{"title":"Orchestre de la Société des Concerts du Conservatoire","description":null,"products":[{"product_id":"pasc443","title":"CORTOT Concertos, Volume 1: Chopin, Ravel, Saint-Saëns (1935\/39) - PASC443","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003ePiano Concerto No. 2\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"ARIALb\"\u003e\u003cbr\u003eR\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"BLACKb\"\u003e\u003cb\u003eAVEL\u003c\/b\u003e \u003c\/span\u003e\u003cspan class=\"ARIALb\"\u003ePiano Concerto for the Left Hand\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"BLACKb\"\u003e\u003cbr\u003eSAINT-SAËNS \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"ARIALb\"\u003ePiano Concerto No. 4\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio recordings, 1935 \u0026amp; 1939\u003cbr\u003eTotal duration: 71:43\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAlfred Cortot, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eUnnamed Orchestras\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eCharles Munch, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003eJohn Barbirolli, \u003c\/b\u003econductor \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAll three concertos are given splendid performances here - essential 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe French-Swiss pianist Alfred Cortot \n(1877–1962) was never known for spotless technique, and if that is at \nthe top of your list of requirements for listening to keyboard concertos\n you might want to pass this up. Everyone else, however, should snap it \nup. All three concertos are given splendid performances here. Although \nPristine puts the Ravel first on the disc, I started the headnote with \nthe Chopin because it is to my ears the most special of the three. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCortot studied with a pupil of \nChopin’s, and so this can be said to be music-making fairly close to the\n source. But our knowledge of that biographical fact should not \ninfluence the way we hear this. There were probably many pianists who \nstudied with pupils of Chopin whose work we would have no interest in. \nWhat distinguishes this performance is the poetry of the playing, the \nsubtle use of rubato throughout, the way Cortot shapes phrases giving \nthem both firmness and suppleness at the same time. This is playing of \ngreat nuance and shading, some of it staying long in the memory after \nthe recording is finished. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n this concerto is by itself more than worth the price of the disc. It is\n an object lesson in Chopin playing. Cortot employs an infinite variety \nof dynamics. Between \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epiano\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a whole wide world, and he carefully gauges his dynamic level so as \nto create a constant sense of flow and forward motion. I have heard this\n recording in earlier releases, and Pristine’s Andrew Rose can be said \nto have opened up a new world with his remastering here. Never has the \npiano sound been so alive, and never has the degree of colors employed \nby Cortot been as apparent. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCortot was a thorough musician—an \nimportant conductor as well as pianist—and it is the thoroughness of his\n musicianship that shines through these performances. What I find \nparticularly interesting is that although there are occasional wrong \nnotes, there are also passages of surprising technical brilliance. The \nimplication of this, at least as I hear it, is not that he couldn’t \nachieve a high level of technique but rather that it was not of prime \nimportance to him. Eloquence of phrasing, maintaining a sense of freedom\n throughout a performance, giving the impression of creating the music \nwhile performing it, these were his guideposts. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe Ravel and Saint-Saëns performances\n are on a similarly high level, although I found the very ending of the \nRavel surprisingly timid, lacking in the snap that I expect there (and \nthat the performance had led me to expect here). The dark drama of the \nRavel, and the glistening sparkle of the Saint-Saëns, all of this and \nmore is conveyed in these spontaneous recordings. The final bars of the \nRavel notwithstanding, the accompaniments of Barbirolli in the Chopin \nand Munch in the other two are as superb as you would expect. The Ravel \ndates from 1939; the Chopin and Saint-Saëns date from 1935. The piano \nsound on Pristine’s XR Stereo remastering is remarkably full and rich. \nThis is an essential disc for pianophiles. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC443.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCortot's Concerto Recordings, Volume One - Piano Concertos by Ravel, Chopin and Saint-Saëns\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The piano sound on Pristine’s remastering is remarkably full and rich. This is an essential disc for pianophiles\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eAlfred Cortot's extensive studio recordings for EMI included very few \nwith full orchestra. He seemed more at home in a solo or chamber music \nenvironment when in the recording studio, and yet these recordings \ndemonstrate amply just what a fabulous concerto player he also could be.\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eIt is notable that the Gramophone reviewer of the day felt that\n Cortot didn't record as well as his rivals when placed in front of the \norchestra. Perhaps the limitations of the recording medium and its \nreplay equipment had something to so with this assertion, for with \nCortot is it surely the finer details and nuances, rather than bombast \nand flashiness, which are at the forefront of his unique brilliance.\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003eIn these new XR remasters I have aimed to delve deeper into \nthose 1930s grooves than ever before in order to illuminate Cortot's \nfiner nuances. The focus here is, first and foremost on the piano. \nCapstan pitch stabilisation gives his piano a solidity it has not \ndisplayed before, and the instrument's excellent and sturdy tone \nthroughout seems curiously at odds with the at times vintage style of \nthe orchestral playing. In all three cases I've been not just delighted,\n but truly astonished by the detail within these recordings - each one \ncan now be heard afresh and anew, and each is truly special.\u003cbr\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eRAVEL \u003c\/b\u003e Piano Concerto for the Left Hand \u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e \u003cbr\u003econductor: \u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003eRecorded Salle Chopin, Paris, 12 May 1939\u003cbr\u003eMatrix Numbers 2LA.3059-62\u003cbr\u003eIssued as HMV DB.3885-86\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCHOPIN \u003c\/b\u003e Piano Concerto No. 2 in F minor, Op. 21\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestra\u003c\/b\u003e, conductor: \u003cb\u003eJohn Barbirolli\u003c\/b\u003e\u003cbr\u003eRecorded Abbey Road Studio 1, 8 July 1935\u003cbr\u003eMatrix Numbers 2EA.1506-13\u003cbr\u003eIssued as HMV DB.2612-15\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSAINT-SAËNS \u003c\/b\u003e Piano Concerto No. 4 in C minor, Op. 44 \u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestra\u003c\/b\u003e, conductor: \u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003eRecorded Abbey Road Studio 1, 9 July 1935\u003cbr\u003eMatrix Numbers 2EA.1514-19\u003cbr\u003eIssued as HMV DB.2577-79\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\/PASC443.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC443.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eChopin, Piano Concerto No. 2 - Historic Review\u003c\/b\u003e\u003cbr\u003eI have been \nable to get down from the office two other recordings of this—the \nColumbia (Marguerite Long and the Paris Conservatoire Concerts \nOrchestra: Gaubert. LX4-7}, and the Rubinstein-L.S.O. (Barbirolli). This\n is H.M.V. DB1494-7. Each {cutting slightly the first movement) takes \nseven sides, and has a fill-up: Mile. Long playing the Mazurka, Op. 59, \nNo. 3, and Rubinstein the C sharp minor Waltz, Op. 64, No. 2. I have no \nstrong preference among the three. The Col. tone is distinctly slighter.\n On the whole Rubinstein’s is the biggest and most even, but I find \nCortot’s the most interesting interpretation. There are few pianists \nwhose poetry I find more congenial, though he does not record as well as\n some others. The balance and shaping of a few of those slow movement \nphrases are worth analysis. But Rubinstein produces a more impressive \nflow of tone, where that is wanted. Neither H.M.V, set, in the recorded \norchestral tone, comes to my ideal. Cortot’s last side but one seems to \nme, again, the more pure Chopin in impulse. These things are hard to \nanalyse (though I am sure they can be divided down to minute \nparticulars), and quite mad to argue about. One just enters some \nparticular interpretative artist’s heaven and is thankful to let \neverybody else do likewise with his or her blissful abode.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eSaint-Saëns, Piano Concerto No. 4 - Historic Review\u003c\/b\u003e\u003cbr\u003eAt\n side 2, 33, a second melody follows the chorale, and there is some good\n Schumannesque matter for a minute or two. The air darkens, and the \npianist wreaks mightily upon the chorale, towards the end of the side. \nSide 3 begins with the secondary melody, which is now pondered upon very\n prettily. All the way, Cortot's feeling for the graces and simple \ndepths of the music is entirely enjoyable. His quality does not record \nsensationally, as we know, but he is always, for me, one of the most \nsatisfying of pianists, because of his fine feeling, his beautiful \ntiming and phrasing, and his blend of firmness and suavity.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWRA, The Gramophone\u003c\/b\u003e, May 1939, May 1938 (Exerpts)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975480717,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975480781,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975480845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975480909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC443_ac4cbd65-0d07-45d4-84cd-6ec0f44ee50b.jpg?v=1487682023"},{"product_id":"pacm076","title":"MARGUERITE LONG Fauré: Piano Quartets \u0026 Ballade (1940-56) - PACM076","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cb\u003eFAURÉ \u003c\/b\u003ePiano Quartet No.1 in C minor, Op. 15\u003cbr\u003e\u003cp\u003e\u003cb\u003eFAURÉ \u003c\/b\u003ePiano Quartet No.2 in G minor, Op. 45\u003cbr\u003e\u003cb\u003eFAURÉ \u003c\/b\u003eBallade for Piano and Orchestra, Op. 19\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003eRecorded in 1940, 1950 and 1956\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003eTotal duration: 68:54\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D776030\"\u003e\n\u003cb\u003eMarguerite Long, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003e Trio Pasquier\u003cbr\u003e \u003c\/b\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003econductor \u003cb\u003eAndré Cluytens\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM076.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eClassic Fauré from the composer's favourite interpreter\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eMarguerite Long brings huge authority to these fabulous new transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"bodybigblue\"\u003e\"I carry great memories of the recording of the \nSecond Quartet of Fauré which I made with my friends Jacques Thibaud, \nMaurice Vieux and Pierre Fournier. We had played it in public a week \nbeforehand for the Société des Amis de Fauré. Maurice Maréchal had \nplayed the cello. It was on the tragic morning of the 10th May 1940 that\n the recording was due to take place. Bombs had been falling on Paris \nall night. At eight o'clock I switched on the radio and heard: 'M. \nFrossard [a Minister at the time] is speaking to you.' Silence, then: \n'Holland has been invaded.'\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eRoger Thibaud, Jacques' son, was in the front \nline in this area. I feared the worst when I went to fetch Jacques \nThibaud to go off to the Pathé-Marconi studios in the Rue Albert at the \nfar end of Paris. He already knew the unhappy news.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eOvercoming our mortal fear with that courage that\n artists so need, we started our recording in an extraordinary \natmosphere. Never had Thibaud played so well. We were all overwhelmed. \nSwept up by the music beyond the reach of the present time, we succeeded\n in the tour de force of recording, without any lapse, the entire \nQuartet in one day. It was sublime. After the astonishing Quartet, where\n the piano assumes the leading role, the red light went out and Jacques \nThibaud, whose humour had not left him, put his hand in his waistcoat \npocket, took a two sous coin from it, put it on the piano and said to \nme: 'What you have just done there pays well, my dear Marguerite.' Poor,\n dear Jacques, he had no inkling that, two days later on the 12 May, \ndestiny was to take his son from him.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eWhen, many years later, I played this record to \nmy friend Gilels, the great Russian pianist, I could not hide my \nemotion. He was still enraptured, seeking words to express his feelings,\n and finally he said slowly: 'That, Madame, is one of life's great \nmoments.'\"\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eMarguerite Long\u003c\/b\u003e \u003cem\u003eAt The Piano with Fauré\u003c\/em\u003e (1963, René Julliard) \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e(Translated by Olive Senior-Ellis, Kahn \u0026amp; Averill, London 1981)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eMarguerite Long is perhaps the French pianist most \nclosely associated with the music of Gabriel Fauré - a virtuoso who \nstudied and worked for a decade with the composer and dedicated her long\n and successful career to the promotion of his (among others) music. The\n three recordings here span some 16 years and reach almost to the end of\n her recording career with respect to the composer - she went on to make\n a small number of solo records in 1957.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt has been particularly rewarding to restore the 1940 \nrecording described above which, in its original state, sounded \nparticularly dim and boxy but, with XR remastering, has blossomed into a\n glorious rendition of this fine work which only occasionally shows its \nage against the other two. The 1956 recording was, as one might expect, a\n much more straightforward project, though this too has been \nconsiderably enhanced, with much greater depth to be found than \noriginally expected, as well as a fine treble extension.\u003c\/p\u003e\u003cp class=\"body\"\u003eLong regarded the \u003cem\u003eBallade\u003c\/em\u003e as her own, and \nrecorded it five times. The 1950 recording with Cluytens was remade in \n1952 but it seems has appeared only on CD - meanwhile the 1950 recording\n shows its \"made for 78s\" origin with some rather crude side changes and\n sonic variations between the sides, despite being sourced from LP, \nwhich I've had to deal with. Originally paired with Ravel's Concerto in G\n major, the release was awarded the \u003cem\u003eGrand Prix de l'Academie du Disque Français\u003c\/em\u003e in 1953.