{"title":"New York Philharmonic Orchestra","description":null,"products":[{"product_id":"pasc323","title":"BERNSTEIN Liszt: A Faust Symphony (1960) - PASC323","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Faust Symphony\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in stereo in New York, 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 71:38 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eCharles Bressler, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eThe Choral Art Society, director William Johnson \u003cbr\u003eNew York Philharmonic Orchestra \u003cbr\u003eLeonard Bernstein, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a memorable example of Lennie in full cry with the New York Philharmonic578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e I took this CD off the “to review” pile immediately after writing about Eliahu Inbal’s recording of \u003cem\u003eLa Damnation de Faust\u003c\/em\u003e by Berlioz. That was a pure coincidence but it was a happy one because, as I learned from the booklet note accompanying Jascha Horenstein’s BBC Legends recording of this Liszt symphony, it was Berlioz who introduced Liszt to Goethe’s \u003cem\u003eFaust\u003c\/em\u003e in 1830. Subsequently Berlioz dedicated \u003cem\u003eLa Damnation\u003c\/em\u003e to Liszt and in due course Liszt reciprocated by dedicating his Faustian symphony to his French colleague. It was interesting to listen to the composers’ respective responses to Goethe in close proximity. \u003cbr\u003e   \u003cbr\u003e This is the earliest of three Bernstein recordings of \u003cem\u003eA Faust Symphony\u003c\/em\u003e. There is a CD recording on DG with Kenneth Riegel and the Boston Symphony Orchestra (447449 2) and a live performance with the same forces on a EuroArts DVD. I learned from Patrick Waller’s enthusiastic \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2007\/Jan07\/Liszt_Faust_2072078.htm\"\u003ereview\u003c\/a\u003e of the DVD that the DG audio recording was set down, under studio conditions, at about the same time as the live performance, that’s to say in the summer of 1976. I’ve not experienced either of those 1976 accounts. I use the word “experienced” advisedly because it’s clear from Patrick’s comments that the 1976 live traversal was something rather extraordinary and this present recording, from much earlier in Bernstein’s career, is far from ordinary either. \u003cbr\u003e   \u003cbr\u003e Patrick drew attention to the duration of Bernstein’s 1976 reading in comparison to the timings for some rival versions. It’s interesting to compare his 1976 timings with those in 1960, an exercise which suggests that this was another example of Bernstein becoming rather more expansive in later years \u003cbr\u003e   \u003cbr\u003e Movement 1960 1976 \u003cbr\u003e   \u003cbr\u003e I 27:38 30:16 \u003cbr\u003e II 20:58 23:19 \u003cbr\u003e III 22:58 25:58 \u003cbr\u003e   \u003cbr\u003e Total 71:38 79:33 \u003cbr\u003e   \u003cbr\u003e The 1960 performance is gripping and it held my attention throughout - and I say that as someone who is not a particular fan of Liszt’s orchestral music. At the very start Bernstein portrays Faust as a restless, questing spirit but the questing is not tentative; actually I was put in mind of Tchaikovsky’s later \u003cem\u003eManfred\u003c\/em\u003e Symphony. At 2:38 the \u003cem\u003eallegro impetuoso\u003c\/em\u003e is launched with tremendous attack and energy and though Bernstein is in no way insensitive to the more reflective pages in this movement the overall impression is of great drama and intensity in the music making. Often the performance is big and flamboyant, something which the up-front recording emphasises. The playing of the NYPO is superb, the attack razor sharp. The bugle-like tone of the principal trumpet disconcerted me briefly (22:18) but otherwise one can only admire the sheer panache of the New Yorkers. \u003cbr\u003e   \u003cbr\u003e There’s some fine woodwind solo playing at the start of the Gretchen movement and thereafter the string section is on top form. Bernstein phrases the music compellingly and injects passion at the appropriate places while being sensitive in the more gentle paragraphs. \u003cbr\u003e   \u003cbr\u003e As you might expect with this conductor, the Mephistopheles finale is electrifying. Listen to how Bernstein gets the strings to play close to the bridge in the opening. The performance is biting, fast and furious, Bernstein playing the music for all it’s worth - and then some. The NYPO offers incisive, virtuoso playing and the reading is gripping. When we reach the ‘Chorus mysticus’, which is separately tracked, the men of the Choral Art Society are very good; their singing is often stirring. I’m not very taken with the singing of Charles Bressler (1926-1996), I fear. His tone is narrow and rather pinched. I spotted an \u003ca href=\"http:\/\/www.bach-cantatas.com\/Bio\/Bressler-Charles.htm\"\u003eonline biography\u003c\/a\u003e from which it seems that he may have been particularly associated with pre-Romantic music. Frankly, his voice is too small for this assignment. Listen to John Mitchinson on Horenstein’s 1972 recording (BBCL 4118) to hear what a tenor who is equipped for Wagnerian roles can bring to the part. However, the disappointing contribution from Bressler is but a small caveat. Bernstein sweeps the symphony to a suitably transfiguring close. \u003cbr\u003e   \u003cbr\u003e There are other ways to present this music and Pristine reproduce Edward Greenfield’s 1964 review in Gramophone in which, while finding much to praise in Bernstein’s performance, he comes down in favour of the 1958 Beecham recording. However, Bernstein, when on top form - as he is here - had the knack of persuading the listener that, for the moment at least, this was \u003cem\u003ethe\u003c\/em\u003e way to hear the music he happened to be conducting. This is a tremendous performance which reminds us why this great musician took New York by storm in the years when he was at the helm of the New York Philharmonic. \u003cbr\u003e   \u003cbr\u003e The recording is up-front - though not aggressively so. Greenfield described it as “very reverberant but brilliant as well”. I think that’s a fair description. On this new transfer there’s good bass definition, the treble is bright but not excessively so, and plenty of detail registers. At the very end the organ, which may well have been dubbed in, is suitably sonorous. Andrew Rose has transferred the recording from original LPs in near-mint condition. He comments that the original sound “had a certain veiled boxiness to it, which has been entirely lifted by XR mastering”. He also says he has been able to remove a lot of hiss and rumble. On my equipment the sound packed quite a punch, especially when one considers that it’s now over fifty years old. \u003cbr\u003e   \u003cbr\u003e This is a memorable example of Lennie in full cry with the New York Philharmonic. \u003cbr\u003e   \u003cbr\u003e \u003cb\u003e\u003cem\u003eJohn Quinn \u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC323.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eLeonard Bernstein's superb 1960 stereo recording of the Faust Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n      \u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePristine's 32-bit XR remastering lifts a veil from this superb achievement\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe original discs from which this transfer were made were in\nnear-mint condition and the transfer process was straightforward. Although\nsound quality was acceptable for its day, it had a certain veiled boxiness to\nit which has been entirely lifted by XR remastering. I've also been able to\nremove a considerable amount of hiss and rumble present on the original\nrecording..\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eLISZT \u003c\/b\u003eA Faust Symphony, S.108\u003cbr\u003e\u003cbr\u003e \u003cb\u003eCharles Bressler, tenor\u003cbr\u003eThe Choral Art Society \u003cbr\u003eWilliam Johnson \u003c\/b\u003edirector\u003cbr\u003e\u003cb\u003e\u003cbr\u003eNew York Philharmonic Orchestra \u003cbr\u003eLeonard Bernstein \u003c\/b\u003econductor\u003cbr\u003e \u003cbr\u003eRecorded 7 November 1960 Manhattan Center, New York. \u003cbr\u003eTransfers from Columbia Masterworks M2S 699\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2011 - January 2012\u003cbr\u003eCover artwork based on a photograph of Leonard Bernstein and a still from F. W. Murnau's 1926 film \"Faust - Eine deustche Volkssage\"\u003cbr\u003e\u003cbr\u003eTotal duration: 71:38\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC323.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC323.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34133255693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34133255757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34133255821,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC323.jpg?v=1489575114"},{"product_id":"paco061","title":"STRAVINSKY conducts Stravinsky: Perséphone (1957) - PACO061","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003ePerséphone\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 14 January 1957 Columbia 30th Street Studios New York City\u003cbr\u003eTotal duration: 53:33\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eVera Zorina, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eNarrator\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eRichard Robinson, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eTenor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003edirector Dr. John Finley Williamson\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eConducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Igor Stravinsky\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a major addition to the heritage of Stravinsky performances578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003ePerséphone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the “balletic retelling of the regeneration mystery” (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew Grove\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), written in Paris in 1933–34, is a weak sister of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOedipus Rex\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and the Symphony of Psalms. “Narrator” (taken from the original LP) is a\n misnomer; the speaker is Perséphone herself, taking full part in the \naction. In the 22-CD set \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWorks of Igor Stravinsky\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n ($31.99 at Amazon—one of the great bargains), the part is labeled \n“Perséphone (the Goddess).” The tenor role is there called “Eumolpus \n(The Priest),” who oversees the drama, acting more as narrator than does\n the Goddess. Confused yet? The ancient myth, involving trips to Hades \nas well as the regeneration of spring on earth, crams too much into one \ntale, and André Gide’s libretto is of little help. The uneven and \nunconvincing story is responsible for the distinct lack of attention \nthis work has received. Which is too bad, because the score contains \nmuch of interest, if not quite the tension and power of its siblings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis monaural recording was made by \nColumbia Records on January 14, 1957, months before the company switched\n to stereo (it had made one stereo recording in New York, Leonard \nBernstein’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in December 1956). Andrew Rose’s transfer was made from a “near mint” \ncopy of the Columbia LP, ML-5196, and it is a notable improvement over \nthat vinyl disc. Not only has noise been eliminated and clarity \nimproved, but the tenor’s voice has gained color and an appropriate \nring. Stravinsky remade \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePerséphone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in stereo in Hollywood a decade later, but that performance is more \ngeneralized, with looser orchestral playing; nor is the overly sweet \nstereo sound appropriate for this work. So this is a major addition to \nthe heritage of Stravinsky performances. It is sung and spoken in the \noriginal French, but neither of the Stravinsky-led CDs has a libretto; \ngiven the complex, confusing nature of the tale, this makes the original\n LP a keeper for its six-page libretto, with French and English printed \nside-by-side. The Internet offers at least one libretto to download; I \nhave not seen it and so cannot recommend it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO061.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStravinsky's definitive recording of his melodrama Perséphone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBizarrely overlooked 1930s masterpiece in superb 1957 New York recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis transfer of Stravinsky's far too rarely-heard \u003cem\u003ePerséphone\u003c\/em\u003e\n was suggested to me by John Phillips, who also supplied the source \nrecording, a copy of the original Columbia Masterworks LP in near mint \ncondition. The original recording was exceptionally well made, though \none can only curse Columbia for their non-adoption of stereo at this \nstage in the 1950s! In carrying out the XR remastering of the recording I\n compared it sonically to a more recent recording of the work by Kent \nNagano and the London Symphony Orchestra (as referenced in the review \nabove).\u003c\/p\u003e\u003cp class=\"body\"\u003eThe two shared a very close average frequency response \ncurve, though the latter did highlight a slight thinness in the voices \nand suggest an adjustment which brings out greater richness in the voice\n of the tenor, Richard Robinson. This aside, and with a reduction in the\n tape hiss present on the original LP, this transfer is exceptionally \nfaithful to the original. Unlike the LP, however, there is here no \nrequirement to split the lengthy second section into two halves in order\n to meet the time limitations of the vinyl long playing record.