{"title":"Philharmonia Orchestra","description":"\u003cp\u003eThe Philharmonia Orchestra is a British orchestra based in London.\u003c\/p\u003e\u003cp\u003eIt was founded in 1945 by Walter Legge.\u003c\/p\u003e\u003cp\u003eThe orchestra became one of Britain’s major recording and concert orchestras.\u003c\/p\u003e","products":[{"product_id":"pasc321","title":"ROSTROPOVICH Dvořák and Miaskovsky: Cello Concertos (1952\/56) - PASC321","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto\u003cbr\u003e\u003cb\u003eMIASKOVSKY\u003c\/b\u003e Cello Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1952 \u0026amp; 1956\u003cbr\u003eTotal duration: 67:38\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVáclav Talich\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Malcolm Sargent\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNone has approached Rostropovich for the depth and range of his expressive gestures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eGiven the large number of reissues of these two concerto performances, it seems superfluous to talk up their musical virtues. Rostropovich left behind many studio recordings of the Dvořák and listeners will doubtless have their favorites. Mine happen to be this 1952 Václav Talich and the later Adrian Boult (reviewed in Fanfare 20:6). Others laud the Karajan, still others the Giulini (reviewed in 25:4 and 26:2). Live survivors include the Evgeny Svetlanov (BBC, reviewed in 26:6) and Boris Khaikin on Revelation (reviewed in 22:2). \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eI’m not sure how well known is the story of the genesis of this Talich recording but it’s worth the retelling. In the wake of the cellist’s prize-winning performance at the International Cello Competition in Prague, Supraphon saw an opportunity to record Rostropovich in the concerto to anticipate, and then celebrate, the half-centenary of Dvořák’s death. The cellist was aware of Talich’s reputation: Mravinsky had told him that the Czech conductor was the “best in the world.” He was also aware of Talich’s political situation, and the fact that the authorities would allow a recording but not a concert. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe cellist spoke often of Talich’s influence and help in this work. One thing is especially notable, and that is the nature of the rubati that we can be fairly sure—because Rostropovich mentioned this element—Talich passed on to the cellist. Note, in this respect, phrasally the slow return to the original tempo; how Talich encouraged Rostropovich to pay back time with beautifully calibrated control throughout. The lyrical and rich expression that are displayed owe as much to the lead of the conductor as to the instincts of the soloist. It’s when he became, in later years, too lateral that Rostropovich failed to do full measure to the score. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe Miaskovsky concerto was recorded in March 1956 for HMV. It’s been included in various incarnations, not least “Great Recordings of the Century” (80012), the Rostropovich Edition (65701), and the Complete EMI Recordings edition (17597). Don’t overlook his later recording with Svetlanov on EMI CZS5 72016-2, and there is a further 1959 live broadcast in Moscow with Faktorovich. There have been in many ways estimable recordings of this work from Julian Lloyd Webber, Marina Tarasova, Kirill Rodin, Truls Mørk, and Mischa Maisky. None has approached Rostropovich for the depth and range of his expressive gestures. These two transfers rank with the best. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJonathan Woolf \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC321.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRostropovich's 1952 Prague recording of the Dvořák Cello Concerto\nis one the earliest of what was to become the cellist's \"signature\ntune\" - to the extent that he demanded a significantly higher fee for\nplaying any concert which included the work. Previous issues of this Supraphon\nrecording have suffered a harshness of tone which XR remastering has\nneutralised, whilst bringing out the full tone of both soloist and orchestra.\nTo be able to hear such a fine soloist in this work, playing with the Czech\nPhilharmonic whilst Talich was at his peak is a real pleasure.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI have worked to try as much as possible to balance the tonal\nqualities of the earlier recording to match the technically superior British\n1956 Miaskovsky recording - a work previously unknown to me but a pleasure to\nbecome acquainted with.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eROSTROPOVICH\u003c\/b\u003e \u003cb\u003eDvořák\u003c\/b\u003e and \u003cb\u003eMiaskovsky\u003c\/b\u003e: Cello Concertos (1952\/56)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVORAK \u003c\/b\u003eCello Concerto in B minor, Op. 104\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio, ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Finale Allegro moderato — Andante — Allegro vivo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVáclav Talich\u003c\/b\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Prague, 19 June 1952. \u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Supraphon LPM 88\/9\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMIASKOVSKY\u003c\/b\u003e Cello Concerto, Op. 66\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Lento ma non troppo — Andante — Tempo I\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegro vivace — Piu marcato — Meno mosso — Tempo I\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Malcolm Sargent\u003c\/b\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 5 March 1956. \u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV ALP 1427\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2012\u003cbr\u003eCover artwork based on a photograph of Rostropovich\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 67:38\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC321.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC321.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eSleevenotes from HMV LP (excerpt):\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eMtislav Rostropovitch is one of the new generation of Soviet virtuosi who have in recent years excited the interest of the western world. Rostropovitch was born at Baku, Azerbaijan, in 1927 and received his early training from his father, Leopold Rostropovitch, himself a brilliant 'cellist. In 1943 he entered the Moscow Conservatoire and studied with Professor Semeon Kozolupov. He made rapid progress and graduated with distinction in three years. He continued his studies as a post-graduate student and completed his course in 1948.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eBefore leaving the Conservatoire he had already begun to make his appearance as a concert artist. He appeared with the well-known artists Emil Gilels, Svyatoslav Richter and Leonid Kogan. Rostropovitch competed in a number of musical events and was awarded first place at the All-Union Contest in Moscow in 1945, the International Festival of Youth and Students in Prague in 1947 and in Budapest in 1949, and the International Contest for the Hanus Vigan Prize in Prague in 1950. He was awarded the Stalin Prize in 1951.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eRostropovitch is a versatile musician, a composer and a gifted pianist. His repertoire includes every work in the 'cello repertoire, the Beethoven and Brahms sonatas, the concertos of Tartini, Haydn, Dvořák, Lalo, Saint-Saens and the Tchaikovsky Variations on a Rococo Theme. His playing is distinguished by its restraint and nobility and the exceptional virtuosity of his technique.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\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":37910374605,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37910374669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37910374733,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37910374861,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC321_445bfb05-b474-41df-8834-66d6831e836a.jpg?v=1495203249"},{"product_id":"pasc316","title":"CANTELLI Tchaikosvky: Symphony 5, Romeo \u0026 Juliet (1950\/51) - PASC316","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eRomeo and Juliet – Fantasy Overture\u003cbr\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1950\/51\u003cbr\u003eTotal duration: 62:37\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLa Scala Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Guido Cantelli\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fCantelli’s La Scala Fifth is a must-have578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the moment, the symphony fills a \nuseful gap in that this 1951 EMI recording does not seem to be otherwise\n available. But I’ve just seen EMI announce a Cantelli box in its “Icon”\n series, which will presumably include it, and will probably be \navailable by the time you read this. On this evidence, the recording \nitself is close, opaque, compressed, and rather colorless, about which \nthere’s probably not much to be done (Pristine’s transfer is in the \nexpert hands of Mark Obert-Thorn). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance is new to me, and I \nconfess to finding it quite astounding—not a bar of routine in the \nentire work; the familiar Cantellian qualities of ferocious control, \nclarity, and articulacy, but on this occasion with no sacrifice of \nspontaneity or sense of a real performance on the wing (in contrast to \nhis EMI “Pathétique” with the Philharmonia the following year, which has\n always struck me as a little studio-bound, over-controlled). The slow \nintroduction is kept on a tight rein, following which the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con anima\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is fast and precise (13:00) but with a surprising flexibility, for \nexample, the bridge, Rehearsal C ff., slightly held back for even \ngreater force and clarity; the result is an increase, not a decrease, in\n tension. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolto piu tranquillo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n third theme (12 before Rehearsal H) is much faster (closer to the main \ntempo) than usual, purging the melody of sentimentality and lending it a\n rare gracefulness and coherence. In the recapitulation, Cantelli \nimpresses by his penchant for fresh rethinking of the transposed return \nof material from the exposition—see the first of the two secondary \nthemes (C♯-Minor, Rehearsal T + 8), projected with (relative to its \nfirst appearance) a noticeable increase in intensity, vehemence of \nattack, and rhetorical emphasis. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe strings’ introduction to the \nAndante cantabile displays a curious (rather Mengelbergian!) didactic \ntouch in the pointed break between bars 4 and 5, presumably to the end \nof clarifying the quadratic symmetry of phrase structure. In Cantelli’s \nhands, the movement has an atmosphere of hypnotic concentration, a \ndarkly elevated, sacralistic quality. Wind solos are projected with \ngreat solidity and vocal eloquence. Fresh-minted observation of detail \nis everywhere in evidence, and nothing escapes Cantelli’s eagle eye—for a\n small example, see the extraordinarily vivid, precise realization of \nTchaikovsky’s injunction \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePiu animato–ritenuto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in the repeated violin figure two bars before the contrasting middle \nsection (Rehearsal C + 7). The reprise’s gradual buildup to the \nmovement’s climax attains an overwhelming intensity through Cantelli’s \nfanatical strictness of control. The Waltz is rigorous and articulate \n(see the 16th-note thread through the middle section—this is faster than\n it sounds!). The finale is taken at a surprisingly measured pace, with a\n quality of weighty compactness and a refusal to get over-excited. This \npays dividends in the second theme (Rehearsal E ff.), where Cantelli’s \nprecision and grace (with a pointed slight over-dotting of the oboe \nmotive, then passed to cellos and basses) contrasts with the usual \nslightly frantic feel here. By comparison, Cantelli’s later live \nversions of the symphony (NBC, 1952, Music \u0026amp; Arts; Boston SO, 1953, \nPristine) are a little slower, more malleable and less single-minded in \nthe first movement, but consistently faster in the other three. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Single-minded” might be an even more apt descriptor for Cantelli’s dry-eyed \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n clocking in on the fast side at 18:27, though the timing is more the \nresult of his complete lack of indulgence (though not of a subtle \nflexibility) in the lyrical music than of any unusual speediness in the \nmain \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro giusto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n What sticks in the memory is that characteristically Cantellian \ncombination of legato solidity and keen rhythmic edge, investing the \nwhole thing with great power and sweep, delivered with high polish by \nthe Philharmonia. Transfer-wise, the competition here is with Testament \n(as a filler to the aforementioned Philharmonia “Pathétique”); though \nPristine’s sound is solid and well focused, I find Testament’s superior \nin impact and richness. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, Cantelli’s La Scala Fifth is a\n must-have. This will do very nicely, though I’ll be curious to hear how\n it compares with the EMI “Icon” release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:5 (May\/June 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC316.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e \"I confess to finding it quite astounding—not a bar of routine in the entire work\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMany people still carry a torch for Guido Cantelli, the \nbrilliant Italian conductor tragically lost in a plane crash in 1956. \nCantelli was primed as Toscanini's successor, and would surely have gone\n on to great things, as a handful of surviving recordings suggests.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHere we present two excellent examples of his craft, in \nbrand new transfers from mint sources by Mark Obert-Thorn. Cantelli's \napproach to the music of Tchaikovsky was exemplary, and won immediate \nplaudits, including this from The Gramophone in 1951:\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"Most of all, we find this abatement of the tragic \nelement in Tchaikovsky's mind in Cantelli's firm and far-seeing \ntreatment of the motto theme, in its first presentation and especially \nin its returns on sides 5 and 7. The last movement he makes sound \npositively hopeful, encouraging rather than, as sometimes, merely making\n the best of things. All praise to the performance, then...\"\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCANTELLI\u003c\/b\u003e Tchaikosvky: Symphony 5, Romeo \u0026amp; Juliet (1950\/51)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Romeo and Juliet – Fantasy Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRomeo and Juliet — Fantasy Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 13 October 1951\u003cbr\u003eAbbey Road Studio 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV DB 21373-75S (78s)\u003cbr\u003eFirst LP issue HMV ALP 1086\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Andante — Allegro con anima\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile, con alcuna licenza\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Valse (Allegro moderato)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Finale (Andante maestoso — Allegro vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 \u0026amp; 26 September 1950\u003cbr\u003eAbbey Road Studio 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV DB 21187-91 (78s)\u003cbr\u003eFirst LP issue HMV ALP 1001\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOrchestra del Teatro alla Scala, Milano\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGuido Cantelli\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Cantelli\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 62:37\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC316.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC316.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34129836941,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34129837069,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34129837197,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC316.jpg?v=1489570341"},{"product_id":"pasc407","title":"FURTWÄNGLER conducts Richard Strauss (1950\/54) - PASC407","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Tod und Verklärung, Op. 24\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Don Juan, Op. 20\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche, Op. 28\u003cbr\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Vier letzte Lieder, Op. post.\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003eStudio and live recordings · 1950\/54\u003cbr\u003eTotal duration: 79:57\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKirsten Flagstad\u003c\/b\u003e, soprano\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnyone with a serious interest in Flagstad, Furtwängler, and\/or Strauss’s Four Last Songs will find this a necessity578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe world premiere of Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Last Songs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was given on May 22, 1950, at the Royal Albert Hall in London, and was \nprivately recorded. Versions of that recording (often misattributed as \nthe dress rehearsal) have circulated for many years on a variety of \nlabels, in sound ranging from the atrocious to the very poor. In 2008, \nTestament came out with a version that sounded much better than its \npredecessors, but was still difficult to enjoy. Now Andrew Rose has \ntried has hand at it, applying his XR remastering technique, and the \nresult is the best yet. I do not want to create false hopes here. The \noriginal recording is in many ways hopelessly flawed. There is constant \nsurface noise and grit, distortion at climactic moments, and on the \nearlier reissues the inconsistent pitch from wow and flutter was \ncrazy-making. While Testament’s issue fixed the pitch problems and \nminimized the others, Pristine goes further. The orchestral colors are \nmore vividly realized here, Flagstad’s voice is clear and brilliant, and\n one can enjoy the performance in a way that is not even possible on \nTestament’s version. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSo, then, the discussion can center on \nthe performance itself. Surely no singer since this premiere has sung \nthese songs with a richer, warmer, more full-sounding dramatic soprano \nvoice (though Jessye Norman brought similar qualities). Indeed, the \ntrend has been consistently toward lighter, more lyric sopranos. It is \nimportant to remember that Strauss wrote these songs specifically with \nFlagstad in mind, and persuaded her to learn them and sing the premiere \n(though he died before it took place), and it was Flagstad who insisted \nupon Furtwängler. In the decades since, we have become accustomed to \nthose lighter voices (Schwarzkopf imprinted herself on many of us), and \nto a degree of specificity in word-pointing that Flagstad does not \ndeliver. One can find any number of performances with a greater variety \nof inflection and vocal color, but very few with this degree of tonal \nwarmth and beauty throughout the range. Flagstad seems to be luxuriating\n in this music, and she and Furtwängler are in synch with each other at \nevery turn of phrase. The orchestra positively glows at the beginning of\n “Im Abendrot,” and that is more apparent in Pristine’s transfer than it\n ever has been. The order of the songs at this premiere differs from \nwhat has become the established order (remember that Strauss did not \nnecessarily conceive them as a set). Here we have “Beim Schlafengehen”; \n“September”; “Frühling”; “Im Abendrot.” Even after Andrew Rose’s \nsuperlative work, enough flaws remain that this could hardly be \nrecommended as anyone’s standard recording of these songs. It is, \nhowever, a valuable and important document of the world premiere by the \nsoprano for whom they were written and one of the great conductors of \nthe era, and it is finally in listenable sound. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has chosen three EMI studio \nStrauss recordings to round out the disc, and their XR remastering \nbrings a degree of color and life to these recordings that improve upon \nthe EMI transfers with which I am familiar. There is a 1947 live \nperformance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n Furtwängler and the Hamburg Philharmonic that exceeds this 1950 \nrecording in terms of intensity and raw power (it has been issued by \nMusic \u0026amp; Arts, Nuova Era, Arlecchino, and various other labels), but \nthis has much more satisfying sound quality and is better played. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e there are a number of Furtwängler alternatives that have more life to them. This 1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a bit earthbound, and even Pristine’s vivid restoration work cannot \nmake it the equal of various alternatives: a 1947 Berlin Philharmonic \nperformance on DG or a 1953 Salzburg Festival reading on Orfeo have a \ndegree of spontaneity lacking here, though the clarity of the recording \nand beauty of the central section make this worth having. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the 1943 Berlin performance on DG (or even better on Eduardo Chibas’s \ntransfer at furtwanglersound.com) is hair-raising, but somehow \nFurtwängler and the VPO managed to find a degree of panache here that \neluded them in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, even though \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n recorded the next day, and this is almost the equal of that wartime \nlive performance. These performances are clearly the work of an \nimportant and great conductor, and one hears his attention to orchestral\n sonority and balance perhaps more clearly in Pristine’s transfers than \never before. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs is usual, there are very minimal \nnotes with the disc. Pristine says “full programme notes can be found \nonline,” but I cannot locate them, and don’t know whether they include \ntexts for the songs. Anyone with a serious interest in Flagstad, \nFurtwängler, and\/or Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Last Songs \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewill find this a necessity. \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 38:1 (Sept\/Oct 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC407.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Rarely can a first performance have served any music and its composer so well\" - Fanfare\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe decision to tackle Flagstad and Furtwängler's legendary première recording of Richard Strauss's \u003cem\u003eFour Last Songs\u003c\/em\u003e\n in the year of the composer's 150th birthday was taken following the \nsuggestion of a correspondent who e-mailed me last summer with the idea.\n That it's taken more than nine months to bring to fruition has much to \nsay for the difficulties involved in trying to do anything to improve \nthe frankly abysmal quality of the original recording, originally \ncaptured on acetate discs that have seen far too many heavy needles over\n the years.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe flaws inherent in the original recordings are myriad: Surface \nnoise is a constant intrusion; Thumps, bumps, clicks and scratches \nabound; The frequency range is limited, the frequency response deeply \nunrepresentative; Swish is endless to the point of being almost \noverwhelming; Distortion rears its head too often. Restoration and \nremastering technology can help enormously - XR remastering brings out \nmuch of the orchestral richness and texture and lifts a veil from \nKirsten Flagstad's voice, whilst pitch correction helps with wayward wow\n and flutter. Much of the swish has been smoothed out, and noise \nreduction has done just that. The recording remains pretty compromised, \nas I suspect it always will, but once the ears have adjusted to the \nshortcomings of the medium there's much to be enjoyed and cherished.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe other three recordings were made in the Musikvereinssaal in Vienna for commercial releases. The first, \u003cem\u003eTod und Verklärung\u003c\/em\u003e,\n was originally destined for 78rpm issue in 1950, and although it would \nhave been taped, is of noticeably lower quality than the later, 1954 \nrecordings. Hiss levels were higher and the upper frequencies less well \ndefined - though of course all three recordings are much, much better \nfrom a technical point of view than the\u003cem\u003e Four Last Songs\u003c\/em\u003e. As with the \u003cem\u003eSongs\u003c\/em\u003e,\n the recordings all responded very well to XR remastering, which has \nonce more brought new life and light to the orchestral sound.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e conducts Richard \u003cb\u003eStrauss\u003c\/b\u003e (1950\/54)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS Tod und Verklärung\u003c\/b\u003e \u003ci\u003e(Death and Transfiguration)\u003c\/i\u003e,\u003cb\u003e Op. 24\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTod und Verklärung, Op. 24\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(24:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 21, 23, 24 January 1950\u003cbr\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Anthony Griffith\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV 78s DB.21169-71\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS Don Juan, Op. 20\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDon Juan, Op. 20\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 March,1954\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS Till Eulenspiegels lustige Streiche\u003c\/b\u003e \u003ci\u003e(Till Eulenspiegel's Merry Pranks)\u003c\/i\u003e,\u003cb\u003e Op. 28\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTill Eulenspiegels lustige Streiche, Op. 28\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 3 March,1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV LP ALP.1208\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecording producer: Lawrance Collingwood\u003cbr\u003eRecording Engineer: Francis Dillnutt\u003cbr\u003eRecorded at the Musikvereinssaal, Vienna\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS Vier letzte Lieder\u003c\/b\u003e \u003ci\u003e(Four Last Songs)\u003c\/i\u003e,\u003cb\u003e Op. post.\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Beim Schlafengehen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. September\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Frühling\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:46)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. Im Abendrot\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 May, 1950\u003cbr\u003eWorld Première, Royal Albert Hall, London\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eKirsten Flagstad\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC407.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC407.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":31975572237,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975572301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975572365,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32969357099069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC407_9eb3a3fa-23d0-4c6d-9a74-5f5806af515c.jpg?v=1606485313"},{"product_id":"paco067","title":"FURTWÄNGLER Wagner: Tristan und Isolde (1952) - PACO067","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1952\u003cbr\u003eTotal duration: 4hr 16:25\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Wilhelm Furtwängler\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f The orchestral colors are richer, the voices bloom more, and the whole is more satisfying than it has ever been578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eIn Fanfare 28:1 I reviewed two reissues of this 1952 HMV recording, \none on EMI, the other on Naxos. I noted that like the Callas Tosca, \nsince it was first issued this has been defined as a classic of the \nrecording industry by just about every commentator who has written about\n it. It is, quite simply, one of the greatest Wagner performances ever \npreserved on disc. I won’t take valuable Fanfare space by repeating what\n I said there, other than to note again the greatness of Furtwängler’s \nconducting here. Every single phrase is connected to what precedes it \nand what follows it. Although the phrasing is supple, and there are many\n subtle variations of tempo, everything is perfectly prepared. The music\n breathes, breathes in a way that is so natural that we are ultimately \nunaware of the act of performance, and aware only of Wagner’s great \nachievement. Every aspect of the conductor’s craft and art is present \nand is applied to this whole—color, balance, tempo, texture, \nchord-voicing, shaping, articulation—all of this and more are sewn \ntogether to make this miracle of a performance. Add Kirstin Flagstad’s \nexalted Isolde, Ludwig Suthaus’s richly sung (and often underrated) \nTristan, and fine performances by Blanche Thebom, Dietrich \nFischer-Dieskau, and Josef Greindl, and you have a recording that merits\n the almost universal praise it has garnered. \u003cbr\u003e\u003cbr\u003eThe real question \nfor collectors is whether this Pristine transfer is significantly \nsuperior to the earlier ones. I had praise for both EMI’s and Naxos’s \nversions, giving a very slight edge to the Naxos transfer by Mark \nObert-Thorn. I was not expecting a meaningful difference in Andrew \nRose’s effort for Pristine, but in fact it is enough of an improvement \nto warrant its purchase by any serious collector. In addition to \nlistening to it all the way through, I did a number of spot A-B \ncomparisons to the EMI and Naxos. It seems to me that Rose has managed \nto come up with a sound picture that is fuller at both the upper and \nlower extremes of frequency, without ever turning the sound harsh. It is\n the bass that is particularly impressive here—never boomy, but \nsatisfyingly solid with an impact missing until now. The orchestral \ncolors are richer, the voices bloom more, and the whole is more \nsatisfying than it has ever been. I heard the ambient stereo version, \nbut assume the monaural version that Pristine also issues is of equal \nquality. Pristine’s ambient stereo bears no relation to the \npseudo-stereo that the record companies tried to peddle in the 1970s, \nbut instead manages to create just a bit more of a sense of space around\n the sound. Of course Pristine’s version is also available as a FLAC \ndownload from its website. \u003cbr\u003e\u003cbr\u003eThere can be little doubt that this \nFurtwängler-led Tristan recording belongs in the Classical Hall of Fame,\n and Pristine Audio’s stunning restoration gives me good reason to put \nit there.\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 35:5 (May\/June 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO067.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\nThis recording surely stands as one of the first truly great opera \nrecordings of the era of tape recording - at last Furtwängler was free \nin the studio from the stifling requirements of 4-minute 78rpm sides, \nand what a fabulous result he and the EMI engineers made with this \nopportunity. My role here has been chiefly to clean up some of the murk \nand noise present in the original, and to extend both the top end and \nvery deep bass. I was also able to address some pitch anololies \npreviously ignored or undetected, most notably the first tape reel of \nAct 2, which has been heard quite a bit sharp (until now) for nearly 60 \nyears...\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e \u003cb\u003eWagner\u003c\/b\u003e: Tristan und Isolde (1952)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWestwärts schweift der Blick\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eFrisch weht der Wind der Heimat zu\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHab acht, Tristan!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWeh, ach wehe!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWie lachend sie mir Lieder singen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO blinde Augen!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 4\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAuf! Auf! Ihr Frauen!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHerrn Tristan bringe meinen Gruss\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I, Scene 5\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBegehrt, Herrin, was Ihr wünscht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWar Morold dir so wert\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTristan! Isolde!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHörst du sie noch\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIsolde! Geliebte!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(19:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO sink hernieder, Nacht der Liebe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eLausch, Geliebter!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDoch unsre Liebe\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRette dich, Tristan!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eTatest du's wirklich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO König, das kann ich dir nicht sagen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003ePrelude\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III, Scene 1\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eKurwenal! He!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eWo ich erwacht — weilt' ich nicht\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNoch losch das Licht nicht aus\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(28:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III, Scene 2\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eO diese Sonne!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHa! ich bin's, ich bin's\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct III, Scene 3\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eKurwenal! Hör! Ein zweites Schiff\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eMild und leise wie er lächelt\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eChorus of the Royal Opera House, Covent Garden\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003e Wilhelm Furtwängler\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Douglas Larter\u003cbr\u003eRecorded 10-21 \u0026amp; 23 June 1952, Kingsway Hall, London\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDownloads\u003c\/b\u003e include full score and libretto\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTristan\u003c\/b\u003e \u003cb\u003eLudwig Suthaus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIsolde\u003c\/b\u003e \u003cb\u003eKirsten Flagstad\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBrangäne\u003c\/b\u003e \u003cb\u003eBlanche Thebom\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKönig Marke\u003c\/b\u003e \u003cb\u003eJosef Greindl\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKurwenal\u003c\/b\u003e \u003cb\u003eDietrich Fischer-Dieskau\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMelot\u003c\/b\u003e \u003cb\u003eEdgar Evans\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSeemann\u003c\/b\u003e \u003cb\u003eRudolf Schock\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHirt\u003c\/b\u003e \u003cb\u003eRudolf Schock\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSteuermann\u003c\/b\u003e \u003cb\u003eRhoderick Davies\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO067.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO067.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":36780128589,"sku":null,"price":64.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":36780128653,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":36780128717,"sku":null,"price":44.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":36780128781,"sku":null,"price":36.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO067_74776a64-791e-42b3-9edb-e9748886af5a.jpg?v=1493634152"},{"product_id":"paco078","title":"GIULINI Mozart: Don Giovanni (1959) - PACO078","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDon Giovanni\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStereo recording, 1959\u003cbr\u003eTotal duration: 2hr 42min\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eEberhard Wächter\u003c\/b\u003e - Don Giovanni\u003cbr\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e - Donna Anna\u003cbr\u003e\u003cb\u003eLuigi Alva\u003c\/b\u003e - Don Ottavio\u003cbr\u003e\u003cb\u003eGottlob Frick\u003c\/b\u003e - Commendatore\u003cbr\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e - Donna Elvira\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eConducted by\u003cb\u003e Carlo Maria Giulini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe now celebrated Pristine Audio XR re-mastering treatment by Andrew Rose has rendered it superlative: warm, clear and spacious.