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eFAURÉ\u003c\/b\u003e Piano Quartet No. 1 in C minor, Op. 15\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eTrio Pasquier:\u003cbr\u003e Jean Pasquier, violin\u003cbr\u003e Pierre Pasquier, viola \u003cbr\u003e Etienne Pasquier, cello \u003c\/b\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded Maison de la Mutualité, Paris, 13 February 1956 \u003cbr\u003e Issued as Columbia FC1057\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eFAURÉ\u003c\/b\u003e Piano Quartet No. 2 in G minor, Op. 45\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eJacques Thibaud, violin\u003cbr\u003e Maurice Vieux, viola \u003cbr\u003e Pierre Fournier, cello \u003c\/b\u003e \u003cbr\u003e Recorded Studio Albert, Paris, 10 May 1940 \u003cbr\u003e Issued as Voix de son maître DB5103-5106 \u003cbr\u003e Matrix Nos 2LA3350-3357\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eFAURÉ\u003c\/b\u003e Ballade for Piano and Orchestra, Op. 19\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eOrchestre de la Société des Concerts du Conservatoire \u003cbr\u003e \u003c\/b\u003e conductor \u003cb\u003eAndré Cluytens \u003c\/b\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eBallade Recorded Théâtre des Champs-Elysées, Paris, 30 October 1950 \u003cbr\u003e Issued as Columbia 78s: LFX1000-1001 \u003cbr\u003e Matrix Nos: CLX 2802-5 \u003cbr\u003e Issued as Columbia LP: FCX169\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Marguerite Long, \u003c\/b\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e 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LONG plays Ravel, Milhaud, Debussy (1929-52) - PASC285","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMILHAUD \u003c\/b\u003ePiano Concerto No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMILHAUD \u003c\/b\u003e\u0026amp; \u003cb\u003eDEBUSSY \u003c\/b\u003eShort pieces\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1929, 1930, 1932, 1935 and 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 72:56 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eMarguerite Long, \u003c\/b\u003epiano\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eSymphony Orchestras\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003ePedro de Freitas Branco\u003cbr\u003e\u003c\/b\u003esupervisor \u003cb\u003eMaurice Ravel \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eDarius Milhaud\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eGeorges Tzipine \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fOnce again Pristine’s transfers easily surpass the competition. A very attractive release578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis enterprising release couples both of \nMarguerite Long’s recordings of the Ravel concerto. The earlier one has \nbeen widely available on many different labels, but the remake is a real\n rarity I’d never encountered before.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe virtues of the 1932 premiere recording \n(famously supervised—though not conducted, as once thought—by Ravel \nhimself) are well known: Long’s objective style, cool and dry but with \nsplendid snap and animation in the outer movements; and in the central \nAdagio, just the right kind of fine-tuned expression—a delicate \ngive-and-take in the melody, and purposeful direction to the phrases. \nThe orchestra is more of a mixed blessing; its sound and color \n(especially the winds) are ideal for the music, but the outer movements \nare plagued by serious rhythmic insecurity—the panicked scrambling of \nthe cor anglais solo at rehearsal 4–2 in the first movement is all too \nsymptomatic. Pristine’s transfer is much more vivid than previous ones I\n had on hand (EMI, Cascavelle, and Andante).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Paris Conservatory Orchestra is much better in\n her 1952 remake with Georges Tzipine—still plenty of tangy French \ncharacter, but without the near-chaos of their predecessors. On the \ndebit side, Long herself is now comparatively tired- and \ncareful-sounding, especially in the first movement (though still with \ngood technical command). The biggest difference is in the Adagio, now \nmuch slower, more casual, indeed sentimentalized, with too much pedal. \nThe finale is still effective, at much the same tempo as before. The \nrecording is excellent.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMilhaud’s concerto, recorded with the composer in \n1935, is dispatched with snap and spirit, though the music itself \nstrikes me as so much inconsequential note-spinning. His solo piano \nworks are much more attractive, and Long’s performances are piquant and \nrichly colored.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHer Debussy (recorded 1929–30) is very impressive \nindeed, combining French sensibility with strikingly robust emotional \nengagement. Melodic lines are sharply etched, with a keenly animated \nsense of the dramatic life of phrases, and everywhere a wonderful \nvariety of color, touch, and pedaling. Once again Pristine’s transfers \neasily surpass the competition (Cascavelle).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOverall, a very attractive release. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC285.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eLong's two Ravel Concertos - and the Milhaud - plus Debussy\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eA cornucopia of composer-performer collaboration in new XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe first recording of Ravel's Piano Concerto in G, allegedly with the composer conducting, took place exactly three months after its première in Paris - which he did conduct, and where most of the rest of the program had been conducted by de Freitas Branco. It is the latter who conducts the 1932 recording here, despite continued and repeated billing both by HMV and EMI, and more recently other labels, of Ravel himself.\u003c\/p\u003e\n\u003cp\u003eIt does seem far more likely that, by contrast, it is the composer who conducts Milhaud's Piano Concerto here - as with Ravel, and also Debussy, Fauré and other French composers of the era, Marguerite Long had a close and fruitful working relationship with Darius Milhaud.\u003c\/p\u003e\n\u003cp\u003eNaturally the 1920s and 30s recordings frequently betray their age sonically, though often - particularly in the Milhaud - we are treated to clear upper frequencies, particularly in the brass, which offer a brightness which, if occasionally a little harsh, suggests a far more recent recording. The Ravel concerto - in its 1932 recording - suffered considerable swish, particularly during the quieter second movement, and a lot of effort has been expended in trying to reduce or eliminate this.\u003c\/p\u003e\n\u003cp\u003eNaturally the 1952 recording of the concerto is of considerably higher fidelity - it was included here both to bring together Long's only studio recordings of the concerto, and also to offer the chance to contrast and compare the two quite different interpretations by someone who perhaps knew the both work and its composer's intentions better than any other pianist. \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G major\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Pedro de Freitas Branco\u003c\/b\u003e\u003cbr\u003erecording supervised by \u003cb\u003eMaurice Ravel\u003c\/b\u003e\u003cbr\u003eNB. Ravel has regularly but mistakenly been billed as the conductor of this recording \u003cbr\u003eRecorded 14 April 1932, issued as Columbia LFX 257-259\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003ePiano Concerto No. 1, Op. 127\u003cbr\u003e\u003cb\u003eSymphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eDarius Milhaud \u003c\/b\u003e\u003cbr\u003eRecorded 5 April 1935, issued as Columbia LFX 375-6 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eAutomne, Op. 115 - 2: Alfama\u003cbr\u003e\u003cb\u003eMILHAUD \u003c\/b\u003eSaudades do Brazil, Op. 67 - 12: Paysandu\u003cbr\u003eRecorded 5 April 1935, issued as Columbia LFX 375 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eTwo Arabesques\u003cbr\u003eRecorded 10 July 1930, issued as Columbia LF 55 \u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eEstampes - 3. Jardins sous la pluie\u003cbr\u003eRecorded 12 November 1929, issued as Columbia LFX 24\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003eLa Plus que Lente (valse)\u003cbr\u003eRecorded 6 November 1929, issued as Columbia LFX 24\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePiano Concerto in G major\u003cbr\u003e\u003cb\u003eOrchestre de la Socitété des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eGeorge Tzipine\u003c\/b\u003e\u003cbr\u003eRecorded 12 June 1952, issued as Columbia FCX 169\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMarguerite Long\u003c\/b\u003e piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, March - April 2011\u003cbr\u003eCover artwork based on a photograph of Marguerite Long\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\nTotal duration: 72:56 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC285.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC285.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\"Long made two recordings of the G major Concerto. The first one was recorded by Columbia on three 78 rpm records shortly after the January 1932 premiere. René Dumesnil reviewed it in Eve:\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe recording of the Concerto pour piano by Maurice Ravel ... is quite worthy of the new work, whose success this winter in Paris, and later in all of Europe's capitals, was resounding. It is Mme. Marguerite Long, dedicatee of the Concerto, whom we hear again at the piano with the same delight as we did at the work's premiere. Her interpretation can be regarded as a model of intelligence, of finesse and of technical perfection. . . . And one must praise equally the orchestra under the direction of the composer. \u003c\/i\u003e\u003cbr\u003e[August 28, 1932.]\u003cbr\u003e\u003cbr\u003eThe recording was advertised as being conducted by Ravel, but that was not quite the truth. It was actually under the baton of Pedro de Freitas-Branco, who had conducted most of the program on January 14, 1932. But, Long insisted, Ravel was present in the recording booth during the whole session, which lasted well into the night. He attentively followed every minute, voicing his opinion over the smallest details, and demanding that the performers start over until he was completely satisfied. And in the early morning hours he finally was.\u003cbr\u003e\u003cbr\u003eTwenty years later, in 1954 [sic], with the advent of long-playing records, Long recorded the G major Concerto again, with the Orchestre de la Société du Conservatoire under Georges Tzipine. On the flip-side was a new performance of Fauré's Ballade, conducted by André Cluytens. The 1954 Ravel recording was criticized by many for its stylistic looseness, particularly in the slow movement. At 80, Long chose a more sentimental rendition, as opposed to the classical sobriety of her earlier version. Whether a matter of taste or not, the later performance contradicted Ravel's intentions, as Long herself described them.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCecilia Dunoyer, \"Marguerite Long: a life in French music, 1874-1966\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\"In 1933, Milhaud set out to write his First Piano Concerto and asked Long to give its first performance and to be its dedicatee. His inscription on her score is typical of his tongue-in-cheek-wit: \"Je dépose à vos pieds chère et sublime amie cette oeuvre que vous ferez vivre par vos mains admirables\" (I leave at your feet, dear and sublime friend, this work, which you will bring alive with your admirable hands). Still in the heat of the success of Ravel's G major Concerto, Long accepted wholeheartedly. The première took place on November 25, 1934, with the Orchestre Pasdeloup under the direction of Albert Wolff. The November issue of Le Monde musicalacknowledged the event with some reserve:\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe concert of Sunday, [November] 25, was a beautiful festival of French contemporary music. It opened with the Saudades do Brasil by Darius Milhaud, strongly perfumed with smells of the Brazilian forest, and continued with the first audition of a new Concerto for piano by the same author, dedicated in 1933 to Marguerite Long. Of rather small dimension, it gives the piano a place of honor. It is the piano which leads, plays with the themes, discreetly emphasized by the orchestra soloists. ... It pales, of course, next to the prodigious Concerto by Ravel, which, under Long's magic fingers met another triumph, but it is a valuable asset to the modern pianist's repertoire.\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003eA second performance took place on January 19, 1935 at the Salle Rameau with Long as soloist. The program consisted of music by French composers, each conducting his own work: Milhaud, Ibert, Gaubert, Siohan, and Honegger. In 1938 [sic] the Milhaud Concerto was recorded by Columbia, this time under the direction of the composer. Two pieces for piano, \"Paysandu\" (from Saudades do Brasil) and \"Alfama\" (from l'Automne), complete the record. \"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCecilia Dunoyer, \"Marguerite Long: a life in French music, 1874-1966\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34586423245,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34586423309,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34586423373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34586423437,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC285_0940e2b2-f6ca-4b90-bfbb-1cbd909f2766.jpg?v=1687854655"},{"product_id":"pasc285-cd","title":"M. LONG plays Ravel, Milhaud, Debussy (1929-52) - PASC285 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478252813,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478252941,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC285.jpg?v=1687854679"},{"product_id":"pakm087","title":"CICCOLINI plays Satie \u0026 Franck (1956\/1953) - PAKM087","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSATIE \u003c\/b\u003eGymnopédies\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSATIE \u003c\/b\u003eGnossiennes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSATIE \u003c\/b\u003eTrois Morceaux en forme de poire\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSATIE \u003c\/b\u003eHeures séculaires et instantanées\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSATIE \u003c\/b\u003e3 Valses distinguées du précieux dégoûté\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSATIE \u003c\/b\u003eAvant-dernières pensées\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eSATIE \u003c\/b\u003eNocturnes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eFRANCK \u003c\/b\u003eVariations symphoniques\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1956 \u0026amp; 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 60:45\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAldo Ciccolini,\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAndré Cluytens\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM087.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\"If Erik Satie were alive today — and what a pity he isn't—he would be just short of 105 years old and, very likely, astonished by the attention his music is getting nowadays. It is the kind and quality of the attention, I think, that would have surprised him, for he was not without a certain renown during his lifetime. But his fame, outside his own limited circle of devotees, was chiefly as a perpetrator of musical jokes and gags. For most musicians he was an eccentric not to be taken seriously, and he had no commercial success at all. He lived in poverty.\u003cbr\u003e\u003cbr\u003eToday, his listings in the Schwann Catalogue fill a column, and works that once seemed nonsensical to most people sound quite logical and beautiful to a broad spectrum of listeners. Satie was one of those unfortunates who are so far ahead of their times that they live out their entire lives as anachronisms—aliens in the eras in which they are forced to exist.\u003cbr\u003e\u003cbr\u003eOn the whole, the French have shown little more active interest in Satie since he died than while he was alive. The listings in Schwann show that it is non-French musicians who have done the most to bring his music to the attention of- the general public.\u003cbr\u003e\u003cbr\u003eProminent among these is Aldo Ciccolini, the Italian pianist, who can now be credited with five disks of Satie’s music…\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAllen Hughes\u003c\/b\u003e, \u003ci\u003eThe New York Times\u003c\/i\u003e, 28 February 1971\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThe somewhat enigmatic music of Erik Satie has long captivated and, to a degree, confused me. When I realised that we had so little of him in our catalogue - a couple of pieces recorded by Poulenc (with Georges Auric, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc324\"\u003ePASC324\u003c\/a\u003e) in the 1930s - I started wondering why he never showed up in the thousands of recordings we audition for possible restoration and remastering. The answer is simple - as a recorded composer he is practically invisible until the late 1960s, just outside our normal remit for historic recordings.