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\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\u003cb\u003eSTRAVINSKY  \u003c\/b\u003ePerséphone\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 14 January 1957 Columbia 30th Street Studios New York City\u003cbr\u003eTransfer from Columbia Masterworks LP ML 5196\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2011\u003cbr\u003e Cover artwork based on a photograph of Igor Stravinsky\u003cbr\u003eTotal duration: 53:33\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eVera Zorina, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eNarrator\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eRichard Robinson, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eTenor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003edirector Dr. John Finley Williamson\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eConducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Igor Stravinsky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 2, Op. 47 \"Resurrection\"\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1957\/58 in stereo\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 79:40\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eEmilia Cundari \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eMaureen Forrester \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eWestminster Choir\u003cbr\u003eNew York Philharmonic Orchestra\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is an essential interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003ePristine has chosen a striking cover design for \n          this issue to reflect the cosmic nature of the \u003ci\u003eResurrection Symphony\u003c\/i\u003e: \n          artwork based on photos from the Hubble Space Telescope is used as the \n          backdrop to the image of Bruno Walter, baton poised. This is a recording \n          that was almost never completed: the sessions were delayed by a year \n          following Walter’s heart attack in March 1957, just after he had \n          recorded the fourth and fifth movements. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s way with this mighty work has been revered since it first \n          appeared; regarding its musical content, I have nothing much to contribute \n          beyond reiterating the many virtues already commented upon by previous \n          reviewers. This is a recording which belongs in every serious Mahlerian’s \n          collection; the question is whether a newcomer or an established collector \n          should contemplate forking out for this XR re-mastering by Andrew Rose. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          I have long been a fan of Pristine’s engineering and just recently \n          extolled the extraordinary clarity and depth which Mr Rose has breathed \n          into the Furtwängler La Scala \u003ci\u003eRing\u003c\/i\u003e. I am invariably impressed \n          by what he can do for venerable recordings and I can certainly hear \n          how he has reduced hiss, enhanced lower frequencies and revealed the \n          brass and chorus in greater glory. However, after repeated close comparison \n          with the CBS issue - originally very well recorded by Philips - I cannot \n          in all conscience claim that anyone who already owns it need rush to \n          replace it with this Pristine single disc, especially as the CBS double \n          CD set, offering the First Symphony too, is available at bargain prices. \n          Indeed, occasionally I even felt that that the CBS engineering retained \n          more bite and body than the Pristine version. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s vision for this work is one of quiet mastery and concentration; \n          there is nothing showy or interventionist about his conducting but under \n          his direction the music seems always to be doing just what it should. \n          He never lingers or indulges and those looking for the equally masterly \n          but very different, slower approaches of Tennstedt or Levine or Klemperer’s \n          more granitic assault, will be surprised. Walter’s version fits \n          neatly onto one disc but he never seems to be rushing. He storms heaven \n          with an orchestra - here correctly credited as the New York Philharmonic, \n          which was originally billed as the “Columbia Symphony Orchestra” \n          for the usual contractual reasons - which plays out of its skin. \u003cbr\u003e\n            \u003cbr\u003e\n          The key to the first movement lies in the instruction “maestoso”; \n          Walter maintains a steady, majestic and inexorable stride in this funeral \n          march, but also permits the pastoral interludes to unfold gently, uniting \n          the two moods with a firm sense of purpose. His control is absolute; \n          he knows how to meld the contrasting and conflicting moods into a coherent \n          narrative. When the menacing opening theme returns on the insistent \n          brass, the discords build and build to a thrilling climax at 14:54 before \n          the tantalising offer of consolation subsides into a wholly ambiguous \n          conclusion, reflecting Mahler’s ambivalence about his search for \n          God; Walter displays a wholly convincing understanding of the spiritual \n          dimension of this symphony. \u003cbr\u003e\n            \u003cbr\u003e\n          The Andante unfolds with lilt and charm; Walter’s subtle rubato \n          and the singing cello tone effortlessly convey the recollection of happy \n          memories in a past life. This restrained style perhaps carries over \n          too much into the “St Anthony preaching to the fishes” movement, \n          eliciting a criticism from some quarters which has some validity, that \n          he is a tad too blithe and relaxed to capture fully the grim and bitter \n          irony of the saint’s efforts; the music here should sound like \n          a metaphor for the circularity and pointlessness of life’s frustrations, \n          but yet again Walter secures a powerful close to the movement. \u003cbr\u003e\n            \u003cbr\u003e\n          “Urlicht” is tender and prayerful, as it should be. Maureen \n          Forrester’s smoky, rich-toned contralto, with its appealing, flickering \n          vibrato, is amongst the very best in this music; only Janet Baker in \n          her many versions and perhaps Jessye Norman for Maazel surpass her. \n          The monstrous finale is simply glorious: Emilia Cundari - a singer with \n          whom, I confess, I am entirely unfamiliar - is silvery and soaring, \n          while Forrester intones her text like the Cumaean Sibyl. The Westminster \n          College Choir is wonderfully expressive, first mysterious, then impassioned \n          and ecstatic. The otherworldly off-stage effects in the “Grosse \n          Appel” are highly effective and in the last ten minutes are amongst \n          the most serene and ethereal of any recording. Consistent with his strategy \n          in directing the whole symphony, Walter makes a slow-burn progress towards \n          an overwhelmingly powerful climax. \u003cbr\u003e\n            \u003cbr\u003e\n          Whether you buy it on Pristine or CBS, this is an essential interpretation. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          \u003cb\u003e\u003ci\u003eRalph Moore \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC385.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter, \"whose reading may be accepted as authentic\", conducts Mahler's 2nd\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eFabulously improved sound quality for \"this admirable issue\" in this 32-bit XR remastering\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eAs with other issues in this series of Bruno Walter's Mahler recordings, Pristine's 32-bit XR remastering system has succeeded in delving deep into the original recording to reveal new depths and new heights. Where previously the brass sounded perhaps a little veiled, now they can be heard in all their blazing glory. Meanwhile the choir opens out wonderfully, making previous issues sound perhaps a little strangled by comparison. Finally the full rumbling majesty of the lowest organ stops can be felt as well as heard to marvellous effect. The Gramophone's reviewer talks about an \"apocalyptic\" performance - now we can hear it in sound to match that artistic vision.\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 2, \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003eOp. 47 \"Resurrection\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmilia Cundari \u003c\/strong\u003esoprano\u003cstrong\u003e\u003cbr\u003e Maureen Forrester \u003c\/strong\u003econtralto\u003cstrong\u003e\u003cbr\u003e Westminster Choir\u003cbr\u003e John Finlay Williamson \u003c\/strong\u003echorus master\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e New York Philharmonic Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003eBruno Walter \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e 1st mvt. recorded 17 February 1958\u003cbr\u003e 2nd \u0026amp; 3rd mvts. recorded 21 February 1958\u003cbr\u003e 4th \u0026amp; 5th mvts. recorded 18 February 1957\u003cbr\u003e Carnegie Hall, New York\u003cbr\u003e First issued as Columbia M2L 256\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e XR remastering by Andrew Rose at Pristine Audio, April 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 79:40\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\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\/PASC385.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC385.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW 1959 UK LP issue\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIn good time for next year’s Mahler centenary comes a recording which is certain to make a strong appeal to all real Mahler enthusiasts, all the more since it is conducted by the composer’s distinguished disciple, Bruno Walter, whose reading may be accepted as authentic and who clearly loves this music. The Second Symphony, provided by Mahler with a weighty “programme” about life and death, the Last Trump and the resurrection of the dead, and the assurance of a life hereafter (“Sterben werd* ich, um zu leben”), is nevertheless a work which takes a good deal of stomaching. Faced with concepts of such magnitude, Mahler becomes merely grandiloquent: the enormous apparatus he demands—a huge orchestra, with large reserves of extra brass and percussion, organ, chorus and soloists—ends jby becoming unwieldy; the suspicion increases, as the symphony’s vast length unfolds, that it would have been the better for more matter and less art; and it cannot be denied that at the very point where nobility of thought is needed, Mahler (like Strauss in a similar context) falls dangerously near bathos. For all that, beneath all the pomp there lie some characteristically striking and beautiful ideas, and when Mahler, for contrast, reverts to the vein of childhood innocence and naivete—as in the Landler movement - (based on one of the Knaben Wunder horn songs)—he is at his most charming. Indeed, there may be more of heaven here, as seen through the eyes of a child, than in all the alarums and excursions later.\u003cbr\u003e\u003cbr\u003eThe Klemperer recording which has been the only one available until now was not particularly satisfactory, owing to the general sense of constriction, the restricted dynamic range and the string quality, which tended to sound starved just when it should have been most opulent. The present issue, except for a short patch in the finale where the engineers, not altogether surprisingly, seem to have feared for the safety of their equipment and have brought their fader down a notch or so, is remarkably well recorded, with particularly good balance and excellent quality. Adequately to contain Mahler’s vision of the heavens opening, with trumpets disposed to right and left, near and far, stereo at least is called for (and, in fact, the stereo version exists in America); but even in mono this does not overload. It is Walter’s interpretation, however, which is the real joy of this issue: not only is he more apocalyptic than Klemperer, but in the lyrical passages he brings far more grace to the music. The second subject of the opening movement, for example, has more Viennese charro, without, as in the previous recording, turning into mere goo at the recapitulation; the Landler flows more easily (what lovely singing tone from the ’cellos, incidentally!); and the Scherzo, which before seemed unduly protracted, is taken at a better speed and is more pointed rhythmically. Though one should not forget the wonderfully steady singing of Hilde Rössl-Majdan in the earlier set, the soloists and chorus here are very good, and complete the attraction of this admirable issue.