{"title":"Royal Philharmonic Orchestra","description":"\u003cp\u003eThe Royal Philharmonic Orchestra (RPO), based in London, was formed by Sir Thomas Beecham in 1946. In its early days the orchestra secured profitable recording contracts and important engagements including the Glyndebourne Festival Opera and the concerts of the Royal Philharmonic Society. After Beecham's death in 1961 the orchestra's fortunes declined steeply; it battled for survival until the mid-1960s, when its future was secured after an Arts Council report recommended that it should receive public subsidy; a further crisis arose in the same era when it seemed that the orchestra's right to call itself \"Royal\" could be withdrawn.\u003cbr\u003e\u003cbr\u003eSince Beecham's death the RPO has had seven chief conductors, including Rudolf Kempe, Antal Doráti, André Previn and Vladimir Ashkenazy; from 2009 to the present (at 2016) the incumbent has been Charles Dutoit. Others closely associated with the orchestra have included Sir Charles Groves, Sir Charles Mackerras, Peter Maxwell Davies, Yehudi Menuhin and Leopold Stokowski.\u003cbr\u003e\u003cbr\u003eIn 2004 the orchestra acquired its first permanent London base, at the new Cadogan Hall in Chelsea. The RPO also gives concerts at the Royal Festival Hall, the Royal Albert Hall and venues around the UK and other countries. From its earliest days the orchestra has been active in the recording studios, making film soundtracks and numerous gramophone recordings; many of the LP recordings conducted by Beecham and others have been reissued on compact disc.\u003c\/p\u003e\r\n\u003cp\u003eIn 1932 the conductor Sir Thomas Beecham had founded the London Philharmonic Orchestra (LPO), which, with the backing of rich supporters, he ran until 1940, when finances dried up in wartime. Beecham left to conduct in Australia and then the US; the orchestra continued without him after reorganising itself as a self-governing body. On Beecham's return to England in September 1944 the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics. Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers, declined to give him the unfettered control he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra. Beecham responded, \"I emphatically refuse to be wagged by any orchestra ... I am going to found one more great orchestra to round off my career.\" In 1945 he conducted the first concert of Walter Legge's new Philharmonia Orchestra, but was not disposed to accept a salaried position from Legge, his former assistant, any more than from his former players in the LPO. His new orchestra to rival the Philharmonia would, he told Legge, be launched in \"the most auspicious circumstances and éclat\".\u003cbr\u003e\u003cbr\u003eIn 1946 Beecham reached an agreement with the Royal Philharmonic Society: his new orchestra would replace the LPO at all the Society's concerts. He thus gained the right to name the new ensemble the \"Royal Philharmonic Orchestra\", an arrangement approved by George VI. Beecham arranged with the Glyndebourne Festival that the RPO should be the resident orchestra at Glyndebourne seasons. He secured backing, including that of record companies in the US as well as Britain, with whom lucrative recording contracts were negotiated.\u003c\/p\u003e\r\n\u003cp\u003eFrom the RPO's earliest days to the end of Beecham's life, they made numerous recordings for His Master's Voice, CBS and RCA. Among the works they recorded EMI chose several to be reissued at the end of the twentieth century in its \"Great Recordings of the Century\" series. They included a Delius programme; a Grieg programme; French ballet music; short works by Bizet, Chabrier, Fauré and Saint-Saëns; Tchaikovsky's Symphony No 4 and Nutcracker Suite; Mozart's Jupiter Symphony, Clarinet Concerto (Brymer) and Bassoon Concerto (Brooke); and Schubert's 3rd, 5th and 6th Symphonies.\u003cbr\u003e\u003cbr\u003eAfter Beecham's death the orchestra made many recordings for Decca, sometimes under pseudonyms such as the \"Beecham Symphony Orchestra\", the \"London Festival Orchestra\" and the \"Metropolitan Symphony Orchestra\". Among the conductors with whom the RPO recorded in the 1960s were Sir John Barbirolli, Fritz Reiner, Charles Munch, Georges Prêtre, Kempe, Previn and Stokowski. Soloists included Earl Wild, Shura Cherkassky, Alan Civil and Luciano Pavarotti.\u003cbr\u003e\u003cbr\u003eIgor Stravinsky recorded his opera The Rake's Progress with the RPO in 1964. Colin Davis made some of his earliest recordings with the orchestra, including Mozart and Rossini overtures, Beethoven's Seventh Symphony, and Stravinsky's Oedipus rex. From 1964 to 1979 the RPO was engaged by Decca to record Gilbert and Sullivan operas with the D’Oyly Carte Opera Company. The orchestra has also recorded for Deutsche Grammophon, Lyrita, Philips, Pye and Unicorn-Kanchana.\u003c\/p\u003e","products":[{"product_id":"pasc328","title":"BEECHAM Haydn: London Symphonies, Volumes 1: Nos. 93-98 (1957) - PASC328","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 93 in D major\u003c\/span\u003e\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 94 in G major, \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe \"Surprise\"\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 95 in C minor\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 96 in D major, \u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe \"Miracle\"\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 97 in C major\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 98 in B flat major \u003c\/span\u003e\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1957\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:13\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is the issue to get ... we get a truer picture of the Royal Philharmonic and of Beecham’s Haydn578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eWhat, again? EMI reissued these recordings on CD in 1992, in 2004, and in 2011. We’ve been talking about escaping the “Papa Haydn” syndrome for half a century, and these are the performances we’ve been trying to escape. In Fanfare 28:3, I damned them as “overbearing … stolid … square … affected, more Beecham than Haydn … little sense of spontaneity or joy.” In 35: 2, Richard A. Kaplan, reviewing a 34-CD Beecham set, found these Haydn symphonies “inappropriately weighty, even pompous.” Kaplan’s description of Beecham’s Mozart (“alternately stodgy and quaint”) fits my view of his Haydn even more closely. I’ve listened to only the first CD of the first set (Symphonies Nos. 93, 94, and 95), as that’s what arrived in the mail, but I’ve known these recordings from time immemorial. A second disc is supposedly on its way; if it brings any surprises, I’ll get back to you. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe second set arrived complete. The opening Vivace assai of No. 99 in E♭ is played slowly, depriving it of all vigor and sparkle; the following Adagio is softened and sentimentalized. Beecham’s Minuet is a prime example of the Papa Haydn syndrome, powdered wig and all; the carefully isolated chords have no force of attack, and the Trio is unbearably sweet. The Vivace finale tiptoes along at a very moderate pace. One of Haydn’s most dynamic, potent symphonies has been reduced to a series of charming effects. I could go on and on, but to what point? With such performances the norm in the first half of the 20th century, it’s no wonder that Haydn was considered a minor composer. Beecham (1879–1961) was locked into that time; in 1958 he still used error-ridden scores from an earlier era, ignoring all of Robbins Landon’s corrections as well as most repeats. By this time, Hermann Scherchen’s recordings and many on the Haydn Society label had demonstrated how vital Haydn’s symphonies are. There are a few movements that go well in Beecham’s performances, notably the opening Allegro of No. 104, the “London” Symphony. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eIf you must have these recordings, however, this is the issue to get. The performances in the first set (Symphonies 93–98) have suffered great indignities from EMI’s executives and engineers. First, this English orchestra traveled to Paris in October 1957 to record five of these six symphonies at Salle Wigram, perhaps the only major recording site not equipped for stereo at the time. All of EMI’s reissues have been in an electronic stereo version. Pristine’s Andrew Rose has restored true mono, and then added his “far more subtle Ambient Effect” as an option, heard on the review copies. The second set is in stereo. Rose also has rectified a number of pitch irregularities that have plagued previous issues. The result is that we get a truer picture of the Royal Philharmonic and of Beecham’s Haydn. Which engenders a disturbing paradox: Now that the orchestra can be heard properly, all the problems that Kaplan and I complain about stand out even more clearly. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eJames H. North \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC328.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBeecham's supreme musicality exemplified in Haydn's symphonic masterworks\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirst six 'London' symphonies in superb new 32-bit XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":28571701608509,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":28571701641277,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":28571701674045,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":28571701706813,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC328.jpg?v=1559224218"},{"product_id":"pasc329","title":"BEECHAM Haydn: London Symphonies, Volumes 2: Nos. 99-104 (1958) - PASC329","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 99 in E flat major\u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 100 in G major, The \"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eMilitary\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 101 in D major, The \"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eClock\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 102 in B flat major\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 103 in E flat major, The \"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eDrum-Roll\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e\" \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 104 in D major, The \"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eLondon\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e\" \u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo in 1958\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 35:13\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI highly recommend these discs578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eSerendipity. Some time after Wagner, audiences lost their ability to\n          listen to music of the Classical era. Hard to believe, but even Mozart\n          became\n        reduced to the status of a \u003cem\u003epetit maître\u003c\/em\u003e. When you accept \u003cem\u003eDie\n        Walküre,\n        Tristan\u003c\/em\u003e, or \u003cem\u003eTosca\u003c\/em\u003e as the norm of passion, \"Là ci darem la mano\" seems\n        pretty lame. However, Mozart had his ardent champions, notably George\n        Bernard Shaw, who hoisted his considerable wit in the service of restoring\n        Mozart\n        to more reasonable assessment.\u003cbr\u003e      \n        \u003cbr\u003e\n        Haydn's reputation, however, had sunk even lower than his pupil's. A\n        composer known in his day for his emotional force (one English writer\n        compared him\n        to Shakespeare) became huggable \"Papa Haydn.\" This persisted\n        well into the 20th century. My mother, for example, had studied music seriously\n        during the Thirties and Forties, and I later got to read her textbooks,\n        which characterized Haydn as \"historically important\" --\u003cem\u003e ie\u003c\/em\u003e,\n        not aesthetically important. It took the efforts of scholars like H.\n        Robbins Landon as well as committed conductors like Sir Thomas Beecham\n        and, later,\n        Antal Doráti (the second to record all the symphonies; the first\n        cycle, by Ernst Märzendorfer, had very limited release) to eventually\n        push Haydn into standard repertory. Doráti began recording in\n        1969.\u003cbr\u003e      \n        \u003cbr\u003e\n        Companies have this weird (to me) idea that they need to re-record the\n        same material with new artists in order to make money. Of course new artists\n        need support, but do they really need to preserve\u003cem\u003e their\u003c\/em\u003e Beethoven's \u003cem\u003ePastorale\u003c\/em\u003e?\n        Will it significantly better Mengelberg's or Szell's? Why push new product\n        with all the attendant costs of recording and editing when you already\n        have superior inventory? I just don't get it. What results is new audiences\n        ignorant of performance history -- the treasures and (I admit it) even\n        some trash of the past.\u003cbr\u003e      \n        \u003cbr\u003e\n        Like most conductors of his era, Beecham has become a collection of anecdotes\n        to the general classical public. I admit he left behind a superior collection\n        of anecdotes and \u003cem\u003ebon mots,\u003c\/em\u003e but more importantly, he bequeathed\n        a host of great performances. In many ways, he was bloody-minded, as\n        shown by his\n        notorious remark that \"I would give the whole of Bach's \u003cem\u003eBrandenburg\n        Concertos \u003c\/em\u003efor Massenet's \u003cem\u003eManon\u003c\/em\u003e, and would think I had vastly\n        profited by the exchange\". He knew what he liked and stuck to it. Fortunately,\n        he liked the unfashionable as well as the fashionable. No one, not even\n        Barbirolli, has surpassed his Delius recordings. In the Thirties, he was\n        one of the few to record Haydn symphonies -- and not dutifully, either,\n        but with real brio. He had a special affinity for Handel and resurrected\n        many forgotten works by that composer. His was, I believe, the first \"complete\" \u003cem\u003eMessiah\u003c\/em\u003e,\n        although in a Modern, super-glam orchestration. Numbers that hadn't been\n        heard in decades appeared in an \"Appendix.\" Haydn and Beecham\n        usually constituted an ideal match. Haydn's drollness and sentiment chimed\n        well with Beecham's personality. He, Szell, Doráti, and Bernstein\n        stand among my favorite Haydn conductors, although all four view Haydn\n        differently. Szell emphasizes Haydn's elegance, Doráti his warmth,\n        Bernstein his power, and Beecham his singing wit.\u003cbr\u003e      \n        \u003cbr\u003e\n        Haydn wrote six symphonies for each of his two visits to England. These\n        so-called \"London\" symphonies represent the height of his art,\n        without a dud in the dozen. They all follow the same general plan: sonata\n        movement; slow movement; minuet and trio; rondo-like finale, often sonata\n        rondo. Within those general specs, Haydn creates enormous variety, including\n        monothematic sonatas, innovative, poetic orchestration, and bursts of brilliant\n        counterpoint. Beecham does especially well in quicker movements, with a \"natural\" spontaneous\n        joy and rhythmic verve to his music-making. Haydn has always been known\n        for his musical jokes (the famous one in the \"Surprise\" Symphony\n        is only one of them, and by no means the best), and Beecham seems to\n        get them all. I especially like his second movement of No. 93, where\n        a lacy,\n        delicate texture rips apart with a loud fart from the bassoon, and Beecham\n        fully commits to it. In the slow movements, Beecham shapes a complex\n        singing line. At times, I find him a bit too slow; in one adagio, he\n        actually put\n        me to sleep. But I have trouble listening to slow movements anyway. I\n        need something, in the absence of lively rhythm, to keep my attention.