\u003cbr\u003e\u003cbr\u003eOne name repeatedly stands out in these searches: Aldo Ciccolini. The recordings he made in 1956, presented here, were almost ignored at their time of issue, sniffily dismissed by the critics of the day. But by the late 1960s his Satie (a second LP was recorded in 1963) was apparently inexplicably being 'rediscovered', and had started selling in such quantities that his  record company wasted no time in whisking Ciccolini back into their recording studios in the quest for more of the same. By the spring of 1970 a seventh album was in production and the Italian Ciccolini was being credited almost single-handedly with bringing the little-known French composer to mass attention.\u003cbr\u003e\u003cbr\u003eThis first set of Ciccolini's Satie has benefitted greatly from Ambient Stereo XR remastering, which has brought a new depth, warmth and spaciousness to Ciccolini's performances. The pieces are now ordered chronologically by date of composition. I decided to also include a favourite work by César Franck, the Varations Symphoniques, ressurected from an excellent 1953 disc with Cluytens conducting, in order to make up an album I'll personally be enjoying for a long time to come. \u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCICCOLINI \u003c\/b\u003eplays Satie \u0026amp; Franck\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eGymnopédies\u003c\/span\u003e (1888)\u003cbr\u003e1. No. 1 - Lent et douloureux  (3:06)\u003cbr\u003e2. No. 2 - Lent et triste  (2:35)\u003cbr\u003e3. No. 3 - Lent et grave  (2:23)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eGnossiennes\u003c\/span\u003e (1889)\u003cbr\u003e4. No. 1 - Lent  (3:23)\u003cbr\u003e5. No. 2 - Avec étonnement  (1:48)\u003cbr\u003e6. No. 3 - Lent  (2:35)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eTrois Morceaux en forme de poire\u003c\/span\u003e (1903)\u003cbr\u003e7. I. Manière de commencement - Allez modérément  (2:38)\u003cbr\u003e8. II. Prolongation du même - Au pas  (0:45)\u003cbr\u003e9. III. Morceau No. 1 - Lentement  (1:09)\u003cbr\u003e10. IV. Morceau No. 2 - En levé  (2:32)\u003cbr\u003e11. V. Morceau No. 3 - Brutal  (2:03)\u003cbr\u003e12. VI. En plus - Calme  (1:36)\u003cbr\u003e13. VII. Redite - Dans le lent  (1:35)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eHeures séculaires et instantanées\u003c\/span\u003e (1914)\u003cbr\u003e14. No. 1 - Obstacles venimeux  (1:42)\u003cbr\u003e15. No. 2 - Crépuscule matinal (de midi)  (0:49)\u003cbr\u003e16. No. 3 - Affolements granitiques  (0:42)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e3 Valses distinguées du précieux dégoûté\u003c\/span\u003e (1914)\u003cbr\u003e17. No. 1 - Sa taille  (0:55)\u003cbr\u003e18. No. 2 - Son binocle  (1:04)\u003cbr\u003e19. No. 3 - Ses jambes  (0:43)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eAvant-dernières pensées\u003c\/span\u003e (1915)\u003cbr\u003e20. No. 1 - Idylle à Claude Debussy  (1:01)\u003cbr\u003e21. No. 2 - Aubade à Paul Dukas  (1:11)\u003cbr\u003e22. No. 3 - Meditation à Albert Roussel  (0:57)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSATIE \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eNocturnes\u003c\/span\u003e (1919)\u003cbr\u003e23. No. 1 - Doux et calme  (2:35)\u003cbr\u003e24. No. 2 - Simplement  (1:40)\u003cbr\u003e25. No. 3 - Un peu mouvementé  (2:48)\u003cbr\u003e\u003cbr\u003e26. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eFRANCK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eVariations symphoniques\u003c\/span\u003e  (16:32)\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAndré Cluytens\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eAldo Ciccolini,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003e piano\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Aldo Ciccolini\u003cbr\u003eSatie: recorded by Columbia 22\/29 February \u0026amp; 1 March 1956, Maison de la Mutualité, Paris\u003cbr\u003eFranck: recorded by Pathé 15\/16\/21 June 1953, Théâtre des Champs-Élysées, Paris\u003cbr\u003e\u003cbr\u003eTotal duration:  60:47  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM087.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM087.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":39409391075389,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205525225806,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205525258574,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PAKM087_28cc6f6a-4394-4d3b-939a-bccfe9e15310.jpg?v=1633061705"},{"product_id":"pakm087-cd","title":"CICCOLINI plays Satie \u0026 Franck (1956\/1953) - 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To begin with there is the question of the recordings themselves. \u003cbr\u003e\u003cbr\u003eMade in the Salle Wagram in Paris between 1957 and 1959 at a time when just about everyone was embracing the idea of stereo in classical music recordings, the Schuricht series was made and released in defiant mono. Or was it? For many years this appeared to be the case – certainly the vinyl releases at the time were all mono, and often very competitively priced – in the UK at least. \u003cbr\u003e\u003cbr\u003eWhen EMI reissued the complete cycle in the late 1980s, once again the nine symphonies were released in mono. It was not until the 21st century that a stereo recording from this set emerged, in the shape of the Ninth ‘Choral’ Symphony – why this had been  overlooked for so many years is hard to understand. Nevertheless the rest of the series remains mono or – in the case of these Pristine XR remasters – with a very pleasing Ambient Stereo ambience.\u003cbr\u003e\u003cbr\u003eWhat was also unusual was the French orchestra, which to some contemporary ears outside of the country sounded all wrong: for some it was the playing style, for others the sound of some rather unique instruments in the brass and woodwind were off-putting. But in the fullness of time opinions have been revised and some have come around to the view that this is a very special Beethoven cycle indeed:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e“My immediate impression was that I had never heard Beethoven conducted in quite this way. That is not the same as saying I had never heard Beethoven played this way. By certain string quartets, for example. I was reminded of Serkin playing the piano sonatas, even more, perhaps, of late Backhaus. The first symphony immediately created an impression of gut conviction and great vitality. As with late Backhaus, technical perfection is not an essential, phrasing can be a bit rough and breathless, but you get a sense of contact with the music that you more often get from hands-on performers than from conductors whose vision has to be realised by others: namely the orchestra. This generally translates into brisk, spinning tempi that are not driven, or goaded onward, by a conductor with a whip, but have a vitality that seems to arise from the music. In the second movement of this same symphony there is a warm songfulness rather than an attempt to wrest a prayer for humanity from every phrase. It is here, too, that the French woodwind are at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over this. While it is true that the Historically Informed brigade would run a mile from such vibrato, modern performances on period-style instruments have rediscovered a factor which was still available in Paris in the 1950s. Each instrument has its own personality, makes its own contribution to the argument, instead of being blended so that the wind band might as well be a harmonium. With the wind forwardly balanced into the bargain, these performances contain elements that were scarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis sense of vital contact with the music crescendos through the first three symphonies. The “Eroica” slow movement is an interesting case. Schuricht starts out at a fairly flowing, but expressive tempo. Most conductors start slower, but have to move forward later. Schuricht holds his tempo, but not in the sense of dogmatically ploughing on regardless. He simply doesn’t seem to find it necessary to make any adjustment, for his tempo fits every part of the movement beautifully. The proof of this is heard as the initial march theme returns after the climax and sails in without the conductor having to put on the brakes. The final disintegration has rarely been so moving – it emerges so inevitably from what came before. In spite of a not very slow initial tempo this is one of the longer versions on record: at 15:40 it is exceeded by Toscanini’s 16:06 in 1939 but is expansive compared with Klemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way round…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid that any critic should recommend a “best version” of such multifarious works, or even a “best version” of each single symphony. We can try to distinguish between the ones that count and those that don’t. This cycle counts. It explores avenues of Beethoven interpretation, areas of Beethovenian truth, not touched upon elsewhere.” - Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/b\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\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies, Volume One\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 1 \u003cspan style=\"font-size: 16px;\"\u003ein C major, Op. 21\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio molto - Allegro con brio  (8:17)\u003cbr\u003e2. 2nd mvt. - Andante cantabile con moto  (6:03)\u003cbr\u003e3. 3rd mvt. - Minuet. Allegro molto e vivace - Trio  (3:30)\u003cbr\u003e4. 4th mvt. - Finale. Adagio - Allegro molto e vivace  (6:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 \u0026amp; 29 September, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 6 \u003cspan style=\"font-size: 16px;\"\u003ein F major, Op. 68, 'Pastoral'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande  (9:24)\u003cbr\u003e6. 2nd mvt. - Scene am Bach  (12:36)\u003cbr\u003e7. 3rd mvt. - Lustiges Zusammensein der Landleute  (4:57)\u003cbr\u003e8. 4th mvt. - Gewitter. Sturm  (3:34)\u003cbr\u003e9. 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm  (8:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 April, 2 \u0026amp; 6 May, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  63:10  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PASC695","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWARLOCK \u003c\/b\u003eCapriol Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003ePROKOFIEV \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eHungarian Folk Tunes\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBARTÓK \u003c\/b\u003eRomanian Folk Dances\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eIVES \u003c\/b\u003eViolin Sonata No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBLOCH \u003c\/b\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003emusic by \u003cb\u003eDebussy, Ravel, Milhaud, Lie, Szymanowski, Scriabin, Stravinsky\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-46\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 4:59\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJoseph Szigeti\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eNikita Magaloff, Kurt Ruhrseitz, Béla Bartók, Andor Foldes\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eSir Thomas Beecham\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eConstant Lambert\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCharles Munch\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC695.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eJoseph Szigeti was born in Budapest in 1892.  After showing promise on the violin at a very young age, he was accepted as a student by Jenő Hubay and made his Berlin debut at thirteen.  Shortly thereafter, he settled in England for several years.  It was during this period that he met Ferruccio Busoni, who was to become a major influence in moving the young prodigy from being merely a talented virtuoso toward becoming a more intellectual and analytical musician.\u003c\/p\u003e\n\n\u003cp\u003eA stay in a Swiss sanatorium in 1913 to treat his tuberculosis introduced Szigeti to a fellow Hungarian who was to become another major influence on him as a musician and a lifelong friend, Béla Bartók.  Szigeti remained in Switzerland for several years, teaching and expanding his facility in playing chamber works.  In 1925, he played for a visiting Leopold Stokowski, and was quickly invited to make his American debut.  He shortly became established internationally as a concert artist.  He settled in the USA in 1940, and continued his concert career for another twenty years before retiring to write and teach.  He died in 1973. \u003c\/p\u003e\n\n\u003cp\u003eSzigeti’s earliest recordings were made in England for the Gramophone and Typewriter Company between 1908 and 1913.  He made no further discs during the acoustic era, save for a handful recorded in Russia in either 1924 or 1926.  In the latter year, he began an association with English Columbia that lasted for eleven years, with one session for their Japanese affiliate in 1931 that produced four sides.  In 1938, he began recording for American Columbia, where he remained until 1956, with one set (the Bloch Concerto) done for French Columbia in 1939, a single disc made for the American New Music Quarterly label in 1942, and a return to English Columbia for four sides in 1946.  His final recordings were made for Mercury in 1959-61.\u003c\/p\u003e\n\n\u003cp\u003eThis is the final volume in a series presenting all of the Columbia recordings he made in Britain, France and Japan, as well as the one New Music Quarterly disc, as a complement to Sony’s recent set comprising his American Columbia recordings.  From the 1940s onward, Szigeti began to experience increasing technical problems.  American Columbia passed on releasing his 1955-56 recordings of Bach Sonatas and Partitas as well as several contemporaneous LPs’ worth of Mozart Sonatas, which were only issued later by Vanguard.  Szigeti himself ruefully referred to his final Mercury LPs as his “posthumous recordings”.  The performances featured here and in the prior volumes are generally judged to be his finest on disc.\u003c\/p\u003e\n\n\u003cp\u003eSzigeti championed contemporary works throughout his career, and so it is appropriate that the present program focuses mainly on Twentieth Century music.  Some words are in order about a few of the works.  Peter Warlock’s “Capriol” Suite was composed only ten years before Szigeti recorded his transcription of three of its movements; yet it almost seems to come from the time of the Renaissance dances which were its inspiration, save for its dissonant conclusion. \u003c\/p\u003e\n\n\u003cp\u003eBartók’s Portrait No. 1 had originally been written as the first movement of his first Violin Concerto; but the composer left it unpublished and repurposed this movement as the first of his two Portraits.  The concerto in its original form was only first performed in 1958.\u003c\/p\u003e\n\n\u003cp\u003eSzigeti gave the world première of the Bloch concerto in 1938 with Mitropoulos conducting the Cleveland Orchestra.  Broadcast performances have been released of his performances the following year under Mengelberg and Beecham (the latter on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc410\" target=\"_blank\"\u003ePristine PASC 410\u003c\/a\u003e), the same year he made the first recording with Munch presented here.