\u003cbr\u003e\u003cbr\u003eL.S., The Gramophone, June 1959\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34255886349,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34255886413,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34255886541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385.jpg?v=1489743208"},{"product_id":"pasc385-cd","title":"WALTER conducts Mahler's Second Symphony (1957-8) - PASC385 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178765,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178829,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385_b2d2c1d6-8f14-4c45-8598-25ac96e8af1c.jpg?v=1658309344"},{"product_id":"pasc394","title":"RODGERS The Symphonic Richard Rodgers (1946-54) - PASC394","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRODGERS \u003c\/b\u003eMusic from Broadway, film and TV\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eColumbia Studio Recordings · 1946 – 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 62:45\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRichard Rodgers, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eNew York Philharmonic Orchestra\u003cbr\u003eAndre Kostelanetz, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhiladelphia Orchestra “Pops”\u003cbr\u003eFritz Reiner, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePittsburgh Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you do love the Rodgers musicals, no album could be more recommendable. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePaul Weston wrote that “in the writing of American\n popular songs, there are songwriters; and then there are composers.” \nRichard Rodgers was a composer. Even when divorced from their wonderful \nlyrics by Lorenz Hart and Oscar Hammerstein II, Rodgers’s songs retain \ntheir freshness and allure in purely orchestral garb. When he wrote \nsolely for orchestra, Rodgers’s touch was sure and very much his own. In\n all his music, there is an undertone of melancholy that he shares with \nthe great Viennese operetta composers and which expresses a depth of \nfeeling when played by a symphony orchestra. When Rodgers stepped before\n the New York Philharmonic at Carnegie Hall on November 15, 1954, he was\n at the peak of his popular success. The recording these artists made \nthe following month is a classic of American music. What kind of \nconductor was Rodgers? Basically, he was a theater conductor, and a very\n good one. The main idea of each selection always is in the forefront, \nand the rhythmic underpinning unfailingly is expertly projected. \nRodgers’s transitions are marvelous; no one has given us his music with a\n better sense of structure. He gets a rich and varied sound out of the \nNew York Philharmonic, which probably was at its peak during the early \nMitropoulos years—both collectively and in the playing of its first \nchairs. This orchestra has a history of playing well for composers it \nrespects. This album is a reminder of a time when the popularity of \nRodgers’s music crossed all boundaries in American culture.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“Slaughter on Tenth Avenue” was an Arthur Fiedler \nspecialty. His stereo recording of it is vibrant and elegant, but \nRodgers’s version reaches deeper. The dark Philharmonic strings bring \nout the pathos in the second subject, while concertmaster John \nCorigliano’s solo in its reprise is touching. The brass go to town in \nthe big band music. Producer Mark Obert-Thorn points out that one of the\n tunes in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVictory at Sea \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esuite became the pop number \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNo Other Love\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which I know from a torrid Perry Como recording. Rodgers’s light touch \nat the start of the “Guadalcanal March” shows his skill as a conductor. \nThe chorale toward the suite’s end receives very moving playing. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRichard Rodgers Waltzes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n strands of all four tunes mesh to make a wonderful introduction. \nRodgers’s decisive tempos illuminate these waltzes in much the same way \nas Franz Lehár’s conducting did for his waltz numbers. Trumpeter William\n Vacchiano is highly persuasive in the lyric to “Oh, What a Beautiful \nMorning.” The first of the waltzes, “Lover,” receives a very different \nbut highly entertaining rendition by Jack Sheldon on his “Hollywood \nHeroes” album. In “The March of the Siamese Children,” Rodgers gets \nplenty of oriental color out of the winds and brass. At the beginning, \nflutist John Wummer’s playing is highly evocative. Producer Obert-Thorn \nmakes sure we hear the full effect of the gong. Finally Rodgers’s \ntraversal of “The Carousel Waltz” is weighty and lush—Broadway romance \nat its best.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe additional items on the CD are highly worthwhile. In the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSouth Pacific \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esuite,\n Andre Kostelanetz draws peerless playing from the Philadelphia \nOrchestra strings. Flutist William Kincaid is splendid in “Bali Ha’i.” \nInexplicably, the suite does not include “I’m Going to Wash that Man \nRight Out of My Hair”; did arranger Robert Russell Bennett find it less \nmemorable? Kostelanetz presents an abbreviated and reorchestrated \nversion of “Slaughter on Tenth Avenue” which is still effective, showing\n off the Philadelphia strings. If you are surprised that Fritz Reiner \nrecorded “The Carousel Waltz,” recall that he also commissioned \nBennett’s arrangement of music from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePorgy and Bess\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Reiner’s waltz is tidier and more virtuosic than the composer’s, \nalthough with too much of a whiff of Vienna. Obert-Thorn’s remasterings \nare generally admirable. Rodgers’s recording sounds full and detailed, \nalthough slightly cramped—probably a feature of the master tape. The \nPhiladelphia session from three years earlier sounds better, with superb\n balance. Reiner’s 78 features somewhat limited audio, but still is \npleasant to listen to. You don’t have to love Broadway musicals to \nappreciate Rodgers’s recording. It includes some of the most universally\n appealing American music, affectionately conducted and played. If you \ndo love the Rodgers musicals, no album could be more recommendable. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC394.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eRichard Rodgers conducts the New York Philharmonic in some of his greatest music\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus recordings by Andre Kostelanetz and rare Fritz Reiner in new transfers by Mark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis release presents the works of one of America’s most popular and enduring music theater composers as performed by three of America’s première symphony orchestras. On November 15, 1954, Rodgers conducted the New York Philharmonic in a benefit concert of his own music. So enthusiastic was the reaction that Columbia Masterworks head Goddard Lieberson arranged for a studio recording to be made the following month.\u003cbr\u003e\u003cbr\u003eThe first selection, “Slaughter on Tenth Avenue,” had originally been choreographed by George Balanchine as the ballet finale of the 1936 Rodgers and Hart Broadway show, \u003cem\u003eOn Your Toes\u003c\/em\u003e. (In an interesting coincidence, the lead actress and dancer of the 1939 film version of the show was Vera Zorina, who was Lieberson’s wife at the time of this recording.) Rodgers leads an electrifying reading of the score, aided by such distinguished Philharmonic soloists as cellist Laszlo Varga and flutist John Wummer.\u003cbr\u003e\u003cbr\u003eFor the 1952 NBC television World War II documentary series \u003cem\u003eVictory at Sea\u003c\/em\u003e, Rodgers contributed twelve themes which were then expanded and orchestrated by longtime Broadway arranger Robert Russell Bennett to fill out 26 half-hour long episodes. The music proved to be quite popular in its own right: Bennett went on to conduct four LPs’ worth of its soundtrack for RCA; and one of the themes became a hit song (“No Other Love”) after it was given lyrics and interpolated into the 1953 Rodgers and Hammerstein musical, \u003cem\u003eMe and Juliet\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eThe waltz sequence that follows is drawn mainly from the Rodgers and Hart catalog, save for the final selection from the first Rodgers and Hammerstein musical, \u003cem\u003eOklahoma!, \u003c\/em\u003eand well-known orchestral excerpts from two more R\u0026amp;H musicals follow. \u003cbr\u003e\u003cbr\u003eThree years to the day before Rodgers recorded his LP, light music specialist Andre Kostelanetz led the Philadelphia Orchestra “Pops” (which, according to the original liner notes, “is nothing less than the peerless Philadelphia Orchestra in holiday mood”) in a recording session which included a suite from \u003cem\u003eSouth Pacific\u003c\/em\u003e and a shortened, much differently orchestrated version of “Slaughter on Tenth Avenue”. (Note the use of string pizzicati in the jazzy, upbeat section toward the end, rather than the brass used on the Philharmonic recording, a choice perhaps intended to play to the strengths of the famous Philadelphia strings).\u003cbr\u003e\u003cbr\u003eThe final selection presents legendary conductor Fritz Reiner in a rare foray (on disc, at least) into American repertoire. While his dynamic reading of the \u003cem\u003eCarousel Waltz\u003c\/em\u003e is more than a minute faster than the composer’s recording, he shows a perfect understanding of the Broadway style. Surprisingly, neither Columbia nor its successors ever reissued this recording in any long-playing format, and it is transferred here from a shellac 78 rpm disc.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eMark Obert-Thorn\u003cbr\u003e\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\u003cstrong\u003eSlaughter on Tenth Avenue\u003c\/strong\u003e (8:28)\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003eBallet finale from the 1936 musical \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cem\u003eOn Your Toes\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eVictory at Sea\u003c\/strong\u003e (12:35)\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003eSymphonic Scenario from the 1952 television documentary (Arranged by Robert Russell Bennett)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eRichard Rodgers Waltzes\u003c\/strong\u003e (8:51)\u003cbr\u003e“\u003cspan style=\"font-size: small;\"\u003eLover” from the 1932 film \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cem\u003eLove Me Tonight\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e; “The Most Beautiful Girl in the World” from the 1935 Broadway musical \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cem\u003eJumbo\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e; “Falling in Love with Love” from the 1938 Broadway musical \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cem\u003eThe Boys from Syracuse\u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e; and “Oh, What a Beautiful Morning” from the 1943 Broadway musical \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cem\u003eOklahoma!\u003c\/em\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe March of the Siamese Children\u003c\/strong\u003e (3:38)\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003eFrom the 1951 Broadway musical \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cem\u003eThe King and I \u003c\/em\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e(Arranged by Robert Russell Bennett)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Carousel Waltz\u003c\/strong\u003e (8:02)\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003eFrom the 1945 Broadway musical \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cem\u003eCarousel\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eRichard Rodgers (conductor)\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003eRecorded 27 December 1954 in the Columbia 30th Street Studios\u003cbr\u003eFirst issued on Columbia CL-810\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSouth Pacific\u003c\/strong\u003e (9:49)\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003eSymphonic Scenario for Concert Orchestra (Arranged by Robert Russell Bennett)\u003cbr\u003eDites-moi; Some Enchanted Evening; Bali Ha’i; A Wonderful Guy; Younger than Springtime; Happy Talk\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSlaughter on Tenth Avenue\u003c\/strong\u003e (4:26)\u003cbr\u003e \u003cstrong\u003e\u003cbr\u003ePhiladelphia Orchestra “Pops”\u003cbr\u003eAndre Kostelanetz (conductor)\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eRecorded 27 December 1951 in the Academy of Music, Philadelphia\u003cbr\u003eFirst issued on Columbia ML-4514\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eThe Carousel Waltz\u003c\/strong\u003e (6:53)\u003cbr\u003e \u003cstrong\u003e\u003cbr\u003ePittsburgh Symphony Orchestra\u003cbr\u003eFritz Reiner (conductor)\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003eRecorded 4 February 1946 in the Syria Mosque, Pittsburgh\u003cbr\u003eMatrix nos.: XCO 35791\/2 · First issued on Columbia 12322-D\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eProducer and audio restoration engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Richard Rodgers\u003cbr\u003e\u003cbr\u003eTotal duration: 62:45\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC394.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC394.