\n        Beecham\n        usually gives me an unusually interesting shaping of the musical line,\n        a bit like a great \u003cem\u003eLieder\u003c\/em\u003e singer.\u003cbr\u003e      \n        \u003cbr\u003e\n        I highly recommend these discs, although I will mention a few points that\n        might give some listeners pause. First, he uses larger forces than we today\n        expect. No HIP here. Second, he uses pre-Landon editions, filled with mistakes\n        and editorial accruals that put down not what Haydn wrote, but what he\n        \u003cem\u003eshould\u003c\/em\u003e have written. Beecham doesn't observe all repeats. Third, this set\n        appeared on the cusp of the stereo era. \u003cstrong\u003eEMI\u003c\/strong\u003e, worried that stereo would\n        turn out to be a fad, got into the technology late. Hence, the first six\n        symphonies came out in mono and the second six in stereo. The difference\n        doesn't rattle me. Beecham's sheer musicality and the spectacular playing\n        of the Royal Phil's reeds and brasses (especially the trumpets) grandly\n        sweep aside such objections. The very greatest performances of Haydn's\n        symphonies are marked in large part by great solo wind players, which the\n        Phil obviously has. Textures are full but remain clear. Finally, unless\n        one knows the symphonies extremely well, I strongly doubt that Beecham's\n        departures from the true text will be noticed.\u003cbr\u003e      \n        \u003cbr\u003e\n        The bulk of\u003cstrong\u003e Pristine\u003c\/strong\u003e's releases are mono. The label specializes in great\n        performances of the past and in applying the latest techniques to \"wash\n        the face\" of old vinyl. This involves much more than removing crackles\n        and pops. Here, producer Andrew Rose has digitally standardized the variations\n        in tape recording speeds, so that pitch changes between and within movements\n        don't jar. Apparently, he has also reduced the excessive brightness of\n        the EMI sound of the time. Most controversially, I think, he has submitted\n        the mono recordings to a process misleadingly called \"Ambient Stereo.\" To\n        me, the controversy lies exclusively in the term \"stereo,\" rather\n        than in the results. Based on various descriptions I Googled, unlike the\n        notorious \"electronic stereo\" of the Sixties, there's no attempt\n        to \"locate\" the instruments left and right. Something else\n        happens. Mono recordings tend to sound flat and compressed forward and\n        back, as\n        well as left and right. Ambient Stereo rounds out the sound, or as another\n        description has it, puts air around it. It's as if it restores the ambience\n        of the venue, so that the sound seems to originate in an actual room\n        rather than from a radio speaker. It's a very subtle effect. I don't\n        listen to\n        historical recordings because I'm so interested in history. I listen\n        to them because I enjoy great music-making. Consequently, I think Ambient\n        Stereo an enhancement, rather than an accretion. Pristine has decided\n        to\n        apply the process to its entire catalogue. More power to them.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e S.G.S. (August 2012)\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC329.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eBeecham's supreme musicality exemplified in Haydn's symphonic masterworks\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSecond volume of six 'London' symphonies in superb stereo 32-bit XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cofficedocumentsettings\u003e\n  \u003callowpng\u003e\u003c\/allowpng\u003e\n \u003c\/officedocumentsettings\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c!--[if gte mso 9]\u003e\u003cxml\u003e\n \u003cworddocument\u003e\n  \u003cview\u003eNormal\u003c\/view\u003e\n  \u003czoom\u003e0\u003c\/zoom\u003e\n  \u003ctrackmoves\u003e\u003c\/trackmoves\u003e\n  \u003ctrackformatting\u003e\u003c\/trackformatting\u003e\n  \u003cpunctuationkerning\u003e\u003c\/punctuationkerning\u003e\n  \u003cvalidateagainstschemas\u003e\u003c\/validateagainstschemas\u003e\n  \u003csaveifxmlinvalid\u003efalse\u003c\/saveifxmlinvalid\u003e\n  \u003cignoremixedcontent\u003efalse\u003c\/ignoremixedcontent\u003e\n  \u003calwaysshowplaceholdertext\u003efalse\u003c\/alwaysshowplaceholdertext\u003e\n  \u003cdonotpromoteqf\u003e\u003c\/donotpromoteqf\u003e\n  \u003clidthemeother\u003eEN-GB\u003c\/lidthemeother\u003e\n  \u003clidthemeasian\u003eX-NONE\u003c\/lidthemeasian\u003e\n  \u003clidthemecomplexscript\u003eX-NONE\u003c\/lidthemecomplexscript\u003e\n  \u003ccompatibility\u003e\n   \u003cbreakwrappedtables\u003e\u003c\/breakwrappedtables\u003e\n   \u003csnaptogridincell\u003e\u003c\/snaptogridincell\u003e\n   \u003cwraptextwithpunct\u003e\u003c\/wraptextwithpunct\u003e\n   \u003cuseasianbreakrules\u003e\u003c\/useasianbreakrules\u003e\n   \u003cdontgrowautofit\u003e\u003c\/dontgrowautofit\u003e\n   \u003csplitpgbreakandparamark\u003e\u003c\/splitpgbreakandparamark\u003e\n   \u003cenableopentypekerning\u003e\u003c\/enableopentypekerning\u003e\n   \u003cdontflipmirrorindents\u003e\u003c\/dontflipmirrorindents\u003e\n   \u003coverridetablestylehps\u003e\u003c\/overridetablestylehps\u003e\n  \u003c\/compatibility\u003e\n  \u003cmathpr\u003e\n   \u003cmathfont m:val=\"Cambria Math\"\u003e\u003c\/mathfont\u003e\n   \u003cbrkbin m:val=\"before\"\u003e\u003c\/brkbin\u003e\n   \u003cbrkbinsub m:val=\"--\"\u003e\u003c\/brkbinsub\u003e\n   \u003csmallfrac m:val=\"off\"\u003e\u003c\/smallfrac\u003e\n   \u003cdispdef\u003e\u003c\/dispdef\u003e\n   \u003clmargin m:val=\"0\"\u003e\u003c\/lmargin\u003e\n   \u003crmargin m:val=\"0\"\u003e\u003c\/rmargin\u003e\n   \u003cdefjc m:val=\"centerGroup\"\u003e\u003c\/defjc\u003e\n   \u003cwrapindent m:val=\"1440\"\u003e\u003c\/wrapindent\u003e\n   \u003cintlim m:val=\"subSup\"\u003e\u003c\/intlim\u003e\n   \u003cnarylim m:val=\"undOvr\"\u003e\u003c\/narylim\u003e\n  \u003c\/mathpr\u003e\u003c\/worddocument\u003e\n\u003c\/xml\u003e\u003c![endif]--\u003e\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":34134718541,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34134718605,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34134718669,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC329.jpg?v=1489578797"},{"product_id":"pasc314","title":"BEECHAM conducts Arnell, Berners, Delius (1950-55) - PASC314","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eARNELL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePunch and the Child - Ballet Music\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  An Arabesque\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERNERS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e  The Triumph of Neptune - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1950-55\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 59:16\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eEinar Nørby, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRobert Grooters, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fExcellent performances, aided by superlative transfers, and well worth your time578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThese are all classic Beecham: the Arnell from \n1950, Delius from 1955, and Berners from 1952. The Columbia Masterworks \nrelease of the Arnell and Berners was the first I ever heard of either \nwork, and somewhere in our basement, that LP remains. Since then, I’ve \nacquired other versions of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Triumph of Neptune\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (Marco Polo 8.223711) and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePunch and the Child\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (Dutton 7227), but good as each is, neither matches up to the magic \nthat was Beecham on the podium when at his best. Consider the Arnell: \nMartin Yates I’ve found a variable conductor, sometimes routine, \nsometimes very good indeed—and at the top of his form, a colorist who \nunderstands the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esound\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of an orchestra and its many textures like few others. So he does in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePunch and the Child\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e;\n but Beecham does this, too, with a better attention to momentum, as \nwell as an ability to cut loose in expressive attacks (in the Overture, \nfor instance) that Yates is not willing to pursue in his recording. \nConsequently, Yates brings out all the color and harmonic richness in \nthe ballet, while Beecham is willing to sacrifice some of each at times \nto better illustrate the work’s shifting character, and preserve a sense\n of the dance.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Delius suffers from a particularly hard and \nmonotonous baritone, Einar Norby, who nonetheless demonstrates fine \nphrasing. So does Beecham, whose gift for knowing just how to present \nthis music at its most confidently glowing was a touchstone throughout \nhis lengthy career. It wouldn’t do to miss mention of Robert Grooters, \nwhose brief interjections of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Last Rose of Summer\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in “The Sailor’s Return” (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Triumph of Neptune\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n are well sung, and marvelously over the top—much as you’d expect from a\n drunken, maudlin sailor at the turn of the 20th century.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe sound is wonderfully rich and full-bodied: \nbrighter in the higher strings for both works with the Royal \nPhilharmonic, evincing that shining bite I’ve come to associate with the\n orchestra at that time. The Philadelphia’s rich strings (“Cloudland”) \nand characterful wind soloists are evident throughout the Berners; \nfrankly all three selections could pass for good recordings of a decade \nor more later, were it not for their mono signal. Which isn’t a call for\n electronic stereo—a curse that seems to have lifted from the land—but \nsimply a fact of life.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFinally, I should mention that the liner notes reprint a 1974 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n review of the Arnell and Berners material. That critic quotes from an \nearlier one who stated of the Arnell in part that it had “a plethora of \nundeveloped notions,” to which the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n reviewer responds with glorious condescension, “speaking personally, I \nhave an affection for this score, short-breathed though its invention \nmay be.” Neither, I suspect, took notice of the small number of \ninterrelated motifs in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePunch and the Child\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, or that these are ingeniously transformed in each successive dance variation.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn short, these are excellent performances, aided by superlative transfers, and well worth your time. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBarry Brenesal  \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:5 (May\/June 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC314.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eBeecham conducts rare British gems\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIn immensely vibrant, captivating sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eI was happy to have excellent pressings for all three of\n these works - two from a near-mint American Columbia Masterworks LP \n(Arnell and Berners) and the third from a similarly wekk-preserved \nPhilips LP (Delius). Unsure of the overall timings I had also prepared \nBeecham's 1952 Delius Appalachia recording, but this proved to be a \nminute or so too long for the present release. It was interesting to \ndiscover that both London recordings were of significantly higher \nquality than the US recording, but that's only really to say that the \nBerners was well-recorded and the Delius and Arnell even better.\u003c\/p\u003e\u003cp class=\"body\"\u003eGiven such promising material I was able to try out a \nnew addition to the XR repertoire of remastering techniques - a means of\n compensating for the lack of very deep, resonant bass in recordings of \nthis era, such as one might feel shaking the floor slightly in a modern \nrecording of similar material. This proved more successful than I'd \nhoped and the results can be heard especially well in the Arnell which, \napart from its mono centre, could surely pass for something several \ndecades more recent than 1950!\u003c\/p\u003e\u003cp class=\"body\"\u003eAll in all it was an astonishing result that exceeded all my expectations.\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\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eARNELL \u003c\/strong\u003ePunch and the Child - Ballet Music\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 31 May 1950 Kingsway Hall, London\u003cbr\u003eSource: Columbia Masterworks ML4593 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDELIUS \u003c\/strong\u003eAn Arabesque\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 12 October 1955 Walthamshow Assembly Hall, London\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eSource: Fontana CFL1009 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eRoyal Philharmonic \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eOrchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eEinar Nørby\u003c\/strong\u003e baritone (Delius)\u003cbr\u003e\u003cstrong\u003eSir Thomas Beecham\u003c\/strong\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eLORD BERNERS \u003c\/strong\u003eThe Triumph of Neptune - Suite\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 3 February 1952 Academy of Music, Philadelphia\u003cbr\u003eSource: Columbia Masterworks ML4593 \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eThe Philadelphia \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eOrchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eRobert Grooters\u003c\/strong\u003e baritone\u003cbr\u003e\u003cstrong\u003eSir Thomas Beecham\u003c\/strong\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, October 2011\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003e\u003cbr\u003eTotal duration: 59:16\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\/PASC314.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC314.