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAlthough previous issues going back to 1987 are fine, EMI managed to botch \n                  its 2002 re-mastering of this famous recording in their \u003ci\u003eGreat \n                  Recordings of the Century\u003c\/i\u003e series, which is muffled, with \n                  all the upper frequencies removed. I found a very acceptable \n                  alternative in an issue on the Alto label which retains a little \n                  background hiss but no more than I would expect from a 1959 \n                  recording transferred from LPs, the very occasional click being \n                  in evidence. However, this Pristine transfer from clean LPs \n                  is now easily the best option: some slight sharpness in the \n                  LPs has been corrected, all clicks removed and the now celebrated \n                  Pristine Audio XR re-mastering treatment by Andrew Rose has \n                  rendered it superlative: warm, clear and spacious. The original \n                  EMI engineering was in any case always very good indeed. \u003cbr\u003e\n                    \u003cbr\u003e\n                  For all its fame and excellence, there are reasons to deny this \n                  account the epithet \"perfect\" - but a heck of a lot is very \n                  right indeed, starting with Giulini's magisterial direction, \n                  which is sprung, flexible and subtle, with none of the excessive \n                  leisureliness which sometimes afflicted his later conducting. \n                  The Philharmonia Orchestra is simply wonderful. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The cast is superb, though I have reservations about a couple \n                  of things, starting with Taddei's tendency to ham it up too \n                  much with some nasal affectations and barking to accentuate \n                  things that are already intrinsically funny and are better delivered \n                  in a sly rather than a histrionic manner. He also loses tonal \n                  quality too often, such as in an ugly sustained D on \"maestosa\". \n                  Nonetheless, he is a good foil to Wächter's silky Don in \n                  their quick-fire exchanges, despite their voices being too similar \n                  in recitative if you are used to a bass such as Siepi or Ghiaurov \n                  as the Don. Wächter is aggressive, driven and able to signal \n                  that he is deliberately and cynically turning on the seductive \n                  charm to further his sex addiction. Many will welcome a baritone \n                  Don as more appropriate both to the tessitura of the music and \n                  the character of opera’s favourite roué. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Sutherland's Donna Anna is a surprise and simply the best on \n                  record: agile, huge and gorgeous of tone and even well characterised \n                  in so far as it is possible to enliven such a starchy soul. \n                  The contrast with Schwarzkopf's febrile Elvira is telling; she \n                  had already been singing this role for a decade and it suited \n                  her voice and talents ideally. Luigi Alva sings with both more \n                  beauty of line and steel in his tone than I had remembered. \n                  Sciutti is average as Zerlina, Cappuccilli hectoring as Masetto \n                  and the great Gottlob Frick very unsteady indeed in the opening \n                  scene - but he warms up nicely for an appropriately chilling \n                  and sepulchral Commendatore in the crucial final showdown. \u003cbr\u003e\n                  \u003cbr\u003e\n                  As is normally the case with Pristine, there is little in the \n                  booklet apart from the tracking cues, excerpts from a “Gramophone” \n                  review of a previous issue and a note from the engineer; otherwise \n                  one may go online for full programme notes. What is presumably \n                  a printing error on the spine of my review copies suggests that \n                  the catalogue number is 077; however, on the reverse covers, \n                  the discs themselves and the Pristine website the three discs \n                  are is listed as 078A, B and C.   \u003cbr\u003e\n                  \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eRalph Moore \u003cbr\u003e\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO078.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"Without question one of the supreme recordings of the twentieth century\"\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWith this recording apparently out of print (except for \nMP3 copies of the 2002 EMI reissue, I mistakenly thought - being unaware\n of another, 2009 EMI reissue on CD!), I was delighted to find that a \nset of near-mint HMV LPs delivered superb sound quality for remastering \npurposes. The discs themselves played slightly sharper than electrical \nreadings suggest was the true pitch sung - and has thus been corrected \nfrom 448Hz to 442.6Hz.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOther than that I've sought to bring greater clarity and\n accuracy to the sound through 32-bit XR remastering, which has revealed\n truly superb sound quality from start to finish of this timeless \nrecording.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDon Giovanni\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eRecorded 7-15 October 1959\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAbbey Road Studios, London\u003c\/b\u003e\u003cbr\u003eTransfers from HMV Box SLS 5083\u003cbr\u003eCat Nos. ASD 3349-51\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTHE CAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eEberhard Wächter\u003c\/b\u003e (baritone) – Don Giovanni\u003cbr\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e (soprano) – Donna Anna\u003cbr\u003e\u003cb\u003eLuigi Alva\u003c\/b\u003e (tenor) – Don Ottavio\u003cbr\u003e\u003cb\u003eGottlob Frick\u003c\/b\u003e (bass) – Commendatore\u003cbr\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e (soprano) – Donna Elvira\u003cbr\u003e\u003cb\u003eGiuseppe Taddei\u003c\/b\u003e (baritone) – Leporello\u003cbr\u003e\u003cb\u003ePiero Cappuccilli\u003c\/b\u003e (baritone) – Masetto\u003cbr\u003e\u003cb\u003eGraziella Sciutti\u003c\/b\u003e (soprano) – Zerlina\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra \u0026amp; Chorus\u003c\/b\u003e\u003cbr\u003eChorus Master \u003cb\u003eRoberto Benaglio\u003c\/b\u003e\u003cbr\u003eHarpsichord \u003cb\u003eProfessor Heinrich Schmidt\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCarlo Maria Giulini\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover art: \"Don Juan and the statue of the Commander\" (detail) - Alexandre-Évariste Fragonard, oil on canvas, circa 1830-1835\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 42min\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO078.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO078.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eEMI CD REISSUE, 2002\n\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt seems incredible now that Carlo Maria Giulini was the \u003cem\u003ethird choice\u003c\/em\u003e\n of conductor for this famed recording. First choice was Beecham, and \nwhen that fell through, Walter Legge, the producer, engaged Klemperer, \nwho, though weakened by illnesses and accidents, began working on the \nrecording, only to withdraw after three days because of pericarditis. \nLegge sent an SOS to the then relatively unknown Giulini, who responded \npositively, though, as the booklet tells us, with some trepidation. The \nrest is indeed history, as the whole ensemble proceeded to work like a \ndream, and produce what in this case is without question one of the \nsupreme recordings of the twentieth century, and will surely never be \nsurpassed on disc.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCredit must go to Legge for two things \nin particular; firstly for assembling the peerless cast, and secondly \nfor overseeing the technical aspects so faultlessly. The beauty of the \nsingers is that, as befits the nature of the opera, they were either \nyoung (Alva, Wächter, Sutherland and Cappuccilli in their thirties, \nSciutti in her twenties) or in their absolute vocal and dramatic prime \n(Schwarzkopf, Taddei and Frick). Giulini himself was just 45, and the \nwhole project has a dynamism and wicked sense of humour that could only \nbe obtained with a team possessing this blend of talent, comparative \nyouth and experience.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eTo anyone who knows her only in 19th \ncentury Italian repertoire, Sutherland is a revelation here. She sings \nDonna Anna's arias with rare delicacy and elegance, plus the expected \ntechnical brilliance, while Schwarzkopf is simply perfection as Donna \nElvira, transforming her from what can sometimes be a mournful nag into a\n woman of great dignity and strength of character. The young Sciutti was\n an inspired choice as Zerlina, giving her a delightfully disingenuous \nquality that is as endearing as it is entertaining.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe men are equally good; Wächter was an\n exceptional Don, and in his vocal colouring contrives to reflect \nbrilliantly all the different ways the character presents himself to \nthose he wishes to manipulate, be they male or female. Alva makes an \nappropriately sweet-toned and rather deadpan Don Ottavio (though he is a\n touch rhythmically slack in places), and Cappuccilli makes an hilarious\n Masetto, aflame with righteous indignation and sexual jealousy. Frick \nis in his best cavernous voice as the Commendatore, reminding us of the \ngreat recorded Hagen he was to become soon after this.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eA cast ‘to die for’, then, no doubt \nabout that. Yet there are plenty of opera sets that fail to ignite \ndespite the starriest of line-ups. It’s the \u003cem\u003epacing \u003c\/em\u003eof the whole\n thing that is so superb, and here the continuo player, Heinrich \nSchmidt, makes a huge contribution. He gets the passages of \u003cem\u003erecitativo secco\u003c\/em\u003e\n bowling along at a terrific rate, emphasising the knockabout humour. In\n particular, the exchanges between Don Giovanni and Leporello are \noutstanding, the master’s twitting of the servant having, for modern \nears, unmistakable echoes of Blackadder and Baldrick.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe orchestral playing is what finally \nlifts the performance to the sublime level it achieves. Giulini draws \nthe most sensitive, stylish and dramatically aware playing from the \nPhilharmonia, especially from the strings, who produce a warmth and \nbeauty of tone that is very special. This serves to underline how this \nopera came to mean so very much – arguably more than any other 18th \ncentury stage work – to the Romantics of the 19th century.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe recording captures all of this \nfaithfully, with a balance that manages to make the singers sound just a\n little larger than life without losing the correct perspective. One of \nthe greatest musical and dramatic experiences available on disc, then, \nand one that I personally will always treasure.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eGwyn Parry-Jones, MusicWeb International\u003c\/b\u003e December 2002\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32606647053,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32606647245,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32606647373,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO078_59dc3393-b69e-425b-a746-59e5768278ef.jpg?v=1487869053"},{"product_id":"paco115","title":"KLEMPERER Mozart: Die Zauberflöte, Symphony No. 41 (1962\/1954) - PACO115","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDie Zauberflöte\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 41 \"Jupiter\"*\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and Live recordings · 1962 \u0026amp; 1954\u003cbr\u003eTotal duration: 3hr 15:21\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e - Queen of the Night\u003cbr\u003e\u003cb\u003eRichard Lewis\u003c\/b\u003e - Tamino\u003cbr\u003e\u003cb\u003eGeraint Evans\u003c\/b\u003e - Papageno\u003cbr\u003e\u003cb\u003eJoan Carlyle\u003c\/b\u003e - Pamina\u003cbr\u003e\u003cb\u003eDavid Kelly\u003c\/b\u003e - Sarastro\u003cbr\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e - Speaker\u003cbr\u003e\u003cb\u003eSoloists, Orchestra and Chorus of Covent Garden\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e*Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis triumph is his overarching view of the work that enables it to cohere at a higher level. This is masterly conducting578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has done it again with a \ntreasurable release. Notable perhaps most obviously for Joan \nSutherland’s assumption of the role of Queen of the Night, and with Hans\n Hotter as Speaker, this is the first complete release of this \nperformance (there has been a previous compact disc release on Melodram,\n but the second act was not complete: Pristine has been successful in \ntracing a tape that allows the work to resound as a whole). The cream on\n the pudding is the announcer’s impeccable, clipped BBC Third Programme \n(sic) accent (just listen to the way he says “flute”). Given Klemperer’s\n speeds, the work bleeds over to three discs, so as a bonus Pristine \ngives us Klemperer’s 1954 mono “Jupiter.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKlemperer’s approach to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is indeed grand, and in this transfer the opening chords of the \nOverture convey all the solemn splendor of a Masonic Temple and its \nenvirons. This broad element really comes into its own as Tamino is \nrejected from Sarastro’s temple. Another trait of this performance is a \nbalancing affection: heard firstly perhaps in the string phrasing \nimmediately preceding the Overture’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and most obviously in the opening to act II. Yet the power of the \ntuttis of the Overture leaves on in no doubt as to Klemperer’s serious \nintent. And all that’s not to imply there is no humor here, either. His \ntriumph, though, is his overarching view of the work that enables it to \ncohere at a higher level. This is masterly conducting. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRichard Lewis as Tamino has not had the\n best critical reception, perhaps, but he has a fine dramatic grasp \nwhile capable of lyricism (“Dies Bildnis is bezaubernd schön”). There is\n a trace of strain there on occasion, but this remains a solid reading. \nNo one, surely, can heckle Geraint Evans’s birdcatcher, lusty and full \nof life (even if Klemperer’s tread in “Der Vogelfänger bin ich ja” seems\n to sap him of a little vim). Evans is perfectly modulated of voice also\n in his contributions to “Bei Männern” against Joan Carlyle’s \nbeautifully light-voiced, almost boyish at times, Pamina. Carlyle’s act \nII “Ach, ich fühl’s” is full of heartbreak. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut who even now does not have a little\n frisson when one hears the words “Sie kommt!” and we realize that she \nwho approaches is none other than Joan Sutherland, about to embark upon \n“O zittre nicht”? And she does not disappoint. Her voice is full, and \nshe certainly evinces a fearsome aspect for poor Tamino. There are some \nmoments when it is clear this is a live performance, and they would \nsurely have been tidied up in the studio, but Sutherland herself is as \nclear as a bell and vocally beautifully nimble. Similarly in act II, her\n “Der Hölle Rache”, while not the cleanest, certainly has all the \nrequisite force. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHans Hotter’s Speaker is as impeccable \nas one has come to expect from this singer and he remains a joy to hear \non vocal timbre terms alone. He brings a wisdom to the words, though, \nthat works on levels far greater than sheer beauty of sound. David \nKelly, in place of an indisposed Desző Ernster, takes the role of \nSarastro. His “O Isis und Osiris” is not the steadiest, for sure, but he\n does at least have the breath control to sustain the long phrases \n(especially long at Klemperer’s pace). His “In diesen heil’gen Hallen” \nhas more confidence. As Monostatos, Robert Bowman is nicely nimble in \n“Alles fühlt der Liebe Freuden.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOf the smaller roles, the Three Ladies are a well-balanced trio, while the Armored Men sing their \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecantus firmus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n resolutely. In fact despite the star names in the cast, one should make\n mention of the fact that ensembles are consistently fresh and \nbeautifully balanced. All praise, also, to the members of the Covent \nGarden Opera Chorus, who in their offstage contributions seem to carry a\n world of knowledge and who in the final celebrational moments of act I \nshine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePristine Classical itself admits to \nthe occasional fluctuations in sound quality, but they are all \nrelatively minor in comparison with the privilege we now have of \nexperiencing this performance complete. Unfortunately some of them do \noccur in the delightful “Ein Mädchen oder Weibchen.” That is not enough \nto contradict the statement that Andrew Rose’s remastering is a work of \nart in itself. And just as this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eZauberflöte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is an indispensable supplement to Kemperer’s famous studio recording, \nso his Columbia mono Mozart “Jupiter” is to his stereo. The transfer \nhere is from Columbia 33 CX 1257. Listen straight on from the opera, and\n the immediacy of the sound is remarkable (the venue was Kingsway Hall).\n Detail, too, is stunningly relayed. The gritty resolution of the first \nmovement development is to be expected from this source, perhaps, and \nseems entirely in keeping with Klemperer’s monumental reading. High \nviolins are always impeccably together here, wind always characterful. \nStepping back in time like this reminds one that, while musicologically \nspeaking we have learned much, maybe we have lost some of that sense of \ncharacter and, indeed, communicative ability. Unsurprisingly the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is properly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (almost in a Mahlerian sense, given the breadth of utterance here), yet\n the feel of Mozart’s genius remains undimmed. Yet the Menuetto is \ncloser to a Beethovenian scherzo (and how those lauded Philharmonia \nwinds shine) and the finale has an energy and inner momentum that seems \nmore appropriate to a live performance than a studio one. There is a \nreason performances like this survive the trials and travails of time, \nand Pristine’s offering reminds us why. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO115.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\"Sutherland's\n charisma is palpable. Her voice -- clear, agile, powerful, and \nsupernaturally brilliant -- is made for the part, and she sings with \nfluency that makes you forget all about technique and concentrate on the\n incandescent beauty of her voice.\"\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis \u003cem\u003eMagic Flute\u003c\/em\u003e is a very special recording. Taken from a \nlive BBC broadcast from Covent Garden Opera House in January 1962, it is\n the only known recording of the great Joan Sutherland singing the role \nof The Queen of the Night - with the added bonus of a remarkable cast \nand conductor alongside her, including of course Hans Hotter, Richard \nLewis, Geraint Evans and Joan Carlyle. Although copies of the broadcast \nhave circulated amongst collectors over the years, it was thought that \nthe length of Act Two had led to the ending being lost, hence an \nincomplete release in poor sound on another label a few years ago.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe present transfer proves otherwise: taken from a tape in the \ncollection of Mark Hood and believed originally prepared for or by one \nof the performers, it is indeed complete, and includes the BBC Third \nProgramme announcements at start and finish. There are a couple of brief\n sections where the quality drops, believed to be patches to cover tape \nchanges; other, shorter drop-outs, to be expected in an older tape \nrecording such as this, have been successfully restored. XR remastering \nhas added depth and body to well-recorded FM broadcast sound, whilst \nbringing out greater levels of clarity in diction and in the upper \ntreble response; Ambient Stereo processing lends a sense of space and \ndimension to the original mono.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eGiven the duration of the complete performance - too long for two CDs - I opted to add Klemperer's 1954 mono \u003cem\u003eJupiter\u003c\/em\u003e\n Symphony, which EMI seems to have abandoned in favour of its stereo \nremake. XR's 32-bit remastering system has worked similar wonders on the\n sound here too.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e \u003cb\u003eMozart\u003c\/b\u003e: Die Zauberflöte, Symphony No. 41 (1962\/1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eMozart: Magic Flute — BBC Introduction\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:16)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDie Zauberflöte, K.620\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct I\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eOuvertüre\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eZu Hilfe! Zu Hilfe!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eDer Vogelfänger bin ich ja\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eHe da!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eDies Bildnis ist bezaubernd schön\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eRüste dich mit Mut und Standhaftigkeit\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eO zittre nicht, mein lieber Sohn\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eHm! hm! hm! hm!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eHaha!... Pst!... Was soll denn das Lachen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eDu feines Täubchen, nur herein\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eMutter! Mutter!... Bin ich nicht ein Narr\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eBei Männern, welche Liebe fühlen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:25)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eZum Ziele führt dich diese Bahn\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e15.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eDie Weisheitslehre dieser Knaben\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e16.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eWo willst du kühner Fremdling hin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e17.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eWie stark ist nicht dein Zauberton\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e18.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eSchnelle Füsse, rascher Mut\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e19.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eEs lebe Sarastro! Sarastro lebe!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e20.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eHerr, ich bin zwar Verbrecherin\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e21.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eWenn Tugend und Gerechtigkeit\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAct II\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e22.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eMarsch der Priester\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e23.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eIhr, eingeweihte Diener\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e24.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eO Isis und Osiris\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e25.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003ePapageno! Wo denkst du, dass wir uns befinden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e26.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eBewahret euch vor Weibertücken\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e27.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eWie Wie Wie\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e28.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eHeil dir, Jüngling\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e29.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eAlles fühlt der Liebe Freuden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e30.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eZurück!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e31.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eDer Hölle Rache kocht in meinem Herzen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e32.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eMorden soll ich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e33.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eIn diesen heil'gen Hallen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e34.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eHier seid ihr euch beide allein überlassen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e35.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eSeid uns zum zweiten Mal willkommen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e36.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eTamino, wollen wir nicht speisen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e37.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eAch, ich fühl's\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e38.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNicht wahr, Tamino, ich kann auch schweigen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e39.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eO Isis und Osiris, welche Wonne!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e40.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003ePrinz, dein Betragen war bis hieher männlich\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e41.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eSoll ich dich, Teurer, nicht mehr sehen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e42.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eTamino! Willst du mich denn gänzlich verlassen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e43.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eEin Mädchen oder Weibchen\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e44.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eDa bin ich schon, mein Engel!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e45.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eBald prangt, den Morgen zu verkünden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e46.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eDer, welcher wandert diese Straße voll Beschwerden\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e47.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eWir wandelten durch Feuersgluten\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e48.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003ePapagena! Papagena! Papagena!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e49.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eNur stille, stille, stille\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:02)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003e\u003cb\u003eSoloists\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Covent Garden Opera Chorus\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003e\u003cb\u003eStudents of St Martin-in-the-Fields Secondary School\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Covent Garden Orchestra\u003c\/b\u003e\u003cbr\u003eChorus Master - \u003cb\u003eDouglas Robinson\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003eLeader - \u003cb\u003eCharles Taylor\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 16px;\"\u003eRoyal Opera House, Covent Garden, London\u003cbr\u003eLive performance on the evening of 4 January 1962\u003c\/p\u003e\n\u003cp data-pristine-work-detail=\"true\" style=\"font-size: 14px;\"\u003eLive broadcast recording, BBC Third Programme\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 12px;\"\u003e50.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eMagic Flute — BBC Closing\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:00)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSymphony No. 41 in C, K.551, \"Jupiter\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e51.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eI. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e52.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eII. Adagio cantabile\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e53.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eIII. Menuetto Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e54.\u003c\/span\u003e \u003cspan style=\"font-size: 14px;\"\u003eIV. Molto allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 5 October 1954, Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as UK Columbia LP 33.CX.1257\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO115.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO115.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Cast Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDie Zauberflöte, K.620\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eCAST\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTamino, an Egyptian Prince - 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PASC345","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 2\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1956 and 1952\u003cbr\u003eTotal duration: 62:23\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSolomon\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductors \u003cb\u003eHerbert Menges, André Cluytens\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fSolomon's interpretations of both concerti have become my new favorites578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eBeautiful, beautiful, beautiful. The English pianist Solomon, as he billed\n        himself professionally, has flown mostly under the radar of classical-music\n        lovers outside Britain. I'm not sure why, although this situation has\n        recently begun to undergo correction. Perhaps his obscurity stems from\n        the stroke he suffered in 1956, which froze his right arm. Although he\n        lived another 32 years, he never performed in public again. During his\n        absence, other pianists came to notice, and the lack of Solomon recordings\n        in new formats put him further in the shade. \u003cbr\u003e\n        \u003cbr\u003e\nI first heard him in his classic recording of the Arthur Bliss Piano Concerto.\nIt didn't impress me, but my dissatisfaction arose from the piece itself as well\nas from the muddy \u003cstrong\u003eEMI\u003c\/strong\u003e sound. The Beethoven recordings issued\nby Pristine reveal one of the finest pianists of the previous century and one\nof the great Beethoven pianists, period.\u003cbr\u003e\n        \u003cbr\u003e\nIt so happens that Beethoven's first piano concerto (\u003cstrong\u003eEMI\u003c\/strong\u003e, with\nSchnabel and Sargent) introduced me to the cycle. Up until I heard Solomon, Schnabel's\nwas my favorite performance. The two earliest piano concerti don't get the respect\nof the latter three, but those three blaze new trails. One could trace almost\nthe rest of the Nineteenth Century's piano concerti to one of them -- the Schumann\nto No. 4, the Brahms to No. 3, the Tchaikovsky to No. 5, for example. However,\nnumbers 1 and 2 represent supreme examples of the Mozartean concerto, particularly\nthe \"martial\" concerto. Mozart wrote many different kinds of concerto\n-- martial, pastorale, buffa, and so on -- but Beethoven pretty much stuck to\nthe one subgenre, although he expanded its musical and expressive range. Concerto\nNo. 1 (actually written after the designated second) asks the question, \"What's\nnot to like?\" Its witty outer movements brim full of surprising turns and\nthemes of high invention, a bit like Papageno's music in \u003cem\u003eZauberflöte\u003c\/em\u003e,\nwhile the stunning largo ponders, to paraphrase Blake, eternity in a moment --\nthe mood of the slow movement of Mozart's Concerto No. 21. Although more tightly\nbound to the immediate past, Concerto No. 2 nevertheless revealed Beethoven as\nthe composer to watch. The themes follow classical models more closely, but Beethoven\nkicks them over like sand castles in his treatment of them, as early as the first\nparagraph of the first movement. He breaks up the boxiness of the phrasing not\nonly with rough syncopation but with wild modulations to distant keys. The second\nmovement strikes me as a rehearsal of the largo of the official First, a \"pathetic\" opera\naria for piano and a good example of its type, but without the latter's special\ntranscendence. The third movement rondo is a symphonic view-halloo, a rapturous\nride through the pastoral landscape. Based on what Solomon does in these two\nworks, you can safely bet that his Mozart will be wonderful as well.\u003cbr\u003e\n        \u003cbr\u003e\nLet me say first that Solomon's interpretations of both concerti have become\nmy new favorites, surpassing even the Schnabel\/Sargent No. 1. He gives both a\nMozartean elegance, with a beauty of tone that out-pretties Van Cliburn in the\nTchaikovsky, while maintaining a profound understanding of what he plays. His\ntouch is yummy, his runs like perfect little diamonds. A superb concerto partner,\nhe always occupies the most appropriate place in the texture, but he also stands\nout in the concerti's cadenzas, especially that of the Second's first movement\n-- a fugato, composed years after the concerto itself, and thus perhaps a bit\njarring. It would be picky to complain, however. It's almost a sonata movement\nin itself, with a wonderful idea that reminds me of Wile E. Coyote spasmodically\nscrabbling for a hold in thin air as he falls the usual impossible distance.\u003cbr\u003e\n        \u003cbr\u003e\nHowever, a great concerto performance means to me a great partnership between\nsolo and orchestra. Herbert Menges seems to me a great conductor overlooked among\nthe talent in England. He matches Solomon elegant point for elegant point in\nthe Concerto No. 1. André Cluytens is bit looser, but perhaps a bit warmer\nas well. On the other hand, Menges has the advantage of a beautifully clear stereo\nimage. Unfortunately, stereo came in at the end of Solomon's career. There can't\nbe many more such recordings. In the weeks to come, however, I will review Pristine's\ncomplete Solomon-Beethoven concerto cycle.\u003cbr\u003e\n        \u003cbr\u003e\nAndrew Rose has made it \u003cstrong\u003ePristine\u003c\/strong\u003e's mission to offer recordings\nof historically-important recordings in the best possible sound. The stereo \u003cstrong\u003eEMI\u003c\/strong\u003e recording\nhas been restored to probably better-than-new, while the mono Second Concerto\navoids the flat tinny-ness associated with \"historical\" recordings.\nIt sings, as I have hinted, in a warm, round tone.\n      \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\n           \u003cb\u003eS.G.S.\u003c\/b\u003e (January 2014)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC345.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese two recordings, made just four years apart, seemed on first hearing to belong to different eras. The stereo 1956 recording of the Concerto No. 1 was excellently made; this remastering serves only to enhance an already fine sound and breathe a little more life into it. By contrast the 1952 Concerto No. 2, made at Kingsway Hall rather than Abbey Road, has been greatly revived from its dim and dull origins, and cured of the majority of the flaws identified in its first review in 1953 as a result.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI've also been able to cure the wow and flutter issues referred to in the review, and despite the mono sound, this Ambient Stereo presentation, retaining the central mono image but allowing reverberant space around the performers, goes along way to bringing the older recording up toward the very high technical standards set by the first concerto.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSOLOMON\u003c\/b\u003e plays \u003cb\u003eBeethoven\u003c\/b\u003e Piano Concertos 1 \u0026amp; 2 (1952\/56)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 1 in C major, Op. 15\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Largo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo — Allegro scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV ASD.294\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 2 in B flat major, Op. 19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Molto allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV BLP.1024\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI HLS 7067\u003cbr\u003eRecorded 16 September 1956\u003cbr\u003eat Abbey Road Studio 1, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eStereo recording\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI HLS 7067\/8\u003cbr\u003eRecorded 2 November 1952\u003cbr\u003eat Kingsway Hall, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eMono recording\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSolomon\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert Menges\u003c\/b\u003e conductor, Concerto No. 1\u003cbr\u003e\u003cb\u003eAndré Cluytens\u003c\/b\u003e conductor, Concerto No. 2\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2012\u003cbr\u003eCover artwork based on a photograph of Solomon\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 62:23\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC345.