{"title":"Philharmonic-Symphony Orchestra of New York","description":null,"products":[{"product_id":"pasc410","title":"BEECHAM R. Strauss: Don Quixote; Bloch: Violin Concerto (1932\/39) - PASC410","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003eR. Strauss\u003c\/b\u003e Don Quixote\u003cb\u003e\u003cbr\u003eBloch\u003c\/b\u003e Violin Concerto\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings · 1932\/1939\u003cbr\u003eTotal duration: 73:32\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eSir Thomas Beecham, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eAlfred Wallenstein, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eJoseph Szigeti,\u003c\/b\u003e violin\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA new transfer of Beecham’s 1932 recording which, apparently, was the very first recording of the work...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eSir Thomas Beecham made a celebrated studio recording of \u003cem\u003eDon Quixote\u003c\/em\u003e\n in 1947\/8 for HMV when his cellist was Paul Tortelier. I believe that \nthe latest incarnation of that recording is as part of a substantial \nBeecham box that David Bennett \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/June11\/Beecham_Later_9186112.htm\"\u003ereviewed\u003c\/a\u003e\n in 2011. When I was offered the chance to review a new transfer by \nPristine Audio of a Beecham performance of the work I assumed I would be\n getting a copy of that recording; that would have given me the chance \nto compare the Pristine transfer with the EMI transfer that I already \nown, which is in the Great Recordings of the Century series. I mean no \ndisrespect whatsoever to Paul Tortelier when I say that what arrived \nthrough my letterbox was something even more interesting. For what \nPristine offer here is a new transfer of Beecham’s 1932 recording which,\n apparently, was the very first recording of the work.\u003cbr\u003e  \u003cbr\u003e At the \ntime he made the 1947 recording Paul Tortelier was just emerging from an\n orchestral career and was seeking to establish himself as a solo \ncellist – the booklet note in my copy of the EMI CD, written by the late\n Lyndon Jenkins, relates the amusing and typically Beechamesque cavalier\n fashion in which he came to be engaged to play the work for Beecham’s \n1947 Strauss festival in London. However, even though Tortelier was not,\n in 1947, an established international soloist it seems clear that \nBeecham engaged him as a concerto-like soloist rather than using \nprincipals from the orchestra, as Strauss intended. In 1932 matters were\n arranged rather differently: this recording followed the composer’s \npreference for the use of orchestral principals. So Beecham had the \nservices of Alfred Wallenstein (1898-1983) who later became a conductor \nbut who was at that time – since 1929 – the principal cellist of the \nPhilharmonic Symphony Orchestra of New York. Joining Wallenstein on the \nsoloists’ roster were Michel (Mishel) Piastro (1891-1970), the \norchestra’s concertmaster from 1931 to 1943, and René Pollain who was, I\n believe, the principal violist at this time.\u003cbr\u003e  \u003cbr\u003e In this \nrecording you won’t hear Wallenstein balanced as an up-front soloist and\n Mark Obert-Thorn, who has made the transfer, suggests that he may have \nbeen seated in his customary place in the orchestra. That seems entirely\n plausible but nonetheless you can hear Wallenstein perfectly clearly \nand a fine soloist he makes. Beecham’s contribution is a distinguished \none too and he – and the recording engineers of the time – make sure \nthat plenty of detail is audible in the often-complex textures of the \nIntroduction. Beecham seems to me to characterise the music well, often \nwith a twinkle in his eye. For instance, the sheep graze placidly in \nVariation II until Quixote panics them and they scatter in confusion. \nThe recording can’t really do justice to ‘The Ride through the Air’ – \none longs for the amplitude of modern sound – but it’s still possible to\n hear the washes of sound that Beecham gets from the orchestra, the \ntrumpets and horns well to the fore.\u003cbr\u003e  \u003cbr\u003e As well as a very good \nDon Quixote the performance benefits from an equally good Sancho Panza \nand both Wallenstein and Pollain are heard to good effect in Variation \nIII, ‘Dialogue of Knight and Squire’. Wallenstein plays eloquently in \nVariation V, ‘The Knight’s Vigil’ and towards the end, as the Don is \ndying I feel that Wallenstein conveys the world-weariness of the Don and\n the pathos of the scene pretty well. Hereabouts there’s a nice \nsimplicity of utterance to his playing and he and Beecham bring off the \nending very successfully.\u003cbr\u003e  \u003cbr\u003e Mark Obert-Thorn has made a very \ngood job of the transfers. The original recording was made on \nexperimental 33 1\/3 rpm discs, each side of which was the equivalent of \ntwo 78 rpm sides, and these have been the source material used. I’m very\n glad to have heard this historic performance.\u003cbr\u003e  \u003cbr\u003e I wish I could \nbe as enthusiastic about the Bloch Violin Concerto but I’m afraid that \nI’ve listened to this a couple of times and it really doesn’t engage my \nsympathies. That’s not the fault of the performers. Szigeti is superb \nand, since he’s well to the fore in the recording it’s possible to \nappreciate his virtuosity in a demanding solo role. Even more admirable \nis the singing purity of his tone. A prime example of that comes in an \nextended slow, reflective passage in the first movement (5:52-8:50). \nSzigeti’s poetic side is also strongly in evidence in the rather \nhaunting slow movement. I liked this movement the best – perhaps in part\n because it’s the shortest movement. The first movement, however, at \n18:10, is nearly three times as long and I think it’s too extended for \nits own good. In particular the cadenza (12:48-15:25) just seems to go \non and on – and to no great purpose. The opening tutti in the finale \nsounds brash – how much, I wonder, is that down to the recording rather \nthan the music; the recording can’t really cope with the volume of this \npassage and, indeed, sonically this is the most problematic movement in \nthe concerto. Here, as elsewhere, all the performers demonstrate \ncommitment to the music.\u003cbr\u003e  \u003cbr\u003e Unfortunately, despite the best \nefforts of Andrew Rose there are issues with the sound in this concerto.\n There’s a good deal of surface noise; in loud passages the orchestra \ncan sound strident; and the sound often crumbles in loud passages. \nNaturally, one must make allowances given the provenance of the \nrecording, which was captured – off air? – from a live performance in \n1939, which was the UK première of the work. Later that same month \nSzigeti made a studio recording with Charles Munch. We learn from the \nnotes that the present recording was found to have four gaps in it, each\n of about 30 seconds. Prior to the only previous release of the \nrecording, on a 1973 LP from the American Beecham Society, these gaps \nwere filled by splicing in the relevant passages from the Munch \nrecording. That editing was done pretty seamlessly, it seems. Andrew \nRose has used the 1973 release for his transfer.\u003cbr\u003e  \u003cbr\u003e Summing up, \nthis release from Pristine will be of considerable interest to Beecham’s\n many admirers. The Bloch is not a piece with which one would have \nassociated him – did he ever return to it, I wonder? So this is an \nimportant addition to his CD\/download discography, especially for \nlisteners who warm to the work more than I do. The Strauss is especially\n significant, I suggest, not least because this was the work’s first \nrecording and it’s a very good one. I’m very glad to have it sitting on \nmy shelves next to Beecham’s 1947 recording.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003eJohn Quinn\u003c\/b\u003e\u003cbr\u003eMusicWeb International, August 2014\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC410.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Strauss and Bloch - world première recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRare recorded outings of Beecham conducting his contemporaries\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003erelease brings together two world première recordings of \nconcertante works made by Sir Thomas Beecham in the 1930s. The studio \nrecording of Don Quixote has an interesting pedigree. Recorded by Victor\n at the behest of EMI in 1932 and issued on that label in the USA, it \nwas released on Columbia in Europe, perhaps the only recording to appear\n simultaneously on these two rival imprints. This was most likely a \nresult of the then-recent merger of English Columbia and HMV, Victor’s \nBritish affiliate, into EMI. Beecham was a Columbia artist, so the \napparent reasoning was that he had to continue to appear on that label \nin the UK. Within a few years, however, his name was on both labels \ninterchangeably.\u003cp\u003eBeecham is heard here conducting the Philharmonic-Symphony Orchestra \nof New York, an ensemble with which he had first appeared four years \nearlier along with another debutant, Vladimir Horowitz, in a notorious \nperformance of the Tchaikovsky B-flat minor concerto which saw the two \ntaking divergent interpretive paths. Apparently, he had no similar \ndifficulties working with the orchestra’s first desk players, which \nincluded future conductor Alfred Wallenstein handling the pivotal cello \npart. The recording is rather curiously balanced, with the brass and \nwinds seeming to overpower the strings, and Wallenstein sounding rather \nrecessed – probably playing in his usual place in the orchestra rather \nthan up front. This recording was simultaneously made for Victor’s \nProgram Transcription series, an early attempt at long-playing records. \nEach 33 1\/3 rpm side was the equivalent of two 78 rpm sides, which \naccounts for the skipped number every third matrix.\u003c\/p\u003e\u003cp\u003eWhile Beecham would go on to re-record the Strauss with his own Royal\n Philharmonic and Paul Tortelier as soloist fifteen years later, he \nnever re-recorded (or indeed made an official studio recording) of the \nBloch Violin Concerto, even though he had already made three classic \nconcerto recordings with the soloist, Joseph Szigeti. Szigeti premièred \nthe Bloch in Cleveland under Mitropoulos in December, 1938. The present \nrecording of the first British performance with Beecham dates from the \nfollowing March. Later that month, he performed and recorded it in Paris\n with Munch, and followed up with a further broadcast under Mengelberg \nin Amsterdam that November.\u003c\/p\u003e\u003cp\u003eWhile the Munch recording and Mengelberg broadcast have been reissued\n several times on CD, the Beecham performance has curiously been \nunavailable since a single American Beecham Society LP release in 1973. \nThat transfer, which was the basis for what Andrew Rose used for his \npresent XR restoration, filled in four gaps in the original acetates \n(two in the first movement, and one each in the others), each lasting \nabout 30 seconds, with the Munch studio recording. A slight difference \nin sound demarcates each patch. Although some disc noise and distortion \nremain and the first note of the third movement is clipped, the \nrecording is valuable not only in preserving a historic collaboration, \nbut also in presenting an infrequent recorded instance of Sir Thomas \nconducting contemporary music.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Don Quixote (Fantastic Variations on a Theme of Knightly Character), Op. 35 \u003cbr\u003eRecorded 7 April 1932 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.: CSHQ 71658-1, 71659-1, 71661-2, 71663-1, 71665-2, 71666-2, 71668-1, 71669-1, 71671-1 and 71672-2\u003cbr\u003eFirst issued as Victor 7589\/93 in album M-144 (USA) and as Columbia LX 186\/90 (UK)\u003cbr\u003eTransfer and remastering by Mark Obert-Thorn\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAlfred Wallenstein\u003c\/b\u003e, cello\u003cb\u003e\u003cbr\u003eRené Pollain\u003c\/b\u003e, viola\u003cb\u003e\u003cbr\u003eMichel Piastro\u003c\/b\u003e, violin\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBLOCH\u003c\/b\u003e Violin Concerto\u003cbr\u003eLive recording, 9 March 1939 in Queen’s Hall, London\u003cbr\u003eFirst issued on The Sir Thomas Beecham Society (USA) LP WSA-5\u003cbr\u003eXR remastered in Ambient Stereo by Andrew Rose\u003cbr\u003e\u003cb\u003e\u003cbr\u003eJoseph Szigeti, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLondon Philharmonic Orchestra\u003cbr\u003e\u003cbr\u003eSir Thomas Beecham\u003c\/b\u003e, conductor\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC410.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC410.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":31975228557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975228621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC410_41e61815-3135-4b8b-89f1-960cd999e376.jpg?v=1487681888"},{"product_id":"pasc421","title":"HUBERMAN Beethoven \u0026 Brahms: Violin Concertos (1934\/44) - PASC421","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e  Violin Concerto in D major, Op. 61\u003cb\u003e\u003cbr\u003eBRAHMS\u003c\/b\u003e  Violin Concerto in D major, Op. 77\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings · 1934 \u0026amp; 1944\u003cbr\u003eTotal duration: 76:23 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eBronislaw Huberman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003eVienna Philharmonic Orchestra \u003c\/b\u003e\u003cb\u003e\u003cbr\u003eGeorge Szell, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/b\u003e\u003cb\u003e\u003cbr\u003eArtur Rodzinski, \u003c\/b\u003econductor\n\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is essential listening for anyone interested in performance style history, the violin, or these great concertos578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese classic performances have been reviewed before in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with those reviews ranging from positive to enthusiastic. The Beethoven\n is a 1934 British Columbia studio recording, and the Brahms is a New \nYork Philharmonic live broadcast from January 23, 1944. One particularly\n unusual feature of the Brahms is a cadenza I have never encountered \nbefore, credited to one Hugo Heerman. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat, however, is not the most unusual \naspect of these performances. It is the playing itself that is unusual. \nHuberman was never a universally accepted violinist, but to those of us \nwho loved his playing the flaws were insignificant. What were those \nflaws? A tone that can at times turn thin or coarse, occasional \nroughness in fingerwork, and occasional intonation trouble. \nInterestingly, though, when one listens to his mid-1920s acoustical \nrecordings such as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e one marvels at the technical ability and accuracy at blazing speeds. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut what Huberman had was an \nextraordinary musical imagination, and he applied it to every phrase. \nThere is a well-known story of his performance of the Brahms when the \nviolinist was 14, that reduced Brahms to tears. The legend is that \nafterwards, when Brahms wrote a touching inscription in Huberman’s \nmusic, the young violinist complained that the audience applauded after \nthe cadenza, to which Brahms replied, “Then you should not have played \nit so beautifully.” (One presumes Huberman performed the Joachim cadenza\n in 1895). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is clearly violin playing from \nanother age, an age when performers were willing to risk a level of \nindividuality that would be frowned upon today. It would take any \nlistener with even middling experience and knowledge only a few minutes \nto distinguish between performances by Heifetz, Kreisler, Szigeti, \nHuberman, and Milstein. That would be far less likely in today’s music \nworld. Huberman’s performances are deeply personal, with turns of phrase\n and touches of dynamic shadings that no one else might think of. He \nuses a liberal amount of portamento (sliding from one note to the next),\n a performance tool that was more common in his time than it is in ours,\n and he uses less vibrato than did his colleagues. His phrasing is \nhighly individualistic, and the playing is so alive and in-the-moment \nthat it is impossible for you not to be fully engaged by the \nperformances. Not one phrase is tossed off without a clear sense of \nwhere it fits in the overall scheme of the piece. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt must also be noted that both \nperformances gain from remarkable conducting. Szell and Rodzinski were \nnot conductors who saw their roles as simple accompanists, but rather as\n full-fledged musical partners, attentive to both detail and overall \nsweep. If I were ordered to use a single word as a descriptor of these \nperformances, that word would be “urgency.” They have about them an \nurgency that communicates a sense that “we must play these pieces right \nnow, and in this way, because we believe so passionately in what the \nmusic has to say and we simply \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emust \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esay it.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf you want more detail descriptions, you can go to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n and read reviews of the Beethoven by John Bauman (16:5), John W. N. \nFrancis (7:5), and Mortimer Frank (13:5), and of the Brahms by Mortimer \nFrank (7:2) and Lynn René Bayley (37:2). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis new Pristine remastering \nsurpasses all prior versions of both recordings, in fullness of \norchestral sound particularly. The EMI LP transfers of the Beethoven \nhave always sounded remarkably good for a 1934 recording, and there is a\n good Naxos edition as well, but Andrew Rose has somehow managed to find\n a new level of richness of color for both Huberman and the Vienna \nPhilharmonic. The Brahms has undergone an even more major improvement \nover its Music \u0026amp; Arts incarnation. The original source is probably \nan off-the-air recording, rather than a master, and a number of labels \nhave issued it, but never with as little distortion and as wide a \nfrequency range as it has here. The XR ambient stereo version simply \ngives the recording a sense of space that the pure mono version lacks. \nThis is essential listening for anyone interested in performance style \nhistory, the violin, or these great concertos. (That should cover just \nabout everyone)! \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 38:3 (Jan\/Feb 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC421.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBronislaw Huberman's legendary Beethoven and Brahms concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"As\n soon as Brahms heard the sound of the violin, he pricked up his ears, \nduring the Andante he wiped his eyes...\" Max Kalbeck, 1896\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eIt was Mark Obert-Thorn who introduced me to the violinist Bronislaw \nHuberman with his transfers for Pristine of the complete Mozart and Bach\n recordings (PASC397) that we issued in 2013. So when I was browsing \nthrough a large collection of LPs donated to Pristine and discovered a \ncouple of discs dedicated to Huberman I resolved to see what I might be \nable to do with them.  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNot for the first time I've found that working from EMI's excellent \nanalogue LP transfers has produced excellent results I would struggle to\n match from their shellac discs, and here the Beethoven has come up \nmagnificently - bar the occasional intrusion of slight peak distortion \nat the very top end you might easily think this a recording from the \n1950s rather than the first half of the 1930s. Huberman's playing and \ntone truly shines, and the Vienna Philharmonic's playing is fully \nrounded and truly magnificent. This is one of the great recordings of \nthe Beethoven Concerto, and in this XR remastered version has surely \nnever sounded this fabulous before.\u003c\/p\u003e\u003cp\u003eThe Brahms hails from a live recording made in 1944, some 48 years \nafter Huberman's playing of the work had won praise and tears from its \ncomposer. Once again I've been able to make major and significant \nimprovements to the sound quality - again battling against high end peak\n distortion whilst trying to preserve and highlight as much of \nHuberman's tone as possible. This is a masterful performance indeed - \nand here once again it is available in unprecedented sound quality that \ndoes full justice to the playing.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eViolin Concerto in D major, Op. 61 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra  -  George Szell\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 18-20 June, 1934\u003cbr\u003eColumbia 78s LX.509-512\u003cbr\u003eMatrix Nos. WHAX.30-38\u003c\/p\u003e\n\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York  -  Artur Rodzinski\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 23 January 1944\u003cbr\u003eLive at Carnegie Hall, New York\u003cbr\u003eBroadcast recording\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBronislaw Huberman\u003c\/b\u003e - violin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC421.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC421.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e1896 - playing for Brahms\u003c\/b\u003e: Max Kalbeck tells of Brahms’s response to the young Huberman's performance of the Violin Concerto: ‘\u003cem\u003eAs\n soon as Brahms heard the sound of the violin, he pricked up his ears, \nduring the Andante he wiped his eyes, and after the finale he went into \nthe green room, embraced the young fellow, and stroked his cheeks.\u003c\/em\u003e’\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eAs a 14-year-old he played Brahms’s Violin Concerto to the composer, \nwho was stunned and allegedly wanted to write a rhapsody especially for \nhim. For his Viennese concerts at around the same time (1896), the \naudience included the likes of Dvorák, Mahler, Bruckner and Johann \nStrauss. Two years earlier the legendary diva Adelina Patti had invited \nhim to take part in her farewell gala in London, which he did, to great \nacclaim. When Europe was in turmoil in the 1930s and with Hitler’s \nGermany out of bounds he would regularly, and passionately, promote the \nideal of a ‘Pan-Europa’ movement. Even Furtwängler’s heartfelt pleas for\n him to return fell on deaf ears. With Europe’s Jews being thrown into \nexile, or worse, he founded what was eventually to become the Israel \nPhilharmonic, Arturo Toscanini conducting the first concerts (without \nfee). Polish-born Bronisław Huberman (1882-1947) constituted a model \ncombination of nobility, impulse and intellect. He was a musical \nmaverick who brooked no compromise and whose few recordings prove the \npoint with a vengeance... \u003c\/p\u003e\u003cp\u003eIn 1937, just before the Anschluss, Huberman left Vienna and took \nrefuge in Switzerland. A year later his career nearly ended when the \naircraft he was travelling in crashed in Sumatra: his wrist and two \nfingers of his left hand were broken. Miraculously, after intensive and \npainful retraining he was able to resume performing. His surviving \noff-air recordings date from this later period, including \nthe Tchaikovsky Concerto under Eugene Ormandy – identical in all but \nsmall details to the 1929 version under William Steinberg – and, most \nvaluably, the Brahms Concerto with Artur Rodzinski on the rostrum (Music\n \u0026amp; Arts, A\/03). To hear Huberman quietly glide back into the main \nbody of the first movement after the cadenza is to understand why Brahms\n reacted the way he did. How sad that he died before writing that \nrhapsody. And what a scoop it would have been, a Brahms rhapsody played \nand recorded by its dedicatee....\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRob Cowan\u003c\/b\u003e, Gramophone, March 2014 - \u003cem\u003eIcons: Bronislaw Huberman (excerpts)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144485197,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144485261,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144485325,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144485389,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC421_5c4a7720-a2f0-40dd-a037-701b1b4ccc4c.jpg?v=1494338021"},{"product_id":"pasc412","title":"MENGELBERG Beethoven: Symphonies Nos 1 \u0026 3 (New York, 1930) - PASC412","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBeethoven \u003c\/b\u003eSymphony No. 1 \u003cbr\u003e\u003cb\u003eBeethoven\u003c\/b\u003e Symphony No. 3 \"Eroica\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio Recordings · 1930\u003cbr\u003eTotal duration: 77:50\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eWillem Mengelberg, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f This has become an “Eroica” to reckon with, rather than just an historical artifact578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese two performances were recorded in\n New York’s Liederkranz Hall during the first and second weeks of 1930. \nThey were the final recordings Willem Mengelberg would make with the \nPhilharmonic. He departed for Amsterdam after a January 19 performance \nof \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Preludes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, \nnever to return, leaving the orchestra not to Toscanini, as is often \nassumed, but to its third regular conductor, Bernardino Molinari. Both \nrecordings were notable for including exposition repeats, rare on any \n78s. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCompared to Mengelberg’s exciting but \nerratic 1940 Telefunken “Eroica” with the Concertgebouw, this \nperformance is correct and restrained, with a smaller modicum of \nMengelbergian tempo adjustments. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, taken at a rapid clip for its era, sings and roars, in a wonderfully vital performance. In a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 17:6 review, I found some portamento in the Funeral March \n“disconcerting,” but now I find it quite acceptable. That the \nPhilharmonic has always been a great Beethoven orchestra is as apparent \nhere as it is in Toscanini’s 1936 Seventh Symphony, but the horns do \nhave a rough time in the scherzo’s trio. The finale is far more \nconsistent than in the Telefunken recording, with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoco Andante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e played at a reasonable pace. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe First Symphony is less \nconsistent—as are both Concertgebouw performances. Innumerable tempo \nadjustments interfere with this clean, straightforward music. The \nPhilharmonic’s playing, too, is inconsistent; there are some wonderfully\n alive passages and some sloppy ones. On the whole, this performance is \npreferable to the Concertgebouw ones, but Beethoven’s First and \nMengelberg are clearly incompatible. And yet, and yet....The Minuet and \nTrio are wonderful: high-spirited, light, and graceful. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eTwenty years ago (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n 17:6), Biddulph issued these two recordings in transfers by Mark \nObert-Thorn. The transfers were clean and clear, but we were still \nhearing early-electrical 78s, with their typical distortion and grit. \nObert-Thorn is again at work here; his ever-growing reputation now \nearning him the title Producer and Audio Restoration Engineer; he also \nwrites the program notes. Restoration software (and hardware: Remember \nreel-to-reel tape and razor blades?) has come a long way in the \nintervening decades, and Obert-Thorn’s vast experience must also \ncontribute to the improvements. The sound is quite different now: Harsh,\n steely strings have become violins, violas, cellos, and basses; grit \nhas been minimized almost to the vanishing point, distortion is far less\n intrusive, and some subtly added reverberation has mollified the rather\n thin, dry recorded sound. Trumpets are still piercing, but they no \nlonger sting. The original dynamic range has been expanded, but not so \nmuch that expanded distortion becomes noticeable (see the review of a \nlive Mengelberg set in our previous issue). To my ears, this CD now \nsounds more like Bruno Walter’s 1949 Columbia LP “Eroica” with the same \norchestra than Victor’s 1930 78s. This has become an “Eroica” to reckon \nwith, rather than just an historical artifact. Imagine what Obert-Thorn \nwill be able to do in 2034! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC412.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMengelberg's New York recordings of Beethoven's First and Third Symphonies\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"For some of the best of the heroic qualities this set will take a lot of beating\" \u003cbr\u003e- The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAlthough Willem Mengelberg had first come to New York to open the \nPhilharmonic’s season in 1905, it was not until sixteen years later that\n he appeared regularly before the city’s concert-going public. At that \ntime, the board of the fledgling National Symphony Orchestra (unrelated \nto the later orchestras of the same name headed by Walter Damrosch and \nHans Kindler) brought Mengelberg in to rebuild the ensemble and share \nthe leadership with Artur Bodanzky. The next year, following \nMengelberg’s recommendation, the orchestra was merged into the New York \nPhilharmonic, with the Dutchman ultimately becoming principal conductor.\n It was at this time that Mengelberg made his first recordings with the \nensemble.\u003c\/p\u003e\u003cp\u003eAs the decade progressed, both Furtwänger and Toscanini were engaged \nfor extended guest conducting appearances with the Philharmonic. While \nthe former left after two seasons, Toscanini stayed on as the orchestra \nmerged with yet another ensemble, Damrosch’s New York Symphony, to form \nthe Philharmonic-Symphony Orchestra of New York in the fall of 1928. \nToscanini was appointed principal conductor, with Mengelberg accepting \nthe lesser role of associate. Ultimately, politics from within and \nwithout the orchestra took their toll, and Mengelberg left New York in \nearly 1930, never to return.\u003c\/p\u003e\u003cp\u003eBefore he did, however, he completed one final series of sessions for\n Victor which featured the two Beethoven symphonies included here. \nUnlike his previous recordings with the orchestra, these sessions were \nheld in Liederkranz Hall, a presumably cheaper-to-rent venue than \nCarnegie Hall, a choice which was most likely driven by the then-recent \nstock market crash that brought on the Great Depression. While the \nensemble was at its full strength, close miking and an unreverberant \nhall made it sound much smaller. In addition to the two symphonies, \nMengelberg also recorded the overtures to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e, \u003cem\u003eEgmont\u003c\/em\u003e and \u003cem\u003eHansel und Gretel\u003c\/em\u003e during these sessions (all reissued on Pristine \u003ca href=\"https:\/\/web.archive.org\/web\/20150912220113\/https:\/\/www.pristineclassical.com\/pasc378.html\"\u003ePASC 378\u003c\/a\u003e).\u003c\/p\u003e\u003cp\u003eOne noteworthy aspect of the present Eroica is the inclusion of all \nrepeats. While the one in the third movement was only sporadically \nobserved during the 78 rpm era (it is, for example, absent in \nMengelberg’s Telefunken recording with the Concertgebouw), this would be\n the only appearance of the first movement repeat on any commercial \nrecording until Erich Kleiber’s 1955 Vienna Philharmonic LP. \nMengelberg’s only complete live broadcast of the work with the \nConcertgebouw omits it. In the First Symphony, he observes the repeats \nin the first and fourth movements, as he did in his Concertgebouw \nbroadcasts but not in his Telefunken recording. He does not take the \nsecond movement repeat in any extant performance.\u003c\/p\u003e\u003cp\u003eThe transfers were made using the best sides of two Victor “Z” \nshellac pressings for each set. Although this is the quietest material \nin which they were available, the original recordings have a \nhigher-than-usual amount of noise inherent in the original matrices. A \nsmall amount of reverberation has been added to bring warmth to the \ndry-sounding originals.\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"color: black; font-family: arial; font-size: small;\"\u003eThese\n performances are examples of the best of Mengelberg's style, and I \nbelieve they would probably rank higher in critical esteem had they been\n as well recorded as his \u003cem\u003eHeldenleben\u003c\/em\u003e with the same ensemble.  \nThe use of a smaller recording venue, close miking and noisy original \nmaster processing has led them to be largely passed over in favor of his\n Concertgebouw versions.  I hope that the present transfers will allow \nfor a better appreciation of Mengelberg's achievements with this \norchestra over his decade in New York.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN Symphony No. 1 in C, Op. 21\u003c\/b\u003e\u003cbr\u003eRecorded 9 January 1930 in Liederkranz Hall, New York\u003cbr\u003eMatrix nos.: CVE 58175-2, 58176-1, 58177-3, 58180-2, 58181-2, 58182-1, 58178-1 and 58179-2\u003cbr\u003eFirst issued on Victor 7211\/4 in album M-73\u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e  \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eBEETHOVEN Symphony No. 3 in E-flat, Op. 55, “Eroica”\u003c\/b\u003e\u003cbr\u003eRecorded 4 and 9 January 1930 in Liederkranz Hall, New York\u003cbr\u003eMatrix\n nos: CVE 58152-3, 58153-3, 58154-3, 58155-3, 58156-3, 58157-1, 58158-2,\n 58159-1, 58160-2, 58161-1, 58162-1, 58172-2, 58173-2 and 58174-2\u003cbr\u003eFirst issued on Victor 7439\/45 in album M-115\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e, conductor  \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC412.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC412.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":31975811917,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975811981,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC412_2eb9a090-0c11-4f61-bf4c-55178068e7aa.jpg?v=1487682382"},{"product_id":"pasc448","title":"MUNCH The Complete New York Philharmonic Recordings (1947\/48) - PASC448","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eSAINT-SAËNS\u003c\/b\u003e: Symphony No. 3, “Organ”\u003cbr\u003e\u003cb\u003eD’INDY\u003c\/b\u003e: Symphony on a French Mountain Air\u003cb\u003e\u003cbr\u003eMOZART\u003c\/b\u003e: Piano Concerto No. 21\u003cb\u003e\u003cbr\u003eMOZART\u003c\/b\u003e: Symphony No. 35, “Haffner”\u003cbr\u003e\u003cb\u003eLISZT\u003c\/b\u003e: Piano Concerto No. 2\u003cb\u003e\u003cbr\u003eCHABRIER\u003c\/b\u003e: Bourée Fantasque\u003cbr\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and Live recordings, 1947\/48\u003cbr\u003eTotal duration: 2hr 12:55\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eCharles Munch, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eRobert Casadesus, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eÉdouard Nies-Berger, \u003c\/b\u003eorgan\u003cb\u003e\u003cbr\u003eWalter Hendl \u003c\/b\u003eand \u003cb\u003eArthur Schuller,\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\n\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe sound of this 1947 NYPO Saint-Saëns Symphony is astonishingly good, almost beyond belief, and the performance is absolutely terrific578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese recordings were made between 1947\n and 1948 during the New York Philharmonic’s fleeting flirtation with \nCharles Munch. Producer Mark Obert-Thorn’s program note lays out the \nbrief history. On his arrival in the U.S. in 1946, Munch found himself \nin Boston. But in January 1947 he was engaged for a two-week guest \nappearance in New York. Audiences and critics alike were ecstatic. The \nday after his final concert, the New York Philharmonic’s permanent music\n director, Artur Rodzinski, resigned his post in a snit over a dispute \nwith management that had nothing to do with Munch. Munch’s name was \nfloated as a potential replacement, but in the political turmoil created\n by Rodzinski’s abrupt departure, the orchestra’s board members didn’t \nact fast enough; and while they dithered, Munch was snapped up by the \nBoston Symphony Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe temporary vacancy in New York was \nfilled by Leopold Stokowski and Dimitri Mitropoulos sharing the podium, \nuntil Mitropoulos assumed the post on a full-time basis in 1949. \nMeanwhile, however, Munch was invited back to New York as a guest \nconductor late in 1947, and again late in 1948, and it was during these \ntwo engagements, with the orchestra under contract to Columbia Records, \nthat these performances were recorded. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe first of them, the Saint-Saëns \n“Organ” Symphony, recorded live in Carnegie Hall on November 10, 1947, \nis of special historical interest because it’s the first commercial \nrecording of the work since Piero Coppola’s pioneering 1930 effort with \nthe Grand Orchestre Symphonique du Gramophone, and the first by an \nAmerican orchestra. A dozen years \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eafter\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n this Munch Saint-Saëns with the New York Philharmonic, the conductor \nwould of course go on to make one of the all-time classic recordings of \nthe work, for RCA in 1959 with the Boston Symphony Orchestra and Berj \nZamkochian at the organ. Munch had a special flair for the French \nrepertoire, which comes to the fore again in the later recorded d’Indy \nand Chabrier numbers in this collection. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe next two items on these discs—Vincent d’Indy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphony on a French Mountain Air\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and Mozart’s Piano Concerto No. 21—are studio recordings, both made on \nDecember 20, 1948, in New York’s Columbia 30th Street Studios. The \npianist on deck was Robert Casadesus, who subsequently went on to record\n a series of Mozart’s later piano concertos with George Szell and the \nColumbia Symphony Orchestra, and the d’Indy with Eugene Ormandy and the \nPhiladelphia Orchestra. Munch would also record the d’Indy again 10 \nyears later, but this time with the Boston Symphony Orchestra and Nicole\n Henriot-Schweitzer at the piano. To the best of my knowledge, Munch’s \nMozart discography is pretty slim. He did record a Piano Concerto No. 20\n with the Boston Symphony Orchestra and Clara Haskil in 1956, the “Linz”\n and “Prague” Symphonies with the BSO in 1959 and 1960, and most \nfamously, the Clarinet Concerto with the BSO and Benny Goodman in 1956. