1953\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    13:00\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    8:44\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    4:31\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"46\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    16:34\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr valign=\"TOP\"\u003e\n            \u003ctd width=\"189\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\u003cstrong\u003eCantelli\/Boston Symphony Orch\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"106\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e28 February 1954\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e12:42\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e7:44\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e4:15\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"46\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e15:40\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n        \u003ctr valign=\"TOP\"\u003e\n            \u003ctd width=\"189\"\u003e\n                \u003cp\u003e\n                    \u003cem\u003e\n                        \u003cstrong\u003e\n                            Cantelli\/Philharmonic-Symphony Orchestra of New\n                            York\n                        \u003c\/strong\u003e\n                    \u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"106\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e20 March 1955\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e12:48\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e7:58\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"34\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e4:31\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n            \u003ctd width=\"46\"\u003e\n                \u003cp align=\"JUSTIFY\"\u003e\n                    \u003cem\u003e\u003cstrong\u003e15:37\u003c\/strong\u003e\u003c\/em\u003e\n                \u003c\/p\u003e\n            \u003c\/td\u003e\n        \u003c\/tr\u003e\n    \u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cbr\u003eCantelli gave more performances of this work – 43 – than any other and had\n    he survived that horrific aircrash on his way to New York four more\n    performances would have been added. As can be seen from the table above,\n    movements 1, 2 and 4 tended to be quicker than his commercial recording.\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n    \u003cbr\u003e© Keith Bennett 2009\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\nKeith Bennett is the author of    \u003cstrong\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/strong\u003e(published 2009)\n    which is only available from GC Publishers. For further details either\n    write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk IP12\n    4UL, UK or e-mail\n    \u003ca href=\"mailto:gcpublishers@keithbennett.waitrose.com\"\u003e\n        gcpublishers@keithbennett.waitrose.com\n    \u003c\/a\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34496163853,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34496163917,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34496163981,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34496164045,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC237.jpg?v=1490089440"},{"product_id":"pasc237-cd","title":"CANTELLI NBC Concert No. 26: Vivaldi and Brahms (1952) - PASC237 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478217101,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478217165,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC237_33c10f19-7a25-49ec-8429-4ed4548c124a.jpg?v=1658244757"},{"product_id":"pasc245","title":"CANTELLI NBC Concert No. 39: Rossini and Tchaikovsky (1954) - PASC245","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture from La Cenerentola\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1954, New York City\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 49:04 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt is one of his great achievements at NBC578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is the first CD release of this extraordinary\n performance, the only other release I know being on an LP in a \nlimited-edition Toscanini Society set devoted to Cantelli. It is one of \nhis great achievements at NBC, stronger and sonically superior to his \nonly other account there—a 1950 performance issued in two CD sets \ndevoted to him: Music \u0026amp; Arts 904, four CDs, and Testament SBT4 1306,\n four CDs. Not only is this Pristine disc superior to its LP \npredecessor, it surpasses many of NBC’s efforts in Carnegie Hall. To \njudge from the sound, the microphone was placed at a slightly greater \nthan usual distance from the stage, providing a bit more “air” around \nthe orchestra. With the exceptionally wide dynamic range of this \nrelease, this is about as realistic as Carnegie Hall recordings could be\n at the time, a realism that makes some of NBC’s efforts there for \nToscanini seem comparatively cramped. And the performance is worthy of \nthose efforts. Cantelli leads an account utterly free of mannerisms of \nany kind. Tempos are never distended, rhythm and pulse are free of \ndistortion, and balances are gauged for maximum clarity. What it recalls\n (without duplicating) is the fine performance recorded for English \nDecca by Erich Kleiber (Testament SBT2 1352). In short, for those who \ncare about Cantelli or the Tchaikovsky Fourth, this is a release not to \nbe missed. Not to be ignored, the Rossini is a welcome bonus: equally \nwell recorded, deliciously crisp, and just a tad broader than Toscanini \nrendered it. Certainly this release stands as another major achievement \nof Pristine’s Andrew Rose. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMortimer H. Frank   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC245.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eCantelli's penultimate NBC Symphony Orchestra concert\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eA fine Tchaikovsky Fourth in superb sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003eThis penultimate concert of Cantelli's with the NBC Symphony Orchestra was rebroadcast some years later by the BBC and a high quality open reel tape of that broadcast has been my source here. As with many of their rebroadcasts, the original commentary has been lost here. However, the sound quality of the source I was thus able to work on was markedly superior to anything other that the original master tapes, and thus any contemporary broadcast recordings from the 1950s. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003eNaturally I was, from this starting point, able to make considerable inroads on sound quality – after all, the BBC was still dealing with 1950s originals, and it is rare that such material cannot be improved upon by modern remastering. What emerged here following XR remastering was a live Cantelli recording of unusually high sound quality, one which ranks among the very best I've heard. I leave discussion of the performance to Keith Bennett, who I must thank once more for providing the source - you can read his notes below.\u003c\/span\u003e\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\u003eROSSINI \u003c\/b\u003eOverture from La Cenerentola\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36 \u003c\/span\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003ePlayed by \u003cb\u003eNBC Symphony Orchestra \u003c\/b\u003e\u003cbr\u003e conductor \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003eLive NBC broadcast from Carnegie Hall, 14th February, 1954\u003cbr\u003e Transfer tape from the collection of Keith Bennett\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 49:04 \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\/PASC245.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC245.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\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eCantelli’s penultimate Concert, his Thirty-ninth,\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003ewith the NBC Symphony Orchestra - 14 February 1954\u003c\/span\u003e\u003cem\u003e\u003cbr\u003e \u003c\/em\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"LEFT\"\u003e\u003cstrong\u003eRossini: Overture La Cenerentola\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003eThis overture only came into Cantelli’s repertoire in 1953 and received his last performance in 1954. During that time he gave eight performances with five orchestras but this, his only performance with the NBC Symphony Orchestra, is the only one that has been preserved.After he had told Bicknell – the producer of several of his recordings for HMV – that he was to take over the helm at the Teatro alla Scala late in 1956 he indicated that he wished to record a number of short pieces with the Orchestra della Scala before then and Bicknell had already jotted down his initial thoughts for this recording in an undated hand-written note which included five Rossini overtures (La Cenerentola; Il signor Bruschino; La gazza ladra; L’italiana in Algeri and Semiramide) as well as Mascagni, some Verdi and Wolf-Ferrari. Unfortunately, the time could not be found for the recordings t take place in 1956 although there were tentative plans for recording in 1957. Sadly, it was not to be.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003eCantelli had just four of Tchaikovsky’s compositions in his repertoire, the \u003cstrong\u003eFantasy Overture Romeo and Juliet \u003c\/strong\u003eand – as was customary at the time of his concert-giving – the last three symphonies. At about the time that Cantelli appeared on the international stage Tchaikovsky was usually interpreted in an emotional manner typified by the likes of Koussevitsky, Mengelberg and Stokowski – all great conductors, but whose style would not find favour today. That manner of interpretation was anathema to Cantelli (as it is to many of today’s record collectors) and he was generally more straightforward in his performances of the four of Tchaikovsky’s works in his repertoire.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003eCantelli’s way was to purge them of any semblance of sentimentality by keeping a relatively firm grip on rhythm but this is not to say that \u003cem\u003erubato\u003c\/em\u003e was banished entirely, merely that it was less in evidence than can be found in many of the more overt emotional performances. But what is accepted as the norm today, ie a closer approximation of the indications in the score, was like a breath of fresh air in the early 1950s. Cantelli’s recordings as recordings are not, of course, the equal of the vastly improved sonics which are to be heard in the latest stereo spectacular but listen to the young conductor’s musicianship and it is remarkable to hear how they equate with many of the superior sounding recordings currently to be found in the present catalogue and readers would do well to remember that probably around 100 recordings of \u003cstrong\u003eSymphonies 4 \u003c\/strong\u003eand \u003cstrong\u003e5 \u003c\/strong\u003ehave been available and even more (130?) of \u003cstrong\u003e Symphony No.6\u003c\/strong\u003e, such is the popularity of these symphonies with the record-buying public.