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC345.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eReview (Concerto No. 1)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIt may be that Solomon gives slightly the more elegant performance of the concerto, Rubinstein slightly the more powerful. But it is quite Certainly the case that both solo performances are in the very first class; less certainly the case that both orchestral performances are, for the New York orchestra does here and there lack something of both the poetry and the precision the Philharmonia do unfailingly bring to the music.\u003cbr\u003e\u003cbr\u003eA predisposition on these grounds in favour of the H.M.V. version is further strengthened on consideration of other factors; for though both stereo records offer excellent sound in the quieter passages of the music, the fuller tuttis are more richly as well as more clearly handled by the H.M.V. Both soloists use Beethoven's own cadenzas to the first movement: Rubinstein a version of No. 3, Solomon No. 2, which I hope it will not seem too much of a backhanded compliment to say has the great advantage of being very much shorter. If any further evidence is needed before making a choice, consider H.M.V's bonus, surely a convincing one: Solomon giving a serene performance, beautifully recorded, of the Beethoven late E minor piano sonata. Choice, indeed, seems to me to be selfevident; but this is most certainly not to deny the many beauties of the Rubinstein performance.\u003cbr\u003e\u003cbr\u003eM.M., The Gramophone, December 1959\u003cbr\u003e\u003cbr\u003e\u003cb\u003eReview (Concerto No. 2)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eAny new recording of the B fiat Concerto actually the first of Beethoven's five for piano, despite its numbering — is up against stiff competition from the Decca version by Backhaus and the Vienna Phil, which M.M. praised in the February issue for its sobriety, its avoidance of any striving after effect, and its fine full recording. I fully agree with his assessment of that disc, though he did not mention two details in the first movement which worried me — the sudden spurt in tempo at the development, and the flatter pitch of the (obviously inserted) cadenza. Solomon, while still making it clear that this is early Beethoven and not Mozart, takes the work less weightily, with what might almost be thought a \"period\" sense of proportion. The first movement is taken rather faster than in the Decca issue, and both soloist and orchestra give us admirably alert playing which stresses the con brio part of the tempo-indication. This care over authentic tempi i- observed again in the following movement, which already, in this his first major orchestral work, foreshadows Beethoven's later \"pathetic\" style; the slow speed adopted is a true Adagio. It is unfortunate that the recording does not match the quality of the performance: the orchestral opening is rather flimsy in tone, and the piano's first entry sounds almost as if its microphone is not properly \"up\" — in general, indeed, the soloist seems rather distant, and he is at times almost concealed by the strings. In the cadenza there is some distortion, while in forte passages of the Adagio the tone is c.ongested, and long sustained piano notes suffer a faint but persistent \"wow\". A pity, for this is a performance worth better presentation.\u003cbr\u003e\u003cbr\u003eL.S., The Gramophone, September 1953\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":30439823015997,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":30439823048765,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":30439823081533,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC345_fa86475a-422b-48ab-97ba-3285674a8315.jpg?v=1570201400"},{"product_id":"pasc345-cd","title":"SOLOMON plays Beethoven Piano Concertos 1 \u0026 2 (1952\/56) - PASC345 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478148941,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC345_259305a5-c2cb-4653-a137-eef299671209.jpg?v=1658308316"},{"product_id":"pasc351","title":"SOLOMON plays Beethoven Piano Concertos 3 \u0026 4 (1952\/56) - PASC351","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 3\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1956 and 1952\u003cbr\u003eTotal duration: 69:10\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSolomon\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductors \u003cb\u003eHerbert Menges \u0026amp; André Cluytens\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f I believe any Beethoven headbanger would want to share in Solomon's insight into the score.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAristocratic Beethoven. More from Pristine's Beethoven concerto cycle with the British pianist Solomon (as he billed himself), this time with my favorite Beethoven piano concerto, the Fourth. I don't often have a hands-down \"favorite\" anything, since I prefer to look at a work on its own terms. I characterize each Beethoven piano concerto slightly differently: No. 1, the best Mozart concerto not by Mozart; No. 2, a superior Mozart concerto; No. 3, Sturm und Drang; No. 4, lyrical; No. 5, virtuoso.\u003cbr\u003e\u003cbr\u003eSolomon's chief characteristics in his traversal are his elegance of touch and phrasing. These generally serve him very well indeed. I have to admit that I like his Third the least of the cycle, but that's because I view the work fundamentally differently in character than he does.\u003cbr\u003e\u003cbr\u003eFirst, for me, the Third updates Mozart's Concerto No. 24, also in c-minor, one of that composer's darkest and in many ways a foreshadowing of Beethoven's c-minor manner. Second, Beethoven had already written the Pathétique, Moonlight, and Tempest piano sonatas. The Violin Sonata No. 9 (Kreutzer) comes from around the same time as the concerto. All of these works share a tempestuous mood and aim for Romantic sublimity, rather than classical balance. Solomon simply isn't vulgar enough for me in the Third.\u003cbr\u003e\u003cbr\u003eHowever, rather than complain about why Solomon's interpretation isn't mine, I'd prefer to talk about how well he carries through his conception of the score. When I say \"his conception,\" I use shorthand, for I should also mention the conductor, Herbert Menges, since I have no way to know who took the lead here. At any rate, both Solomon and Menges seem on the same page, in that both shade most of the concerto toward the Mozartean. They observe Beethoven's contrasts, but don't make them as sharp as most others do. Menges's first-movement orchestral exposition, a model of the whole movement, builds from quiet neutrality to greater and greater tension, although the latter lacks all the drama one normally expects. Solomon, for the most part, stresses pianistic elegance, with gorgeous runs and an almost intimate conversation with the orchestra and the listener. Near the very end of the movement, the cadenza (not Beethoven's own, but Clara Schumann's -- and very good it is, too) changes all this. Despite its stylistic inconsistency, Solomon rips into it, emphasizing its futuristic modulations and wildness of expression. We end the first movement in the middle of Romantic storms.\u003cbr\u003e\u003cbr\u003eFrom the first chord of the second movement, Solomon suspends time. He stretches out his phrases almost to, but not past, the breaking point. Even though they take the work at an extremely slow tempo, neither Solomon nor Menges gets stuck. In Solomon's hands, some passages seem to presage Chopin nocturnes. Equally impressive is the pianist's knowledge of when to step back and accompany, particularly in the duet between flute and bassoon, and when to reassert himself, stepping up at exactly the right moment at the end of that duet. You rarely find such chamber-playing alertness in a virtuoso.\u003cbr\u003e\u003cbr\u003eI'd characterize Solomon's handling of the finale as \"merry,\" rather than the usual \"waspish.\" This definitely fits the scherzo-ish coda better. Again, Solomon emphasizes the lightness of the music and lets its power take care of itself. This interpretation may not suit everybody, but one cannot dismiss its detail, sensitivity, and historical awareness.\u003cbr\u003e\u003cbr\u003eIf you ask me (and you haven't), I'll tell you that the Fourth ranks as my favorite of the five concerti. I spent a year studying the score and know it in detail like no other. The most tightly-composed of the five, the concerto -- or almost all of it -- grows out of the opening measures for solo piano. Yet it sounds lyrical and memorable rather than pedantic. When Leonard Bernstein talks about Beethoven's \"inevitability,\" I always think of this concerto -- superbly planned, but expressively fresh. Solomon proves himself more than equal to the challenge, giving one of the very best performances of this concerto I've heard. From the remarkable solo that opens the work, Solomon reveals not only a deep understanding of its components, but also the ability to weave a poetic statement. Given his traversals of the previous three concerto, I find odd but welcome Solomon's embrace of more muscular playing when called for. It's power without pounding, however.\u003cbr\u003e\u003cbr\u003eBeethoven's second movement astounded the Nineteenth Century. No concerto had a movement like this before, and up to the Modern era, few after. Liszt compared it to Orpheus taming the savage beasts. Essentially an arioso recitative, it alternates growls from the orchestra with tender answers from the solo piano. Solomon impresses here with complete mastery over low dynamics -- pianissimo to piano in its first statement, mezzo-piano to slightly less than piano in the second, and so on. He reaches a brief high of mezzo-forte and immediately and gracefully comes back down to pianissimo.\u003cbr\u003e\u003cbr\u003eThose who have paid attention will recognize the main subject of the third-movement rondo as a variant of the piano's very first phrase in the opening movement. It also has the unusual distinction of beginning in one key (C major) and magically transforming somewhere in its middle to another (G major). It drives forward, and Solomon puts out plenty of wattage, turning glittering runs into pure power.\u003cbr\u003e\u003cbr\u003eUnfortunately, Cluytens fails to match his soloist. Under his baton, the Philharmonia is turgid and rhythmically sloppy, if you can believe it of one of the great British orchestras of the time, and all of Pristine's technical wizardry cannot save its bacon. Menges has the advantage of stereo, but even so, he gets crisp attacks and sharp rhythms from the orchestra. Cluytens does best in the slow movement, as he tries to match Solomon's dynamics, but in general he keeps the pianist's stunning performance from achieving what should have been one of the greatest recorded renditions of this concerto. Nevertheless, I believe any Beethoven headbanger would want to share in Solomon's insight into the score.\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eS.G.S.\u003c\/b\u003e (February 2014)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC351.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n:\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth recordings sound considerably better following the application of XR remastering equalisation, with the greatest gains to be had in the older recording, the 1952 Concerto No. 4, which has revealed far more top end than was apparent on the original LP. Both were generally consistent in pitch, though I have had to smooth out some wow in each recording. Both have been pitched to A=440 as heard in the 4th, whereas the 3rd was sharp.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSOLOMON\u003c\/b\u003e plays \u003cb\u003eBeethoven\u003c\/b\u003e Piano Concertos 3 \u0026amp; 4 (1952\/56)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Largo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV BSD.751\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 4 in G major, Op. 58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV BLP.1036\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI HLS 7068\/9\u003cbr\u003eRecorded 17 September 1956\u003cbr\u003eat Abbey Road Studio 1, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eStereo recording\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI HLS 7068\/9\u003cbr\u003eRecorded 3 November 1952\u003cbr\u003eat Kingsway Hall, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eMono recording\u003cbr\u003ePresented in Ambient Stereo\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSolomon\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert Menges\u003c\/b\u003e conductor, Concerto No. 3\u003cbr\u003e\u003cb\u003eAndré Cluytens\u003c\/b\u003e conductor, Concerto No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, July 2012\u003cbr\u003eCover artwork based on a photograph of Solomon\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 69:10\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC351.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC351.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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Concerto No. 3)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eThis\n is an extraordinarily satisfying performance of the Concerto. Solomon \nchooses a fairly broad tempo for the first movement and one that seems \nto me to be precisely right, especially as, whatever his subtleties of \nmood and speed, he never lets it lose momentum. There is, indeed, an \nabsolutely sure sense of direction in this masterly playing. Masterly \nplaying it is, too, all through, with the shaping of every phrase the \nresult of long experience, thought and depth of feeling. Other pianists \nmight give more sheer glitter to the finale but Solomon's rhythmic and \ncontrolled playing is enough to make it fit into his conception of the \nwork as a whole.\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eUnexpectedly, he does not play Beethoven's cadenza in \nthe first movement but one by Clara Schumann. It is a good one, \ndeveloped well from the material and keeping very reasonably to the \nright style and I don't think many will complain of this choice.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs to the orchestral contribution, Herbert Menges is \nadmirable, perfectly judging his opening section in tempo and manner to \nsuit the soloist's conception and accompanying deftly throughout. The \nrecorded sound seems excellent to me.\u003c\/p\u003e\u003cp class=\"body\"\u003eI have no hesitation in recommending this very strongly \nas a thoroughly fine performance and, indeed, it has the extra virtue \n(over some others) of having none of those mannerisms that can become so\n tiresome on repeated playings of a gramophone record. But should you \nimagine that that comment suggests any dullness, you will be \nmisunderstanding me. This is the playing of a Master...\u003c\/p\u003e\u003cp class=\"body\"\u003eAltogether, in fact, a deeply satisfying record—and I think there is no better one of the Concerto.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eT.H., The Gramophone\u003c\/strong\u003e, July 1958 - excerpt\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e(\u003ca href=\"http:\/\/www.gramophone.net\/Issue\/Page\/July%201958\/29\/843814\/BEETHOVEN.+Piano+Concerto+No.+3+in+C+minor,+Op.+37.+Piano+Sonata+No.+22+in+F+major,+Op.+54.+Solomon+%28piano%29,+Philharmonia+Orchestra+conducted+by+Herbert+Menges.+H.M.V.+ALP1546+%2812+in.,+41s.+8d.%29.\" target=\"_blank\"\u003elink\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Concerto No. 4)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eSolomon\n and the Philharmonia Orchestra play exquisitely. That would be \nexpected, and is in fact achieved. A beautifully clear, limpid style on \nthe part of the soloist is matched by a perfect orchestral partnership; \nfundamental virtues that would make up for many other sins. In fact \nthere is but one sin, venial and qualified at that, in the picture : a \nsecure and clear recording expounds, presumably faithfully, a \nsurprisingly tinny piano-tone—a point which is of some importance in a \npiano concerto.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eM.M., The Gramophone\u003c\/strong\u003e, February 1954, excerpt\u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e(\u003ca href=\"http:\/\/www.gramophone.net\/Issue\/Page\/July%20http:\/\/www.gramophone.net\/Issue\/Page\/September%20http:\/\/www.gramophone.net\/Issue\/Page\/February%201954\/25\/789120\/BEETHOVEN.+Concerto+No.+4+for+Piano+and+Orchestra+in+G+major,+Op.+58.+BaduraSkoda+%28piano%29.+Orchestra+of+the+Vienna+State+Opera+%28Hermann+Scherchen%29.+Nixa+WLP5143+%2812+in.,+36s.+51d.%29.\" target=\"_blank\"\u003elink\u003c\/a\u003e)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Concerto No. 4)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003ePerhaps\n influenced by The Record Guide's sour comments on Solomon's account of \nthe Beethoven No. 4, I have never gone back to hear it again. This time,\n perhaps because I was not expecting perfection, I have been enchanted. \nEven the subdued opening which the authors of The Record Guide object to\n seems to me in character with the thoughtfulness of the rest. It is \ntrue that Cluytens could match his soloist better but there is never any\n doubt that this performance is far preferable to the kind of runthrough\n (however brilliant) that we had last month from Katchen. So many \npassages reveal the magical way Solomon had with phrasing...\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eE.G., The Gramophone\u003c\/strong\u003e, March 1964, excerpt\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":30439803224125,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":30439803256893,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":30439803289661,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC351_6de34143-7556-43ea-83ba-df1a3a1d216e.jpg?v=1570201294"},{"product_id":"pasc351-cd","title":"SOLOMON plays Beethoven Piano Concertos 3 \u0026 4 (1952\/56) - PASC351 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478152141,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC351_d0814946-df0c-470e-a7d0-0ffe40ee6da1.jpg?v=1658308521"},{"product_id":"pasc353","title":"SOLOMON plays Beethoven \"Emperor\" Concerto, \"Waldstein\" \u0026 \"Les Adieux\" Sonatas (1952\/55) - PASC353","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5, \"Emperor\"\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 21, \"Waldstein\"\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 26, \"Les Adieux\"\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1955 and 1952\u003cbr\u003eTotal duration: 77:11\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSolomon\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eHerbert Menges\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFrom the opening bars and its skyrocket arpeggios, he designs the concerto to overwhelm the audience.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cem\u003eVive l'empereur! Heil Waldstein! \u003c\/em\u003e\u003cstrong\u003ePristine\u003c\/strong\u003e crosses the finish with a roar\n        in its final installment of Solomon's Beethoven piano concerto cycle. I\n        have worried in previous reviews that Solomon might not have the sufficient\n        vulgarity to play the \u003cem\u003eEmperor\u003c\/em\u003e. Of the cycle, probably my least favorite\n        (I'm perverse), it seems to move me only when a pianist fully commits to\n        its bombast. Solomon had struck me with his elegance and lyricism, two\n        qualities you can have too much of in certain works -- like this one, Beethoven's\n        essay in piano virtuosity. From the opening bars and its skyrocket arpeggios,\n        he designs the concerto to overwhelm the audience.\u003cbr\u003e      \n        \u003cbr\u003e\n        Solomon's hands give the concerto both interpretive sophistication and\n        plenty of mojo. Much of his ingenuity comes down to a perceptive judgment\n        of what to leave to the orchestra. For example, in the intro's \"rockets'\n        red glare,\" the orchestra launches the fireworks with a boom, while\n        Solomon lyrically comments, even managing a perfect diminuendo. Indeed,\n        during most of the first movement, the orchestra gives the \"public\n        face\" of heroism and Solomon the meditative one. Thus, when the pianist\n        takes the lead, the ramp-up makes all that much bigger a stir. Such contrast\n        rarely succeeds in general, since it can sound like orchestra and soloist\n        haven't found themselves on the same interpretive page. Here, however,\n        the collaboration between Solomon and Menges is so tight that the entire\n        movement seems conceived as an entirety, rather than as a bunch of \"magic\n        moments,\" although you get plenty of those, particularly at the piano \"scintillation\" of\n        the B theme.\u003cbr\u003e      \n        \u003cbr\u003e\n        Menges's opening to the second movement convinces me of his greatness\n        as a Beethoven conductor as he perfectly captures the elusive simplicity\n        of\n        the Beethoven \"spiritual\" chorale. Solomon glides in after\n        him, smooth as a swan on a lake, with that kind of stillness. The singing\n        could\n        easily bog down, but both performers keep up a gentle push. The transition\n        to the third movement yields the only disappointment in the entire concerto\n        -- too raggedy, the string plinks all over the place. They probably went\n        for an improvisatory effect, but the coordination broke down. However,\n        Solomon rebounds with his entrance, full-blooded and, considering his\n        previous restraint, the equivalent of a roar. Unlike many interpretations,\n        the entire\n        movement becomes simultaneously powerful and buoyant, which trades in\n        grandiosity for genuine grandeur.\u003cbr\u003e      \n        \u003cbr\u003e\n        For me, too many \u003cem\u003eEmperors\u003c\/em\u003e come cut from the same cloth, and I have little\n        to no reason to prefer one to another. A truly original, non-bizarre interpretation\n        you rarely run into. Solomon and Menges strike a unique balance between\n        Romantic ardor and classical \u003cem\u003emesure.\u003c\/em\u003e In fact, it has begun to\n        push me toward a more complex view of both the concerto and Beethoven\n        in general. I think\n        of Beethoven as a composer of \"edges\" --abrupt transitions,\n        rough, sharp contrasts, and so on, at odds with a suave approach. Yet\n        Solomon\n        and Menges bring it off and, doing so, take off the curse of crude manipulation\n        from the score.\u003cbr\u003e      \n        \u003cbr\u003e\n        The first Beethoven piano sonata I ever heard neither the\u003cem\u003e Pathétique\u003c\/em\u003e      or the \u003cem\u003eMoonlight\u003c\/em\u003e, the \u003cem\u003eWaldstein\u003c\/em\u003e knocked me on my tush and hasn't yet let\n        me up. Schnabel played, and his interpretation has remained my touchstone,\n        not only because I think it terrific but because I know it longest and\n        best. Briefly, Schnabel drives the first movement and creates a quasi-improvisatory\n        second which leads to a roller-coaster ride to the end of the third. The\n        \u003cem\u003eWaldstein\u003c\/em\u003e, one of the harder sonatas, leads Schnabel into his share of\n        splats. However, he plays as if in the grip of the thing, possibly because\n        he would run into outright disaster if he let go. Nevertheless, this grip\n        translates into a kind of obsession, which works for this sonata.\u003cbr\u003e      \n        \u003cbr\u003e\n        Technique is never Solomon's problem. The speed and clarity of his runs\n        amaze, and with a powerful, golden tone, besides. Furthermore, he takes\n        the fiendish first movement as fast as I believe I've ever heard it and\n        nails the tough parts (the octave fanfare idea, for example). He propels\n        the quick sections, beautifully relaxes in the lyrical ones. Unlike Schnabel,\n        he seems in complete control, avoiding the former's desperate vibe for\n        pure exhilaration. Conceptually, the second movement strikes me as the\n        most difficult, for it seems to reside in a half-way place between song\n        and recitative. Schnabel finds himself closer to recitative, Solomon to\n        song. The transition to the finale is tricky, although many pianists do\n        well enough, Solomon among them, but Schnabel really gets it. Once Solomon\n        hits the finale, he's at his best, paradoxically restrained in tempo and\n        headlong in rhythm. Lights and shades fill his phrases. This isn't all\n        hit-and-run. We get gorgeous diminuendos and crescendos as well as varieties\n        of touch and tone, from delicate to muscular, but it avoids the precious,\n        as the coda's speed-up amply demonstrates.\u003cbr\u003e      \n        \u003cbr\u003e\n        I'm currently cooling off toward the \u003cem\u003eLes Adieux\u003c\/em\u003e sonata, although I recognize\n        it as one of Beethoven's most radically-conceived sonatas, proceeding on\n        drama and mood rather than on pure structure, the sonata equivalent of\n        the \u003cem\u003ePastorale\u003c\/em\u003e Symphony. In three movements -- \"Farewell,\" \"Absence,\" and \"Reunion,\" it\n        commemorates Beethoven's friend and patron's, Archduke Rudolph, escape\n        from Vienna as Napoleon's armies approached the city and the archduke's\n        eventual return. \"Farewell\" is tender, \"Absence\" rolls\n        in misery, and \"Reunion\" gets giddy. For me, the work anticipates\n        Wagner. My failure to respond may come down to the fact that I've listened\n        to it too many times after the \u003cem\u003eWaldstein\u003c\/em\u003e. Scores go in and out all the\n        time for me, so I'm fairly confident that one day I'll hook into it again.\u003cbr\u003e      \n        \u003cbr\u003e\n        Whatever my indifference to the score, it doesn't stem from Solomon, who\n        delivers one of the most beautiful \u003cem\u003eLes Adieux\u003c\/em\u003e I've heard. Again,\n        one notes the balance between Classical restraint and Romantic ardor. \"Absence\" is\n        most affecting, while \"Reunion\" is practically pure rush.\u003cbr\u003e      \n        \u003cbr\u003e\n        All these recordings are mono, but they come from the tail of Solomon's\n        career -- early to mid-Fifties -- so the bases are actually pretty good,\n        especially that of the \u003cem\u003eEmperor\u003c\/em\u003e. \u003cstrong\u003ePristine\u003c\/strong\u003e aims\n        not only to clean up noise and recording vagaries but to produce as good\n        a sound as possible -- to\n        get the most music out of the grooves. It has applied its XR \"ambient\n        stereo\" recording process, which I find misnamed. It doesn't produce\n        a left-right distribution, unlike the horrors of electronic stereo, but\n        rather emphasizes the ambience of the recording, \"rounds out\" what\n        you hear -- a \"front-to-back\" enhancement. A beautiful disc.\u003cbr\u003e      \n        \u003cb\u003e\u003cbr\u003e\n              S.G.S\u003c\/b\u003e. (March 2014)\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC353.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003ePlus \"Solomon's magnificent Waldstein — truly one of the great recordings of the century\" - The Gramophone, 1967\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eSolomon was without doubt one of the foremost Beethoven specialists of his era, as this superb performance of the Emperor amply demonstrates - it was a request for this particular recording which prompted this short series of releases. Alas at this time EMI's adoption of stereo was somewhat patchy - a year later Solomon was still making some of his final sonata recordings in mono. I have chosen two of his 1952 sonata recordings from a similar period in Beethoven's output to join the Emperor here - both again brilliant played and recorded, and all three sounding simply wonderful in these new transfers after 32-bit XR processing. In the case of both sonatas and concerto I was also able to eliminate a hint of wow and flutter present in the originals, firming up the piano tone considerably as well as correcting very slightly wayward pitches (both up and down) to concert standard A=440Hz.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eSOLOMON\u003c\/b\u003e plays \u003cb\u003eBeethoven\u003c\/b\u003e \"Emperor\" Concerto, \"Waldstein\" \u0026amp; \"Les Adieux\" Sonatas (1952\/55)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 5, \"Emperor\", in E flat major, Op. 73\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(19:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio un poco mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV ALP.1300\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 21, \"Waldstein\", in C major, Op. 53\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Introduzione — Adagio molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo — Allegretto moderato — Prestissimo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV ALP.1160\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Sonata No. 26, \"Les Adieux\", in E flat major, Op. 81a\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:42)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante espressivo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:49)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Vivacissimamente\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as HMV BLP.1051\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI HLS 7070\u003cbr\u003eRecorded 13 April 1955 at Abbey Road Studio 1, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert Menges\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI HLM 7099\u003cbr\u003eRecorded 15 June 1952 at Abbey Road Studio 3, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eTransfer from EMI HLM 7101\u003cbr\u003eRecorded 20 November 1952 at Abbey Road Studio 3, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSolomon\u003c\/b\u003e,piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, August 2012\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Solomon\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 77:11\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC353.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC353.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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Piano Concerto No. 5)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eThe\n Emperor is indeed fortunate among concertos, for each new version seems\n to manage to improve fairly consistently on the last. The latest is no \nexception: on general grounds I would place this new H.M.V. with Solomon\n at the top of the list, where previously I had preferred the D.G.G. \nwith Kempff.\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eNot altogether expectedly, the new performance seems to \nconcentrate on brilliance. To some small extent an occasional breadth of\n phrase or an occasional relaxation of tension are sacrificed to the \nprimary end but it cannot be said that the result is not arguably \nsuitable to the nature of the concerto. The Philharmonia, under Menges, \nand Solomon are at one in this: the orchestra lacks nothing whatever in \nbrilliance, but its wind soloists do not always sound to be fully at \ntheir ease. That is not to say that anywhere there is a bar of \nwind-playing that would not pass muster in any orchestra in the world; \nbut it is to say that occasionally the Philharmonia do sound less \ndistinctive than usual.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe concerted brilliance is naturally in principal \nevidence in the outer movements; and it combines with a very sure \nrhythmic grip on Solomon's part to present the finale in a most \neffective light. The coda is particularly striking; Solomon delays \nbeginning his ritardando to something like the point at which Beethoven \nmarked it, and the notes of the timpani part are clearly audible as \nsuch. The result is a highly successful negotiation of one of the \ntraditional danger spots.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe clear timpani at this point are symptomatic of the \nfirst-class recording. It is exceptionally clean, and brilliant to a \ndegree matching that of the performance; and this without any suspicion \nof shallowness in the piano tone, which is full and rounded. The balance\n between piano and orchestra is nearly everywhere ideal, as is the \ninternal balance of the orchestra. The sense of one passage in the slow \nmovement would be clarified if the flute were slightly more prominent; \nbut happy the recording in which such a comment is worth making!\u003c\/p\u003e\u003cp class=\"body\"\u003eHappy this recording in any case; and I have no hesitation in strongly recommending it.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eM.M., The Gramophone\u003c\/strong\u003e, January 1956\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Sonata No. 21)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eI\n am delighted to see reissued at this bargain price Solomon's \nmagnificent recording of the Beethoven Waldstein Sonata— truly one of \nthe great recordings of the century. It was made in 1952 when he was at \nthe height of his powers, and the Carnaval recording, which has not been\n issued before, dates from the same year. With Solomon one always took a\n Virtuoso technique for granted. It comes as a surprise even so to be \nreminded in a brilliant piece like Carnaval, and also in one of \nBeethoven's most brilliant 'concert' sonatas, just how brilliantly he \ncould play. The Carnoval performance is astonishing: a riot of extrovert\n gaiety, colourful to the point of garishness, at times hectic to the \npoint of sweeping the carnival guests off their feet. Speaking from \nmemory I would say that of all the other recordings of the work I've \nheard Solomon's comes closest to Rachmaninov's in terms of physical \nexcitement. A commanding interpretation, if not perhaps one which does \nfull justice to the 'light fantastic' and inward qualities of the \nmusic—those qualities which, above all others, Sviatoslav Richter serves\n so well in his Schumann playing. I shall return more often, I think, to\n the Beethoven side of the record, which has an authority only Schnabel \nat his best could equal.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eS.P., The Gramophone\u003c\/strong\u003e, April 1967- excerpt\u003c\/span\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview\u003c\/strong\u003e (Sonata No. 26)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eIf\n Solomon's supple control is admirable in the \" Moonlight \", in \" Les \nAdieux\" it enables him to give a performance such as I have not heard \nequalled. Foi this \"programmatic\" sonata (the Farewtll, the Absence, the\n Meeting Again) is fiendishly difficult to hold together. In the \nBackhaus and Novaes performances the opening Adagio disintegrates ; with\n Solomon the basic pulse is beautifully sustained. In the Andante \nespressivo, the Absence, the problems of varying motion are most \nadroitly solved; and the Finale has an impetuosity, a joyful freshness, \nsuch as may surprise some of Solomon's listeners. The recording, like \nthe performance, has no faults at all, but is entirely admirable. (The \nGulda version listed above is too poorly recorded to recommend.)\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eA point of detail: four bars from the end of the first \nmovement Beethoven has marked a crescendo which baffles editors and \nwhich interpreters generally prefer to render as diminuendo. Solomon \nsurprises us at first hearing by realising the sense of the marking; by \nthe third hearing we are completely convinced.\u003c\/p\u003e\u003cp class=\"body\"\u003eOn the strength of this disc it certainly seems as if \nSolomon's complete recording will become the \"standard\" one. H.M.V have \nshown no signs of giving Schnabel's discs a new, LP, lease of life; and \nDecca's Backhaus issues, as we have all been saying in these pages, are \nimmensely variable. Perhaps it is worth remarking, what one tends to \ntake for granted in Solomon's readings, that the performances are \ninstinct with loving care. Backhaus sometimes gives the impression that \nhe has simply sat down and played off the sonata. There is nothing like \nthis about Solomon: the result is not a lack of freshness (one listens \nas if hearing the music for the first time), but an inimitable \nrightness.