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eThere seems to a revival of interest at \npresent in Lord Berners so that the appearance of this account of his \nchef d'oeuvre, the ballet suite, The Triumph of Neptune is as timely as \nit is welcome. I should perhaps stress that this is not the familiar 78 \nrpm version that Beecham made with the LPO (Columbia LX697-8, 2\/38) but \none new to this country, recorded with the Philadelphia Orchestra and \nthat it includes two movements omitted from the English set, \"Cloudland\"\n and \"The Frozen Forest\". Commissioned by Diaghilev for his second visit\n to London made at Beecham's invitation in 1926, The Triumph of Neptune \nhad the benefit of a libretto by Sacheverall Sitwell and choreography by\n Balanchine; Danilova, Lifar and Petrova danced the leading roles. \nBerners has been compared with Satie though with scant justification: \ntheir eccentricity is perhaps their only point of contact. In general \nBerners cannot be said to possess a strongly defined personality: he was\n a pasticheur of great accomplishment and an artist of versatile talent \n(he was also a painter and novelist). He certainly succeeded in this \ndelightful score in capturing the fragile period flavour of the \ntwenties; the musical invention is sustained and his wit and cleverness \nare telling. It would perhaps be a little too much to expect the \nPhiladelphia Orchestra to fully penetrate the highly idiosyncratic world\n the score evokes and those who know the LPO version will find accents \nheavier and rhythms less fleet of foot. Robert Grooters, who briefly \nappears as the singer practising The Last Rose of Summer in \"The \nSailor's Return\", is more heavy handed than Robert Alva in the pre-war \n78 rpm version.\u003cbr\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003eRichard Arnell's music is neglected these \ndays though his Fifth Symphony was recently broadcast. What little music\n of his that I have heard is often distinctive in utterance. In some \nrespects he seems to me not unlike Rawsthorne though there is little of \nthe darker, more searching quality one finds in the latter. Punch and \nthe Child dates from 1948 and given its balletic origins is episodic in \ncharacter. The Record Guide spoke of it as \"agreeable music but hardly \nstrong enough to hold the interest on repeated hearing\" without the \nstage action. Hubert Foss in these pages wrote: \"Idea after picturesque \nidea succeed each other in bewildering succession. First impressions \nwere: restlessness and excitability, a marked Prokofiev flavour, a \nplethora of undeveloped notions, a diatonic basis with a generous \nsprinkling of wrong notes to keep it up to date\". Some of this \nundoubtedly holds good today though speaking personally, I have an \naffection for this score short-breathed though its invention may be. \nSome of its ideas are highly memorable and fresh, there are moments of \npoetry and the score is full of vitality. Yet ideas are never really \nsustained long enough to satisfy the listener. I have periodically \nreturned to the 78 rpm originals over the years but shall do so no more \nsince this new transfer is of quite outstanding quality: indeed one \nwould scarcely suspect its origins so well focused is its sound. \nEverything is lively, fresh, and truthful in timbre; it is, I would have\n thought, exceptionally vivid for its period. (A friend guessed its date\n at 1962 or 63.) It derives from tape rather than 78 rpm masters, I am \nsure, since there is no trace of surface noise. The recording of the \nBerners is less distinguished but this does not inhibit a warm \nrecommendation for this most welcome and desirable reissue.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eR.L., Gramophone magazine,\u003c\/strong\u003e July 1974\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":34129306253,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34129306317,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34129306381,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34129306445,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC314.jpg?v=1489569631"},{"product_id":"pasc450","title":"BEECHAM conducts Delius (1950-56) - PASC450","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAppalachia\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eIn a Summer Garden\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOver the Hills and Far Away\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOn Hearing the First Cuckoo in Spring\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSummer Night on the River\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1950-1956  \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 78:44    \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra \u0026amp; Chorus\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeecham remains uniquely authoritative in Delius578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eProbably no other composer’s reputation\n has rested as exclusively on the work of a single interpreter as that \nof Frederick Delius with Thomas Beecham, at least for the 50-plus years \nthat Beecham advocated for Delius’s work. Here Pristine’s Andrew Rose \noffers his remasterings of five Beecham recordings from the 1950s, all \nremakes of prewar 78s. The first three are from 1950–52 mono English \nColumbia originals; \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOn Hearing the First Cuckoo in Spring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSummer Night on the River\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n are stereo HMV recordings from 1956–57. Rose errs in ascribing both \nitems to an October 1956 session; the latter work was actually recorded \nfive months later. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI am probably in the minority in thinking that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAppalachia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is one piece in which John Barbirolli surpassed Beecham’s achievement. \nBarbirolli adds a minute and a half to Beecham’s duration, and his \nexpansiveness suits this longest of Delius’s orchestral scores. \n(Atypically, Beecham’s 1938 version is actually longer than this 1952 \nrecording.) Barbirolli’s stereo sound helps. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIn a Summer Garden\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is a relative rarity, at least on this side of the Atlantic: Of all of \nBeecham’s early 1950s English Columbia recordings of Delius, it is the \nlone item that never appeared on an American Columbia LP. They were all \nreissued in the 1990s on five UK Sony CDs, but those are all out of \nprint. Beecham remade \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOver the Hills and Far Away\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in stereo in 1957. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eRose’s transfers are particularly \nsuccessful in the three mono items, an improvement on the somewhat \ndisappointing sound of the Sony CDs. In the stereo recordings the \nwoodwinds are lifelike, but there is a bit of an edge to the tone of the\n loudest violin passages. Of course, these recordings were first \navailable here on a wretched Seraphim LP, and if you still have that \nyou’ll be pleasantly surprised by the fullness of the sound. When CDs \nwere introduced one of the first things I set about doing was retiring \nall of my U.S. Angel and Seraphim LPs; even the earliest CDs—including a\n treasurable two-disc set of all of Beecham’s stereo Delius \nrecordings—were a vast improvement. I compared the EMI CD with Rose’s in\n the two stereo items, and the frequency response of the EMI is \nsmoother, without the harsh violins. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMy misgivings about his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAppalachia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n notwithstanding, Beecham remains uniquely authoritative in Delius, and \nRose’s ministrations freshen up the mono items nicely. Recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRichard A. Kaplan\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC450.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham's 1950s Delius recordings revived!\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Beecham\n remains uniquely authoritative in Delius, and Rose’s ministrations \nfreshen up the mono items nicely. Recommended\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eI had prepared \u003cem\u003eAppalachia\u003c\/em\u003e for release some four years ago \nonly to find it just too long to fit with the other works planned for \nthat release. Here I've returned to it with a fresh transfer and \nremastering, and coupled it with two other mono Delius recordings Sir \nThomas made in the early 1950s \u003cem\u003eIn A Summer Garden\u003c\/em\u003e and \u003cem\u003eOver the Hills and Far Away\u003c\/em\u003e. All of these have seen great tonal improvements in these XR remasters.\u003c\/p\u003e\u003cp\u003eBeecham returned to a number of earlier recordings and remade them \nwith the advent of stereo - the first two of these three mono recordings\n were not remade. \u003cem\u003eAppalachia\u003c\/em\u003e itself was a remake of his 1938 78rpm recording.\u003c\/p\u003e\u003cp\u003eThe final two recordings, from \u003cem\u003eTwo Pieces for Small Orchestra \u003c\/em\u003esee\n us entering the stereo era - they were recorded together in October \n1956. The results of this recording session were remarkably hissy, and a\n great deal of effort has gone into preserving the full orchestral tonal\n range whilst trying to minimise this hiss - something at least one \nother recent major-label reissue has tackled with such a heavy-handed \napproach to digital noise reduction that has had a quite destructive \neffect on the musical content. Hopefully this release puts the record \nstraight, so to speak!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e DELIUS \u003c\/b\u003e Appalachia (Variations on an old slave song)\u003cbr\u003eRecorded 29 October 1952\u003cbr\u003eIssued as Columbia 33CX1112\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eDELIUS\u003c\/b\u003e In A Summer Garden  (14:17)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eDELIUS\u003c\/b\u003e Over the Hills and Far Away  (13:58)\u003cbr\u003eIn A Summer Garden: Recorded 27 October 1952\u003cbr\u003eOver the Hills and Far Away: Recorded 7 February 1950\u003cbr\u003eIssued as Columbia 33C1017\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eDELIUS \u003c\/b\u003e Two Pieces for Small Orchestra\u003cbr\u003e\n\u003cp class=\"bodybigblue\"\u003eRecorded 31 October 1956\u003cbr\u003eIssued as HMV ALP1586 (mono)\u003cbr\u003eand ASD357 (stereo)\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eRoyal Philharmonic Orchestra \u0026amp; Chorus\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\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\/PASC450.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC450.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 and Ambient Stereo 24-bit FLAC","offer_id":31975218189,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo and Ambient Stereo 16-bit FLAC","offer_id":31975218317,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo and Ambient Stereo MP3","offer_id":31975218445,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC450_e3de1ecc-132a-45ef-b460-389178cae33d.jpg?v=1487681873"},{"product_id":"pasc409","title":"BEECHAM conducts Mozart, Volume 1 (1915-54) - PASC409","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonies 31, 35, 36\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eComplete Beecham Acoustic Recordings, 1915-1917\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1915-1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:54\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBeecham Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHere, then, is one of the great Mozarteans...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis CD represents Volume One of the \nColumbia Mozart symphonies Thomas Beecham recorded in the studio with \nthe Royal Philharmonic between 1951 and 1954. It also contains the two \novertures and several snippets captured acoustically with the Beecham \nSymphony Orchestra in 1915—all restored at Pristine with Andrew Rose’s \ncustomary wizardry. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSir Thomas’ approach to Mozart lies well within memory of many \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n readers. Yet it reaches us now almost as a voice from an unrecoverable \npast. These are big, full-orchestra readings of Mozart, played with \nunashamed sentiment. Beecham seeks to ravish us in ways far beyond the \nclear-stream math of HIP revisionist thinking. Sixty or 70 years ago \nthat was the norm: Romantic Mozart delivered to us by the likes of Bruno\n Walter, Otto Klemperer, and Wilhelm Furtwängler. There is a tendency to\n flatten perspective on this vanished world over time, to regard “big \norchestra” Mozart as having been all of a piece in its day. But of \ncourse, it wasn’t. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKlemperer’s approach, for instance, \nconveyed a powerful solidity. Bruno Walter, also nearly Brahmsian in \nMozart, was known for his “plastic phrasing.” And Furtwängler’s Mozart \ncould easily convince you that Wagner was just around the corner. But \nSir Thomas’s approach had a special quality of lightness and grace. He \nseemed to balance an orchestra from the top down. And it is no accident \nthat Beecham was famous for bringing out the subtleties of French music.\n His sheer deftness stands out. The music just skates along here, light \nas a feather. It conveys an airy, almost ecstatic exhilaration you won’t\n find elsewhere. Indeed, I’d say Beecham’s approach represents Mozart \nconducted as though it were Mendelssohn. With all the pretty cadence \nritards and delicate tempo adjustment, there is no heaviness. The \ntimpani-led punchiness of current-day Mozart is completely missing. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose is to be congratulated once\n again for bringing extra life to the never stellar-sounding original \nLPs. He has managed to include so much out-of-phase rear channel \nmaterial in his remastering that I mistook the performances for being in\n stereo at first. The result is extremely listenable. And his efforts \nwith the acoustic items are similar. There is, amazingly, real air and \nback channel surround to be found in the horn recordings. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMagic Flute \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\n comes through especially well. Despite limitations, one can sense that \nthe Beecham Symphony Orchestra was very fine, indeed. The violin passage\n work is quite lovely, though the use of portamento, especially \nupward-swooping portamento, sounds a bit kitschy and “home sweet \nhome-ish.” But you recognize the same subtle traits in early Beecham as \nlater. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHere, then, is one of the great \nMozarteans, brought to us at the beginning and near the end of his \ncareer. I, for one, am extremely appreciative. Windows on the past \naren’t made from today’s tempered glass. They inherently distort, \nrefract, and contain areas of opacity, just where you wish for clarity. \nBut Andrew Rose has done all that is humanly possible to polish the \nsurfaces. And his vision is now the effective catalyst to our own. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\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\/PASC409.