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\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;\"\u003eSZIGETI The European Columbia Recordings, Volume 4\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 1\n        (53:48)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\n        \u003cstrong\u003eWARLOCK (arr. Szigeti)   “Capriol” Suite\u003cbr\u003e\u003c\/strong\u003e1. Basse-Danse: Allegro moderato(1:31)\u003cbr\u003e2. Pavane: Allegretto, ma un poco lento (2:48)\u003cbr\u003e3. Mattachins: Allegro con brio (1:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London ∙  Matrices: CA\n    15651-1 \u0026amp; 15652-1 ∙ First issued on Columbia LB 32\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eDEBUSSY (arr. Dushkin)\n    Menuet\u003c\/strong\u003e(No. 3 from Petite suite, L 65) (3:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 June 1927 in the Columbia Petty France Studio,  London ∙ Matrix:\n    WAX 2912-2 ∙ First issued on Columbia L 2037\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e5. \u003cstrong\u003eRAVEL (arr. Leduc)  Pi\u003c\/strong\u003e\u003cstrong\u003eè\u003c\/strong\u003e\n    \u003cstrong\u003ece en forme de habanera\u003c\/strong\u003e (2:33)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix:  CAX\n    7749-1 [part] ∙ First issued on Columbia LX 575\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e6. \u003cstrong\u003eMILHAUD Le printemps,  Op. 18\u003c\/strong\u003e\n    (2:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 September 1926 in the Columbia Petty France  Studio, London ∙\n    Matrix: WAX 1929-1 ∙ First issued on Columbia L 1963\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e7. \u003cstrong\u003eMILHAUD (arr. L\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003evy) \n    Corcavado\u003c\/strong\u003e(No. 7 from Suadades  do Brasil, Op. 67)\u003cstrong\u003e\u003c\/strong\u003e(2:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 July 1926 in the Columbia Petty France Studio,  London ∙ Matrix:\n    WA 3587 ∙ First issued on Columbia D 1527\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e8. \u003cstrong\u003eMILHAUD (arr. L\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003evy) \n    Tijuca\u003c\/strong\u003e(No. 8 from  Suadades do Brasil, Op. 67)\u003cstrong\u003e\u003c\/strong\u003e(2:20)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 June 1927 in the Columbia Petty France Studio,  London ∙ Matrix:\n    WA 5792 ∙ First issued on Columbia D 1633\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e9. \u003cstrong\u003eLIE (arr. Szigeti)  \n    Sne\u003c\/strong\u003e(Snow)\u003cstrong\u003e\u003c\/strong\u003e(1:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix:  CA\n    16269-1 [part] ∙ First issued on Columbia LB 38\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e10.\n   \n        \u003cstrong\u003eSZYMANOWSKI Le fontaine  d’Arth\u003c\/strong\u003e\n    \n    \u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003euse\u003c\/strong\u003e(No. 1 from Mythes, Op. 30)\u003cstrong\u003e\u003c\/strong\u003e(5:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrices:  CAX\n    6851-1 \u0026amp; 6852-1 [part] ∙ First issued on Columbia LX 307\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e11.\n    \n        \u003cstrong\u003eSCRIABIN (arr. Szigeti)  Etude in D flat major,\u003c\/strong\u003e\n    \n    Op. 8, No. 10  (“Etude in Thirds”)  (1:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 6 March 1936 in Abbey Road Studio No. 3, London ∙ Matrix:  CAX\n    7749-1 [part] ∙ First issued on Columbia LX  575\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e12.\n   \n        \u003cstrong\u003eSTRAVINSKY (arr. Stravinsky\/Dushkin)  Pastorale\u003c\/strong\u003e\n    \n    \u003cstrong\u003e\u003c\/strong\u003e(1:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 June 1933 in Abbey Road Studio No. 3, London ∙ Matrix:  CAX\n    6852-1 [part] ∙ First issued on Columbia LX 307\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e13.\n   \n        \u003cstrong\u003eSTRAVINSKY (arr. Dushkin)   Danse Russe from Petrushka\u003c\/strong\u003e\n \n    \u003cstrong\u003e\u003c\/strong\u003e(2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix:  CA\n    16270-2 ∙ First issued on Columbia LB 38\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e14.\n\n        \u003cstrong\u003ePROKOFIEV (arr. Grunes)   Gavotte from the “Classical” Symphony,\n        Op. 25\u003c\/strong\u003e\n\n    \u003cstrong\u003e\u003c\/strong\u003e(1:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 2 March 1937 in Abbey Road Studio No. 3, London ∙ Matrix:  CA\n    16269-1 [part] ∙ First issued on Columbia LB 38\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cstrong\u003ePROKOFIEV Violin Concerto  No. 1\u003c\/strong\u003e\n    \u003cstrong\u003ein D major, Op. 19\u003cbr\u003e\u003c\/strong\u003e15.        1st  Mvt. – Andantino – Andante assai\n    (9:12)\u003cbr\u003e16.        2nd  Mvt. – Vivacissimo (3:57)\u003cbr\u003e17.        3rd  Mvt. – Andante – Allegro moderato\n    (7:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 August 1935 in Abbey Road Studio No. 1, London ∙  Matrices: CAX\n    7583-2, 7584-3, 7585-2, 7586-2 \u0026amp; 7587-2 ∙ First issued on  Columbia LX\n    433\/5\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003cp\u003e\u003cstrong\u003eNikita Magaloff\u003c\/strong\u003e, piano (Tracks 1 – 3, 5, 9 – 14)\u003cbr\u003e\u003cstrong\u003eKurt Ruhrseitz\u003c\/strong\u003e, piano (Tracks 4, 6 – 8)\u003cbr\u003e\u003cstrong\u003eSir Thomas Beecham ∙ \u003c\/strong\u003eLondon Philharmonic Orchestra (Tracks 15 – 17)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eCD 2  (71:10)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eBART\u003c\/strong\u003e\u003cstrong\u003eÓ\u003c\/strong\u003e\u003cstrong\u003eK\n    (arr. Szigeti) Hungarian Folk Tunes\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e(after For\n    Children)\u003cbr\u003e1.           1st  Mvt. – Parlando (1:02)\u003cbr\u003e2.           2nd  Mvt. – Andante non molto (1:10)\u003cbr\u003e3.           3rd  Mvt. – Allegro vivace (1:36)\u003cbr\u003e4.           4th  Mvt. – Andante sostenuto (1:31)\u003cbr\u003e5.           5th  Mvt. – Allegro (0:37)\u003cbr\u003e6.           6th  Mvt. – Andante (0:46)\u003cbr\u003e7.           7th  Mvt. – Poco vivace (0:52)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 January 1930 in the Columbia Petty France Studio,  London ∙\n    Matrices: WAX 5322-3 \u0026amp; 5323-2 ∙ First issued on Columbia LX 31\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eBART\u003c\/strong\u003e\u003cstrong\u003eÓ\u003c\/strong\u003e\u003cstrong\u003eK\n    (arr. Sz\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003ekely) Romanian Folk Dances\u003c\/strong\u003e,\u003cstrong\u003e\u003c\/strong\u003eSz.56 \n    (BB 68)\u003cbr\u003e8.           1st  Mvt. – Jocul cu bâtǎ  (Stick\n    Dance)  (1:09)\u003cbr\u003e9.           2nd  Mvt. – Brâul (Sash Dance)  (0:24)\u003cbr\u003e10.        3rd  Mvt. – Pe loc (In One Spot) (0:52)\u003cbr\u003e11.        4th  Mvt. – Buciumeana (Song of Buchumi)\n    (1:29)\u003cbr\u003e12.        5th  Mvt. – Poarga Româneascǎ (Romanian\n    Dance)  (0:31)\u003cbr\u003e13.        6th  Mvt. – Mǎrunţel  (Fast Dance)\n    (1:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 January 1930 in the Columbia Petty France Studio,  London ∙\n    Matrices: WA 9908-3 \u0026amp; 9909-4 ∙ First issued on Columbia LB 6\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e14. \u003cstrong\u003eBART\u003c\/strong\u003e\u003cstrong\u003eÓ\u003c\/strong\u003e\u003cstrong\u003eK \n    Portrait No. 1 –\u003c\/strong\u003eEgy idealis (One  Ideal), Op. 5, Sz.37  (9:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 June 1946 in in Abbey Road Studio No. 1, London ∙  Matrices: CAX\n    9568-1 \u0026amp; 9569-2 ∙ First issued on Columbia LX 1531\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eIVES Violin Sonata  No. 4\u003c\/strong\u003e,\n    “Children’s Day at the Camp Meeting”\u003cbr\u003e15.        1st  Mvt. – Allegro (1:54)\u003cbr\u003e16.        2nd  Mvt. – Largo – Allegro (5:12)\u003cbr\u003e17.        3rd  Mvt. – Allegro (1:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 February 1942 in New York City ∙ Matrices: ARS  2457A \u0026amp;\n    2458A ∙ First issued on New Music Quarterly Recordings 1612A\/B\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e18. \u003cstrong\u003eBLOCH Nigun\n    (Improvisation)\u003c\/strong\u003e(No. 2 from Baal Shem, B.47) (5:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 July 1926 in the Columbia Petty France Studio,  London ∙\n    Matrices: WA 3537-1 \u0026amp; 3538-1 ∙ First issued on Columbia D 1557\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n    \u003c\/span\u003e\u003cstrong\u003eBLOCH Violin Concerto\u003c\/strong\u003e\n    \u003cstrong\u003e\n        in A minor\u003cbr\u003e\u003c\/strong\u003e19.        1st  Mvt. – Allegro deciso (18:15)\u003cbr\u003e20.        2nd  Mvt. – Andante (6:14)\u003cbr\u003e21.        3rd  Mvt. – Deciso (10:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 March 1939 in Studio Albert, Paris ∙  Matrices: CLX 2134-1,\n    2135-1, 2143-1, 2144-1, 2145-2, 2146-1, 2147-1 \u0026amp;  2148-2 ∙ First issued\n    on Columbia LX 819\/22\n\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003cstrong\u003eB\u003c\/strong\u003e\u003cstrong\u003eé\u003c\/strong\u003e\u003cstrong\u003ela Bart\u003c\/strong\u003e\u003cstrong\u003eó\u003c\/strong\u003e\u003cstrong\u003ek\u003c\/strong\u003e, piano (Tracks 1 – 13)\u003cp\u003e\u003cstrong\u003eConstant Lambert \u003c\/strong\u003e· Philharmonia Orchestra (Track 14)\u003cbr\u003e\u003cstrong\u003eAndor Foldes\u003c\/strong\u003e, piano (Tracks 15 – 17)\u003cbr\u003e\u003cstrong\u003eKurt Ruhrseitz, piano \u003c\/strong\u003e(Track 18)\u003cbr\u003e\u003cstrong\u003eCharles Munch \u003c\/strong\u003e· Orchestre de la Société des Concerts du Conservatoire (Tracks 19 – 21)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eJoseph Szigeti\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 20px;\"\u003e, violin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer:  Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Charles Niss and James H. North for providing source material\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cb\u003eTotal duration: 2hr 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2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3 'Eroica'\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1957 \u0026amp; 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:10\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eCarl Schuricht\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC697.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eCarl Schuricht’s late-fifties Paris Conservatoire Beethoven symphony \ncycle is perhaps one of the more unusual recordings both of its era and,\n more generally, of Beethoven cycles. To begin with there is the \nquestion of the recordings themselves. \u003cbr\u003e\u003cbr\u003eMade in the Salle Wagram \nin Paris between 1957 and 1959 at a time when just about everyone was \nembracing the idea of stereo in classical music recordings, the \nSchuricht series was made and released in defiant mono. Or was it? For \nmany years this appeared to be the case – certainly the vinyl releases \nat the time were all mono, and often very competitively priced – in the \nUK at least. \u003cbr\u003e\u003cbr\u003eWhen EMI reissued the complete cycle in the late \n1980s, once again the nine symphonies were released in mono. It was not \nuntil the 21st century that a stereo recording from this set emerged, in\n the shape of the Ninth ‘Choral’ Symphony – why this had been  \noverlooked for so many years is hard to understand. Nevertheless the \nrest of the series remains mono or – in the case of these Pristine XR \nremasters – with a very pleasing Ambient Stereo ambience.\u003cbr\u003e\u003cbr\u003eWhat \nwas also unusual was the French orchestra, which to some contemporary \nears outside of the country sounded all wrong: for some it was the \nplaying style, for others the sound of some rather unique instruments in\n the brass and woodwind were off-putting. But in the fullness of time \nopinions have been revised and some have come around to the view that \nthis is a very special Beethoven cycle indeed:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e“My\n immediate impression was that I had never heard Beethoven conducted in \nquite this way. That is not the same as saying I had never heard \nBeethoven played this way. By certain string quartets, for example. I \nwas reminded of Serkin playing the piano sonatas, even more, perhaps, of\n late Backhaus. The first symphony immediately created an impression of \ngut conviction and great vitality. As with late Backhaus, technical \nperfection is not an essential, phrasing can be a bit rough and \nbreathless, but you get a sense of contact with the music that you more \noften get from hands-on performers than from conductors whose vision has\n to be realised by others: namely the orchestra. This generally \ntranslates into brisk, spinning tempi that are not driven, or goaded \nonward, by a conductor with a whip, but have a vitality that seems to \narise from the music. In the second movement of this same symphony there\n is a warm songfulness rather than an attempt to wrest a prayer for \nhumanity from every phrase. It is here, too, that the French woodwind \nare at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over\n this. While it is true that the Historically Informed brigade would run\n a mile from such vibrato, modern performances on period-style \ninstruments have rediscovered a factor which was still available in \nParis in the 1950s. Each instrument has its own personality, makes its \nown contribution to the argument, instead of being blended so that the \nwind band might as well be a harmonium. With the wind forwardly balanced\n into the bargain, these performances contain elements that were \nscarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis\n sense of vital contact with the music crescendos through the first \nthree symphonies. The “Eroica” slow movement is an interesting case. \nSchuricht starts out at a fairly flowing, but expressive tempo. Most \nconductors start slower, but have to move forward later. Schuricht holds\n his tempo, but not in the sense of dogmatically ploughing on \nregardless. He simply doesn’t seem to find it necessary to make any \nadjustment, for his tempo fits every part of the movement beautifully. \nThe proof of this is heard as the initial march theme returns after the \nclimax and sails in without the conductor having to put on the brakes. \nThe final disintegration has rarely been so moving – it emerges so \ninevitably from what came before. In spite of a not very slow initial \ntempo this is one of the longer versions on record: at 15:40 it is \nexceeded by Toscanini’s 16:06 in 1939 but is expansive compared with \nKlemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way \nround…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid\n that any critic should recommend a “best version” of such multifarious \nworks, or even a “best version” of each single symphony. We can try to \ndistinguish between the ones that count and those that don’t. This cycle\n counts. It explores avenues of Beethoven interpretation, areas of \nBeethovenian truth, not touched upon elsewhere.” - Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\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\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Two\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2 in D major, Op. 36\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio molto - Allegro con brio  (10:00)\u003cbr\u003e2. 2nd mvt. - Larghetto  (12:06)\u003cbr\u003e3.3rd mvt. - Scherzo. Allegro - Trio  (3:21)\u003cbr\u003e4. 4th mvt. - Allegro molto  (6:57)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 \u0026amp; 27 September, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 in E flat major, Op. 55, 'Eroica'\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro con brio  (14:15)\u003cbr\u003e6. 2nd mvt. - Marcia funebre. Adagio assai  (15:46)\u003cbr\u003e7. 3rd mvt. - Scherzo. Allegro vivace - Trio  (5:36)\u003cbr\u003e8. 4th mvt. - Finale. Allegro molto  (11:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18, 20, 23 December, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCarl Schuricht\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003e\u003cbr\u003eProducers: \u003cbr\u003eVictor Olof (Symphony 2)\u003cbr\u003eNorbert Gamsohn (Symphony 3)\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  79:10 \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC697.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC697.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":47003719729486,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205515362638,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205515395406,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC697.jpg?v=1695117555"},{"product_id":"pasc700","title":"SCHURICHT Beethoven Symphonies Volume Three (Paris, 1957\/58) - PASC700","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1957 \u0026amp; 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 64:50\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eCarl Schuricht\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC700.