\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eA.P., The Gramophone\u003c\/strong\u003e, December 1954- excerpt\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":30439813120061,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":30439813152829,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":30439813185597,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":30439813218365,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC353_2972e899-41b9-4a13-abfd-4d9878c1e269.jpg?v=1570201349"},{"product_id":"pasc353-cd","title":"SOLOMON plays Beethoven \"Emperor\" Concerto, \"Waldstein\" \u0026 \"Les Adieux\" Sonatas (1952\/55) - PASC353 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478155405,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC353_8716c770-931f-4426-9e42-01326fc9d74f.jpg?v=1658308558"},{"product_id":"pasc357","title":"GINETTE NEVEU - The Concerto Recordings: Sibelius \u0026 Brahms (1945\/46) - PASC357","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS \u003c\/b\u003eViolin Concerto\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1945 \u0026amp; 1946\u003cbr\u003eTotal duration: 71:35\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGinette Neveu\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductors \u003cb\u003eWalter Susskind, Issay Dobrowen\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecordings that must count among the greatest ever made have now become available in the kind of restorations they clearly demand578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGinette Neveu, born on August 11, 1919, had \nreached only the age of 26 when she recorded Jean Sibelius’s Violin \nConcerto with Walter Susskind and the Philharmonia Orchestra on November\n 21, 1945, and had barely turned 27 when she recorded Johannes Brahms’s \nConcerto with Issay Dobrowen and the same orchestra on August 16-18, \n1946 (at the same sessions, she recorded Ernest Chausson’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e). Later and earlier studio recordings of major works would include Claude Debussy’s Sonata (1948), Maurice Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTzigane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (1946), and Richard Strauss’s Sonata (1939). That’s all. Of course, she\n also recorded some short pieces; but A. R., reviewing her release of \nSibelius’s concerto in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Gramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in January 1946 (excerpted in Pristine’s insert), expressed the wish \nthat she would go on (soon) to record Ludwig van Beethoven’s, Brahms’s, \nand Edward Elgar’s concertos. She managed only one of these (she \nsupposedly planned Beethoven’s, Piotr Ilyich Tchaikovsky’s, and William \nWalton’s) before her tragic death in an airplane crash in 1949, but \nthere’s an air-check of Beethoven’s concerto. For Elgar, admirers will \nhave to be satisfied with her reading of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Capricieuse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n from 1946—although HMV didn’t publish it. All this commands attention \nbecause Neveu won the Wieniawski Competition in 1935—ahead of David \nOistrakh and Henri Temianka (both Neveu and Temianka had studied with \nCarl Flesch). All we have left, besides air-checks, must be found in a \nhandful of studio recordings, the age of which may for some have \nmilitated against a thorough and rigorous assessment. Pristine’s Andrew \nRose relates that he aimed to restore the “full frequency” of Neveu’s \nviolin (she played one by François Lupot, although she also owned one \nmade by Omobono Stradivari in 1730).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSince A. R. had called the Sibelius recording a \n“great” one, even upon its release, it deserves Rose’s attention; and \nhis remastering reveals more than the splendor of Neveu’s tone (its \nbrilliance in the upper registers and its gritty richness in the lower \nones)—though it does that, too. It also allows listeners to hear the \nshimmering accompaniment of the concerto’s opening with almost digital \nfidelity, and picks out details from that accompaniment throughout the \nfirst movement; all that’s the more remarkable because, as Rose notes, \nthe recording took place just before the era of magnetic tape. Neveu \ndidn’t attack passages with Jascha Heifetz’s steely aggressiveness (his \nrecording with Thomas Beecham, made in 1935, must have been familiar to \nher); but she reaches almost the same temperature, with perhaps even \ngreater rhapsodic freedom (with Susskind providing sympathetic support),\n especially toward the end, without slashing and burning. If the slow \nmovement lacks some of Heifetz’s urgency, her statement of the finale’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epolacca\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n theme (an updating of passages from concertos of the era of Giovanni \nBattista Viotti and Louis Spohr) pulsates with enough electricity to \nlight several soundstages; and, as in other movements, her double-stops \nhave an almost succulent purity that’s rare even among legendary \nviolinists (Michael Rabin comes to mind as a comparison).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhatever Rose wrought in his restoration of \nSibelius’s concerto, he managed something comparable in capturing the \norchestra’s sonority in Brahms’s. Neveu herself plays the often angular \nviolin solo with the ferocious panache of a knife-thrower. The first \nmovement therefore makes a visceral impression, though it also suggests a\n magisterial comprehensiveness organizing more than moment-to-moment \ndetail. The transfer’s so startlingly lifelike that in the cadenza, \nNeveu almost seems to be standing in the same room with listener and \nspeakers. The slow movement begins at a pace that could be deadening, \nbut that in this case allows the theme’s lyricism to blossom; that’s \ntrue of the violin solo as well. Whence derives the reputation of Flesch\n students as soullessly intellectual? Does Neveu’s playing (or Bronislaw\n Gimpel’s, or Josef Hassid’s, or Ivry Gitlis’s, or Ida Haendel’s, for \nthat matter) suggest it? In the finale, Neveu again wields the cutlass \nwith which she slashed through the first movement’s thickets; but plenty\n of propulsive energy underlies her grand gestures.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor those who believe the judging in the \nWieniawski competition may have been contaminated by ethnic or political\n considerations, Pristine’s release may serve as an occasion for \nreassessment. But at the very least, Neveu emerges in these concertos as\n a player with a gigantic personality and overwhelming richness of \nmusical insight. Recordings that must count among the greatest ever made\n have now become available in the kind of restorations they clearly \ndemand. The most urgent of urgent recommendations. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eRobert Maxham  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC357.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eGinette Neveu's two studio concerto recordings were both made at the tail end of the direct-to-disc era, before magnetic tape took over, and the remnant shortcomings of the process, even as technology advanced, are still occasionally audible here in hints of swish and background surface noise. My aim was to use the XR process in such as way as to try and bring out the full frequency and dynamic range of Neveu's violin, as well as the rich tones of the low orchestra, so vital especially to the Sibelius concerto.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eI've been able to address a number of concerns regarding pitch stability, more particularly in the Sibelius, where a certain amount of wow was present in my source material during considerable sections of the recording. Pitching of the original performances has been determined by analysis of underlying electrical hum and restored to these releases, with the Sibelius at A4=443.64Hz and the Brahms at A4=444.09Hz.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eOverall the application of XR remastering has made tremendous improvements: by comparison the originals sound dull and flat - now the solo violin truly sings; one can almost hear the rosin flying off Neveu's bow! The Gramophone reviewer in 1946 described the Sibelius as incandescent - Neveu certainly sounds on fire here!\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eGINETTE NEVEU\u003c\/b\u003e - The Concerto Recordings: \u003cb\u003eSibelius\u003c\/b\u003e \u0026amp; \u003cb\u003eBrahms\u003c\/b\u003e (1945\/46)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e Violin Concerto in D minor, Op. 47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio di molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro ma non tanto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos 2EA.10765-72\u003cbr\u003eCatalogue Nos DB.6244-47\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Arthur Clarke\u003cbr\u003eRecorded 21 November 1945\u003cbr\u003eAbbey Road Studios, London\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro giocoso, ma non troppo vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix Nos 2EA.11172-80\u003cbr\u003eCatalogue Nos DB.6415-19\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecording producer: Unknown\u003cbr\u003eRecording Engineer: Arthur Clarke\u003cbr\u003eRecorded 16-18 August 1946\u003cbr\u003eAbbey Road Studios, London\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Susskind\u003c\/b\u003e conductor\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIssay Dobrowen\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfers from EMI box set RLS 739\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGinette Neveu\u003c\/b\u003e violin\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, September 2012\u003cbr\u003eCover artwork based on a photograph of Ginette Neveu\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 71:35\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC357.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC357.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Sibelius Violin Concerto, 1946\u003c\/strong\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eCompetitive festivals are always tiring for the \nadjudicator, but often have unforgettable moments that refresh and \ninspire. I observed, recently, in one of many competing choirs of school\n children, a- girl of about twelve years old, who was so completely \npossessed by the music she and her neighbours were singing, that she \nstood out from them as one with a halo about her head.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eNo other violinist that I know is so possessed by the \nspirit of music as Ginette Neveu : and it was of her that I thought \nwhile watching this small girl. But round the head of Neveu is not a \ngentle halo, but a flame of fire. It is clear that, herself inspired, \nshe inspires also the orchestra : and I am not surprised to hear that at\n the end of the recording session the Philharmonia Orchestra gave her an\n ovation. Orchestral players may have a rather cynical outlook on \nlife—there is some reason for that—but they always rise to a great \nperformance.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis is, without any doubt, a great performance—a \nperformance so incandescent that at the end I felt like bursting into \nflames myself! Neveu has, as far as I can see, every quality of \ngreatness. One takes for granted in a front-rank artist technique equal \nto all demands. Musicianship may fall some way short of such technique :\n but hers does not. I am told that she is as familiar with every bit of \nthe orchestral stave as with her own part: and I can believe it. Fine \nsupple phrasing, a magnificent attack, lovely rich singing tone, all \nthese gifts are hers : and the result of all her qualities is that one \nexperiences the sensation of the music growing under her fingers.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe opening of the concerto reminds one of Sibelius' \nadmiration for Mendelssohn's scoring but the impression fades away as \nthe violin sings on its beautiful tune. Sibelius' fondness for using the\n low registers of the wood-wind and brass is much in evidence in this \nconcerto : and it certainly helps to create the feeling that the \norchestra is a kind of Caliban—\"grim, almost uncouth and certainly \nearthbound \"—to the violin Ariel, free \" to fly, to swim, to dive into \nthe fire, to ride on the curl'd clouds.\" After the thirty, or so, \ncontinuous bars of melody for the solo violin the clarinets and bassoons\n are both heard at a low pitch, while the solo violin dips and dives \nfrom the heights. This is a good illustration of the Caliban-Ariel \nanalogy and only one of many. These opening pages also make us feel that\n everyone is at the heart of the work, and that we are in for a \nthrilling experience.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe orchestral playing, under Walter Susskind, is fine \nand vital. The sudden flashes of brass tone, the buoyant pizzicati, the \nbeautifully calculated and colourful detail are all realised in this \ntruly magnificent recording.\u003c\/p\u003e\u003cp class=\"body\"\u003eSibelius has loaded—and, in my opinion, in the last \nmovement somewhat overloaded—the solo part with formidable difficulties,\n but Neveu sails through processions of octaves, sixths, harmonics, and \nso on, with the utmost assurance and conviction and she plays the long \ncadenza with so much light and shade, such perfection of musicianship \nthat one scarcely notices it is a cadenza ! A deeper note comes into the\n recapitulation section of the movement after a loud outburst from the \nfull orchestra : and here (Part 4) we have some of the most richly \nexpressive pages in the work. The rising phrase for the cello (which has\n been much used, in sixths,' by the soloist) haunts the memory.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe opening of the slow movement (clarinets, oboes, \nflutes, in thirds) provides one of the few pages in Sibelius' music of \nthe influence of Wagner, since it recalls a similar passage in the \nPrelude to the third act of Tristan and has the same desolate \natmosphere.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs Neveu was playing the slow movement tune—one that is \nfull of \" thoughts that lie too deep for tears \"—someone came noisily \ninto the room and I felt as I had received a physical blow, so utterly \ncaught up was I into this exquisite playing of the music. It is not to \nbe described, it must be heard.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe final movement is immensely vital and glowing, \nsuperbly played ; but not, I feel, on a level, musically, with the rest \nof the work.\u003c\/p\u003e\u003cp class=\"body\"\u003eOne has cried out before, and often, against duplication\n of frequently recorded works but I must confess that I await eagerly, \nand with hope, for Ginette Neveu and this orchestra to give us the \nBeethoven, the Brahms, and the Elgar violin concertos, and as soon as \npossible.\u003c\/p\u003e\u003cp class=\"body\"\u003eI do not think that there is another artist in the world\n today who has, in addition to the outstanding gifts of all virtuosi, \nsuch ardour and fire, such a capacity for embracing us all in the sweep \nof her bow.\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eA.R., The Gramophone\u003c\/strong\u003e, January 1946\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34180267853,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34180267917,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34180267981,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34180268045,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC357_b7859e8e-84ae-4184-afd5-46850b31188a.jpg?v=1619962479"},{"product_id":"pasc357-cd","title":"GINETTE NEVEU - The Concerto Recordings: Sibelius \u0026 Brahms (1945\/46) - PASC357 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478156237,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC357_703f1980-7be7-4a40-a755-ef5c8e9a8dbb.jpg?v=1658308634"},{"product_id":"pasc358","title":"MOISEIWITCH plays Rachmaninov Piano Concertos 1 \u0026 2, Paganini Rhapsody (1937-48) - PASC358","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 1\u003cbr\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003ePiano Concerto No. 2\u003cbr\u003e\u003cb\u003eRACHMANINOV \u003c\/b\u003eRhapsody on a Theme of Paganini\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1937, 1938, 1948\u003cbr\u003eTotal duration: 78:19\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBenno Moiseiwitsch\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra • London Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Malcolm Sargent • Walter Goehr • Basil Cameron\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fSuperb performances, lovingly delivered by Pristine. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAll three of these items hail from the HMV Plum \nlabel “C” series; recording dates are 1937, 1938, and 1949, \nrespectively. Moiseiwitsch was to go on to rerecord the Second Concerto \nand the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the Philharmonia under Rignold in 1955 (Michael Fine reviewed the concerto in its Basics Classics incarnation in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 24:3); the recording of the First Concerto here remains his only one. \nBut who needs another one of the First? This is one of the finest \naccounts I have heard. Moiseiwitsch plays with tremendous sweep and \ndexterity, and the whole is imbued with just the right sense of flow. Of\n all these attributes, the overriding one is dexterity (although there \nis no shortage of excitement in the finale). It is a tribute to \nPristine’s engineers that so much detail is audible.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor the Second Concerto, there is a touch of \nblurring of mid to lower range detail (actually, just what one doesn’t \nwant in Rachmaninoff), but not enough to detract from Moiseiwitsch and \nGoehr’s powerful conception. The music ebbs and flows naturally, and \nMoiseiwitsch’s trademark cantabile is in evidence for the long melodies.\n The brass appear a little muffled on occasion, but elsewhere there is \nplenty of detail. This may not be the most exciting of Rach Seconds, but\n it is one of the most considered and beautiful (the first movement horn\n solo is gorgeous; if anything, it is slightly understated towards the \nend). Pristine’s superlative transfer gives a good idea of the pianist’s\n golden tone in the slow movement, while Moiseiwitsch himself leaves us \nin no doubt of his legerdemain. There is a hint of strain in the upper \nfrequencies in the second movement cadenza (no sense of strain from the \npianist, I hasten to add); the finale sparkles, with Moiseiwitsch making\n light work of any passages traditionally thought of as potentially \nawkward. Overall, there are higher octane readings. It is worthy of note\n that the live performance from the Proms on BBC Legends (4074, coupled \nwith a 1963 Festival Hall “Emperor” that is full of risk-taking) acts as\n a worthy supplement to this one.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePaganini Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is simply magnificent. The Pristine transfer enables a huge amount of \ndetail to come through. While the famous 18th variation is lovely, it is\n the gossamer lighter-fingered passages that are most memorable. If \nthere are readings that imbue the work’s final gestures with more humor \n(I think of the Ashkenazy\/Previn Decca performance), Moiseiwitsch’s deft\n end comes after superb, and highly exciting, preparation. Importantly, \nin this piece, there is a palpable connection between soloist and his \nconductor, Basil Cameron, throughout. It is testament to the quality of \nthe transfer that I essentially forgot any sonic limitations and \nconcentrated purely on the music. Superb performances, lovingly \ndelivered by Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eColin Clarke  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC358.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003eMoiseiwitsch, Rachmaninov's \"spiritual heir\" - the orchestral recordings\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese new transfers bring demonstrate brilliantly the way that the latest technologies can really bring recordings like these back to life. Pitch stabilisation software, available now for a little over a year, is key to firming up the sound of older piano recordings, reducing or eliminating the wow and flutter that characterises just about all of them.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eXR remastering, with its carefully tailored re-equalisation, noise reduction and click and crackle elimination sheds years from the sound of both soloist and orchestra as the inadequacies of early recording equipment are ameliorated. Finally, the subtle use of convolution reverberation replaces the typically dead studio acoustics of the era - all of these recordings were made in Abbey Road's Studio 1 - with the genuine and musically-sympathetic acoustic of one of the world's finest concert halls, greatly enhancing the sound both of the piano and the orchestra. In each case accurate measurements of residual electrical signals present in the recordings have allowed precise pitching to match that of the original performances.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe results, I trust, speak elequently for themselves.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMOISEIWITCH\u003c\/b\u003e plays \u003cb\u003eRachmaninov\u003c\/b\u003e Piano Concertos 1 \u0026amp; 2, Paganini Rhapsody (1937-48)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Piano Concerto No. 1 in F sharp minor, Op. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 23 December 1948\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV C.3932-34\u003cbr\u003eMatrix Nos. 2EA.13511-16\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Piano Concerto No. 2 in C minor, Op. 18\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio sostenuto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24 November\u003cbr\u003e\u0026amp; 13 December 1937\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV C.2973-76\u003cbr\u003eMatrix Nos. 2EA.5903-5910\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRACHMANINOV\u003c\/b\u003e Rhapsody on a Theme of Paganini, Op. 43\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRhapsody on a Theme of Paganini, Op. 43\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(21:31)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 5 December 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued as HMV C.3062-64\u003cbr\u003eMatrix Nos. 2EA.7178-83\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Malcolm Sargent\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Goehr\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBasil Cameron\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eRecorded at Abbey Road Studio 1, London\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBenno Moiseiwitsch\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, September 2012\u003cbr\u003eCover artwork based on a photograph of Benno Moiseiwitsch\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 78:19\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC358.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC358.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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Rachmaninov Piano Concerto No. 1, 1949\u003c\/strong\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eDo not let that awe-inspiring label \"Op. 1\" mislead you \ninto any false ideas: for though this concerto was written in 1892, just\n before the student Rachmaninov left Moscow Conservatoire, he later \nconsidered it too jejune for performance, and in 1917 completely revised\n it —so that in its present form it dates from after the Third Concerto!\n It is dedicated to his cousin Siloti, as a result of whose efforts it \nwas that he was cured of a dangerous fever which he had contracted. This\n First Concerto has never reached, and probably never will reach, the \npopularity of its successors—even in its revised form it retains its air\n of immaturity—but it nevertheless contains many characteristic passages\n which are of great interest to the student of Rachnaaninov's style.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe first movement is rhapsodic in character. After a challenging fanfare and an impetuous \u003cem\u003ecadenza\u003c\/em\u003e from the piano, it opens with a broad and elegiac string melody which, however, very shortly gives way to a \u003cem\u003escherzando\u003c\/em\u003e section,\n which itself lasts next to no time before changing mood again. There is\n a youthful prodigality of melodic invention throughout the movement, \nbut the general effect is of a series of loosely constructed ideas, \nconstantly stopping and restarting. It is much to the credit of this \npresent performance that this episodic character is, so far as possible,\n skilfully avoided.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe \u003cem\u003eAndante\u003c\/em\u003e, a romantic movement of \"nocturne\" \ntype, is by far the most successful of the three. It opens with a \nmodulatory sequential passage (of which throughout the concerto \nRachmaninov shows himself overfond), slowly veering round to the key of D\n major, in which the main subject appears— the true ancestor in style of\n all the film rhapsodies of to-day. It is completely characteristic of \nthe composer, and I should like to draw attention to an enchanting \npassage in which the piano weaves colourful chromatic decorations round \nthe theme on the strings (the last third of side 4).\u003c\/p\u003e\u003cp class=\"body\"\u003eThe \u003cem\u003eFinale\u003c\/em\u003e is less satisfactory: it is \na:trilliant, capricious movement, based on rather thin material, into \nwhich is pitchforked, without much connection, a rather sickly \nsentimental middle section. However, the piano writing throughout, as \nmight be expected, is vigorous and ingenious.\u003c\/p\u003e\u003cp class=\"body\"\u003eNo more sympathetic interpreters could have been found \nthan Moiseiwitsch and Sargent, who give a most fluent reading of the \nwork-actually preferable in interpretation, to my mind, to the \nRachmaninov-Ormandy version of 1940, which seemed altogether too \"bitty\"\n for comfort; and this is no whit less efficient. Sargent's \naccompaniment in the finale is a model of its kind while an occasional \nfaint sprinkling of wrong notes in the solo part serves as a reminder \nthat even the best pianists are human. The piano is perhaps a shade \ndistant—in the last movement I would have welcomed a more forward, \nglittering tone—but in general the recording is good, and unlike the \nearlier version mentioned, the \u003cem\u003efortissimos\u003c\/em\u003e do not feel as if someone had hit one round the face with a wet sock.\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eL.S., The Gramophone\u003c\/strong\u003e, December 1949\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Rachmaninov Piano Concerto No. 2, 1938\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eChristmas pressure has resulted in this set's arriving \nminus the start, and a chunk out of the second movement; however, I have\n three-quarters of it, and that seems sufficient to operate on. I would \nnot use the term in any hard, dissectional sense, of such an old friend \nas this. Next to Rachmaninov himself, I suppose few soloists would come \nbefore Moiseiwitsch, in the choice of most lovers of the work. He has \nbeen playing it to me since 1917— perhaps he began when it came out, in \nthe early years of the century. Here it is in the C series, in which I \nmeant, last month, to emphasize the quality (when we got Hess in the \nSchumann at 4s. a time). This is a movement much to be welcomed.\u003c\/p\u003e\u003cp class=\"body\"\u003eI start with the development on side 2, where both \nsubjects are treated, in part. The performers back up the composer \nsplendidly in keeping the ball in the air. How swimmingly it all goes, \nwith those sequences that make us feel that we are travelling in the \nluxury of the Blue Train: everything provided for, nothing to worry \nabout, and scenery just new enough to engage the eye above all, no \nforeign language to think of, for all around us speak that which we \nknow. The interlude before the end is a charming idea; then how swiftly \nthe composer whisks us to the finish: an entirely delightful piece of \nconstructive art.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe slow movement is equally strongly upborne, the \npianist attractively making sure that there is no sagging. After hearing\n the opening tune, one of my white-label sides is missing, so I resume \nin the middle section, and hear the last presentation of the friendly \ntune. In the liveliness the player gets rather hard, and he is not quite\n the finest singer upon the piano, is he? Yet he spreads a broad canvas \nthat suits the music.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe finale opens in the most engaging way with those \nmildly tantalizing gambits. There is a touch of the work's first theme \nin the three-time portion which follows the piano's first turn. The \nfull-flowing energy of the soloist is best to be appreciated in such \nclear-driving sections as this finale abounds in. In the last side but \none, the band is not too well unified in time with the pianist: that \nlack of recording rehearsal for the finest finish, which I have often \nnoted, is here again. Otherwise, I like the plain, sturdy handling of \nthe material by the conductor; and nobody can be ignorant of \nMoiseiwitsch's particular style and qualities. The music bears its heart\n on its sleeve, and so does the pianist. There is no attempt to \nmanufacture subtleties which the music does not seek. It is all plain, \nsimple, and cordial. I have heard finer tone from recorded orchestras, \nbut the discs are, in my estimation of the work and its requirements, \nquite adequate.\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eW.R.A., The Gramophone\u003c\/strong\u003e, January 1938\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34180454157,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34180454221,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34180454413,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34180454477,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC358.jpg?v=1489658574"},{"product_id":"pasc358-cd","title":"MOISEIWITCH plays Rachmaninov Piano Concertos 1 \u0026 2, Paganini Rhapsody (1937-48) - PASC358 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478156365,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC358_814855ea-b42f-4ec3-baa7-6d953285b549.jpg?v=1658308652"},{"product_id":"pasc360","title":"KLEMPERER conducts Brahms Symphonies Volume 1 (1956\/57) - PASC360","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAcademic Festival Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1956 and 1957\u003cbr\u003eTotal duration: 54:01\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eOtto Klemperer\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC360.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe classic 1956-57 Klemperer Brahms recordings, made with the Philharmonia Orchestra by EMI in London's Kingsway Hall, have long been regarded by many as perhaps the finest ever made. Happily the EMI engineers opted to record in stereo, at a time when far too many recordings were still being made in mono, and stereo reproduction in the home was limited to a very narrow range of open-reel tape machines.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor the day, the recordings stand up reasonably well, though as the 1976 review above demonstrates, as little as twenty years later they were showing their age, and so it's little surprise that 55 years after the event Klemperer's Brahms comes across as a little faded and dusty, if only in sound quality.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHappily this can now be rectified to quite stunning effect. 32-bit XR remastering has served here to bring a quality of sound unimaginable in 1957 to these recordings, shedding decades in the process, and revealing a depth, vibrancy and dynamism that previous issues simply failed to convey.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Symphonies Volume 1 (1956\/57)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1 in C minor, Op.68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Un poco sostenuto — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante sostenuto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Un poco allegretto e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:38)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Più andante — Allegro non troppo ma con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29, 31 October, 1 November 1956, 28 March 1957\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAcademic Festival Overture, Op. 80\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAcademic Festival Overture, Op. 80\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 March 1957\u003cbr\u003eRecorded Kingsway Hall, London\u003cbr\u003eTransferred from HMV box set SLS 804\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, October 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 54:01\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC360.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC360.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Symphony No. 1 \u003c\/strong\u003e(1976 reissue)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eKlemperer\n was at the very peak of his powers as a recording conductor when he \nmade his Brahms cycle for EMI. For some time now the cycle has been \navailable in a competitively priced box, but it is good to have the \nseparate symphonies available on the mid-price Concert Classics label. \nIn this account of the First Symphony it is thrilling to have \nKlemperer's direct approach to Brahms presented at once with such \nsympathy and with such relentlessness. I had almost forgotten just what \ndegree of power and intensity there are in the outer movements, and what\n refined playing from the Philharmonia Orchestra at its zenith, with \nsuperb string ensemble and magnificent solo work all round, not least \nfrom Alan Civil (I presume) on the horn in the last movement. And though\n the recording has not the luminous depth that you would expect of a \nmodern recording, it is beautifully balanced, and Klemperer was a master\n at clarifying Brahmsian textures.\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThis version has long held its own at full price \nin the catalogue, and it still has claims to being the finest \nperformance available. In practical terms there are now two strongly \ncompetitive versions - Loughran (CFP40096, 3\/75) on a much cheaper label\n with good modern recording and a warmly vigorous, if less polished, \nperformance, and Horenstein on the new RCA Gold Seal label (GL2500I, \n10\/76) presenting another direct view but one which allows more \naffectionate moulding of phrase, with bright clean recording. But \nKlemperer's white heat makes his more obviously a classic account.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eE. G., The Gramophone\u003c\/strong\u003e, December 1976\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":14168324505661,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":14168324538429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":14168324571197,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC360_6f3e6c26-8ca3-41a1-a4bf-ba987e4ed273.jpg?v=1556798996"},{"product_id":"pasc360-cd","title":"KLEMPERER conducts Brahms Symphonies Volume 1 (1956\/57) - PASC360 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":14168324931645,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC360_eb81b474-831e-42b4-8be8-ff177a8d689a.jpg?v=1736170273"},{"product_id":"pasc361","title":"KLEMPERER conducts Brahms Symphonies Volume 2 (1956\/57) - PASC361","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1956 and 1957\u003cbr\u003eTotal duration: 75:43\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eOtto Klemperer\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC361.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe classic 1956-57 Klemperer Brahms recordings, made with the Philharmonia Orchestra by EMI in London's Kingsway Hall, have long been regarded by many as perhaps the finest ever made. Happily the EMI engineers opted to record in stereo, at a time when far too many recordings were still being made in mono, and stereo reproduction in the home was limited to a very narrow range of open-reel tape machines.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor the day, the recordings stand up reasonably well, though as the 1977 review above demonstrates, as little as twenty years later they were showing their age, and so it's little surprise that 55 years after the event Klemperer's Brahms comes across as a little faded and dusty, if only in sound quality.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHappily this can now be rectified to quite stunning effect. 32-bit XR remastering has served here to bring a quality of sound unimaginable in 1957 to these recordings, shedding decades in the process, and revealing a depth, vibrancy and dynamism that previous issues simply failed to convey.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Symphonies Volume 2 (1956\/57)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Adagio non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegretto grazioso (quasi andantino)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Allegro con spirito\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29, 30 October 1956\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op.90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Poco allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:12)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 26, 27 March 1957\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAll tracks: Recorded Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransferred from HMV box set SLS 804\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, October 2012\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 75:43\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC361.