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe “Haffner” Symphony, Liszt Piano Concerto No. 2 with Casadesus, and the orchestral arrangement of Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBourrée fantasque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n by Felix Mottl are taken from a live CBS Philharmonic radio broadcast \nof a matinee concert on Sunday, December 19, 1948, the day before the \nMozart and d’Indy studio recording was made. Also included on that \nconcert was a performance of the d’Indy, but only the studio performance\n of the next day is included here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eObert-Thorn provides the technical \nrecording details as follows: “The transfers of the commercial \nrecordings were made from American Columbia grey-label ‘six-eyes’ LP \npressings, which themselves were dubbed from 33-1\/3 rpm lacquer masters,\n edited together from four-minute long takes in those last days before \nthe introduction of magnetic tape. The broadcast came from a tape \ndubbing from original acetate discs.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is where I’d be expected to say \nsomething like “if you’re a Munch fan, you will surely want to add this \nto your collection, but…” the “but” being that Munch revisited the \nSaint-Saëns and d’Indy works a decade later in Boston for RCA in more \nup-to-date sound. That’s what I’d be expected to say, anyway, but \nfrankly, the sound of this 1947 NYPO Saint-Saëns Symphony is \nastonishingly good, almost beyond belief, really, in this Obert-Thorn \ntransfer; and the performance is absolutely terrific. Yes, the timpani \nare a bit muffled in the first half of the second movement, and the \norgan’s big entrance at the beginning of the finale may not raise the \ndead, but Munch’s way with the score is viscerally exiting, and the \norchestra’s response is fantastic. No wonder the audiences and critics \nwent wild. One can’t help but wonder what might have been had New York \noffered Munch the directorship before Boston did. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI should probably mention at this point\n that the December 19, 1948 broadcast concert has been previously \nreleased in full by Lys—meaning it includes the live concert d’Indy \nomitted from this set in favor of the following day’s studio recording. \nAlso, I find myself questioning the claim that these are Munch’s \ncomplete New York Philharmonic recordings. I’m looking at a detailed and\n comprehensive Munch discography at en.wikipedia.org\/wiki\/Charles Munch \ndiscography, and from January 2, 1949, there’s a recorded broadcast of a\n concert with Munch conducting the NYPO in Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis et Chloé\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Suite No. 2, and featuring violinist Ginette Neveu performing Chausson’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePoème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTzigane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Those performances are available on a two-disc Music \u0026amp; Arts set, 837, containing other non-Munch, non-NYPO material. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eYou’d think that the d’Indy \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphony on a French Mountain Air\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n having been recorded a year later and under studio conditions would \nhave even better sound than the Saint-Saëns, but it doesn’t. In fact, \nit’s rather poor, with a frequent low rumbling and some fairly \npronounced overload distortion in loud passages. I haven’t heard the \nday-before in-concert version on Lys, but I wonder if using it instead \nof this studio recording might have been preferable. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Mozart Concerto with Casadesus not \nonly exceeded my expectations, it’s even better, I think, than the \npianist’s later remake with Szell and the Cleveland Orchestra. There’s a\n buoyancy to Munch’s upbeat tempo and rhythmic alertness—listen to how \nfast Munch takes the finale—that carry Casadesus right along in a \nreading that sounds more natural, more spontaneous, and happier than \ndoes his rather straitlaced performance under Szell. Casadesus provides \nhis own cadenzas, and the sound is terrific. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Mozart Symphony, Liszt Concerto, \nand Chabrier arrangement are prefaced on disc two of this set by a \nspoken introduction to the radio broadcast by Deems Taylor. Munch takes \nthe “Haffner” Symphony at a good clip, but his reading sounds a bit \nformally stiff. The conductor doesn’t sound quite as comfortable or as \nunbuttoned as he is in the concerto with Casadesus. The New York \nPhilharmonic, however, gives Munch playing of unparalleled discipline, \nand for a radio broadcast, the sound is really very good. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMore talk from radio show host Taylor \nfollows applause at the end of the symphony and introduces the Liszt \nConcerto. Casadesus was not the sort of flashy virtuoso pianist I would \nordinarily associate with Liszt, but his performance of the composer’s \nSecond Piano Concerto at that December 19, 1948 matinee concert was \nastonishingly—frighteningly, really—diabolical. Liszt’s orchestration \noccasionally overwhelms the recorded sound; the timpani, especially, can\n take on the sound of muffled, distorted war drums in the distance. But \nCasadesus’s piano comes through with pristine clarity. There’s more \nchatter from Taylor at the end of the Liszt over loud applause and in \npreface to the final work on that day’s program, a lollipops orchestral \narrangement of Chabrier’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBourrée fantasque. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is a collection not just for the \nMunch fan. In many ways, it illustrates how conscious of and \nconscientious towards appropriate style a number of great conductors and\n orchestras were back in the day before the HIP movement gained \ntraction. Munch’s tempos, French refinements, and musical instincts \nbring most of these works to life in ways that many of today’s podium \nmaestros have reason to envy. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJerry Dubins\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC448.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eComplete Charles Munch with the New York Philharmonic\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Munch’s\n way with the score is viscerally exiting, and the orchestra’s response \nis fantastic. No wonder the audiences and critics went wild\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThe \nrecordings in this collection document a brief but memorable \ncollaboration in the histories of Charles Munch and the New York \nPhilharmonic.  Munch had been scheduled to make his American début in \nDecember, 1939, but war intervened.  When he finally arrived precisely \nseven years later, it was to begin a three month tour throughout the \nUnited States and Canada.  Although the first stop was, propitiously, \nBoston, New York was next on the itinerary.\u003c\/p\u003e\n\u003cp\u003eMunch\n began a two-week stay with the Philharmonic on January 23, 1947.  The \nresponse from audience, critics and orchestra alike was ecstatic.  “The \ninstant that Charles Muench [as his name was then spelled] raised his \nbaton as guest conductor,” critic Olin Downes wrote, “[. . .] it was \nevident that we had with us a superb musician and orchestra leader to \nboot.”  The backstage reception at the end of his stay was reported to \nhave rivaled that given to Arturo Toscanini at his departure from the \nensemble.  Coincidentally, the next day, the Philharmonic’s music \ndirector Artur Rodzinski announced his resignation due to unrelated \ngrievances.  Immediately, speculation centered on Munch as a potential \nreplacement.\u003c\/p\u003e\n\u003cp\u003eMunch\n appeared with the orchestra again late in 1947, and this time Columbia \nRecords, which had the Philharmonic under contract, took advantage of \nhis presence to make the conductor’s first American recording, the \nSaint-Saëns “Organ” Symphony.  This was the first recording of the work \nsince Piero Coppola’s pioneering 1930 set, and would remain unchallenged\n in the catalog for several more years. \u003c\/p\u003e\n\u003cp\u003eAt \nthe end of the following year, Munch would make two more recordings with\n the orchestra of works by D’Indy and Mozart, both with fellow Frenchman\n pianist Robert Casadesus.  But there would be no more collaborations on\n disc with the Philharmonic, for by that time Munch had already signed \nwith the Boston Symphony to become their music director starting with \nthe 1949-50 season.  He would not appear again as guest conductor with \nthe Philharmonic until 1965, after his Boston tenure ended, and he \nconducted them for the last time in 1967. \u003c\/p\u003e\n\u003cp\u003eTo \nfill out this modest discography, I have added portions of the Sunday \nafternoon CBS Philharmonic broadcast from the day before the D’Indy and \nMozart recording session.  It is complete except for a live performance \nof the D’Indy, and the program and commentary have been edited so as to \npresent it as a self-contained “mini-concert”.  (The commentator is \nwriter, composer and broadcaster Deems Taylor, best remembered today for\n his similar hosting duties in the Walt Disney film, Fantasia.) \u003c\/p\u003e\n\u003cp\u003eEach \nwork is significant in Munch’s repertoire.  He never made a commercial \nrecording of any Mozart symphony, usually being relegated on disc to \nconcerto accompaniments.  His only other recording of Liszt was a \nwartime set of the First Concerto; and despite his many discs of French \nrepertoire, he never recorded any Chabrier at all.\u003c\/p\u003e\n\u003cp\u003eThe \ntransfers of the commercial recordings were made from American Columbia \ngrey-label “six-eyes” LP pressings, which themselves were dubbed from 33\n 1\/3 rpm lacquer masters, edited together from four-minute long takes in\n those last days before the introduction of magnetic tape.  The \nbroadcast came from a tape dubbing from original acetate discs.  \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSAINT-SAËNS  \u003c\/b\u003eSymphony No. 3 in C minor, Op. 78, “Organ”\u003cspan style=\"font-size: small;\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 10 November 1947 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.: XCO-39319\/26\u003cbr\u003eFirst issued on Columbia M-747 (78 rpm) and ML-4120 (LP)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eD’INDY  \u003c\/b\u003eSymphony on a French Mountain Air, Op. 25\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 20 December 1948 in the Columbia 30th Street Studios, New York\u003cbr\u003eMatrix nos.: XCO-39925\/30\u003cbr\u003eFirst issued on Columbia M-911 (78 rpm) and ML-4298 (LP)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003ePiano Concerto No. 21 in C major, K.467\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 20 December 1948 in the Columbia 30th Street Studios, New York\u003cbr\u003eMatrix nos.: XCO-39931\/38\u003cbr\u003eFirst issued on Columbia M-866 (78 rpm) and ML-2067 (LP)\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eFrom the CBS broadcast of 19 December 1948 at Carnegie Hall: \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMOZART  \u003c\/b\u003eSymphony No. 35 in D major, K.385, “Haffner”\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLISZT  \u003c\/b\u003ePiano Concerto No. 2 in A major, S.125\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHABRIER (orch. Mottl)  \u003c\/b\u003eBourée Fantasque\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e     \u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003ePhilharmonic-Symphony Orchestra of New York ∙ Charles Munch\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eRobert Casadesus\u003c\/b\u003e (piano) (D’Indy, Mozart K. 467, Liszt)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eÉdouard Nies-Berger\u003c\/b\u003e (organ) (Saint-Saëns)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eWalter Hendl\u003c\/b\u003e and\u003cb\u003e Arthur Schuller\u003c\/b\u003e (piano) (Saint-Saëns)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC448.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC448.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":29977296011325,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":29977296044093,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC448.jpg?v=1568380967"},{"product_id":"pasc438","title":"REINER Rarities, Volume 3 (1938-49) - PASC438","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY \u003c\/b\u003ePrelude to the Afternoon of a Faun - Two Nocturnes - Danse\u003cb\u003e\u003cbr\u003eRAVEL \u003c\/b\u003eDaphnis and Chloe – Suite No. 2 - La Valse\u003cb\u003e\u003cbr\u003eHONEGGER \u003c\/b\u003eConcertino for Piano and Orchestra\u003cb\u003e\u003cbr\u003eBERLIOZ \u003c\/b\u003eDamnation of Faust – Hungarian March\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings, 1938-49\u003cbr\u003eTotal duration: 72:20\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eFritz Reiner, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eOscar Levant, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003ePittsburgh Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eCBS Symphony Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReiner demonstrates his ability to take a score and realize it with such freshness and subtlety that it seems reinvented578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePresenting Fritz Reiner conducting a \nprogram of French music may seem unexpected. We don’t usually associate \nhim with this repertory. But as a Hungarian, Reiner came from a country \nheavily affected by French culture. He studied piano with Bartók, who \nwas deeply influenced by Debussy. Reiner was a Modernist, drawn to the \nmusic of his lifetime. Also, as a brilliant orchestral technician, \nReiner liked to present scores that challenged his abilities, such as \nthose of Debussy, Ravel, and Arthur Honegger (who was Swiss). He \nrecorded Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand first two \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith members of the New York Philharmonic. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas qualities familiar from Reiner’s Chicago \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, namely plasticity, gorgeous tone, and a delicate emphasis on musical transitions. My favorite stereo account of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is by Erich Leinsdorf and the Los Angeles Philharmonic on Sheffield \nLab. It leaves you breathless, while Reiner’s is a more epicurean \naffair, portraying the faun’s dreaming as in Mallarmé’s poem. The first \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturne\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n “Nuages,” comes off like a night scene by Whistler, with infinite \nvariations of blue and gray. Reiner’s “Fêtes” is quick and lively, even a\n little fierce. My favorite stereo version of the complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n by Ernest Ansermet, presents an old-fashioned French orchestral sound \nthat is probably closer to what Debussy would have expected than \nReiner’s well-manicured performance. Interestingly, the same recording \ncompany in the same venue and year recorded John Barbirolli, the \nPhilharmonic’s music director, in Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIbéria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. That rendition is very good, but lacks Reiner’s mastery. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the Pittsburgh version of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in Ravel’s orchestration, Reiner demonstrates his ability to take a \nscore and realize it with such freshness and subtlety that it seems \nreinvented. He conducted the CBS Symphony a number of times. In their \nbroadcast of the second \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis and Chloé \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esuite,\n the scenes are painted so vividly that they recall Marc Chagall’s \nillustrations for the story. Reiner’s tempos are flexible, with hints of\n portamento here and there. The unnamed first flute perhaps gives the \nperformance of his life. Reiner gets a wonderful pagan feeling in the \nconcluding “Danse générale.” His Pittsburgh \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n the best recording of the work I’ve ever heard, challenging my memory \nof Jean Martinon conducting it in concert in the 1970s, with the Hague \nPhilharmonic. In the opening, the strains of the waltz seem to come \ntogether out of some primordial time. The ensuing bite of the trumpets \nis amazing and frightening—there’s no oompah to this waltz. The composer\n Robert Bonnotto told me that the work should end with a feeling of \nmenace. Reiner agrees. These Ravel recordings may lead you to hunt down \nReiner’s excellent 1952 NBC \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe tombeau de Couperin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGreat Conductors of the 20th Century\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e set. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMy first acquaintance with Honegger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino for Piano and Orchestra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was a lyrical performance on a Turnabout LP by Walter Klien and \nHeinrich Hollreiser. Reiner conducted the American premiere in 1927. \nHere he leads a chamber orchestra dubbed the Columbia Symphony. He and \nthe pianist Oscar Levant were friends; there are some interesting \nanecdotes about Reiner in Levant’s first book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. He and Reiner find a mixture of Bach and 1920s Paris in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Levant’s tone is distinctive, broad but delectable in its details. \nReiner’s accompaniment is hand in glove, with an appealing insouciance. \nThe Pittsburgh “Rákóczy March” is as much Hungarian as French, with some\n rhythms that sound like Liszt. The concluding diminuendo is an \ninteresting, unexpected touch. Producer Mark Obert-Thorn’s remasterings \nalways are pleasant to listen to, and, in the case of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n a good deal more so. Indeed, it’s amazing how well the 1938 recordings \nof the New York Philharmonic capture the beauty of its tone, something \nLevant felt emanated from the concertmaster, Michel Piastro. This is a \nCD that will haunt your imagination long after you’ve heard it. Reiner’s\n French repertoire may not have been extensive, but the works he did \nperform he clearly savored. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“There are few conductors who impress \nan orchestra (also composers) at first contact as strongly as does Fritz\n Reiner, whose knowledge of everything pertaining to the mechanical \nperformance of music is, briefly, unparalleled. He has evolved a \npersonal sign language which leads an orchestra through the most complex\n scores of Strauss and Stravinsky with the ease and sureness of a \ntightrope walker who performs a backward somersault blindfolded. \nWhenever the complexity of the scoring is a sufficient challenge to his \nskill, Reiner will subdivide beats, flash successive cues to remote \nsections of the orchestra with either hand and meanwhile indicate the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in which he takes such great delight, by a bodily movement that totals \nby a kind of physical mathematics to the exact effect on the printed \npage. His ear so acute, not only for intonation but also for dynamics, \nthat he can detect a wrong bowing when his back is turned to the section\n from which it emanates. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Together with these faculties is a \nfacility for terrifying inferior orchestras unequaled among conductors \nof the present day. His technique in this field is no less sophisticated\n than it is in his conducting. A mere series of facial expressions can \nshade his degrees of contempt for a nervous oboist or a fright-palsied \nviolinist as artfully as he fades an orchestra from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emezzo piano \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e pianissimo. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eHis\n passion for the least audible of sounds has created among violinists a \nnew form of occupational illness known as ‘Reiner-paralysis.’ When he is\n sufficiently challenged by an operatic score, such as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or by the collaboration with a fine soloist, he can achieve fabulous \nresults. The reactions he induces from the orchestras he has conducted \nrun the full gamut of all emotions but deep affection.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat was Oscar Levant on the subject of Fritz Reiner in his book \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n written in 1939. Ten years later, he found himself receiving the \nbenefit of Reiner’s superior conducting technique when they collaborated\n on a recording of Honegger’s 1924 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino for Piano and Orchestra, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOriginally coupled on a 10-inch LP with Eugene Ormandy’s successful (and poker-faced) attempt to squeeze \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sorcerer’s Apprentice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n onto one 78-rpm disc, it has probably never been issued on CD until \nnow. I have heard two other recordings of the Honegger. Thibaudet and \nDutoit toss it off like a piece of 1920s “wrong-note” fluff, which I \nsuppose it is. Weber and Fricsay seem wittier and more tongue-in-cheek \nin a nice performance that now comes only as part of a 45-disc set \ndevoted to Ferenc Fricsay’s DG recordings. The approach of Levant and \nReiner, however well-executed, is more sober and serious and I don’t \nthink this necessarily works to the music’s advantage. Oscar Levant \nhumorless? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the CD certainly demonstrates the superior baton technique Levant was praising. In the “Rákóczy March” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa damnation de Faust\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Reiner is the supreme drillmaster, securing brilliant, precise playing \nfrom the Pittsburgh Symphony Orchestra. The performance, oddly, ends \nwith a diminuendo—is that the way it ends in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa damnation\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e? In the Debussy \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehe\n demonstrates that the best way to deal with “Impressionism” isn’t \nnecessarily to create a sonic fog but to pace it flexibly, reacting to \nthe music’s “inner rhythm” as he perceives it and exposing detail. \nReiner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaune\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nand “Nuages” are models of rhythmic suppleness and exposure of \norchestral color even with their 1938 sound, and the New York \nPhilharmonic, which wasn’t always polite to guest conductors, plays for \nhim. The performers were uncredited. The 78s were issued as part of a \nbudget series called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe World’s Greatest Music\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which also included anonymous recordings by Ormandy and Rodzinski. Some may find the procession in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFêtes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e a bit too sprightly—he also zips through Ravel’s orchestration of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, probably to get it on one 78-rpm side \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRegrettably, other than \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Reiner’s opportunities to record Debussy’s works with the Chicago \nSymphony Orchestra were limited, presumably because Charles Munch was \nFrench. It is likely that the latter also received priority from RCA \nVictor where Ravel’s music was concerned, although Reiner did manage to \nrecord the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRapsodie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which Munch also recorded with the Boston Symphony; the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eValses nobles et sentimentales\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which Munch later recorded with the Philadelphia Orchestra for Columbia; and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlborada del gracioso,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e which Munch did not record. Dating from 1947, Reiner’s Pittsburgh \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n an aggressive, brilliant rendition that was probably the best \nrecording\/performance of its time. Too bad he never got to record it \nagain 10 years later. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\n is marred by narrow dynamic range and some congestion at loud volumes. I\n think the lower strings are barely audible at the start of the big \nclimax in “Daybreak”; at the climax, Reiner holds the brasses down just \nenough for the violins to shine through. One might expect the “Danse \ngénérale” to be exhilarating—the real surprise is the “Pantomime,” with \nits pauses for breath, so leisurely and flexible, which Reiner could \nalmost be said to milk. It’s almost hypnotic in its effect (at least on \nme). The performances give pleasure—but also frustration, when one \nconsiders what might have been had he had the opportunity to take \nadvantage of post 78-rpm\/monaural recording technique. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC438.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eReiner Rarities, Volume 3: Debussy, Ravel, Honegger and Berlioz\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a CD that will haunt your imagination long after you’ve heard it\"- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eLike the two earlier releases in this series (PASC 235 and 294), this\n volume of Reiner Rarities features works which are rare in more than \none sense  First, these are Fritz Reiner’s only commercial recordings of\n the works presented.  In addition, none of them have ever received an \n“official” CD reissue from their originating labels.  The current \nrelease features all of Reiner’s French repertoire recordings which fall\n under these criteria.\u003c\/p\u003e\u003cp\u003eThe Debussy \u003cem\u003eFaune\u003c\/em\u003e and \u003cem\u003eNocturnes\u003c\/em\u003e come from Reiner’s \nearliest issued recording session, although they were originally \npublished without crediting the conductor or the orchestra.  They were \npart of the “World’s Greatest Music” series recorded by RCA Victor for \nthe New York \u003cem\u003ePost\u003c\/em\u003e, which featured similarly anonymous recordings by Ormandy and the Philadelphia and Rodzinski and the NBC Symphony. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis session featured 78 players from Barbirolli’s New York \nPhilharmonic, and also included works by Wagner.  What is particularly \nstriking here, as in many of the recordings featured in this program, is\n Reiner’s pacing, allowing the music to unfold with seeming \ninevitability even as he moves it along, choosing tempi that seem \nideal.  (The uncredited flute soloist in \u003cem\u003eFaune\u003c\/em\u003e is most likely John Amans, the Philharmonic’s principal at the time.)\u003c\/p\u003e\u003cp\u003eThe broadcast of the \u003cem\u003eDaphnis\u003c\/em\u003e Suite, although not a \ncommercial recording, was part of the series of V-Discs released by the \nU.S. government for the entertainment of servicemen during World War II,\n and falls under Reiner’s issued discography.  Again, one is struck by \nthe pacing, the judgment in the length of pauses, and the choices for \nwhen (and how much) to use string portamenti to underline emotional \npoints.\u003c\/p\u003e\u003cp\u003eThe Pittsburgh recordings document Reiner’s decade as music director of that city’s orchestra.  In \u003cem\u003eLa Valse\u003c\/em\u003e,\n Reiner does not play his hand too early, letting loose only in the \nfinal pages (in contrast to Munch, who, for all his admitted excitement,\n plays it at fever pitch from the start).  The Ravel orchestration of \nDebussy’s \u003cem\u003eDanse\u003c\/em\u003e gets an appropriately energetic performance, while the rousing Berlioz march ends with an unusual, rarely-heard diminuendo.\u003c\/p\u003e\u003cp\u003eIn 1927, Reiner conducted the U.S. première of Honegger’s 1924 \nsingle-movement Concertino, a work which seems to have been somewhat \ninfluenced by Prokofiev’s Third Concerto.  The soloist, Oscar Levant, is\n perhaps best known today for his acting work in such films as \u003cem\u003eAn American in Paris, The Band Wagon\u003c\/em\u003e and \u003cem\u003eHumoresque\u003c\/em\u003e;\n but in his time, he was a highly popular piano soloist specializing in \ntwentieth century repertoire (particularly the works of his friend, \nGeorge Gershwin), as well as an author, composer and raconteur.\u003c\/p\u003e\u003cp\u003eThe sources for the recordings were American Columbia LPs for \u003cem\u003eLa Valse\u003c\/em\u003e and the Honegger, and shellac 78 rpm discs for the remaining items, except for the \u003cem\u003eDaphnis\u003c\/em\u003e Suite, which was taken from a tape of original off-the-air acetates, which sounded better than the V-Disc dubbings.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePrélude à l’après-midi d’un faune\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 22 November 1938 in Carnegie Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  CS-028849-1\/028850-1 - First issued on World’s Greatest Music SR-17\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cbr\u003eNocturnes\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2          Nuages \u003cbr\u003e3          Fêtes\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 22 November 1938 in Carnegie Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  CS-028851-1\/028852-1A\/028853-1A\/028854-1A - First issued on World’s Greatest Music SR-18\/19\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e4          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDanse (Tarantelle styrienne) (orch. Ravel)\u003c\/b\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 April 1947 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-37578 - First issued as Columbia 12785-D in album X-296\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDaphnis et Chloé – Suite No. 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e5          Lever du jour \u003cbr\u003e6          Pantomime\u003cbr\u003e7          Danse générale \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive broadcast 2 September 1945 from the CBS Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  VP-1543-D5-TC-1340-1H\/VP-1544-D5-TC-1341-1M\/VP-1545-D5-TC-1342-1D\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued as V-Disc 546\/7\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e 8          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eLa Valse\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 April 1947 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-37575\/7 - First issued as Columbia 12784-D\/12785-D in album X-296\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHONEGGER\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eConcertino for Piano and Orchestra \u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e9          Allegro molto moderato –  \u003cbr\u003e10        Larghetto sostenuto –   \u003cbr\u003e11        Allegro  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eOscar Levant\u003c\/span\u003e (piano)\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 6 July 1949 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: XCO-41374\/6 - First issued as Columbia ML 2156\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e12        \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eHungarian March (from \u003cem\u003eLa damnation de Faust\u003c\/em\u003e, Op. 24)\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 15 November 1941 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-31902 - First issued as Columbia 11709-D in album M-491\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/b\u003e(Tracks 1 – 3)\u003cbr\u003e\u003cb\u003ePittsburgh Symphony Orchestra \u003c\/b\u003e(Track 4, 8 \u0026amp; 12)\u003cbr\u003e\u003cb\u003eCBS Symphony Orchestra\u003c\/b\u003e (Tracks 5 – 7)\u003cbr\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e (Tracks 9 – 11)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFritz Reiner\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC438.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC438.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":31975874765,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975874829,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC438.jpg?v=1487682463"},{"product_id":"pasc454","title":"TOSCANINI The Final New York Philharmonic Concert (1945) - PASC454","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e Symphony No.101\u003cbr\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e The Pines of Rome\u003cbr\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e The Swan of Tuonela\u003cb\u003e\u003cbr\u003eWAGNER\u003c\/b\u003e Siegfried's Funeral Music\u003cb\u003e\u003cbr\u003eWEBER\u003c\/b\u003e Euryanthe Overture\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive recording, Carnegie Hall, 1945\u003cbr\u003eTotal duration: 79:53 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eArturo Toscanini, \u003c\/b\u003econductor\u003cp\u003e\u003cb\u003ePhilharmonic Symphony Orchestra of New York\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThese are examples of orchestral playing and interpretation which demand to be heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis in-house recording of the \nJanuary 13, 1945 Pension Fund Concert at New York’s Carnegie Hall may \nprove to be the last available treasure we have of a unique \ncollaboration. Andrew Rose has put us once again in his debt with an XR \nremastering of surprisingly good, but rough, source material. Toscanini,\n who had first recorded with the orchestra in 1926, before becoming \nmusic director, made no studio recordings with them after his departure \nfrom that post in April 1936. Little has circulated from guest \nappearances (there was a complete Berlioz \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with Jennie Tourel included among the soloists, but it is seemingly unavailable). This concert was valedictory, and farewell. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe commercial recordings which \nToscanini made when it was “his” orchestra total less than three and \none-half hours—a shockingly small legacy considering the orchestra’s \nexcellence and the conductor’s stature during his lifetime. One, from \n1929, is the Haydn Symphony included here. This wartime program \nreplicates Toscanini’s 1926 debut with the orchestra. The Haydn was \nrecorded in the studio about three years after that first concert. \nAlthough the two performances are easily identified as the work of the \nsame conductor, there are differences. The Carnegie Hall sound in \nPristine’s remastering has more impact, if less suavity, than the early \nelectrical product of RCA. I would say part of that greater suavity is \nalso in the orchestral playing. The Philharmonic-Symphony, as it was \nthen called, was a more refined band in the late 1920s and 1930s than \nlater on, or today. Mengelberg’s tenure, followed by two seasons in \nwhich the Dutch conductor, Furtwängler, and Toscanini shared the podium,\n and then the Italian maestro’s incumbency, had created a remarkably \nsensitive orchestral machine. By 1945, it was Artur Rodzinski’s \norchestra, and although most of Toscanini’s players had survived the \nBarbirolli years, a combination of World War II absences, Rodzinski’s \npersonnel changes, and the personality of the Dalmatian-born Polish \nconductor had changed the orchestra palpably. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSo, while the 1945 Haydn strikes my ear\n as excellent of its style, and it surely benefits from inclusion of the\n first movement exposition repeat, absent from the earlier recording, it\n is not the same orchestra, quite, as that which Toscanini had led \nbefore. Critic Olin Downes still thought the Haydn the best played \nportion of this concert (I don’t entirely agree) and it is surely very \nwell done: a bracing performance of a composer Toscanini loved. The same\n may be said for the Respighi which, I believe, had its first New York \nhearing at the 1926 concert. Downes, who often seemed stuffy in “his” \nday, to say nothing of ours, found it bad music but bad in a glorious \nway. This performance seems to me to be extremely refined. Sonically, it\n is the least successful part of the concert, not poor, but lacking the \nquite amazing clarity of the Haydn, Sibelius, and Wagner selections, in \nparticular. In this work, also, I prefer the Carnegie Hall recording \nmade just over eight years later in the same hall with the NBC Symphony,\n utilizing RCA’s then best single-mike technique. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAside from sonics, I find the later \nrecorded performance seems to have a better over-arching grip on the \npiece. Interestingly, timings are identical, and for those who love the \nwork, and also who love the unique qualities of both orchestras, it is \ninteresting to compare the sound of the NBC’s Harry Glantz with the \nPhilharmonic’s first trumpet, William Vacchiano, and also the really \ndelightful \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003efrisson\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of the Philharmonic’s lower strings—and also timpani at numerous points\n where Respighi makes subtle use of them. Those come through very well; \nindeed, the sound improves, I should say, throughout the tone poem. The \nremastering is exceptional, as well, following intermission, \nparticularly in the Sibelius and Wagner selections. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eToscanini did not play a huge repertory\n of Sibelius compositions, but was clear in his respect for the composer\n and performed several works, particularly in his NBC years. This \nperformance of the ubiquitous “Swan” strikes me as fine as any I have \never heard—10 minutes in which time all but stands still. The sound \ncomes up fresh, and one hears playing of intense concentration. Even \nmore focused orchestral playing is heard the Wagner which follows. \nConductor and orchestra had recorded, in 1936, near the end of \nToscanini’s tenure as music director, a matchless performance of \nSiegfried’s Rhine Journey but the Funeral Music was not, for some \nreason, recorded at that time. What we have here is entirely worthy to \nstand with that studio effort, and is amazingly impactful in Pristine’s \nXR sonics. It is a stunning performance, nearly a quarter-hour of Wagner\n as we seldom hear it performed today. After the Wagner, I am not so \nsure closing with the exuberant Weber was the best of ideas, but that \nwas the way programs were made nine decades ago and replicated at this \nconcert. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWe have so little else; there could \nhave been much more. There is a Beethoven Fifth from the 1930s which \nmany value highly; a Bruckner Seventh which confirms the conductor was \nwise to perform that composer seldom. The remarkable 1935 Beethoven \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa Solemnis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n has been four times remastered by Richard Caniell. The concert closing \nthe 1936 season is said to have been captured—all Wagner, including \nGertrude Kappel in the Immolation Scene. To my knowledge, it has not as \nyet surfaced. May we hope? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis distinguished release is not \nmerely a period piece. These are examples of orchestral playing and \ninterpretation which demand to be heard, and which, fortunately, we can \nhear with remarkable clarity in Pristine’s offering; this one is \nurgently recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC454.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's final concert with the New York Philharmonic, Carnegie Hall, 1945\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"\u003cspan class=\"TIMES\"\u003eA stunning performance\u003c\/span\u003e ...  urgently recommended\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eWhen Toscanini took to the podium at Carnegie Hall on the evening of \n13 January 1945 he was to conduct the Philharmonic-Symphony Orchestra of\n New York (now known simply as the New York Philharmonic Orchestra) for \nthe very last time. He opted to repeat the programme he had conducted in\n his debut with the orchestra almost exactly 19 years earlier, on 14 \nJanuary 1926. He had conducted the orchestra a dozen times in the 1942 \nseason, after his Gala Farewell concert of April 29, 1936, and once more\n in 1944 as part of a combined Red Cross concert in Madison Square \nGarden with the NBC Symphony Orchestra, but this really was his last \nfarewell to the orchestra: a special one-off concert in aid of the \norchestra's pension fund.\u003c\/p\u003e\n\u003cp\u003eThe concert was not broadcast live, and as a result it is unclear as \nto exactly where our source recording originated. It was clearly an \nin-house recording, cut onto acetate discs, and there is a suggestion it\n may have been made for Toscanini's personal use. It is also possible \nthat the concert was broadcast overseas as part of the war effort. The \nsource discs themselves varied in quality - the opening of the Haydn in \nparticular suffered surface damage that I've tried to ameliorate at much\n as possible. Elsewhere a wide frequency range and clear sound has been \npossible with the acceptance of slightly higher background hiss than I \nwould normally aim for - attempts to reduce this further caused \nunacceptable musical quality loss. I have also had to keep applause down\n to a bare minimum in order to squeeze the entire concert onto a single \nCD - these performances were very well received indeed!\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHAYDN\u003c\/b\u003e  Symphony No. 101 in D major, \"Clock\", Hob 1:101\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e  Pines of Rome\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSIBELIUS\u003c\/b\u003e Lemminkäinen Suite, Op. 22 - 2. The Swan of Tuonela\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Götterdämmerung - Siegfried's Death and Funeral Music\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e  Euryanthe, Op. 81 - Overture\u003c\/span\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive at Carnegie Hall, New York, 13 January 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eIn-house acetate disc recordings \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003eArturo Toscanini, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC454.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC454.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":31976044813,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976044877,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976045005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976045133,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC454_678daec8-bfca-4cac-938c-39ef2d39cf66.jpg?v=1487682703"},{"product_id":"pasc485","title":"WALTER conducts Brahms, Volume 1 (1947-54) - PASC485","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 1 - Symphony No. 2 - Double Concerto - Song of Destiny - Tragic Overture - Hungarian Dance No. 17\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive recordings, 1947-54\u003cbr\u003eTotal duration: 2hr 25:42 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eJohn Corigliano, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eLeonard Rose\u003c\/b\u003e, cello\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eHugo Strelitzer Choir\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eHollywood Bowl Symphony Orchestra \u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC485.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1951 Brahms Cycle with the NY Philharmonic - and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"These\n concerts apparently find Mr. Walter at the very zenith of his powers, \nabsorbed in a task which is especially dear to him\" - NY Times\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThis series is based around what survives of Bruno Walter's fabulous \n1951 series of Brahms concerts with the New York Philharmonic, together \nwith other live performances which either fill gaps in the 1951 \nrecordings or, in the case of the \u003cem\u003eGerman Requiem\u003c\/em\u003e (Vol. 3), add \nto the 1951 programme. A number of major recordings, including two of \nthe symphonies, have never been issued before; in other cases we have \ngained access to sonically superior sources to those used in previous \nreleases.\u003c\/p\u003e\n\u003cp\u003eThere is some variation in sound quality across the recordings, some \nof which have required extensive repair and restoration. What shines \nthroughout is the fabulous musicality of these truly historic concert \naccounts of Brahms' music, as given by Walter and the New York \nPhilharmonic. \u003c\/p\u003e\n\u003cp\u003eOne of the highlights of this first of three 2-CD volumes is a previously-unissued recording of the \u003cem\u003eFirst Symphony\u003c\/em\u003e. This was original played alongside the \u003cem\u003eTragic Overture\u003c\/em\u003e and the \u003cem\u003eViolin Concerto\u003c\/em\u003e,\n neither of which has apparently survived in usable recorded form (a \ncorrespondent reports \"a horrible transfer to a defective private LP\" of\n the \u003cem\u003eViolin Concerto\u003c\/em\u003e with Francescatti); here we've replaced the \u003cem\u003eOverture\u003c\/em\u003e with a later New York performance, a later disc will include a 1953 NY recording of the \u003cem\u003eViolin Concerto\u003c\/em\u003e. The \u003cem\u003eSong of Destiny\u003c\/em\u003e\n which completes the first disc was not performed at the New York \nconcerts - the present recording is taken from a 1947 Hollywood Bowl \nconcert, conducted in the open air by Walter to the (occasional) gentle \naccompaniment of crickets chirruping in the background.\u003c\/p\u003e\n\u003cp\u003eThe second disc here offers the third concert programme in full. Of the recordings it is the \u003cem\u003eDouble Concerto\u003c\/em\u003e\n which is perhaps of greatest interest to collectors - previous outings \non various dubious Italian labels have offered badly muffled, congested \nand inferior sound. By comparison it is clean and clear here, as are the\n other two recordings. I had to deal with occasional peak distortion in \nthe first movement of the \u003cem\u003eSecond Symphony\u003c\/em\u003e where it was \noriginally recorded at levels which overloaded during the loudest \nsections, something I've endeavoured to bring under control here.\u003c\/p\u003e\n\u003cp\u003eVolume Two in this series will complete the symphonies, accompanied \nby two concertos, whilst the final volume will include a previously \nunissued recording of the \u003cem\u003ePiano Concerto No. 1\u003c\/em\u003e from the 1951 New York series, together with a later performance of \u003cem\u003eA German Requiem\u003c\/em\u003e and other works.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Schicksalslied\u003c\/b\u003e (Song of Destiny), Op. 54\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003cspan style=\"color: #888888;\"\u003e\u003cb\u003eHugo Strelitzer Choir, Hollywood Bowl Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Tragic Overture\u003c\/b\u003e, Op. 81\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Symphony No. 1\u003c\/b\u003e in C minor, Op. 68\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS Hungarian Dance No. 17\u003c\/b\u003e in F-sharp minor \u003cspan style=\"color: #000080; font-size: small;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  Double Concerto\u003c\/b\u003e for violin and cello in A minor, Op. 102\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"color: #888888;\"\u003eJohn Corigliano, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"color: #888888;\"\u003eviolin\u003cb\u003e\u003cbr\u003eLeonard Rose, \u003c\/b\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  Symphony No. 2\u003c\/b\u003e in D major, Op. 73\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003eBruno Walter\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePERFORMANCE DATES\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e*Schicksalslied: 7 October 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eTragic Overture: 19 December 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eSymphony No. 1: 21 January 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eHungarian Dance: 4 February 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eDouble Concerto: 4 February 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eSymphony No. 2: 28 January 1951\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-size: x-small;\"\u003eAll performed at Carnegie Hall, New York \u003cbr\u003eexcept *Hollywood Bowl, Los Angeles\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC485.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC485.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times, 1951578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNew York Times, 1951:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eWALTER LAUNCHES HIS BRAHMS CYCLE\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eHe Conducts Philharmonic in Concert of Master’s Works\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eBruno\n Walter began his Brahms cycle with the Philharmonic-Symphony last night\n in Carnegie Hall, and gave us a wonderful concert. He played Brahms \nwithout the slightest affectation or mannerism, with all his heart, and a\n simplicity and nobility of spirit which matched the music.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eIt \nwas a great pleasure to hear the scores played without any attempt to \nmodify or beautify them. The rugged and melodic Brahms, whose \norchestration is quite often stringy and unsilky or glistening, fell \nupon our ears, “echt” Deutch and “echt” Brahms. Perhaps this is too \nprovincial a way to put it. The universality of the music rather frowns \nupon that.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eOn \nthe other hand, the very grandeur and universality of this immortal \nmusic comes from its soil and from the consciousness of an artist who \nwas profoundly German in his consciousness and his devotion to the \ntraditions of the German symphonic art.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eMr. Walter, in arranging and \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003efinding\n the almost ideal tempi and inflection for this music, pointed out \nsomething else to us, which is that Brahms, popularly conceived as the \nneo-classic master of his period—and ours too, for that matter—is not \nonly a romantic composer, but, in the appropriate circumstances, is to \nbe interpreted as such.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eContrast in Interpretation\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThis\n refers especially to the reading of the C minor symphony, which ended \nthe program, and the contrast between its interpretation and that of the\n “Tragic” overture which opened it. In the “Tragic” overture Brahms is \ncompletely a classicist. There is mysteriously communicated, in this \nmusic, the tragedy of human existence, and the grandeur of destiny. The \nstyle is singularly austere, impersonal, like destiny. There is no \nself-pity, no caterwauling at fate. Wherefore, Brahms is here a \nclassicist not only in form and workmanship,\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe form\n of the great C minor symphony is also classic. The symphonic methods \nare those of the classical masters of composition in whose footsteps \nBrahms was both proud of and also diffident about treading. But \nactually, in this work, he is a wild-eyed romanticist\u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e—as was Beethoven in a certain other C minor symphony. And Mr. Walter read the music in the flaming romantic spirit—“sturm und \u003c\/span\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003edrang”—with\n all sorts of grand rhetoric. He did not hesitate for an instant to \nretard or accelerate, or entirely differentiate the contrasting phrases \nof the introduction, in the instance of the lyric phrases which \nimmediately follow the initial motive, heard over the pounding drums.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eLater\n on, the way in which he maintained the pace of the choral melody which \nopens the finale, after the prelude with a horn-call, was a \nmaster-stroke of classic architecture. And this finale was tonal drama \nof the most thrilling kind; We need not particularize farther. The \ntranscending value of this concert was the conviction, the rugged \nstrength and unfeverish, unmodern, absolutely real faith and emotion \nwhich vibrated in every measure.\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eOlin Downes \u003c\/b\u003eThe New York Times, 19 January 1951\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31976073357,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976073421,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976073485,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC485_c140bea6-0a25-4a5a-bada-9758d6544d08.jpg?v=1487682747"},{"product_id":"pasc489","title":"WALTER conducts Brahms, Volume 2 (1951\/53) - PASC489","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 3 - Symphony No. 4\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 2 - Violin Concerto\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive recordings, 1951\/53\u003cbr\u003eTotal duration: 2hr 35:06 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eErica Morini, \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eMyra Hess\u003c\/b\u003e, piano\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003c\/div\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC489.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's 1951 Brahms Cycle with the NY Philharmonic continues\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eRare and previously unissued live Brahms recordings from Carnegie Hall\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis series continues here with what survives of Bruno Walter's fabulous\n 1951 series of Brahms concerts with the New York Philharmonic, together\n with a later live performance of the Violin Concerto which fills the \ngap in the 1951 recordings left by the apparent loss of a performance \nwith Zino Francescatti.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003ePreparing this release has required some major technical \ninnovation, both in the Symphony No. 3, previously unissued, and the \nViolin Concerto. As outlined in the quoted review in our CD liner notes \nof a previous issue of the latter, things went wrong during the first \nmovement, culminating in a momentary silence from the soloist - the \nresult of a broken string. Morini quickly borrowed the violin offered by\n the orchestra's leader, John Corigliano and carried on playing while he\n replaced her broken string.That gap here is filled by the seamless \nmixing in of Morini's 1956 studio recording for Westminster at around 11\n minutes to patch the gap whilst instruments were exchanged.\u003cbr\u003e\u003cbr\u003eMore challenging was the Symphony No. 3, where two source \nrecordings were used for several sections of the recording. One was \ndamaged in upper frequencies, the other in the lower frequencies. \nFollowing digital pitch and tempo stabilisation and synchronisation I \nwas able to digitally copy and paste good upper frequencies over good \nlower frequencies to produce a perfectly matched and utterly convincing \nnew whole, a technique I believe may never have been successfully \nattempted before, and which restores what would otherwise have been \nunusable sources to their full glory. \u003cem\u003e\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003ePiano Concerto No. 2 in B-flat major, Op. 83\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 3 in F major, Op. 90\u003cspan\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003cspan\u003e \u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98 \u003cspan style=\"color: #000080; font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small; color: #000080;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eErica Morini, \u003c\/b\u003eviolin\u003cbr\u003e\u003cb\u003eMyra Hess\u003c\/b\u003e, piano\u003c\/p\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb style=\"font-size: medium;\"\u003eBruno Walter\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cp\u003e\n\n\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePERFORMANCE DATES\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003ePiano Concerto No. 2: 28 January 1951\u003cbr\u003eSymphony No. 3: 28 January 1951\u003cbr\u003eViolin Concerto: 20 December 1953\u003cbr\u003eSymphony No. 4: 11 February 1951\u003cbr\u003e\u003cbr\u003eAll performed at Carnegie Hall, New York \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC489.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC489.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":31976073549,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976073613,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976073677,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC489.jpg?v=1487682750"},{"product_id":"pasc446","title":"WALTER conducts Bruckner \u0026 R. Strauss (1953\/54) - PASC446","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eBRUCKNER\u003c\/b\u003e Symphony No. 9\u003cb\u003e\u003cbr\u003eR. STRAUSS \u003c\/b\u003eTill Eulenspiegels lustige Streiche\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive and recordings, 1953 and 1954\u003cbr\u003eTotal duration: 65:47 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eBruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\n\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf I had to have only one Walter Bruckner Ninth it would be this 1953 New York broadcast578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruno Walter is more difficult to \ncharacterize in a few adjectives than most conductors. This is partly \nbecause his interpretive view seemed to change late in life, \nparticularly in post-heart attack years, but more importantly it is \nbecause he brought a somewhat improvisatory outlook to his conducting \nand because he refused to apply any kind of “one-size-fits-all” \napproach. Thus he could be seen (or heard) alternatively as genial, \nfierce, majestic, fiery, dramatic, warm, tumultuous, and lyrical. For \nthose who like to sum up a great artist in a word or two, he presented a\n real challenge. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHis seven surviving recorded \nperformances of Bruckner’s incomplete Ninth Symphony (only one a studio \nrecording, and one live version still unpublished) give plenty of \nevidence about the spontaneity and flexibility of Walter as a musician. \nWhile the general interpretive viewpoint remains relatively constant \nuntil the 1959 studio recording, with similar overall tempos for each \nmovement and even similar tempo relationships within movements, there \nare still meaningful differences among the ones with which I am \nfamiliar. The studio recording is significantly slower than his live \nperformances (some three-plus minutes longer in the outer movements, and\n a bit over a minute in the briefer scherzo), and it is less incisive, \nless propulsive. James Altena, in a very perceptive review of a Pristine\n reissue of Columbia’s original in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e37:1,\n makes a good case for this performance. I tend to agree with his \noverall assessment based on that superior transfer, but if I had to have\n only one Walter Bruckner Ninth it would be this 1953 New York \nbroadcast, a performance that has never been available before in \nadequate sound. Pristine found (from a collector) a superb source, and \nhas drawn fine monaural sound from the original, and then added its XR \nambient stereo touch which gives the music some space. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere was initial confusion when this \nwas first released, due to what turned out to be incorrect information \nthat it was a newly discovered 1950 performance. In fact, on the \nFebruary 5, 1950 weekly NYP radio broadcast, the Bruckner Ninth that was\n performed on the February 2 and 3 concerts was replaced by works of \nMozart. It is easy to see why this Pristine release wasn’t initially \nrecognized as the 1953 one, because the sound quality is so much \nsuperior here to prior reissues that it indeed does not sound like the \nsame performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSome of the five alternative available \nversions merit very little space here. The 1946 New York Philharmonic \nbroadcast suffers from poor sound. I have not heard the 1948 \nPhiladelphia Orchestra broadcast, only released on Memories and Music \n\u0026amp; Arts. The only transfer I have heard of the 1953 Vienna \nPhilharmonic performance, on the Andromeda label, is muddy and \ncompressed and offers little pleasure. Jeffrey J. Lipscomb, in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e32:3,\n reviewed the only real competition to this Walter performance, the 1957\n New York Philharmonic performance released by Music \u0026amp; Arts in quite\n good sound. This 1953 performance is preferable, partly because of \nPristine’s quite wonderful transfer and partly because of the even \ngreater energy and sense of deep commitment that Walter and his New York\n musicians bring to the music here. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWalter uses the Alfred Orel edition of \nBruckner’s original score, a version that does not differ in any \nsignificant way from Nowak’s, and Walter makes a few adjustments along \nthe way. But the editorial details are minor points for Bruckner \nscholars to study. For most of us, it is the quite unusual combination \nof raw power and heartfelt warmth that distinguishes this performance. \nThe strings have a lovely glow when they are stating the first \nmovement’s main tune (listen at 16:09 of the first movement to the \nunanimity of phrase-shaping and tonal balance that the violins exhibit).\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBruckner has always seemed to me to be \nthe one truly important composer whose music is completely dependent on \nthe conductor if it is to make its effect. It is not, of course, that \nBeethoven, Brahms, Tchaikovsky, Dvořák, or even Mahler play themselves. \nAll composers benefit from committed, stylistically unified and \nappropriate performances. But many can survive less than that. Bruckner \ncannot. His music will seem shapeless, meandering, repetitive, and \nultimately pointless if the conductor does not master the overall \narchitecture of the score. Conductors who, for example, lack patience to\n give Bruckner’s pauses their full measure, think they are helping move \nthings along. In fact they are damaging the very essence of the music, \nand making it seem longer, not shorter. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat seems to distinguish Walter’s \nBruckner is his ability to encompass the wide range of the spiritual and\n emotional content of the music, particularly in his prime years before \nthe heart attack that sapped his strength before his final stereo \nrecordings for Columbia (with too small an orchestra as well, something I\n suspect a stronger, younger Walter would not have accepted). The \nscherzo here is big-boned and lusty at one moment, intimate and smiling \nthe next. The outer movements combine drama and power with an unusual \nintimacy in a way quite unlike that of any other performance I know. \nAdherents of Horenstein, Furtwängler, Barenboim, Wand, and others will \nfind touches in Walter’s reading that reminds them of their favorites. \nHowever, in the end it sounds like none of them. This is a unique vision\n that has about it the sense of being improvised on the spot. Walter \nengages in some strong tempo fluctuations, but the transitions are so \nperfectly judged and executed that at no point does the music’s \nstructure weaken. The conductor’s sense of appropriate rubato is nowhere\n more apparent than in the finale, and it is complemented by his keen \near for dynamic shadings, and the infinite variety of dynamics that he \nbrings to the score. The harmonic crisis at the core of the finale is \nterrifying here, with the dissonances emphasized in a way that is not \nthe case in Walter’s studio recording. Pristine’s transfer brings all of\n this to life vividly. Walter was one of Bruckner’s early and important \nadvocates, and the fact that he performed this work with the New York \nPhilharmonic in 1946, 1950, 1953, and 1957, at a time when Bruckner \nperformances were a rarity, demonstrates his devotion to the composer. I\n do not believe that devotion has come across in a more impassioned way \nthan in this performance. The Philharmonic of 1953 is not the most \nrefined or accurate of orchestras, but it is more than good enough to \nbring off the power and beauty of Walter’s performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose of Pristine admits that the recorded sound of the 1954 New York \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n not of the same quality as the Bruckner. The sense of compression at \nclimaxes is frustrating, as are the limitations on frequency response at\n both extremes of the spectrum and the almost non-existent dynamic range\n (Rose has done what he can to expand the latter). It is worth having \nbecause Walter did not leave us much in terms of this piece. I haven’t \nheard the Los Angeles Philharmonic broadcast (on Nuovo Era and a \nJapanese Bruno Walter Society LP), which I believe is the only \nalternative. So it is good to have this, especially since Walter’s way \nwith the score is boisterous and robust, and the general interpretive \noutline comes through despite the sonic difficulties. The Bruckner is \nthe reason for this disc, and it is reason aplenty. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eEven if you own this 1953 New York \nperformance in an earlier incarnation (I have heard it on both Tahra and\n Nuova Era), replacement with this version is almost mandatory. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis release is a vital addition to the\n Walter discography, though not quite for the reasons originally \nanticipated. Back in issue 36:3, when I reviewed a Music \u0026amp; Arts \nrelease of live performances by Walter of Bruckner’s Symphonies Nos. 4 \nand 9, and Mozart’s Symphony No. 35, I provided the following list of \nWalter’s performances of the Ninth in circulation among collectors (with\n only the Sony issue being a studio recording rather than a live \nperformance): \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"main\" frame=\"box\" rules=\"all\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eDate\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eOrchestra\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eCD Issue (if any)\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eTimings\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e03\/17\/46 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1110 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:42 9:37 19:42 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/28\/48 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003ePO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1262 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:19 9:43 19:28 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/02\/50 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003enone (private collection) \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e20:12 9:55 19:15 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e08\/20\/53 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eVPO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eAndromeda ANDRCD 9092 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e21:10 10:09 19:17 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e12\/27\/53 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eTahra TAH 571 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e20:32 10:09 19:46 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e02\/10\/57 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eNYP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eMusic \u0026amp; Arts CD-1212 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e19:59 10:01 19:14 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e11\/13\/59 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eLAP \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003enone (private collection) \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e22:30 10:53 21:58 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e11\/16–19\/59 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eCSO \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003eSony SMK 64 483 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e23:51 11:29 23:16 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis list now requires revision, for \nthe putative February 2, 1950 performance is now proven to be a chimera,\n due to some dedicated detective work by several knowledgeable persons. \nAn unnamed collector acting in good faith provided Andrew Rose with a \ncopy of what purported to be that unpublished performance. Rose duly \nrefurbished it according to his usual exceptional standards (more on \nwhich below) and released it. A sharp-eared collector of historic \nrecordings, David Griegel of San Diego, who has a track record of \nidentifying performances of unknown provenance and mistaken attribution,\n spotted that the release is in fact the December 27, 1953 performance \npreviously released by Tahra and Palladio. Griegel in turn made contact \nwith noted historic recordings expert Mark Kluge (who has written \nbooklet notes for many previous releases of Bruno Walter material) and \nJohn F. Berky, editor of the redoubtable abruckner.com web site. They \nperformed further research, did A-B comparative listening tests of the \nPristine Audio disc against the previous Tahra release, and verified \nthat Griegel was correct. (February 2, 1950 was not a broadcast concert \ndate—for the broadcast on February 5, Mozart’s “Haffner” Symphony and \nPiano Concerto No. 20 were substituted for the Bruckner. The concerto \nperformance with Rudolf Firkušný once appeared on a “pirate” Italian CLS\n LP with the Symphony No. 40 from the same concert, while the “Haffner” \nhas circulated privately among collectors.) Berky duly made a notation \non his web site; \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reader and friend Robert Alps spotted that notation and (knowing of my \ndedication to Bruno Walter) notified me. I in turn contacted first Berky\n and then Andrew Rose; the latter duly also verified the misattribution \nand has now corrected the notes and other materials for this release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHaving now heard both the original \nunprocessed master that Rose received and his remastered version, it is \nnot surprising that this misidentification went undetected heretofore; \nnot only do the inferior original sonics effectively conceal a number of\n tell-tale details that reveal its identity when brought to the fore, \nbut it is also pitched about a semitone sharp. So, scratch one item from\n the list of surviving live performances attributed to Bruno Walter and \nreduce the number of his surviving renditions of the Bruckner Ninth from\n eight to seven, with one (the live Los Angeles performance, a subpar \nperformance in poor sound) remaining unreleased. But, to quote the \nvenerable Latin tag, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eO felix culpa!\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (O, happy fault!). For, even though this is not a completely new \naddition to the published Walter discography, it might as well be. Rose \nhas lavished his now customary superb remastering skills on this new \nsource with his trademark XR process, and the marvelous result \ncompletely outstrips all previous issues. The sound is exceptionally \ngood for its era; only occasional minor distortion remains at a few \ngreat orchestral climaxes. Even more importantly, this release gives us \nfor the first time a real sense of Walter’s typical way with this work. \nAlthough Pristine’s superb remastering of the 1959 studio recording \nprompted a major reassessment by me of that version in a review in issue\n 37:1, its significantly broader pacing and more rounded contours make \nit an atypical representative. Here, while Walter’s trademark lyricism \nand humane warmth are as always ever-present, there is also an almost \nfierce determination and urgency in what is one of the fastest \nperformances of the work by any conductor. Bruckner famously dedicated \nthe score to “Dem lieben Gott” (To the beloved God); but this is no \nserene view of the Almighty enthroned in majesty, but rather one of Him \nenacting awe-inspiring justice in the great and terrible day of the Last\n Judgment. Walter fully captures all this in a truly remarkable \ncombination of tautness of line, sudden but always apt tempo \nfluctuations, and liberal use of rubato. Although the details vary only \nslightly from his other live performances—Philadelphia in 1948, Vienna \nin 1953, and New York in 1946 and 1957 (see my aforementioned review \nfrom 36:3 for additional details)—in those some of the transitions are \nnot quite ideally calculated and come off as a little abrupt, whereas \nhere all the shifts mesh well-nigh ideally. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo add icing to the cake, Rose also \nprovides an authentic premiere addition to the published Walter \ndiscography, the previously unreleased broadcast of the December 26, \n1954 New York Philharmonic performance of Richard Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n This is especially welcome on three counts. First, Walter never \nrecorded the work in the studio. Second, the only other surviving \nperformance of Walter conducting this score, a broadcast performance \nwith the Los Angeles Standard Symphony dating from either 1949 or 1950 \n(I would much appreciate hearing from anyone who can provide the precise\n date for this!), is in inferior sound and performed (with considerable \nspirit) by an inferior orchestra. Third, there is Walter’s own \ninimitable way with this score. Not as metaphysical as Furtwängler, nor \nas bitingly ironic as Reiner or Solti, nor as slyly good-humored as the \ncomposer’s own 1942 Vienna version, it instead features a Till who is a \ntrue \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJedermann\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, a\n warmly humane three-dimensional person rather than a caricature or \nsymbol, fleshed out in both his hijinks and his foibles with \naffectionate warmth. While the recorded sound is inferior to that of the\n Bruckner from a year earlier, with more distortion at climaxes and some\n congestion, it is still quite listenable and has plenty of orchestral \ncolor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is, then, a major release of \ninterest not just to fans of Bruno Walter such as myself, but to all \ncollectors of historic orchestral recordings of music by Bruckner or \nRichard Strauss, and merits a top-notch recommendation accordingly. This\n has “Want List 2016” written all over it for me. Or, at least, it \nshould, except for one possible complication. As I write these lines, \nPristine has just released a two-CD set of Walter recordings, containing\n among other items all of his LP recordings that have not previously \nbeen released on CD. When I first became a critic for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I originally vowed that, to spare readers excessive indulgence of my \ndevotion to Bruno Walter, an annual Want List would not feature more \nthan one Bruno Walter recording. I’m now in the position of either \nmaking an excruciatingly painful choice, or of breaking my vow. Well, I \nhave another 10 months to decide—stay tuned! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOtto Klemperer said, “Bruno Walter is a\n very good conductor, but he is a moralist. I am an immoralist.” There \nis much truth in that statement. Bruno Walter was a believer. He liked \nto say that in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Magic Flute\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Mozart was near to God. Bruckner, for Walter, was someone who had found\n God. The conductor was devoted to discovering the sources of spiritual \nwisdom in Bruckner’s work. Not for him was the bromide of Mahler, his \nfriend, that Bruckner was “half genius, half idiot.” Indeed, at times in\n Walter’s performances of Bruckner there is an emotional radiance I have\n found in no other interpreter of this music. Walter possessed an \nidentification with Bruckner’s ethos quite unique among the composer’s \ndevotees. We are most familiar with Walter’s take on the Ninth Symphony \nfrom his stereo recording with the Columbia Symphony. That is a slow, \nsomewhat steady rendition that mixes sobriety with insight. It is rather\n lacking in ecstasy. Also, Erich Leinsdorf stated that Walter in the \nlast few years of his life lost some of the strength in his conducting \narm, and had trouble keeping large ensembles together. In the Ninth, one\n can hear the Columbia Symphony playing very cautiously at times. Now we\n have a live account with the New York Philharmonic, and what a contrast\n it is. The performance is much faster, filled with exuberance, \nbrilliant execution, and terrific control. Walter’s tempos are \nconsiderably flexible, always aiming at maximum characterization for the\n music. Yet the conductor’s spiritual identification with the symphony \nis as great as ever. There is not a single pedestrian moment. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWalter seems to use the original 1894 \nversion of the Ninth, edited by Alfred Orel, which the conductor \nemployed in his stereo recording. Bruckner’s dedication of the work, “to\n the Dear Lord,” is crucial to understanding Walter’s interpretation. At\n the symphony’s opening, we’re introduced to the ethic of strenuous \nChristianity. We find a mind similar to that of the Jesuit priest Gerard\n Manley Hopkins: “The world is charged with the grandeur of God.” The \nclouds part at the first movement’s beginning to reveal celestial light,\n as the brass throughout the composition often inhabit the world of \nRenaissance polyphony. The second subject, in luscious strings, portrays\n the blessed soul traveling through creation, seeking contentment that \nonly comes from the Almighty. As the movement proceeds, we see how \npersonal Bruckner’s relationship to God is. God is his refuge from \ndespair and uncertainty. When the second subject returns toward the \nmovement’s end, it is transfigured, as if the soul’s burdens are \nmagically lifted. Walter treats this movement’s conclusion in the best \nCecil B. DeMille fashion, portraying God as solitary upon a mountain \ntop. The scherzo for Walter depicts what Yeats called “The Trembling of \nthe Veil,” the sense that the poet’s generation in the 1890s—the time of\n the symphony—would receive an intimation of the eternal. The middle \nsection portrays the soul in breathless anticipation. Oboist Harold \nGomberg’s playing in the scherzo is especially sensitive. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe concluding movement for Walter is a\n meditation on final things, salvation and the resurrection. The second \nsection represents the soul’s anticipation of death, and the consolation\n of reunion with the eternal. Bruckner is no saint; the courage to face \ndeath does not come easily to him. Yet the symphony ends with the \ncomposer bowing to God’s ineffable mystery. Walter was not the only \nconductor in concert to dispatch the Ninth in a little over 50 minutes. \nHans Knappertsbusch in 1958 and John Barbirolli in 1966 did so as well. \nHowever, these three great conductors could not have more divergent \nviews of the work. Knappertsbusch, using a different edition, is all \nabout mystery. Barbirolli’s performance is filled with serious \nintrospection. Walter inhabits the ethos of Hopkins’s poetry: “Glory be \nto God for dappled things.” Who is right, I can’t say. The sound \nengineering for Walter is unusually good for a live recording from 1953:\n clear, reasonably well balanced, with a pretty good dynamic range. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eWalter’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a stunning achievement. It is filled with wit and irascibility. The \nPhilharmonic first chairs have a field day, most notably concertmaster \nJohn Corigliano, Sr. and first horn James Chambers. Unfortunately, the \nsound engineering is rather limited. The frequency response is poor and \nthere is considerable overload, especially when Saul Goodman bangs away \non the timpani. Nevertheless, the recording can be enjoyed. The main \ndraw of this CD is the Bruckner. The stereo recording of the Ninth I \nlisten to most often is by Hiroshi Wakasugi and the Saarbrücken Radio \nSymphony. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I like Neeme Järvi and the Royal Scottish National Orchestra. It is \ngood to have a memento of Bruno Walter at the peak of his career in the \nBruckner. He summons music-making of high seriousness and epic grandeur.\n \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:3 (Jan\/Feb 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC446.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter \u0026amp; the NY Philharmonic magnificent in a stunning Bruckner 9\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I do not believe that devotion has come across in a more impassioned way than in this performance\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThe two recordings in this programme have remained in private hands \nsince their recording from live Carnegie Hall concerts in the 1950s, and\n their provenance is unclear. Copies were donated by a private collector\n for this issue. Of the two, the Bruckner is by far the better, \ntechnically speaking: a full-frequency recording of remarkable quality \nfor its age, it appeared at first to be unusually swift for a Walter \nperformance of this work. Frequency analysis forced a revision of this, \nhowever - when properly pitched at the A440 used by the Philharmonic in \nthe early 1950s it closely matches other Walter recordings. Nevertheless\n the collector who passed it to me still regards it as perhaps Bruno \nWalter's finest recorded performance of Bruckner's 9th Symphony. It was this mis-pitching that led to it being long and incorrectly identified (and initially released by Pristine) as a 1950 performance, rather than a 1953 broadcast that has previously surfaced, albeit in far inferior sound quality. We were quick to correct this after release and would direct readers to the reviews quoted below which cover this subject in more detail.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBy contrast, the Strauss is a far rarer recording in the Walter \ndiscography (an earlier LA Philharmonic performance was issued on a \nNuovo Era CD and a Japanese Bruno Walter Society LP). It appears to have \noriginated on a slightly swishy acetate disc recorded from an AM radio \nsource, hence its limited frequency and dynamic range. Sonic \nshortcomings notwithstanding, it is a fabulous interpretation, \noutclassing the Los Angeles recording on a number of performance levels.\u003c\/p\u003e\n\u003cp\u003eIt should be noted that neither of these recordings included applause\n or announcements, and movement joins in the Bruckner were silent, \nindicating probable 12\" acetate side change points - I have preserved \nall that remains.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cem style=\"font-weight: bold;\"\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCKNER\u003c\/b\u003e  Symphony No. 9 in D minor, WAB109\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive concert recording, Carnegie Hall, 27 December, 1953\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\n\u003cp\u003e \u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: x-small;\"\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Till Eulenspiegels lustige Streiche, Op.28\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive concert recording, Carnegie Hall, 26 December, 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003ePreviously unissued\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC446.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC446.pdf578a9379d1e540bd96d26f0","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31976075021,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31976075085,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31976075149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31976075213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC446.jpg?v=1487682753"},{"product_id":"paco094","title":"WALTER Mahler: Das Lied von der Erde (1960) - PACO094","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 18 \u0026amp; 25 April 1960\u003cbr\u003eTotal duration: 63:40\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eMildred Miller\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    mezzo-soprano\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eErnst Haefliger\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    tenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cb\u003eNew York Phiharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBruno Walter\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e    conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor a stereo recording of Das Lied, this one remains a prime choice; strongly recommended.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eTo my great pleasure, Andrew Rose at \nPristine Audio is continuing to devote his refurbishing efforts to \nrecordings by my podium idol, Bruno Walter. Although his efforts have \nnot been uniformly successful, his best ones—the Bruckner Ninth and \nMahler Fifth symphonies that I praised in separate reviews in 37:1—are \naccomplishments of such merit that they caused me to fundamentally \nre-evaluate the character of the performances themselves. I am therefore\n pleased to give my endorsement to this new release as well. I initially\n approached this disc with some trepidation, because in my experience \nRose has been far less successful at remastering vocal recordings than \npurely instrumental ones; too often the character of singers’ voices has\n been altered for the worse with a kind of harsh, edgy electronic \npenumbra. Happily, that is not the case here; both Haefliger and Miller \nsound completely natural, and the sound has been opened up and made to \nblossom in a way very similar to what Rose achieved with the Bruckner \nNinth—richer, weightier bass, fuller midrange and treble, and a touch of\n added warmth to Columbia’s slightly dry-sounding original ambience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn particular, I think that Mildred \nMiller benefits the most here. She is a prime example of a singer with a\n good but not great or distinctive voice, who nevertheless could produce\n exceptional results under the tutelage of the right conductor, the \nlatter in this case being of course Walter. (Their recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLieder eines fahrenden Gesellen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003econtinues\n to have no peers, and it is mind-boggling to know that Walter himself \nhad never even studied the score until Miller asked to record it with \nhim when a few extra hours of studio recording time unexpectedly became \navailable!) While her voice \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003equa\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e voice is no match for that of Thorborg or Ferrier in Walter’s earlier recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n or for singers such as Maureen Forrester, Christa Ludwig, and Janet \nBaker in other famous versions, under Walter’s coaching she is an \nunexpectedly fine and probing interpreter of the texts. Haefliger \nremains one of the most poised and elegant purveyors of the tenor part, \nand the New York Philharmonic plays with razor-sharp virtuosity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is\n one of the dominant works in Walter’s discography, with eight different\n recordings (two studio, marked * below, and six live, with that from \n1949 lacking the first and last movements) having appeared on CD, as \nfollows: \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMESb\"\u003eDate\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12b\"\u003eSoloists\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12b\"\u003eOrchestra\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e05\/24\/1936 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKerstin Thorborg, Charles Kullmann \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e01\/18\/1948 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Set Svanholm \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e08\/21\/1949 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e*05\/15–20\/1952 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e05\/17\/1952 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eKathleen Ferrier, Julius Patzak \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eVienna Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e02\/22\/1953 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eElena Nikolaidi, Set Svanholm \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e04\/16\/1960 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eMaureen Forrester, Richard Lewis \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003e*04\/18 \u0026amp; 25\/1960 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eMildred Miller, Ernst Haefliger \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cspan class=\"TIMES12\"\u003eNew York Philharmonic \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOf these, the three commercial \nrecordings (the 1936 live performance in Vienna also being recorded by \nEMI for commercial release) easily continue to hold pride of place. Of \nthe other five, that of April 16, 1960 is the one of the most interest, \ndue to the presence of Maureen Forrester with Walter in a live \nperformance in quite decent monaural sound. (Tenor Richard Lewis is not \nquite on the same level, taking a couple of minutes to get warmed up and\n not ever sounding fully at ease in his upper register.) The two \nperformances with Svanholm are non-competitive, due both to that tenor’s\n uningratiating voice and defective vocal technique and to the inferior \nrecorded sound, while the 1949 performance is likewise in mediocre sound\n and (as already noted) incomplete. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs some readers doubtless already know,\n there has been considerable controversy over the Andante and Tahra \nreleases in 2002 of the live May 17, 1952 performances. In a review in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Magazine, Rob Cowen charged that the Andante release was actually a \ndoctored version of the contemporaneous studio recording, to which \nAndante’s artistic supervisor, Gottfried Kraus, wrote a rebuttal. The \nissue was further inflamed when a few months later Tahra issued what it \nclaimed was the first release of the May 17 performance, one clearly \ndifferent from the Andante release (e.g., Patzak flubs an entrance early\n in the fifth song). So far as I know, no definite resolution has been \nreached regarding the various claims and counter-claims; however if, as \nat least one source has suggested, the Tahra release is actually of the \nMay 18 performance, then there are nine surviving performances instead. \nFor my part, I think Cowen is right. While I trust that honest error \nrather than willful deception was involved, the Andante issue does sound\n uncannily like the Decca studio version, right down to a few momentary \nsubtle background noises. Moreover, Kraus has recently made a verified \nserious error regarding source materials in issuing a performance \nconducted by Hans Swarowsky of Mozart’s Concerto for Two Pianos, K 365, \nas being one by Wilhelm Furtwängler, despite the prior and \nwell-publicized authentic release of the latter in 2002 by Music \u0026amp; \nArts (see the reviews by Ronald Grames and Henry Fogel of the Orfeo set \nin 37:3, and by Fogel of the M\u0026amp; A release in 26:3.) Consequently, I \nfor one have doubts regarding Kraus’s acumen in discerning authentic \nsource materials. In any case, for most listeners the live performance \nin its indisputably authentic Tahra release will present an interesting \ngloss on, but not replace, the immortal Decca recording. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the three main contenders, all \nhave enjoyed multiple and uniformly glowing reviews from numerous \ncritics in these pages (not to mention elsewhere), and it would be \nsuperfluous of me to add to those at any length. Suffice it to say that \nwhile the 1952 Decca recording is the consensus choice for a \nfavorite—and indeed for many remains the greatest recording of the work \nfor all time—the other two versions also have their champions for first \nchoice. (Jon Tuska endorsed the 1936 EMI recording in 17:2, and \nChristopher Abbott the 1960 Columbia recording in 32:2.) As for myself, I\n love them all, but I concur with the consensus for the Decca recording \nas the desert island choice; while the 1936 version objectively ranks \nsecond as a performance due to my marked preference for Thorborg over \nMiller, the 1960 studio recording is better in virtually every other way\n and will likely provide most listeners with greater pleasure. I also \nwouldn’t be without the Tahra release; despite the lesser depth of the \nrecorded sound compared to the studio version and a few rough moments, \nit has a special incandescence, with Patzak in particular sounding even \nmore vibrant and having a real ring and heft to his voice. But for a \nstereo recording of\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Das Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, this one remains a prime choice, and now Pristine Audio has given one even more reason to acquire it; strongly recommended. \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO094.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's final word on the work he premièred 50 years earlier: Das Lied von der Erde\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"exceptional\n insight into, and sympathy with, Mahler's thought, and ability to \ncapture every nuance of his melancholy sensitivity\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eHaving conducted the \npremière performance of Das Lied von der Erde in Munich on 20 November \n1911, some six months after his close friend and long-time musical \ncolleague and mentor, Gustav Mahler's death, all of Bruno Walter's \nperformances and recordings of the work come inevitably with an extra \nring of \"authenticity\". He recorded the work three times, each \neffectively in a different era of recording technology. The first, made \nin Vienna in 1936 with Kerstin Thorborg and Charles Kullman (PASC108) \nsits sqaurely in the 78rpm era, whilst the second, another Viennese \nproduction, this time for Decca in 1952 with Kathleen Ferrier and Julius\n Patzak (PASC109), was a star release of the early mono LP era.\u003cbr\u003e\u003cbr\u003eHere we find him, in his \ntwilight years, in New York - with much improved sonics, and in full \ntrue stereo. Yet, as I've found with Walter's other late Columbia \nrecordings, there remains room for considerable improvements in sound \nquality here; XR remastering this recording has greatly opened out and \nfilled out the sound, lifting a veil from the top end, finding greater \nwarmth and depth at in the bass and lower mid-range, and smoothing out \nsome awkward hamornic peaks in the middle, to deliver a more natural \nsound from both singers and orchestra. Overall the result is entirely \ncaptivating!\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eMildred Miller\u003c\/b\u003e    mezzo-soprano\u003cbr\u003e\u003cb\u003eErnst Haefliger\u003c\/b\u003e    tenor\u003cbr\u003e\u003cb\u003eNew York Phiharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter\u003c\/b\u003e    conductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded 18 \u0026amp; 25 April 1960, Manhattan Center, New York City\u003cbr\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003eTotal duration: 63:40\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO094.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO094.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":32533227085,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32533227149,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32533227213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO094.jpg?v=1487756892"},{"product_id":"pasc452","title":"WALTER Rarities: American Columbia Recordings (1941-55) - PASC452","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eMOZART \u003c\/b\u003e Symphony No. 41, ‘Jupiter’\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003e Symphony No. 5\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003e Symphony No. 8, ‘Unfinished’\u003cbr\u003e\u003cb\u003eJ. STRAUSS II\u003c\/b\u003e Emperor Waltz\u003cb\u003e\u003cbr\u003eBRAHMS \u003c\/b\u003e Song of Destiny\u003cbr\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003e Symphony No. 8\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eTotal duration: 2hr 18:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBruno Walter,\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe best is saved for last here, in the form of an absolutely crackerjack performance of the Dvořák Eighth Symphony578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOnce again, doughty Pristine Audio \nbravely steps into the breach to fill in a gaping hole in the \ndiscography of famous performances that the holders of the original \nrecordings have failed to address. In this case, we are provided with \nsuperior transfers of wartime and post-war Columbias by Bruno Walter \nthat did not make it into either Sony’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBruno Walter Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n or any of its other domestic issues of Walter recordings. Foreign \nreleases of these renditions have been spotty or non-existent; indeed, \ntwo items (the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n and the Schubert Fifth Symphony) make their debuts on CD here. Since \nWalter rerecorded all of these works except for the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Scherzo in stereo (the omission of that from the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBW Edition\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n being a strange oversight), reissuance of these recordings was \nevidently not seen by Sony as either a necessity or a priority. Also, \nwith one very significant exception, Walter made superior recordings of \nthe four symphonies included in this set, and so there has not been a \npent-up demand among collectors (apart from die-hard Walterians such as \nmyself) for their renewed availability either. Pristine Audio is \ntherefore all the more to be commended for its intrepid endeavors to \nrestore worthwhile materials to a limited audience. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAmong Mozart’s last six symphonies, the\n Symphony No. 41 is unique in Walter’s discography in two ways: Of the \nlast four, it is the only one of which he made four rather than three \nstudio recordings, and it is the only one of the six for which there is \nno surviving live performance for comparison. This 1945 recording, the \nsecond of the quartet, was dropped from Columbia’s catalog once Walter \nre-waxed the work with the New York Philharmonic in 1956; it did appear \non a long out-of-print CD on the defunct Lys label (LYS 338), along with\n the Mendelssohn \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMSND\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Scherzo likewise included in this set. It is also the briskest of the \nfour, being marginally faster than his 1938 account with the Vienna \nPhilharmonic, most notably in the finale. The 1956 version is slower by a\n good half-minute in each movement but the Minuet, and the 1960 stereo \nversion with the Columbia Symphony adds about another half-minute more \nto all four movements. Consequently, this earlier performance (which \nalso sounds as if it may have used a reduced string section), while \nhardly HIP influenced, is more in line with current tastes for leaner, \nmore lithe Mozart and is of not inconsiderable interest. I would still \nrank it behind Walter’s other efforts, however. The New York \nPhilharmonic in 1945 does not have the lovely tonal sheen of the (very \nwell recorded) Vienna Philharmonic, though it outpoints the Europeans in\n the fugal finale; the 1956 performance (my overall first choice) has \nfar better recorded sound and more stylishly crisp and powerful playing;\n while the 1960 studio account, if somewhat slow and beefy by today’s \nstandards, has a stupendous account of the finale that makes it a \nmust-have. This transfer is far superior to the previous Lys issue, \nhaving much greater body and warmth. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCosì fan tutte \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n was a filler side in the original 78-rpm issue of the “Jupiter”; it \nalso briefly appeared in an extremely rare three-disc 45-rpm set as a \nfiller to Walter’s 1950 recording of Beethoven’s Fifth Symphony. Again, \nthere are three other studio accounts—a 1924 Berlin acoustic, a 1954 \nremake with the New York Philharmonic, and a 1961 stereo version with \nthe Columbia Symphony—plus a live 1954 New York Philharmonic broadcast. \nLeaving aside the sonically outdated acoustic rendition and the (as \nalways) somewhat slower stereo account, the middle three recordings are \ninterpretively almost identical, with the 1954 studio version having the\n edge sonically. But, no matter which recording one chooses of either \nthe symphony or the overture, one is treated to Walter’s uniquely \nwinsome and humane way with Mozart, with its nonpareil combination of \nwarm lyricism, vigorous heft, and good humor. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, this is the first \nappearance on CD of this 1955 account of the Schubert Fifth, a work \nWalter recorded in stereo with the West Coast version of the Columbia \nSymphony in 1960, as distinct from this earlier East Coast ensemble \ncomprised mostly of a stripped-down New York Philharmonic. (There is \nalso a live 1940 broadcast with the NBC Symphony in dry, constricted \nStudio 8-H sound.) Walter’s Schubert was of a piece with his Mozart in \nits unapologetic, full-blooded Romanticism that never fell prey to \ndistensions of the melodic line or gauche ritardandos. The two studio \nversions are virtually identical in the first three movements, with the \nstereo version having the edge for its warmer, richer sound; however, \nthe finale of the monaural account is appreciatively faster (5:54 vs. \n6:21), whereas the later stereo version comes off as a bit sluggish. If \nbetween the two the stereo account still gets the nod overall, the \nrestoration of the earlier account is a valuable corrective and \nsupplement to that version that fully warrants its return to the active \ncatalog. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe evergreen\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Kaiserwaltz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Johann Strauss, Jr., my absolute favorite of all his waltzes, was \napparently Walter’s favorite as well, for it is the only Strauss waltz \nof which he made three studio recordings (there are also hat tricks for \nthe Overtures to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Fledermaus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Der Zigeunerbaron\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n supplemented by a 1944 New York Philharmonic broadcast account. This \none-off effort from 1942 was previously issued on a Smithsonian \nCollection CD (RD 103-7 \/ A-24739). If Walter’s final studio version \nfrom 1956 again holds the sonic edge, this is arguably a superior \naccount interpretively, with all the Viennese lilt one could possibly \ndesire. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe second disc opens with Walter’s \n1947 recording of the Schubert “Unfinished.” Of the works featured in \nthis set, this has by far the most generous representation in Walter’s \ndiscography: three studio recordings, with the Vienna Philharmonic \n(1936), the Philadelphia Orchestra (1947), and the New York Philharmonic\n (1960), plus live broadcasts with the New York Philharmonic (1942, \n1945, and 1960, the first two circulating privately and the third issued\n on Wing WCD27 in Japan and long out of print), the Bavarian State \nOrchestra (1950, released by Orfeo), the Chicago Symphony (1958, issued \nby that orchestra in a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCollector’s Choice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n edition), and the Vienna Philharmonic (1960, on Music \u0026amp; Arts). The \n1947 rendition released here by Pristine—along with an account of \nBeethoven’s “Pastorale,” one of only two commercial recordings Walter \nmade with the “fabulous Philadelphians”—was issued by Sony, but only in \nFrance (5081742), in a pairing with the Dvořák Eighth Symphony also \nincluded here. As usual, the late performances, postdating Walter’s \nMarch 1957 heart attack, are significantly broader in their tempos—e.g.,\n 10:21 \/ 12:07 vs. 10:57 \/ 13:53 for the two movements of the 1947 and \n1960 studio accounts, respectively. For a balance between interpretive \nand sonic factors, the three most desirable accounts are these two later\n studio versions and the unusually taut (for Walter) 1950 Munich \nperformance. As all three are excellent, and captured in good sound for \ntheir respective dates, a choice between them is largely subjective: The\n Munich account offers incisive drama and the New York one beautifully \nsustained autumnal songfulness, with that from Philadelphia occupying a \nhappy medium. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs noted above, the Mendelssohn Scherzo\n is unique to Walter’s studio discography, though a 1948 New York \nPhilharmonic broadcast account has also been released on LP and CD by \nthe NYP and Music \u0026amp; Arts. It was originally a filler side to the \n78-rpm release of the fabled recording of the Mendelssohn Violin \nConcerto that Walter made with Nathan Milstein, which enjoyed the signal\n honor of being the first recording ever to be issued on LP. (In 1998 \nSony issued a special promotional reproduction of that LP on CD: SSK \n5770.) The performance is a delight, and as with the aforementioned \n“Jupiter” Symphony once again this Pristine transfer is far superior to \nits CD predecessor from Lys. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Brahms \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSong of Destiny\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—sung in English, hence that title rather than the original German \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchicksalslied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—is\n a particular Walter rarity for an unusual reason. Originally recorded \non December 15, 1941—with pointed symbolic reference to the attack on \nPearl Harbor eight days before—it was issued on LP (numbered SL 156) as a\n filler to Walter’s first studio recording of the Beethoven Ninth, on \nthe flip side of the disc containing the finale. However, Walter was \ndissatisfied with the finale of the Beethoven, and seized an opportunity\n to rerecord just that movement in 1953. Columbia then offered to \nexchange the new version of the Ninth (numbered SL 186), paired instead \nwith Walter’s 1942 recording of Beethoven’s Eighth Symphony, for free to\n anyone who sent back in his or her copy of the old version, and so \nsignificantly fewer copies of the Brahms have survived as a result. In \nhis NYP discography, fellow \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n critic James H. North notes a previous ultra-scarce Japanese Sony issue\n (SRCR-8733), of which I can find no other trace, so presumably that is \nlong out of print and this is the only available issue. The \nEnglish-language text is available on Pristine’s web site. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe best is saved for last here, in the\n form of an absolutely crackerjack performance of the Dvořák Eighth \nSymphony. While Walter would go on to record a warmly genial, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemütlich\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n account in stereo in 1961, many listeners may be surprised at this 1947\n performance, which positively bristles with the kind of restless, \nfebrile energy and energetic thrust associated instead with Toscanini. \nMarried as that is to Walter’s trademark lyricism of the singing line \nand robust, full-bodied orchestral palette, the result is a singularly \nstriking and compelling rendition that stays long in the memory. (There \nis also a superlative broadcast account with the New York Philharmonic \ndating from February 1948, two months after this studio recording. \nInterpretively it is perhaps my favorite of Walter’s three renditions; \nit is preserved from acetate discs in tolerable sound, but sonically it \ndoes not compete with either of the two studio versions.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs with the Schubert “Unfinished” \ndiscmate that was also on the French Sony issue, restoration engineer \nMark Obert-Thorn has left in more LP surface noise in the Dvořák than \ndid Sony. A choice between the two transfers is a matter of taste; while\n I welcome the quieter background and less prominent treble of the Sony \nrelease, I also find on repeated hearings that Obert-Thorn’s approach \nhas left in more instrumental color, which gives the Schubert in \nparticular a greater sense of drama and animation. Much the same careful\n and intelligent approach has been taken to the other transfers \nthroughout, always to the benefit of the performances. Pristine’s cover \nart for this issue is exceptionally striking and attractive. While the \nprimary appeal of this set may indeed be to committed Walterians, all \ncollectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan class=\"TIMESb\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC452.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA double-CD collection of some of Bruno Walter's rarest recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"All\n collectors of great historic performances owe it to themselves to \nacquire this set for the Dvořák in particular; highly recommended\" - \nFanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan\u003eThis collection brings together eight recordings by Bruno \nWalter which have seen scant, if any, availability in the CD era.  All \nstem from studio sessions for US Columbia, and range from among his \nearliest recordings in America (Brahms) to one of his last of the \npre-stereo era (Schubert 5th).  Some have seen limited CD reissue by \nSony in France and Japan (Schubert 8th, Dvořák) or Japan only (Brahms), \nwhile the remainder have never had an “official” CD release.  Two of the\n recordings (Schubert 5th, \u003cem\u003eCosì\u003c\/em\u003e Overture) have apparently never even had an \u003cem\u003eun\u003c\/em\u003eofficial CD release on independent labels.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe reasons for the unavailability of these recordings generally involve remakes in improved sound.  The Mozart \u003cem\u003eJupiter\u003c\/em\u003e and \u003cem\u003eCosì\u003c\/em\u003e\n Overture, both stemming from the same 1945 session, are a case in \npoint.  This was the second of four commercial recordings Walter would \nmake of the symphony; he had previously recorded it with the Vienna \nPhilharmonic, and would go on to remake it with the New York \nPhilharmonic on tape in 1956, and with the (West Coast) Columbia \nSymphony Orchestra in stereo in 1960.  While the latter two have stayed \nintermittently in the catalog, this earlier version was forgotten.  This\n recording of the \u003cem\u003eCosì\u003c\/em\u003e Overture was Walter’s first, but he \nwould go on to remake it in mono with the East Coast CoSO in 1954, then \nwith their West Coast counterpart in stereo in 1960.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSimilarly, the mono 1955 Schubert Fifth with the East Coast \nCoSO, another first Walter recording, was replaced five years later with\n a stereo West Coast version.  The Strauss waltz was one more item which\n Walter had previously recorded in Vienna.  He would go on to remake it \nyet again with the New York CoSO in 1956, and that has been the one \nreissued ever since.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Schubert \u003cem\u003eUnfinished\u003c\/em\u003e is one of only two commercial recordings Walter made with the Philadelphia Orchestra.  (The other, Beethoven’s \u003cem\u003ePastoral\u003c\/em\u003e,\n is available on Pristine PASC 067.)  Another item originally recorded \nin Vienna, it was remade with the New York Philharmonic in stereo in \n1958.  The Mendelssohn Scherzo is the only item on the program which \nonly exists in a single recording.  It was made at the same session as \nthe Mendelssohn Violin Concerto with Milstein and Walter as the set’s \nfiller side.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe Brahms \u003cem\u003eSchicksalslied\u003c\/em\u003e, sung here in English, was \nrecorded at Walter’s third session with the Philharmonic held during the\n first year he recorded with them, 1941.  Its dour message (“[W]e have \nbeen fated\/To find no rest here on earth\/They vanish, they falter\/Our \nsuffering brothers”) may have been programmed by Walter in sympathy with\n the innocent victims caught up in the wars raging in Europe and Asia; \nbut it found a new resonance at this session, held eight days after the \nattack on Pearl Harbor.  Walter would remake the work in stereo in Los \nAngeles in 1961.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe final recording was Walter’s first of two versions of the \nDvořák Eighth.  He would go on to remake it in stereo with the West \nCoast CoSO in 1961, but would not eclipse the tremendous vitality of \nthis electrifying version.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eMOZART:  Symphony No. 41 in C major, K.551 ‘Jupiter’\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e           \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34181\/7\u003cbr\u003eFirst issued on Columbia 12070\/3-D in album M-565\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMOZART:  Così fan tutte, K.588 – Overture\u003c\/b\u003e \u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 23 January 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-34188\u003cbr\u003eFirst issued on Columbia 12073-D in album M-565\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eSCHUBERT:  Symphony No. 5 in B flat, D.485\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eColumbia Symphony Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 5, 6 \u0026amp; 8 October 1955 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia ML-5156\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eJ. STRAUSS II:  Emperor Waltz, Op. 437\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003eRecorded 18 April 1942 in Liederkranz Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-32733\/4\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 11854-D\u003c\/span\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan\u003eSCHUBERT:  Symphony No. 8 in B minor, D.759 ‘Unfinished’\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003eThe Philadelphia Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRecorded 2 March 1947 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XCO-37428\/33\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on Columbia 12639\/41-D in album MM-699\u003c\/span\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eMENDELSSOHN:  \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e, Op. 61 – Scherzo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003eRecorded 16 May 1945 in Carnegie Hall, New York\u003cbr\u003eMatrix no.:  XCO-34746\u003cbr\u003e First issued on Columbia 12145-D in album M-577\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBRAHMS:  Song of Destiny (\u003cem\u003eSchicksalslied\u003c\/em\u003e), Op. 54\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003eWestminster Choir\u003c\/span\u003e\u003c\/b\u003e (John Finley Williamson, director)\n\u003cp\u003e\u003cb\u003e\u003cspan\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 15 December 1941 in Liederkranz Hall, New York\u003cbr\u003eMatrix nos.:  XCO-32178\/90\u003cbr\u003eFirst issued on Columbia 11801\/2-D in album X-223\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eDVOŘÁK:  Symphony No. 8 in G major, Op. 88\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003e Recorded 28 November 1947 in Carnegie Hall, New York\u003cbr\u003eMatrix nos.:  XCO-39465\/72\u003cbr\u003eFirst issued on Columbia 12883\/6-D in album M-770\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eBruno Walter (conductor)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC452.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC452.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fLibretto578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSchicksalslied\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIhr wandelt droben im Licht\u003cbr\u003e \u003cspan\u003eAuf weichem Boden, selige Genien!