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34276991949,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34276992013,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34276992141,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC394.jpg?v=1489765653"},{"product_id":"pasc394-cd","title":"RODGERS The Symphonic Richard Rodgers (1946-54) - PASC394 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478182733,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478182797,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC394_3b6347ed-da71-4206-87c6-3f2ac145db4f.jpg?v=1658309557"},{"product_id":"pasc222","title":"KARAJAN in New York Vol. 1: Beethoven Symphony No. 9 (1958) - PASC222","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded live in 1958, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 66:35\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeontyne Price, \u003c\/b\u003eSoprano\u003cb\u003e\u003cbr\u003eMaureen Forrester, \u003c\/b\u003eAlto\u003cb\u003e\u003cbr\u003eLeopold Simoneau, \u003c\/b\u003eTenor\u003cb\u003e\u003cbr\u003eNorman Scott, \u003c\/b\u003eBass\u003cb\u003e\u003cbr\u003eWestminster Choir\u003cbr\u003eNew York Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI was in the audience...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI should confess that I do not bring complete \nobjectivity to this performance for the simple reason that I was in the \naudience when it took place. Like many record collectors then, I had \nbeen struck by Karajan’s initial postwar recordings made for English \nColumbia with the Vienna Philharmonic, particularly that of the Ninth \nSymphony. What was immediately clear from hearing him live was how he \ntransformed the sonority of the New York Philharmonic and suggested in \nthe first movement (without quite duplicating) those cascading legatos \nthat typified that first of what ultimately proved to be his five studio\n accounts of the work. Granted this resurrection is not a performance \nfor the general collector. For one thing, some of the orchestral playing\n is a bit sloppy, no repeats are taken in the second movement, and the \nend of the finale is a frantic mess. The four soloists were, of course, \ndistinguished, though some may be surprised by Norman Scott’s opening \nrecitative rendered with its appoggiatura sung as a very short grace \nnote. Considering that the source of this release is an AM broadcast, \nthe sound is remarkably good. Although somewhat limited in dynamic \nrange, lacking uppermost frequencies, and suffering from occasionally \nskewed balances, the transfer remains eminently listenable with a very \nquiet background. Certainly for those interested in Karajan or in live \nperformances in general, this release is worth having. The only \nannouncement included is James Fassett’s closing statement. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\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\/PASC222.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eHerbert von Karajan conducts the New York Philharmonic!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirst of three volumes chronicling his only appearances with the orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003e\"\u003cstrong\u003eHerbert von Karajan\u003c\/strong\u003e (5 April 1908 – 16\n July 1989) was an Austrian orchestra and opera conductor. His obituary \nin The New York Times described him as \"probably the world's best-known \nconductor and one of the most powerful figures in classical music\". \nKarajan conducted the Berlin Philharmonic orchestra for 35 years. He is \nthe top-selling classical music recording artist of all time, having \nsold an estimated 200 million records during his career.\"\u003c\/i\u003e - \u003cem\u003eWikipedia\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eDespite his lengthy and varied career, Karajan was \npredominantly a Europe-based conductor and rarely conducted American \norchestras - in 169 concerts in the USA he conducted only three \norchestras: the Los Angeles Philharmonic once (1959), the Metropolitan \nOpera Orchestra fifteen times (1967-69), and the New York Philharmonic \neight times in November, 1958. His only other engagements with an \nAmerican orchestra were two concerts with the Cleveland Orchestra in \nSalzburg and Lucerne during August 1967.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe New York Philharmonic concerts were split into two \ngroups of four: The first concerts, of 13-16 November 1958, consisted of\n three works: Webern's \u003cem\u003eFive Pieces for String Orchestra\u003c\/em\u003e, Mozart's\u003cem\u003e \"Jupiter\" Symphony, No. 41\u003c\/em\u003e, and Richard Strauss's \u003cem\u003eEin Heldenleben\u003c\/em\u003e. A week later, between 20th and 23rd November, Karajan played an all-Beethoven programme, beginning with the \u003cem\u003eFirst Symphony\u003c\/em\u003e and ending with the \u003cem\u003eNinth\u003c\/em\u003e - in the case of the\u003cem\u003e Ninth \"Choral\" Symphony\u003c\/em\u003e these\n constituted four of ten performances the conductor gave of this work in\n 1958 alone - three with the Berlin and three with the Vienna \nPhilharmonics complete the total.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eTransfer notes\u003c\/p\u003e\u003cp class=\"body\"\u003eEach group of four New York Philharmonic concerts \nreceived a radio broadcast - in each case it was the third of the four \nconcerts, held on Saturday evenings, which was broadcast on the CBS \nradio network. At the present time the only surviving recordings of \nthese concerts appear to have been taken from AM broadcasts. Although \nthe quality, both of the recordings and the transmissions themselves is \nvery good, they are inevitably diminished by the limited bandwidth and \ndynamic range of this broadcast medium.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eAs a result there is no recorded signal above \nabout 6kHz, and at times some of the very loudest passages sound \nsomewhat compressed in volume. However, with such obvious interest in \nthese rare recordings, made by such top rank musicians, it was clear \nthat they could not be ignored, and we were delighted to be sent \nexcellent source copies by an American collector. Restoration has \nrevolved around minimising hiss, dealing with very occasional light \ndrop-out, the odd click and crackle, and one short instance of line \nwhistle. Thereafter the XR remastering process has been used in order to\n ty and extract the very best sound quality possible from this \ncompromised source material. Although the results would be considered \nfine for a recording of earlier years it's clearly not up to the \nstandards one normally expects of 1958 technology, hence the designation\n \"Special Interest\" for this release.\u003c\/span\u003e\u003cbr\u003e\u003cbr\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    BEETHOVEN Symphony No 9 ‘Choral' in D minor, Op. 125\u003cbr\u003e    Concert broadcast from Carnegie Hall, 22nd November, 1958\u003cbr\u003e\u003cbr\u003e    Played by New York Philharmonic Orchestra\u003cbr\u003e    conductor Herbert von Karajan\u003cbr\u003e\u003cbr\u003e    Leontyne Price, Soprano\u003cbr\u003e    Maureen Forrester, Alto\u003cbr\u003e    Leopold Simoneau, Tenor\u003cbr\u003e    Norman Scott, Bass\u003cbr\u003e    Westminster Choir (director: Warren Martin)\u003cbr\u003e\u003cbr\u003e    Recorded live at Carnegie Hall, New York City\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003eConcert broadcast from Carnegie Hall, 22nd November, 1958\u003cbr\u003eOriginally broadcast by CBS Radio, announcer Jim Fassett\u003cbr\u003eRecording designated \"Special Interest\" due to limited frequency range indicative of AM broadcast\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2010\u003cbr\u003eCover artwork based on a photograph of Herbert von Karajan\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 66:35\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\/PASC222.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC222.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\"Herbert von Karajan showed yesterday at Carnegie Hall that he could conduct with tension and virility. In dealing with the first and last symphonies of Beethoven he proved that he could combine an awareness of tradition with a strong feeling of personal involvement.\u003cbr\u003e\u003cbr\u003eThis was, for the most past, Beethoven brimming with vitality and passion. The New York Philharmonic gave Mr. von Karajan playing that had delicacy and muscularity, tenderness and power. It was a supple, responsive instrument. It cooperated with the conductor at every turn. It enabled him to prove that he was a Beethoven interpreter of character...\"\u003cbr\u003e\u003cb\u003eHoward Taubman, New York Times\u003c\/b\u003e, from Concert Review, 22nd November 1958\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\"To hear Karajan working with an American orchestra is a treat (he only ever conducted four in his entire life), and the New York Phil plays beautifully – only occasionally would a phrase have been more ‘rounded’ in Berlin. But the performance is very similar to the ’62 in conception, and the solo quartet (Leontyne Price, Maureen Forrester, Léopold Simoneau and Norman Scott) very classy; the choir is terrific (possibly better than Vienna’s Singverein to whom Karajan stayed extraordinarily loyal throughout his career). There's a terrific dynamism and vitality about the interpretation too.\u003cbr\u003e\u003cbr\u003eThe sound is fine, though for a 1958 recording could sound a load better – the recordings were made from an AM radio broadcast. But I found that I soon attuned to the slightly cramped sound (Pristine label it \"SI\" for Special Interest: maybe they’re being slightly cautious): only the opening of the finale is a bit of a mess aurally.\u003cbr\u003e\u003cbr\u003eI found the performance fascinating: Karajan performed the Choral Symphony ten times during 1958 (four with the NYPO, three each with the Vienna and Berlin Philharmonics): no wonder that when he came to record it (and there’s also a live recording from the opening of the Philharmonie) there’s a confidence and total security in his vision. If you’re a Karajan admirer this is well worth a listen: you can sample the first movement and decide whether the sound is good enough for you...\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJames Jolly, Gramophone blog,\u003c\/b\u003e 5th May 2010\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34440431181,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34440431245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34440431309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC222.jpg?v=1490023169"},{"product_id":"pasc222-cd","title":"KARAJAN in New York Vol. 1: Beethoven Symphony No. 9 (1958) - PASC222 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478199117,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478199181,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC222_c6a5181f-0825-4985-9374-01b57bafae7d.jpg?v=1658244277"},{"product_id":"pasc224","title":"KARAJAN in New York Vol. 2: Webern, Mozart, Beethoven (1958) - PASC224","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWEBERN \u003c\/b\u003eFive Pieces\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No 41 ‘Jupiter'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No 1\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded live in 1958, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 63:06 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e \u003cb\u003eNew York Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC224.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eHerbert von Karajan conducts the New York Philharmonic!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eSecond of three volumes chronicling his only appearances with the orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003e\"\u003cstrong\u003eHerbert von Karajan\u003c\/strong\u003e (5 April 1908 – 16\n July 1989) was an Austrian orchestra and opera conductor. His obituary \nin The New York Times described him as \"probably the world's best-known \nconductor and one of the most powerful figures in classical music\". \nKarajan conducted the Berlin Philharmonic orchestra for 35 years. He is \nthe top-selling classical music recording artist of all time, having \nsold an estimated 200 million records during his career.\" \u003c\/i\u003e- \u003cem\u003eWikipedia\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eDespite his lengthy and varied career, Karajan was \npredominantly a Europe-based conductor and rarely conducted American \norchestras - in 169 concerts in the USA he conducted only three \norchestras: the Los Angeles Philharmonic once (1959), the Metropolitan \nOpera Orchestra fifteen times (1967-69), and the New York Philharmonic \neight times in November, 1958. His only other engagements with an \nAmerican orchestra were two concerts with the Cleveland Orchestra in \nSalzburg and Lucerne during August 1967.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe New York Philharmonic concerts were split into two \ngroups of four: The first concerts, of 13-16 November 1958, consisted of\n three works: Webern's \u003cem\u003eFive Pieces for String Orchestra\u003c\/em\u003e, Mozart's\u003cem\u003e \"Jupiter\" Symphony, No. 41\u003c\/em\u003e, and Richard Strauss's \u003cem\u003eEin Heldenleben\u003c\/em\u003e. A week later, between 20th and 23rd November, Karajan played an all-Beethoven programme, beginning with the \u003cem\u003eFirst Symphony\u003c\/em\u003e and ending with the \u003cem\u003eNinth\u003c\/em\u003e - in the case of the\u003cem\u003e Ninth \"Choral\" Symphony\u003c\/em\u003e these\n constituted four of ten performances the conductor gave of this work in\n 1958 alone - three with the Berlin and three with the Vienna \nPhilharmonics complete the total.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eTransfer notes\u003c\/p\u003e\u003cp class=\"body\"\u003eEach group of four New York Philharmonic concerts \nreceived a radio broadcast - in each case it was the third of the four \nconcerts, held on Saturday evenings, which was broadcast on the CBS \nradio network. At the present time the only surviving recordings of \nthese concerts appear to have been taken from AM broadcasts. Although \nthe quality, both of the recordings and the transmissions themselves is \nvery good, they are inevitably diminished by the limited bandwidth and \ndynamic range of this broadcast medium.