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC361.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Symphony No. 2 \u003c\/strong\u003e(1977 reissue)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eI\n heard this shortly after listening to the RCA\/Reiner recording of \nBrahms No. 4 (reviewed last month—GL1 1961), both of the same vintage, \nand could not help but be struck by the difference of sound. Both are \ngood—but both very different. The RCA is brighter and more vivid: the \nHMV had neither of those characteristics, even when it was first issued.\n Yet it is satisfactory enough to convey Klemperer's superb performance,\n which is what matters. Klemperer always liked his woodwind well forward\n and if you played this to someone who didn't know what he was listening\n to and started at the third movement, he might think it a piece for \nwoodwind ensemble, so forward is their sound, though the string \npizzicato bass is perfectly clearly balanced.\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eBut it is the performance that matters. \nKlemperer's perception of the architecture of a movement, of where to \nincrease and when to relax the tension, makes this symphony seem \nstronger that it is often allowed to be, yet there is no lack of \nlyricism. It is a pleasure to have these great performances (for that of\n the Tragic Overture is tremendously powerful) available again—and at a \nreduced price.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cstrong\u003eT. H., The Gramophone\u003c\/strong\u003e, August 1977\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":14168325718077,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":14168325750845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":14168325783613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC361_c355677c-5b1b-475f-81be-2d8630adea97.jpg?v=1556799129"},{"product_id":"pasc361-cd","title":"KLEMPERER conducts Brahms Symphonies Volume 2 (1956\/57) - PASC361 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":14168329125949,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC361_64861c41-69c3-4dad-a49c-c5e7ad05eae9.jpg?v=1658308777"},{"product_id":"pasc362","title":"KLEMPERER conducts Brahms Symphonies Volume 3 (1957) - PASC362","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1957\u003cbr\u003eTotal duration: 51:40\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eOtto Klemperer\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC362.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe classic 1956-57 Klemperer Brahms recordings, made with the Philharmonia Orchestra by EMI in London's Kingsway Hall, have long been regarded by many as perhaps the finest ever made. Happily the EMI engineers opted to record in stereo, at a time when far too many recordings were still being made in mono, and stereo reproduction in the home was limited to a very narrow range of open-reel tape machines.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFor the day, the recordings stand up reasonably well, though as the 1976 review above demonstrates, as little as twenty years later they were showing their age, and so it's little surprise that 55 years after the event Klemperer's Brahms comes across as a little faded and dusty, if only in sound quality.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHappily this can now be rectified to quite stunning effect. 32-bit XR remastering has served here to bring a quality of sound unimaginable in 1957 to these recordings, shedding decades in the process, and revealing a depth, vibrancy and dynamism that previous issues simply failed to convey.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBrahms\u003c\/b\u003e Symphonies Volume 3 (1957)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eI.\u003c\/b\u003e Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eII.\u003c\/b\u003e Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIII.\u003c\/b\u003e Allegro giocoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:37)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eIV.\u003c\/b\u003e Allegro energico e passionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 27-29 March 1957\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Tragic Overture, Op. 81\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:27)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 29 March 1957\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAll tracks: Recorded Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eTransferred from HMV box set SLS 804\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, October 2012\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 51:40\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC362.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC362.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Symphony No. 4 \u003c\/strong\u003e(1976 reissue)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eThere\n are sixteen versions of the Brahms Fourth Symphony currently available,\n and even at its full price, the Klemperer retained a competitive \nposition that its relegation to the HMV Concert Classics label naturally\n enhances. As a reading it has admirable qualities; it has vitality and \nintegrity, and the playing of the Philharmonia Orchestra is unfailingly \nresponsive. It is as generally recommendable as Klemperer's fine version\n of the Second Symphony, though it possesses neither the smoothness of \ntexture and beauty of tone that distinguishes the Karajan (DG 138 927, \n11\/64) and misses something of the intensity of the old Toscanini RCA \nversion (now deleted). But if it wants some of the warmth of say, Bruno \nWalter on CBS Classics (61211, 5\/71) or Kurt Sandcrling in the slow \nmovement (Sanderling's record seems to me to have been somewhat \nunderrated—RCA SB6879, 2\/74), it has undeniably power and a sense of \nforward movement. I am not much enamoured of the accelerando at the end \nof the first movement or the rather mannered ritardando in the fifth bar\n of the Scherzo but these details will worry some readers less than \nothers. The sound quality is well detailed and in comparing the new \npressing with the Columbia original, apart from smoother surfaces, one \nfeels a greater sharpening of the aural focus and more cleanly defined \ndetail. Of course, there is formidable competition at the bargain end of\n the market: Loughran's record with the Hallé Orchestra (Classics for \nPleasure CFP40084, 10\/74) is as detailed and spacious while the \nperformance has a refreshing spontaneity. At full-price Karajan, \nSanderling, and Kertesz (Decca SXL6678, 1\/76) are well worth \nconsidering, alongside this present issue.\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eR. L., The Gramophone\u003c\/strong\u003e, August 1976\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":14168340889661,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":14168340922429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":14168340955197,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC362_5197475c-db04-4a79-ab42-1c0d78ed6fa4.jpg?v=1556799290"},{"product_id":"pasc362-cd","title":"KLEMPERER conducts Brahms Symphonies Volume 3 (1957) - PASC362 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":14168344526909,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC362_bd87a540-afd7-4b04-b872-3b292d5a73d8.jpg?v=1658308794"},{"product_id":"pasc365","title":"KLEMPERER conducts Beethoven Symphonies Volume 1 (1957\/59) - PASC365","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 2\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 3\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eCoriolan Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in stereo in 1957 \u0026amp; 1959\u003cbr\u003eTotal duration: 2hr 9:10\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you are new to Klemperer in Beethoven, get this set, especially for the outstanding “Eroica.” 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAfter reviewing Andrew Rose’s disappointing \nremasterings of Otto Klemperer’s Brahms symphonies for Pristine Audio, I\n wasn’t sure what to expect from Rose’s versions of the same conductor’s\n Beethoven symphonies. Happily, the results here are far more \nsuccessful. Rose states that his objective is to create a sound “had \nKlemperer and the Philharmonia had a 21st century recording facility to \nwork with.” I’m not sure that’s an entirely realistic goal given the \nquality of the source material, but Rose endeavors bravely to achieve \nit. I had on hand Andrew Walter’s 1998 EMI remastering of the Second \nSymphony for a comparison. The EMI version possesses decidedly better \ntone color throughout the orchestra. However, the string sound often is \ncongested and there is little or no hall ambience. What’s more, the \norchestral balance is not good. Andrew Rose’s remastering is decidedly \neasier to listen to. The problems of balance are addressed expertly, and\n the strings clearly inhabit the same space as the rest of the \norchestra. Rose has improved the dynamic range, and the spatial \nextension of the brass is quite impressive. Nevertheless, problems \nremain. The hall ambience, while clearly better than EMI’s, is too \ngeneric. One cannot tell if the recording was made at Kingsway Hall, \nAbbey Road, or in an aircraft hangar. The string sound at times is \npapery, not a true representation of the lovely English strings of the \nPhilharmonia. All in all, Andrew Rose has given us a good remastering, \nyet perhaps only a stopgap on the road to something better in the \nfuture.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe performances are legendary. The First, from \n1957, is spacious and noble. Although recorded just three weeks earlier,\n the Second has slightly muddier sound. Klemperer’s interpretation is \nfiery, with splendid architecture. An interesting contrast is from the \nlive 1958 performance of this work, in very good monaural sound, with \nthe Berlin Radio Symphony in Klemperer’s “Great Conductors of the 20th \nCentury” set. It is not as well played as the studio version, but it is \nquicker and crackles with nervous energy. As for Klemperer’s 1959 \n“Eroica,” it features the best sound of all Rose’s remasterings. It is a\n shattering human document, slower and less quicksilver than the \nsplendid version Klemperer recorded in monaural only four years earlier.\n Concerning the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n it could not be bettered. If you are interested in comparable \nperformances to Klemperer’s but with better sound, I would recommend \nGeorge Szell and the Cleveland Orchestra in the first two symphonies, \nand in the “Eroica,” Hiroshi Wakasugi and the Saarbrücken Radio \nSymphony. In addition to the “Eroica,” Wakasugi recorded sterling \naccounts of Bruckner’s Second and Ninth with this orchestra. Andrew \nRose’s Klemperer Beethoven is likely to cause considerable discussion \namong audiophiles. If you already have these performances on CD, I don’t\n know if you need Rose’s versions. But if you are new to Klemperer in \nBeethoven, get this set, especially for the outstanding “Eroica.” \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:5 (May\/June 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC365.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eKlemperer was a busy man in 1957 and thereabouts. Having polished off the Brahms symphonies (Pristine Audio PASC360-362) in the springtime, he soon set to work on the Beethoven canon. October alone saw recordings in London's Kingsway Hall of the bulk of the series - all or part of the First, Second, Fourth, Sixth, Eighth and Ninth were taped in stereo during this month, together with the Coriolan Overture present in this volume.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt's true to say that the recordings were very well made for their day - better perhaps than the Brahms which had preceded them. XR remastering here isn't a question of rescuing a dismal historic artefact; rather it's a case of eliciting the very finest sound quality possible from from fine source material - digging deep into the bass for added richness; opening out oft-constricted strings; lifting a veil from the upper treble. In short, whilst the current EMI transfers are perfectly acceptable representations of what was possible in 1957, these Pristine remastering offer us what more could have been heard had Klemperer and the Philharmonia had a 21st century recording facility to work with. It's one of those classic series of recordings which merit the very best sound quality - and which should stand thus in every collection.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies Volume 1 (1957\/59)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 1 in C, Op. 21\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante cantabile con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:55)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Allegro molto e vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:35)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 2 in D, Op. 36\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio molto — Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Larghetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:13)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo (allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:05)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 3 in E flat, Op. 55 \"Eroica\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Marcia funebre Adagio assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:33)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:59)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 1–13:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates:\u003c\/b\u003e\u003cbr\u003eSymphony No. 1 recorded 28-29 October 1957\u003cbr\u003eSymphony No. 2 recorded 4-5 October 1957\u003cbr\u003e*Symphony No. 3 recorded 29 October \u0026amp; 11-13 November 1959\u003cbr\u003eCoriolan Overture recorded 21 October 1957\u003cbr\u003eRecorded at Kingsway Hall, London\u003cbr\u003e*Studio One, Abbey Road, London\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 9:10\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC365.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC365.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eKLEMPERER AND BEETHOVEN\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAll of us owe a debt to Walter Legge - even the music \ncritics among us - for his acumen in detecting great gifts and his \nruthless determination that they shall be displayed in this country. It \nis principally due to him that Klemperer's stature was at last \nestablished here; London has a firm tradition of Klemperer neglect going\n back to the early thirties, when only a few critics shouted his \ngreatness into deaf ears. In recent years there have been few more \nprofoundly thrilling events than those tremendous Beethoven series, few \nmore exciting moments than when the curtain to the artists' room of the \nFestival Hall was suddenly pulled aside and that great figure came \nshuffling out, stick held aggressively forward, hand groping for the \nrail, the huge head flung back like an Easter Island statue. If one \nraised one's eyes to a box above, there usually was Mr. Legge concealed \nbehind a triumphant grin, and if one had recovered from the concert \nsufficiently by morning, one could limp round to the shops for the \nrecords of the Beethoven symphonies which Mr. Legge's Columbia \nconnection provided...\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eJohn Warrack, The Gramophone\u003c\/strong\u003e, August 1960\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34181878413,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34181878477,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34181878541,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC365.jpg?v=1489661900"},{"product_id":"pasc365-cd","title":"KLEMPERER conducts Beethoven Symphonies Volume 1 (1957\/59) - PASC365 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478161485,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC365_f43e19cd-6368-4c52-a16b-6809b54175dd.jpg?v=1658308853"},{"product_id":"pasc369","title":"KLEMPERER conducts Beethoven Symphonies Volume 2 (1956-59) - PASC369","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 4\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eGroße Fuge\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in stereo between 1956 \u0026amp; 1959\u003cbr\u003eTotal duration: 2hr 19:16\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e, conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is a perceptible improvement to be enjoyed as a result of Rose’s remastering efforts. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese releases represent a sonic update by Andrew \nRose of the well-known and highly regarded Klemperer EMI Kingsway Hall \nreleases from 1956-60, plus the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recorded at Abbey Road Studio One. Though EMI pressings of that era \ncould be noisy and sometimes less than luminous, the master tapes \nthemselves have always been considered to represent the best that was \npossible in early stereo, and listeners have been able to enjoy them on \nCD for some time now without having to make too many allowances for \nantiquity. There is nonetheless a perceptible improvement to be enjoyed \nas a result of Rose’s remastering efforts.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sound here seems to have had a veil lifted \nfrom the treble, and the general effect of comparing these CDs side by \nside with the EMI releases is to note a greater kaleidoscopic and \nreverberant depth as a result of Rose’s efforts. These CDs sound nearly \nmodern in their lack of “flatness.” And for long stretches one nearly \nforgets entirely the age of the endeavor. Of course, dynamics in \nclimaxes tend to back away from the listener a bit, and the price of \ngreater luminosity is sometimes a slight metallic tinge to the \nreverberant field. But all of this is so subtle, that the general effect\n is of a nearly modern set of recordings. There is little real \ndistortion. A happy plus in these releases is the inclusion as liner \nnotes of the original \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e reviews from the cycle.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRehearing after many years, I’m struck by how \nnormal Klemperer’s pacing actually is, for a conductor often accused of \nslowness. He was clearly in full vigor for these interpretations. And \nthe Philharmonia of his era was an elegant orchestra, as close as \nBritain ever got to replicating the smoothness and elision of phrasing \npossible in Berlin and Vienna. It does not hurt that the other major \nconductor most associated with recording the Philharmonia during this \nperiod was Herbert von Karajan! Karajan consciously aimed to combine the\n electricity of Toscanini with the smoother and more metaphysical view \nfavored by Furtwängler. Klemperer, by contrast, sought a slower and more\n consistently rounded approach, not unlike Furtwängler’s, but without \nFurtwängler’s sudden shifts in tempo.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Fifth and Seventh symphonies make for good \ncases in point. Listening is like watching a powerful railroad train \nfrom the air. The train moves massively and even swiftly. It does not \nseem to slow down going uphill, nor speed-up going down. It leans \nslightly into curves, but its weight carries it around them at full \nspeed. One is aware of great mass-in-motion and the sheer impressiveness\n of its unstoppability. Indeed, this power is so striking, one is \ntempted to extend the metaphor and suggest that period-performance \npractices of the present day are giving us toy trains!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBack in the early 1960s, much was made of how \nslowly the scherzo in the “Pastorale” came across in Walter’s Columbia \nSymphony recording—and it was commented that Klemperer’s recording was \neven slower. But listening with fresh ears, I’m struck by how well \nKlemperer’s tempo comports with a group of people actually dancing. If \nyou were watching a folk dance on the village green, the participants \nwould most likely move at a tempo like this—one which takes into account\n the sheer physics of mass and movement. Thought about this way, the \nmore common “Pastorale” tempo choices often seem cartoonish and \nun-danceable.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn general, when it comes to phrasing Beethoven, \nan irreverent analysis might go like this: Toscanini—dogs sneezing; \nKarajan—a bullet train; Klemperer—a hundred car freight train.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI’m happy to be a hobo on this one. Save me a boxcar! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC369.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eIt's true to say that these recordings were very well made for their day - better perhaps than the Brahms which had preceded them. XR remastering here isn't a question of rescuing a dismal historic artefact; rather it's a case of eliciting the very finest sound quality possible from from fine source material - digging deep into the bass for added richness; opening out oft-constricted strings; lifting a veil from the upper treble. In short, whilst the current EMI transfers are perfectly acceptable representations of what was possible in 1956-59, these Pristine remastering offer us what more could have been heard had Klemperer and the Philharmonia had a 21st century recording facility to work with. It's one of those classic series of recordings which merit the very best sound quality - and which should stand thus in every collection.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies Volume 2 (1956-59)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 4 in B flat, Op. 60\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:46)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Scherzo — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:37)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 6 in F, Op. 68 \"Pastoral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:07)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante molto mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(13:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eV. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Große Fuge, Op. 133\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e14.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eGroße Fuge, Op. 133\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:34)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 1–14:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates:\u003c\/b\u003e\u003cbr\u003eSymphony No. 4 recorded 21-22 October 1957\u003cbr\u003e*Symphony No. 5 recorded 22-24 October 1959\u003cbr\u003eSymphony No. 6 recorded 28-29 October 1957\u003cbr\u003e*Große Fuge recorded 26-27 March 1956\u003cbr\u003eRecorded at Kingsway Hall, London\u003cbr\u003e*Studio One, Abbey Road, London\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 19:16\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC369.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC369.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Beethoven Symphony No. 6\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThis seemed to me a performance of the utmost integrity \nin the monaural version. The stereophonic one is even more impressive, \nand, of course, much more realistic. As you listen, you become conscious\n that the instruments are in their accustomed places, with an \ninteresting exception to which I shall come in a moment, and that they \nshow no tendency to move about. Stereophonically this record is a huge \nsuccess. The second violins are not in their usual place. Most English \nconductors put them behind the first violins, on the left of the \nplatform so that the bellies of the instruments are facing the audience.\n But in the old days they were usually put at the front on the right, so\n that the audience could enjoy visually as well as aurally antiphonal \neffects between the two groups of violins on opposite sides of the \nplatform. Sir Adrian Boult is one of the few modern conductors who \npreserves this traditional layout, and he affirms that composers in the \nclassical period often wrote with it in mind. The disadvantage is that \nthe second violins cannot hope to produce so full a tone as the firsts \nbecause the bellies of their instruments are facing backwards away from \nthe audience, and certainly for sound radio and for monaural records it \nwould seem preferable to have firsts and seconds together on the left, \nproducing their maximum tone. But what about binaural records? For the \nfirst time in the world of canned music the antiphonal effect becomes a \npossibility. How conductors are going to react remains to be seen, but \nKlemperer for one seems happy to use the old layout with the second \nviolins on his right. A passage like the opening of the Storm movement \nin the Pastoral certainly profits from this arrangement.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eRF, The Gramophone\u003c\/strong\u003e, October 1958 \u003cem\u003e(Review of stereo LP issue)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34184575757,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34184575885,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34184576013,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC369.jpg?v=1489671495"},{"product_id":"pasc369-cd","title":"KLEMPERER conducts Beethoven Symphonies Volume 2 (1956-59) - PASC369 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478162573,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC369_9cb73624-a494-4720-9275-b1a8119ec0b7.jpg?v=1658308930"},{"product_id":"pasc371","title":"KLEMPERER conducts Beethoven Symphonies Volume 3 (1957\/60) - PASC371","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 7\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in stereo 1957 \u0026amp; 1960\u003cbr\u003eTotal duration: 2hr 22:41\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eAase Nordmo Løvberg\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e alto\u003cbr\u003e\u003cb\u003eWaldemar Kmentt\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eThe Philharmonia Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThese three recordings are of the highest order and ones I will return to with great pleasure578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis is the third volume of the re-mastered “stereo \n          set” of Klemperer’s Beethoven symphonies. Unlike the budget \n          EMI Classics set (10 CDs - 4 04275 2) which nevertheless is a great \n          bargain, these transfers come from pristine LPs. The sound, as I discussed \n          when reviewing \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/June13\/Beethoven_sys456_PASC369.htm\"\u003eVolume \n          2\u003c\/a\u003e is notable for its superior bass. It sounds like top rate vinyl, \n          which many older collectors may prefer. Unlike the \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/July13\/Mahler_sys_2483982.htm\"\u003eMahler \n          set\u003c\/a\u003e where EMI have re-mastered and, in the case of the \u003ci\u003eResurrection\u003c\/i\u003e \n          restored the correct length, the EMI re-mastering is from the 1990s. \n          This is a missed opportunity although not all recent re-masters are \n          an improvement.  \u003cbr\u003e\n          \u003cbr\u003e\n          The stereo \u003cb\u003e\u003ci\u003eSeventh\u003c\/i\u003e\u003c\/b\u003e has, like the \u003ci\u003eEroica\u003c\/i\u003e and the\u003ci\u003e \n          Fifth\u003c\/i\u003e been generally, unfavourably compared to the mono recordings \n          of 1955. The mono \u003ci\u003e\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Nov02\/Beethoven57_Klemperer.htm\"\u003eSeventh\u003c\/a\u003e\u003c\/i\u003e \n          was last released separately (it is also in the 10 CD set, referred \n          to above) and my colleague Christopher Howell had reservations. The \n          first time I heard the 1955 CD in its stereo version (recorded in secret, \n          along with the mono) in 1988 I was impressed but have since found it \n          too slow. The first movement compares very unfavourably with Beecham \n          on EMI and others. Five years later, the first movement is much slower \n          than the norm but is powerful in its own way. The sound of the orchestra \n          is excellent. One key point from Klemperer was that like many conductors \n          of the old school (not Stokowski) was that he divided first and second \n          violins. This gives an antiphonal effect that is vital in these works. \n          The slow movement makes a terrific impact, one of the strongest I’ve \n          heard. This power and conviction continues during the Presto and the \n          finale although I did find the latter rather lumbering. I recalled Beecham’s \n          comment about yaks dancing, these yaks seem fairly geriatric. \u003cbr\u003e\n            \u003cbr\u003e\n          The sound of the orchestra is excellent and how well the Philharmonia \n          play. I enjoyed this recording much more than I expected; on its own \n          terms it’s quite a performance. In addition to the two EMI studio \n          recordings there are at least four live recordings for those who cannot \n          get enough of this work under Klemperer; for those enthusiasts may I \n          direct you to the Naxos Music Library. \u003cbr\u003e\n            \u003cbr\u003e\n          The \u003cb\u003e\u003ci\u003eEighth\u003c\/i\u003e\u003c\/b\u003e is a fine “heavy-weight” recording, \n          made concurrently with the RFH concerts. It certainly shows this work \n          is not a little symphony. Many of the points I have made referring the \n          \u003ci\u003eSeventh\u003c\/i\u003e apply here to a work which Klemperer clearly does not \n          see as a throwback to the first two symphonies. Whilst there is some \n          humour here, the performance does not have the joy others, such as Beecham, \n          have brought to this lovely work. The wind playing, particularly during \n          the Minuet is delightful and comes over very well in this re-mastering. \n          All in all, well worth hearing if by no means the only version to have. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          When we come to the \u003cb\u003e\u003ci\u003eNinth\u003c\/i\u003e\u003c\/b\u003e we are dealing with one of the \n          first stereo recordings of the Choral Symphony. It garnered excellent \n          reviews on its release in 1959 and has always been held in high regard \n          as has the live recording, made by the same forces on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2000\/june00\/beethoven9.htm\"\u003eTestament\u003c\/a\u003ea \n          week earlier.  \u003cbr\u003e\n          \u003cbr\u003e\n          I had not heard this performance for a very long time but was very impressed \n          right from the start. Klemperer really understands the first movement \n          in a way few others do, taking us through every part with clear detail \n          and purpose. The second movement “Scherzo” has been criticized \n          for its steady tempo but it is very evolving and engaging and credit \n          must be given to the Philharmonia and the producer Walter Legge. A few \n          nights ago we listened to the BBC Proms and Valery Petrenko conducting \n          the work where this movement in particular felt too hard-driven. The \n          third movement “adagio” is simply superb with everything \n          in place; the pace just right. Again we hear wonderful wind and string \n          playing. I thought there was too big a pause between the end of the \n          “adagio” and the “finale” but when we’re \n          into the “presto” all is good again and the playing is just \n          superb. There was some criticism, at the time, of Hans Hotter’s \n          singing but to my ears the soloists and chorus are first rate. It’s \n          a tribute to Walter Legge and the engineers as well as to Pristine that \n          the sound totally belies its 55 years. There is a real sense of the \n          special occasion, which I find very moving. There were comments, on \n          its original release, of the virtues of stereo and this is reinforced \n          in the final part. This is a \u003ci\u003eNinth\u003c\/i\u003e that certainly \n          deserves to be heard and enjoyed. \u003cbr\u003e\n            \u003cbr\u003e\n          These three recordings, despite a few reservations, are of the highest \n          order and ones I will return to with great pleasure, especially the \n          \u003cb\u003e\u003ci\u003eChoral\u003c\/i\u003e\u003c\/b\u003e. Allow me, however, to look elsewhere for more \n          spirited yaks in the \u003ci\u003eSeventh\u003c\/i\u003e. \u003cbr\u003e\n            \u003cbr\u003e\n          \u003cb\u003e\u003ci\u003eDavid R Dunsmore \u003c\/i\u003e\u003c\/b\u003e \u003cbr\u003e\n          \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC371.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"The performance is as great as anything one is likely to hear in this world\" - The Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs with the previous releases in this series, I came to the original \nEMI recordings full of admiration. Consistently well-made and of this \nhighest technical quality for their era, one wonders what benefits might\n arise from applying XR remastering to them? And then I hear the results\n - and suddenly those 1950s recordings don't sound so good after all in \ncomparison! This is therefore a project dedicated to extracting the \nfinest sound possible from a very accomplished working base. It is \nsomething I believe is as valid for well-known, well-made recordings of \nthe past as it is for the rarer and more troublesome recordings I also \nwork with.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis presents Klemperer at his very best; he can now be heard in \nunprecedented sound quality, significantly improving on all previous \nissues.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eKLEMPERER\u003c\/b\u003e conducts \u003cb\u003eBeethoven\u003c\/b\u003e Symphonies Volume 3 (1957\/60)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Poco sostenuto — Vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Presto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro vivace e con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:52)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegretto scherzando\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Tempo di Menuetto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:19)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo, un poco maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(17:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio e cantabile — Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(15:03)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Presto — Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(24:40)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTracks 1–12:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAase Nordmo Løvberg\u003c\/b\u003e soprano\u003cbr\u003e\u003cb\u003eChrista Ludwig\u003c\/b\u003e alto\u003cbr\u003e\u003cb\u003eWaldemar Kmentt\u003c\/b\u003e tenor\u003cbr\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e bass\u003cbr\u003e\u003cb\u003eThe Philharmonia Chorus\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOtto Klemperer\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eRecording dates:\u003c\/b\u003e\u003cbr\u003eSymphony No. 7 Recorded 25 October, 19 November and 3 December, 1960\u003cbr\u003eSymphony No. 8 Recorded 29-30 October 1957\u003cbr\u003eSymphony No. 9 Recorded 31 October and 21-23 November 1957\u003cbr\u003eRecorded at Kingsway Hall, London\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, November-December 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 22:41\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC371.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC371.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Beethoven Symphony No. 9\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHere is the much anticipated Klemperer Ninth. So many \nreaders will have heard him conduct this in the concert hall or on the \nradio, or will at any rate know his way with Beethoven from other \nrecords, that it seems hardly necessary to describe the result in much \ndetail - it is so obviously going to be a great Beethoven \ninterpretation. And so, indeed, it is, with the Columbia technical staff\n all out, too, to make the result a success. \u003cbr\u003e\u003cbr\u003eBut although we may\n know conductor and orchestra, there are two less predictable \nparticipants in this perfonnance, the soloists and the Philharmonia \nChorus (who here make their debut on records). Soloists, bless their \nhearts (or, curse them, according to your mood) are seldom predictable. \nThe best known of this quartet is Hans Hotter, a fine singer and artist \nindeed, but singing his opening recitative in a manner that will \ndistress many sensitive ears. I f only, one feels, he had concentrated \nless on expressing the message of the words and more on singing each \nnote well in tune, for he pushes some very sharp. Later, when he is \nmainly engaged in quartet work, his contribution is excellent. \u003cbr\u003e\u003cbr\u003eThe\n rest are efficient without being remarkable, good enough, at any rate, \nnot to let things down. The soprano, Aase Nordmo Løvberg, does her \ndifficult job pretty well, though she tends to force the pace a bit at \nthe start and her final top B is precise rather than particularly \nbeautifulnothing like Schwarzkopf's in her performance with Furtwängler.