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n        \u003cp\u003eCarl Schuricht’s late-fifties Paris Conservatoire Beethoven symphony \ncycle is perhaps one of the more unusual recordings both of its era and,\n more generally, of Beethoven cycles. To begin with there is the \nquestion of the recordings themselves. \u003cbr\u003e\u003cbr\u003eMade in the Salle Wagram \nin Paris between 1957 and 1959 at a time when just about everyone was \nembracing the idea of stereo in classical music recordings, the \nSchuricht series was made and released in defiant mono. Or was it? For \nmany years this appeared to be the case – certainly the vinyl releases \nat the time were all mono, and often very competitively priced – in the \nUK at least. \u003cbr\u003e\u003cbr\u003eWhen EMI reissued the complete cycle in the late \n1980s, once again the nine symphonies were released in mono. It was not \nuntil the 21st century that a stereo recording from this set emerged, in\n the shape of the Ninth ‘Choral’ Symphony – why this had been  \noverlooked for so many years is hard to understand. Nevertheless the \nrest of the series remains mono or – in the case of these Pristine XR \nremasters – with a very pleasing Ambient Stereo ambience.\u003cbr\u003e\u003cbr\u003eWhat \nwas also unusual was the French orchestra, which to some contemporary \nears outside of the country sounded all wrong: for some it was the \nplaying style, for others the sound of some rather unique instruments in\n the brass and woodwind were off-putting. But in the fullness of time \nopinions have been revised and some have come around to the view that \nthis is a very special Beethoven cycle indeed:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e“My\n immediate impression was that I had never heard Beethoven conducted in \nquite this way. That is not the same as saying I had never heard \nBeethoven played this way. By certain string quartets, for example. I \nwas reminded of Serkin playing the piano sonatas, even more, perhaps, of\n late Backhaus. The first symphony immediately created an impression of \ngut conviction and great vitality. As with late Backhaus, technical \nperfection is not an essential, phrasing can be a bit rough and \nbreathless, but you get a sense of contact with the music that you more \noften get from hands-on performers than from conductors whose vision has\n to be realised by others: namely the orchestra. This generally \ntranslates into brisk, spinning tempi that are not driven, or goaded \nonward, by a conductor with a whip, but have a vitality that seems to \narise from the music. In the second movement of this same symphony there\n is a warm songfulness rather than an attempt to wrest a prayer for \nhumanity from every phrase. It is here, too, that the French woodwind \nare at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over\n this. While it is true that the Historically Informed brigade would run\n a mile from such vibrato, modern performances on period-style \ninstruments have rediscovered a factor which was still available in \nParis in the 1950s. Each instrument has its own personality, makes its \nown contribution to the argument, instead of being blended so that the \nwind band might as well be a harmonium. With the wind forwardly balanced\n into the bargain, these performances contain elements that were \nscarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis\n sense of vital contact with the music crescendos through the first \nthree symphonies. The “Eroica” slow movement is an interesting case. \nSchuricht starts out at a fairly flowing, but expressive tempo. Most \nconductors start slower, but have to move forward later. Schuricht holds\n his tempo, but not in the sense of dogmatically ploughing on \nregardless. He simply doesn’t seem to find it necessary to make any \nadjustment, for his tempo fits every part of the movement beautifully. \nThe proof of this is heard as the initial march theme returns after the \nclimax and sails in without the conductor having to put on the brakes. \nThe final disintegration has rarely been so moving – it emerges so \ninevitably from what came before. In spite of a not very slow initial \ntempo this is one of the longer versions on record: at 15:40 it is \nexceeded by Toscanini’s 16:06 in 1939 but is expansive compared with \nKlemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way \nround…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid\n that any critic should recommend a “best version” of such multifarious \nworks, or even a “best version” of each single symphony. We can try to \ndistinguish between the ones that count and those that don’t. This cycle\n counts. It explores avenues of Beethoven interpretation, areas of \nBeethovenian truth, not touched upon elsewhere.”\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e - Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\n      \n        \n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Three\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 in B flat major, Op. 60\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio - Allegro vivace  (11:44)\u003cbr\u003e2. 2nd mvt. - Adagio  (9:21)\u003cbr\u003e3. 3rd mvt. - Allegro vivace  (5:28)\u003cbr\u003e4. 4th mvt. - Allegro ma non troppo  (7:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23, 25 \u0026amp; 26 September, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro con brio  (7:35)\u003cbr\u003e6. 2nd mvt. - Allegro con moto  (9:45)\u003cbr\u003e7. 3rd mvt. - Scherzo. Allegro  (5:12)\u003cbr\u003e8. 4th mvt. - Allegro  (8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25-27 \u0026amp; 29 April, 1957\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCarl Schuricht\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003e\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  64:50 \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC700.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC700.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":47073047183694,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205514772814,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205514805582,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC700_ecdec978-744a-4035-ad2b-a9cc144bde49.jpg?v=1695960905"},{"product_id":"pasc700-cd","title":"SCHURICHT Beethoven Symphonies Volume Three (Paris, 1957\/58) - 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\u003ci\u003ebonus track\u003c\/i\u003e)\u003c\/p\u003e\u003cp\u003e \u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1957\/58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  75:23  \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCarl Schuricht\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC704.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e“My immediate impression was that I had never heard Beethoven conducted in quite this way. That is not the same as saying I had never heard Beethoven played this way. By certain string quartets, for example. I was reminded of Serkin playing the piano sonatas, even more, perhaps, of late Backhaus. The first symphony immediately created an impression of gut conviction and great vitality. As with late Backhaus, technical perfection is not an essential, phrasing can be a bit rough and breathless, but you get a sense of contact with the music that you more often get from hands-on performers than from conductors whose vision has to be realised by others: namely the orchestra. This generally translates into brisk, spinning tempi that are not driven, or goaded onward, by a conductor with a whip, but have a vitality that seems to arise from the music. In the second movement of this same symphony there is a warm songfulness rather than an attempt to wrest a prayer for humanity from every phrase. It is here, too, that the French woodwind are at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over this. While it is true that the Historically Informed brigade would run a mile from such vibrato, modern performances on period-style instruments have rediscovered a factor which was still available in Paris in the 1950s. Each instrument has its own personality, makes its own contribution to the argument, instead of being blended so that the wind band might as well be a harmonium. With the wind forwardly balanced into the bargain, these performances contain elements that were scarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis sense of vital contact with the music crescendos through the first three symphonies. The “Eroica” slow movement is an interesting case. Schuricht starts out at a fairly flowing, but expressive tempo. Most conductors start slower, but have to move forward later. Schuricht holds his tempo, but not in the sense of dogmatically ploughing on regardless. He simply doesn’t seem to find it necessary to make any adjustment, for his tempo fits every part of the movement beautifully. The proof of this is heard as the initial march theme returns after the climax and sails in without the conductor having to put on the brakes. The final disintegration has rarely been so moving – it emerges so inevitably from what came before. In spite of a not very slow initial tempo this is one of the longer versions on record: at 15:40 it is exceeded by Toscanini’s 16:06 in 1939 but is expansive compared with Klemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way round…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid that any critic should recommend a “best version” of such multifarious works, or even a “best version” of each single symphony. We can try to distinguish between the ones that count and those that don’t. This cycle counts. It explores avenues of Beethoven interpretation, areas of Beethovenian truth, not touched upon elsewhere.” \u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e- Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eThis fourth volume in this series - \"an exceptionally fine but neglected Beethoven symphony cycle\" (Fanfare magazine) includes not only the Seventh and Eighth Symphonies, given \"a clarity, a vitality and an absence of traditional dogma which Schuricht could hardly have obtained except with an orchestra supposedly extraneous to the Beethoven tradition\" (MusicWeb International), but also brings you the product of an interesting and unexpected discovery.\u003cbr\u003e\u003cbr\u003eBeethoven's Ninth Symphony, recorded by Schuricht at the end of May 1958, was the only symphony to be issued in both mono and stereo versions, and whilst the second, third and fourth movements of the Ninth are taken from the same takes in both instances - the durations and performances are identical - this was not the case for the opening movement, not even remotely! If one times from the start of the opening note to the very end of the final note, Schuricht's mono take runs to 14:59, whilst his stereo version clocks in some 48 seconds longer, at 15:47 - a significant difference in pacing and approach from the conductor.\u003cbr\u003e\u003cbr\u003eIn the interests of completion we have therefore included both mono and stereo versions of the Ninth Symphony's first movement in this series. CD duration requires that the mono take is here, on the Fourth Volume as a taster for what is to come, rather than as an addendum to the fifth volume, which brings you the full, stereo version of Beethoven's Ninth, \"Choral\" Symphony.\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\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\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Four\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Poco sostenuto - Vivace  (11:34)\u003cbr\u003e2. 2nd mvt. - Allegretto  (7:59)\u003cbr\u003e3. 3rd mvt. - Presto  (7:25)\u003cbr\u003e4. 4th mvt. - Allegro con brio  (7:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11-12 June, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 8 in F major, Op. 93\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro vivace e con brio  (9:14)\u003cbr\u003e6. 2nd mvt. - Allegretto scherzando  (3:52)\u003cbr\u003e7. 3rd mvt. - Tempo di Menuetto  (5:00)\u003cbr\u003e8. 4th mvt. - Allegro vivace  (8:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 \u0026amp; 10 May, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBONUS TRACK - MONO-ONLY TAKE\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125\u003c\/span\u003e\u003cbr\u003e9. 1st mvt. - Allegro ma non troppo, un poco maestoso  (15:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27-29 \u0026amp; 31 May, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  75:23  \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\/PASC704.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC704.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":47227023884622,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205514248526,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205514281294,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC704_add93943-cce1-4d06-b744-a8e9b043a200.jpg?v=1699004190"},{"product_id":"pasc704-cd","title":"SCHURICHT Beethoven Symphonies Volume Four (Paris, 1957\/58) - 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with a different, swifter recording of the opening movement (heard on Volume 4 of this series) - here we present the full, very wide stereo version of Schuricht's Beethoven 9, XR remastered in dramatic style. We managed to find two historic reviews of the release - first this, of the original mono LPs:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\"This is a hearty performance of the 9th, in speeds alone and apart from its general conception. Put on a few bars of Klemperer conducting the first movement after hearing Schuricht and he seems an old tortoise; but what he gets out of it and the experience he makes it for the listener is plain if you go all the way with him. Schuricht’s performance does sound as if he is doing it on the B.B.C’s Home Service and \u003ci\u003emust \u003c\/i\u003eget it finished before the 9 o’clock News. [n.b. \u003ci\u003ethis refers to the faster, mono take\u003c\/i\u003e]\u003cbr\u003e\u003cbr\u003eThe slow movement begins with strings that are nothing like \u003ci\u003emezza voce \u003c\/i\u003eand when, later, they run into semiquavers, their line is most unusually emphatic. The whole movement lacks inward feeling and it utterly failed to move this listener.\u003cbr\u003e\u003cbr\u003eAs you would expect, the scherzo and finale come off far more successfully and the former is very deftly played. (The repeat of its second part is omitted, as often, and the orchestration is emended at bars 93 and 330 onwards, horns being turned over to the woodwind theme). The finale is good indeed, with an impressive team of soloists and a chorus that sings with energy and attack. And one point that immediately puts me on Schuricht’s side, the main theme is started at a real allegro right away.\u003cbr\u003e\u003cbr\u003eBut whatever one may find to commend, the conductor’s idea of the first and slow movements fails so greatly to give the experience we know this music can give that the performance as a whole cannot be recommended—and this, by the way, in spite of a very good recording indeed. And in spite, of a really first-class perfor¬mance of the 5th Symphony thrown in.\u003cbr\u003e\u003cbr\u003eThe discs are issued in H.M.V’s Concert Classics series and are very inexpensive. There is no doubt that if you care more about good sound than the expression of the music, this cheap 2-disc version is better than the 1-disc issues available. And for all I know, you may find the performance bracing!\" \u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e- \u003cb\u003eT.H.\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1959 (\u003ci\u003emono HMV LP release, c\/w Symphony No. 5\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"\"\u003e\u003cbr\u003eThis second review of a stereo reissue dates from some 48 years later, when it appeared in Fanfare magazine:\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003cbr\u003e\"Schuricht’s interpretation is lively without usually feeling rushed, a matter of tempos on the quick side of standard, and firmly established rhythms from which he doesn’t greatly deviate. Attacks are sharp and contrapuntal lines, well-defined, notably so in the first movement. The Scherzo is especially successful, with the French horns, which simply don’t blend into the orchestral mix, making a virtue of their aggressively distinctive sound. Some other interesting touches include a rattenuto right before he cuts loose with the theme under full percussion barrage at 3:40; and a delightfully scampering trio.