\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eGlänzende Götterlüfte\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eRühren euch leicht,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie die Finger der Künstlerin\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eHeilige Saiten.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Schicksallos, wie der schlafende\u003cbr\u003e \u003cspan\u003eSäugling, atmen die Himmlischen;\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eKeusch bewahrt\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIn bescheidener Knospe,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlühet ewig\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eIhnen der Geist,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eUnd die seligen Augen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlicken in stiller\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEwiger Klarheit.\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e Doch uns ist gegeben,\u003cbr\u003e \u003cspan\u003eAuf keiner Stätte zu ruhn,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eEs schwinden, es fallen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eDie leidenden Menschen\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eBlindlings von einer\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eStunde zur andern,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eWie Wasser von Klippe\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eZu Klippe geworfen,\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eJahr lang ins Ungewisse hinab.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFriedrich Hölderlin\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit 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PACO137","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eDas Lied von der Erde \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive at Carnegie Hall, New York, 18th January 1948\u003cbr\u003eTotal duration: 58:20\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eKathleen Ferrier\u003c\/b\u003e - mezzo-soprano\u003cb\u003e\u003cbr\u003eSet Svanholm \u003c\/b\u003e- tenor \u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f Strongly recommended to all aficionados of historic performances and of great singers and conductors578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBack in issue 37:4, when I reviewed Pristine Audio’s remastering of Bruno Walter’s 1960 studio account of Mahler’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n I discussed in some detail Walter’s discography of either eight or nine\n surviving accounts (the genuineness and exact dating of a purported \n1952 Vienna performance being in dispute). Readers interested in the \nnitty-gritty details may consult that review in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Archive. Here we have a remastering of a historic occasion: Kathleen \nFerrier’s American debut. This performance previously enjoyed two \nissues: one by Naxos in a restoration by Richard Caniell from 1999, and \nthe other in a 10-CD commemorative set of historic live Mahler \nrecordings issued by the New York Philharmonic in late 1998. Doubtless \nthe NYPO had access to a much superior source, for its version has much \nbetter sound than the rather muffled Naxos issue and Caniell has a \njustly earned reputation for exemplary remasterings. Both issues are now\n out of print, and the NYPO one was never available separately in any \ncase (used copies of the set are fetching over $100 on Amazon). In this \ncase, Andrew Rose appears to have started from the New York Philharmonic\n issue and employed his trademark XR remastering process upon that. The \nimprovement in sound quality is definite if minimal, resulting in \ngreater clarity in more congested passages. More importantly, it \nrestores this performance to the active catalog as a separate and quite \naffordable release. While the sound cannot compare to the superb sonics \nof Decca’s 1952 studio account (also remastered by Pristine, a version I\n have not heard), it is certainly quite listenable and affords far more \ndetail than one might expect from a live broadcast of its vintage. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMost importantly of all, how good is \nthe performance, and how does it compare with its rivals in the Walter \ndiscography? The answers respectively are very good and very well. Bruno\n Walter of course had an unrivaled identification with the score, having\n given its world premiere after Mahler’s death, and his three commercial\n recordings (1936 live, 1952, and 1960) remain dominant reference points\n in the Mahler discography despite their age. A particularly noteworthy \nfactor is a greater degree of urgency in Walter’s conducting as compared\n to his justly fabled 1952 studio account. The differences in the \ntimings may not seem substantial, but bear in mind that those from 1948 \nalso include about 10 seconds of audience noise between each movement, \nso that a variance of about 30 seconds in a movement of four to eight \nminutes length is one of 15 percent to 7 percent, which is quite \nperceptible. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable class=\"main\" frame=\"box\" rules=\"all\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003eMovement\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003e1948\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cb\u003e1952\u003c\/b\u003e \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 1 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:19 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:38 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 2 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e8:50 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e9:14 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 3 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e3:04 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e2:59 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 4 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e6:18 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e6:45 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 5 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e4:12 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e4:24 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"row\"\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e 6 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e27:37 \u003c\/span\u003e\u003c\/td\u003e\n\u003ctd class=\"cell\"\u003e\u003cspan class=\"TIMES\"\u003e28:22 \u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHaving previously played the First, \nSecond, Fourth, and Fifth Symphonies of Mahler under Walter’s baton (and\n of course that of Mahler himself four decades before), the New York \nPhilharmonic by this time was one of the very few well seasoned Mahler \norchestras in the world, and its playing here is thoroughly idiomatic. \nAs for the soloists, the legendary and much lamented Kathleen Ferrier is\n so famed for her 1952 studio recording of Walter in this same part that\n for me to expatiate upon her extraordinary and unique voice would be to\n gild the lily and try the patience of most readers. She is simply \nmarvelous here, though her 1952 accounts, sung\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e sub specie mortis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ein\n her ongoing losing fight against cancer, have both manifold subtle \nnuances and a heartbreaking pathos that she had yet to achieve at this \nstage of her career; here she is still a young lady full of life, \ncontemplating tragedy from the greater remove of a sensitive but \nobjective observer rather than the harrowing internal perspective of a \nsuffering victim. The difference is most telling in the final bars of \n“Der Abschied”; here it closes with serene acceptance, while the Vienna \naccount draws out the final measures with desperate reluctance to bid \nfarewell to all things lovely. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for tenor Set Svanholm, while he has\n his admirers, I have generally not been among them, usually finding his\n voice rather leathery, lacking in warmth and plasticity. Here, however,\n at an earlier stage in his career, he is in good form and for me a \nsurprisingly welcome asset. (The subsequent 1953 broadcast performance \nwith Walter, Elena Nikolaidi, and the NYPO finds him in markedly poorer \nform.) His voice is powerful and steady (an occasional slightly quavery \nnote aside), and he soars over Mahler’s orchestral tuttis without \ndifficulty. His interpretation is impetuous and forceful, a touch too \nmuch so in a few syllables that are punched out overly hard, but aside \nfrom Jonas Kaufmann it’s hard to think of anyone today who could exceed \nor match him in this part. Perhaps the greatest interest lies in the \npolar contrast he presents to Julius Patzak in the latter’s 1952 \nperformances with Walter. Largely self-taught in vocal technique (he \noriginally studied conducting), Patzak had one of the most idiosyncratic\n voices of any singer to achieve a major reputation. Its relatively \nlight weight (the Evangelist in Bach’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Matthew Passion \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas one of his most frequent roles, though he unexpectedly achieved great fame as Florestan in Beethoven’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n and extreme nasality would seem a poor fit for Mahler’s orchestral \nperorations; but Patzak possessed incredible finesse and could thread \nthe finest vocal needles with astounding elegance, and his ironically \nworld-weary rendition of this part remains an unsurpassed interpretive \nbenchmark. Whereas vocally Svanholm wields a weighty cutlass, Patzak \ndeftly employs a stiletto. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn sum, anyone looking to have only one\n representative recording of Mahler’s late masterwork under the baton of\n his closest colleague and foremost disciple will naturally gravitate to\n the 1952 studio version, or possibly its 1960 stereo successor \navailable from either Sony or Pristine. Ditto for anyone seeking just \none version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Ferrier. But for those desiring additional perspectives on these \ntwo artists, and\/or anyone wanting to hear Svanholm (or simply a more \nheroic tenor than Patzak), this release commands attention, and hearty \nthanks are due to Andrew Rose for making it available again. Strongly \nrecommended to all aficionados of historic performances and of great \nsingers and conductors. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cstrong\u003eJames A. Altena\u003c\/strong\u003e \u003cbr\u003eThis article originally appeared in Issue 40:3 (Jan\/Feb 2017) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis recording is a digital restoration of a 1999 \nrelease of this performance. Andrew Rose, the engineer of the current \nrelease, writes that present day technology has allowed him to remove “a\n great deal of surface noise and hiss” and to “make great strides with \nthe overall tonal quality, improving greatly the clarity of vocal \ndelivery and ameliorating congestion in the lower orchestral ranges.” \nThe balance between upper and lower registers is markedly superior in \nthis restoration. However, there is a tradeoff. Whereas the chromatic \ntrumpet declamation toward the beginning of “Trinklied vom Jammer der \nErde” is rather pale and far overshadowed by the horn in the 1999 \nrelease, it is a bit strident in the current restoration, and the rush \nof winds accompanying it seems to overload the microphones in a \ncacophony of sound. This is an ongoing tradeoff: It is difficult to \ndistinguish individual lines in louder, faster orchestral passages, \nwhich seem noisy and shrill. However, the gain in color in all other \npassages and the crispness of the vocal sound far outweigh this issue.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the performance, it is simply a must-have. \nBruno Walter’s conducting is more impetuous here in comparison to the \nfamous 1952 Vienna recording with Ferrier and Julius Patzak; his \ninterpretation in the 1952 recording is perhaps more noble. Ferrier’s \nhigh notes (for example in the first phrase of “Der Einsame im Herbst” \nare a bit warbly here, with an over-rapid vibrato that is less apparent \nin the 1952 recording, and she goes slightly sharp at the climax of that\n movement, but her expressive power is unsurpassed in both recordings, \nand her variety of phrasing and articulation and her connection to the \ntext may even be preferable here. The orchestra overpowers her a bit in \nthe manic fast section of “Von der Schönheit” and her voice is overly \nprominent in the mix of “Der Abschied.” But in contrast to the 1999 \nrelease, there is no sense of sonic overload in the vocal line of “Der \nAbschied”; Ferrier’s voice has been returned to its characteristic warm \nrichness here.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMy one dissatisfaction with this performance is \nSet Svanholm’s delivery, which I find to be relentlessly declamatory. To\n be sure, the tenor movements call for a heroic sound. But Svanholm \nsings syllable by syllable in a near-constant marcato that provides \nlittle room for shading and multi-syllabic phrasing. The tone quality is\n glorious on long notes, which inherently have space to bloom. It is a \nnaturally younger, brighter sound than Patzak’s, not simply due to their\n ages (44 for Svanholm, 54 for Patzak) at the time of their respective \nrecordings. But even in rustic, boisterous passages, where such a sound \nis perhaps preferable to Patzak’s, Svanholm’s delivery is monotonously \nchoppy. But I must emphasize: this is an indispensable recording, and I \ngive it a very high recommendation. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMyron Silberstein  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\n      \n    \n  \n  \u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO137.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKathleen Ferrier's American debut at Carnegie Hall, 1948\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“Vital, controlled and incisive” - GRAMOPHONE\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"b\"\u003eThis recording of Kathleen Ferrier's American debut first \nappeared on CD in 1999, when two different CD releases almost coincided.\n Both are now harder to come by. It was partly this and partly a desire \nto address the shortcomings of a \"privately made recording on acetates\" \n(Gramophone) which led to a request for me to see what might be done \nusing today's digital restoration technology.\u003c\/p\u003e\u003cp class=\"b\"\u003eAfter removing a great deal of surface noise and hiss I've \nbeen able to make great strides with the overall tonal quality, \nimproving greatly the clarity of vocal delivery and ameliorating \ncongestion in the lower orchestral ranges. I've also been able to both \ncorrect overall pitch and address problems with wow and pitch drift \nwhich were beyond the technologies of the late 1990s.\u003c\/p\u003e\u003cp class=\"b\"\u003eThe result is a highly memorable and enjoyable \u003cem\u003eDas Lied\u003c\/em\u003e\n - one can only assume that the three days that elapsed between the \nfirst performance, reviewed with some reservations expressed in the New \nYork Times (above), and the present one made all the difference with \nregard to both performances and delivery.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cstrong\u003eMAHLER \u003c\/strong\u003eDas Lied von der Erde \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive at Carnegie Hall, New York, 18th January 1948\u003cbr\u003eProducer and Audio Restoration Engineer: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Kathleen Ferrier\u003cbr\u003eTotal duration: 58:20\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eKathleen Ferrier\u003c\/strong\u003e - mezzo-soprano\u003cbr\u003e\u003cstrong\u003eSet Svanholm\u003c\/strong\u003e - tenor \u003cbr\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBruno Walter\u003c\/strong\u003e, conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Artwork578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO137.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO137.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cstrong\u003eCONTEMPORARY PRESS REVIEW\u003c\/strong\u003e: FIRST NIGHT\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: medium;\"\u003eWALTER CONDUCTS MAHLER SYMPHONY\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003eAs Guest on Philharmonic's Podium He Features 'Das Lied von der Erde’ Work\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"text-align: center;\"\u003eBy OLIN DOWNES\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eWe \nhave always preferred '‘Das Lied von der Erde” to all other of the \nsymphonic works of Gustav Mahler. Bruno Walter specializes in Mahler. He\n signalized his return to the podium of the Philharmonic-Symphony \nOrchestra last night in Carnegie Hall with this particular composition, \nwhich he prefaced with a delightfully gemuetlich reading of the \nBeethoven Fourth Symphony.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eIn \nthe simplest and profoundest pages of the Fourth Symphony, which are \nthose of the introduction and the slow movement, the conductor went \nsomewhat faster than is customary. Both movements are marked adagio — \nvery slow. But all tempo directions are relative, and the relativities \ninclude the feeling and the taste of the musician interpreting. For some\n a more deliberately poised tempo in the places mentioned gives the \nmusic a more mysterious heauty. Mr. Walter’s tempi had the pulse of the \nflesh as well as the spirit. The symphony delighted the audience by its \nhumor, its play of fancy, its perfection of ideas and of form. A triumph\n for the players and the conductor! For the listener an altogether \ndelectable experience!\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eOne’s\n reasons for admiring the “Lied von der Erde” are doubtless generally \nshared. The lyricism of the poetry has an inspired parallel in the \ncompletely lyrical nature of the scoring both for voices and orchestra. \nTenor and contralto — last evening the mezzo-soprano, Kathleen Ferrier —\n carry the burden of the song. But the orchestra also, with its \nremarkable devices of coloring and of dramatic accentuation, sings its \nsong, and intersperses the final verses for the woman's voice with an \ninterlude which is a “lied” of its own. The very melodic writing needs \nno translation or commentary to exert its immediate if sometimes obvious\n and sentimental appeal. Sentimental or not, the complete sincerity of \nthe music is unquestionable and affecting.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eSaying\n this, one adds reluctantly that the performance, for one reason or \nanother, began to fall before it was over. This at least was the \nreaction of one listener who is not a perfect Mahlerite. Was this only \ndue to certain characteristics of the performance? Both soloists were \ndeficient in diction. Svanholm, the tenor, could only shout, in the \nopening verses, against heavy orchestra, and in this Mr. Walter did not \nspare him.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: georgia, palatino;\"\u003eBut \nMr. Svanholm was prevailingly hard-voiced and lacking in variety of tone\n color. Miss Ferrier had but recently emerged from a bad cold. Her voice\n became freer as she went on. She could not, however, give the full \nsignificance to her text and music. Some time before the end was reached\n “Lied von der Erde” was becoming langweiling, lachrymose, \nold-fashioned.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: monospace;\"\u003e\u003cstrong\u003eNEW YORK TIMES, 16 January 1948\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32418292429,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32418292493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32418292621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO137.jpg?v=1487682977"},{"product_id":"paco137-cd","title":"WALTER Mahler: Das Lied von der Erde (1948) - 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PASC494 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":33404144909,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":33404144973,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC494.jpg?v=1658744242"},{"product_id":"pasc494","title":"WALTER conducts Brahms, Volume 3 (1941-52) - PASC494","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Piano Concerto No. 1 - Haydn Variations\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Alto Rhapsody - Academic Festival Overture\u003cbr\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eUn Requiem Tedesco (A German Requiem, sung in Italian)\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003eLive recordings, 1941-52\u003cbr\u003eTotal duration: 2hr 31:33 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eB\u003c\/b\u003e\u003cb\u003eruno Walter, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eClifford Curzon\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eEnid Szantho\u003c\/b\u003e, contralto\u003cbr\u003e\u003cb\u003eRosanna Carteri\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eBoris Christoff\u003c\/b\u003e, bass\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eHollywood Bowl Orchestra\u003cbr\u003eRome Symphony Orchestra \u0026amp; Chorus of RAI\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe concerto recording is a true treasure. As usual, Pristine’s transfers are as good as it gets578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe hugely important discovery here is the Piano \nConcerto No. 1 with Clifford Curzon, a New York Philharmonic concert in \nexcellent monaural (and\/or SR Stereo) sound from Pristine. This \nperformance has never been available before. Curzon’s second studio \nrecording for Decca, with George Szell has been a favorite of mine, and \nin fact I entered it into \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n Classical Hall of Fame in issue 15:5. That recording finds soloist and \nconductor each pulling the other toward a very happy middle ground that \ncombines Curzon’s poetry, lyricism, and remarkable feel for color with \nSzell’s sense of architecture and rhythmic tension and release. His \nfirst studio recording, with van Beinum and the Concertgebouw, is also \nin the top tier, with a bit more dash and frisson than the Szell.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis live performance offers a conductor and \nsoloist naturally attuned to each other, with some of the risk-taking \nthat is only likely to occur in a live performance. There are moments of\n hushed dialogue in both the first and second movements (particularly \nthe latter) that are pure magic. While I would not give away my Decca \nrecording, neither will I give this one away. Olin Downes, in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew York Times \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n of the concert in 1951, said “… those who did not and will not hear \nthese performances are missing something the like of which they are \nunlikely to hear again.” Now, thanks to Pristine, those of us who \nweren’t present can, in fact, have the experience. There seems an almost\n magical communication between pianist and conductor, in the way they \nshape phrases and scale dynamics. This is a true musical conversation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other special performance here is the 1947 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Walter is often mis-characterized, particularly by those who prefer simplistic reductions rather than complex realities, as a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemütlich \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003econductor\n whose principal performance style centers around a kind of generalized \nwarmth. In fact, Walter was in no way one-dimensional. Yes, he did bring\n a kind of trademark lyricism to his work, but that should not be taken \nto imply a lack of rhythmic drive. This \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eperformance\n (as with the last movement of the Piano Concerto) is marked by a fierce\n energy, and fully engaged playing by the Hollywood Bowl Orchestra, \nalthough there are some shaky moments in terms of ensemble. Walter \nperfectly integrates the movements, with all their changes of tempo; the\n result is an organic, exciting performance that to my ears is an \nimprovement over Walter’s Columbia studio recording.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEnid Szantho was a Hungarian contralto with a decent career, but there seems little that is special about her singing in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlto Rhapsody\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The Westminster Choir sings well enough, but frankly I see little \nreason to prefer this to Walter’s studio recording with Mildred Miller. \nThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAcademic Festival Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n also recorded at the Hollywood Bowl in concert, is a wild \nride—surprisingly unbuttoned and, at times, even uncontrolled. There are\n some ensemble problems here too, as in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n but you can make the case that they add to the excitement, and we know \nthat outdoor summer concerts have always been under-rehearsed.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe biggest puzzle to me is the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGerman Requiem \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eperformance\n chosen here. I don’t know what alternatives were available to Pristine,\n but this Italian-language performance seems a very odd choice. The \nsound is quite good, and the performance is at 68:25 a full five minutes\n slower than the studio recording Walter made with Irmgard Seefried and \nGeorge London. It is nice that Pristine gives us a good-sounding \ntransfer, but I’m not sure the performance is one I will listen to more \nthan once. The Italian language is odd in this music, the reading feels a\n bit cautious at times, and while the soloists have wonderful voices \nneither seems comfortable with the style of this music. The chorus \nsounds a bit raw at times too, less well blended than one would hope.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eDespite reservations, though, Andrew Rose and \nPristine deserve credit for increasing the available Bruno Walter \nmaterial, since he was surely one of the major conductors of the first \nhalf of the 20th century. And the concerto recording is a true treasure.\n As usual, Pristine’s transfers are as good as it gets. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel  \u003c\/span\u003e\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\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\/PASC494.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis final entry in the Walter conducts Brahms series features only \none recording from the 1951 series around which it has been constructed,\n the previously unissued and stunning performance with Clifford Curzon \nof the Piano Concerto No. 1. The surviving source for this recording has\n suffered some mild deterioration over the last 66 years that can at \ntimes be heard, but never to the extent that it distracts from the \nperformance - in this we have I hope largely achieved the wish of the \nNew York Times correspondent who wished it \"might have been transfixed \nand preserved immaculate for the generations\" - if not quite immaculate,\n then pretty close to it. It's certainly a major addition to the Walter \ndiscography. \u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eFor the rest of this release I've had to sift \nthrough the archives - not all of Walter's 1951 performances survive, \nand there we no performances of either the German Requiem or the Alto \nRhapsody in the series. The latter, from a 1941 Carnegie Hall \nperformance appears here for the first time, whilst I decided on the \nItalian performance of the German Requiem  for both better sound quality\n and an unusually slower tempo from Walter than the other performances \ncaptured at this time. In both cases I've done what I can with the \narchive material available to me - the age of the Alto Rhapsody is \nreflected in a limited frequency range, whilst there is some top end \nhash heard during some of the louder passages of the Requiem. \u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eThe\n other two recordings here come from the same Hollywood Bowl performance\n that appears on Volume 1 of this series, and yes, once again the \ncrickets make an appearance towards the end of the Haydn Variations!\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eDISC ONE\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBRAHMS  Variations on a Theme by Haydn, Op. 56a\u003c\/b\u003e*\u003cbr\u003e1 Theme. Chorale St. Antoni  (1:53)\u003cbr\u003e2 I. Poco più animato  (1:17)\u003cbr\u003e3 II. Più vivace  (1:02)\u003cbr\u003e4 III. Con moto  (1:52)\u003cbr\u003e5 IV. Andante con moto  (1:50)\u003cbr\u003e6 V. Vivace  (0:58)\u003cbr\u003e7 VI. - Vivace  (1:11)\u003cbr\u003e8 VII. Grazioso  (2:07)\u003cbr\u003e9 VIII. Presto non troppo  (0:59)\u003cbr\u003e10 Finale. Andante  (4:14)\u003cbr\u003e\u003cbr\u003e11 \u003cb\u003eBRAHMS Alto Rhapsody, Op. 53\u003c\/b\u003e  (11:02)\u003cbr\u003e\u003cb\u003eEnid Szantho\u003c\/b\u003e, contralto\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBRAHMS  Piano Concerto No. 1 in D minor, Op. 15\u003c\/b\u003e\u003cbr\u003e12 1st mvt. - Maestoso  (20:49)\u003cbr\u003e13 2nd mvt. - Adagio  (13:36)\u003cbr\u003e14 3rd mvt. - Rondo. Allegro non troppo  (10:49)\u003cbr\u003e\u003cb\u003eClifford Curzon\u003c\/b\u003e, piano\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1 \u003cb\u003eBRAHMS Academic Festival Overture, Op. 80\u003c\/b\u003e*  (9:27)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBRAHMS  Ein Deutsches Requiem, Op. 45\u003c\/b\u003e** (Sung in Italian) \u003cbr\u003e2 I. Selig sind, die da Leid tragen (Ben è vero che gli affliti son beati)  (10:03)\u003cbr\u003e3 II. Denn alles Fleisch (Dell'erba al par la carne è vile)  (14:00)\u003cbr\u003e4 III. Herr, lehre doch mich (Dio, svelami tu)  (10:01)\u003cbr\u003e5 IV. Wie lieblich sind deine Wohnungen (Le tue dimore sono dolci invero)  (5:01)\u003cbr\u003e6 V. Ihr habt nun Traurigkeit (Voi avete qui dolor)  (7:16)\u003cbr\u003e7 VI. Denn wir haben hie (Stabil secle in terra noi non abbiamo)  (10:40)\u003cbr\u003e8 VII. Selig sind die Toten (Oh, beati i morti che muoiono nel Signore)  (11:27)\u003cbr\u003e\u003cb\u003eRosanna Carteri, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eBoris Christoff, \u003c\/b\u003ebass\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003cbr\u003e*Hollywood Bowl Orchestra \u003cbr\u003e**Rome Symphony Orchestra \u0026amp; Chorus of RAI\u003cbr\u003eBruno Walter\u003c\/b\u003e, conductor\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on  photographs of Walter \u0026amp; Brahms\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e*Haydn Variations: 10 July 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAlto Rhapsody: 9 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003ePiano Concerto No. 1: 28 January 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e*Academic Festival Ov.: 10 July 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e**German Requiem: 16 April, 1952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eAll performed at Carnegie Hall, New York \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eexcept *Hollywood Bowl, Los Angeles, **Auditorium Rai di Torino\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 31:33  \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC494.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC494.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNY Times Concert Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eOne emerges from the second concert of the Brahms series which Bruno \nWalter is giving with the Philharmonic - Symphony Orchestra, which took \nplace last night in Carnegie Hall, with, if anything, an even deeper \nimpression of the music and its unique interpretation.\u003cbr\u003e\u003cbr\u003eThese \nconcerts apparently find Mr. Walter at the very zenith of his powers, \nabsorbed in a task which is especially dear to him. He conducted last \nnight the variations on the theme of Haydn, the Third Symphony, and the \nFirst Piano Concerto, with the fortunate collaboration of Clifford \nCurzon. He interpreted in such a manner that those who did not and will \nnot hear these performances are missing something the like of which they\n are unlikely to hear again.\u003cbr\u003e\u003cbr\u003eMr. Walter was fortunate in his \npianist, for Mr. Curzon treated the piano part of the concerto with the \nsame sense of grandeur and poetry and passionate feeling entertained by \nthe conductor. In one respect Mr. Curzon was not fortunate. He came at \nthe end of a long and substantial program. This did not deter him from a\n magnificent interpretation, in which he showed that while as a virtuoso\n he had the music in the palm of his hand, he also had the complete and \nsensitive understanding of the score which he would have manifested if \nhe had been conducting.\u003cbr\u003e\u003cbr\u003eThere was a further correspondence in the\n complete unaffectedness and virility of his reading, and his ability to\n capture mood and an introspective beauty of a rare kind in the passages\n that contrast exquisitely with the prevailing ruggedness and grandeur. \nThere were salvos for the conductor and the soloist. This was \ninevitable. One could only wish that the flying moment might have been \ntransfixed and preserved immaculate for the generations.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOlin Downes \u003c\/b\u003e The New York Times, January 26, 1951 (excerpts)\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":38673485965,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":38673486029,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":38673486093,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC494_b7343d07-7410-414d-9e27-2d436fb09c8a.jpg?v=1496233253"},{"product_id":"pasc343","title":"CANTELLI conducts Cherubini, Richard Strauss, Busoni (1954) - PASC343","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eCHERUBINI \u003c\/b\u003eSymphony in D\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eTod und Verklärung\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBUSONI \u003c\/b\u003eBerceuse élégiaque\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBUSONI \u003c\/b\u003eTanzwalzer\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded live at Carnegue Hall in 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 68:01\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis issue will be self-recommending to all admirers of this great though short-lived conductor.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis release contains almost all of a Cantelli concert from \n                  March 1954. Missing is the piece with which the concert ended, \n                  Ravel’s \u003ci\u003eBolero\u003c\/i\u003e. Cantelli expert, Keith Bennett, \n                  tells us in his notes that there has been at least one recording \n                  issued which purports to be of Cantelli’s performance \n                  on that occasion. However, he’s been unable to establish \n                  definitively whether the recording is the genuine article - \n                  reading between the lines, one suspects it’s spurious. \n                  The present transfers, by Andrew Rose, are from Keith Bennett’s \n                  own collection and Rose seems to have done a very good job. \n                  The sound is good and wears its near-sixty years well. \u003cbr\u003e\n                    \u003cbr\u003e\n                  The Cherubini symphony has never really established a place \n                  in the repertoire. However, Toscanini took it up and in a note \n                  accompanying Cantelli’s 1952 broadcast of the work (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2012\/June12\/Cherubini_Cantelli_PASC319.htm\"\u003ePASC \n                  319\u003c\/a\u003e) Keith Bennett suggests that Toscanini’s example \n                  inspired Cantelli’s interest. Apparently he was scheduled \n                  to conduct it again in New York in December 1956, a few weeks \n                  after the plane crash that cost him his life. It may not be \n                  a great symphony but Cantelli pays it the compliment of taking \n                  it very seriously. He gives a spirited account of the first \n                  movement and shapes the second movement elegantly. He secures \n                  strongly rhythmical playing in the \u003ci\u003eMinuetto\u003c\/i\u003e and the playing \n                  in the finale displays high levels of energy. I haven’t \n                  seen a score but it’s noticeable that the finale runs \n                  for 4:40, making it the shortest movement in the work - by contrast \n                  the first movement plays for 10:18; I wonder if Cantelli omitted \n                  some repeats or if the movement is genuinely so short. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003ci\u003eTod und Verklärung\u003c\/i\u003e comes off well, perhaps because \n                  Cantelli is fairly sober in his approach. He generates good \n                  atmosphere in the quiet opening pages and then in the much more \n                  urgent section (4:44 - 8:02) he really whips the orchestra up, \n                  though without doing anything to excess. The final revelation \n                  of the Transfiguration music itself (17:26) is noble - and Cantelli’s \n                  handling of the preceding pages, preparing for the theme, is \n                  exemplary. The piece isn’t one of the composer’s \n                  finest but Cantelli’s way with it is very persuasive. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  The Busoni \u003ci\u003eBerceuse\u003c\/i\u003e is an expanded version of a piano \n                  piece, which Busoni re-worked in response to his mother’s \n                  death in 1909. Most of the music is subdued in tone and delicate \n                  and Cantelli leads a refined and sensitive account. By contrast \n                  \u003ci\u003eTanzwalzer\u003c\/i\u003e represents Busoni in a lighter vein and Cantelli \n                  performs it with flair. \u003cbr\u003e\n                    \u003cbr\u003e\n                  This is yet another release of live performances that show us \n                  what an exceptional talent was Guido Cantelli. The attractions \n                  of this disc are increased by the general rarity on disc of \n                  some of the repertoire. Cantelli gets some excellent playing \n                  from the orchestra and this issue will be self-recommending \n                  to all admirers of this great though short-lived conductor. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eJohn Quinn\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC343.