\n Christa Ludwig fills her less exacting role well and Waldemar Kmentt is\n perfectly adequate, if not remarkable. Whether he has a ringing top B \nflat, by the way, one cannot tell, for the chorus covers him when he \nshould come out with it. \u003cbr\u003e\u003cbr\u003eThe Philharmonia Chorus is splendid. \nBright tone, incisive attack, boundless energy and all the sustained \npower you could wish for- the sopranos' long f f top A at the end of \n\"der ganzen Welt\" section is as thrilling as the subsequent pp chords \nfrom the whole chorus (\"muss ein lieber Vater wohnen\"). \u003cbr\u003e\u003cbr\u003eI said \nthat there was little need to describe Klemperer's interpretation, but \nthat will not prevent me, like Saki's boring Stephen Thorle, from doing \nso! It is a performance which leaves you at the end with the feeling \nthat every performance of the Ninth should give, that you have been \nthrough a spiritual experience of overwhelming greatness. It is of a \nquality that I think no other living conductor could give. And, \ndifferent as Klemperer is from Toscanini, the two have certain things in\n common. The astonishing attention to detail, the gift ofilluminating \nthe significance of some detail of orchestration that had escaped one's \nattention before: and (which I think Klemperer has in even greater \ndegree) the achievement of an orchestral balance that gives lucidity of a\n kind rarely heard. (Those close-packed imitative entries in the first \nmovement, bars 427 to 452, have surely never been so clearly heard.) \u003cbr\u003e\u003cbr\u003eThe\n first movement is immensely powerful, but impressed me most of all by \nthe way Klemperer seizes upon and conveys the essential atmosphere of \nevery part of it, especially those \u003cem\u003epp\u003c\/em\u003e passages of indescribable mystery. The \u003cem\u003eScherzo\u003c\/em\u003e,\n with the Philharmonia playing the softest sections with astonishing \ndelicacy, may seem a little steady and cautious in comparison with other\n conductors' performances, but it is, in fact, taken at about \nBeethoven's metronome mark. (Weingartner's speed was only slightly \nfaster, but Toscanini's a good deal more so and gave, therefore, an \nentirely different feeling to the whole movement.) But Klemperer is a \ngreat respecter of the score and, by the way, is one of the few to \nobserve the repeat of the second section of this movement. The slow \nmovement, with a wonderfully rapt meaa voce from the strings, is surely \nall that one could wish for and a momentary lapse of ensemble between \nviolas and woodwind at one point is insignificant beside the satisfying \nbeauty of all the playing. \u003cbr\u003e\u003cbr\u003eThis, then is a great experience to hear.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eTH, The Gramophone\u003c\/strong\u003e, November 1958 \u003cem\u003e(Review of first LP issue)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Klemperer 9th in stereo at last -months after its \nscheduled release date and a full year after its mono issue. Readers may\n speculate as to why those who have been enterprising enough to equip \nthem.selves into a stereo set-up should have been made to wait so long. \nHowever, I hope they have not given in and bought the mono records, for \nthe stereo is undoubtedly much superior and it is, in fact, the sort of \nrecording of this work I have been waiting for. \u003cbr\u003e\u003cbr\u003eI put on the \nfinale straightway (on the principle that we all know E.M.I. can record \nan orchestra well enough) and immediately began to think that this \nsounded more like a real performance than any record of a choral work I \nhad ever heard. All the adjectives with which everyone describes stereo \ncame to mind (I'm sure you know them by now) and the advantage in the \nreproduction of this array of soloists, chorus and orchestra is great \nindeed. \u003cbr\u003e\u003cbr\u003eDirect comparison with the mono sound was difficult \nbecause the two are recorded at very different levels (the stereo lower)\n and one had to keep finding an equal volume before any true judgment of\n the impact of the chorus or the climaxes was possible. But my main \nimpression was of the way the stereo sound laid out the forces before me\n in a wide arc, with the orchestra more consistently clear against the \nchorus than ever before. This spaciousness of the music is the greatest \ngain. \u003cbr\u003e\u003cbr\u003eBalance is very good, though sometimes different from that\n of the mono records. For a year I have been going about saying that \nnobody makes the trumpets ring out in the choral part of the 6\/8 section\n as Klemperer does and how wonderful that is. Well, he doesn't in \nstereo! And what he really does one could only discover by hearing a \nlive performance. Which just shows how much we are at the mercy of the \ntechnicians. \u003cbr\u003e\u003cbr\u003eThe performance is as great as anything one is \nlikely to hear in this world. If I criticised any points in my earlier \nreview, they were of little account in relation to the whole---except, \nperhaps, Hotter's singing of his opening passage. (If only Columbia had \nD.G.G.'s Fischer-Dieskau). \u003cbr\u003e\u003cbr\u003eReaders should notice that this \nstereo recording takes four sides and that the Egmont side of the mono \nhas disappeared. When I consider the quality of what we are given and \ncompare it with the lack of quality in D.G.G.'s three-sided version, I \ncan't really regret the Egmont loss. There is absolutely no question of \nwhich to choose between the two, for both immensity of performance and \nfineness of recording. \u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eTH, The Gramophone\u003c\/strong\u003e, December 1959 \u003cem\u003e(Review of first stereo LP issue)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":36726534925,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":36726534989,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":36726535053,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC371_0aee36e6-fb31-4c15-b5f7-c7009bb30930.jpg?v=1493473330"},{"product_id":"pasc371-cd","title":"KLEMPERER conducts Beethoven Symphonies Volume 3 (1957\/60) - PASC371 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478171533,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC371_8010f141-e600-46cd-9bd7-f97fb167c526.jpg?v=1658309012"},{"product_id":"pasc373","title":"TOSCANINI Brahms in London, Volume 1 (1952) - PASC373","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in London in 1952\u003cbr\u003eTotal duration:1hr 38:21\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf any set of Brahms symphonies deserves to be in Fanfare’s Hall of Fame, this is the one!578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIt is easy to get tired of reading reviewers \ngushing about remastering: how great it sounds, how much detail you’ll \nhear that you never heard before, how it makes you experience the event \nin ways you never thought possible. Collectors interested in historical \nrecordings are inundated with that sort of hype, but once in a while, \nall of the hype doesn’t even add up to the truths uncovered by hearing a\n much-loved recording over which obvious restorative care has been \ntaken. Simply put, Andrew Rose has restored these Brahms recordings in a\n way that is nothing short of miraculous! Beyond this, he has fashioned \neach of the two volumes to bring the listener as close as possible to \nexperiencing the concert in full.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eVolume 1 presents the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and the first two symphonies. My previous acquaintance with Toscanini’s\n much-discussed 1952 Philharmonia Brahms had been with a Testament \nversion, released some 17 years ago following much anticipation. The \nmusic was a revelation, but the sound was, frankly, a let-down. It was \nboxy, bass-heavy, and shrill, an overall constricted experience. I could\n not imagine that even a restoration engineer with Rose’s experience \ncould work enough magic to raise such subpar sonics to a level of \nartistry commensurate with the music. Hearing these recordings afresh, a\n new sense of space and atmosphere imbues every bar, allowing \nToscanini’s vision of the pieces to be heard afresh.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe trajectory is clear from the first two chords of the highly charged \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n A reluctance to overindulge in Romantic sentiment is balanced with an \nenergy level so high as to be dangerous. For another point of reference,\n listen to the first crescendo of the First Symphony’s fourth movement. A\n minor peak is scaled, but mountain and molehill are never confused. \nThis is a crescendo in perfect context, and the descent from E♭ to \nG-Minor sonorities is luminous without overemphasis. Dwelling on that \nfourth movement, the brass chorale has a beautiful sense of loftiness \nand some distance, fluffed notes and all, and the entrance of the \nubiquitous string theme is as transcendent as it must have been in the \nRoyal Festival Hall. Revel in the slow but inevitable crescendo as the \nvariations build to understand just what Toscanini accomplished with \nthis excellent orchestra.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe fact that the Second Symphony hasn’t even been\n mentioned says nothing about its merits as a performance. The easy \ngrace with which the first movement opens is complemented by the \npastoral charm of its third movement, and as ugly as the Philharmonia \nwinds can sound on some recordings of the late 1940s, they are in \nexcellent form here. For anyone who accuses Toscanini of rigidity (and \nin the past I have been among them), listen to the luscious strings at \n1:22 of the fourth movement as the Maestro slows the tempo just a shade.\n That shade makes all the difference, and the wild applause at \nmovement’s conclusion is more than deserved.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eVolume 2, the second concert which was broadcast two days later, finds Toscanini conducting the so-called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n along with the Third and Fourth Symphonies. The variations feature some\n really fine brass playing, and Toscanini manages to expose a lot more \nof Brahms’s counterpoint, set against those continually off-balance \nphrases, than I’d previously suspected, again down to this refreshing \nnew restoration. Again though, the symphonies steal the show. I marvel \nevery time at the string accents Toscanini coaxes from the Philharmonia \nin the Third’s first movement and at the gorgeously balanced brass, \nwoodwinds, and strings gracing the second’s opening. It is difficult to \nfathom how anyone can resist the fourth movement’s drama, shot through \nwith more of those staggeringly precise string accents; was the \nPhilharmonia ever a fine orchestra!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe best was saved for last. After a stirring \nintermission address from Adrian Boult, the mighty Fourth sums up the \nachievements of this monumental cycle. Especially memorable, amidst the \ntowering strength and explosive power of the passacaglia, are the \ndelicacy of the woodwinds and strings as they alternate chords, yes, \neven despite the firecrackers that could have interrupted the \nperformance.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow best to describe the thrilling conclusion, its\n slow and interrupted build, those arpeggios, that last chord, and the \nwild applause that follows? Perhaps it’s this sense of occasion that \nmakes the Pristine version of these historically important concerts so \nsatisfying. Getting so much sound out of the performances is a major \naccomplishment, but stitching together the announcements, applause, and \nmusic so that the seams are nearly invisible defies description; the \nwork that went into such a project must have been as intensive as it has\n been rewarding to hear the results. In this case, I cannot recommend \nthe ambient stereo version strongly enough. Sit down, put on the \nheadphones or make sure you’re positioned correctly for stereo, and \ntravel back to Toscanini’s first appearance in London since 1939. In his\n intermission talk, Boult poeticizes:   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“ … we heard the music bathed in a brilliant \nlight, with every detail crystal clear and eloquent in a way we hadn’t \nheard before.” With this restoration, his meaning becomes as clear and \npalpable as the music itself. If any set of Brahms symphonies deserves \nto be in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s Hall of Fame, this is the one! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMarc Medwin  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n      \n    \n  \n  \u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 13px;\"\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 13px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 13px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC373.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e\"One of the very best (and most exciting) recordings of the work available\" - MusicWeb International\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eFollowing our release last year of an XR-remastered \nedition of Toscanini's 1951 Carnegie Hall Brahms symphonies with the NBC\n Symphony Orchestra, I was repeatedly urged to tackle the London series \nhe conducted in the Autumn of the following year. This is the first of \ntwo volumes, each dedicated to one of those two memorable concerts. The \neffect of Toscanini's return to the British capital for the first time \nsince before the Second World War and the enthusiasm of the response of \nthe music-lovers of Britain has been well-documented, as has the \nbrilliance both of the Philharmonia Orchestra at this time, and the \nsuperb performances Toscanini elicited from it over two nights of \nBrahms.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThese remasterings aim to bring the listener closer than\n ever to the magic of those nights, beginning and closing with excerpts \nof BBC radio commentary setting the stage, and the (edited!) rapturous \napplause reproduced. Much of this extra content was drawn from AM \nbroadcast recordings which have taken some considerable effort to weave \ninto the much high quality music recordings made by EMI. Happily the \nlatter have responded brilliantly to Pristine's 32-bit XR remastering \nsystem, with a sound that's full, vibrant and very much alive - \nparticularly do in our Ambient Stereo versions of this release.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eTOSCANINI\u003c\/b\u003e \u003cb\u003eBrahms\u003c\/b\u003e in London, Volume 1 (1952)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Opening announcement and National Anthem\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:58)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Tragic Overture, Op. 81\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBrahms: Tragic Overture, Op. 81\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Un poco sostenuto — Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante sostenuto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:40)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Un poco allegretto e grazioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:15)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio — Più andante — Allegro non troppo, ma con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:21)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Applause and 1st half closing announcement\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:44)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Opening announcement, 2nd half\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:18)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:17)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegretto grazioso (quasi andantino)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro con spirito\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:09)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Applause and closing announcement\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:54)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eShared recording information:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live at the Royal Festival Hall, London, 29 September 1952\u003cbr\u003eRecording includes announcements and comments from the BBC Third Programme\u003cbr\u003eBBC Announcer: Richard Baker\u003cbr\u003eMusic content derived from high quality EMI recordings, produced by Walter Legge\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2013\u003cbr\u003eCover artwork based on a photograph of Arturo Toscanini\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration:1hr 38:21\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC373.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC373.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW \u003c\/strong\u003eSymphonies 1 and 2\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe performances of the symphonies are \ncompelling - and certainly much warmer and more lyrical than his \nrecorded cycle with the NBC Symphony Orchestra. As interpretations, they\n rather contradict the impression that all Toscanini performances were \nsomehow symmetrically constructed, with tempos often staggeringly \nsimilar from performance to performance. With the exceptions of the \nFirst and Fourth Symphonies, these Philharmonia accounts are often less \nexpansive than the NBC cycle he recorded in late 1951\/early 1952. The \nnotable achievement in this cycle is the Third Symphony which here \nreceives the most assured of all Toscanini's interpretations of this \nsymphony - a performance of considerable sunniness with the most \nbeautiful of cantabile ever-present. This contrasts with the NBC \nrecording which is slow, lacks rhythmic tension and seems drawn \ndownwards by an interminably long beat.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe First Symphony is a powerful \nperformance, although as in all Toscanini's interpretations of this work\n he fails to conduct the opening bars of the work as they should be. \nThese opening bars, with its unrelenting timpani strokes, are amongst \nthe most grand and profoundly moving of all passages in the symphonic \ncanon, yet Toscanini, like virtually most conductors, seems confused by \nBrahms' marking of sostenuto. Taken at almost quaver 100, the \ndevelopment of the opening timpani seems too fast - and he accelerates \nthe timpani ruining the grand line that Brahm's intended (and for which \nyou have to turn to Furtwängler or Celibidache to hear correctly \nplayed). This aside, however, the movement develops inexorably, with the\n contrapuntalism of Brahm's construction not only implied, but grandly \ndeveloped. Dynamics, whilst not as scrupulously observed as Celibidache \n(the most inspired interpreter of this symphony) are actually more \nclearly heard in this Philharmonia account than in his NBC recording of \nthe work. The opening drum rolls, even if tempi are wayward, do clearly \ndistinguish between the opening f and the concluding ff, and in the \nfirst movement's main theme cellos, woodwind and horns play perfectly \nbefore the appearance of the crescendo. In fact, the care given to the \nwoodwind is an example of this performance's individualism, and this is \nno more evident than in the finale with its horn and flute melodies, \nhere played gorgeously by Dennis Brain and Gareth Morris. The playing \nhere is certainly more distinctive than on the NBC recording, and \nrecalls another Philharmonia recording of the First Symphony with Guido \nCantelli (a performance remarkably similar to this one). The trombone's \nmissed entry in the finale (and then his fluffed notes) do not \nnoticeably ruin what is one of the very best (and most exciting) \nrecordings of the work available.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eListening to the opening of the Second \nSymphony, with its low strings and horn and woodwind exchanges, I was \namazed at how much presence exists in this Testament transfer. Toscanini\n was reputedly somewhat worried that string tone was somewhat \nundernourished, yet hearing the opening bars and then the entry of the \nstring's first theme, one is aware of an extraordinary depth of tone. \nTempi in this symphony are all swifter than in Toscanini's studio \nrecording of the work, yet this is never at the expense of the string's \nbeautifully phrased playing. The playing is at once lyrical as it is \nidyllic, with the tunes given a statuesque presence, the penumbral \nshading of Brahms' scoring spot-lit neatly against the borders of \nlighter melody. The second subject of the first movement is as song-like\n as one could ask for, the coda intense and evocative. If the middle \nmovements are gracious, with felicitous woodwind playing, the finale, \nmarked Allegro con spirito, is as grandiose and driven as any. The \nplaying is wonderfully dynamic, the development to the coda \nremorselessly laid out before us but not overdriven in any way. When the\n triumphal coda appears, one of the most astonishing things Brahm's \nwrote (and as similarly transparent as the closing pages of Bruckner's \nFifth symphony) the exuberance is infectious. The great brass sonorities\n are here captured magnificently, strings arching ever higher upwards, \nhorns and trombones radiant to the close. The cheers at the end say it \nall!\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eMarc Bridle, MusicWeb International\u003c\/strong\u003e, April 2000\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":38674833229,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":38674833293,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":38674833357,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":38674833421,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC373_bd915095-88df-4d1a-b583-4ae186276627.jpg?v=1496234454"},{"product_id":"pasc373-cd","title":"TOSCANINI Brahms in London, Volume 1 (1952) - PASC373 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478172557,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC373_4d6baadb-1213-45bc-b67d-a28f55cd8410.jpg?v=1658309052"},{"product_id":"pasc377","title":"TOSCANINI Brahms in London, Volume 2 (1952) - PASC377","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eVariations on a Theme by Joseph Haydn\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eSIR ADRIAN BOULT\u003c\/b\u003e Radio interval talk on Toscanini\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in London in 1952\u003cbr\u003eTotal duration: 1hr 40:39\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performances, from a very fine orchestra conducted by a fabled conductor, are magnificent.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor whatever reason, either because of a \ndifference in the original masters or an adjustment on the part of \nengineer Andrew Rose, these recordings sound richer and clearer to my \nears than those on Volume 1 of this series, which included the first two\n Brahms symphonies and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n It could also be my imagination, but I compared these sets carefully. \nVolume 1 suffers from a kind of overly plastic reproduction that veteran\n collectors recall, with a cringe, from the “electronically enhanced \nstereo” sound from the 1960s created by engineers who thought they were \ndoing music lovers a favor, but were instead presenting inferior sound \nvis-à-vis the decent mono masters. The chief problem occurs in the \nreproduction, or lack thereof, of the instrumental timbres. Come to \nthink of it, this is the same complaint many of us had with early \ndigital.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI read the notes of both volumes carefully to see \nif there was any adjustment in the engineering noted. None that I could \ndetermine. Volume 2 is still described as an “ambient stereo” recording.\n But here, the violins sound like string instruments, not a computer \nmanipulated sound wave, and the cello section sings out with clarity. \nDynamic range is remarkable. Most importantly, the performances, from a \nvery fine orchestra conducted by a fabled conductor, are magnificent. As\n I have noted before, Toscanini’s famously stern, masculine sinew is \ntempered by an Italianate lyricism resulting from a long career in the \nopera pit. His battle cry during rehearsal was \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecantare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n sing, and it is manifested here in readings that are at once propulsive\n and naturally breathing. The NBC recordings from the same vintage are \ncloser in sound and a bit more exciting, but these live recordings in \nfront of an adoring London audience are noticeably more rhythmically \nfluid.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs in Volume 1, one must deal with the stuffy BBC \nannouncers, and in this volume, a speech by the dean of 20th-century \nBritish conductors, Adrian Boult, which virtually deifies Toscanini. I \nam extremely adverse to such exaltation of performers, but few others \nbesides Toscanini, truly a historic figure, deserve such treatment. His \ndevotees will want to hear these alternatives to the NBC sound, and \nyounger music lovers curious about all the fuss will be able to dip into\n the Toscanini aura in remarkably modern sounding editions. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003ePeter Burwasser  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC377.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e \"One of the most memorable things Toscanini did in his last years\" - MusicWeb International\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis release quite literally picks up where Volume 1 left off - with the second of Toscanini's two London Brahms concerts, mixing archive BBC radio commentary and high quality EMI music recordings, all benefiting greatly from XR remastering to bring the finest possible sound quality from this historic evening of music. Great care has been taken to try and preserve continuity between the very different sound quality of the two sources and prevent any clunky sonic lurches between high and low fidelity. I've also worked hard on getting maximum clarity from Sir Adrian Boult's short interval talk.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs for the music - well happily this has (post-remastering) a fine, open sound, with great frequency extension both in the high treble and in the rich, warm lower reaches of the orchestra. As with the first volume, the effect is totally transformative: from a constricted, boxed-in, congested and distant sound to something that's positively alive, and appears as a true musical narrative, vibrantly unfolding directly in front of you as you listen today.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eTOSCANINI\u003c\/b\u003e \u003cb\u003eBrahms\u003c\/b\u003e in London, Volume 2 (1952)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Opening announcement and National Anthem\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:07)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Variations on a Theme by Joseph Haydn, Op. 56a\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eBrahms: Variations on a Theme by Joseph Haydn, Op. 56a\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:45)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op. 90\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro con brio\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:41)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Poco allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:26)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Interval talk, Sir Adrian Boult\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:34)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Opening announcement, 2nd half\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(0:53)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98 [\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(11:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:33)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro giocoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:18)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Allegro energico e passionato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:10)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e13.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRADIO Applause and closing announcement\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(1:43)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eShared recording information:\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSIR ADRIAN BOULT\u003c\/b\u003e Radio interval talk on Toscanini\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArturo Toscanini\u003c\/b\u003e  conductor\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live at the Royal Festival Hall, London, 1 October 1952\u003cbr\u003eRecording includes announcements and comments from the BBC Home Service\u003cbr\u003eBBC Announcer: Frank Phillips\u003cbr\u003eMusic content derived from high quality EMI recordings, produced by Walter Legge\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2013\u003cbr\u003eCover artwork based on a photograph of Arturo Toscanini\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration:1hr 40:39\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC377.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC377.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW \u003c\/strong\u003eSymphonies 3 and 4\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e\u003cspan class=\"body\"\u003eAs I have already suggested, this \nperformance of the Third Symphony is the finest Toscanini has left us. \nAs if to illuminate the point further, Manoug Parikian, the leader of \nthe Philharmonia Orchestra for these Toscanini concerts, later said that\n for him the most sublime and unforgettable moment of the series was the\n third movement of the Third Symphony. The opening cello theme had, \naccording to Parikian, an unusual tenderness to it that stirred the \ndepths of human feeling. It was, he added, \"...one of my most profoundly\n moving experiences, and a lasting reminder of Toscanini's undoubted \ngenius\". \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eGreat recordings of this work are thin \non the ground, possibly because it is Brahms' most misunderstood \nsymphony. It is a work that combines passion and resignation in equal \nmeasure and few conductors have been able to unite those two contrasting\n facets into a workable performance. This is the symphony where \nToscanini's tempi are most diverse - the first movement of this \nPhilharmonia account is almost 1½ minutes faster than on his NBC \nrecording. Because this symphony, the most unique of all Brahms' \nsymphonies in that it ends all of its movements piano or pianissimo, is \nso emotionally complex it is surprising that Toscanini, ever the \nobjectivist, is actually able to encourage the Philharmonia to play with\n such astonishing weight and passion. The first movement positively \nsurges, the finale opens in an exhilarating fashion, with strings \nastoundingly fleet. In between, the contrasts between the melancholic \nphrasing and wild outbursts are laid bare. Pianissimos are here given \nsuppleness, and the most fearsome fortes seem to come from the core of \nthe earth, so shattering are they. No wonder this performance is one of \nthe most memorable things Toscanini did in his last years.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eAlmost as memorable, in fact, as the \nastonishing Fourth. This was the symphony Toscanini most admired by \nBrahms - and one can see why. It is a work of greatness, moving between \ntragedy and wild exclamation, often within the same movement. Just as it\n is the culmination of Brahms' symphonic output, so it is the epoch \nmaking performance on this cycle. This is the greatest single \nperformance in Toscanini's NBC cycle and this Philharmonia account is as\n inspired as that, perhaps the single most impressive 'live' Fourth ever\n recorded (and notably different from an equally great Fourth from \nCelibidache with the Munich Philharmonic).\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe conception is laid out in the \ngrandest of terms, the opening bars given astonishing presence. The \ndevelopment is built up inexorably, and the coda to the first movement, \nstill noble and statuesque, generates enormous energy. Toscanini, \ncrucially, does not slow before the timpani enter near the penultimate \nbar, and thus the climactic ending actually gathers momentum. There is \nno mannerism here, just the thrill of hearing the closing bars as they \nshould be played. The second and third movements appear in this \nperformance more than just intervals before the extraordinary unwrapping\n of the great passacaglia of the final movement. True, we hear the \nintervention of fireworks from the roof of the Festival Hall, but \nToscanini remains unfazed and the listener cannot fail to be unaware of \nthe very conscious build up of the layers of this extraordinary \nmovement. The music arches forward nobly and naturally, the dynamics \namplified by some of the finest wind playing on any recording of the \nwork. Horns are given astonishing girth, strings play with the most \nsensitive of balance. Toscanini does hold back in the final moments of \nthe movement's coda, but this allows the inevitability of the triumphant\n finale to reach its apogee. The moment is sublime.\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eMarc Bridle, MusicWeb International\u003c\/strong\u003e, April 2000\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":34191466637,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34191466765,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34191466893,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34191467021,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC377_8635d1f1-1db2-4235-bd5f-0c6249ecf261.jpg?v=1489681675"},{"product_id":"pasc377-cd","title":"TOSCANINI Brahms in London, Volume 2 (1952) - PASC377 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478173709,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC377_827ae5d1-fb2a-413f-b29f-dcd737b7cae9.jpg?v=1658309137"},{"product_id":"pasc390","title":"GIESEKING Experimental stereo Beethoven Emperor, plus Concerto No. 4 (1944\/51) - PASC390","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5 \"Emperor\"\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 4\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1944 in stereo \u0026amp; 1951 in mono\u003cbr\u003eTotal duration: 68:20\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eBerlin Reichsender Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArtur Rother\u003c\/b\u003e conductor\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e conductor\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA wonderful disc all round578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine Classical has given the avid collector a \nwealth of material, and this issue is no exception. The performance of \nthe “Emperor” was taped in “experimental stereo,” an indication, \nperhaps, of the innovations of the Nazi era, and so it is that the 1944 \nNo. 5 presented here is in stereo, but the later 1951 No. 4 is in mono. \n \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is in fact Gieseking’s second “Emperor” and \nwas recorded in the autumn of 1944, a decade after the first (Bruno \nWalter\/VPO). To follow were the famous traversals with Karajan (1951, \nKingsway Hall, Philharmonia) and the 1955 Philharmonia (again, but with \nAlceo Galliera at the helm).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine certainly seems to have been successful \nwith hiss. The recorded sound in Berlin is remarkable, excellent pretty \nmuch throughout, especially where the piano is concerned. \nPerformance-wise, the first thing one notices about the orchestra is the\n sense of discipline. Accents are visceral; complementing this, there \nare moments of great beauty from Gieseking. Rother always keeps the \nmomentum going, refusing to relax as some do. Perhaps one should really \npoint to some lost detail around the 10-minute mark; that the recording \ndoes shrink a little around Gieseking’s climactic chords thereafter; and\n that there is a very careful piano\/orchestra arrival at one notoriously\n tricky spot (12:26 here), where Gieseking actually stops the upward \nscale to co-ordinate with the orchestra’s re-entry. As if finally \nentering into Rother’s approach, the piano’s riposte to the return of \nthe grand opening orchestral chords is very rapid-fire, almost \ndismissive. The luster on the strings of the slow movement is \nmarvelously preserved, and the magic of Gieseking’s rapt playing is \nmagnificent. The Finale brings plenty of fire from both pianist and \norchestra. Gieseking’s fingerwork is terrific and there is plenty of \nenergy all round. Again, there is little space for relaxation, but the \neffect is not of breathlessness.