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs a result there is no recorded signal above about \n6kHz, and at times some of the very loudest passages sound somewhat \ncompressed in volume. However, with such obvious interest in these rare \nrecordings, made by such top rank musicians, it was clear that they \ncould not be ignored, and we were delighted to be sent excellent source \ncopies by an American collector. Restoration has revolved around \nminimising hiss, dealing with very occasional light drop-out, the odd \nclick and crackle, and one short instance of line whistle. Thereafter \nthe XR remastering process has been used in order to ty and extract the \nvery best sound quality possible from this compromised source material. \nAlthough the results would be considered fine for a recording of earlier\n years it's clearly not up to the standards one normally expects of 1958\n technology, hence the designation \"Special Interest\" for this release.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eP.S. \u003c\/strong\u003eFollowing the release of the\n first volume in this series I received the following in an e-mail from a\n regular contributor: \"Why are you releasing these as \"SI\", though?  The\n sound is not \u003cem\u003ethat\u003c\/em\u003e bad -- decent AM radio quality\". He's right - in many respects the sound quality \u003cem\u003eis\u003c\/em\u003e\n excellent, with very low levels of background noise, an excellent \nsignal, and a very clear recording. Certainly the recordings make for an\n enjoyable listening experience. But I do think that it would be easy to\n miss the small print pointing out that this is an AM radio broadcast \nand assume full-frequency 1958-quality sound if we \u003cem\u003edidn't\u003c\/em\u003e \nhighlight the fact prominently, something which might not suit some \npurchasers. The idea of SI releases is to encourage listening and \nreading prior to purchase!\u003cbr\u003e \u003c\/span\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\u003cb\u003eWEBERN \u003c\/b\u003eFive Pieces, Op. 5\u003cbr\u003eConcert broadcast from Carnegie Hall, 15th November, 1958\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No 41 ‘Jupiter' in C, K.551 \u003cbr\u003eConcert broadcast from Carnegie Hall, 15th November, 1958\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No 1 in c, Op. 21 \u003cbr\u003eConcert broadcast from Carnegie Hall, 22nd November, 1958\u003cbr\u003e\u003cbr\u003ePlayed by \u003cb\u003eNew York Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eConcert broadcasts from Carnegie Hall, 15th \u0026amp; 22nd November, 1958\u003cbr\u003e Originally broadcast by CBS Radio, announcer Jim Fassett\u003cbr\u003e Recording designated \"Special Interest\" due to limited frequency range indicative of AM broadcast\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, April 2010\u003cbr\u003e Cover artwork based on a photograph of Herbert von Karajan\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 63:06 \u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC224.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC224.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34444510221,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34444510285,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34444510349,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC224.jpg?v=1490026359"},{"product_id":"pasc224-cd","title":"KARAJAN in New York Vol. 2: Webern, Mozart, Beethoven (1958) - PASC224 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478200973,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478201037,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC224_b53cd057-fb72-421a-8de5-86ea14d63b5c.jpg?v=1658244384"},{"product_id":"pasc225","title":"KARAJAN in New York Vol. 3: R. Strauss - Ein Heldenleben (1958) - PASC225","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Ein Heldenleben\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded live in 1958, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 47:16 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eJohn Corigliano Sr., \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eNew York Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eHerbert von Karajan\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC225.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eHerbert von Karajan conducts the New York Philharmonic!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eConcluding volume of three chronicling his only appearances with the orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003e\"\u003cstrong\u003eHerbert von Karajan\u003c\/strong\u003e (5 April 1908 – 16\n July 1989) was an Austrian orchestra and opera conductor. His obituary \nin The New York Times described him as \"probably the world's best-known \nconductor and one of the most powerful figures in classical music\". \nKarajan conducted the Berlin Philharmonic orchestra for 35 years. He is \nthe top-selling classical music recording artist of all time, having \nsold an estimated 200 million records during his career.\"\u003c\/i\u003e - \u003cem\u003eWikipedia\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eDespite his lengthy and varied career, Karajan was \npredominantly a Europe-based conductor and rarely conducted American \norchestras - in 169 concerts in the USA he conducted only three \norchestras: the Los Angeles Philharmonic once (1959), the Metropolitan \nOpera Orchestra fifteen times (1967-69), and the New York Philharmonic \neight times in November, 1958. His only other engagements with an \nAmerican orchestra were two concerts with the Cleveland Orchestra in \nSalzburg and Lucerne during August 1967.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe New York Philharmonic concerts were split into two \ngroups of four: The first concerts, of 13-16 November 1958, consisted of\n three works: Webern's \u003cem\u003eFive Pieces for String Orchestra\u003c\/em\u003e, Mozart's\u003cem\u003e \"Jupiter\" Symphony, No. 41\u003c\/em\u003e, and Richard Strauss's \u003cem\u003eEin Heldenleben\u003c\/em\u003e. A week later, between 20th and 23rd November, Karajan played an all-Beethoven programme, beginning with the \u003cem\u003eFirst Symphony\u003c\/em\u003e and ending with the \u003cem\u003eNinth\u003c\/em\u003e - in the case of the\u003cem\u003e Ninth \"Choral\" Symphony\u003c\/em\u003e these\n constituted four of ten performances the conductor gave of this work in\n 1958 alone - three with the Berlin and three with the Vienna \nPhilharmonics complete the total.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eTransfer notes\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth groups of four New York Philharmonic concerts \nreceived a radio broadcast - in each case it was the third of the four \nconcerts, held on Saturday evenings, which was transmitted on the CBS \nradio network. At the present time the only surviving recordings of \nthese concerts appear to have been taken from AM broadcasts. Although \nthe quality, both of the recordings and the transmissions themselves is \nvery good, they are inevitably diminished by the limited bandwidth and \ndynamic range of this broadcast medium.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eAs a result there is no recorded signal above \nabout 6kHz, and at times some of the very loudest passages sound \nsomewhat compressed in volume. However, with such obvious interest in \nthese rare recordings, made by such top rank musicians, it was clear \nthat they could not be ignored, and we were delighted to be sent \nexcellent source copies by an American collector. Restoration has \nrevolved around minimising hiss, dealing with very occasional light \ndrop-out, the odd click and crackle, and one short instance of line \nwhistle. Thereafter the XR remastering process has been used in order to\n ty and extract the very best sound quality possible from this \ncompromised source material. Although the results would be considered \nfine for a recording of earlier years it's clearly not up to the \nstandards one normally expects of 1958 technology, hence the designation\n \"Special Interest\" for this release.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eP.S. On Sound Quality: \u003c\/strong\u003eFollowing \nthe release of the first volume in this series I received the following \nin an e-mail from a regular contributor: \"Why are you releasing these as\n \"SI\", though?  The sound is not \u003cem\u003ethat\u003c\/em\u003e bad -- decent AM radio quality\". He's right - in many respects the sound quality \u003cem\u003eis\u003c\/em\u003e\n excellent, with very low levels of background noise, an excellent \nsignal, and a very clear recording. Certainly the recordings make for an\n enjoyable listening experience. But I do think that it would be easy to\n miss the small print pointing out that this is an AM radio broadcast \nand assume full-frequency 1958-quality sound if we \u003cem\u003edidn't\u003c\/em\u003e \nhighlight the fact prominently, something which might not suit some \npurchasers. The idea of SI releases is to encourage listening and \nreading prior to purchase!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eWriting in \u003ca href=\"http:\/\/www.gramophone.co.uk\/blog\/classical-downloading\/karajan-in-new-york-a-trio-of-downloadable-concert-relays\" target=\"_blank\"\u003ehis blog at Gramophone\u003c\/a\u003e, editor-in-chief James Jolly noted (with reference to the first volume of these recordings: \"\u003cem\u003eThe\n sound is fine, though for a 1958 recording could sound a load better – \nthe recordings were made from an AM radio broadcast. But I found that I \nsoon attuned to the slightly cramped sound (Pristine label it \"SI\" for \nSpecial Interest: maybe they’re being slightly cautious): only the \nopening of the finale is a bit of a mess aurally.\u003c\/em\u003e\"\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e Ein Heldenleben, Op. 40\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eConcert broadcast from Carnegie Hall, 15th November, 1958\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e Played by \u003cb\u003eNew York Philharmonic Orchestra\u003cbr\u003eJohn Corigliano, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eHerbert von Karajan\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eConcert broadcasts from Carnegie Hall, 15th November, 1958\u003cbr\u003e Originally broadcast by CBS Radio, announcer Jim Fassett\u003cbr\u003e Recording designated \"Special Interest\" due to limited frequency range indicative of AM broadcast\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, May 2010\u003cbr\u003e Cover artwork based on a photograph of Herbert von Karajan\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 47:16 \u003cspan class=\"body\"\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\/PASC225.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC225.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34445418509,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34445418573,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34445418765,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC225_4e35f8a0-3e46-4012-aa08-40adecc99706.jpg?v=1490026972"},{"product_id":"pasc225-cd","title":"KARAJAN in New York Vol. 3: R. Strauss - Ein Heldenleben (1958) - PASC225 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478201229,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478201293,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC225_76953966-709c-4000-88cf-28931b0d4cc9.jpg?v=1658244401"},{"product_id":"pasc735","title":"WALTER Mahler: Symphony No. 1 (1954) - PASC735","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recording, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 48:48\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC735.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e“To eclipse all these versions of the Mahler First would be a substantial achievement [\u003ci\u003ethe review listed a number of alternatives in the heading – AR\u003c\/i\u003e]; but after hearing the first side of it I thought this new Philips disc was well in the running for bringing it off. For Bruno Walter has a special authority in this work, as in all of Mahler, and his handling of the first two movements is indeed wholly convincing. Every nuance of tempo and every slight gradation of dynamic is made with entirely natural effect, and an unwavering care for precise internal balance is fully rewarded in the result. But the third, and, in a less degree, the fourth movement do seem somewhat laboured; if this really is Mahler’s intention—and certainly it very well may be—it does have the effect of weighting still further the already heavy humour of the mock funeral march and its interludes, and of postponing for still longer the already long put-off moment of coming to the point in the finale.\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003eThese are opinions admittedly based on the insecure foundations of rather less than complete sympathy with Mahler’s music— in these two particular movements—in the first place. But the finale does suffer, too, from a more factual defect. Its effect depends, surely, largely on an overwhelming mass of sheer sound being built up—Mahler thought so, anyway, with his specification of extra \u003ci\u003ead lib\u003c\/i\u003e. wind parts— and instead Philips allow the sound to recede somewhat. The recording has up to that point been extremely good, and sounding to very good advantage from a faultlessly surfaced disc; it never indeed becomes bad in quality, but it does become half-hearted in volume and brilliance towards the end.