\u003cbr\u003e\u003cbr\u003eThe slow movement will not please those looking for “heavenly length.” I find it too lacking in atmosphere and span, given the long-breathed melodic lines that Beethoven spins so very well. The finale is similar in this respect, but Schuricht’s jaunty, incisive rhythms and quick tempos are better suited to the material. Frick’s entrance is nothing short of majestic, with his exemplary breath control, legato singing and enunciation. Dickie is slightly nasal, but there’s a nice bloom to his vibrato, and both Lipp and Höngen [sic] are strong. The Elisabeth Brasseur Chorale is splendid, and the entire effect by the conclusion is almost operatic in its joyful, maintained intensity.\u003cbr\u003e\u003cbr\u003eThe orchestra is not without obvious flaws, though. Poor blending between the sections, bad enough in itself, also means that bobbles are more obvious when they occur, and they occur more often than one could wish, despite some otherwise virtuosic playing. If there was time set aside for a touchup session on the four days in which this Ninth was recorded, it was unsuccessful in the main. Still, drive, focus, and clarity are there, in spades.\"\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e - \u003cb\u003eBarry Brenesal\u003c\/b\u003e, \u003ci\u003eFanfare \u003c\/i\u003emagazine, Sept\/Oct 2007 (\u003ci\u003eTestament CD\u003c\/i\u003e)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Five\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro ma non troppo, un poco maestoso  (15:51)\u003cbr\u003e2. 2nd mvt. - Scherzo. Molto vivace - Presto  (11:18)\u003cbr\u003e3. 3rd mvt. - Adagio molto e cantabile  (16:15)\u003cbr\u003e4. 4th mvt. - Presto - Allegro  (22:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27-29 \u0026amp; 31 May, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWilma Lipp\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eMarga Höffgen\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eMurray Dickie\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eGottlob Frick\u003c\/b\u003e, bass\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorale Elisabeth Brasseur\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003e\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  65:51  \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\/PASC708.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC708.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":47350039413070,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55205513757006,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55205513789774,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC708_a5dba3bc-53fb-4857-bb83-e05dececb8d6.jpg?v=1702012504"},{"product_id":"pasc708-cd","title":"SCHURICHT Beethoven Symphonies Volume Five (Paris, stereo, 1958) - 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PASC694\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eCarl Schuricht’s late-fifties Paris Conservatoire Beethoven symphony cycle is perhaps one of the more unusual recordings both of its era and, more generally, of Beethoven cycles. To begin with there is the question of the recordings themselves. \u003cbr\u003e\u003cbr\u003eMade in the Salle Wagram in Paris between 1957 and 1959 at a time when just about everyone was embracing the idea of stereo in classical music recordings, the Schuricht series was made and released in defiant mono. Or was it? For many years this appeared to be the case – certainly the vinyl releases at the time were all mono, and often very competitively priced – in the UK at least. \u003cbr\u003e\u003cbr\u003eWhen EMI reissued the complete cycle in the late 1980s, once again the nine symphonies were released in mono. It was not until the 21st century that a stereo recording from this set emerged, in the shape of the Ninth ‘Choral’ Symphony – why this had been  overlooked for so many years is hard to understand. Nevertheless the rest of the series remains mono or – in the case of these Pristine XR remasters – with a very pleasing Ambient Stereo ambience.\u003cbr\u003e\u003cbr\u003eWhat was also unusual was the French orchestra, which to some contemporary ears outside of the country sounded all wrong: for some it was the playing style, for others the sound of some rather unique instruments in the brass and woodwind were off-putting. But in the fullness of time opinions have been revised and some have come around to the view that this is a very special Beethoven cycle indeed:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e“My immediate impression was that I had never heard Beethoven conducted in quite this way. That is not the same as saying I had never heard Beethoven played this way. By certain string quartets, for example. I was reminded of Serkin playing the piano sonatas, even more, perhaps, of late Backhaus. The first symphony immediately created an impression of gut conviction and great vitality. As with late Backhaus, technical perfection is not an essential, phrasing can be a bit rough and breathless, but you get a sense of contact with the music that you more often get from hands-on performers than from conductors whose vision has to be realised by others: namely the orchestra. This generally translates into brisk, spinning tempi that are not driven, or goaded onward, by a conductor with a whip, but have a vitality that seems to arise from the music. In the second movement of this same symphony there is a warm songfulness rather than an attempt to wrest a prayer for humanity from every phrase. It is here, too, that the French woodwind are at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over this. While it is true that the Historically Informed brigade would run a mile from such vibrato, modern performances on period-style instruments have rediscovered a factor which was still available in Paris in the 1950s. Each instrument has its own personality, makes its own contribution to the argument, instead of being blended so that the wind band might as well be a harmonium. With the wind forwardly balanced into the bargain, these performances contain elements that were scarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis sense of vital contact with the music crescendos through the first three symphonies. The “Eroica” slow movement is an interesting case. Schuricht starts out at a fairly flowing, but expressive tempo. Most conductors start slower, but have to move forward later. Schuricht holds his tempo, but not in the sense of dogmatically ploughing on regardless. He simply doesn’t seem to find it necessary to make any adjustment, for his tempo fits every part of the movement beautifully. The proof of this is heard as the initial march theme returns after the climax and sails in without the conductor having to put on the brakes. The final disintegration has rarely been so moving – it emerges so inevitably from what came before. In spite of a not very slow initial tempo this is one of the longer versions on record: at 15:40 it is exceeded by Toscanini’s 16:06 in 1939 but is expansive compared with Klemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way round…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid that any critic should recommend a “best version” of such multifarious works, or even a “best version” of each single symphony. We can try to distinguish between the ones that count and those that don’t. This cycle counts. It explores avenues of Beethoven interpretation, areas of Beethovenian truth, not touched upon elsewhere.” - Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Two (Paris, 1957\/58) - PASC697\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eCarl Schuricht’s late-fifties Paris Conservatoire Beethoven symphony \ncycle is perhaps one of the more unusual recordings both of its era and,\n more generally, of Beethoven cycles. To begin with there is the \nquestion of the recordings themselves. \u003cbr\u003e\u003cbr\u003eMade in the Salle Wagram \nin Paris between 1957 and 1959 at a time when just about everyone was \nembracing the idea of stereo in classical music recordings, the \nSchuricht series was made and released in defiant mono. Or was it? For \nmany years this appeared to be the case – certainly the vinyl releases \nat the time were all mono, and often very competitively priced – in the \nUK at least. \u003cbr\u003e\u003cbr\u003eWhen EMI reissued the complete cycle in the late \n1980s, once again the nine symphonies were released in mono. It was not \nuntil the 21st century that a stereo recording from this set emerged, in\n the shape of the Ninth ‘Choral’ Symphony – why this had been  \noverlooked for so many years is hard to understand. Nevertheless the \nrest of the series remains mono or – in the case of these Pristine XR \nremasters – with a very pleasing Ambient Stereo ambience.\u003cbr\u003e\u003cbr\u003eWhat \nwas also unusual was the French orchestra, which to some contemporary \nears outside of the country sounded all wrong: for some it was the \nplaying style, for others the sound of some rather unique instruments in\n the brass and woodwind were off-putting. But in the fullness of time \nopinions have been revised and some have come around to the view that \nthis is a very special Beethoven cycle indeed:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e“My\n immediate impression was that I had never heard Beethoven conducted in \nquite this way. That is not the same as saying I had never heard \nBeethoven played this way. By certain string quartets, for example. I \nwas reminded of Serkin playing the piano sonatas, even more, perhaps, of\n late Backhaus. The first symphony immediately created an impression of \ngut conviction and great vitality. As with late Backhaus, technical \nperfection is not an essential, phrasing can be a bit rough and \nbreathless, but you get a sense of contact with the music that you more \noften get from hands-on performers than from conductors whose vision has\n to be realised by others: namely the orchestra. This generally \ntranslates into brisk, spinning tempi that are not driven, or goaded \nonward, by a conductor with a whip, but have a vitality that seems to \narise from the music. In the second movement of this same symphony there\n is a warm songfulness rather than an attempt to wrest a prayer for \nhumanity from every phrase. It is here, too, that the French woodwind \nare at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over\n this. While it is true that the Historically Informed brigade would run\n a mile from such vibrato, modern performances on period-style \ninstruments have rediscovered a factor which was still available in \nParis in the 1950s. Each instrument has its own personality, makes its \nown contribution to the argument, instead of being blended so that the \nwind band might as well be a harmonium. With the wind forwardly balanced\n into the bargain, these performances contain elements that were \nscarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis\n sense of vital contact with the music crescendos through the first \nthree symphonies. The “Eroica” slow movement is an interesting case. \nSchuricht starts out at a fairly flowing, but expressive tempo. Most \nconductors start slower, but have to move forward later. Schuricht holds\n his tempo, but not in the sense of dogmatically ploughing on \nregardless. He simply doesn’t seem to find it necessary to make any \nadjustment, for his tempo fits every part of the movement beautifully. \nThe proof of this is heard as the initial march theme returns after the \nclimax and sails in without the conductor having to put on the brakes. \nThe final disintegration has rarely been so moving – it emerges so \ninevitably from what came before. In spite of a not very slow initial \ntempo this is one of the longer versions on record: at 15:40 it is \nexceeded by Toscanini’s 16:06 in 1939 but is expansive compared with \nKlemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way \nround…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid\n that any critic should recommend a “best version” of such multifarious \nworks, or even a “best version” of each single symphony. We can try to \ndistinguish between the ones that count and those that don’t. This cycle\n counts. It explores avenues of Beethoven interpretation, areas of \nBeethovenian truth, not touched upon elsewhere.” - Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\n\u003cbr\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Three (Paris, 1957\/58) - PASC700\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n        \u003cp\u003eCarl Schuricht’s late-fifties Paris Conservatoire Beethoven symphony \ncycle is perhaps one of the more unusual recordings both of its era and,\n more generally, of Beethoven cycles. To begin with there is the \nquestion of the recordings themselves. \u003cbr\u003e\u003cbr\u003eMade in the Salle Wagram \nin Paris between 1957 and 1959 at a time when just about everyone was \nembracing the idea of stereo in classical music recordings, the \nSchuricht series was made and released in defiant mono. Or was it? For \nmany years this appeared to be the case – certainly the vinyl releases \nat the time were all mono, and often very competitively priced – in the \nUK at least. \u003cbr\u003e\u003cbr\u003eWhen EMI reissued the complete cycle in the late \n1980s, once again the nine symphonies were released in mono. It was not \nuntil the 21st century that a stereo recording from this set emerged, in\n the shape of the Ninth ‘Choral’ Symphony – why this had been  \noverlooked for so many years is hard to understand. Nevertheless the \nrest of the series remains mono or – in the case of these Pristine XR \nremasters – with a very pleasing Ambient Stereo ambience.\u003cbr\u003e\u003cbr\u003eWhat \nwas also unusual was the French orchestra, which to some contemporary \nears outside of the country sounded all wrong: for some it was the \nplaying style, for others the sound of some rather unique instruments in\n the brass and woodwind were off-putting. But in the fullness of time \nopinions have been revised and some have come around to the view that \nthis is a very special Beethoven cycle indeed:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e“My\n immediate impression was that I had never heard Beethoven conducted in \nquite this way. That is not the same as saying I had never heard \nBeethoven played this way. By certain string quartets, for example. I \nwas reminded of Serkin playing the piano sonatas, even more, perhaps, of\n late Backhaus. The first symphony immediately created an impression of \ngut conviction and great vitality. As with late Backhaus, technical \nperfection is not an essential, phrasing can be a bit rough and \nbreathless, but you get a sense of contact with the music that you more \noften get from hands-on performers than from conductors whose vision has\n to be realised by others: namely the orchestra. This generally \ntranslates into brisk, spinning tempi that are not driven, or goaded \nonward, by a conductor with a whip, but have a vitality that seems to \narise from the music. In the second movement of this same symphony there\n is a warm songfulness rather than an attempt to wrest a prayer for \nhumanity from every phrase. It is here, too, that the French woodwind \nare at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over\n this. While it is true that the Historically Informed brigade would run\n a mile from such vibrato, modern performances on period-style \ninstruments have rediscovered a factor which was still available in \nParis in the 1950s. Each instrument has its own personality, makes its \nown contribution to the argument, instead of being blended so that the \nwind band might as well be a harmonium. With the wind forwardly balanced\n into the bargain, these performances contain elements that were \nscarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis\n sense of vital contact with the music crescendos through the first \nthree symphonies. The “Eroica” slow movement is an interesting case. \nSchuricht starts out at a fairly flowing, but expressive tempo. Most \nconductors start slower, but have to move forward later. Schuricht holds\n his tempo, but not in the sense of dogmatically ploughing on \nregardless. He simply doesn’t seem to find it necessary to make any \nadjustment, for his tempo fits every part of the movement beautifully. \nThe proof of this is heard as the initial march theme returns after the \nclimax and sails in without the conductor having to put on the brakes. \nThe final disintegration has rarely been so moving – it emerges so \ninevitably from what came before. In spite of a not very slow initial \ntempo this is one of the longer versions on record: at 15:40 it is \nexceeded by Toscanini’s 16:06 in 1939 but is expansive compared with \nKlemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way \nround…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid\n that any critic should recommend a “best version” of such multifarious \nworks, or even a “best version” of each single symphony. We can try to \ndistinguish between the ones that count and those that don’t. This cycle\n counts. It explores avenues of Beethoven interpretation, areas of \nBeethovenian truth, not touched upon elsewhere.”