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Columbia Beethoven Fourth with the \nPhilharmonia and Karajan is centrally placed in Gieseking’s discography \nof this work (Böhm\/Dresden Staatskapelle and a Berlin RIAS under Doráti \non one side; Keilberth with WDR Cologne and Philharmonia\/Galliera on the\n other). Just for the meeting of minds of Gieseking and Karajan, it has \nhuge value. Gieseking’s simply gorgeous tone for the opening, coupled \nwith his not too languorous approach, sets the parameters for a very \nspecial reading. Karajan shapes the orchestral exposition impeccably, \nand it is clear that the Philharmonia responds to his every whim. \nGieseking plays with the utmost sensitivity, and this “notiest” of \nBeethoven’s concertos is perfect for him with his mastery of filigree. \nThe strings in the famous slow movement come across with real presence. \nPerhaps it is in the Finale that the differences between pianist and \nconductor come to the fore. Basically, Karajan ensures the Germanic side\n of things is looked after, while Gieseking finds a more delicate space.\n The very close of the work is not intended to be a sudden surge of \nadrenalin here, and as such it fits in beautifully within the overall \nconception as it leads to Gieseking’s bejeweled final measures. A \nwonderful disc all round. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke  \u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 37:3 (Jan\/Feb 2014) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC390.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; font-style: italic; text-align: left;\"\u003e\u003cem\u003e \"Gieseking, at the height of his powers in 1944, is deft, delicate, infinitely resourceful\" - Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe 1944 recording of Walter Gieseking playing brilliantly Beethoven's Emperor Concerto sits among a select few stereo recordings made experimentally prior to the 1950s, the earliest dating back to the early 1930s. It's one of the only complete works recorded in stereo prior to the general adoption of stereo recording in the 1950s - only one other stereo recording (of a single movement) is known to survive from 1944, also recorded in Germany. It was the development of tape recording which made stereo technically feasible - not until 1958 would disc replay catch up - and the Germans were a considerable way ahead on tape technology by 1944. Even so, the high levels of hiss on this recording - unsurprising given that each channel has half the tape width and thus double the noise levels - shows much was left to be done.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAs well as improvements to the sometimes wayward and ill-defined stereo imagery, I've sought to reduce tape hiss, enhance the overall tonal balance, flatten out wow and flutter, and give this historic recording as good an outing as it's ever had. The 1951 EMI studio recording of the Fourth Concerto was of course made in easier conditions (no anti-aircraft fire in the background either!) but was far from perfect. I've been able to fill out the orchestral tone considerably, whilst cutting tape hiss back. The piano tone remains mellow and warm, but occasionally less than brilliant during louder passages, where I've had to fight against some peak distortion, though this is happily insufficient to distract from what is a truly superb account of the concerto.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eGIESEKING\u003c\/b\u003e Experimental stereo \u003cb\u003eBeethoven\u003c\/b\u003e Emperor, plus Concerto No. 4 (1944\/51)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5 in E flat, Op. 73, \"Emperor\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(19:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio un poco mosso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Allegro)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded Autumn 1944, Berlin\u003cbr\u003eProducer\/engineer: Dr. Hans Joachim von Braunmühle\u003cbr\u003eTransfer from Varèse Sarabande VC 81080\u003cbr\u003eA stereo recording\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 4 in G, Op. 58\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:48)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante con moto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Rondo (Vivace)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 9-11 July 1951, Kingsway Hall, London\u003cbr\u003eProducer: Walter Legge\u003cbr\u003eEngineer: Douglas Larter\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Columbia 78s LX 1443-46\u003cbr\u003eFirst LP issue Columbia 33C.1007\u003cbr\u003ePresented in Ambient Stereo\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBerlin Reichsender Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArtur Rother\u003c\/b\u003e  conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e  conductor\u003cbr\u003e\u003cb\u003eWalter Gieseking\u003c\/b\u003e  piano\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2013\u003cbr\u003eCover artwork based on a photograph of Walter Gieseking\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 68:20\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC390.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC390.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW \u003c\/strong\u003ePiano Concerto No. 5, \"Emperor\"\u003c\/p\u003e\u003cp class=\"body\"\u003eGieseking, at the height of his powers in 1944, is deft,\n delicate, infinitely resourceful. From the moment of the piano’s \nre-entry, Gieseking points our attention away from heroic postures \n(though he has strengths in reserve) towards that visionary mood which \nunderwrites the whole of the Violin Concerto and subtly pervades the \nEmperor, too. The recording was made at a concert in Berlin and claims \nto be a genuine stereo recording, a precocious example of the highly \nsophisticated Berlin Radio system and its Magnetophon recorders. Clearly\n it is a stereo recording in the same way that an 1840s Fox Talbot is a \nphotograph, but the stereo images are vague and the level of background \nhiss is almost unacceptably high. That said, the beautifully natural, \nslightly recessed concert hall image serves Gieseking well; and the \norchestra, which is immaculately conducted by Arthur Rother, is finely \nfocused. In the latter part of the first movement cadenza artillery can \nbe heard dimly popping and pummelling in the background, much as it \nprobably did at the time of the work’s première in war-torn Vienna. \nGieseking, ever the poet and professional, remains perfectly poised, \nwhilst the horns sweep calmly and steadily in.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eR.O., Gramophone\u003c\/strong\u003e, January 1980\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW \u003c\/strong\u003ePiano Concerto No. 4\u003c\/p\u003e\u003cp class=\"body\"\u003eHere, I venture to suggest, in the Gieseking-Karajan G \nmajor Concerto, we find almost the ideal recording ; sides 3 and 8 in \nparticular seem to me as nearly perfect examples of reproduced sound as \none is ever likely to meet. Gieseking’s approach to Beethoven is \nsuitably gentle and caressing ; but he can be dramatic at will, and his \ngood musical manners are no sign of weakness or mere amiability. \nTechnically, he exhibits a remarkable power of light but firm emphasis. \nHis touch is even sure when he wishes to vary it, which is the \nequivalent of saying that he has perfect control ; that would be wasted \nhad the pianist not also the musical mind to inform his fingers. He \nseems to play the G major with the utmost naturalness, as though he were\n a learned and fluent and friendly improviser in a tautly listening \nparty. The secretive opening of III on side 6, the brilliance of side 2,\n the flourish in the cadenza and the sweet-natured reentry of the first \nsubject are tokens of his success. The balance between soloist and \norchestra is right, the ensembles are warm and rich, the tuttis never \nalarming. I particularly like the weight of the strings and the even \ndistribution of tone across the orchestral gamut.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eH.F., The Gramophone\u003c\/strong\u003e, November 1951\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34274773325,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34274773389,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34274773453,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC390.jpg?v=1489762805"},{"product_id":"pasc390-cd","title":"GIESEKING Experimental stereo Beethoven Emperor, plus Concerto No. 4 (1944\/51) - PASC390 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478181773,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC390_60615a00-08a0-45a6-bf17-a9fbacd99b02.jpg?v=1658309480"},{"product_id":"pasc261-cd","title":"FURTWÄNGLER Beethoven: Symphony No. 9 'Choral' (1954) - PASC261 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478231309,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC261.jpg?v=1658245674"},{"product_id":"pasc261","title":"FURTWÄNGLER Beethoven: Symphony No. 9 'Choral' (1954) - PASC261","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 \"Choral\"\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded Lucerne, 1954\u003cbr\u003eTotal duration: 76:12\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eElsa Cavelti\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eErnst Häfliger\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eOtto Edelmann\u003c\/b\u003e, bass\u003cbr\u003e\u003cb\u003eLucerne Festival Choir\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eWilhelm Furtwängler's interpretation of the mighty Ninth has\n          been preserved on almost a dozen recordings, mostly of live performances.\n          \u003cstrong\u003ePristine Audio\u003c\/strong\u003e's issue is his last,\n          from the1954 Lucerne Festival, three months before the conductor's\n          death.\n          It is perhaps the longest performance on disk (76:11) although Leonard\n          Bernstein's historic 1989 Berlin performance is of equal length. This\n          Lucerne performance, essential for many collectors, has been issued\n          many times on various labels, but all  are eclipsed by the sonic excellence\n          of this new restoration.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC261.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWe are fortunate indeed to have a recording of this, Furtwängler's last of many, many performances of this monumental work, which took place just three months before his death on 30th November, 1954. Had he lived but two months longer his first planned engagement of 1955 was to have been the same work, this time with the Vienna Philharmonic. Instead he was to take the stand just five more times, in August and September of 1954, concerts which featured Beethoven's 1st, 5th, 6th, 7th and 8th symphonies - his orchestral concerts prior to this featured Beethoven's 3rd and 4th and again the 9th. One can only imagine he felt he still had more to say and more to explore with these works.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe original sound quality of the present recording has proved satisfactory for many over the last 56 years, and it has seen many reissues, and yet it was not without flaws. One had only to listen to the over-dominance of the tympani for over a minute at around 10 minutes into the first movement to appreciate that not all was right with the tonal balance - other flaws were more subtle but just as present.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recording actually proved much trickier to remaster than I had expected, and it has taken me nearly three months and more than seven incarnations (each of which has been through many 'stages' of development) to realise which I believe to be its full sonic potential. Even right to the very end I felt there was something not quite right - my computer analysis and instruments were telling me everything was fine, but my ears suggested something else - and by trusting the best hearing devices known to man I was able to track down and solve the final piece of the puzzle, a minor equalisation adjustment which finally allowed everything to fall perfectly into place.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe result is one of the most personally satisfying audio remasterings I've ever produced. It has a full extension of both the highest and lowest frequencies. It has lost the over-boominess already mentioned in the tympani and elsewhere. The previously hard upper midrange has been tamed. In short, the orchestra sounds magnificent, and when you reach the final, choral movement, you'll find that the singers do too, with an excellent balance so well captured all those years ago.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eFURTWÄNGLER\u003c\/b\u003e \u003cb\u003eBeethoven\u003c\/b\u003e: Symphony No. 9 'Choral' (1954)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro ma non troppo, un poco maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(18:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Adagio e cantabile — Andante moderato\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(19:59)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Presto — Allegro assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(26:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded live at Lucerne Festival, Switzerland, 22nd August, 1954\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eElsa Cavelti\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eErnst Häfliger\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eOtto Edelmann\u003c\/b\u003e, bass\u003cbr\u003e\u003cb\u003eLucerne Festival Choir\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003edir. Albert Jenny\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, August-December 2010\u003cbr\u003eCover artwork based on a photograph of Wilhelm Furtwängler\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 76:12\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC261.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC261.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":3399567015962,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":3399567048730,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":3399567081498,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":3399567114266,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC261_358552a8-0c28-48fe-b014-7da64414f585.jpg?v=1515504910"},{"product_id":"pasc269","title":"CANTELLI The 1952 Philharmonia Recordings - PASC269","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003eSymphony No. 6\u003cbr\u003e\u003cb\u003eRAVEL \u003c\/b\u003ePavane pour une Infante Défunte\u003cbr\u003e\u003cb\u003eROSSINI \u003c\/b\u003eLa Gazza Ladra - Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, London, 1952\u003cbr\u003eTotal duration: 58:13\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fStunning combination of aristocratic finesse, urbanity, and controlled excitement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis seems like a curious choice for Pristine, as \nthese classic 1952 recordings have long been available on Testament, in \nfine remasterings from the EMI master tapes. The sources used here are \nrare reel-to-reel tapes; their sound lacks the richness and impact of \nTestament’s, but is attractive in its own way, open and bright.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eCantelli’s “Pathétique” is a well-known quantity \nthat probably does not require much comment at this stage, but it was \ninteresting to revisit the performance, not having heard it for several \nyears. I find it curiously elusive—objective, phenomenally articulate, \nquite stellar in the polish and precision of the playing, but with a \nquality of monumental freeze-dried perfection that can seem rather \nalienating. Cantelli has an extreme aversion to tempo modification, even\n those explicitly called for in the score. In the first movement, the \nmain theme and development are spacious and unhurried; the second theme \ncool, brisk, and straight, with scant regard for Tchaikovsky’s myriad \nnotated tempo inflections. The Allegro con grazia is straitlaced, with \nlittle charm; the scherzo-march deliberate (9:16), articulated and \nbalanced with phenomenal clarity. The finale is beautifully played, \nrising to great heights of intensity in the reprise of the main theme, \nbut the second theme again exhibits that curiously straitlaced \nreluctance to observe the notated tempo fluctuations.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eComparing with other famous 1950s studio versions \nwith the same orchestra and label—Karajan (1955–56), Kempe (1957), \nSilvestri (1959), Giulini (1959)—all of these, in their different ways, \nseem more attuned to the music’s humanity. The oft-repeated likening of \nCantelli to Toscanini has always seemed off the mark to me (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epace\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the old maestro’s own comments)—certainly there is little resemblance \nto that conductor’s volatile, spontaneous, flexible conception of this \nwork, which sings and dances in a way the young Italian’s never does. \nInterestingly, a live NBC version from 1953 (also available on Pristine)\n is, if anything, even more tightly controlled.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRavel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePavane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n gets ultra-refined treatment, though here Testament’s transfer is \ngreatly preferable to Pristine’s edgy, crumbly sound. For my money, the \nRossini is the best thing here, in its stunning combination of \naristocratic finesse, urbanity (those solo winds in the \nintroduction—sheer perfection!), and controlled excitement. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:6 (July\/Aug 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC269.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003cem\u003e Featuring his superb 'Pathétique' - \"recommended...splendid\" - Gramophone\u003c\/em\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThe recordings here, all of which were generously lent by Keith Bennett for the purposes of this release, were drawn largely from a rare and unusually high quality source. During the 1950s, His Master's Voice recordings could be purchased on disc, normally both 78rpm shellac and, from 1952 onwards, on the quickly popular 33rpm vinyl format.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever, they also ran a short series of \"High Fidelity Tape Recording\" issues, the \"HTA\" series, and at the time the highest-priced issue format the company offered. Each tape consisted of a 7-inch spool of 1\/4 inch EMITAPE with two mono tracks, one on each side, running at 7.5 inches per second. A printed paper inlay contained the sleevenotes, and a small slip which referenced the Batch Number was hand-initialled by the tape operator, an inspector and a packer.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eDespite their undoubted high fidelity, especially when replayed as here on a modern, broadcast-standard Studer tape recorder, these tapes failed to attract much public attention at the time, quite possibly as a result of their exorbitant cost. It has to be said that they have been a pleasure to work from - offering the highest quality of any domestic medium I've encountered from the era.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ctable style=\"width: 100%; border-collapse: collapse;\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"51%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\" width=\"49%\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003cbr\u003e\u003c\/td\u003e\n\u003ctd style=\"font-size: 16px; text-align: left;\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eCANTELLI\u003c\/b\u003e The 1952 Philharmonia Recordings\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eTCHAIKOVSKY \u003c\/b\u003e Symphony No. 6 in B minor, 'Pathétique', Op. 74\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Adagio — Allegro non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(16:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Allegro con grazia\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:04)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro molto vivace\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:16)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIV. Adagio lamentoso — Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24, 28 \u0026amp; 30 October, 1952, Royal Festival Hall, London\u003cbr\u003eTransfer from HMV open reel tape HTA 3\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003e Pavane pour une Infante Défunte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRavel: Pavane Pour Une Infante Défunte\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:21)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 24 \u0026amp; 25 October, 1952, Royal Festival Hall, London\u003cbr\u003eTransfer from HMV open reel tape HTA 23\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eROSSINI \u003c\/b\u003e La Gazza Ladra - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eRossini: La Gazza Ladra — Overture\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 22 October, 1952, Royal Festival Hall, London\u003cbr\u003eRecording from the Keith Bennett collection\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor\u003cb\u003e Guido Cantelli\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2011\u003cbr\u003eCover artwork based on a photograph of Cantelli\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 58:13\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC269.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC269.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - THE GRAMOPHONE, JUNE 1953:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis is the recommended LP of the Pathetique. Karajan's (33CX1026) has been described, not without reason, as \"vulgar and pretentious.\" Münch (on LXT2544) underplayed the emotional work. Cantelli strikes an admirable balance between the conflicting demands of expressiveness and taste. This is a more exciting, more moving performance than that which he gave in the Festival Hall six months ago. The composer's directions (incalzando, animanclo, ppppp, etc.) are more passionately observed. But hysteria is avoided, and in the finale the depths of misery are laid bare. In addition there is the same miraculous care for the orchestral playing which marks all that Cantelli does. Phrases are shaped and moulded with loving care. The only faults are trivial ones : for instance, the flutes, in the two bars before the trio in II (page 95, Boosey \u0026amp; Hawkes pocket score) do not observe Tchaikovsky's slur marks. The recording, on the whole, is splendid. The Philharmonia's fine wood-wind is vividly reproduced (notice how it sings out in the second limb of the second subject). Sometimes the string detail is not quite clear, and there are patches of gramophoney tone in the finale. But in warmth, brilliance and depth there is little to be desired.\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cb\u003eNotes for Cantelli's 1952 Commercial Recording Sessions\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e \u003cem\u003e\u003cspan class=\"bodymid\"\u003eby Keith Bennett\u003c\/span\u003e\u003c\/em\u003e\u003cem\u003e\u003cbr\u003e \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eBy the time that Guido Cantelli appeared\n with the Philharmonia Orchestra for the first time in the autumn of \n1951 he had already made five complete commercial recordings with three \norchestras. In 1949 these were: the Haydn \u003cstrong\u003eSymphony No.93\u003c\/strong\u003e with the NBC Symphony Orchestra (2 March) followed by Rossini’s overture \u003cstrong\u003eLe siège de Corinthe\u003c\/strong\u003e (9 May) and Casella’s \u003cstrong\u003ePaganiniana\u003c\/strong\u003e\n (13 and 14 May) with the Orchestra Stabile dell’Accademia Nazionale di \nSanta Cecilia. The following year he made his second recording with the \nNBC Symphony Orchestra, this time it was Hindemith’s \u003cstrong\u003eMathis der Maler \u003c\/strong\u003e(13\n January), thus completing both the works which he had conducted for his\n debut in the States the previous year. Then followed the Tchaikovsky \u003cstrong\u003eSymphony No.5\u003c\/strong\u003e\n with the Orchestra della Scala after the orchestra’s visit to the \nEdinburgh Festival and this was recorded at the Abbey Road Studio in \nLondon (23 and 26 September). But it was 1951 that heralded the \nbeginning of his relationship with what was considered by many to be \nBritain’s premier orchestra - the Philharmonia Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCantelli returned to London in October \n1952 for six concerts with the Philharmonia Orchestra and plans were in \nplace by the previous August for recording sessions which were also to \nbe held in the Royal Festival Hall. This was possibly an experiment to \nestablish whether the hall would be a suitable venue for recordings but \nit was never used again for Cantelli and possibly did not find \u003cspan lang=\"en-GB\"\u003efavour\u003c\/span\u003e\n with Douglas Larter, the engineer for the majority of Cantelli \nrecordings on the HMV label. The works recorded and which appear on this\n CD were \u003cstrong\u003ePavane pour une infante défunte (\u003c\/strong\u003eRavel)\u003cstrong\u003e La gazza ladra\u003c\/strong\u003e (Rossini), and \u003cstrong\u003eSymphony No.6\u003c\/strong\u003e\n (Tchaikovsky) and as usual all had been played at the concerts – the \nRavel on 5 and 8 October, the Tchaikovsky on 14 October and the Rossini \non 17 October.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eRossini: Overture La gazza ladra\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe first session took place in the afternoon of 22 October and consisted of Rossini’s overture \u003cstrong\u003eLa gazza ladra. \u003c\/strong\u003eThis\n is interesting for four reasons; in the first place Cantelli only \nconducted the piece once (on 17 October); secondly it was his very first\n performance; thirdly it disposes of the view that Cantelli would only \nrecord a work after it been completely assimilated into his repertoire \nby several performance sand fourthly, the recording sheet has a clearly \nhandwritten annotation ‘Not approved by artistes’. That would appear to \nindicate that it was the producers – the highly experienced David \nBicknell and Lawrance Collingwood – who rejected the recording and it \nnever released by EMI. But why? True, there had been an outburst from \nCantelli when the principal flute, Gareth Morris (these two musicians \nwere not on the best of terms), ended a passage with a \npom-tiddlely-pom-pom to lighten the proceedings. But Alan Sanders in his\n review in the November 1994 issue of \u003cem\u003e\u003cstrong\u003eGramophone \u003c\/strong\u003e\u003c\/em\u003e wrote \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003ci\u003eCantelli did not approve the release of the Rossini overture, although it is difficult now to understand why, for this is a delectably vivacious and expressive reading, superlatively played in a more than adequate quality of sound. I hope the conductor’s shade will not be too annoyed that his wishes have been posthumously disobeyed. \u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eWhile one can be in absolutely in total \nagreement with Sanders’ assessment of the recorded performance I am not \nconvinced that it was Cantelli who rejected the recording: the \nannotation is ‘artistes’ and I believe it is quite likely that it was \nBicknell and Collingwood (both of the International Artistes Department)\n who made the decision, maybe to pacify the conductor – but who knows \nfor certain?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eRavel: Pavane pour une infante défunte\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThis work had a particular significance \nfor Cantelli: he was inordinately fond of his nephew, Sergio, and was \ndevastated when the child died aged only 12 in November 1951. Although \nCantelli had only given one previous performance of this work (sometimes\n interpreted as a \u003cstrong\u003ePavane for a dead child\u003c\/strong\u003e rather than a\n princess) early in 1946 with an unknown orchestra – he resolved to \ndedicate his next performance – which took place on 1 December 1951with \nthe NBC Symphony Orchestra – to his memory. No further performances took\n place until his concerts with the Philharmonia Orchestra on 5 and 8 \nOctober 1952 and when he came to make the commercial recording a few \ndays later his sadness over the loss of his nephew created enormous \nproblems during the sessions as he was fully aware that he was now \nmaking – what was for him – a permanent memorial to Sergio. The problems\n were not caused by any shortcomings of the principal horn, Dennis Brain\n (how could it be?), but with Cantelli’s difficulty of balancing the \nharp which reduced Renata Scheffel-Stein to a nervous wreck. \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eMany sources refer to the number of takes which Cantelli required to obtain the performance he wanted for Ravel’s \u003cstrong\u003ePavane pour une infante défunte \u003c\/strong\u003ebut – after examination of the actual recording sheets – it would appear that the number has been exaggerated\u003cstrong\u003e. \u003c\/strong\u003eThe\n traumas experienced by the musicians at the sessions (and Cantelli took\n more than just three hours to achieve his requirements) are not evident\n on this CD – it is a most ravishing performance.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003eTchaikovsky: Symphony in B minor, No.6, Op.74, \u003cem\u003ePathétique\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThere are instances when the tragedy of \nCantelli’s brief career registers with overwhelming force and this is \none of them. Cantelli performed this symphony on just six occasions and \nit is worth a moment’s thought that Karajan made more commercial \nrecordings of this symphony (seven) than Cantelli gave actual \nperformances. Cantelli first conducted the symphony on 27 July 1945 at \nan open air concert during his first appearance with the Orchestra della\n Scala and his last was the performance with the NBC Symphony Orchestra \non 21 February 1953 which has already been released on this label (\u003cstrong\u003ePASC 166\u003c\/strong\u003e).\n His previous concert performance was with the Philharmonia Orchestra on\n 14 October 1952 and was followed by four three-hour session on 24, 28 \nand 30 October for the commercial recording. As might be expected, with \nso short an interval between the commercial recording in London and the \nconcert performance in New York, there is little to choose between them:\n perhaps the commercial recording has a slightly more burnished sound, \nbut it’s marginal. Cantelli fully understands the emotional implications\n of the score which he conveys without resorting to exaggerations: the \ndemands of expressiveness are met without hysteria, tempi are \nwell-judged in all four movements, and the harrowing despair of the \nfinal movement is admirably portrayed. All this is also true of the live\n performance with the NBC Symphony Orchestra.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e\u003cspan class=\"bodybigblue\"\u003ePostscript\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eFinally, I cannot resist from commenting\n on a recording which I believe took place during the 1952 sessions but \nfor which I have been unable to trace any documentary evidence apart \nfrom a letter which I found while carrying out research at the EMI \nArchive. This was dated 26 July 1954 and was from Owen Mase to David \nBicknell. Mase – who had been the Concerts Adviser at the Royal Festival\n Hall from 1950 to 1953 – had become a close friend of Cantelli and \nBicknell often used him to liaise with the conductor. The gist of the \nletter was thanking Bicknell for sending some Cantelli LPs. He commented\n that the Schumann \u003cstrong\u003eSymphony No.4 \u003c\/strong\u003e(1953) ‘was a miracle of playing and recording’; considered that the \u003cstrong\u003eSiegfried Idyll\u003c\/strong\u003e (1951) ‘was absolutely first class’; thought the Brahms \u003cstrong\u003eSymphony No.1 \u003c\/strong\u003e(also\n 1953) ‘Excellent, though I think in the first movement he himself is \nnot at his absolutely top best’; for the Tchaikovsky he considered \u003cstrong\u003eSymphony No.5 \u003c\/strong\u003ewith the Orchestra della Scala (1950) as ‘good’ and \u003cstrong\u003eSymphony No.6 \u003c\/strong\u003e(1952)\n as ‘Very good’. There is nothing untoward there because those \nrecordings had been released. But the intriguing feature about this \ncorrespondence is that Mase also mentioned an overture which has never \nbeen issued – Wagner’s \u003cstrong\u003eEine Faust-Ouvertüre \u003c\/strong\u003e– \nconsidering it as being ‘Very good’. Despite diligent research no \nInstruction for Recording was found although an Instruction for \nRecording H5474 is mentioned on H5462 but was not seen – could that be \nrelevant regarding this ‘missing’ overture? Furthermore, no Recording \nSheet was located.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt should not come as no surprise that \nsome paperwork is missing because Cantelli often changed his mind about \nwhat he wanted to record and prior to 1955 his recordings with the \nPhilharmonia Orchestra were always associated with his concert \nprogrammes. If he was particularly pleased with the way the public \nperformance(s) had gone, the work was quite likely to be introduced into\n the recording schedule (cf the 1953 sessions when the four overtures \nscheduled were replaced by two symphonies!). It is as well to bear in \nmind that the EMI Archive is vast and covers over 100 years of \nrecordings and it is understandable if a couple of sheets of paper may \nhave become misfiled.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThe recording \u003cem\u003emust \u003c\/em\u003ehave \nexisted! Owen Mase – whom I only met once – was not the sort of person \nwho would dream up a recording and then add further confusion to the \nsituation by making a comment about a non-existent record. Furthermore, \nafter Cantelli’s death, Bicknell issued an instruction that no \nrecordings by Cantelli – whether or not approved – were to be destroyed.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eIt is worth considering when this Wagner\n overture could have been recorded. Up until 1955 Cantelli’s recording \nsessions in London were always linked to the works which had been \nperformed in concerts a few days previously. Cantelli’s only \nperformances of \u003cstrong\u003eEine Faust-Ouvertüre \u003c\/strong\u003ewith the \nPhilharmonia Orchestra were on 14 and 17 October 1952 and it was not \nbroadcast. Between 22 and 30 October Cantelli had six three-hour \nrecording sessions in the Royal Festival Hall and it is perfectly \nfeasible that the Wagner was taped either on 22 or – more unlikely – 25 \nOctober.As can be seen in the Table below there were some 150 minuted \n‘spare’ on 22nd and while there is a lengthier period apparently \navailable on 25th one should bear in mind that the concentrated effort \nCantelli required for the number of takes for the \u003cstrong\u003ePavane\u003c\/strong\u003e probably left the orchestra pretty well exhausted.\u003c\/p\u003e\u003cdl\u003e\u003cdd\u003e\n\u003ctable style=\"width: 483px;\" cellspacing=\"0\" cellpadding=\"7\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"81\"\u003e \u003ccol width=\"46\"\u003e \u003ccol width=\"154\"\u003e \u003ccol width=\"144\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eDate\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eNo. of \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e3-hour\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eSessions\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eWork(s) recorded\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003eApproximate Duration\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"CENTER\"\u003e\u003cstrong\u003eof Work(s)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp align=\"CENTER\"\u003e\u003cstrong\u003e(Timings for Takes)\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e22 October\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003eLa gazza ladra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp\u003e9 minutes (28 minutes)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"81\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cstrong\u003e25 October\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"CENTER\"\u003e1\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"154\"\u003e\n\u003cp align=\"JUSTIFY\"\u003ePavane\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"144\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e6 minutes (34 minutes)\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/dd\u003e\u003c\/dl\u003e\n\u003cbr\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eFinally, I would like to record my \nthanks to the staff at the EMI Archive and others within the EMI \norganization who put up with the incessant questions posed over this \nenigma\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e\u003cspan class=\"body\"\u003e© 2011 Keith Bennett\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eKeith Bennett is the author of Guido Cantelli – Just \nEight Years of Fame (published 2009) which is only available from GC \nPublishers. \u003cbr\u003e For further details either write to:\u003cbr\u003e GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, \u003cbr\u003e Suffolk IP12 4UL, UK \u003cbr\u003e or e-mail: \u003ca href=\"mailto:%20gcpublishers@keithbennett.waitrose.com\"\u003egcpublishers@keithbennett.waitrose.com\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34515881613,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34515881677,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34515881741,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34515881805,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC269.jpg?v=1490114354"},{"product_id":"pasc269-cd","title":"CANTELLI The 1952 Philharmonia Recordings - PASC269 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478238349,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC269_8871b54e-9a21-4b67-9d39-88faff1680c2.jpg?v=1658246475"},{"product_id":"pasc286","title":"WALTON conducts his Troilus \u0026 Cressida, Partita for Orchestra (1955\/59) - PASC286","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eScenes from \"Troilus and Cressida\" (Ambient Stereo)\u003cbr\u003e\u003cb\u003eWALTON \u003c\/b\u003ePartita for Orchestra (stereo)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1955 and 1959\u003cbr\u003eTotal duration: 69:37\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eMonica Sinclair\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eRichard Lewis\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econductor \u003cb\u003eSir William Walton\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGiven the 1945 success of Britten’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePeter Grimes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the BBC commissioned William Walton to write an opera two years later. \nAfter various delays, it took Walton six years to compose the opera and \nhe didn’t deliver the score until 1954. In addition to Walton’s \nmeticulousness, contact with the librettist, Christopher Hassell, was \nvia mail between England and the island of Ischia, off the Italian \ncoast, where Walton resided, which did much to slow down the creative \nprocess. Eventually, it was decided that an opera on the scale that \nWalton was writing was more appropriately presented by Covent Garden, \nrather than the BBC. There were further troubles, which are covered in \nan article by Len Mullenger, “The Unfortunate Opera,” which can be found\n on the Internet. Among those problems was the failing eyesight of the \nconductor, Sir Malcolm Sargent, whose vanity would not permit him to \nwear glasses. As a result, he had difficulty deciphering the rehearsal \nscore, occasionally leaving the singers to their own devices. Walton had\n hoped to have Elisabeth Schwarzkopf sing the role of Cressida but she \nbegged off and was replaced by Magda Laszlo, who had to sing the role in\n phonetic English.