\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003eFor brilliance in sound the Decca version, with Kubelik and the Vienna Philharmonic, is undoubtedly the version to have; but to enjoy it fully demands the ability to keep your temper while turning [\u003ci\u003erecord sides\u003c\/i\u003e] in the middle of a movement...”  \u003cb\u003eMalcolm MacDonald\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, July 1955\u003c\/p\u003e\u003cp style=\"\"\u003e\u003cbr\u003eBruno Walter’s stereo 1961 recording of Mahler’s Symphony No. 1, made in Hollywood with the Columbia Symphony Orchestra, has long been regarded as one of the greatest recorded interpretations of this work. However, it was suggested to me a short time ago that perhaps his 1954 recording with the Philharmonic-Symphony Orchestra of New York was, if anything, an even better performance.\u003c\/p\u003e\u003cp\u003eIt was taped at Carnegie Hall in New York in a single day in late January 1954, also by Columbia, for vinyl LP release. Although at this stage stereo was just around the corner, here we have a traditional mono recording, the central sound image aided in this Pristine XR remaster by a subtle Ambient Stereo treatment that brings a sense of acoustic space around with orchestra, without attempting to create a fake stereo image. \u003c\/p\u003e\u003cp\u003eIn his Gramophone review of a 1955 European Philips pressing, Malcolm MacDonald complained of a drop-off of sound quality on side two – in the third and final movements – something that is certainly not the case in this new remaster, which concludes with a full, brilliant and exceptionally powerful ending.\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eAndrew Rose \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eWALTER \u003c\/b\u003eMahler: Symphony No. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eMAHLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003eSymphony No. 1 in D major\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Langsam. schleppend  (12:34)\u003cbr\u003e2. 2nd mvt. - Kräftig, bewegt, doch nicht zu schnell  (6:28)\u003cbr\u003e3. 3rd mvt. - Feierlich und gemessen, ohne zu schleppen  (11:20)\u003cbr\u003e4. 4th mvt. - Stürmisch bewegt  (18:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Bruno Walter\u003cbr\u003eRecorded at Carnegie Hall, New York, 25 January 1954\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  48:48\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC735.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC735.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":50896594796878,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205507465550,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205507498318,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC735.jpg?v=1738837318"},{"product_id":"pasc735-cd","title":"WALTER Mahler: Symphony No. 1 (1954) - 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And, thanks to an intermission plea by David M. Keiser, president of the Philharmonic Society, there was no disturbing parade of early departures during the performance, a feature of previous Friday afternoon concerts.\u003cbr\u003eMr. Monteux became more animated as the concert progressed. “Le Tombeau de Couperin” was transparent and dry, the “Rhapsodie Espagnole” elegant but restrained until the last section. All this was not out of keeping with the character of each work. It served to differentiate one from the other—not an unimportant consideration in a lopsided program like this one.\u003cbr\u003e\u003cbr\u003eBut it was the two suites from “Daphnis et Chloe” that provided the conductor’s real triumph. The many strands of Ravel’s orchestral writing were somehow audible without losing the shimmering textures of the instrumental sound. Mr. Monteux achieved elasticity and excitement within his steady, knowing beat and the orchestra members played their hearts out for him.” \u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e–  \u003cb\u003eEric Salzman\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 7 March, 1959\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003eOne imagines that, had Pierre Monteux picked up a copy of the New York Times on Saturday 7 March, he might have felt his day was getting off to a good start. After all, he would be conducting the same repertoire that evening, not only to a packed Carnegie Hall, but also to a live radio audience across the nation’s airwaves, and then again the following afternoon, to the local audience alone.\u003cbr\u003e\u003cbr\u003eAlas the 66-year-old Joseph Szigeti might not have been quite so pleased with his notice – he played both the Berlioz \u003ci\u003eRêverie et caprice\u003c\/i\u003e (“neglected, not without reason”), which was receiving its first performances by the New York Philharmonic that week and J. S. Bach’s D minor Violin Concerto (which has survived in less than optimal sound quality and proved too long to preserve for this release) – and was less well received by the newspaper’s reviewer: “Unfortunately, the years have taken their toll on Mr. Szigeti’s technical control and he was not able to project either work very convincingly”. A little harsh, perhaps, but as by a good number of years this counts as our most “recent” Szigeti recording, it’s interesting to hear he could still pull out some, if not all, of the stops, despite less than thrilling material.\u003cbr\u003e\u003cbr\u003eBut of course it’s the Ravel that we’re really interested in here. He and Monteux were born a month apart in 1875 in opposite ends of France, and we bring them together here to celebrate both 150th anniversaries in this superb performance from 1959, well-captured by the CBS engineers and sounding truly effervescent in this Ambient Stereo XR remaster, now devoid of many thousands of coughs from the New York audience. A truly special night that can now be enjoyed all over again!\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMONTEUX \u003c\/b\u003econducts Ravel\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. RADIO Introduction   (0:20)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eLe tombeau de Couperin\u003c\/span\u003e\u003cbr\u003e2. 1. Prélude. Vif   (3:15)\u003cbr\u003e3. 2. Forlane. Allegretto  (4:52)\u003cbr\u003e4. 3. Menuet. Allegro moderato  (4:44)\u003cbr\u003e5. 4. Rigaudon. Assez vif  (4:02)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eRapsodie espagnole\u003c\/span\u003e\u003cbr\u003e6. 1. Prélude à  la nuit. Très modéré  (3:58)\u003cbr\u003e7. 2. Malagueña. Assez vif  (2:17)\u003cbr\u003e8. 3. Habanera. Assez lent et d'un rythme las  (2:34)\u003cbr\u003e9. 4. Feria. Assez animé  (7:18)\u003cbr\u003e\u003cbr\u003e10. \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eRêverie et caprice\u003c\/span\u003e  (10:40)\u003cbr\u003e\u003cb\u003eJoseph Szigeti\u003c\/b\u003e, violin\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No. 1\u003c\/span\u003e\u003cbr\u003e11. 1. Nocturne  (5:30)\u003cbr\u003e12. 2. Interlude  (2:40)\u003cbr\u003e13. 3. Danse guerrière  (4:15)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No. 2\u003c\/span\u003e\u003cbr\u003e14. 1. Lever du jour. Lent  (4:58)\u003cbr\u003e15. 2. Pantomime  (6:37)\u003cbr\u003e16. 3. Danse génerale  (5:02)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eNew York Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003cb\u003ePierre Monteux\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on photographs of Pierre Monteux and Maurice Ravel\u003cbr\u003eLive broadcast by CBS Radio from Carnegie Hall, New York City, Saturday 7 March 1959\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  73:00\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC738.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC738.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":51147394482510,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205506875726,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205506908494,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC738.jpg?v=1741316407"},{"product_id":"pasc738-cd","title":"MONTEUX conducts Ravel (1959) - PASC738 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC738.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":51147351851342,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205506842958,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC738_567b0189-f4e3-4792-b5e0-882a8d2d651d.jpg?v=1740589009"},{"product_id":"pasc748","title":"MITROPOULOS conducts Shostakovich \u0026 Prokofiev (1955\/56) - PASC748","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 10\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive \u0026amp; studio recordings, 1955 \u0026amp; 1956\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 69:57\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIsaac Stern\u003c\/b\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eNew York Philharmonic\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC748.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cspan\u003eDimitri Mitropoulos's performance of Shostakovich's Symphony No. 10 with the New York Philharmonic in Athens on October 1, 1955, was both a musical and cultural landmark. Conducted in Athens's Orpheus Hall as part of the orchestra’s historic post-war European tour, the concert resonated deeply, not only due to the stature of the music but also because it marked a profoundly emotional homecoming for Mitropoulos himself, who served as musical director of the New York Philharmonic from 1949 to 1958.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eShostakovich's Tenth Symphony, completed shortly after Stalin's death in 1953, is renowned for its stark emotional intensity and complexity. Mitropoulos, famed for conducting entirely from memory and noted for his intensely physical approach, brought to this performance an unmistakable depth of expression. His interpretation reflected the tension, anguish, and tentative optimism embodied within Shostakovich's music. This symphony, with its brooding opening movement, vehement scherzo, reflective third movement, and ultimately triumphant finale, demanded a conductor capable of navigating profound emotional contrasts, a task perfectly suited to Mitropoulos’s temperament.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Greek conductor’s association with Shostakovich's Tenth was particularly apt; Mitropoulos’s own artistic personality mirrored the symphony's inner turmoil and eventual resolution. The Athens audience, aware of Mitropoulos's international acclaim and proud of his Greek heritage, responded enthusiastically to his emotionally charged leadership. The performance served as a symbolic moment of reconciliation and cultural rebuilding, occurring just a decade after the ravages of World War II and civil strife in Greece.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eCritical reception emphasized Mitropoulos’s remarkable ability to unify the orchestra into a cohesive, potent ensemble, highlighting the New York Philharmonic's capacity for nuanced expression. The emotional power of the symphony was intensified by the context: Mitropoulos’s return to his homeland was widely seen as a poignant reunion, infusing the performance with additional layers of meaning beyond the notes themselves.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003ePreserved in contemporary recordings, this interpretation remains a significant historical document, reflecting both the cultural importance of the event and Mitropoulos’s profound identification with Shostakovich's music. Today, this particular 1955 Athens concert performance is recognized not merely as a noteworthy musical event but as a compelling intersection of personal narrative, historical circumstance, and artistic excellence, capturing a conductor and orchestra at a moment of rare emotional and musical convergence.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eIn 1956, during his tenure as musical director, Mitropoulos recorded Prokofiev's Violin Concerto No. 1 with the New York Philharmonic, featuring the distinguished violinist Isaac Stern. Stern's performance, guided sensitively by Mitropoulos, is noted for its lyrical intensity, precise articulation, and richly expressive phrasing. The conductor's understanding of Prokofiev’s uniquely evocative orchestration and melodic textures complemented Stern’s virtuosity, creating a recording that remains highly regarded for its emotional depth and technical brilliance.\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMITROPOULOS \u003c\/b\u003econducts Shostakovich \u0026amp; Prokofiev\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 1 in D major, Op. 19\u003c\/span\u003e\u003cbr\u003e1. 1st mvt - Andantino  (8:59)\u003cbr\u003e2. 2nd mvt - Scherzo. Vivacissimo  (3:34)\u003cbr\u003e3. 3rd mvt - Moderato. Allegro moderato  (7:42)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIsaac Stern\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, violin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 February 1956, Columbia 30th Street Studios, New York City\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 10 in E minor, Op. 93\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato  (20:46)\u003cbr\u003e5. 2nd mvt. - Allegro  (3:35)\u003cbr\u003e6. 3rd mvt. - Allegro - Largo - Più mosso  (11:39)\u003cbr\u003e7. 4th mvt. - Andante - Allegro - L'istesso tempo  (13:42)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live on 2 October 1955, Orpheus Hall, Athens, Greece\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eNew York Philharmonic\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Mitropoulos\u003cbr\u003e\u003cbr\u003eTotal duration:  69:57\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\/PASC748.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC748.