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - the 1950s Columbia recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst of three volumes, supplemented with his complete Columbia acoustic Mozart recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAll but one of Beecham's early acoustic Mozart recordings was made \nfor Columbia, and it was to the American company of the same name that \nhe returned in the early 1950s to record a series of seven Mozart \nsymphonies with another of his \"own\" orchestras, the Royal Philharmonic.\n The symphonies have been in and out of print since then, and their \noriginal, somewhat harsh sound quality to an extent masked their \nexquisite brilliance. Despite this, they have always been highly \nregarded, and it can only be hoped that these new transfers and XR \nremastering will further enhance their reputation.\u003c\/p\u003e\u003cp\u003eBut that's not to overlook his earliest Mozart recordings (a single \nside cut for Odeon in 1912 will appear on a later volume here), made \nwith an orchestra that some rated as the finest he ever conducted. \nAgain, XR remastering has helped bring these primitive horn-based sound \nrecordings just a small step closer to the modern listener's \nappreciation - and very fine they are too.\u003c\/p\u003e\u003cp\u003eThe rare acoustic recordings were sourced from existing vinyl \ntransfers, including a \"private\" box set from the 1970s, WHS 102\/4. It \nis from notes enclosed here that the archive review for this release was\n derived - I could find no reviews when searching in the Gramophone and \nFanfare archives of any of Beecham's 1950s Columbia symphony recordings.\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\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 31 \"Paris\"\u003cbr\u003eColumbia ML-4474\u003cbr\u003eRecorded Kingsway Hall, London, 9 March 1951\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 35 \"Haffner\"\u003cbr\u003eColumbia ML-5001\u003cbr\u003eRecorded Walthamstow Assembly Hall, 7 December 1953\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 36 \"Linz\"\u003cbr\u003eColumbia ML-5001\u003cbr\u003eRecorded Walthamstow Assembly Hall, 1 May 1954\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Magic Flute: Overture\u003cbr\u003eColumbia L-1001\u003cbr\u003eMatrix Nos. 6559\/60, recorded 1915\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento in D major, K.131, 5th mvt. \u003cbr\u003eColumbia L-1132\u003cbr\u003eMatrix Nos. 6904, recorded 1916\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Overture \u003cbr\u003eColumbia L-1115\u003cbr\u003eMatrix Nos. 6908, recorded 1916\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Sarabande\u003cbr\u003eColumbia L-1227\u003cbr\u003eMatrix Nos. 76037, recorded 1917\u003cbr\u003eN.B. This is in fact the Fandango music from the end of Act 3 \u003c\/p\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBeecham Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\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\/PASC409.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC409.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":31975220365,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975220429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975220493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975220557,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC409_8d1d4781-27a5-4351-9f70-63b8cbf92fcc.jpg?v=1487681876"},{"product_id":"pasc413","title":"BEECHAM conducts Mozart, Volume 2 (1950\/55) - PASC413","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonies 38, 39\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDivertimento No. 2\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1950\/55\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:40\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fAudiophile Audition review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBeecham moves the rising and falling scales with bustling aplomb, the individual colors never once sacrificed while he maintains a luxurious fleetness of execution578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAudio engineer and producer Andrew Rose resurrects a trio of classic \nBeecham renditions of Mozart the conductor inscribed for both Columbia \nand HMV, 1950 and 1955. Many a collector of the old CBS LPs will recall \nhis fondness for ML 4313 (rec. 18 April 1950), the “Prague” Symphony as \nled by a virile Beecham with the Royal Philharmonic, a full-blooded \naccount whose sound now has the benefit of having had its formerly \nsonorities softened enough for us to savor he wit and robust accents \nBeecham intended.  The Beecham approach to Mozart does not aim for its \nViennese charm, even if it be transposed to the Czech capital which \ngreeted Mozart in 1787 with unabashed affection.  Beecham’s opening \nmovement communicates – in the course of four \u003ci\u003ethemes\u003c\/i\u003e spread over 30 \u003ci\u003emeasures\u003c\/i\u003e\n – a regal pomp and ceremonial verve in its trumpets and drums, as \nthough the spirit of Haydn were nigh, with energetic resonance in the \nplastic \u003ci\u003esyncopations\u003c\/i\u003e and \u003ci\u003ecounterpoints.\u003c\/i\u003e Robustly fervent, a\n spirit of breathless invention and exalted buoyancy permeates the \nplaying, inspired and thrilling alert, at once.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe extraordinary \u003ci\u003eAndante \u003c\/i\u003edemands we attend the exotic colors and shadowy \u003ci\u003eharmonies\u003c\/i\u003e, especially in the RPO woodwinds as they progress over low strings. The \u003ci\u003echromatic line\u003c\/i\u003e of the strings has sinew and erotic beauty, the music sighing \u003ci\u003econtrapuntally\u003c\/i\u003e and then becoming decisively and even morbidly martial in spirit.  The vivid colloquy in the winds often moves into the \u003ci\u003eminor mode\u003c\/i\u003e\n with an almost Baroque sense of anguish, yet the effect remains \nelegantly noble. The hectic last movement challenges any ensemble for \nclarity and dexterity simultaneously; even Leopold Mozart admonished his\n son’s testing of the Prague players. The RPO bassoon has as much of a \nworkout as the more exposed, \u003ci\u003ehigher register\u003c\/i\u003e players. The \nexplosive and aerial acrobatics move with lithe grace under Beecham, \nplayful but always deftly athletic, a performance with meat!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham originally recorded the 1788 \u003ci\u003eSymphony No. 39\u003c\/i\u003e on 22 \nOctober 1955 for CBS (ML 5194). Mozart seems to have conceived the work \nas a constant fusion of polar energies, with melodies that often divide \nthe emergent line among various instruments, like the clarinet. The \ndotted rhythms and ceremonial splendors of the opening \u003ci\u003eAdagio – Allegro\u003c\/i\u003e yield to a series of plaintive melodies that indulge the violins’ E strings. The strings execute \u003ci\u003erocket figures\u003c\/i\u003e as well as \u003ci\u003epizzicato\u003c\/i\u003e magic, and the RPO horns have rarely sounded so opulent. The \u003ci\u003eA-flat Major Andante con moto \u003c\/i\u003eextends\n the stately gravitas of the opening of the first movement, offering a \ndarkly colored line that becomes mordant and emotionally troubled. When \nthe full body of strings exults in tandem with the woodwinds, the effect\n haunts the imagination.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFew \u003ci\u003eMenuetto and Trio\u003c\/i\u003e movements communicate as much raw power \nas Mozart’s here in this work. Furtwaengler’s Berlin recording remains \nthe most potently tragic and militant reading I know, quite belying the \u003ci\u003elaendler \u003c\/i\u003echaracter\n of the original folk dance. Beecham’s realization enjoys a healthy \nswagger and estimable sense of bright purpose. The punctuated winds and \nhorns demand our admiration. The\u003ci\u003e Trio\u003c\/i\u003e adds a second \u003ci\u003echalumeau clarinet\u003c\/i\u003e to the texture, and over the pulsating strings Beecham injects an air of bucolic mystery. The 2\/4 \u003ci\u003eAllegro\u003c\/i\u003e\n finale proves another galloping example of Beecham’s virtuoso orchestra\n in delighted, delightful throttle, with exuberant chirps from bassoon \nand comrade woodwinds. Beecham moves the rising and falling \u003ci\u003escales\u003c\/i\u003e with bustling aplomb, the individual colors never once sacrificed while he maintains a luxurious fleetness of execution.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBeecham inscribed the 1772 \u003ci\u003eDivertimento No. 2\u003c\/i\u003e fro HMV on 22 December 1955.  The piece would qualify as a \u003ci\u003eserenade\u003c\/i\u003e,\n except it calls for four horns and possesses a ceremonial slow movement\n that may have been intended for a wedding. Beecham’s entire concept \nhere waxes frothy and bountiful of sound, especially in his wind, \nstring, and horn parts. The \u003ci\u003eAdagio\u003c\/i\u003e plays as a true love song.  \nEvery bar indulges itself in the finesse and stylish elegance of a \nrefined taste. As one reviewer for \u003ci\u003eThe Gramophone\u003c\/i\u003e stated in 1968:\n “Anyone who doesn’t delight in Beecham’s incomparably stylish way with \nit, as well as in the superb playing. . .well, I am sorry for him!”  So,\n save yourself the pity and purchase this exemplary restoration.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e—Gary Lemco\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"http:\/\/www.audaud.com\/beecham-conducts-mozart-symphonies-vol-2-mozart-symphony-no-38-in-d-major-prague-symphony-no-39-in-e-flat-major-divertimento-no-2-in-d-major-royal-philharmonic-o\/\" target=\"_blank\"\u003eAudiophile Audition\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC413.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - Volume 2\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e“These\n 1950s recordings remind us what a passionate Mozartian Beecham was. \nPristine has refreshed the sound expertly” - The Sunday Times, 2014\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe symphony recordings here were both made for US Columbia LP \nreleases. In both cases the works had been recorded with Beecham's \nprevious orchestra, the London Philharmonic, for EMI 78rpm release in \nMarch 1940, but in both cases these are the only studio recordings he \nmade to tape, and the only recordings made with the Royal Philharmonic \nof the two symphonies. Both were issued later in Europe on Philips and \nits subsidiary label, \u003cem\u003eFonata\u003c\/em\u003e, from which the present transfers \nwere drawn. Recording quality, post-XR remastering, turns out to have \nbeen remarkably and consistently good, albeit in mono for both \nrecordings - the originals prior to this remastering being somewhat \nharsh in reproduction, particularly the 1950 recording of the 38th \nSymphony.\u003c\/p\u003e\n\u003cp\u003eBy contrast the \u003cem\u003eDivertimento\u003c\/em\u003e, made by EMI in the most \ncontrolled conditions of Abbey Road studios required less XR adjustment \nto bring out its magic. The recording does, however, raise some \nquestions to which I, at the time of writing, can offer only speculative\n answers. The recording originally appeared on a mono LP, alongside a \n1957 recording of the \u003cem\u003eJupiter\u003c\/em\u003e Symphony. Its reissue in 1968 was, likewise, mono, but a recent CD issue on EMI is in full stereo.\u003c\/p\u003e\n\u003cp\u003eA careful examination of the mono and stereo issues reveals a number \nof differences, but at the same time a number of clear similarities. At \ntimes one is convinced they are the same recording - elsewhere the \nplaying is clearly different, if only slightly. I can only conclude that\n the recording sessions were captured both in mono and stereo separately\n (this being a time when stereo recording was still in an experimental \nstage). The mono tapes would have been edited for release, as is normal,\n but when EMI returned to the stereo tapes for their recent reissue, \neither by accident or by design they produced a different edit, using \nsome of the same and some alternate takes by comparison to the original \nmono master approved by Beecham, which appears here. A careful \nexamination will reveal considerable timing differences in some \nmovements between the two versions.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\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\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 38 in D, K.504, \"Prague\" \u003cbr\u003eColumbia ML-4313\u003cbr\u003eRecorded Kingsway Hall, London, 18 April 1950\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 39 in E flat, K.543 \u003cbr\u003eColumbia ML-5194\u003cbr\u003eRecorded Walthamstow Assembly Hall, 22 October 1955\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Divertimento No. 2 in D, K.131 \u003cbr\u003eHMV ALP.1536\u003cbr\u003eRecorded Abbey Road Studio 1, 22 December 1955\u003cbr\u003eOriginal mono edit (see programme notes)\u003cbr\u003eNB. Beecham omits the 3rd movement\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, 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\/PASC413.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC413.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":31975220685,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975220749,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975220813,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975220877,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC413_4a49b11a-df10-48ba-9c4d-3fef707550b9.jpg?v=1487681878"},{"product_id":"pasc415","title":"BEECHAM conducts Mozart, Volume 3 (1912-58) - PASC415","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonies 40, 41\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eBassoon Concerto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMozart\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Marriage of Figaro: Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1912-1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eProducer and XR Remastering: Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:28 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGwydion Brooke\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, bassoon \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt always is vibrant and energizing, but never with a lack of feeling for color and nuance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAt the lunch held for Thomas \nBeecham’s 70th birthday, congratulatory telegrams—including some from \ncomposers—were read to him. When the applause died down, Beecham asked \ngently, “Nothing from Mozart?” For all of Beecham’s renown as a \nconductor of Delius and Handel, Mozart was central to his repertory. \nIndeed, Beecham explored the heights and depths of Mozart, and Mozart in\n turn gave Beecham the most comprehensive avenue for displaying his \nartistry. Beecham said that Mozart introduced into music “an intimacy, a\n masculine tenderness, unique—something confiding, affectionate.” \nBeneath the conductor’s brilliant exterior, this was a quality Beecham \nshared with the composer, endearing him to his players and audiences. \nBeecham was one of the few conductors of his time to program large \namounts of Mozart’s orchestral music, and, of that time, he presented \nMozart with a full orchestra and a large sound, although never with \nsentimentality. He was noted for meticulously placing marks for \nexpression in his players’ parts, so it is not surprising that, \nparticularly in the two symphonies on this CD, one can hear an attention\n to detail rare in recordings of these works from any era. Beecham \nquipped that “a fine performance” required “the maximum of virility \ncoupled with the maximum of delicacy.” The bawdy overtone \nnotwithstanding, there is truth in this remark for Beecham’s Mozart. It \nalways is vibrant and energizing, but never with a lack of feeling for \ncolor and nuance. For better or worse, it sounds like no one else’s \nMozart. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBeecham starts the 40th Symphony at a \nquicker tempo than many of his contemporaries did. One immediately is \nstruck by the orchestral sound’s beauty, as is true throughout both \nsymphonies. A member of the Cleveland Orchestra commented on the \nsimplicity of Beecham’s gestures in Mozart, which must have contributed \nto the gorgeous tone. The urgency of the RPO’s playing helps accentuate \nthe first movement’s tragic sense. Beecham gives the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003emuch\n room to breathe. It is full of the “masculine tenderness” Beecham \ndescribes. In the third movement, the orchestra’s sound, with its tragic\n nature, has overtones of Gluck. The trio, to use Beecham’s term, is \n“confiding.” The final movement features despair matched with \nexhilaration. The “Jupiter” on this CD is Beecham’s 1950 mono version, \nnot his stereo remake. Its opening movement is lively, noble, and \nmajestic. The slow movement is truly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with beautifully flowing, singing phrases. The whole has a domestic \nfeeling, as if depicting Wolfgang alone with Constanze. A mixture of \npomp and gentleness informs the third movement. The last movement is \noperatic in its scope and its multiplicity of gestures. It is of a piece\n with the ensemble that closes \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Giovanni\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Beecham’s (and Mozart’s) zest for life is readily apparent. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe bassoon concerto receives the only\n stereo recording on the CD. Gwydion Brooke is a rich-toned and nimble \nsoloist, with a distinctive sound. The uncredited cadenzas he uses play \nto the instrument’s gnomic quality. Beecham is a warm and sympathetic \ncolleague. The 1912 recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFigaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eoverture,\n featuring the legendary Beecham Symphony Orchestra, demonstrates that \nBeecham at age 33 already possessed the drive, wit, and elegance that \nwould characterize his whole career. Andrew Rose has done wonders \nremastering the two symphonies, which are in full-toned and beautifully \nbalanced mono, while his version of the concerto represents the Abbey \nRoad studio at its finest. He also has coaxed a highly listenable sound \nout of the 1912 acoustic overture. If you are looking for stereo CDs of \nthe two symphonies, I would recommend Jeffrey Tate and Yehudi Menuhin. \nBeecham, however, is a law unto himself and deeply inspired. Perhaps we \nshould give the conductor the last word. When Fritz Reiner came \nbackstage to congratulate the conductor “on a wonderful evening of \nBeecham and Mozart,” Beecham replied, “Why drag Mozart into it?” \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC415.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eSir Thomas Beecham conducts Mozart Symphonies - the 1950s Columbia recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThird of three volumes, plus the Bassoon Concerto and Beecham's very first, 1912 Mozart recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs with previous issues in this series, the symphony recordings here \nwere made for American releases on the US Columbia label, which had long\n since cut its ties with its British namesake. Yet, unlike several of \nthe Mozart symphony recordings Beecham made for US Columbia it was \nissued in the UK on EMI's Columbia subsidiary, which at the time was \nstill a 78rpm-only operation. It is one of the few of this series that \nBeecham returned to EMI's Abbey Road studios later that decade to \nremake, the Columbia recordings having taken place in London's Kingsway \nHall. The 1954 recording of the 40th Symphony, by contrast, found its \nBritish issue on the Philips label, two years after its recording. \nBeecham had previously recorded it with the London Philharmonic for EMI \nin 1937; this is his only other studio recording.\u003c\/p\u003e\n\u003cp\u003eThe two other recordings presented here almost serve to bookend the \nconductor's recorded career. The Bassoon Concerto was originally issued \nas a mono LP but was also recorded in stereo, and this is the version \npresented here from December 1958, and a very good hi-fi recording it is\n too; where the symphonies needed quite a lot of resurrecting, this was \ngenerally fine. By contrast, the 1912 recording of the overture to \nFigaro was his first outing with Mozart and from his second stint in the\n recording studio, having cut seven sides in 1910. This acoustic \nrecording has been significantly updated in this XR remastering.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\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\u003cp\u003eFull Track Listing\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 40 in G minor, K.550\u003cbr\u003eColumbia ML-5194\u003cbr\u003eRecorded Walthamstow Assembly Hall, 26 April 1954\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Symphony No. 41 in C major, K.551, \"Jupiter\"\u003cbr\u003eColumbia ML-4313\u003cbr\u003eRecorded Kingsway Hall, London, 22 February 1950\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e Bassoon Concerto in B flat major, K.191\u003cbr\u003eHMV ALP.1768, ASD.322\u003cbr\u003eRecorded Abbey Road Studio 1, 18 December 1958\u003cbr\u003eA stereo recording\u003cbr\u003e\u003cb\u003eGwydion Brooke\u003c\/b\u003e, bassoon \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eMOZART\u003c\/b\u003e The Marriage of Figaro: Overture\u003cbr\u003eOdeon X-84\u003cbr\u003eMatrix number 76212, Lxx 3677\u003cbr\u003eRecorded c. 1912\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBeecham Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eSir Thomas Beecham, conductor\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\/PASC415.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC415.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":31975223373,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975223437,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975223501,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC415_00e0988e-95e8-4da2-8bb3-01349df0febe.jpg?v=1487681881"},{"product_id":"paco076","title":"BEECHAM Mozart: Requiem; Schubert: Symphony No. 5 (1954-59) - PACO076","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem in D minor, K.626\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5 in B flat major, D485\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1954-1959\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:52\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eElsie Morison \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMonica Sinclair \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlexander Young \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarian Nowakowski \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eBBC Chorus, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003edir.\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Leslie Woodgate\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Schubert is one of those works that brought out the charm in Sir Thomas’s music-making; the Mozart shows his serious side, as well as his willingness to tinker with a score578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHere are two Beecham classics from the \n1950s: the mono Mozart Requiem of 1954–56 and the early stereo Schubert \nFifth from 1958–59. The Mozart is transferred from a copy of the English\n Fontana LP, the Schubert from the stereo LP on HMV Concert Classics, a \nbudget reissue line. (Fontana, which reissue producer Andrew Rose \ninsists on spelling “Fonata,” was a low-priced imprint of English \nPhilips, which had the U.K. rights to the recordings Beecham made for \nAmerican Columbia.) The Schubert is one of those works that brought out \nthe charm in Sir Thomas’s music-making; the Mozart shows his serious \nside, as well as his willingness to tinker with a score, although so \nmuch is speculative regarding what some like to call “the text” of this \nwork that this is not the heretical act it might be in, say, the \n“Jupiter” Symphony. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSince these recordings are well known \nto Beecham collectors, I will direct most of my observations to the \nsound of this reissue. I compared Rose’s transfer of the Mozart with my \ncopy of the original Columbia LP. As Rose claims in his “Transfer \nNotes,” his XR process (about the technical workings of which I admit my\n ignorance) brings out the sound of the chorus in a satisfying way. I am\n less taken with what it does to the solo voices, which have an \nartificial-sounding reverberance to them and seem somehow changed in \ncolor. Overall the transfer sounds quite decent, although I continue \nmarginally to prefer the LP. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Schubert is another matter. I was \nable to do A\/B comparisons with not only Concert Classics SXLP-30204 but\n also the original issue on ASD-345, as well as the currently available \nEMI CD. Rose has boosted the highs of his Concert Classics LP, but \nattenuated the bass. Moreover, since this LP reissue was weak in high \nfrequencies to begin with, his boost doesn’t really restore what has \nbeen removed, but rather creates a peak in the upper midrange that is \nquite apparent on A\/B listening. Even more telling is a comparison with \nthe original LP edition (on a “white and gold” pressing, highly prized \nby audiophiles): The violins are bright and clear here as opposed to \nbeing muffled on the SXLP version and edgy on Rose’s transfer. The \nwoodwinds’ instrumental signatures are clearer as well, and while the \nbass is somewhat deficient, the sound overall is far more natural than \non either reissue. The EMI CD is a bit strident but otherwise more \nhonest to the original timbres. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMine seems to be the lone dissonant voice amid \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare’s\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n chorus of praise for Andrew Rose’s transfers. I believe that reviewing \nhistorical CDs should involve A\/B comparisons wherever possible, since \nthe middle-frequency-rich sound Rose produces, like that of Michael \nDutton, can be seductive if heard out of context. I further believe Rose\n should have used a superior source for the Schubert in particular. For \nthat matter, since EMI’s own CD clearly benefited from the use of master\n tapes superior to \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eany\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e LP incarnation, one wonders why Rose bothered to issue it at all. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRose clearly falls into the \ninterventionist school of transfer engineers. It seems to me that his \ntransfers are successful in inverse proportion to the quality of the \noriginal; the Mozart here is far more satisfactory than the Schubert, \nand he worked wonders with the several-generation dubs of Beecham’s \nSeattle Symphony broadcasts. Perhaps he can be persuaded to concentrate \nmore on such arcane material, or at least to use the best possible \nsource material for the recordings he does issue, rather than what may \nhappen to be on hand. Recommended, qualifiedly, for the Requiem. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRichard A. Kaplan\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO076.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eA fabulous Mozart Requiem is revealed in these new XR remasters\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBeecham's brilliance heard here as never before, with sterling performances throughout\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording of Mozart's \u003cem\u003eRequiem \u003c\/em\u003eis one of \nthose happy instances which demonstrates the merits of Pristine Audio's \n32-bit XR remastering system at its best, lifting what was a \ndull-sounding and indistinct choir into a degree of brilliance and \nclarity one would never have suspected from the original recording. \nIndeed, the entire recording has been transformed to an extent one can \nonly really appreciate by hearing \"before\" and \"after\" side-by-side - \nespecially in the Ambient Stereo version I wholeheartedly recommend \nhere.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe later Schubert recording was far more successful in \nits original incarnation, but this, too, has been brought into even \nfiner focus by the XR process, with additional use of phase-alignment \nsoftware helping to produce a more sharply-defined stereo soundstage \nthan before.\u003c\/p\u003e\u003cp class=\"body\"\u003eTogether they're a superb-sounding record of Beecham at his very best.\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eRequiem Mass in D minor, K626 (rev. Beecham)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 13-14 December 1954 and 29 May 1956, Walthamstow Assembly Hall, London\u003cbr\u003e First issued on Columbia ML-5160 \u003cbr\u003e Transfer from Fonata CFL 1000\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eElsie Morison \u003c\/b\u003esoprano\u003cb\u003e \u003cbr\u003e Monica Sinclair \u003c\/b\u003econtralto\u003cb\u003e \u003cbr\u003e Alexander Young \u003c\/b\u003etenor\u003cb\u003e \u003cbr\u003e Marian Nowakowski \u003c\/b\u003ebass\u003cb\u003e \u003cbr\u003e BBC Chorus \u003c\/b\u003edir. \u003cb\u003eLeslie Woodgate\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 5 in B flat major, D485 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 14\/16 May 1958 Salle Wagram, Paris\u003cbr\u003e and 18 December 1958 \u0026amp; 7 May 1959, Abbey Road Studio 1, London \u003cbr\u003e First issued on EMI ASD345\/ALP1743\u003cbr\u003e Transfer from EMI SXLP 30204\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Sir Thomas Beecham \u003c\/b\u003econductor \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eStudio recordings, 1954-1959\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2012\u003cbr\u003e Cover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003eTotal duration: 77:52\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\/PACO076.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO076.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":33844632333,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33844632525,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33844632653,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33844632781,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO076.jpg?v=1489155842"},{"product_id":"pasc408","title":"DOHNÁNYI plays Dohnányi, Haydn, Beethoven, Schumann (1951\/56) - PASC408","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDohnányi\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Variations on a Nursery Tune\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eHaydn\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Andante and Variations in F minor\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Andante favori\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBeethoven\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Sonata No. 17 in D minor (“Tempest”)\u003c\/span\u003e\u003cb\u003e \u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSchumann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Kinderszenen.