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAlthough the reviews were not generally hostile, the eventual judgment on \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTroilus and Cressida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was that it was apparently too advanced for the public and too \nconservative for the critics. After listening to the complete recordings\n of Lawrence Foster and Richard Hickox, my judgment is that the problem,\n as in many operas by Richard Strauss, lies in the excess verbiage of \nthe libretto. In 1955 and again in 1963, Walton shortened the opera. \nAfter Christopher Hassell’s death, he lopped off some more music. He \nalso lowered the part of Cressida a bit when Janet Baker agreed to sing \nit.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLukewarm public reaction is probably the reason \nthat EMI did not record the entire opera back in 1955 but, instead, \nissued a highlights LP with Richard Lewis (the original Troilus) and \nElisabeth Schwarzkopf, who condescended to record excerpts. If she was \nworried about her English pronunciation, the recording suggests that her\n worries were unnecessary. Having heard Lewis drowned out by the Chicago\n Symphony Orchestra in a performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I wonder about his suitability for the part of Troilus; his voice \nstrikes me as on the light side for so richly scored an opera. Richard \nCassilly, of the Foster recording, seems like a better fit (he also sang\n the American premiere, with Dorothy Kirsten as Cressida). Given the \nabsence of EMI’s CD issue of that LP, it’s good to have a souvenir of \nthe original production. Fans of the opera can hear the original longer \nversion of Cressida’s “How Can I Sleep,” which was a casualty of \nWalton’s later editing. No doubt Andrew Rose, the producer of the \nPristine CD, would have liked to include another brief excerpt, “Is \nAnyone There?” which was not on the original LP because it was recorded \nlater and included on the EMI CD. It’s still under rights, so it had to \nbe omitted. I might mention that Christopher Palmer arranged an \norchestral suite from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTroilus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which shares a Chandos CD with Walton’s Second Symphony. If you like \njuicily orchestrated, decadent late Romanticism, it’s for you (I love \nit).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWalton wrote his Partita as a showpiece for the \nCleveland Orchestra’s 50th anniversary and it has probably proved to be \nshowpiece for everyone who has recorded it, including George Szell, who \nled the premiere. His brilliant, if humorless, Cleveland Orchestra \nrecording is unavailable, but there is one with the Concertgebouw \nOrchestra that I have not heard. I have also not heard Walton’s New \nZealand recording of the Partita. This one, with the Philharmonia \nOrchestra, is more moderately paced than Szell’s, but I prefer those of \nBryden Thomson and Paul Daniel (my favorite), which have more wit and \nswing to them without sacrificing the piece’s flashiness. Does \nPristine’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTroilus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and Partita CD sound better or worse than the EMI reissues of these \nperformances, which I had at hand for comparisons? I really can’t tell. \nPerhaps if I had thousand-dollar speakers and 21-year-old ears, I’d have\n a definite opinion. I doubt that the difference, if any, is worth \nworrying about. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:3 (Jan\/Feb 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC286.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBoth of these recordings benefitted from the development of true high fidelity equipment during the 1950s and are good examples of what could be achieved at the time. It is unfortunate that the earlier recording, Scenes from Troilus and Cressida, was made only in mono, but the Ambient Stereo version of our remastering does at least add some air and space around the performers. In both cases I have been able, in XR remastering, to reduce background noise whilst lifting the veil which hung over the upper treble. In the case of Troilus and Cressida the slightly cramped and restricted lower frequencies have also been greatly improved. \u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e conducts his Troilus \u0026amp; Cressida, Partita for Orchestra (1955\/59)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON \u003c\/b\u003eScenes from \"Troilus and Cressida\"\u003ci\u003e(Ambient Stereo)\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIs Cressida a slave\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eSlowly it all comes back\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:00)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eHow can I sleep\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIf one last doubt remains\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:11)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eNow close your arms\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:56)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eAll's well\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(12:05)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eDiomede! Father!\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 18 April - 20 May, 1955, Kingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Columbia 33CX1313\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWALTON\u003c\/b\u003e Partita for Orchestra \u003ci\u003e(stereo)\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Toccata Brioso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Pastorale siciliana Andante comodo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Giga burlesca Allegro gioviale\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:58)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 6 \u0026amp; 16 February, 1959\u003cbr\u003eKingsway Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as Columbia 33CX1679\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eTroilus\u003c\/b\u003e \u003cb\u003eRichard Lewis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCressida\u003c\/b\u003e \u003cb\u003eElisabeth Schwarzkopf\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEvadne\u003c\/b\u003e \u003cb\u003eMonica Sinclair\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eWatchman\u003c\/b\u003e Geoffrey Walls\u003cbr\u003e\u003cb\u003eWatchman\u003c\/b\u003e John Hauxvell\u003cbr\u003e\u003cb\u003eWatchman\u003c\/b\u003e Lewis Thomas\u003c\/p\u003e\n\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir William Walton\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Sir William Walton\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 69:37\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e©2011 Pristine Audio.\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\/PASC286.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC286.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\"...Walton wrote the part of Cressida for \nElizabeth Schwarzkopf, who did indeed record extracts from it in 1955. \nWhen asked to open with the opera she demurred pleading another \nengagement, although Neil Tierney, in his biography of Walton, quotes \nWalter Legge as saying that she disliked singing in English and neither \nliked the story nor the character of Cressida. Covent Garden suggested \nthe Hungarian soprano, Magda Laszio; Walton agreed that she had the \nlooks but she could not speak any English. She was expected to learn the\n part parrot-fashion and to sing without a trace of a foreign accent. If\n you listen to the Schwarzkopf recording you can hear how impossible \nthat was going to be. In the event, her English was so poor that she had\n to be coached by Susana Walton, who was herself Argentinian! Opposite \nher Peter Pears played Pandarus. The producer was George Devine and the \ndesigner Hugh Casson. It became known that the opera was to be a \nsumptuous affair, very romantic in style and destined to become very \npopular.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eSargent proved a problem. He was a rather vain \nand self-opinionated conductor. He had not conducted an opera at Covent \nGarden since 1936 - nor anywhere else except for Gilbert and Sullivan. \nThe singers complained that he often left them without support when they\n were unaccompanied to which he responded that since there was no \norchestral part it was not necessary for him to conduct. He constantly \nquestioned Walton's scoring, which did not endear him to the composer \nand a further difficulty was that Sargent's eyesight was failing but he \nwas too vain to wear spectacles when conducting. Since the score had \nstill not been printed Sargent was working from the rehearsal score \nwhich was rather indistinct in parts. He seemed uncertain of the score \nand even during performance he counted the bars out loud, which was very\n off-putting for the performers. On one occasion he brought Geraint \nEvans in a bar too early with an enormous flourish., Evans decided to \nignore this and came in at the proper time. Evans notes in his biography\n that Walton often had to be called into rehearsals to help and he \nbecame increasingly disenchanted. (Unbelievably, Sargent was still the \nconductor at the Covent Garden revival in 1963 even though Walton \npleaded with David Webster to find somebody else. Christopher Hassel, \nthe librettist, died from a heart attack whilst running for a train to \nattend one of the revived performances.)...\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eFrom \"This unfortunate opera\" by Len Mullenger\u003c\/strong\u003e - \u003ca href=\"http:\/\/www.musicweb-international.com\/troil1.htm\" target=\"_blank\"\u003ehttp:\/\/www.musicweb-international.com\/troil1.htm\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34586920141,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34586920205,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":47880456634702,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC286.jpg?v=1711987782"},{"product_id":"pasc286-cd","title":"WALTON conducts his Troilus \u0026 Cressida, Partita for Orchestra (1955\/59) - PASC286 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478253325,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC286_02b7708e-93c4-4066-ad02-b44d908215d7.jpg?v=1711987812"},{"product_id":"pasc105","title":"LYMPANY Mozart: Piano Concertos Nos. 12 \u0026 21 (1955) - PASC105","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 21\u003cbr\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 12\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eReleased in 1955\u003cbr\u003eDuration 53:35\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMoura Lympany\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eHerbert Menges\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC105.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThis rather wonderful recording is an excellent example of collaborative work between two restoration engineers. The original transfer and clean up was carried out by vinyl wizard Peter Harrison and, before the advent of XR remastering, is more or less what would have been presented here for your delectation.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eActually, it may not have been, as Peter was concerned about distortion in several of the movements and was particularly unsure about its technical suitability, despite being fond of the performance. He sent me the entire 'completed' restoration across the Internet to see what, if anything, XR might bring to it.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMy initial thoughts on hearing the recording were that the top end was particularly harsh and unbalanced, and that fixing this might also have a beneficial effect on the aforementioned tendency to sound distorted, where upper harmonics in the piano were being given undue prominence.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left;\"\u003eMy hunch paid off, and the resulting final recording presented here is one that has appeared unusually regularly on the Pristine Audio hi-fi over the last few weeks. It's unusual these days to hear Mozart played with an orchestra of the size deployed here - and what a delight its richness and fullness is to hear! Both concertos are taken with a degree of restraint that Peter refers to as 'gentlemanly', and this brings a charm and warmth to both works which I really do love.\u003c\/p\u003e\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eLYMPANY\u003c\/b\u003e \u003cb\u003eMozart\u003c\/b\u003e: Piano Concertos Nos. 12 \u0026amp; 21 (1955)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 21 in C, K.467\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro maestoso\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(14:01)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro vivace assai\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:24)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 12 in A, K.414\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(10:20)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Andante\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:14)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegretto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(7:01)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMoura Lympany\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Herbert Menges\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eReleased in 1955 as HMV LP CLP 1038\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eTransfer and restoration by Peter Harrison at disk2disc, December 2007\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2007\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 53:35\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC105.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC105.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":12545465942077,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":12545465974845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":12545466007613,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC105.jpg?v=1533999769"},{"product_id":"pasc105-cd","title":"LYMPANY Mozart: Piano Concertos Nos. 12 \u0026 21 (1955) - PASC105 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478264461,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC105_ecb8ab6f-778e-4573-bf9c-c0239438e37d.jpg?v=1658241174"},{"product_id":"pasc052","title":"MENUHIN Mendelssohn: Concerto in D minor for Violin and Strings (1953) - PASC052","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eConcerto in D minor for violin and strings\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded in 1953\u003cbr\u003eDuration 23:32\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eYehudi Menuhin\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC052.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 16px; text-align: left;\"\u003e\u003ci\u003eIt was in London last May 1951 where, through the kind offices of my friend, the distinguished dealer in antique books and manuscripts, Mr. A. Rosenthal of Oxford, I was introduced to a manuscript bearing the title \"Concerto\" and inscribed with the following words by Ferdinand David in German: \"Received as a gift from Frau Cecile Mendelssohn Bartholdy on May 24, 1853.\" ... He was just short of fourteen years of age when he captured these impulsive and lyrical melodies which were to remain unheard for over a century... The work was written for [his] great friend of his youthful years, his violin teacher E. Rietz.\u003c\/i\u003e - Yehudi Menuhin, 1952\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eThus our musical tale begins - with a lost score for an early piece, and here, its première recording newly remastered by Peter Harrison. Musically it shows the huge promise Mendelssohn showed as a youth. The outer movements both show the clear influence of Mozart and Haydn in style and form, though Mendelssohn does play with the traditional structure of the recapitulation of the first movement, with no pause for a \u003ci\u003ecandenza \u003c\/i\u003eand the two themes reappearing in reverse order.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eHowever it is in the middle movement, the \u003ci\u003eAdagio non troppo\u003c\/i\u003e available here to download in full by clicking on the Play button, that we start to hear the voice of Mendelssohn's lyrical mature style for perhaps the first time.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eBy this early stage in his life his compositional talents were already being recognised by his teacher, Zelter, who the previous year had introduced him to the poet Goethe, beginning a friendship which was to last for many years and greatly affect the composer. A second visit followed in 1822, the year of this compositions; a year later Zelter wrote to Goethe: \"In everything he gains, an even force and power are now hardly wanting; everything comes from within him, and the external things of the day only affect him externally. Imagine my joy, if we survive, to see the boy living in the fulfilment of all that his childhood gives promise of.\"\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eMENUHIN\u003c\/b\u003e \u003cb\u003eMendelssohn\u003c\/b\u003e: Concerto in D minor for Violin and Strings (1953)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMENDELSSOHN \u003c\/b\u003eConcerto in D minor for violin and strings\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eI. Allegro molto\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:10)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eII. Adagio non troppo\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(8:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003eIII. Allegro\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:54)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eYehudi Menuhin\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003eConducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eRecorded 2 April, 1953\u003cbr\u003eAbbey Road Studio 1, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eIssued on HMV ALP1085\u003c\/span\u003e\u003c\/p\u003e\u003c\/div\u003e\n\n\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDuration 23:32\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC052.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC052.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":36204374669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono MP3","offer_id":36204374733,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC052.jpg?v=1492614152"},{"product_id":"pasc194","title":"DORÁTI \u0026 GALLIERA Respighi: Orchestral Music (1954\/55) - PASC194","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eFeste romane (Roman Festivals)\u003cbr\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eVetrate di chiesa (Church Windows)\u003cbr\u003e\u003cb\u003eRESPIGHI \u003c\/b\u003eFontane di Roma (Roman Fountains)\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eRecorded 1954 and 1955\u003cbr\u003eTotal duration: 65:26\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMinneapolis Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAntal Doráti\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlceo Galliera\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI recently visited Minneapolis. One of my longtime\n ambitions was to see the Northrop Auditorium on the campus of the \nUniversity of Minnesota, where so many recordings by Eugene Ormandy, \nDimitri Mitropoulos, and Antal Dorati (and a few by Stanislaw \nSkrowaczewski) were made before the former Minneapolis Symphony \nOrchestra (now the Minnesota Orchestra) moved to its new downtown \nconcert hall. To make what could have been a long story short, the \nbuilding was locked the day I tried to get in, so I still haven’t seen \nanything but the outside of the place. Acoustically, it was an odd \nvenue. Ormandy’s Victor recordings sounded pretty good for their time; \nColumbia’s Mitropoulos recordings, produced by radiomen who preferred \nthe dead sound of the broadcasting studio, were dry and boxy, with lousy\n pressings to match. Things improved a bit when RCA Victor returned for \nthe last Mitropoulos and first Dorati recordings, but the LPs that \nreally made a splash were Mercury’s, which were loved by some and \ndisliked by others because of their dry, almost desiccated sound. I \nthink it’s fair to say that, regardless of what he had accomplished with\n various ballet companies and the Dallas Symphony, Mercury’s recordings \nput Dorati “on the map,” so to speak. When the music was “right,” the \nresults could be sensational, but so much depended on the producer and \nwhat kind of sound (s)he wanted. I still think Dorati’s mono \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRite of Spring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with its audio X-Ray of the orchestration, is sensational, superior to \nits good, but mushier, stereo successor. Another very successful \nrecording was the pairing of Respighi’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the (at the time) unknown \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, another audio blockbuster; in fact, I assume that the Dorati\/Mercury disc of those two pieces introduced \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n to the general public. I’ll bet the big gong bash at the end of “St. \nMichael Archangel” served as a demo for showing off “hi-fi” systems.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe things we do for our avocation: I listened to nine \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erecordings\n before tackling Dorati’s. It turned out to be, in a way, frustrating, \nbecause all of them were, at least, “good” performances: Bernstein, \nGatti, López-Cobos, Maazel Nos. 1 and 2, Marriner, Mata, Ormandy No. 2 \n(I learned the piece on his No. 1), and Toscanini. I heard Toscanini’s, \nnot on a CD, but on LM-55, the original 10-inch RCA Victor LP, and it \nsounded so good that I found myself wondering if the CD could be any \nbetter. Perhaps I’ll eventually find out. If you must have stereo, I’d \nreluctantly go with Mata’s refined, colorful, and superbly recorded \nperformance. If you need a little more panache and don’t mind Lenny \nadding his own trickery to Respighi’s, I’d recommend Bernstein’s \nslightly overproduced one. Nobody attacks the music with the furious \nintensity of Toscanini and few match his delicacy when it’s called for. \nThe NBC Symphony outdoes itself—they and their conductor must have been \nexhausted after the session. Too bad it isn’t a two-channel recording. I\n could make the same comment about Dorati’s, which almost matches \nToscanini’s in its energy and power. Mercury’s in-your-face sound yields\n not only volume but also orchestral detail. Because their producers had\n a proper horror of gain riding, some early Mercurys have a hint of \noverloading in loud passages. It’s hard to believe that the original LP \nof this didn’t have it but I can’t remember any more; in any case, \nPristine Audio seems to have expunged it. The LP, impressive as it was, \ndidn’t sound this good.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eContrary to what one might expect, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is not a postscript to the more famous\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Roman Trilogy. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eIt\n is based, in part, on three piano pieces Respighi wrote in 1919. During\n the mid 1920s he orchestrated them and added an extra movement, \ncompleting the tone poem in 1925, before tackling \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The music is based on Gregorian chant, perhaps not surprising, given \nhis interest in early music and his other arrangements of it (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Birds\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAncient Dances and Airs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcerto gregoriano\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e).\n For all its colorful power, it certainly does contain more than a whiff\n of religious mysticism and is not at all like the more famous tone \npoems that salute Rome. Dorati’s performance holds up very well, even \nwith only one channel. However, I should mention some stereo \ncompetition. Assuming that most people already have recordings of the \nRoman pieces, I could cite Falletta (Naxos) and Ormandy (Sony), whose \ncouplings are, respectively, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrazilian Impressions\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRossiniana\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in her case, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Birds\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Louis Lane’s recording of the Scarlatti-Tomassini \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGood Humored Ladies Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (the only one that includes the so-called “Cat’s Fugue”) in his. There is also Keith Clark on Reference Recordings, where \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is coupled with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAutumn Poem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e for violin and orchestra; I’ve never heard it. López-Cobos (Telarc) also recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, but it is coupled with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, as well as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrazilian Impressions.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe inclusion of Alceo Galliera’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFountains of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n isn’t much of a bonus but, given its impressive discmates, it doesn’t \nmuch matter. As far as recordings go, he was a highly valued “house \nconductor” for EMI, accompanying many of the company’s most famous \nsoloists and making some recordings of his own. Perhaps EMI assumed \nthat, since he was Italian, he’d have a flair for Respighi. I found his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePines of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to be rather tame, and had the same reaction to this 1955\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Fountains\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which strikes me as a straightforward, dignified reading, as if he’s \nuncomfortable with such flashy stuff and would rather be collaborating \nwith Artur Schnabel in some Beethoven concerto again. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:4 (Mar\/Apr 2010) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC194.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eAll three of these excellent recordings manages to capture the - at times over-the-top - exuberance of Respighi's orchestral writing well, and though the Doráti does appear to suffer a slight top end roll-off towards the end of each side this happens slowly enough and is mild enough that one is rarely aware of it when listening through.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eWhat certainly cannot be missed here is perhaps the most dramatic hit on the tam-tam (or gong) I've ever heard on record. From the crash at the end of the second movement of \u003cem\u003eChurch Windows\u003c\/em\u003e until the decay finally falls under the opening bars of the third movement there's an incredible 18 seconds of reverberant sound.\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eRobert Benson, writing in Classical CD Review in 2002, investigated this single note in Respighi's score. He found Ormandy's stereo Philadelphia to run to \"a paltry 7 seconds\" whilst on Chandos, Geoffrey Simon's 1984 recording manages a \"far better recorded\" 12 second. But ultimately, \"no other recording approaches the Doráti spectacular.\"\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left;\"\u003eYou can hear for yourself this mighty crash in our sample here, though you'll have to listen to the full piece to get to grips with the deep 32 foot organ stops, and what Gramophone's reviewer somewhat sniffily refers to as \"pretty well everything in the kitchen but the sink\"!\u003c\/p\u003e\n\u003cp style=\"font-size: 16px; text-align: left; font-style: italic;\"\u003e\u003cb\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"pristine-added-programme-heading\" style=\"font-size: 24px;\"\u003e\u003cb\u003eDORÁTI \u0026amp; GALLIERA\u003c\/b\u003e \u003cb\u003eRespighi\u003c\/b\u003e: Orchestral Music (1954\/55)\u003c\/p\u003e\u003cdiv class=\"pristine-work-groups\"\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e Feste romane (Roman Festivals)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e1.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. Circenses (Circuses)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:39)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. Il Giubileo (The Jubilee)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. L'Ottobrata (The October Festival)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:43)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. La Befana (Epiphany)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:31)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDorßti, Minneapolis Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e Vetrate di chiesa (Church Windows)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e5.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. La Fuga in Egitto (The Flight into Egypt)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e6.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. San Michele Arcangelo (St. Michael Archangel)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(6:36)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e7.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. Il Mattutino di Santa Chiara (The Matins of St. Clare)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e8.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. San Gregorio Magno (St. Gregory the Great)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(9:30)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eDorßti, Minneapolis Symphony Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e Fontane di Roma (Roman Fountains)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e9.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e1. La Fontana Di Valle Giulia All'alba (Fountain of Valle Giulia at dawn)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(4:06)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e10.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e2. La fontana del Tritone al mattino (Triton Fountain at morn)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(2:30)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e11.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e3. La fontana di Trevi al meriggio (Fountain of Trevi at mid-day)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(3:22)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e12.\u003c\/span\u003e \u003cspan style=\"font-size: 16px;\"\u003e4. La fontana di Villa Medici al tramonto (Villa Medici Fountain at sunset)\u003c\/span\u003e \u003cspan style=\"font-size: 12px;\"\u003e(5:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued as UK Columbia 33 CX 1339\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eGalliera, Philharmonia Orchestra\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eMinneapolis Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAntal Doráti\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e20\u003c\/span\u003e November, 1954, Northrop Auditorium, Minneapolis\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eFirst issued as Mercury MG 50046\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eThe Philharmonia Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eAlceo Galliera\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e18-21 March, 1955, Kingsway Hall, London\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003eTransfers from the collection of Edward Johnson\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, October 2009\u003cbr\u003eCover artwork based on a photograph of Antal Doráti\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 65:26\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC194.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC194.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    \"...The subjects illustrated in Stained-glass windows, written in 1926, are The flight into Egypt, with the little caravan moving slowly through the desert ; The archangel Michael in his battle with the dragon—which ends with a colossal tam-tam stroke as the latter falls from Heaven ; The matins of St. Clara—probably the best musically, in a vein of quiet melancholy ; and a majestic St. Gregory the Great. The orchestra is already a large one, with triple woodwind, four trumpets, piano, organ and three tam-tams among much else, but it pales into insignificance beside Roman festivals, which is in the super-colossal class and adds three buccine or Roman bugles, mandoline, clarinet in D, a whole range of different sorts of bells, and pretty well everything in the kitchen but the sink (and I wouldn't swear that it too wasn't called on somewhere). The movements depict the martyrs, the lions and the mob of the Circenses ; the Jubilation of pilgrims reaching Rome ; the October festival of hunting and romance (Respighi at his best) ; and the riotous clamour of the Epiphany celebrations in the Piazza Navona—a frenzied movement which recalls, and attempts to outdo, the Fair scene in Petrouchka. Antal Dorati has a real outing with his orchestra, which plays with the utmost abandon...\" \u003c\/p\u003e\u003cp\u003e- Gramophone, June 1956 - review of Doráti\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e    \"This music is dependent, more than most, on its recording and the Fountains of Rome has been lucky in all its issues, from the excellent Toscanini\/H.M.V. to the present one. On sampling the older ones again I thought the Nixa less good than I remembered and the Mercury, though perhaps the most clearly vivid of all, does lack warmth. Warmth is a quality in which this new Columbia excels and the quiet movements are particularly good to hear, especially as they are also played so exquisitely. The whole of the last section (the Villa Medici at Evening) is as beautiful as I ever remember hearing it. The brilliant movements are well reproduced too and since the playing throughout is by the Philharmonia at their best, this is a record of the work not to be overlooked.\" \u003c\/p\u003e\u003cp\u003e- Gramophone, April 1956 - review of Galliera\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":36100199309,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205575721294,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55205575754062,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55205575786830,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC194.jpg?v=1492442427"}],"url":"https:\/\/www.pristineclassical.com\/collections\/ensemble-philharmonia-orchestra.oembed?page=9","provider":"Pristine Classical","version":"1.0","type":"link"}