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":53095065190734,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205504909646,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205504942414,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC748_2570f501-3004-4a3f-a42c-bf0e5abe01ce.jpg?v=1763114006"},{"product_id":"pasc748-cd","title":"MITROPOULOS conducts Shostakovich \u0026 Prokofiev (1955\/56) - 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Though very different in style and emotional climate, Prokofiev’s \u003cem data-start=\"709\" data-end=\"743\"\u003eViolin Concerto No. 2 in G minor\u003c\/em\u003e and Shostakovich’s \u003cem data-start=\"763\" data-end=\"790\"\u003eSymphony No. 5 in D minor\u003c\/em\u003e share a sense of tension between private feeling and public utterance — a conflict Mitropoulos was uniquely able to reveal.\u003c\/p\u003e\u003cp data-start=\"918\" data-end=\"1660\"\u003eBy 1952, Mitropoulos was in his fourth season as the orchestra’s music director, a post he had assumed in 1949 following a distinguished decade with the Minneapolis Symphony. His conducting combined fierce intellectual clarity with an almost mystical intensity of expression. A devout man with little concern for worldly display, he threw himself wholly into the music, conducting without baton and often without a score. Critics sometimes found his approach overwhelming; musicians, while challenged, often spoke of the profound sense of involvement he drew from them. Columbia Records, meanwhile, was keen to document his work in both the concert hall and the studio, making the present recordings valuable documents of his New York tenure.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ch4 data-start=\"1662\" data-end=\"1720\"\u003eProkofiev: Violin Concerto No. 2 in G minor, Op. 63\u003c\/h4\u003e\u003cp data-start=\"1721\" data-end=\"1775\"\u003e\u003cem data-start=\"1721\" data-end=\"1775\"\u003eZino Francescatti, violin — recorded 27 October 1952\u003c\/em\u003e\u003c\/p\u003e\u003cp data-start=\"1777\" data-end=\"2296\"\u003eProkofiev’s \u003cem data-start=\"1789\" data-end=\"1813\"\u003eSecond Violin Concerto\u003c\/em\u003e dates from 1935, a period of stylistic consolidation just before his final return to Soviet Russia. In contrast to the glittering modernism of his \u003cem data-start=\"1961\" data-end=\"1977\"\u003eFirst Concerto\u003c\/em\u003e and the ironic brilliance of the \u003cem data-start=\"2011\" data-end=\"2031\"\u003eClassical Symphony\u003c\/em\u003e, the \u003cem data-start=\"2037\" data-end=\"2045\"\u003eSecond\u003c\/em\u003e reveals a new lyricism and warmth — a neoclassical clarity tinged with wistfulness. Its themes are simple but haunting, its orchestration transparent, its harmonies tinged with a bittersweet ambiguity that would colour much of Prokofiev’s later work.\u003c\/p\u003e\u003cp data-start=\"2298\" data-end=\"2841\"\u003eZino Francescatti was one of the most refined violinists of his generation, admired for the silken beauty of his tone and the effortless grace of his phrasing. His collaboration here with Mitropoulos is a meeting of two strong musical personalities perfectly attuned to the work’s contrasting moods. The opening movement’s restless oscillation between melancholy and animation is shaped with a keen sense of line and structure. Francescatti’s playing combines elegance with steel, the cadenza integrated seamlessly into the musical argument.\u003c\/p\u003e\u003cp data-start=\"2843\" data-end=\"3485\"\u003eIn the central Andante assai, one of Prokofiev’s most memorable slow movements, the soloist’s lyrical eloquence finds an ideal partner in Mitropoulos’s sensitive support — the orchestral textures finely balanced, the phrases breathing with unforced naturalness. The finale, with its rhythmic drive and hints of Spanish colour (the concerto was composed for the Franco-Belgian violinist Robert Soetens, and premiered in Madrid), is propelled with irresistible energy. Francescatti’s virtuosity remains poised and crystalline even in the most fiery passages, while Mitropoulos ensures that the orchestral motor never loses its taut precision.\u003c\/p\u003e\u003cp data-start=\"3487\" data-end=\"3740\"\u003eThe result is a reading that stands among the most distinguished of its era — less flamboyant than Heifetz’s, less impetuous than Oistrakh’s, but possessed of a Gallic refinement and musical intelligence that reveal new facets of Prokofiev’s artistry.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ch4 data-start=\"3742\" data-end=\"3796\"\u003eShostakovich: Symphony No. 5 in D minor, Op. 47\u003c\/h4\u003e\u003cp data-start=\"3797\" data-end=\"3823\"\u003e\u003cem data-start=\"3797\" data-end=\"3823\"\u003eRecorded 1 December 1952\u003c\/em\u003e\u003c\/p\u003e\u003cp data-start=\"3825\" data-end=\"4460\"\u003eIf Prokofiev’s concerto suggests an artist reconciling personal expression with public expectation, Shostakovich’s \u003cem data-start=\"3940\" data-end=\"3956\"\u003eFifth Symphony\u003c\/em\u003e represents that struggle on an epic scale. Written in 1937 in the shadow of official condemnation for his opera \u003cem data-start=\"4069\" data-end=\"4094\"\u003eLady Macbeth of Mtsensk\u003c\/em\u003e, the symphony was presented as “a Soviet artist’s creative reply to just criticism”. Yet its apparent compliance with socialist-realist ideals — the triumphal finale, the clear tonal framework — conceals a far deeper and more tragic narrative. Beneath the outward heroism lies a sense of anguish and ironic defiance that has continued to provoke debate for decades.\u003c\/p\u003e\u003cp data-start=\"4462\" data-end=\"4857\"\u003eMitropoulos was one of the first Western conductors to grasp the symphony’s dual nature. His performances, whether in New York, Minneapolis or abroad, were renowned for their visceral intensity and moral conviction. The 1952 recording presented here — made just four years after his famous Carnegie Hall account that electrified American audiences — captures that fervour in concentrated form.\u003c\/p\u003e\u003cp data-start=\"4859\" data-end=\"5303\"\u003eFrom the opening’s jagged ostinato and bleakly rising string lines, the music unfolds with grim inevitability. Mitropoulos emphasises the symphony’s architectural cohesion, binding its four movements into a single arc of tension and release. The scherzo’s sardonic waltz rhythms bite sharply, yet are never caricatured; the Largo that follows is profoundly moving, the conductor drawing an almost vocal quality from the strings and woodwinds.\u003c\/p\u003e\u003cp data-start=\"5305\" data-end=\"5728\"\u003eThe finale’s march to “victory” is delivered with blazing intensity, but Mitropoulos resists empty bombast. His tempo broadens at the close, revealing not triumph but exhaustion — a shattering vision of forced jubilation that anticipates later readings by Bernstein and Mravinsky. The Philharmonic-Symphony Orchestra plays magnificently throughout, its brass section resplendent, its strings united in passionate unanimity.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ch4 data-start=\"5730\" data-end=\"5743\"\u003eLegacy\u003c\/h4\u003e\u003cp data-start=\"5745\" data-end=\"6312\"\u003eEarlier this year Pristine Classical marked the fiftieth anniversary of Shostakovich’s death with Mitropoulos’s live 1955 Athens performance of the \u003cem data-start=\"5893\" data-end=\"5909\"\u003eTenth Symphony\u003c\/em\u003e, and coupled it with his 1956 studio recording of Prokofiev’s \u003cem data-start=\"5972\" data-end=\"5995\"\u003eFirst Violin Concerto\u003c\/em\u003e featuring Isaac Stern (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc748\" target=\"_blank\"\u003ePASC 748\u003c\/a\u003e). Together with the present release, these recordings trace a compelling thread through the conductor’s repertoire: his empathy with twentieth-century Russian music, his refusal to simplify its emotional complexity, and his ability to communicate its drama with unflinching honesty.\u003c\/p\u003e\u003cp data-start=\"6314\" data-end=\"6491\"\u003eMitropoulos’s 1952 studio sessions remind us why he was revered by musicians and audiences alike — a conductor of burning conviction, fearless intellect, and boundless humanity.\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\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMITROPOULOS \u003c\/b\u003econducts Prokofiev \u0026amp; Shostakovich\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto No. 2 in G minor, Op. 63\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro moderato  (10:17)\u003cbr\u003e2. 2nd mvt. - Andante assai  (8:48)\u003cbr\u003e3. 3rd mvt. - Allegro ben marcato  (6:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 October, 1952\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eZino Francescatti\u003c\/b\u003e, violin\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSHOSTAKOVICH \u003c\/b\u003eSymphony No. 5 in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Allegro con fuoco  (16:52)\u003cbr\u003e5. 2nd mvt. - Grave  (5:13)\u003cbr\u003e6. 3rd mvt. - Intermezzo  (14:32)\u003cbr\u003e7. 4th mvt. - Finale (Allegro molto)  (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 December, 1952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eDmitri Mitropoulos\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Mitropoulos\u003cbr\u003eRecorded at Columbia 30th Street Studios, New York City\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  70:53\u003c\/b\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\/PASC754.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC754.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":54977131348302,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205503795534,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205503828302,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC754_6ccc547a-e278-4d83-8520-9bc132c5f6ed.jpg?v=1762266935"},{"product_id":"pasc754-cd","title":"MITROPOULOS conducts Prokofiev \u0026 Shostakovich (1952) - 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Completed in 1900, it stands apart from the vast philosophical landscapes of the Second and Third Symphonies as a work of formal concentration, transparency and deceptive simplicity. Beneath its surface grace lies one of Mahler’s most subtle and elusive creations. Walter, who knew Mahler personally and worked closely with him in Vienna, remained one of the composer’s most persuasive interpreters, and few conductors brought greater authority to this music.\u003cbr\u003e\u003cbr\u003e\n\nThis live performance was given at Carnegie Hall on the afternoon of Sunday 4 January 1953, with the Philharmonic-Symphony Orchestra of New York, at a time when Walter’s late Mahler interpretations had reached full maturity. The programme opened with Mozart’s Symphony No. 35 in D major, the “Haffner”, before Mahler’s Fourth occupied the second half, with the Austrian soprano Irmgard Seefried as soloist in the finale.\u003cbr\u003e\u003cbr\u003e\n\nMahler came to regard the Fourth Symphony as one of his most finished creations. After the scale and complexity of the Third Symphony, he turned toward a world of greater concentration and clarity. As he told Natalie Bauer-Lechner, he was now satisfied to “pour my music into the customary molds somehow”, seeking containment rather than expansion. Yet this is no retreat. The Fourth distils Mahler’s imagination into a form lighter and more translucent, but no less profound.\u003cbr\u003e\u003cbr\u003e\n\nBruno Walter described the work beautifully in his book on Mahler: “In the fairy tale of the Fourth Symphony everything is floating and unburdened.” That sense of weightless motion is heard immediately in the sleigh bells and luminous opening movement, whose childlike freshness conceals remarkable structural subtlety. Walter avoids sentimentality or exaggeration; instead, the music unfolds with an inevitability that makes its simplicity feel all the more searching.\u003cbr\u003e\u003cbr\u003e\n\nThe second movement introduces “Freund Hein”, Death as a fiddler, represented by the solo violin tuned a tone higher than usual. Mahler described the music as a sudden shadow crossing the eternal blue of heaven: “It is only a sudden grisly feeling… the heavens… shine on, eternally blue.” Walter understands precisely this balance between innocence and unease. The grotesquerie is present, but never overstated; it passes like a brief chill across sunlight.\u003cbr\u003e\u003cbr\u003e\n\nThe slow movement remains one of Mahler’s most sublime inspirations, a set of variations of extraordinary serenity and inward radiance. Walter’s control of long line and orchestral breathing is especially remarkable here. The movement grows naturally toward its great climax without manipulation, its emotional force emerging through patience rather than rhetoric.\u003cbr\u003e\u003cbr\u003e\n\nIn the finale, the soprano enters with \u003ci\u003eDas himmlische Leben\u003c\/i\u003e, the child’s vision of heavenly life drawn from \u003ci\u003eDes Knaben Wunderhorn\u003c\/i\u003e. Here Irmgard Seefried proves an ideal partner. Her voice combines purity, warmth and intelligence, never treating the movement as decorative innocence but as something intimate and quietly knowing. Seefried had already sung the work with Walter at the 1951 Edinburgh Festival, and their partnership shows complete naturalness.\u003cbr\u003e\u003cbr\u003e\n\nReviewing an earlier performance from the same week, Olin Downes in \u003ci\u003eThe New York Times\u003c\/i\u003e wrote that “Had Mahler been present… he would have rendered devout thanks.” Of Seefried he added that she was “a musician of the first class and an interpreter of the first class.”