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eCantelli in superb form with the New York Philharmonic-Symphony\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e1954 broadcast concert recording from Carnegie Hall\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cp class=\"body\"\u003eThe recordings here stem from a number of sources collected by Keith Bennett and donated for transfer purposes to Pristine Audio for this release, for which we are most grateful. There is some slight variability in sound quality between the sources, but overall the sound is good, with perhaps the Strauss and Busoni surpassing that of the Cherubini. The final pitching of the recording was determined by careful analysis of residual 60Hz electrical hum and suggested the orchestra was playing very slightly sharper than standard concert pitch of A4=440Hz - I have elected to retain the actual pitch of the concert rather than \"correct\" it.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs Mr. Bennett's notes make clear, this was not the complete concert. The final work played on the day was Ravel's Boléro, and this appears on an Italian CD credited to this performance. A number of factors led us to the suspicion that this might not be a genuine recording from this concert - not least technically. It's pitch is considerably different to that of the rest of the concert when corrected to a 60Hz analysis, and also varies considerably by comparison to a good \"flat\" pitch recording of the rest of the concert, which suggests at the very least a different tape machine and, more than likely, a different concert.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, to ensure we were not missing out on a complete recording, Mr. Bennett contacted both the New York Philharmonic Orchestra and Carnegie Hall's archive department. Both were adamant that not only was the Ravel not broadcast, but that that part of the concert had not been recorded either in-house or off-air. We do not know, therefore, who is conducting and playing the purported Cantelli Boléro, nor when or where it was recorded. This release contains all that survives from the present concert.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCHERUBINI \u003c\/strong\u003eSymphony in D\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Tod und Verklärung\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBUSONI\u003c\/strong\u003e Berceuse élégiaque, Op. 42\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBUSONI\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Tanzwalzer, Op. 53\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded live 21 March 1954 Carnegie Hall, New York \u003cbr\u003eOriginal recordings from the collection of Keith Bennett\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eGuido Cantelli \u003c\/strong\u003econductor \u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2012\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cbr\u003eOriginal recordings from the collection of Keith Bennett \u003cbr\u003e\u003cbr\u003eTotal duration: 68:01\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC343.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC343.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eNotes by Keith Bennett\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe works for this programme is interesting. As far as the Cherubini symphony is concerned a more comprehensive  account is to be found on Pristine Audio PASC 319, a CD which also includes Strauss’s Tod und Verklärung  both being part of Cantelli’s 29th appearance with the NBC Symphony Orchestra on 27 December 1952. On this present CD the performance of the Cherubini is only fractionally quicker than the rendition given by the NBC Symphony Orchestra but there is a more substantial  difference for the Strauss - 22:21 here as opposed to 23:28 in the earlier performance. Incidentally, that 1952 performance is closer both to Strauss’s  and Toscanini’s interpretations.\u003cbr\u003e\u003cbr\u003eHowever, collectors will be more interested in having the two pieces by Busoni. The composer was profoundly affected by the death of his mother on 3 October 1909 and he returned to a little piece for piano entitled Berceuse which he had composed earlier in the year. He conceived the extended orchestral version which we know as Berceuse élégiaque and this was completed on 27 October 1909. For once in his life Busoni carried out the menial task of writing out the orchestral parts no doubt because he was very much aware that the work contained a number ‘singular harmonies and instrumental harmonies which have not yet been approved’ and it took a half hour rehearsal with the Queen’s Hall Orchestra (granted by Henry Wood) on 1 November 1909 for Busoni to be satisfied that what he had written and now had the opportunity of hearing was what he intended. The score is specific regarding the number of musicians required and rarely departs from Andantino calmo only rising to forte briefly in its 118 bars. Even if some commentators feel that the work is not significant in Busoni’s oeuvre, that is not what the composer himself felt about it explaining ‘I have succeeded for the first time in creating an individual sound and dissolving the form into feeling’: from the listeners standpoint the near static tempo, Andantino calmo, creates the numbness of grief.\u003cbr\u003e\u003cbr\u003eAlthough Oskar Fried ran through the work in 1910 with the Berliner Philharmoniker, it had to wait until 21 February 1911 for its first performance when Gustav Mahler included the work in 1911 for its first performance in a concert consisting of mainly of Italian music at his final concert in New York. The composer acknowledged the applause from a box: in that box was Arturo Toscanini and when Busoni wrote to his wife he mentioned that the Italian conductor had expressed great admiration for the piece. Toscanini gave six performances with the Philharmonic-Symphony Orchestra of New York between 1929 and 1932, but then there was a considerable gap until he gave a performance with the NBC Symphony Orchestra on 13 March 1948.\u003cbr\u003e\u003cbr\u003eCantelli recorded the work with the Orchestra Stabile dell’Accademia Nazionale di Santa Cecilia on 10 May 1949 and initially approved the recording for issue on 21 September. However, after he had taken the test pressings for Toscanini to hear he adamantly refused to countenance the release.  Was it just a coincidence that Toscanini conducted the piece again on 10 December 1949? \u003cbr\u003e\u003cbr\u003eCantelli was due to begin his second stint with the NBC Symphony Orchestra on 24 December and he could already have been in New York at the time of what was to be Maestro’s final performance of  the Berceuse élégiaque: perhaps Toscanini was showing his younger colleague just how it should be played. Interestingly, although the Berceuse élégiaque can be numbered as among Cantelli’s core repertoire (he gave 28 performances with twelve orchestras) it was not until 1951 that he programmed the work in the USA and never once did he include the work during his stints with the NBC Symphony Orchestra. The composer’s suggestion for a performance was approximately 10:00: of the two Toscanini performances (which were made available to the author by John Canniel) his slower was the 1949 rendition (8:15). On this CD Cantelli gives his quickest performance (7:54), but all the performances by Cantelli and Toscanini are respectful of the composer’s wishes in terms of dynamics.\u003cbr\u003e\u003cbr\u003eTanzwalzer, Op.33 \u003cbr\u003e\u003cbr\u003eWhereas, apart from 1950, Cantelli conducted at least two performances of  the Berceuse élégiaque every year from 1946 until 1954, he only gave  five performances of  Tanzwalzer. He first included the work in an Italian concert given in 1948 given in Italy, the second was in 1950 with the NBC Symphony Orchestra which has been issued in a box of four CDs (Testament SBT4 1317) and finally three more performances were given in 1954, and this CD preserves his very last performance.\u003cbr\u003e\u003cbr\u003eBusoni was an intensely serious musician but he needed to compose lighter works to keep his equilibrium. Such a work is Tanzwalzer for which he wrote the entire sketch on 19 September 1920 and completed the full score less than a fortnight later on 1 October. The composer provided a brief note for its first performance: ‘The Tanzwalzer was written originally in jest (and as a personal test of my own lighter talents) inspired by strains of a waltz issuing from inside a coffee-house, heard from walking in the street The work is dedicated to the memory of Johann Strauss, whom the composer sincerely admires’.\u003cbr\u003e\u003cbr\u003eWhether Cantelli ever perceived any music as a jest is open to speculation. As one would expect, Cantelli is generally respectful of the composer’s wishes (admittedly adding a crescendo at Figure 7 before asking the first violins to provide a ravishing ppp on the high E) and takes all the repeats. His performance (7:54) is some half a minute quicker than that of 1950 .\u003cbr\u003e\u003cbr\u003eA final comment is required to justify the exclusion of Ravel’s  Bolero which was the final item in the programme. As usual, the last concert in a group of performances was  broadcast, but it was a fairly common occurrence for the final item in a concert not to be transmitted. There existed a recording on the long-defunct AS disc (AS 547) which purported to be from the concert given on 19 March,  but despite numerous enquiries it has not proved possible (so far!) to establish incontrovertible evidence that the performance on AS 547 is indeed from 19 March or, even more unlikely, from 21 March. For that reason, the decision was taken not to use that recording on this CD.\u003cbr\u003e\u003cbr\u003eKeith Bennett © June 2012\u003cbr\u003e\u003cbr\u003eKeith Bennett is the author of Guido Cantelli – Just Eight Years of Fame (published 2009) which is only available from GC Publishers. \u003cbr\u003eFor further details either write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk IP12 4UL, UK or e-mail cpublishers@keithbennett.waitrose.com\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":37145073997,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37145074061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37145074125,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37145074189,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC343_b1ab0b7f-a20f-4f76-9f23-3fea0ab724f6.jpg?v=1494339093"},{"product_id":"pasc343-cd","title":"CANTELLI conducts Cherubini, Richard Strauss, Busoni (1954) - PASC343 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478148237,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478148301,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC343_108d640c-8ff3-4c68-beda-7e9c8db24b08.jpg?v=1658308276"},{"product_id":"pasc378","title":"MENGELBERG in New York: Overtures and Short Works (1928-30) - PASC378","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eVARIOUS COMPOSERS \u003c\/b\u003eA selection of shorter works\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eStudio recordings, 1928-1930\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 72:54 \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eWillem Mengelberg, \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Magic Flute Overture is brilliantly played, the Egmont Overture, likewise...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn March 1928, Walter Damrosch’s New York City \nSymphony Orchestra, plagued by financial problems, was absorbed by the \nrival New York Philharmonic. Several of its players were auditioned by \nthe Philharmonic and among the ones who made the cut was a violinist \nnamed Winthrop Sargeant, who went on to be a music critic for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe New Yorker\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Willem Mengelberg had been conducting the Philharmonic for several \nyears, recently as co-conductor with Arturo Toscanini. Years later, in \nhis book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGeniuses, Goddesses, and People\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (New York, 1949), Sargeant, presumably with his tongue in his cheek, \ndescribed Mengelberg’s rehearsal technique: “For about a decade he had \nbeen the Philharmonic’s supreme master. And he had been proud of his \norchestra. With an apoplectic temperament that matched his red hair, and\n a meticulous Teutonic regard for system and technical detail, he had \nwhipped the orchestra into a state of efficiency that had made it a \nworthy rival of Stokowski’s Philadelphia Orchestra and Koussevitsky’s \nBoston Symphony. Mengelberg was by nature an academician—a man of rules \nand regulations. He had an endless fund of very sound and very pedantic \ntheories on how to train a symphony orchestra. He measured every breath \nand bowstroke with finicky precision. With the help of long lectures \ndelivered in a unique dialect of Holland English, he explained the \nvarious systems of bowing and blowing by which he reduced the orchestra \nto a well-oiled machine. ‘Vy do you make ‘doo-doo’ ven I tell you to \nmake ‘too-too?’ he would admonish a careless trumpet player. When the \ntrumpet player obligingly made ‘too-too,’ he would grunt with \nsatisfaction. ‘Now you make more like the Concertgebouw in Amsterdam,’ \nhe would remark proudly. ‘The too-too system iss werry important.’”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“Mengelberg talked interminably. He often took up \nso much time orating about fascinating details that he had to call extra\n rehearsals in order to get a symphony thoroughly polished. He could \nhardly conduct two successive measures of music without stopping the \nwhole orchestra to deliver a lecture. Many of his lectures were very \nelementary, and they were incessantly repeated. ‘Chentlemen,’ he would \nsay at the beginning of a rehearsal, while the orchestra listened \ndutifully, ‘Chentlemen, goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’ (this was the polar opposite in the Mengelbergian philosophy from ‘badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’) ‘goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, dat vill say you must not somewhiles look auf der balcony, und sometimes auf der ladies in der owdience. No! Goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n dat vill say you vill look always auf der condooctor.’ And with a smart\n slap on his own chest and a slight rush of blood to his head, he would \nconclude, ‘und I am der condooctor.” With this emphatic statement, he \nwould raise his baton and the Philharmonic would prepare to play. The \nviolinists would place their bows on the strings in readiness; the wind \nplayers would inhale for the coming blast. Mengelberg would seem about \nto give the signal—and then he would suddenly think of something else to\n say. The baton would fall again, the violinists would place their \nfiddles in their laps, the wind players would exhale their wasted \nbreath, and everybody would settle back in his chair. ‘I do not like \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eschimpfen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (scolding),’ he would continue. ‘I am not like odder condooctors. I do \nnot make so’—here he would imitate the gestures of what he imagined to \nbe the gestures of some of his famous colleagues—‘und so, und so. No! I \nmake chust so!’—and here he would illustrate his typically Mengelbergian\n beat. A dissertation on the superiority of the Mengelbergian system \nwould follow. It would sometimes be half an hour before the Philharmonic\n started to rehearse and then it would rehearse in driblets interspersed\n with similar lectures on ‘goot’ and ‘badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,’ and how ‘goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e must can play loudt’ and also ‘must can play soft,’ and so on.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003e“…By the time Mengelberg had thoroughly rehearsed a\n maneuver, the Philharmonic could carry it out automatically by itself. \nAt concerts, the well-oiled machine ran faultlessly under its own power.\n Mengelberg merely stood at the controls, pressing an occasional button.\n The result was that the Philharmonic had become, if not the most \ninspired, at least the most spectacularly well-trained orchestra in \nAmerica. And though they had occasionally wearied of his incessant \nharping on theoretical platitudes, the Philharmonikers had developed a \ndeep respect for Mengelberg. He was the man who had made them what they \nwere.”  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf the lectures on “gut” and “badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e”\n are, in part, responsible for the parade of delights that is this CD, \nit was worth the Philharmonic’s suffering. The performances of \n18th-century music are unburdened by musicological considerations but no\n less charming for that; nowadays, no one would be likely to milk the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAir for the G String\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e the way Mengelberg does. Aside from some oddly unbalanced wind chords, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Magic Flute\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Overture is brilliantly played, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture, likewise. When my class graduated from grade school, we \nmarched up and down the aisle to the “War March of the Priests.” Like \nevery other performance I’ve heard, Mengelberg’s is more sprightly than \nsolemn. If you had taken a poll of opera-goers in 1880, the year of \nOffenbach’s death, and asked them whose music would hold the stage in \n130 years, Meyerbeer’s or Offenbach’s, I am sure that Meyerbeer would \nhave been the overwhelming choice. Well, here we are in 2013 and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales of Hoffmann, Orpheus in Hades, La belle Hélène\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Périchole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, among others, are still performed; in fact, there are probably more performances per year of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales of Hoffmann\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e alone than there are of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eL’Africaine, Les Huguenots\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Prophète \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eput together. What survives of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Prophète\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is its majestic “Coronation March” (Mengelberg’s can swagger with the \nbest of them) and some of the pieces from the opera’s ice-skating scene,\n thanks to Frederick Ashton’s ballet, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Patineurs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The excellent sound of “Forest Murmurs” won’t surprise anyone who knows\n it was recorded at the same session that produced Mengelberg’s amazing \n1928 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which still sounds good today. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n excerpt receives a performance that’s as good as anybody’s, and \nfeatures particularly sensitive wood wind playing. I’d prefer a slower \ntempo in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHänsel und Gretel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n but it’s certainly a well-polished performance. Like the Beethoven and \nMozart overtures, it was recorded in Liederkranz Hall, a smaller, \ndrier-sounding auditorium than Carnegie Hall. The producer, Mark \nObert-Thorn, has added a discreet touch of resonance to mask this. The \nexcellent collection concludes with a lively but refined \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOmphale’s Spinning Wheel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Mengelberg made previous and later recordings of a few of these pieces \nbut, as the producer notes, “the bulk of these selections are unique to \nhis discography.” \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC378.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eMengelberg in New York: an arresting pot-pourri collection of recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eMark Obert-Thorn compiles a diverse collection of superb studio performances from 1928-30\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe present volume offers a wide range of Mengelberg’s repertoire, from the Baroque, Classical and Romantic eras in the one- or two-disc releases of overtures and short works that were a staple of the 78 rpm era. Some of them Mengelberg had previously recorded acoustically with the New York Philharmonic (Mendelssohn and Saint-Saëns), while others had already received electrical recordings with his other orchestra, the Concertgebouw in Amsterdam (the Beethoven and the first two movements only of the J. C. Bach). However, aside from re-recording the Beethoven and J. S. Bach items (the latter in a different arrangement), Mengelberg never returned to the other works in the studio, making the bulk of these selections unique to his discography.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe earliest recording featured here is the Wagner, done at the tail end of Mengelberg’s sessions for Ein Heldenleben in December, 1928. Much of the rest of the present release was done over two days’ worth of sessions the following month. The remaining items were recorded a year later, along with his recordings of the Beethoven First and Eroica Symphonies just before he left New York, never to return.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources used for the present transfers were vinyl test pressings for the Handel; American Victor “Z” pressings for the J. S. Bach, J. C. Bach, Mendelssohn and Meyerbeer items; and pre-war Victor “Gold” label pressings for the remainder. The discs have a comparatively high degree of hiss inherent in the original recordings, present even on the quietest sources. In addition, the 1930 recordings were made with reduced forces in Liederkranz Hall, a smaller and presumably cheaper-to-rent venue than Carnegie, which RCA used for the orchestra after the onset of the Depression late in 1929. I have added a small amount of digital reverberation to these acoustically dry sides in order to better integrate the sound with the remaining items.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANDEL \u003c\/strong\u003e(arr. Göhler) Alcina – Suite\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos.: BVE 48910-2, 48911-1, 48912-2 and 48913-4\u003cbr\u003e First issued on Victor 1435 and 1436\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. S. BACH\u003c\/strong\u003e (arr. Mahler) Air (from Suite No. 3 in D major, BWV 1068) \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48914-3 \u003cbr\u003e First issued on Victor 7484\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. C. BACH \u003c\/strong\u003e(arr. Stein) Sinfonia in B-flat major, Op. 18, No. 2\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e\u003cspan class=\"body\"\u003eBruno Labate\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e solo oboe (II)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e Recorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 48907-3, 48908-2 and 48909-1 · \u003cbr\u003e First issued on Victor 7483 and 7484\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART \u003c\/strong\u003eDie Zauberflöte – \u003cem\u003eOvertur\u003c\/em\u003e\u003cem\u003ee\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. BVE 58189-2 and 58190-2\u003cbr\u003e First issued on Victor 1486\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Egmont – \u003cem\u003eOverture\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. CVE 58191-1 and 58192-1 \u003cbr\u003e First issued on Victor 7291\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMENDELSSOHN \u003c\/strong\u003eAthalie, Op. 74 – \u003cem\u003eWar March of the Priests\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48906-1 \u003cbr\u003e First issued on Victor 7104\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMEYERBEER \u003c\/strong\u003eLe Prophète – \u003cem\u003eCoronation March\u003c\/em\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48903-1 \u003cbr\u003e First issued on Victor 7104\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER \u003c\/strong\u003eSiegfried – \u003cem\u003eForest Murmurs\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 December 1928 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 47935-3 and 47936-2 \u003cbr\u003e First issued on Victor 7192\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eHUMPERDINCK\u003c\/strong\u003e \u003c\/strong\u003eHansel und Gretel – \u003cem\u003eOverture\u003c\/em\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. CVE 58193-1 and 58194-2 \u003cbr\u003e First issued on Victor 7436 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSAINT-SAËNS\u003c\/strong\u003e Le Rouet d’Omphale, Op. 31\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 48904-2 and 48905-1 \u003cbr\u003e First issued on Victor 7006\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e Philharmonic-Symphony Orchestra of New York\u003cbr\u003e Willem Mengelberg \u003c\/strong\u003econductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\u003cp\u003eTotal duration: 72:54 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC378.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC378.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":34192265741,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34192265805,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC378.jpg?v=1489682248"},{"product_id":"pasc378-cd","title":"MENGELBERG in New York: Overtures and Short Works (1928-30) - PASC378 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478173901,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478173965,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC378_910d26c6-5b93-480b-8ebe-14bf51110c33.jpg?v=1658309155"},{"product_id":"pasc382","title":"WALTER conducts Mahler, Symphony No. 5 (1947) - PASC382","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 5\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1947\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 61:29 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003eBruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWith his transfer of the Fifth Symphony, Rose finally reaps sonic gold578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHere we have a brace of remasterings by Andrew \nRose of several of Bruno Walter’s legendary Mahler symphony recordings; \nonly the monaural New York Philharmonic versions of the First and Fourth\n symphonies are not included. The results are mixed, with no clear \npattern of superiority or deficiency emerging.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn the case of the First and the Ninth symphonies,\n I compared this Pristine issue against Sony’s 1994 “Bruno Walter \nEdition” issue; the recent 24 bit remasterings in the seven-CD set of \nall of Walter’s Mahler recordings for Columbia (see the Classical Hall \nof Fame review by Christopher Abbott in 35:6), and Japanese Blu-spec \nissues (once again kindly lent to me by friend and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n subscriber Bob Alps). In the case of the First, I had two different \nBlu-spec discs available to me, one pressed on gold rather than \naluminum, with the more expensive metallic base advertised as providing \nmore enhanced sound. I found virtually no difference between the two \ndomestic issues on the one hand, and the two Japanese issues on the \nother. Between those two pairs, the preference is probably more \nsubjective than objective. The Japanese versions are mastered at a \nhigher level, so that they have a more immediate presence; however, that\n brings with it more background noise (particularly hiss in the high \ntreble frequencies) and a slightly less well defined (albeit more \npowerful) bass register. The domestic versions have a bit less punch, \nbut have whisper-quiet backgrounds and crisper (if less thunderous) \nbass. Where the Japanese versions score points are in passages such as \nthe opening of the scherzo of the First, in which the unison lower \nstrings have more oomph and color without sacrificing clarity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHow do the Pristine remasterings stack up against \nthis competition? Given that Rose works from LP copies instead of master\n tapes, remarkably well, but in the end his issue of the First takes a \nvery honorable third place. His sound palette falls about midway between\n the domestic and Japanese Sony issues. He manages to create a sense of \nslightly more body than in the domestic Sony discs, but not as much as \nin the Japanese ones; but in so doing he loses some of the clarity of \nthe bass lines in the domestic versions without gaining all the \ncompensating power of the Japanese ones. It also simply sounds too \nartificial at times; the opening of the scherzo is again a key \nindicator, as the lower strings have an unnatural ambience that makes \nthem sound both more distant and less distinct. Furthermore, there is a \nslight but audible low-frequency rumble from the LP present in the \nPristine remastering that afflicts none of its rivals. Rather than \nstriking a happy medium between two extremes, he gets only part of the \nstrengths of each side, along with part of the weaknesses as well. I for\n one would prefer either end of the spectrum to the middle. I wish that \nRose had devoted his attentions instead to Walter’s monaural 1954 New \nYork Philharmonic recording, which might well have yielded far more \npromising results.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBy contrast, the Pristine transfer of the Ninth is\n far more competitive, and arguably even the one of choice. Once again, \nSony’s domestic and Japanese issues present contrasting polarities of \nremastering philosophies. In this instance, however, the Japanese effort\n is a major miscalculation, with overbearing high frequency tape hiss \nand extremely unpleasant harshness in the upper registers. (Did the \nfolks at Opus Kura temporarily hijack Sony in Japan?) By contrast, the \ndomestic issues in the 1994 Bruno Walter Edition and the 2012 24-bit \nremastering (again, no real difference between them) present an honest, \nclear sound portrait with minimal tape hiss, and just a touch of the \nclinically antiseptic lack of definition that sometimes has been the \ndisadvantage of the digital medium. Happily, Rose here manages to go \nmore or less toe-to-toe with the domestic Sony issues for clarity and \npresence of sound, while retaining the greater warmth of analog LP \nissues and beefing up the bass. While the rival versions are more or \nless of equal worth in the two outer movements, Pristine has a slight \nbut clear advantage in the two middle movements. However, given that the\n seven-CD Sony set can be had for the same price or less than the two-CD\n Pristine set, its purchase will commend itself to avid Mahlerians and \nWalterians rather than to more general collectors.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the Second symphony, here Rose went up \nagainst three different Sony remasterings: the original 1994 Bruno \nWalter Edition, a 1999 Japanese Sony DSD version, and a 2009 Japanese \nSony Blu-spec edition. The 1994 release was my one serious \ndisappointment in Sony’s BW Edition series; while a significant \nimprovement over the Odyssey CD issue and various preceding LP \nincarnations, it has a somewhat dry and underpowered bass register that \ndoes not faithfully reflect either Walter’s sonic palette or the \nacoustics of Carnegie Hall. It also still had the feeling of the sound \nbeing confined inside a cramped sonic box that needed to be opened up \nand aired out. The DSD version was the first to overcome that to some \nextent and do this recording a degree of justice, opening up the entire \nfrequency range in general and beefing up the bass in particular, but \nstill having an intangible but real sense of constriction remaining. \nThat edition is still in print and can be ordered from Japan through HMV\n Japan and similar outlets.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThankfully, these limitations are abolished at \nlast by the 2009 Blu-spec version—and how! The results of that \nremastering are simply mind-boggling in their transformative scope; were\n it not for some residual background tape hiss, one could easily be \nfooled into thinking it to be a new SACD digital recording, with the \nsoloists, chorus, and orchestra at last bursting forth in unrestrained \nsplendor, grounded in a positively earth-shaking bass register. Alas, \nthat edition appears to be already out of print, though as I type these \nlines used copies still can be had from Japan for about $60-$100 through\n Amazon.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNot surprisingly, this Pristine remastering is not\n competitive with either the DSD or Blu-spec versions from Japan—but \nthen, it is in print and costs considerably less as well. When compared \nto the 1994 Bruno Walter Edition, it holds its own. The sound is fuller,\n the bass register stronger, and the boxiness partially opened up. \nHowever, I think that Rose slightly miscalculated here and added one \ndegree too much of resonance throughout the entire frequency range, \ncreating a noticeably artificial effect of a bit too much equalization. \nTaking the exact same approach, but slightly toned down, would have \nyielded superior results with no drawbacks. Still, if I did not have the\n two Japanese issues of this recording in my collection, I would want to\n have this one as an alternative—or should I say antidote?—to the BW \nEdition release. Rose does score two additional positive points with his\n version: He puts the entire performance on one CD (Sony’s failure to do\n so in any of its releases is positively maddening), and he inserts an \nextra track partway through the finale, so that one does not have to \nscroll through a single track lasting over half an hour in order to get \nto the mighty final climax.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith his transfer of the Fifth Symphony, Rose \nfinally reaps sonic gold. According to booklet notes by producer Dennis \nD. Rooney in the 1994 Sony Bruno Walter Edition release, the performance\n was originally recorded at 33 1\/3 rpm on 16-inch lacquer masters. It \nwas then dubbed for commercial release first onto 78 rpm acetate discs \nand later onto a master tape. The latter was, Rooney states, used for \nall LP and CD issues of the performance prior to the BW Edition, which \nreturned to the lacquer masters. Unfortunately, those had suffered \nabrasive damage in the intervening years, so that the new issue was \nafflicted at points with patches of loud scratches. Despite some \nimprovement in the sound (though rather less than touted in those \nbooklet notes), I found the extraneous noise so painful that my \npreference remained with the 1991 digital remastering in the preceding \n“Masterworks Portrait” series. It was only with the appearance last year\n of the aforementioned seven-CD set by Sony that a truly listenable \nedition of this recording finally appeared, that did some justice to the\n performance. Even so, that release retains a very dry acoustic, flat \nand lacking in sheen, with an overly subdued bass register.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRose has managed to correct and compensate for \nthat to a surprising degree. While no one will mistake this for a \nhigh-fidelity recording, the orchestral sound now has far more presence \nand color, with a greatly strengthened bass register. At a few \npoints—most noticeably, the opening trumpet fanfare of the first \nmovement—the sonic retouching is overly apparent and the added ambience \ndraws undue attention to itself, but such moments are few and readily \nacceptable for the acoustic wizardry worked throughout the whole. For \nthe first time, I can listen to this performance with real pleasure, \nrather than a somewhat grudging sense of obligation, and for that I am \nincalculably in Rose’s debt.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always with Pristine, the packaging is bare \nbones, and notes must be downloaded from Pristine’s website. This issue \nof the Fifth belongs in the collection of every Mahlerite; the Ninth is \nalso well recommended, and the Second is quite respectable, leaving only\n the First as a relative disappointment. Now, on for Pristine to the \nFourth Symphony and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDas Lied von der Erde! \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC382.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's Mahler 5: \"First class in every way\" (The Gramophone)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eA new XR remastering that sounds truly incredible - for any recording of this vintage!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording, made at the end of the 78rpm direct-to-disc era, both benefits and suffers as a result, as has been clear from previous issues. The Philips LP referred to in our Gramophone review struggled with a lack of clarity, especially at the top end, whilst later CD issues have suffered a surfeit of surface noise. No previous issue has successfully tackled the somewhat constricted sonics of the original recordings in the manner that this new 32-bit XR remastering has succeeded in doing, unlocking the broad sweep both of Mahler and Walter's collective visions. Rebalancing the orchestral tone has revealed a fuller and more glorious sound than I had dared to anticipate in a remastering process that has taken on numerous incarnations since I began it eight months ago.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 5\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/strong\u003e \u003cbr\u003e \u003cstrong\u003eBruno Walter \u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e Recorded 10 February 1947\u003cbr\u003e Carnegie Hall, New York\u003cbr\u003e First issued as Columbia 78rpm album MM 718\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, July 2012-March 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 61:29 \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC382.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC382.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 Symphony No. 5\u003c\/strong\u003e, 1957 UK LP issue\u003c\/p\u003e\u003cp class=\"body\"\u003eIn THE GRAMOPHONE for November, 1953, I wrote about this\n symphony at some length, expressing in general a degree of doubt as to \nits total coherence. The enormous structure, however, could scarcely be \ngiven a better chance of making its multitudinous points than on this \nnew set of discs, which are first class in every way. \u003cbr\u003e \u003cbr\u003e Walter \ntakes very great care, in particular, over accentuation, over the \nshaping of every one of Mahler's phrases. The result is often to propel \nthe music when it stands most in need of propulsion: not all \nperformances disclose a rhythmic shape to a cloud of notes as clearly as\n this one. Particularly does the Scherzo benefit; and the alert reading \nresults not merely in a winning effect but also in a practical advantage\n - the Adagietto can then be accommodated on the same side, leaving the \nwhole third side of the set available for the Finale, with obvious \nengineering advantages. \u003cbr\u003e \u003cbr\u003e Throughout the players respond readily\n not only to Walter's forward urge, but also to all the other demands of\n the music. The brass are on top of their form, with superbly confident \ntrumpets and rich-sounding trombones; so are the strings, with dash, \nunanimity, and, particularly in the Adagietto, a very full quality of \ntone. This movement does to some extent lack a clear reproduction of the\n important harp part; but the previous Scherzo always makes clear the at\n least equally important solo horn part, here most beautifully played. \u003cbr\u003e \u003cbr\u003e\n The recording is sonorous, even in the severest of Mahler's climaxes, \nwhich it approaches without flinching. The sonority does not, save \nexceptionally, exclude clarity; and it establishes beyond a doubt the \nsuperiority of this version of the symphony to the earlier Nixa set. \nThat was very clearly recorded (again, curiously, except as to that \nelusive harp part), but the overall sound was not as warm as that of the\n new Philips; nor did Scherchen achieve quite the felicities of \nphrasing, or, In places, the forward urge of Walter.