\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e - Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\n\u003cbr\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\n      \n        \n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Four (Paris, 1957\/58) - PASC704\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e“My immediate impression was that I had never heard Beethoven conducted in quite this way. That is not the same as saying I had never heard Beethoven played this way. By certain string quartets, for example. I was reminded of Serkin playing the piano sonatas, even more, perhaps, of late Backhaus. The first symphony immediately created an impression of gut conviction and great vitality. As with late Backhaus, technical perfection is not an essential, phrasing can be a bit rough and breathless, but you get a sense of contact with the music that you more often get from hands-on performers than from conductors whose vision has to be realised by others: namely the orchestra. This generally translates into brisk, spinning tempi that are not driven, or goaded onward, by a conductor with a whip, but have a vitality that seems to arise from the music. In the second movement of this same symphony there is a warm songfulness rather than an attempt to wrest a prayer for humanity from every phrase. It is here, too, that the French woodwind are at their most piquant.\u003cbr\u003e\u003cbr\u003eI must record a curious sensation over this. While it is true that the Historically Informed brigade would run a mile from such vibrato, modern performances on period-style instruments have rediscovered a factor which was still available in Paris in the 1950s. Each instrument has its own personality, makes its own contribution to the argument, instead of being blended so that the wind band might as well be a harmonium. With the wind forwardly balanced into the bargain, these performances contain elements that were scarcely heard again until the HIP movement got going two decades later.\u003cbr\u003e\u003cbr\u003eThis sense of vital contact with the music crescendos through the first three symphonies. The “Eroica” slow movement is an interesting case. Schuricht starts out at a fairly flowing, but expressive tempo. Most conductors start slower, but have to move forward later. Schuricht holds his tempo, but not in the sense of dogmatically ploughing on regardless. He simply doesn’t seem to find it necessary to make any adjustment, for his tempo fits every part of the movement beautifully. The proof of this is heard as the initial march theme returns after the climax and sails in without the conductor having to put on the brakes. The final disintegration has rarely been so moving – it emerges so inevitably from what came before. In spite of a not very slow initial tempo this is one of the longer versions on record: at 15:40 it is exceeded by Toscanini’s 16:06 in 1939 but is expansive compared with Klemperer’s 14:43 in 1956 – and no, I haven’t got these the wrong way round…\u003cbr\u003e\u003cbr\u003e…The time has now come to take it seriously. Heaven forbid that any critic should recommend a “best version” of such multifarious works, or even a “best version” of each single symphony. We can try to distinguish between the ones that count and those that don’t. This cycle counts. It explores avenues of Beethoven interpretation, areas of Beethovenian truth, not touched upon elsewhere.” \u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e- Christopher Howell, \u003ci\u003eMusicWeb International\u003c\/i\u003e, 2013\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis fourth volume in this series - \"an exceptionally fine but neglected Beethoven symphony cycle\" (Fanfare magazine) includes not only the Seventh and Eighth Symphonies, given \"a clarity, a vitality and an absence of traditional dogma which Schuricht could hardly have obtained except with an orchestra supposedly extraneous to the Beethoven tradition\" (MusicWeb International), but also brings you the product of an interesting and unexpected discovery.\u003cbr\u003e\u003cbr\u003eBeethoven's Ninth Symphony, recorded by Schuricht at the end of May 1958, was the only symphony to be issued in both mono and stereo versions, and whilst the second, third and fourth movements of the Ninth are taken from the same takes in both instances - the durations and performances are identical - this was not the case for the opening movement, not even remotely! If one times from the start of the opening note to the very end of the final note, Schuricht's mono take runs to 14:59, whilst his stereo version clocks in some 48 seconds longer, at 15:47 - a significant difference in pacing and approach from the conductor.\u003cbr\u003e\u003cbr\u003eIn the interests of completion we have therefore included both mono and stereo versions of the Ninth Symphony's first movement in this series. CD duration requires that the mono take is here, on the Fourth Volume as a taster for what is to come, rather than as an addendum to the fifth volume, which brings you the full, stereo version of Beethoven's Ninth, \"Choral\" Symphony.\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Five (Paris, stereo, 1958) - PASC708\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eOriginally released in its mono version only, both in France and the UK - with a different, swifter recording of the opening movement (heard on Volume 4 of this series) - here we present the full, very wide stereo version of Schuricht's Beethoven 9, XR remastered in dramatic style. We managed to find two historic reviews of the release - first this, of the original mono LPs:\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\"This is a hearty performance of the 9th, in speeds alone and apart from its general conception. Put on a few bars of Klemperer conducting the first movement after hearing Schuricht and he seems an old tortoise; but what he gets out of it and the experience he makes it for the listener is plain if you go all the way with him. Schuricht’s performance does sound as if he is doing it on the B.B.C’s Home Service and \u003ci\u003emust \u003c\/i\u003eget it finished before the 9 o’clock News. [n.b. \u003ci\u003ethis refers to the faster, mono take\u003c\/i\u003e]\u003cbr\u003e\u003cbr\u003eThe slow movement begins with strings that are nothing like \u003ci\u003emezza voce \u003c\/i\u003eand when, later, they run into semiquavers, their line is most unusually emphatic. The whole movement lacks inward feeling and it utterly failed to move this listener.\u003cbr\u003e\u003cbr\u003eAs you would expect, the scherzo and finale come off far more successfully and the former is very deftly played. (The repeat of its second part is omitted, as often, and the orchestration is emended at bars 93 and 330 onwards, horns being turned over to the woodwind theme). The finale is good indeed, with an impressive team of soloists and a chorus that sings with energy and attack. And one point that immediately puts me on Schuricht’s side, the main theme is started at a real allegro right away.\u003cbr\u003e\u003cbr\u003eBut whatever one may find to commend, the conductor’s idea of the first and slow movements fails so greatly to give the experience we know this music can give that the performance as a whole cannot be recommended—and this, by the way, in spite of a very good recording indeed. And in spite, of a really first-class perfor¬mance of the 5th Symphony thrown in.\u003cbr\u003e\u003cbr\u003eThe discs are issued in H.M.V’s Concert Classics series and are very inexpensive. There is no doubt that if you care more about good sound than the expression of the music, this cheap 2-disc version is better than the 1-disc issues available. And for all I know, you may find the performance bracing!\" \u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e- \u003cb\u003eT.H.\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1959 (\u003ci\u003emono HMV LP release, c\/w Symphony No. 5\u003c\/i\u003e)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"\"\u003e\u003cbr\u003eThis second review of a stereo reissue dates from some 48 years later, when it appeared in Fanfare magazine:\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\u003cbr\u003e\"Schuricht’s interpretation is lively without usually feeling rushed, a matter of tempos on the quick side of standard, and firmly established rhythms from which he doesn’t greatly deviate. Attacks are sharp and contrapuntal lines, well-defined, notably so in the first movement. The Scherzo is especially successful, with the French horns, which simply don’t blend into the orchestral mix, making a virtue of their aggressively distinctive sound. Some other interesting touches include a rattenuto right before he cuts loose with the theme under full percussion barrage at 3:40; and a delightfully scampering trio.\u003cbr\u003e\u003cbr\u003eThe slow movement will not please those looking for “heavenly length.” I find it too lacking in atmosphere and span, given the long-breathed melodic lines that Beethoven spins so very well. The finale is similar in this respect, but Schuricht’s jaunty, incisive rhythms and quick tempos are better suited to the material. Frick’s entrance is nothing short of majestic, with his exemplary breath control, legato singing and enunciation. Dickie is slightly nasal, but there’s a nice bloom to his vibrato, and both Lipp and Höngen [sic] are strong. The Elisabeth Brasseur Chorale is splendid, and the entire effect by the conclusion is almost operatic in its joyful, maintained intensity.\u003cbr\u003e\u003cbr\u003eThe orchestra is not without obvious flaws, though. Poor blending between the sections, bad enough in itself, also means that bobbles are more obvious when they occur, and they occur more often than one could wish, despite some otherwise virtuosic playing. If there was time set aside for a touchup session on the four days in which this Ninth was recorded, it was unsuccessful in the main. Still, drive, focus, and clarity are there, in spades.\"\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e - \u003cb\u003eBarry Brenesal\u003c\/b\u003e, \u003ci\u003eFanfare \u003c\/i\u003emagazine, Sept\/Oct 2007 (\u003ci\u003eTestament CD\u003c\/i\u003e)\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies, Volume One (Paris, 1957\/58) - PASC694\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies, Volume One\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 1 \u003cspan style=\"font-size: 16px;\"\u003ein C major, Op. 21\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio molto - Allegro con brio  (8:17)\u003cbr\u003e2. 2nd mvt. - Andante cantabile con moto  (6:03)\u003cbr\u003e3. 3rd mvt. - Minuet. Allegro molto e vivace - Trio  (3:30)\u003cbr\u003e4. 4th mvt. - Finale. Adagio - Allegro molto e vivace  (6:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 \u0026amp; 29 September, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 6 \u003cspan style=\"font-size: 16px;\"\u003ein F major, Op. 68, 'Pastoral'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande  (9:24)\u003cbr\u003e6. 2nd mvt. - Scene am Bach  (12:36)\u003cbr\u003e7. 3rd mvt. - Lustiges Zusammensein der Landleute  (4:57)\u003cbr\u003e8. 4th mvt. - Gewitter. Sturm  (3:34)\u003cbr\u003e9. 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm  (8:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 April, 2 \u0026amp; 6 May, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  63:10  \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Two (Paris, 1957\/58) - PASC697\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Two\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2 in D major, Op. 36\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio molto - Allegro con brio  (10:00)\u003cbr\u003e2. 2nd mvt. - Larghetto  (12:06)\u003cbr\u003e3.3rd mvt. - Scherzo. Allegro - Trio  (3:21)\u003cbr\u003e4. 4th mvt. - Allegro molto  (6:57)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 26 \u0026amp; 27 September, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 in E flat major, Op. 55, 'Eroica'\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro con brio  (14:15)\u003cbr\u003e6. 2nd mvt. - Marcia funebre. Adagio assai  (15:46)\u003cbr\u003e7. 3rd mvt. - Scherzo. Allegro vivace - Trio  (5:36)\u003cbr\u003e8. 4th mvt. - Finale. Allegro molto  (11:09)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18, 20, 23 December, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCarl Schuricht\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003e\u003cbr\u003eProducers: \u003cbr\u003eVictor Olof (Symphony 2)\u003cbr\u003eNorbert Gamsohn (Symphony 3)\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  79:10 \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Three (Paris, 1957\/58) - PASC700\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Three\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 in B flat major, Op. 60\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio - Allegro vivace  (11:44)\u003cbr\u003e2. 2nd mvt. - Adagio  (9:21)\u003cbr\u003e3. 3rd mvt. - Allegro vivace  (5:28)\u003cbr\u003e4. 4th mvt. - Allegro ma non troppo  (7:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23, 25 \u0026amp; 26 September, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro con brio  (7:35)\u003cbr\u003e6. 2nd mvt. - Allegro con moto  (9:45)\u003cbr\u003e7. 3rd mvt. - Scherzo. Allegro  (5:12)\u003cbr\u003e8. 4th mvt. - Allegro  (8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25-27 \u0026amp; 29 April, 1957\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eCarl Schuricht\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003e\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  64:50 \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Four (Paris, 1957\/58) - PASC704\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Four\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Poco sostenuto - Vivace  (11:34)\u003cbr\u003e2. 2nd mvt. - Allegretto  (7:59)\u003cbr\u003e3. 3rd mvt. - Presto  (7:25)\u003cbr\u003e4. 4th mvt. - Allegro con brio  (7:10)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11-12 June, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 8 in F major, Op. 93\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro vivace e con brio  (9:14)\u003cbr\u003e6. 2nd mvt. - Allegretto scherzando  (3:52)\u003cbr\u003e7. 3rd mvt. - Tempo di Menuetto  (5:00)\u003cbr\u003e8. 4th mvt. - Allegro vivace  (8:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 \u0026amp; 10 May, 1957\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBONUS TRACK - MONO-ONLY TAKE\u003c\/i\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125\u003c\/span\u003e\u003cbr\u003e9. 1st mvt. - Allegro ma non troppo, un poco maestoso  (15:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27-29 \u0026amp; 31 May, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  75:23  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSCHURICHT Beethoven Symphonies Volume Five (Paris, stereo, 1958) - PASC708\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSCHURICHT \u003c\/b\u003eBeethoven Symphonies Volume Five\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro ma non troppo, un poco maestoso  (15:51)\u003cbr\u003e2. 2nd mvt. - Scherzo. Molto vivace - Presto  (11:18)\u003cbr\u003e3. 3rd mvt. - Adagio molto e cantabile  (16:15)\u003cbr\u003e4. 