\u003cbr\u003e\u003cbr\u003e\n\nPreserved from a remarkably fine radio broadcast source, this performance survives in sound of unusual warmth and presence for its period. Orchestral textures retain striking clarity, from the shimmer of the opening sleigh bells to the delicate transparency of the slow movement, while Seefried’s voice is caught with exceptional naturalness. Pristine’s Ambient Stereo XR remastering brings both space and immediacy, allowing Walter’s luminous balances and the orchestra’s tonal richness to emerge with rare vividness.\u003cbr\u003e\u003cbr\u003e\n\nThis 1953 performance captures Walter in one of the works most closely bound to his musical identity: humane, transparent, and free of self-display. Mahler’s Fourth can easily be made either too cosy or too portentous. Walter finds instead its perfect equilibrium, where joy and mystery, innocence and mortality remain suspended together.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 style=\"font-size:24px;\"\u003e\u003cb\u003eWALTER\u003c\/b\u003e conducts Mahler\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size:12px;\"\u003e1. \u003cspan style=\"font-size: 14px;\"\u003eRADIO Introduction\u003c\/span\u003e   (0:33)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eGUSTAV MAHLER \u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size:18px;\"\u003eSymphony No. 4 in G major\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size:14px;\"\u003e2. \u003cspan style=\"font-size: 16px;\"\u003e1st mvt. - Bedächtig\u003c\/span\u003e   (16:27)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e3. \u003cspan style=\"font-size: 16px;\"\u003e2nd mvt. - In gemächlicher Bewegung; Ohne Hast \u003c\/span\u003e  (8:51)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e4. \u003cspan style=\"font-size: 16px;\"\u003e3rd mvt. - Ruhevoll \u003c\/span\u003e  (19:10)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:14px;\"\u003e5. \u003cspan style=\"font-size: 16px;\"\u003e4th mvt. - Sehr behaglich\u003c\/span\u003e   (8:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert broadcast, Carnegie Hall, New York City, 4 January 1953\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size:14px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\n\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eIrmgard Seefried\u003c\/b\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:16px;\"\u003econducted by \u003cb\u003eBruno Walter\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR remastered by Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\n\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Bruno Walter\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eTotal duration: 53:14\u003c\/span\u003e\u003cspan style=\"font-size:12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC770.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC770.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":59505182835022,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59505182867790,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59505182900558,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC770.jpg?v=1777456146"},{"product_id":"pasc770-cd","title":"WALTER Mahler: Symphony No. 4 (New York, 1953) - PASC770 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC770.mp3","brand":"Pristine Classical","offers":[{"title":"Limited edition Digipack-boxed CD (+MP3)","offer_id":59505146528078,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":true},{"title":"CD only in plastic sleeve (+MP3)","offer_id":59505145348430,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC770_e7dc5c0e-8dfd-43c4-b527-ff1555731bb0.jpg?v=1777042137"},{"product_id":"pasc773","title":"SABATA New York Broadcasts (1951) - PASC773","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture, The School for Scandal\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger von Nürnberg - Prelude\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Parsifal - Prelude to Act I\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Parsifal - Good Friday Spell\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tristan und Isolde - Prelude and Liebestod\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Götterdämmerung - Brünnhilde’s Immolation Scene\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert recordings, 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e2hr 26:35\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eClaudio Arrau\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEileen Farrell\u003c\/b\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eVictor de Sabata\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC773.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eIn March 1951 Victor de Sabata appeared at Carnegie Hall as guest conductor of the Philharmonic-Symphony Orchestra of New York, in a group of concerts later drawn upon for CBS broadcast. The dates given here are the concert dates, not the broadcast dates. The broadcasts themselves came later, introduced on air by Jim Fassett, and were edited from the original programmes.\u003c\/p\u003e\n\n\u003cp\u003eThe first concert represented here took place on 18 March 1951, with Claudio Arrau as soloist. The printed programme also included Debussy’s \u003cem\u003eIberia\u003c\/em\u003e, but the CBS transcription preserved here gives us Barber’s \u003cem\u003eOverture to The School for Scandal, Op. 5\u003c\/em\u003e, Schumann’s Piano Concerto in A minor, and Beethoven’s Symphony No. 8 in F major. De Sabata was making his first guest appearance of the season with the orchestra, and contemporary criticism was fascinated, if not entirely persuaded, by his personality on the podium. Olin Downes heard a conductor of strong effects, concerned less with literal textual polish than with atmosphere, colour and dramatic projection.\u003c\/p\u003e\n\n\u003cp\u003eBarber’s overture was still a relatively modern American score in 1951, composed in 1932 and inspired by Sheridan’s comedy. It is an ideal curtain-raiser: quick-witted, brilliantly scored and full of theatrical sparkle. In this context it also reminds us that De Sabata’s visit was not simply a parade of old-world Austro-German monuments. He could bring his operatic instinct for character and timing to a score whose energy depends on precision, brightness and lift.\u003c\/p\u003e\n\n\u003cp\u003eSchumann’s Piano Concerto placed De Sabata alongside Claudio Arrau, one of the great serious pianists of the age. Arrau’s playing was sometimes described in terms of intellectual weight and classical restraint, qualities that suit a concerto which resists empty display. Schumann’s soloist is not a conquering hero set against the orchestra, but a poetic presence woven into it. The critic found Arrau a little held back on this occasion, yet the surviving performance allows us to hear the meeting of two large musical temperaments: Arrau’s inward gravity and De Sabata’s taste for colour and expressive surge.\u003c\/p\u003e\n\n\u003cp\u003eBeethoven’s Eighth Symphony completed the surviving part of the 18 March programme. Compact, energetic and often slyly comic, it is a work whose apparent lightness can deceive. Its wit is structural, rhythmic and dramatic, and in De Sabata’s hands it becomes less a polite Classical interlude than a finely sprung orchestral mechanism, alert to sudden turns and flashes of temperament.\u003c\/p\u003e\n\n\u003cp\u003eThe second concert heard here took place on Easter Sunday afternoon, 25 March 1951, and was devoted to Wagner, with Eileen Farrell as soloist. This concert followed an orchestral-only Wagner programme earlier in the same period, which perhaps explains the slightly tangled trail left by the contemporary reviews. The printed 25 March programme included \u003cem\u003eForest Murmurs\u003c\/em\u003e from \u003cem\u003eSiegfried\u003c\/em\u003e, but the edited CBS transcription heard here centres on the Prelude to \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e, the Prelude to Act I and Good Friday Spell from \u003cem\u003eParsifal\u003c\/em\u003e, the Prelude and Liebestod from \u003cem\u003eTristan und Isolde\u003c\/em\u003e, and Brünnhilde’s Immolation Scene from \u003cem\u003eGötterdämmerung\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eFarrell was warmly received. Her Wagner singing was praised for its fullness, warmth and command, and the source recording captures her with particular success. The \u003cem\u003eTristan\u003c\/em\u003e and \u003cem\u003eGötterdämmerung\u003c\/em\u003e excerpts demand not only power but breadth of line and emotional concentration, and Farrell brings both scale and human warmth to music that can too easily become merely monumental.\u003c\/p\u003e\n\n\u003cp\u003eThe orchestral Wagner reveals De Sabata at his most characteristic: grand, theatrical, sometimes extravagant, but never anonymous. One critic thought him happiest when able to “shake the roof”; another heard vitality even where refinement was not the principal virtue. These performances confirm that impression. De Sabata’s Wagner is not neutral, devotional wallpaper. It is painted in dark colour, strong gesture and high relief.\u003c\/p\u003e\n\n\u003cp\u003eThe original tapes had suffered considerable degradation, but this has been successfully addressed in the present XR remastering. The resulting sound from both concerts is excellent for its age and source, with the vocal material especially vivid. Ambient Stereo has been used to open the acoustic without falsifying the historical character of the recordings: Carnegie Hall, great artists, broadcast microphones, and interpretative risk caught in the act.\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 style=\"font-size: 24px;\"\u003e\u003cb\u003eDE SABATA\u003c\/b\u003e New York Broadcasts, 1951\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\n\u003c\/p\u003e\u003cp style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDisc one   (71:54)\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e1. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Introduction\u003c\/span\u003e\u003c\/em\u003e   (1:45)\u003cbr\u003e\n2. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eOverture, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe School for Scandal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e, Op. 5\u003c\/span\u003e   (9:51)\n\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3. \u003cspan style=\"font-size: 16px;\"\u003e1st mvt. - Allegro affettuoso\u003c\/span\u003e   (16:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n4. \u003cspan style=\"font-size: 16px;\"\u003e2nd mvt. - Intermezzo: Andantino grazioso\u003c\/span\u003e   (5:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n5. \u003cspan style=\"font-size: 16px;\"\u003e3rd mvt. - Allegro vivace\u003c\/span\u003e   (11:46)\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eClaudio Arrau\u003c\/b\u003e, piano\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6. \u003cspan style=\"font-size: 16px;\"\u003e1st mvt. - Allegro vivace e con brio\u003c\/span\u003e   (9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n7. \u003cspan style=\"font-size: 16px;\"\u003e2nd mvt. - Allegretto scherzando\u003c\/span\u003e   (3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n8. \u003cspan style=\"font-size: 16px;\"\u003e3rd mvt. - Tempo di menuetto\u003c\/span\u003e   (4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n9. \u003cspan style=\"font-size: 16px;\"\u003e4th mvt. - Allegro vivace\u003c\/span\u003e   (7:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n10. \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Conclusion\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12px;\"\u003e   (1:02)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDisc two   (74:41)\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e1. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Introduction\u003c\/span\u003e\u003c\/em\u003e   (1:30)\u003cbr\u003e\n2. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude\u003c\/span\u003e   (9:48)\u003cbr\u003e\n3. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude to Act I \u003c\/span\u003e  (12:51)\u003cbr\u003e4. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Good Friday Spell\u003c\/span\u003e   (13:46)\u003cbr\u003e\n5. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eW\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eTristan und Isolde\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude and Liebestod\u003c\/span\u003e   (17:44)\u003cbr\u003e6. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eGötterdämmerung\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Brünnhilde’s Immolation Scene \u003c\/span\u003e  (17:56)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEileen Farrell\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e\n7. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Conclusion\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e  (1:06)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nconducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVictor de Sabata\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e\n\n\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLive CBS recordings made at Carnegie Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nRecorded 18 \u0026amp; 25 March 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nBroadcast 25 March \u0026amp; 1 April 1951\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 26:35\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_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\/PASC773.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC773.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":59855588000078,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59855588032846,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59855588065614,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC773.jpg?v=1782309093"},{"product_id":"pasc773-cd","title":"SABATA New York Broadcasts (1951) - 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