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eM.M., The Gramophone\u003c\/strong\u003e, December 1957 , \u003cem\u003eexcerpt\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34253283597,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34253283661,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34253283725,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34253283789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC382.jpg?v=1489741771"},{"product_id":"pasc382-cd","title":"WALTER conducts Mahler, Symphony No. 5 (1947) - PASC382 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178253,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178317,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC382_738d74d0-a294-41ab-afcf-0a71710ee7b8.jpg?v=1658309288"},{"product_id":"pasc397","title":"BRONISLAW HUBERMAN the Complete Bach and Mozart Concerto Recordings (1934\/45) - PASC397","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eViolin Concerto No. 1\u003cbr\u003e\u003cb\u003eBACH  \u003c\/b\u003eViolin Concerto No. 2\u003cbr\u003e\u003cb\u003eMOZART  \u003c\/b\u003eViolin Concerto No. 3\u003cbr\u003e\u003cb\u003eMOZART  \u003c\/b\u003eViolin Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eStudio \u0026amp; Live Recordings · 1934 and 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 76:12\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBronislaw Huberman \u003c\/b\u003eviolin\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra - Issay Dobrowen\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York - Bruno Walter\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHuberman deserves be reckoned among great violinists, not only among great humanitarians. Urgently recommended. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn, who produced Pristine’s release \nof Bronislaw Huberman’s studio recordings of violin concertos by Bach \nand Mozart (No. 3) as well as a live performance of Mozart’s Concerto \nNo. 4, notes that the original studio recordings weren’t particularly \nwell made, even for their vintage (the recording sessions took place in \nJune 1934). Henry Roth doesn’t include these performances among \nHuberman’s best, considering his version of Mozart’s Third Concerto \nponderous and Bach’s E-Major Concerto (No. 2) only “marginally better.” \nBut, to begin at the beginning, Huberman and the Vienna Philharmonic \nOrchestra bring springiness rather than solemnity to the first movement \nof Bach’s A-Minor First Concerto, with the ensemble introducing many \nslight crescendos and decrescendos into the tuttis and the violinist \nmaking passagework dance off the string. If Huberman has acquired the \nreputation for being old-fashioned, this performance doesn’t entirely \nbear out that impression. In the slow movement, however, he connects \nnotes with portamentos that most modern violinists couldn’t bring \nthemselves to duplicate, yet he keeps Bach’s rhetoric soaring. Neither \nthe soloist nor the orchestra seem inclined to drive the Finale forward,\n but Huberman nevertheless discharges a strong current of electricity in\n it, once again combining lightweight articulation with portamentos in \nan anomalous mixture of old and new.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHuberman sounds highly individual in the first \nmovement of Bach’s E-Major Second Concerto, tonally and conceptually, \nsetting a more recognizable seal on every passage than did violinists \nsuch as Jascha Heifetz, Mischa Elman, and Nathan Milstein—or even, \nlater, David Oistrakh. Issay Dobrowen imparts a pronounced character to,\n and traces the dialogue buried in, the tutti sections. The effect here \nwill perhaps seem as disfiguring to some as it will transcendent to \nothers. No one able to accept the anachronisms (such as the piano \ncontinuo’s prominence when the textures thin) even grudgingly should be \nable to deny the violinist’s (or the conductor’s) penetration, however \nmusical manners may have changed in the last 75 years. Listeners may \nalso react differently to the portamentos that Huberman introduces so \nlavishly into the slow movement (Roth dismissed them out of hand). And \nif Huberman never sounds like what Roth described as a “tonalist” (like \nHeifetz and Elman)—and even if his timbral palette takes some getting \nused to—the most hostile listeners should be able to hear through it to \nthe music’s core, which Huberman penetrates. The engineers have allowed \nhim to disappear behind an orchestral veil toward the end of the \nmovement. In the Finale, though his passagework sounds abrasive at \ntimes, it’s always light and vibrant.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRoth thought Huberman’s recording of Mozart’s \nThird Concerto to be ponderous, but that can’t be because of \nheavy-handed bowing or sluggish tempos (in fact, his energy in the first\n movement recalls Isaac Stern’s); only the cadenza sounds at all \nperfunctory. If the slow movement doesn’t seem to waft down from \nviolinistic heaven (the accompanying triplets not so downy as angels’ \nfeathers), it still provides a moment of sweet respite (despite its high\n level of activity) from the surrounding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and Rondo. In the Rondo, he races at a tempo that might have earned a \nspeeding ticket in another time (remember Eugène Ysaÿe’s dash through \nthe Finale of Mendelssohn’s Violin Concerto), reminding listeners along \nthe way of Mozart’s wit as well as of his elegance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe recorded sound from the live performance of \nthe composer’s Fourth Concerto 11 years later places Huberman far to the\n front of the orchestra—this time the New York Philharmonic-Symphony \nOrchestra conducted by Bruno Walter—allowing listeners to hear all the \nbetter the sparkle of his off-the-string bowings. The Concerto’s slow \nmovement provides contrast after such a vivid performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with Huberman taking advantage of his instrument’s lower registers in \nits cantabile subsidiary theme; his walk up and down the scale at the \nmovement’s end sounds highly individual. Huberman and Walter endow the \nFinale with flinty wit. (Ruggiero Ricci once answered a question about \nthe hardest violin concerto of all by citing the Finale of this work, \nwith its tricky bowings—perhaps a surprising answer from one who has \ntackled finger-twisters that others avoid—or at least, did avoid until \nhe attempted them). Though some of the passages in this performance \nsound rough-hewn (exhibiting occasional ax-like articulation), they all \nbubble.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor the second and third \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBook of Lists\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n Isaac Stern and Yehudi Menuhin, respectively, compiled rankings of the \n10 best violinists, with Stern including Huberman and Menuhin not. It’s \nclear from the older violinist’s performances of this non-Romantic \nliterature alone, not perhaps his specialty, that Huberman deserves be \nreckoned among great violinists, not only among great humanitarians. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eRoth, urgently recommended. \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 37:5 (May\/June 2014) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC397.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBronislaw Huberman's complete Bach and Mozart Concerto Recordings\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eSpecial 25th anniversary* transfers by Mark Obert-Thorn\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003eThis release brings together for the first time in a single place all of Huberman’s Bach and Mozart concerto recordings. The sources for the transfers of the commercially-issued discs were American Columbia pressings: a “Royal Blue” shellac set for the Bach A minor concerto; a large label, post-“Viva-Tonal” black shellac album for the Bach E major (except for the first side, which came from a late-1930s “microphone” label copy); and a small label “Master Works” set for the Mozart.\u003cbr\u003e\u003cbr\u003eThe original recordings were not state-of-the-art for their time. The hall is over-reverberant, obscuring detail; and the sound is inherently fuzzy and occasionally distorted. (The opening of the Bach E major is gritty on every copy I’ve heard, both European and American.) However, the U.S. Columbia pressings are probably the quietest available for these discs.\u003cbr\u003e\u003cbr\u003eFor the present remastering of an existing transfer of the Mozart D major broadcast, almost all clicks and pops have been eliminated, pitch variances have been corrected, and as much warmth as possible brought to the originally strident recorded sound. While still far from perfect, I believe it to be a significant improvement over how this performance has been heard until now.\n\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\u003eMark Obert-Thorn\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cem\u003e* \"\u003c\/em\u003eTwenty-five years ago this month, I was hard at work on my first releases as a professional transfer engineer ... This month we come full-circle, and I begin my silver anniversary as a reissue producer with a new transfer of the first CD of the three I did for Pearl in October, 1988 to be issued: Bronislaw Huberman’s recordings of Bach and Mozart Violin Concertos, now expanded to include his broadcast performance of Mozart’s Violin Concerto No. 4 with Bruno Walter conducting.\"\u003c\/p\u003e\n\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cem\u003e\u003cbr\u003eExcerpt from Pristine Newsletter article, 25 October 2013, by \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cb\u003eBACH  Violin Concerto No. 1 in A minor, BWV 1041\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 June 1934, Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  WHAX 20-2, 21-1, 22-2 and 23-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia LX 329 and 330\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBACH  Violin Concerto No. 2 in E major, BWV 1042\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 June 1934, Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  WHAX 15-5, 16-2, 17-2, 18-2 and 19-4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia LX 408 through 410\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eMOZART  Violin Concerto No. 3 in G major, K.216\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 13 - 14 June 1934, Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  WHAX 24-5, 25-5, 26-3, 27-2, 28-3 and 29-3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued on Columbia LX 494 through 496\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cb\u003eMOZART  Violin Concerto No. 4 in F major, K.218\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003eFrom the CBS broadcast of 16 December 1945\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eCarnegie Hall, New York\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e \u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eVienna Philharmonic Orchestra \u003c\/strong\u003e- Issay Dobrowen (Bach, Mozart Concerto No. 3)\u003cstrong\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/strong\u003e- Bruno Walter (Mozart Concerto No. 4)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cstrong\u003eBronislaw Huberman \u003c\/strong\u003e- violin\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and audio restoration engineer: \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003cbr\u003eFurther XR processing for Tracks 10 – 12: \u003cstrong\u003eAndrew Rose\u003c\/strong\u003e\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick J. Maroth and Charles Niss for providing source material \u003cbr\u003e Cover artwork based on a photograph of \u003cstrong\u003eBronislaw Huberman\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eTotal duration: 76:12\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC397.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC397.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eThere is room for much useful discussion about the definition of \n“classical,” especially as over against “romantic”; but if an example of\n classical style in the first half of the eighteenth century is wanted, \nthe E major is a splendid one, and it affords excellent opportunity for \nthe exhibition of classical style in fiddling: a fine, nervous \nsensibility is wanted, with a strong, upstanding, no-finicking clarity. \nThere are easy distinctions to be noticed between the styles of admired \nplayers. Huberman, we expect, will not play this work quite like Busch, \nany more than Szigeti and Menges will give us the same Brahms in the \nConcerto; but whereas in the modem work there is a world of difference \nin the degree of romanticism possible in the outlook of various players,\n in the older work the difference chiefly lies in varieties of bowing \nand phrasing. Hence we are more likely to agree about the good qualities\n of any able performance than we are about the interpretation of the \nBrahms. And an able performance, of course, we are sure to get from \nHuberman—one that nobody need hesitate to recommend.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"text-align: left;\" align=\"center\"\u003e\u003cspan class=\"bodymid\"\u003e\u003cstrong\u003eW.R.A. - The Gramophone, November 1935\u003c\/strong\u003e\u003cem\u003e\u003cem\u003e\u003cbr\u003eExcerpt from review of Bach Violin Concerto No. 2 in E\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":36525945165,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":36525945293,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC397.jpg?v=1493123717"},{"product_id":"pasc397-cd","title":"BRONISLAW HUBERMAN the Complete Bach and Mozart Concerto Recordings (1934\/45) - PASC397 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478183437,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478183501,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC397_6d9a21b3-330d-4c08-87f6-884c7762f39f.jpg?v=1658309616"},{"product_id":"pasc068","title":"TOSCANINI Beethoven: Symphony No. 7 (1936) - PASC068","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7 in A, Op. 92\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1936\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eDuration 34:05\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eArturo Toscanini \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fBill Rosen's Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt’s so much better to have the near-real thing to enjoy and to be so much closer to that 1936 marvelous musical experience.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003eThere has never been any disagreement over the\n merits of this performance. Critics in the 1930’s and early 1940’s \nconsidered it the greatest performance ever recorded of the Beethoven \n7th symphony. Some considered it the greatest performance ever recorded \nof \u003cem\u003eany \u003c\/em\u003eBeethoven symphony. In spite of the glories of \nToscanini’s NBC years, he was at his prime as a recorded conductor \nbetween 1926 and the late 1930’s. Then, his rhythmic power was better \nmatched with his lyricism and he let the music breathe more.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eThis performance was issued by RCA and was \nmuch collected in spite of its very low-fi sound, poor even for its \ntime: airless, flat, shrill strings, faint woodwinds, blatty brass and \nlimited frequency range. What Pristine Audio has done is rather hard to \nbelieve and even harder to describe. It is not just a reprocessing where\n rumble and noise and distortion is removed. There is air around all the\n instruments and there is some depth in the audio stage. The strings are\n sweet, not shrill. The woodwind are round. The brass are strong but \nthey don’t blare. But even all that doesn’t describe it. The most \nexciting thing is that the frequency spectrum seems greatly enlarged. It\n is as if all the harmonics that couldn’t be captured by the 1936 \nrecording equipment were restored! The recording now sounds like a good \nmono 1954 recording.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eThis is a mixed blessing to those of us who \nhave learned to listen to the “telephone booth” acoustics of our \nhistorical recordings and to add the missing frequencies in our \nimagination. But, truthfully, it’s so much better to have the near-real \nthing to enjoy and to be so much closer to that 1936 marvelous musical \nexperience.\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC068.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eToscanini's 1936 recording of Beethoven's Seventh Symphony is still regarded as perhaps its greatest recorded interpretation. Such is its fame and renown that there seems little point in adding anything here to what has already been said and written about it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat has always let this recording down has been the abysmal sound of the original, and it was in attempting to see if anything could be done to even start to rectify this that I, somewhat inadvertently it has to be admitted, developed the ideas and techniques behind the \u003cem\u003ePristine Audio Natural Sound\u003c\/em\u003e process, a radical re-equalisation of the recording which corrects multiple and extreme deficiencies in the tonal balance of the original recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe result, as described by Bill Rosen below, is fascinating, remarkable, frequently delightful, and just occasionally frustrating! For there are flaws in this recording beyond the reach of equalisation, de-clicking, noise reduction and so forth. Fortunately these are now relegated largely to the ranks of the occasional - peaks of distortion at some orchestral \u003cem\u003esforzandos\u003c\/em\u003e, for example, and a kind of blurry high frequency background noise during loud sections. Nevertheless these are a small distraction at worst, especially when set against the enormous overall sonic gains made for this recording by this new process.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 7 in A, Op. 92\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003cbr\u003e \u003c\/b\u003eConducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003eRecorded on 9th-10th April, 1936, Carnegie Hall, New York \u003cbr\u003e Issued in the UK as HMV DB. 2986-2990 \u003cbr\u003e Matrix Numbers: 2A.101200-9 \u003cbr\u003e Duration 34:05\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"footer\" align=\"left\"\u003eA Pristine Audio Natural Sound restoration by Andrew Rose\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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PASC215","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTHOMSON\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e The Mother of Us All Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCHABRIER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003eJoyeuse marche - marche française\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 57:29 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e \u003cb\u003eNew York Philharmonic Orchestra\u003cbr\u003eLeopold Stokowski \u003c\/b\u003e- conductor\u003cb\u003e\u003cbr\u003eDimitri Mitropoulos\u003c\/b\u003e - conductor \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC215.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eRare repertoire and an exhilarating Brahms Second Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 20px;\"\u003ePreviously unissued 1950 radio broadcast in moderate sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe recordings offered here are of particular interest to the Stokowski collector. The Brahms is a considerably more lively rendition than either of the conductor's studio recordings, and as such had particularly caught the ear of Edward Johnson of the Stokowski Society. Also present in the Thomson and Chabrier* are the only two recordings of these works under Stokowski's baton - the former indicating his frequent role as a champion of then-living American composers.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs described below, there are some technical issues with the sound quality at times in this recording which have led to its designation as a Pristine SI release - in this case the recording is perhaps something of a borderline case, but at the time of writing we have been unable to find a better-quality original source and believe that, from a musical perspective it is more than worth the time and effort spent restoring it and remastering it for issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs with all our SI issues, we recommend you sample the recording prior to purchase.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e*Important notice regarding Chabrier: \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFollowing the release of this recording, which we believed to be a live broadcast, some doubt was raised concerning the performance of the Chabrier. The piece did not appear in the programme for the performance itself, nor is it mentioned in the orchestral archives as having been conducted by Stokowski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, two weeks later a performance of this short piece \u003cem\u003ewas\u003c\/em\u003e given, under the baton of Mitropoulos. As a result of extensive investigations undertaken by Edward Johnson, and with the assistance of the conductor and music writer John Canarina (who first raised the question), Nathan Brown and Frederick Fellers, we have managed, we think, to solve the mystery.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eNathan Brown told us:\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eThis was evidently a 1 hour program issued by the Armed Forces Radio Service. They used the original announcers mainly, but when they had to fill out the 1 hour with a short work, they would often just borrow it from any other concert without bothering to say just who the conductor was, or in some cases citing the wrong conductor, as the AFRS announcers were not informed in classical artists. They just thought no one would care or know the difference. Now, with hindsight, and references, we can determine the actual conductor. This happened fairly often.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eFrederick Fellers adds more background:\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eIt was common for many of the radio broadcasts of all types from all the radio networks to be recorded, and later slightly edited versions were transferred to 16 inch discs that played at 33 1\/3 rpm, and these were sent all over the world to be played by local AFRS stations for U.S. military personnel serving in those foreign parts.  In the editing process any commercial messages were removed and spoken commentary may have been edited.  It also happened from time to time that a musical selection from a different broadcast was sometimes added to a broadcast that happened at a different time.  This may have been done for timing reasons.\u003cbr\u003e \u003cbr\u003e Here are some examples that I can speak with some authority because I have the recordings.  There was a concert for radio on NBC on 6 January 1945 of the Indianapolis Symphony Orchestra directed by Fabien Sevitzky. The AFRS version of the same radio concert has exactly the same music, but the spoken commentary has been edited and slightly abbreviated.  I have another \"broadcast\" I acquired from the Library of Congress that was broadcast by the Voice of America on 25 May 1943.  It purports to be a live concert from Indianapolis with the applause of the audience and it has a Spanish announcer speaking.  However, there was NO concert performance that day.  The source of the musical selections was from different ISO-Sevitzky CBS radio broadcasts from 19 November 1942, 11 and 19 February 1943 and 19 March 1943.  These were part of the regular weekly ISO-Sevitzky broadcasts on CBS and were done without audience solely for the radio audience.  So the 25 May 1943 \"concert\" was a complete fabrication with audience applause added.\u003cbr\u003e \u003cbr\u003e  I also have the AFRS version of the NBC Symphony-Toscanini broadcast of 2 September 1945.  The AFRS version omits the National Anthem that began the programme and probably also omits some of the spoken announcements.  The music, except for National Anthem, is complete as broadcast, but before the final item on the programme, the Dance of Terror and the Ritual Fire Dance from El Amor Brujo are added.  These two works came from the broadcast of 3 September 1944, but at least the conductor was the same.\u003cbr\u003e \u003cbr\u003e I speculate that your concert of 16 April 1950 may have come from something like the AFRS broadcast recordings mentioned above.  James Fassett was the regular announcer of the Philharmonic broadcasts on CBS.  At least he certainly was in the later 1950s when I began listening regularly... Sometimes, in the repackaging of the concerts for the AFRS a new announcer did the speaking. \u003c\/p\u003e\n\u003cp class=\"body\"\u003eI wouldn't suspect that Mitropoulos would have a problem with this, because these broadcasts were all done for the morale of the military serving overseas, and I doubt any money was involved.  Most likely, since this was all done in foreign places, Mitropoulos probably never heard a word -- pro or con -- about it.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eA \u003cstrong\u003ePristine Audio SI\u003c\/strong\u003e Release: Additional Technical Note\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cimg style=\"float: right; margin: 10px;\" src=\"http:\/\/www.pristineclassical.com\/media\/Pictures\/Pristine-SI150shadow.jpg\" alt=\"Pristine SI\" height=\"121\" width=\"150\"\u003eThe source recording for this release was a reel to reel copy of an acetate disc recording. The location of the original is currently unknown, if indeed it has survived. Alas the tape copy, believed to have come from Stokowski's assistant Jack Baumgarten and the only one we've been able to find, has suffered its own damage due to \"sticky shed\" syndrome, resulting in some at-times inconsistent treble response. Fortunately the condition was diagnosed and the tape treated prior to the present transfer in order to prevent further magnetic oxide loss, however some damage had already been done.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recording is also subject to occasional peak level blasting. It is unclear whether this was caused by the tape or the original discs. Much of this has been tamed, and overall the recording is certainly very listenable. As such, post-restoration it is very much a \"borderline\" case for the \"SI\" categorisation - an older recording of the same audio quality would not have been graded in this way. However, there are inconsistencies in it, and the overall quality is perhaps slightly lower than one expect from a 1950 recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eTHOMSON\u003c\/strong\u003e The Mother of Us All Suite*\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Symphony No. 2 in D major, Op. 73\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eCHABRIER\u003c\/strong\u003e Joyeuse marche - marche française**\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe New York Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003e \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e - conductor\u003cbr\u003e \u003cstrong\u003e**Dimitri Mitropoulos\u003c\/strong\u003e - conductor\u003c\/p\u003e\n\u003cp\u003e*This is the only extant performances of this work by Stokowski\u003c\/p\u003e\n\u003cp\u003eRadio broadcast links by John Baird\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003eBroadcast from Carnegie Hall, Sunday, 2nd April 1950 \u0026amp; **16th April 1950 by CBS Radio\u003cbr\u003e Believed to be sourced from a programme prepared for the American Forces Radio Service\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eSource material provided by Edward Johnson from his private collection\u003cbr\u003eTransfer \u0026amp; XR remastering by Andrew Rose at Pristine Audio, February 2010\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration: 57:29 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC215.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC215.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":37144576845,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144576909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37144576973,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC215_bf6e36fb-1869-4b2e-a8d1-ff239806b441.jpg?v=1494338199"},{"product_id":"pasc215-cd","title":"STOKOWKSI conducts Brahms, Thomson, Chabrier (1950) - PASC215 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD wth case \u0026 artwork (+MP3)","offer_id":40478195469,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478195533,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC215_9b500b6d-72ff-4e55-9013-7ed0a1c95125.jpg?v=1658244061"},{"product_id":"pasc244","title":"MITROPOULOS Falla: Nights in the Gardens of Spain, Orchestral works (1956\/57) - PASC244","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDE FALLA\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eNights in the Gardens of Spain \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eDE FALLA\u003c\/b\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eThree Dances from 'The Three Cornered Hat'\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDE FALLA\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e 'La Vida Breve' - Interlude and Dance\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded 1956 \u0026amp; 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 42:23\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eRobert Casadesus, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eDimitri Mitropoulos\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt’s a special pleasure to welcome this striking, individualistic Nights in the Gardens of Spain back to the land of the living578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eCascavelle has recoupled the Casadesus\/Ansermet \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNights\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with yet another Igor Markevitch \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSacre du printemps,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n this one with the Suisse Romande Orchestra (get one of his recordings \nwith British orchestras). I preferred the previous coupling, which \nincluded the Liszt Concerto No. 2 and the Mozart 26th, K 437, but at \nleast one of the better recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNights in the Gardens of Spain\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n remains available. Pristine’s decision to issue a Casadesus\/Mitropoulos\n studio recording made a year later (1957) than the Cascavelle \nperformance illustrates, if such a phenomenon needed illustration, what a\n difference a conductor (and, probably, a recording producer) can make. I\n had the same reaction to two Casadesus recordings of d’Indy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphony on a French Mountain\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Air, one of which is also reviewed in this issue. Granted, these two \npieces are not conventional piano concertos—the piano’s role is more \nlike that of a first among equals, so the conductor need not function as\n an accompanist. The Casadesus\/Ansermet is a comparatively fast \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNights \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(all\n to the good, as far as I’m concerned) with Casadesus apparently trying \nto blend in with the orchestra; there’s no lack of animation but the \npiano part is more subdued than one often hears. One imagines that this \nwas a true collaboration with the conductor and pianist sharing a common\n view of the music. It is possible that Casadesus and Mitropoulos were \nalso collaborating but, although recorded only a year later, their \nrecording features a more vivid, individualistic orchestral presence and\n a more aggressive approach by the nominal soloist; it might be \ndescribed as more impassioned than Impressionistic. On its own terms, it\n works and is only about a minute slower than the earlier Suisse Romande\n broadcast. Apparently Pristine could not find enough suitable \ncouplings, for 42:23 seems like short measure for a CD unless the \ncompany thinks of itself as primarily an MP3 site. In any case, the \nremainder of the disc contains the 1956 Mitropoulos recordings of the \nNeighbor’s, Miller’s, and Final Dances from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Three-Cornered Hat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n by turns heavy-handed, hard-driven, and smeared due to an over-resonant\n recording and a warm-blooded, ardent performance of the Interlude and \nDance from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa vida breve\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n during which the acoustics don’t bother me a bit. I wondered if these \nrecordings were gone forever and it’s a special pleasure to welcome this\n striking, individualistic \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNights in the Gardens of Spain\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n back to the land of the living. I owned the LP decades ago and have \nforgotten what it sounded like, but I’m sure it didn’t come across as \nvividly as this CD reissue. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC244.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eCasadesus' only studio recording of Spanish music\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eMitropoulos and the NY Phil masterful in a superb XR remastering\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eRobert Casadesus isn't particularly well-known for his interpretations of the music of Manuel de Falla. This recording of \u003cem\u003eNights in the Gardens of Spain\u003c\/em\u003e is the only studio recording he made of any of the Spanish composer's music (a live concert recording made around the same time has also been issued on CD). Indeed, it would appear to be the only recording he ever made of any music by a Spanish composer – as a lover of Spanish music myself this is a great pity, as he is very, very good with what little of it we have! \u003cem\u003eNights in the Gardens of Spain\u003c\/em\u003e requires exceptional skill from a pianist, and Casadesus passes its various tests with flying colours.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eLikewise Mitropoulos doesn't appear to have spent much time recording de Falla over his lengthy career. I have yet to track down a copy of his full discography, but extensive searching reveals very little beyond the present recordings. The source for this release was a near-mint copy of the original Columbia release, sent to Philips as a sample for possible licensing and one of a considerable number of similar discs in the Pristine collection. I've followed the annotation of the Casadesus website which gives two recording dates for this – what exactly was recorded when I have been unable to discover. XR remastering has opened out beautifully what was already a very good, clean recording. The somewhat short programme for this release merely reflects the dearth of suitable material with which to pair it.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDE FALLA \u003c\/strong\u003eNights in the Gardens of Spain \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDE FALLA \u003c\/strong\u003eThree Dances from 'The Three Cornered Hat'\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDE FALLA\u003c\/strong\u003e 'La Vida Breve' - Interlude and Dance\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 2nd November 1956 and 3rd June 1957, Columbia 30th Street Studio, New York\u003cbr\u003e Issued as Columbia Masterworks ML 5172 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cstrong\u003eRobert Casadesus, \u003c\/strong\u003epiano\u003cstrong\u003e \u003cbr\u003e The Philharmonic-Symphony Orchestra of New York \u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Dimitri Mitropoulos\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eTransfers from Columbia Masterworks ML 5172 by Andrew Rose \u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, September 2010 \u003cbr\u003e Cover artwork based on a photograph of Dimitri Mitropoulos\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003eTotal duration: 42:23 \u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC244.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC244.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34502420301,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34502420429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34502420557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34502420621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC244.jpg?v=1490097270"},{"product_id":"pasc244-cd","title":"MITROPOULOS Falla: Nights in the Gardens of Spain, Orchestral works (1956\/57) - PASC244 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478219981,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478220045,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC244_73614237-c8ff-4f41-8ee1-683ae7af5dad.jpg?v=1658245022"},{"product_id":"pasc104-cd","title":"MENGELBERG R. Strauss: Ein Heldenleben (1928) - PASC104 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478264205,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478264269,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC104_86520f24-f4d6-4a7a-95e2-6951c6712704.jpg?v=1658241152"},{"product_id":"pasc104","title":"MENGELBERG R. Strauss: Ein Heldenleben (1928) - PASC104","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEin Heldenleben\u003c\/span\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded Carnegie Hall, New York, 11-13 December, 1928 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Transfer and XR remastering by Andrew Rose, November 2007\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Duration 40:59\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"footer\" align=\"left\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eWillem Mengelberg \u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fSimply gorgeous sound quality; every section was equal in timbre, weight, and color578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis surprising dual issue of both of Mengelberg’s recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and both in superbly reengineered sound, gives one a rare opportunity \nto compare and contrast them. I owned the New York Philharmonic-Symphony\n Orchestra recording on an RCA Victrola LP from the early 1970s and, \nthough I liked it, I was not altogether convinced of its legendary \nstatus. In 1986 I bought the Concertgebouw Orchestra version on an old \nTelarc CD and, though it had your typically harsh, congested radio sound\n and lots of acetate crackle, I found the performance much more intense,\n cohesive, and emotional—even in the soft passages.