4th mvt. - Presto - Allegro  (22:27)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27-29 \u0026amp; 31 May, 1958\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWilma Lipp\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eMarga Höffgen\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eMurray Dickie\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eGottlob Frick\u003c\/b\u003e, bass\u003cbr\u003e\u003cbr\u003e\u003cb\u003eChorale Elisabeth Brasseur\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCarl Schuricht\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR Remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Carl Schuricht\u003cbr\u003e\u003cbr\u003eRecorded at Salle Wagram, Paris\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Paul Vavasseur\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  65:51  \u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo \u0026 Ambient Stereo 24-bit FLAC","offer_id":47370032349518,"sku":null,"price":80.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205513560398,"sku":null,"price":55.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205513593166,"sku":null,"price":45.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC708.jpg?v=1769530063"},{"product_id":"pabx043-cd","title":"SCHURICHT Beethoven Symphonies Complete (Paris, 1957\/8) - PABX043 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC708.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"5 CDs only in plastic sleeve (+MP3)","offer_id":47370006430030,"sku":null,"price":63.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC708.jpg?v=1701683342"},{"product_id":"pasc757","title":"JORDÁ conducts Spanish Music (1950\/1959) - PASC757","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA \u003c\/b\u003eEl sombrero de tres picos\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eALBÉNIZ \u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e(\u003ci\u003eOrch. Arbós\u003c\/i\u003e)\u003c\/span\u003e Ibéria Suite\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTURINA \u003c\/b\u003eLa Procesión del Rocío\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e(\u003ci\u003eOrch. de Grignon\u003c\/i\u003e)\u003c\/span\u003e Danzas españolas\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFALLA \u003c\/b\u003eLa Vida Breve - Danza Española No. 1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1950 \u0026amp; 1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:56\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBarbara Howitt \u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e(\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003emezzo-soprano\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 14px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eEnrique Jordá\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC757.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eManuel de Falla\u003c\/b\u003e’s \u003ci\u003eEl sombrero de tres picos \u003c\/i\u003e(\u003ci\u003eThe Three-Cornered Hat\u003c\/i\u003e) began life in 1917 as a modest pantomime with voice and chamber orchestra, based on Pedro Antonio de Alarcón’s picaresque novella of the same name. It was transformed two years later into a full ballet when the impresario Sergei Diaghilev commissioned Falla to expand it for his Ballets Russes. The resulting work, premiered in London in 1919 with designs by Pablo Picasso, stands as one of the high points of Spanish musical impressionism—a brilliant fusion of Andalusian colour, rhythmic vitality, and classical sophistication.\u003cbr\u003e\u003cbr\u003eFalla’s score celebrates the earthy exuberance of Spanish folk tradition. Castanets snap, guitars strum, and the pulse of flamenco underpins much of the music, yet it is all filtered through the composer’s refined harmonic palette and structural mastery. Melodies rooted in folk song are transformed into dazzling orchestral dances: the \u003ci\u003eFarruca\u003c\/i\u003e, \u003ci\u003eJota\u003c\/i\u003e, and \u003ci\u003eSeguidillas\u003c\/i\u003e explode with rustic energy, while moments of tenderness—especially in the miller’s wife’s music—reveal Falla’s gift for lyricism. Few works have captured so completely the spirit of Spain without resorting to pastiche.\u003cbr\u003e\u003cbr\u003eThe story itself is a farce of flirtation and comeuppance. A lecherous magistrate (whose titular hat denotes his rank) attempts to seduce a miller’s wife while her husband is away, only to be humiliated and exposed in a series of comic reversals. Falla’s music matches the humour beat for beat: sly woodwind figures accompany the magistrate’s pompous entrances, while raucous brass and percussion underline his ultimate disgrace. Beneath the comedy, however, lies Falla’s subtle portrayal of dignity and defiance in the common folk—a theme that resonated deeply in early 20th-century Spain.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eEl sombrero de tres picos\u003c\/i\u003e remains a cornerstone of the Spanish orchestral repertoire, as exhilarating in the concert suite versions as in its full theatrical form. It bridges the worlds of concert hall and dance stage with rare brilliance, capturing in sound the sunlit wit and passion of Spain itself. Its collaboration with Picasso and Diaghilev also ensured a permanent place in the crosscurrents of modernism, where visual art, dance, and music fused into a singular Mediterranean vibrancy.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEnrique Jordá\u003c\/b\u003e was one of Spain’s most cosmopolitan conductors, admired for his flair, rhythmic energy, and advocacy of Hispanic repertoire. Born in San Sebastián in 1911, he studied in Madrid and began conducting in the 1930s, but the turbulence of the Civil War pushed him to pursue an international career. After wartime years in South America, where he worked extensively in Argentina and Uruguay, Jordá rose rapidly as a guest conductor in Europe and the United States, gaining a reputation for his vivid interpretations and electric presence on the podium.\u003cbr\u003e\u003cbr\u003eHis big breakthrough came in 1954 when he became music director of the San Francisco Symphony, a post he held until 1963. There he brought a fresh, modern outlook to programming, championing contemporary music and introducing audiences to new composers from both sides of the Atlantic. Under his leadership the orchestra made several pioneering stereo recordings for RCA Victor, many of which showcased his dynamic, highly charged approach—particularly in the Latin repertoire he made his own.\u003cbr\u003e\u003cbr\u003eJordá’s style was unmistakable: rhythmically incisive, full of colour and spontaneity, sometimes even daringly impulsive. Critics occasionally noted that his interpretative passion could spill into volatility, but few denied the excitement he generated in performance. His collaborations with artists such as Clifford Curzon, for instance, in works by Falla and Ravel, reveal a conductor capable of both sensitivity and fire—a blend perfectly suited to the sensual brilliance of Spanish impressionism.\u003cbr\u003e\u003cbr\u003eAfter his American years, Jordá returned to Europe, continuing to guest-conduct widely and record prolifically. He remained a tireless advocate for Spanish music, conducting \u003ci\u003eEl amor brujo\u003c\/i\u003e, \u003ci\u003eNoches en los jardines de España\u003c\/i\u003e, and \u003ci\u003eEl sombrero de tres picos\u003c\/i\u003e throughout his career. Though his name is less often mentioned today than some of his contemporaries, his recordings—especially those for Decca and RCA—testify to a musician of immense personality, whose energy and warmth captured something essential of Spain’s spirit in the concert hall.\u003cbr\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\u003eJORDÁ \u003c\/b\u003econducts Spanish Music\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFALLA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEl sombrero de tres picos\u003c\/span\u003e\u003cbr\u003e1. Introduction  (1:34)\u003cbr\u003e2.\u003cb\u003e Part 1\u003c\/b\u003e -  Afternoon  (2:36)\u003cbr\u003e3. The Procession  (3:04)\u003cbr\u003e4. Dance of the Miller's Wife (Fandango)  (2:47)\u003cbr\u003e5. The Corregidor  (0:18)\u003cbr\u003e6. The Miller's Wife  (0:43)\u003cbr\u003e7. The Grapes  (4:15)\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003ePart 2\u003c\/b\u003e - The Neighbour's Dance (Seguidillas)  (3:08)\u003cbr\u003e9. The Miller's Dance (Farruca)  (3:07)\u003cbr\u003e10. The Bodyguard  (0:57)\u003cbr\u003e11. The Miller's Wife  (1:48)\u003cbr\u003e12. The Clock  (1:35)\u003cbr\u003e13. Dance of the Corregidor  (1:11)\u003cbr\u003e14. The Corregidor and the Miller's Wife  (2:13)\u003cbr\u003e15. The Miller  (2:23)\u003cbr\u003e16. Final Dance (Jota)  (6:12)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBarbara Howitt\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e (\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 16px;\"\u003emezzo-soprano\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 16px;\"\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eALBÉNIZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e(\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003eOrch. Arbós\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e)\u003c\/span\u003e Ibéria Suite\u003c\/span\u003e\u003cbr\u003e17. Book 1 - 2. El Puerto   (4:11)\u003cbr\u003e18. Book 2 - 3. Triana  (4:35)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTURINA \u003c\/b\u003eLa Procesión del Rocío, Op. 9 \u003c\/span\u003e\u003cbr\u003e19. 1. Triana en fête  (2:57)\u003cbr\u003e20. 2. La Procession  (5:40)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eGRANADOS \u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e(\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003eOrch. de Grignon\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 14px;\"\u003e)\u003c\/span\u003e Danzas españolas\u003c\/span\u003e\u003cbr\u003e21. 5. Andaluza  (4:07)\u003cbr\u003e22. 2. Oriental  (4:28)\u003cbr\u003e23. 6. Rondalla aragonesa  (4:55)\u003cbr\u003e\u003cbr\u003e24. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFALLA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Vida Breve - Danza Española No.1\u003c\/span\u003e  (3:12)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eEnrique Jordá\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Enrique Jorda\u003cbr\u003e\u003cbr\u003e\u003cb\u003eEl sombrero de tres picos\u003c\/b\u003e\u003cbr\u003erecorded Walthamstow Assembly Hall, 23-24 November 1959\u003cbr\u003ePresented in stereo\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOther recordings\u003c\/b\u003e\u003cbr\u003erecorded La Maison de la Mutualité, Paris, 28 February 1950\u003cbr\u003ePresented in Ambient Stereo\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  71:56\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\/PASC757.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC757.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 \u0026 Ambient Stereo 24-bit FLAC","offer_id":55095290757454,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo \u0026 Ambient Stereo 16-bit FLAC","offer_id":55205503402318,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo \u0026 Ambient Stereo MP3","offer_id":55205503435086,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC757_5bc2f6da-b409-4797-b0a2-01bef2b959f1.jpg?v=1763113276"},{"product_id":"pasc757-cd","title":"JORDÁ conducts Spanish Music (1950\/1959) - 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Although he continued to\n    perform Berlioz until nearly the end of his career, the two works presented\n    here constitute his complete legacy of the composer’s works on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n    Weingartner had first recorded the \u003cem\u003eSymphonie Fantastique\u003c\/em\u003e\n    acoustically during four sessions in March, 1925. However, that version was\n    never released due to the arrival of electrical recording, which was by then\n    already being used by English Columbia’s American affiliate. The performance\n    heard here, recorded in October and November, 1925, appears to be the\n    earliest issued Classical electrical recording made by English Columbia,\n    although the label had previously released some electrics made by American\n    Columbia.\n\u003c\/p\u003e\n\u003cp\u003e\n    While there is cramped sound from the small Petty France Studio, limited\n    frequency range, and audible variation in sonic detail over the three\n    sessions, Weingartner’s flexible tempi in this score belie his reputation\n    for (as critic Jonathan Woolf put it) “patrician imperturbability”. Perhaps\n    the only really troublesome moment in the performance is the beginning of\n    the final movement, which is taken at a ridiculously fast tempo that blurs\n    the opening measures.\n\u003c\/p\u003e\n\u003cp\u003e\n    His second and final foray into Berlioz on disc was the brief, exciting\n    “Trojan March” from the composer’s opera, \u003cem\u003eLes Troyens\u003c\/em\u003e, captured in\n    much more impactful sonics fourteen years later. This was one of an\n    extensive series of recordings he made in Paris with the Conservatoire\n    orchestra during the 1938-39 season; and his energy and control here, as in\n    the Liszt recordings which followed, is amazing for someone in his 76th\n    year.\n\u003c\/p\u003e\n\u003cp\u003e\n    Weingartner’s legacy of Liszt recordings was not quite as slim as those of\n    Berlioz: the two Piano Concertos with Emil von Sauer as soloist (Paris,\n    December 1938) and the tone poems presented here. The latter were recorded\n    at the same session in February, 1940, with a young Walter Legge as\n    producer. The orchestra was, again, the London Symphony, although the London\n    Philharmonic was credited on the labels of the \u003cem\u003eMephisto Waltz\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    Even though the LSO was probably at that time considered the least of\n    London’s three major orchestras (behind Beecham’s LPO and Boult’s BBC SO),\n    their playing is at a notably higher level than it had been fifteen years\n    earlier for the \u003cem\u003eSymphonie Fantastique\u003c\/em\u003e. This was a testament, at\n    least in part, to the rising orchestral standards brought on by the\n    dissemination of electrical orchestral recordings and the comparisons they\n    enabled to such first-rate ensembles as those found in Amsterdam,\n    Philadelphia and Boston, a revolution that was helped along by that very\n    same pioneering 1925 recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the transfers were American Columbia “microphone” label\n    pressings for \u003cem\u003eLes Pr\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003eludes\u003c\/em\u003e and the “Trojan\n    March”, English Columbia pressings for the \u003cem\u003eMephisto Waltz\u003c\/em\u003e (which\n    was only issued in the UK and Argentina), and American Columbia “Viva-Tonal”\n    pressings for the \u003cem\u003eSymphonie Fantastique\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eWEINGARTNER \u003c\/b\u003econducts Berlioz and Liszt\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT Les Pr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eé\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eludes\u003c\/span\u003e\u003c\/strong\u003e,\n    S97\u003cstrong\u003e\u003c\/strong\u003e(14:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 February 1940 in Kingsway Hall, London ∙ Matrices: CAX\n        8733-2, 8734-2, 8735-2 \u0026amp; 8736-2 ∙ First issued on Columbia LX 877\/8\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eLISZT Mephisto Waltz\n    No. 1\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e,\u003c\/strong\u003e S110, No. 2\u003cstrong\u003e\u003c\/strong\u003e(10:35)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 February 1940 in Kingsway Hall, London ∙ Matrices: CAX\n        8737-3, 8738-2 \u0026amp; 8739-2 ∙ First issued on Columbia LX 897\/8\n\u003c\/span\u003e \n\u003c\/p\u003e\n\u003cp\u003e\n    3.\n\u003cspan style=\"font-size: 18px;\"\u003e   \n        \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ Trojan March from \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eLes Troyens\u003c\/span\u003e\u003c\/em\u003e \u003c\/strong\u003e\n    \n    (4:47)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 July 1939 in the Théâtre Pigalle, Paris\n    ∙ Matrix: CLX 2187-1 ∙ First issued on Columbia LX 861\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ Symphonie fantastique\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eOp. \n    14\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e4.         Rêveries – Passions (12:22)\u003cbr\u003e5.         Un bal (6:41)\u003cbr\u003e6.         Scène aux champs (14:41)\u003cbr\u003e7.         Marche au supplice (4:18)\u003cbr\u003e8.         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