\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\" align=\"LEFT\"\u003e\u003cstrong\u003eTchaikovsky: Symphony in F minor, No.4, Op.36\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eCantelli’s Recorded Broadcasts \u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eAndante sostenuto\u003c\/em\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eAndantino in modo di canzone \u003c\/em\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eScherzo: Pizzicatto ostinato – Allegro \u003c\/em\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\u003cem\u003eAllegro con fuoco\u003c\/em\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003ctable style=\"width: 600px;\" cellspacing=\"0\" cellpadding=\"7\" align=\"center\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"194\"\u003e \u003ccol width=\"107\"\u003e \u003ccol width=\"34\"\u003e \u003ccol width=\"32\"\u003e \u003ccol width=\"30\"\u003e \u003ccol width=\"28\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e2\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e3\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" align=\"CENTER\"\u003e4\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"180\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"170\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e24 December 1949\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"41\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e16:44\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"39\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:10\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e5:42\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:09\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"180\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"170\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e14 February 1954\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"41\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e17:08\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"39\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:47\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e5:34\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:43\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"180\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/Philharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"170\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e30 January 1955\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"41\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e17:02\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"39\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:36\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e5:39\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"36\"\u003e\n\u003cp class=\"body\" align=\"LEFT\"\u003e\u003cem\u003e\u003cstrong\u003e8:47\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThree of the six performances which Cantelli gave in the USA were broadcast although only the two which he gave with the NBC Symphony Orchestra have been appeared on CD (as at March 2008). While Cantelli did not subvert the music’s pulse for emotional impact he was more prone to accelerate towards climaxes in the 1949 performance (eg at bar 188 before the fanfare returns) which could be put down to youthful exuberance. In the fourth movement there is one curious unauthorized pause at Letter C and he adopts a slower tempo at Letter E neither of which he repeated in the later broadcast performances. Rehearsals for the 1949 performance have appeared on CD.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt is difficult to appreciate after more than 50 years just how strong an impression Cantelli’s way with this symphony – and in particular this performance – made on its listeners. This is what the very experienced American critic, Bernard Haggin, had to say in an article published in \u003cem\u003e\u003cstrong\u003eThe Nation \u003c\/strong\u003e\u003c\/em\u003eon 20 March 1954\u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cem\u003eI was especially grateful for the repetition of Tchaikovsky’s No.4 – the first in my forty years experience that gave me an accurate realization in sound what Tchaikovsky set down in his score, and one that showed him to be a better composer of his music than Stokowski, Koussevitsky, Mengelberg and all the others who have insisted on recomposing it for him.\u003c\/em\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eImagine, a skilled critic acknowledging that he had heard a performance which actually revealed what was in the score for the first time and Haggin must have heard the symphony many, many times. In a nutshell, that was what Cantelli achieved so often when he conducted music which had become distorted over the years by the pygmies (using Giulini’s assessment of conductors when compared with the real creative geniuses) and that is not to say that Cantelli did not take some liberties with the score, but his touches were less manipulative than those conductors which Haggin quotes.\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe performance with the Philharmonic-Symphony Orchestra of New York on 30 January 1955 was the last time that Cantelli conducted this symphony and the somewhat warmer sonority of this orchestra will (if a CD ever appears) probably be considered more appropriate to Tchaikovsky’s score to either of the earlier performances with the NBC Symphony Orchestra.\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e© Keith Bennett 2009\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003eKeith Bennett is the author of \u003cstrong\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/strong\u003e(published 2009) which is only available from GC Publishers. 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