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eComparing them now, one notices immediate \ndifferences. The New York Philharmonic-Symphony Orchestra of that era \n(1928) had a simply gorgeous sound quality; every section was equal in \ntimbre, weight, and color, and each section had superb first-chair \nplayers (Mishel Piastro was concertmaster, Bruno Janicke the first horn,\n and both get their fair share of solo passages here). The Concertgebouw\n Orchestra (in 1941), on the other hand, was a much more uneven band. \nDue to either Mengelberg’s preferences or his reluctance to replace \ninferior players, the violins sounded harsher, the woodwinds edgier. Yet\n to my ears, it is the Concertgebouw performance that scores more points\n in the overall presentation of the music, and which in the final \nanalysis gives us a much more “legendary” performance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor example, the strings in the first half of “Der\n Held” are far more beautiful in the New York version, but about halfway\n through the orchestra sounds a bit sluggish rhythmically while the \nConcertgebouw version maintains a forward pulse. In the beginning of \n“Des Helden Widersacher,” the winds of the CO are much livelier, more \nincisive than the NY P-SO. “Des Helden Gefährtin” is supposedly five \nseconds longer in the CO version than the NY P-SO, but it doesn’t sound \nit. Both solo violinists (I believe it is Piastro on the NY P-SO \nrecording) use portamento that is no longer heard in the music but, \noverall, there is much \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eportamento\n throughout the NY P-SO recording, and it becomes annoying after a \nwhile. The one section in which the NY P-SO is markedly superior to the \nCO is in “Des Helsen Walstatt” (The Hero’s Battlefield), where the more \nsolid sound of the NY P-SO , combined with a slightly brisker tempo \n(8:18 compared to 8: 39), creates slightly more tension, but the CO \nperformance is certainly not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003elacking \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etension.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOf course, your proclivity to buy one performance \nrather than another will depend on your familiarity with both of them. \nExcept for the extra portamento in the 1928 recording and the extra \nclarity in the 1941, there’s not really a tremendous amount of \ndifference in overall musical concept, certainly not as widely varied \nas, say, certain earlier and later performances by Toscanini or \nFurtwängler. Yet if you like Mengelberg and believe that this was one \nscore that he “owned,” you may certainly want to get both. The sound \nrestoration was, to my ears, even more striking in the 1941 broadcast \nthan the 1928 studio version. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 31:5 (May\/June 2008) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC104.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cstrong\u003eNotes on the restoration\u003c\/strong\u003e: Mengelberg's first recording of Strauss's Ein Heldenleben, though not quite up to the recording quality of his 1941 Concertgebouw recording, is generally considered the finer performance of the two. Despite its vintage, it has proved remarkably receptive to the XR remastering technique and is now a pleasure to listen to. Both recordings are essential to any understanding of this piece.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC104.jpg578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC104.pdf578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34641382605,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34641382669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34641382797,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC104_c0595c90-1c4c-4933-93d9-f932931f803d.jpg?v=1490248147"},{"product_id":"pasc113","title":"TOSCANINI An All-Debussy Concert (1936) - PASC113","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLe Martyr de San Sébastien (excerpts)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePrélude à l'Après-midi d'un Faune\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eNocturnes\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eImages: 2. Ibèria\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Damoiselle Elue\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLa Mer\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded Sunday 19th April 1936\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal Duration: 1hr 50:43\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eBidú Sayão, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eRose Bampton, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eWomen's Chorus of the Schola Cantorum\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs for the performances, they are uniformly excellent578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere is so much to say about this album that I \nscarcely know where to begin, or in which order to say them. Therefore, I\n hope the reader will forgive me if I seem to jump around a bit.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFirst and foremost, this was a remarkable concert for several reasons. With the exceptions of the wonderful, underrated \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarche eccosaise \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand Ravel’s orchestration of an earlier \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eincluded\n in an all-Debussy concert with NBC almost exactly four years later, \nthese discs represent all of the Debussy that Toscanini ever performed \npublicly in America or England. Stubborn old mule that he was, he never \nincluded the third nocturne, “Sirenes,” even when (as here) he had a \nwomen’s chorus to sing it, or other works such as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJeux, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe other two \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eImages\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEstampes.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e This is his seventh available version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eon\n records and the fifth version of “Ibéria,” and these two major works \nwere previously issued on a Music \u0026amp; Arts CD, though not in such \nclear sound (more on that later). In general outline and detail they \nvary little from his other versions, but they are not identical either. \nIn general, these 1936 performances, even when faster than their later \ncounterparts, show a greater relaxation of momentum within the basically\n consistent tempos, particularly the second movement of “Ibéria” \n(Perfumes of the night) which is considerably slower than most of his \nother versions.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSecondly, there is the sound quality of the New \nYork Philharmonic, imperfectly captured to be sure but still basically \nwarmer, lusher, more equal in tonal balance, which makes it a better \nDebussy orchestra than the often brighter sonorities of the NBC \nSymphony. Flutist John Amans, practically a legend in New York, plays \nsensuously in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude à l’aprés-midi d’un faune, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n first horn Bruno Jaenicke is likewise more elegant and sweeter of tone \nthan Harry Berv. Also, these recordings, unlike the NBC documents, were \nmiked some distance from the stage, which gave a greater ambience to the\n sound. Only the Philadelphia recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and “Ibéria,” and the NBC recording of the latter work, have quite as \nmagical a sound. From this perspective, the common complaint that \nToscanini made the inner voices too clear, that he did not respect the \ncomposer’s wishes for ambient sound in performance, is moot. Listening \nfrom an audience perspective, as we can here, as opposed to the “podium \nperspective” Toscanini demanded in his NBC years, we realize that his \ndoubling of winds to clarify texture led not to a stark, dry, grating \nsound, as is so often accused of him (particularly by Joseph Horowitz), \nbut, in live performance, to a shimmering quality, almost like strands \nof silver gently radiating from the stage like a shower of stars. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDamoiselle élue,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n this effect is heightened by the American debut of a then-unknown \nsoprano, Bidù Sayão, whose mother-of-pearl vocal quality adds to the \nshimmering.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThat all this may be heard despite the horribly \nlimited sonics and rough condition of the original broadcast acetates is\n a tribute to engineer Andrew Rose. In some circles he has been \ncriticized for artificially enhancing the Toscanini sound by restoring \nboth upper and lower frequencies not audible on the original recordings,\n the theory being that this falsifies the sound of Toscanini’s \norchestra. This would be true if he boosted frequencies beyond normal \nlevels, added resonance, flattened response, or did any of the other \nquestionable things that RCA Victor did during the late 1950s and \nthroughout the 1960s. But he has not. He has simply taken a normal \nrecording of each work, created a sound print in order adequately to \njudge the frequency range that such pieces normally produce, and then \nsuperimposed that sound print on older recordings. If the resultant \nsound is different from what is actually on the record—which, after all,\n is simply an artifact and not a real performance—it is usually because \nin clarifying so much, his process sometimes exposes flaws originally \nhidden by the original duller sound. Certainly there are strange and \nunrealistic sounds on this recording. The basses and low trombones in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Sébastien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e sound muffled, there is some going out of phase in the middle of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and in both pieces in which they participate, the Women’s Chorus sounds\n occasionally occluded and fuzzy. I happen to have copies of both \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Sébastien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n pretreatment, and exactly the same problems can be heard—only much less\n in focus. Clearing up an old recording, if done properly as it is here,\n is agreeable to the ear and far from distortion. How can it be “false” \nif a flute sounds like a flute, a horn like a horn, and violins like \nviolins?  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the performances, they are uniformly \nexcellent. Because of the sound limitations, I personally prefer the NBC\n recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and “Ibéria,” but as mentioned, the middle movement of “Ibéria” here is\n much more measured. “Nuages” and “Fêtes” were played pretty much the \nsame way by Toscanini throughout his career on radio and records. This \nperformance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is nearly a half-minute slower than the NBC recording, the flute solo \nmuch slower and more erotic, the strings floating as if in a cloud. This\n is the only known recorded performance by Toscanini of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Martyrdom of St. Sébastien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and it’s exquisitely molded and chiseled.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI compared this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa mer \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto\n the 1942 Philadelphia and 1950 NBC recordings, and came away with some \namazing surprises. Without going into a section-by-section comparison, \nwhat I found runs completely counter to the generalization that the \nToscanini of 1935–42 was slower and more sober than was his later self. \nThe first movement as played by the Philharmonic is nearly, but not \nquite, as slow as the 1950 recording, and there is a rare lapse by \nhornist Jaenicke, who does not put has hand far enough into the bell of \nhis instrument to create the on-off muted effects that Debussy called \nfor. By way of compensation, however, the basses and cellos (the latter \nled by the superb Alfred Wallenstein) are far richer and lusher than \ntheir NBC counterparts and, wonder of wonders, the pause before the \nfinal section is elongated to create greater suspense. The 1936 second \nmovement, however, is practically a fevered rush of sound, not only \nfaster than the Philadelphia recording (which is in every other respect \nfaster than \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eboth \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n 1936 and 1950 performances) but nearly a half-minute faster than its \nNBC counterpart! The upper strings and winds have some distortion in the\n first and third movements yet, paradoxically, the much louder second \nmovement is virtually distortion-free.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe real gem of this collection is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa demoiselle élue\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n however. The opening string passages are simply unworldly; Rose Bampton\n was a fairly good singer; stuck her entire career between mezzo and \nsoprano, she had the range of the first but the timbre of the latter. \nPoor woman. She does, however, shape the music imaginatively, and is \nsensitive to mood. Amans’s flute is simply superb here, as it was in the\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eFrom \nthe very first notes of her entrance, Sayão is outstanding in every way,\n despite one (and only one) lapse into one of her little sobs. Her upper\n range gleams like a sparkler; her French is surprisingly good; it’s \nsmall wonder she was snapped up by the Metropolitan Opera. At 15:42 she \nfloats a note gorgeously. And, in this performance, Toscanini’s floating\n continues; there is no nudging-forward of the tempo, even though it is \nonly slightly slower than the 1940 NBC performance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf this is your first exposure to Toscanini’s \nDebussy, you will have a good impression despite the sound problems. \nMost of the announcements are included intact, and it’s comical to hear a\n very sad-sounding voice tell us that “this great leader” will not be \nreturning next year, so the Philharmonic needs your support more than \never. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC113.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eToscanini's only New York Philharmonic all-Debussy programme\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFull-length concert broadcast, previously unissued in full\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOnly once did Toscanini programme an all-Debussy concert - in 1936, his final season with the Philharmonic-Symphony Society of New York. There were three performances - on 16th, 17th and 19th April, 1936 - the latter being the concert broadcast and presented here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, Debussy was a firm favourite of Toscanini's, and he conducted the Italian première of Pelléas et Mélisande in 1908. He'd come to the score some four years earlier, in 1904, and shortly after wrote to a friend:\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003eI hardly knew the name of [a] composer who has won all your sympathy: the Frenchman Debussy with his Pelléas and Mélisande.... His art overturns everything that has been done until now. He doesn't have [Richard] Strauss's technique, but he is a great genius, more elegant and undoubtedly more daring. On first venturing upon him, you are completely disoriented, but once you have begun to converse a little more freely with his language - and that of his inspirer Maeterlinck - you end up being fascinated. Thinking of the theatre of Maeterlinck's characters, I can confirm my opinion that Debussy's music is the fulfillment of that art. However, our public today is not yet mature to sense this, let alone accept it.\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp class=\"body\"\u003eToscanini met Debussy for the first time in Paris in 1910, and later corresponded with him on a number of occasions - including asking for - and gaining - permission from the composer to adjust aspects of the orchestration in La Mer with doublings and rebalancings in order to improve the clarity of sound, particularly in the inner voices.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHe continued to programme Debussy's music regularly throughout his later years with the NBC Symphony Orchestra, but never again was the listening public treated to a full-length concert such as this, where Toscanini was able to explore both very early and very late compositions, leading his audience on a musical journey through some of the composer's very finest orchestral output.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eNotes on the remastering\u003c\/strong\u003e: At least two versions of this recording have circulated amongst collectors over the years, and parts of it surfaced some time back on a Music and Arts CD release. Until now, however, no commercial release has ever taken place, quite possibly as a result of the poor quality of the original recordings, made onto acetate 78rpm discs by recording directly off-air from the AM concert broadcast.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis has a number of implications, some of which are more readily overcome than others. The clicks and crackles of the disc surface, and a good deal of surface noise, have been dealt with. A heavy hum has also been removed. Pitch instabilities and variations have been smoothed out. The tonal balance has been improved considerably.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat cannot be \"fixed\" is the narrow frequency range captured from the broadcast - there simply isn't anything else above the highest frequencies heard here to be had. Likewise the limited dynamic range, and tendency to slight overload distortion during some loud passages, is indelibly branded onto this recording, and one can only attempt to make the best of this type of problem. There were also a handful of minor dropouts and moments of interferenceand other noises which proved beyond repair.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOverall, however, I judge this historic recording to be a more than worthwhile release, as it gives us a unique chance to witness the full sweep of Toscanini's Debussy at a time when he was at the peak of his powers. There is indeed much to be enjoyed here.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003ctr\u003e\u003ctd colspan=\"2\"\u003e\n\u003cdiv class=\"bodybigblue\" align=\"center\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eConcert Programme\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"bodybigblue\" align=\"center\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\n\u003ctd width=\"600\" valign=\"top\" height=\"400\"\u003e\n\u003cp class=\"bodymid\"\u003ePart One\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e1.\u003c\/strong\u003e Radio Introduction (0:44)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eLe Martyre de Saint Sébastien\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cspan class=\"m0l1i\"\u003eAct 1: La Cour De Lys (excerpts)\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e2.\u003c\/strong\u003e 1. Prélude (6:28)\u003cbr\u003e \u003cstrong\u003e3.\u003c\/strong\u003e 2. Danse Extatique de Sébastien (6:38)\u003cbr\u003e \u003cspan class=\"bodysmallarialblue\"\u003eWomen's Chorus of the Schola Cantorum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e4.\u003c\/strong\u003e \u003cb\u003e\u003cspan class=\"bodybigblue\"\u003ePrélude à l'Après-midi d'un Faune\u003c\/span\u003e \u003c\/b\u003e(9:52)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eNocturnes\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cstrong\u003e5.\u003c\/strong\u003e 1. Nuages (6:31)\u003cbr\u003e \u003cstrong\u003e6.\u003c\/strong\u003e 2. Fêtes (6:34)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eImages: 2. Ibèria\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003e7.\u003c\/strong\u003e 1. Par les rues et par les chemins (7:14)\u003cbr\u003e \u003cstrong\u003e8.\u003c\/strong\u003e 2. Les parfums de la nuit (7:19)\u003cbr\u003e \u003cstrong\u003e9.\u003c\/strong\u003e 3. Le matin d'un jour de fête (5:05)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eDuration: 56:26 \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd class=\"body\" width=\"300\" valign=\"top\" height=\"250\"\u003e\n\u003cp class=\"bodymid\"\u003ePart Two\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e1.\u003c\/strong\u003e Introductions to Part Two (4:58)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e2.\u003c\/strong\u003e \u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eLa Damoiselle Elue\u003c\/span\u003e \u003c\/b\u003e(22:03)\u003cbr\u003e \u003cspan class=\"bodysmallarialblue\"\u003eSoloists: \u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBidú Sayão\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e\u003cb\u003e \u003c\/b\u003e(soprano), \u003cb\u003eRose Bampton\u003c\/b\u003e (contralto)\u003cbr\u003e Women's Chorus of the Schola Cantorum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eLa Mer\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cstrong\u003e3.\u003c\/strong\u003e 1. De l'aube à midi sur la mer (8:34)\u003cbr\u003e \u003cstrong\u003e4.\u003c\/strong\u003e 2. Jeux de vagues (6:23)\u003cbr\u003e \u003cstrong\u003e5.\u003c\/strong\u003e 3. Dialogue du vent et de la mer (9:53)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e6.\u003c\/strong\u003e Closing announcements (2:27)\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eDuration: 54:17\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eCBS Announcer: Davidson Taylor, director of serious music\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003ci\u003eThis recording was taken from off-air acetate \ndisc recordings made from a WABC New York AM radio broadcast. We have \naimed to preserve as much of the broadcast as was available to us, \nhowever the spoken introduction to Part Two is incomplete.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\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\/PASC113.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC113.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":2951317684250,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":2951317717018,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":2951317749786,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":2951317782554,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC113_2e7a66c5-c3dc-4872-8d0a-29bfd2d7afdd.jpg?v=1510941029"},{"product_id":"pasc113-cd","title":"TOSCANINI An All-Debussy Concert (1936) - PASC113 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478269517,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478269581,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC113_dbdb590e-d798-469e-a0a7-7010ab087c5b.jpg?v=1658241362"},{"product_id":"pasc117","title":"TOSCANINI Beethoven: Symphony No. 9 \"Choral\" (1936) - PASC117","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 'Choral'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1936\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 66:48\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRosa Tentoni, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003e Rose Bampton, \u003c\/b\u003emezzo\u003cb\u003e\u003cbr\u003e Charles Kullman, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003e Ezio Pinza, \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003e Schola Cantorum of New York\u003cbr\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a superb issue to which I can only give my highest recommendation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eToscanini’s long and often anguished attempts to \ncome to grips with Beethoven’s Ninth stem from his first performance in \n1902 and ended with his final studio recording a half-century later—a \nrecording I’ve never liked because of its static rhythms and \nphrase-to-phrase pacing. David Hamilton, writing in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHigh Fidelity\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n many years ago, said that it seemed to him as if Toscanini was lining \nup each chord and phrase to be voiced vertically, trying to get all the \nbalances right but missing the flow of the music. I agree.  \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 neither the time nor place to detail his \n11 performances of the Symphony between 1936 and 1952, of which I’ve \nheard six, but in general terms it always seemed to me that he \nvacillated between trying to conduct it in a spacious style, relating it\n to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa solemnis, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\n trying to conduct it in a taut, linear way, relating it to the late \nquartets. Of the linear performances, the most successful were his 1948 \nNBC telecast, particularly in the first two movements where he allowed \nsome generous rubato for “breathing space,” and the 1939 NBC account in \nthe last two movements. The four performances where he tried to present a\n grander, more spacious interpretation are this one, the first NBC \nbroadcast of 1938, the 1941 Buenos Aires performance (a great \ninterpretation, second in originality of thought to this one), and the \n1952 recording. It is the considered opinion of most Toscanini experts \nthat the 1936 is the best of them all, but until now it only existed in \nvery poor quality sound.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn addition, the copies that circulated were \neither incomplete—missing the end of the first movement, the beginning \nof the fourth up to the entrance of the basses, and a choral section—or \ncomplete, using inserts by engineer Tony Paterno from the 1952 studio \nrecording. Paterno purposely distorted the 1952 inserts by playing them \nthrough speakers with a microphone and crushed cellophane paper to \nsimulate the original surface noise. I’ve only heard the incomplete \nversion before and, though the performance was indeed splendid, the \nsound quality always put me off. Yet, unknown to us, there was a second,\n more complete version—in even worse sound—in the possession of NBC \nviolinist Edwin Bachmann, which only surfaced after his death in the \nearly 1980s. This issue uses the patches from the Bachmann recording, \nexcept for one 10-second bit taken from the 1938 NBC performance (minus \ncellophane, thankfully).  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eNow that I’ve explained so much about the sources \nand Toscanini’s approach to the work, there’s unfortunately little room \nto describe the performance. It is sublime. Even confirmed \nToscanini-haters have been known to succumb to its charms. One scribe \nhas even opined that it sounds as if Beethoven himself, and not \nToscanini, is conducting it. My only caveat is in the singing of soprano\n Rosa Tentoni. She was a highly musical artist but did not have a very \npleasant tone. Tenor Kullmann, who shortly afterwards went into decline,\n is superb.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine’s transfer, removing most blemishes \n(including static spits) and equalizing the sound, gives us as fine a \nversion as I’ve ever heard, except in the last movement where certain \ninstruments (particularly the basses) still sound distorted. The high \nend seems a little “hot” to me, but this can be rectified by reducing \ntreble somewhat. Otherwise, this is a superb issue to which I can only \ngive my highest recommendation, despite the limitations. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 32:3 (Jan\/Feb 2009) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC117.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eToscanini's Legendary 1936 Broadcast Performance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eA major restoration from badly damaged sourced material \u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eThis restoration stands amongst the hardest I've \nhad to tackle. The original acetate source material was unavailable to \nme, as is often the case in recordings such as this, and therefore I was\n working from a good CD copy of this, sent to me by a collector\u003c\/span\u003e. \nThe greatest obstacle for the listener to this particular recording has \nalways been the huge amount of surface noise, clicks, crackles, splats, \ninterference and so forth, and it's in tackling this that I've devoted \nthe greatest part of my work effort.\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThe slow, painstaking removal of these \nextraneous noises, and at times reconstruction of the holes they left in\n the audio, took many days of work. I also worked hard to reduce the \nvery high levels of surface noise, fill dropouts, correct both overall \npitch (to A440) and fix a small pitch instability at one point in the \nrecording. As with other difficult recordings I used a dual-XR approach,\n allowing XR equalisation to act as a primary noise reduction tool prior\n to the use of digital NR to further help control hiss.\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThere do still remain areas of high \nbackground noise. Some disc sides were considerably noisier than others,\n and to preserve as much of the musical sound as possible one has to \naccept sections of higher background noise. With a performance such as \nthis, widely regarded as perhaps Toscanini's finest recorded \ninterpretation of this work, I suspect most listeners will be too drawn \nin by the music to be too aware of the shortcomings that remain in the \nrecording.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 9 'Choral' \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 17px;\"\u003ein D minor, Op. 125\u003c\/span\u003e\u003cspan style=\"font-size: 10px;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRosa Tentoni, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003e Rose Bampton, \u003c\/b\u003emezzo\u003cb\u003e\u003cbr\u003e Charles Kullman, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003e Ezio Pinza, \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003e Schola Cantorum of New York\u003cbr\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e \u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive radio broadcast recording originally captured on 78rpm acetate discs, 8th March 1936\u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, July 2008\u003cbr\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eNB. \u003c\/strong\u003eThe original recording of\n this concert omits two short sections in the finale comprising a total \nof perhaps ten seconds of music, missing due to disc recording errors. \nThe copy from which the present recording was restored had had \nalternative takes from contemporary Toscanini accounts edited in to fill\n these gaps. Rather than exclude them I have sought to blend them in \nmore effectively and seamlessly than was originally the case, in order \nto present a convincing full account of the Symphony as it would have \nsounded to radio listeners in 1936.\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 66:48\u003c\/span\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\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\/PASC117.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC117.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34657238093,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34657238157,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34657238221,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34657238285,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC117.jpg?v=1490268815"},{"product_id":"pasc117-cd","title":"TOSCANINI Beethoven: Symphony No. 9 \"Choral\" (1936) - PASC117 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478271373,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478271437,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC117_fd667a9c-d0c1-40cc-bf4a-bd7232712ace.jpg?v=1658241450"},{"product_id":"pasc124","title":"WALTER Brahms Symphony No. 2 (1951) - PASC124","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e  \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 40:01\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e   \u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC124.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eA real treasure from Bruno Walter's 1951 Brahms cycle period\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eLive performance beautifully captured on this recording\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eThis recording was rebroadcast by BBC Radio on Christmas Day, 1977 and captured in excellent quality on quarter-inch open reel tape, from which I was able to make a highly effective remastering. Restoration work consisted mainly of removing a number of coughs and extraneous noises present in the original live broadcast.\u003c\/span\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eXR remastering served to further bring out the rich and full sound of the New York Philharmonic, while the addition of Ambient Stereo processing does an excellent job of filling out the acoustical space that is the Carnegie Hall. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eNow you've read all of that you can probably forget it! This is one of those wonderful recordings where the music simply takes over and sweeps you away - and there's nothing in the sound quality to come between you and that concert on a February Sunday in 1951.\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 2 in D, Op. 73\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econducted by\u003cb\u003e Bruno Walter\u003c\/b\u003e   \u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive broadcast concert at Carnegie Hall, Sunday 4th February 1951\u003cbr\u003e This transfer remastered from a BBC re-broadcast on 25th December 1977.\u003cbr\u003e\u003cbr\u003e Transfer and XR remastering by Andrew Rose at Pristine Audio, September 2008\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 40:01\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC124.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC124.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34665533645,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34665533709,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34665533773,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34665533837,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC124.jpg?v=1490277677"},{"product_id":"pasc124-cd","title":"WALTER Brahms Symphony No. 2 (1951) - PASC124 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478276813,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478276877,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC124_ee813ebe-ae8e-4124-80ad-fbf34953b0c7.jpg?v=1658241647"},{"product_id":"pasc128","title":"TOSCANINI Beethoven: Symphony No. 8 (1936) - PASC128","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eS\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003ey\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003emphony No. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 1936\u003c\/span\u003e\u003cp\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 28:33 \u003c\/span\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC128.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003ePart One of Toscanini's Legendary 1936 Broadcast\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003ePartner to our best-selling \"Choral\" Symphony \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003erelease from the same concert\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003eThis recording was original preserved on acetate 78rpm discs, almost certainly recorded from an AM broadcast. Thus we have a limited dynamic and frequency range and some surface noise to deal with. That said, I'm particularly pleased with the outcome of this recording - despite some residual surface crackle evident through the first movement, the sound is listenable, enjoyable and engaging.\n\u003cp class=\"body\"\u003eI was also able to tackle one major problem:\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe original recording of this concert omits approximately twenty seconds of music during the second movement, lost (it would appear) at a side change of the acetate discs. In order to preserve continuity of playback here we've digitally \"aged\" a modern recording of this section of the music and blended it seamlessly into the 1936 recording. This involved first matching precisely the pitch, tempo, frequency response and average equalisation curves of the two recordings, then blending in surface noise from elsewhere on the older recording to give the illusion of total continuity of music and replay sound.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe movement in question has been chosen as our sample excerpt recording, and you can judge for yourself the success of this work - at least one successful remastering engineer was unable to detect the start of the drop-in during casual listening tests prior to release.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eS\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003ey\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003emphony No. 8 in F, Op. 93\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cp\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eLive radio broadcast recording, Carnegie Hall New York, 8th March 1936\u003cbr\u003e Restoration and XR remastering by Andrew Rose at Pristine Audio, October 2008\u003cbr\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cstrong\u003eNB. \u003c\/strong\u003eA short section of the \n2nd movement was missing from the original recordings, and an \nalternative recording has been edited in to preserve continuity - see producer's note  for details.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 28:33 \u003c\/span\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003c\/span\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\/PASC128.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC128.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":34667334541,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34667334669,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34667334733,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34667334861,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC128_5647ae61-4c1d-41c3-ae55-33182d7c128a.jpg?v=1649148328"},{"product_id":"pasc128-cd","title":"TOSCANINI Beethoven: Symphony No. 8 (1936) - 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