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1951\/56\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:18 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnö Dohnányi, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Adrian Boult, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\n\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe restoration of the Remingtons has been a valuable feature of these releases578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eWe are moving to a position where almost all Dohnányi’s recordings as a \npianist are available; certainly in the case of the studio recordings. \nThis release completes the release of his Remington LP performances \nbegun on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2011\/Nov11\/brahms_sonatas_spalding_PACM078.htm\"\u003ePACM078\u003c\/a\u003e – the three Brahms sonatas with violinist Albert Spalding, somewhat painful examples of late Spalding - and \u003ca href=\"http:\/\/www.musicweb-international.com\/classRev\/2013\/June13\/Dohnanyi_plays_Dohnanyi_PASC381.htm\"\u003ePASC381\u003c\/a\u003e, where we find his own Violin Sonata, again with Spalding, and the \u003cem\u003eFour Rhapsodies\u003c\/em\u003e.\u003cbr\u003e  \u003cbr\u003e\n Haydn’s Andante and Variations in F minor, Hob. XVII:6 was taped for \nRemington in 1951 and displays a degree of expressive romanticism to \nemerge from, or – if one is unsympathetic – to be overlain on the music.\n Beethoven’s \u003cem\u003eAndante favori\u003c\/em\u003e, from the same time, is a \nconvincing performance of largely unchallenging music and prefaces the \ngreater challenges of the Sonata in D minor, the \u003cem\u003eTempest\u003c\/em\u003e. Here \none gets something of an insight into Dohnányi’s recreative conceptions \nthough they are ones somewhat compromised by a technique that is liable \nto strain in the finale. Nevertheless this is an important document in \nhis discography and it is invaluably made available here, in a fine \ntransfer, insofar as any transfer of a Remington disc can be said to be \nfine; certainly the restoration is fine. These pieces were released on a\n different LP to that of Schumann’s \u003cem\u003eKinderszenen\u003c\/em\u003e, recorded, I \nassume, at the same time, or around the same time. The interesting \nfeature of this 1951 LP is that we hear spoken introductions (in \nEnglish), by the pianist, to each scene. The overriding feature here is \nof a romanticist approach to the music in which \u003cem\u003elegato\u003c\/em\u003e and \u003cem\u003erubato\u003c\/em\u003e play a profoundly important role. There are times when he comes almost to a full stop, though the mock heroics of \u003cem\u003eAn Important Event\u003c\/em\u003e are well done. \u003cem\u003eTräumerei\u003c\/em\u003e\n is not too slow, with a flexible pulse, and one really does feel the \nchild does indeed fall asleep in the penultimate scene. The poet, \nspeaking, is very plain-speaking indeed; no Carl Friedberg here.\u003cbr\u003e  \u003cbr\u003e The most familiar item is the only non-Remington, the September 1956 Abbey Road recording of the \u003cem\u003eVariations on a Nursery tune\u003c\/em\u003e.\n He had recorded it in London a quarter of a century earlier with \nLawrence Collingwood but here had the advantage of Boult – there were \nattempts to interest Beecham with, after all, his own orchestra, but \nthey fell through – directing the Royal Philharmonic. This was recorded \nat the same sessions that gave us the Second Piano Concerto, released on\n Pristine \u003ca href=\"http:\/\/www.musicweb-international.com\/classRev\/2013\/June13\/Dohnanyi_plays_Dohnanyi_PASC381.htm\"\u003ePASC381\u003c\/a\u003e.\n The earliest releases were on mono LP but this Pristine has been \ntransferred from a stereo LP release, and very successfully too.\u003cbr\u003e  \u003cbr\u003e\n The disc could hardly be packed more to the gills than it is: 79 \nminutes of Dohnányi. The restoration of the Remingtons has been a \nvaluable feature of these releases.\u003cbr\u003e  \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International, September 2014\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC408.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eDohnányi's 1950s Beethoven, Haydn and Schumann - plus his own brilliant stereo Variations on a Nursery Tune \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n aged composer tosses off a dashing, youthful-sounding performance that \ncatches the warmhearted irony of the music\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis release completes the reissue of Dohnányi’s Remington recordings\n which was begun with the three Brahms Violin Sonatas with Albert \nSpalding (Pristine Audio PACM 078) and continued with recordings of his \nown Violin Sonata (again with Spalding) and Four Rhapsodies (PASC 381).\u003c\/p\u003e\u003cp\u003eAs with the previous reissues, Remington’s original engineering and \npressings posed several restoration challenges. Probably the most \nsignificant hurdle was locating quiet pressings in good condition. \nRemington was the original “budget” LP label, and their cost-cutting \nmanifested itself most noticeably in the quality (or lack thereof) of \nthe material on which they were pressed. Initial releases featured a \nhard, plastic-like compound high in surface noise, while later issues \nwere on somewhat quieter vinyl. All of the Remington recordings on the \ncurrent release were taken from pristine copies of the later editions.\u003c\/p\u003e\u003cp\u003eIn the case of the Schumann Kinderszenen (with spoken announcements \nin English by the pianist), this posed a dilemma. The early pressings \nare extremely noisy, with some of the softer passages almost lost in \nsurface crackle. In the later pressings, however, there appears to be a \ntape tracking problem which causes a watery sound on some of the \nselections. In the case of “Wichtige Begebenheit”, these were serious \nenough that I was forced to patch in the version from the earlier \npressing. For the remaining items, I felt that the trade-off favored the\n later edition, even with its flaws.\u003c\/p\u003e\u003cp\u003eNo such reservations need apply to the EMI recording of Dohnányi’s \nVariations on a Nursery Tune with Boult. Recorded at the same sessions \nas his Second Piano Concerto (PASC 381), it was a return to a work the \ncomposer\/pianist had first recorded in London 25 years earlier under \nLawrance Collingwood (PASC 252), but this time on stereo tape rather \nthan wax 78 rpm masters. It has been transferred here from a British LP \npressing.\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\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eHAYDN \u003c\/b\u003eAndante and Variations in F minor, Hob. XVII:6 \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Andante favori in F major, WoO 57 \u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Sonata No. 17 in D minor, Op. 31, No. 2 (“Tempest”)\u003cbr\u003eFirst issued on Remington RLP-199-16, rec. 1951 \u003cbr\u003e \u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN \u003c\/b\u003eKinderszenen, Op. 15 (Scenes of childhood) \u003cbr\u003eFirst issued on Remington RLP-199-43, rec. 1951\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eDOHNÁNYI \u003c\/b\u003eVariations on a Nursery Tune, Op. 25 [STEREO]\u003cbr\u003eFirst issued on HMV ALP 1514\u003cbr\u003eRecorded 10 – 11 September 1956 in Abbey Road Studio 1, London  \u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eSir Adrian Boult\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eErnö Dohnányi\u003c\/b\u003e, piano\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\/PASC408.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC408.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eErnö Dohnányi\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eAt one time the list of recordings of Dohnányi’s music, some in the \ncomposer’s own performances, was quite impressive, but now, apart from \nfour versions of his \u003cem\u003eVariations on a Nursery Song\u003c\/em\u003e for piano and\n orchestra there are only the early Piano Concerto, an orchestral suite,\n the Cello Sonata and one of the four Piano Rhapsodies.\u003c\/p\u003e\u003cp\u003eErnö Dohnányi, or Ernst von Dohnányi as for a time he preferred to be\n called, was born in Poszony (Pressburg) in Hungary on July 27th, 1877 \nand died in New York on February 11th, 1960. Brilliantly gifted from \nchildhood, he began to study the piano and later harmony with the local \ncathedral organist at the age of eight and by the time he went to the \nAcademy of Music in Budapest in 1893 he had written a string sextet, \nsome string quartets, piano pieces and songs. His Symphony in F gained \nfor him the King’s Prize in 1897, in which year he made his début as a \npianist in Berlin and Vienna, having worked with Eugen d’Albert for a \nshort time. A year later he played one of Beethoven’s piano concertos at\n a Richter concert in London’s Queen’s Hall. Over the years he travelled\n extensively and became very popular in America, and among the \nappointments he held at different times were professor of piano at the \nBerlin High School of Music, Director of the Budapest Conservatory, \nconductor of the Budapest Philharmonic Orchestra and Director of \nHungarian Radio. For political reasons he left Hungary in 1946 and \ntaught in Argentina for a year or so before being appointed \ncomposer-in-residence at the Florida State University in Miami.\u003c\/p\u003e\u003cp\u003eDohnányi would seem to have been blessed with a broad and simple \nsense of humour, clearly revealed in his tongue-in-check opening to the \u003cem\u003eVariations on a Nursery Song\u003c\/em\u003e,\n He had a fund of entertaining stories, one of which relates to two \nministers in Glasgow. They had flats on the first floor and periodically\n one would drag his piano into the other’s flat so that they could play \nduet sonatas. Not very skilled performers, they were delighted when \nafter several less successful attempts one evening they finished \ntogether. After a celebratory noggin of whisky one said, “Splendid \nDonald, now let’s try the second movement” and Donald replied “But, man \nAngus, that was the second movement that I was playing”.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eW. A. Chislett, Gramophone\u003c\/b\u003e, July 1977\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":37198599821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37198599885,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37198600013,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC408.jpg?v=1494407269"},{"product_id":"pasc434","title":"HORENSTEIN conducts Rathaus, Korngold and Schreker (1956-65) - PASC434","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRATHAUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 (world première)\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKORNGOLD\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Prelude and Carnival Music from Violanta\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHREKER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude to a Drama \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast and studio recordings, 1956-65\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:50  \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a superb disc, and a continuation of the wonderful harvest of recordings becoming available578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe major work here is the \n40-minute symphony by Karol Rathaus, an important discovery. There is a \nmore than adequate CPO stereo recording of the work conducted by Israel \nYinon, but it lacks the drama and power of Horenstein’s reading, which \nhappens to be the world premiere performance of the work, some 13 years \nafter it was composed and two years after Rathaus’s death. Rathaus was \nPolish-born and Viennese-trained; in fact, he studied with Schreker, as \ndid Horenstein. Active in Germany in the 1930s, Rathaus was smart enough\n to see what was coming and got out, going first to France, then to \nLondon, and finally to the U.S. He tried to catch on in Hollywood with \nother expatriates (Korngold, for instance) but did not make a name in \nfilm music. He was offered the position of professor of composition at \nQueens College in 1940, a job he held for most of the rest of his life \n(he died in 1954) and which gave him the financial security he had been \nmissing. He thus was able to compose as he wished without worrying about\n financial remuneration. It was two years after he obtained that \nposition that he wrote this work. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Third Symphony is a work of considerable power and beauty, with a singularly moving first movement \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Throughout the style is late or post-Romantic, with echoes of Mahler \nand Strauss, and perhaps a touch of Berg, but also with a musical \nlanguage that is his own. The prevailing tone of the work is dark, but \nnot excessively grim. The third movement \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndantino\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is marked by a touching tenderness and cumulative power, which \nHorenstein captures perfectly. This is a major mid-20th-century \nsymphony, a work with a deeply personal and individual profile. It is \nalso a work at the center of Horenstein’s strengths as a conductor, and \nbecause this was a BBC broadcast and recording, the quality of the \noriginal source is very high-level studio monaural from the middle \n1950s. Andrew Rose’s XR stereo adds warmth and richness without blurring\n detail. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eKorngold, who of course sprang from that same Viennese atmosphere that nourished Schreker, Rathaus, and Horenstein, wrote \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eViolanta \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eat\n the age of 17. And, by the way, it was his second opera! The quality of\n the music, particularly the skill in orchestration, is remarkable. This\n is rich, exotic, late Romantic lushness and it is given a sizzling \nperformance by Horenstein. The recording was made during sessions \nHorenstein held for the Reader’s Digest, which released a number of \nHorenstein performances, but not this. Unlike the Rathaus and Schreker, \nthis was originally a fine studio recording engineered by Decca’s \nKenneth Wilkinson and produced by Korngold’s son George. To my knowledge\n this is its first release, and it is a wonderful addition to the \nHorenstein discography. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eCuriously, Pristine Audio spells \nSchreker’s name with a second “c” before the “k” (Schrecker), a spelling\n I don’t find anywhere else. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to a Drama \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003edoes\n not appear to be intended for any specific dramatic work, but is rather\n a more generalized title. However, the work is an expansion (of \nsignificant proportion) of his Overture to the opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Gezeichneten\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (The Stigmatized), so we know this isn’t comedy. But there is little \ngloom in this 21-minute lush concert overture. Color and rhythmic drive \nare important ingredients, as is the ability to mold a long phrase. \nThese, of course, are qualities that define Horenstein’s work. There are\n good other recordings by Gielen, Conlon, and Sinaisky, but Horenstein \ndigs much more deeply into the late Romantic world of Schreker (which is\n not surprising since he studied with Schreker for a number of years, \nfollowing him from Vienna to Berlin). The monaural BBC broadcast sound \nas remastered here is fine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis is a superb disc, and a \ncontinuation of the wonderful harvest of recordings becoming available \nbecause of Andrew Rose’s relationship with Jascha Horenstein’s cousin \nMisha. We owe them both a debt of gratitude, as Horenstein was one of \nthe most important (and most under-represented on records) conductors of\n the second half of the 20th century. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:6 (July\/Aug 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC434.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein conducts friends and contemporaries: Rathaus, Korngold, Schreker \u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is rich, exotic, late Romantic lushness and it is given a sizzling performance by Horenstein\" \u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThese three rare recordings offer a fascinating insight into \nHorenstein's musical friends and contemporaries: each composer, in his \nown way, was close to the conductor's heart. The main item, Rathaus's \nSymphony No. 3, was receiving its world première in an audience-free BBC\n studio, some 13 years after it was completed, and two years after the \ncomposer's death. The Schreker was another BBC recording, this time from\n a live concert at Maida Vale. Finally, the Korngold was recorded in \nstereo by Decca engineer Kenneth Wilkinson and produced by the \ncomposer's son, George Korngold, during spare time following a 1965 \nReader's Digest session with the Royal Philharmonic.\u003c\/p\u003e\n\u003cp\u003eThere is considerable variation in sound quality: the 1965 stereo \nKorngold is by far the best, and we're grateful to the RPO for \npermission to release it here in light of considerable confusion over \ncopyright ownership. The other two works were transcribed at some point \nfrom disc sources unknown; the Rathaus is the better of the two, with a \nwider tonal and dynamic range, while the top end is somewhat limited on \nthe Schreker, though both have enormously improved by XR remastering \nover the thin and shrill source material with which I began.\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\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eKORNGOLD  \u003c\/b\u003ePrelude and Carnival Music from Violanta  (1914)\u003cb\u003e \u003c\/b\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003eKingsway Hall, London, 2 June 1965\n\u003cp\u003e\u003cb\u003eReleased with kind permission of the Royal Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e \n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRATHAUS  \u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eSymphony No. 3, Op. 50 (1942-43)\u003cspan class=\"bodymidarial\" style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eBBC Farringdon Studios, London, 13 March 1956\n\u003cp\u003e\u003cb\u003eWorld première performance and recording\u003c\/b\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eSCHREKER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003ePrelude to a Drama (1913)\u003cspan class=\"bodymidarial\" style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003eBBC Maida Vale Studio 1, London, 16 November 1957 \u003cbr\u003eBBC Third Programme, 8pm broadcast\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\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\/PASC434.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC434.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fMusical Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMusical Notes\u003c\/b\u003e by Misha Horenstein\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarol\n Rathaus: Symphony no. 3 op. 50 (1942-43), London SO, 13 March 1956 \n(recorded at BBC Farringdon studios), world premiere performance and \nrecording\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarol\n Rathaus was one of the most interesting composers of the exile \ngeneration. His musical language has its roots in the post-Romanticism \nof the early 20th century and in the early works of Schoenberg. During \nthe 1920s, the period of his greatest successes, he was considered very \nradical and \"inclined to atonality\" but today his style can best be \ndescribed as neo-Romantic, a fusion of the emotional surge of the \nnineteenth century with the vigor, motion and rhythmic vitality of the \ntwentieth.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eDespite\n his rich use of chromaticism and dissonance, Rathaus's musical world \nwas essentially harmonic and tonal. His great skill as an orchestrator \nand his outstanding sense of rhythm endow his music with unusual \nvibrancy and vitality, in a manner that is scintillating, transparent, \nand idiomatic. He is also capable of evoking and sustaining a haunting, \nintrospective lyricism that makes many of his slow movements memorable. \nIt was his ability to fuse \"tradition and evolution\" that so impressed \nsome of Berlin's most perceptive critics, who hailed him as \"one of the \nstrongest hopes of our new music.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eAfter\n his move to America Rathaus's harmonic language became leaner, bolder, \nmore acrid and dissonant, with an occasional digression into the \ngrotesque and satirical as an escape from sentiment, elements that aptly\n characterize the mood of his Third Symphony.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarol\n Rathaus was one of Horenstein's oldest and closest friends. A fellow \nstudent of Schreker's, they grew up and studied together in Vienna and \nthen in Berlin, both their careers developed simultaneously and rapidly,\n both survived the Nazi period in exile in France and in America and \nboth men saw a dramatic downturn in their fortunes after the war. But \nwhile Horenstein was eventually able to resurrect his career, Rathaus, \nwhose music was so admired during the Weimar period, was excommunicated,\n cold-shouldered by the post-war realignment of musical priorities that \ncast him out of consideration and from where he has still not fully \nemerged. He died in 1954 at the age of only fifty-nine, a respected and \nhonored professor of music at Queens College in New York but dispirited,\n disappointed and totally neglected as a composer.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eThroughout\n his career Horenstein made enormous efforts to perform Rathaus's music \nand succeeded on a number of occasions, giving premieres of his works in\n France, Germany, Israel, Switzerland, Mexico and other Latin American \ncountries as well as in Britain, where the present recording was made. \nAs far as is known, this version of the Third Symphony, recorded in a \nBBC studio with no audience present, was the first performance of the \nwork and Horenstein considered it a posthumous tribute to his recently \ndeparted friend. He conducted the symphony again before an audience in \nBerlin two years later, but whether that occasion constituted the work's\n first public performance is unknown.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eFranz Schreker: Prelude to a Drama, BBCSO, 16 Nov. 1957 (Maida Vale Studio rec)\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eContrary\n to what is generally assumed, Franz Schreker was not Horenstein's \ncomposition teacher at the Academy of Music in Vienna. He did study with\n him as a private student but only later joined his class after Schreker\n moved to the Hochschule in Berlin in 1920. Schreker was not enamoured \nof Horenstein's skills as a composer but very quickly recognized his \ntrue talent, procuring for him his first conducting job while still a \nstudent, in charge of two choirs directed until then by Hermann \nScherchen. He also had a say in some of Horenstein's other appointments,\n but his influence and popularity as a composer took a dramatic plunge \njust as Horenstein's conducting career was beginning to take wing and \nalthough he made several attempts to perform his old professor's music \nduring this period, none were successful before the arrival of the Nazis\n put a stop to everything. After the war there were several occasions \nwhen Horenstein programmed Schreker's music but it was not until 1952 \nand then 1957, the date of the present recording, that he was \nsuccessful. Both events featured \"Prelude to a Drama\" and are the only \nknown occasions that he conducted any music by Schreker.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eErich Wolfgang Korngold: Prelude and Carnival Music from Violanta, RPO, June 2, 1965 (at Kingsway Hall), London\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eErich\n Wolfgang Korngold and Horenstein, almost exact contemporaries, were \nboth raised and educated in Vienna before and during the First World \nWar. In April 1916 Korngold’s one-act tragic opera \"Violanta\" received \nits local premiere at the Hofoperntheater conducted by Leopold \nReichwein. Recalling the event many years later Horenstein told an \ninterviewer that he and his Academy friends, probably jealous of \nKorngold's wunderkind status, went to the premiere intending to boo and \nmake trouble but instead were so captivated by the opera that at the end\n they carried Korngold through the streets on their shoulders like a \nhero. This is the only known contact between Horenstein and Korngold \nduring the Weimar period, although they did meet socially after the war \nin California. The \"Prelude and Carnival Music\" from \"Violanta\" was \nrecorded by Charles Gerhardt and produced by George Korngold, the \ncomposer's son, for Reader's Digest Recordings. The recording was \nunplanned, an afterthought following the early completion of \nRachmaninoff's \"Isle of the Dead\", and was never published on the \nReader's Digest label although it has appeared in various pirate \neditions. It was only one of two occasions that Horenstein conducted \nKorngold's music, the other being a concert performance in 1960 of the \nincidental music to \"Much Ado About Nothing\" Opus 11 at the Royal \nFestival Hall in London. In 1969 plans were made by the BBC for a \ncomplete recording of \"Violanta\" that, much to his distress, had to be \nshelved because of budgetary constraints.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo and Ambient Stereo 24-bit FLAC","offer_id":31975659469,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo and Ambient Stereo 16-bit FLAC","offer_id":31975659533,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo and Ambient Stereo MP3","offer_id":31975659597,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC434_cdadb12b-43eb-4623-88d1-1e18964ab335.jpg?v=1487682228"},{"product_id":"pasc440","title":"HORENSTEIN Mahler: Symphony No. 8; Wagner: Opera Excerpts (1959\/62) - PASC440","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMAHLER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8 in E flat Major (\"Symphony of a Thousand\")\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer fliegende Holländer - Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTannhäuser - Bacchanale\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiegfried Idyll\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e  Siegfried Idyll\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\n\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and studio recordings, 1959 and 1962\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 1:13  \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWe can be nothing but grateful to Andrew Rose for his stunning remastering of this riveting performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe word “classic” is sometimes \napplied to a recording carelessly, but not in this case. This \nperformance has been praised almost universally by reviewers since it \nfirst saw the light of day on Discocorp LPs. You can read positive \nreviews in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n by William Youngren (7:4), Benjamin Pernick (20:3), Christopher Abbott \n(22:6), and me (22:5), and I included it on my 1999 Want List. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n release in 1999 seemed to be the last word, since it derived from the \nBBC’s own master tape. The original broadcast was in stereo (single \nmicrophone stereo, one must note), and while there are some balance \nproblems (some soloists are too distant), the overall sound was quite \nsatisfying. So what could Pristine offer that would improve on that? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe surprising answer is: quite a bit! \nPristine’s XR remastering has opened up the soundstage considerably, and\n the result is a very meaningful improvement even over the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n release in terms of clarity, impact, and firmness and focus of the bass\n line. There is a sense of space around the performance that did not \nexist before; the sound is akin to sitting mid-balcony in a good hall. \nThose who have admired this recording and felt satisfied with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBBC Legends\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e version are urged to reinvest. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI will not take a lot of space here \ndescribing the merits of the performance, as interested readers can look\n up any of the prior reviews for more detail. Briefly, what Horenstein \nmanages in this performance is what appears to be the perfect balance \nbetween spontaneous propulsion and intense drama on the one hand, and a \nfirm sense of organizational structure on the other. Moment-to-moment \ndramatic impact is never slighted, but there is a sense of inevitability\n about the direction of the performance so that it is always headed \nsomewhere. Horenstein judges tempo relationships perfectly, and makes \nhis transitions of tempo almost imperceptible as they are happening. \nThat is one of the major ingredients of a performance that flows. The \nother is appropriate relationships of dynamic variations, and again \nHorenstein hits his mark. The opening “Veni Creator Spiritus” has great \npower, but there is enough held back for the development of an 80-minute\n journey, and a final climax of immense weight and almost unbelievable \nfervor and intensity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe soloists are all adequate or \nbetter, and the choral and orchestral forces perform with remarkable \neffectiveness given that this is not only an unedited live performance, \nbut that they all had to learn the work for the event. Yes, there the \nmomentary instrumental bobbles and ensemble lapses, but they are \nremarkably few and far between. There are rare performances that even \nwhen heard years or decades after they occurred still have about them a \ngenuine sense of occasion. This is one of those. It is as if \neveryone—performers, conductor, and audience—were making a spectacular \ndiscovery at the same time. And we have the ability to relive it, \ncomplete with the unison roar of the usually staid English audience at \nthe end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Wagner excerpts were originally \nrecorded for the Readers’ Digest label, and reissued (coupled with a \npowerful Brahms First Symphony) on Chesky. I don’t have the Chesky at \nhand for comparison. Andrew Rose claims that the original version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried Idyll \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003edropped\n in pitch gradually, and I do not know whether Chesky corrected it. But \nit is fine here, and the sound of these 1962 studio recordings is warm \nand full. Horenstein’s way with Wagner is similar to his Mahler: a \nsuperb balance between impulsiveness and structure, along with genuine \nbeauty in the lyrical passages. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMinimal notes, and no texts, as is \ntypical of Pristine—but we can be nothing but grateful to Andrew Rose \nfor his stunning remastering of this riveting performance. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\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\/PASC440.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHorenstein's tremendous stereo Mahler 8 and Wagner in fabulous XR-remastered sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\n word “classic” is sometimes applied to a recording carelessly, but not \nin this case. We can be nothing but grateful to Andrew Rose for his \nstunning remastering of this riveting performance\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003eI was urged by the conductor's cousin, Misha Horenstein, to tackle \nthe BBC's splendid experimental stereo recording of Mahler's 8th \nSymphony, made with a single stereo microphone set-up in the vast, \nacoustically-untamed space of the Royal Albert Hall, in the hope that XR\n remastering might bring a greater focus and a better sense of the \nvastness of the forces employed.\u003c\/p\u003e\n\u003cp\u003e\"I can't praise it highly enough. The difference is immediate from \nthe opening bars, where the organ hits you where it should, in the \nstomach, but the gain is evident throughout. This is especially true of \nthe bass line, which now has the depth and weight missing in the \n[previous issue]. Your remake also compliments the vertical and \nhorizontal spaces of the Albert Hall, bringing the sound forward as \nthough you are sitting in better seats than before...\" came the \nresponse, to which I find little to add (beyond noting the high number \nof coughs I had to remove!).\u003c\/p\u003e\n\u003cp\u003eBy contrast the Wagner, whilst derived from excellent 1962 studio \nrecordings engineered by legendary Decca man Kenneth Wilkinson, suffered\n from major pitch problems in the Siegfried Idyll, which  dropped \ngradually from an initial A=443Hz to A=430Hz over the course of the \nrecording, the full correction of which has only recently become \ntechnically possible. These recording, too, have benefited from the \nadded fullness of sound brought by XR remastering that so pleased Mr. \nHorenstein in the Mahler.   \u003cbr\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cli\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eDer fliegende Holländer - Overture\u003cspan class=\"bodybigblue\" style=\"font-size: medium;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\u003cli\u003e\n\u003cspan style=\"font-size: small;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eTannhäuser - Bacchanale\u003cbr\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eSiegfried Idyll\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003eRecording producer: Charles Gerhardt\u003cbr\u003eRecording Engineer: Kenneth Wilkinson\u003cbr\u003eRecorded 29-30 September 1962 for Reader's Digest\u003cbr\u003eWalthamstow Town Hall\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMAHLER  \u003c\/b\u003eSymphony No. 8 in E flat Major (\"Symphony of a Thousand\")\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\u003cb\u003eJoyce Barker\u003c\/b\u003e (sop.I) - Magna Peccatrix\u003cbr\u003e\u003cb\u003eBeryl Hatt\u003c\/b\u003e (sop.II) - Mater Gloriosa\u003cbr\u003e\u003cb\u003eAgnes Giebel\u003c\/b\u003e (sop.III) - Una Poenitentium\u003cbr\u003e\u003cb\u003eKirsten Meyer\u003c\/b\u003e (alt.I) - Mulier Samaritana\u003cbr\u003e\u003cb\u003eHelen Watts\u003c\/b\u003e (alt.II) - Maria Aegyptiaca\u003cbr\u003e\u003cb\u003eKenneth Neate\u003c\/b\u003e (ten.) - Doctor Marianus\u003cbr\u003e\u003cb\u003eAlfred Orda\u003c\/b\u003e (bar.) - Pater Ecstaticus\u003cbr\u003e\u003cb\u003eArnold van Mill\u003c\/b\u003e (bass) - Pater Profundus\u003c\/p\u003e\n\u003cp\u003eBBC Chorus; BBC Choral Society; Goldsmiths' Choral Union; Hampstead \nChoral Society; Emanuel School Boys' Choir; Orpington Junior Singers\u003c\/p\u003e\n\u003cp\u003eMusical Associate: Berthold Goldschmidt\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: medium;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHugh Maguire\u003c\/b\u003e, leader; \u003cb\u003eCharles Spinks\u003c\/b\u003e, organ\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded for BBC broadcast, 20 March 1959, Royal Albert Hall, London\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\/PASC440.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC440.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":31975664013,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":31975664077,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":31975664141,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC440_642495a8-82ec-46c9-8fae-49f625e7bd91.jpg?v=1487682236"},{"product_id":"paco074","title":"ROGER WAGNER CHORALE Walton, Bach, Vaughan Williams (1960) - PACO074","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eBelshazzar's Feast\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Cantata No. 4: Christ lag in Todes Banden, BWV4\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Mass in G minor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo in London and Hollywood, 1960\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:52\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eVarious Soloists\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eC\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eoncert Arts Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Roger Wagner Chorale\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoger Wagner\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a really good Belshazzar's Feast and it took me quite by surprise578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003eThese are all stereo recordings sourced from the collection of Edward \nJohnson. Pristine are pretty sure that these recordings, taken down from\n American LPs, have not been reissued before. They have been treated, so\n we are assured, to a great deal of technical tender love and care. The \nresults sound good - probably as good as they have ever sounded.  \u003cbr\u003e\n\u003cbr\u003e\nThis is a really good \u003ci\u003eBelshazzar's Feast\u003c\/i\u003e and it took me quite by \nsurprise. This 50+ year old recording opens the door on a reputation \nthat has slipped silently into the mist. This Wagner deserves better. I \nwonder what else he recorded. All Waltonians should get this and compare\n it with the other greats: Previn's for EMI and my other outsider - also\n American - Ormandy on Sony. The oak-sturdy ‘bassy’ baritone is John \nCameron: his projection is all lofty oratory, condemnation and \nexultation. The choir has been drilled to precision and combines the \npower of a massive engine with the precision of a scalpel. If Wagner has\n injected the faintest trace element of Hollywood glow it certainly \nsuits the music. The instrumental detail is magnificently well rendered \nin stereo. One small detail: this recording sports the work's best anvil\n sound ever. It rings true and loud.  \u003cbr\u003e\n\u003cbr\u003e\nWhile the Bach is old-fashioned big-band stuff you might enjoy its \ncaramelised and super-smooth remission from HIP rigour. Certainly it \nswims against the torrent of the times. True-blue adherents of \nauthenticity might like to try it when they need something to rail \nagainst. The RVW Mass is right at the opposite pole to the EMI Classics \none of yore. This is more broodingly passionate Rachmaninov \u003ci\u003eVespers\u003c\/i\u003e\n than Byrd. I liked it, having found myself only fleetingly engaged by \nthe Willcocks EMI version. Whether this is authentic RVW I doubt. It may\n even enrage some but in it we hear the composer as urgent pilgrim. It’s\n more a matter of ardour than ascetic devotion and as such is more in \ntouch with the RVW presented in the television documentary: \u003ci\u003eThe Passions of Vaughan Williams\u003c\/i\u003e. \u003cbr\u003e\n  \u003cbr\u003e\nSome intriguing material here and a totally enjoyable \u003ci\u003eBelshazzar\u003c\/i\u003e that should shake some dust out of the rafters.\n      \u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eRob Barnett\u003c\/b\u003e \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"TIMESb\"\u003eMusicWeb International, March 2014\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO074.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Roger Wagner Chorale superb in three stereo 1960 recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFirst release outside US for their Walton Belshazzar, Vaughan Williams Mass, and Bach Cantata 4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese transfers came from the generous collection of Edward Johnson, \nto whom I am once more grateful. The discs were both issued in the USA \nin 1961 but we do not believe elsewhere, nor have they been reissued \nbefore. XR remastering has done much to clarify diction and relieve a \nsomewhat \"plummy\" tonal quality, and I've attempted to ameliorate the \nrather unpleasant and obvious reverberation used on Belshazzar's Feast \nwith careful use of a modern convlution reverb. The average pitch of the\n recordings was around A=443Hz - given that altering this to 440Hz would\n have lengthened the overall duration to beyond that of a CD I elected \nto keep it. I've also dealt with quite a lot of pre- and post-echo, \nparticularly in the Walton recording.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eWALTON \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eBelshazzar's Feast\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eJohn Cameron\u003c\/b\u003e baritone\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eThe Roger Wagner Chorale\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cb\u003e Roger Wagner \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded at Abbey Road Studio 1, London, 19-22 September 1960. \u003cbr\u003e Transfer from Angel S-36015. \u003cbr\u003e First issued in 1961 (USA only) on Capitol SP 8577 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eJ. S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003e Cantata No. 4: Christ lag in Todes Banden, BWV4\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eVAUGHAN WILLIAMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eMass in G minor\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003eDoralene McNelly \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Alice Ann Yates \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003ealto\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Michael Carolan \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003etenor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Charles Scharbach \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003ebass\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Paul Salamunivich \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003ecantor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e Concert Arts Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e(Bach)\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eThe Roger Wagner Chorale\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e Roger Wagner \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003econductor\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded in Hollywood in 1960. \u003cbr\u003e Transfer from Angel S-36014. \u003cbr\u003e First issued in January 1961 (USA only) on Capitol SP 8535\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eFront cover artwork based on a photograph of Roger Wagner\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, March 2012\u003cbr\u003eRecorded in stereo in London and Hollywood, 1960\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO074.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO074.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":33844165709,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":33844165837,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":33844165965,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO074.jpg?v=1489154847"},{"product_id":"pasc414","title":"The Columbia Beethoven Centennial Symphony Series, Volume 4 (1926\/27) - PASC414","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 7\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 8\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture, Op. 62\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEgmont Overture, Op. 84\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8, 2nd mvt. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings · 1926\/27\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:20\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem Mengelberg, \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConcertgebouw Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Weingartner,\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis continues Pristine Audio’s \nreissue of British Columbia’s complete Beethoven symphony series, the \nfirst to be issued on electrical recordings. To get down to basics, \nalthough they are very important historically, neither of these \nperformances can be called “competitive” no matter how good they may \nhave sounded to 1927 ears. Although they could hardly be called \n“self-effacing,” the performances strike me as solid, conventional \nreadings. The violins sound a little thin but they still dominate the \nproceedings much of the time. Weingartner makes no attempt to observe \nBeethoven’s metronome markings, possibly because he thought them \ninvalid, so tempos tend to be on the moderate side. The basses seem more\n audible later in the recording of the Seventh than they did in the \nfirst movement, for whatever reason. Few repeats are observed, as was \napparently the case in those days if we can believe the evidence on \nrecordings from the monaural era. In the Eighth Symphony, he observes \nthe first and third repeats in the third movement. As in the Seventh, he\n skips the exposition repeat in movement one. I mention these omissions \nnot because they particularly bother me but because they do bother some \nlisteners. I would call his tempos in these symphonies \n“middle-of-the-pack” with no extremes one way or the other. I could say \nthe same about Mengelberg’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCoriolan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n overtures, which are more vividly recorded. I await Weingartner’s first\n electrical Ninth, since his second one is one of my very favorites. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:2 (Nov\/Dec 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC414.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePenultimate issue in this groundbreaking Symphonic series, first issued in 1927, in new Mark Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis volume is the fourth of five which will reissue, for the first \ntime in one series, the complete symphony cycle which English Columbia \ncommissioned to commemorate the centennial of Beethoven’s death in 1927.\n The first four symphonies were assigned to British conductors \n(Henschel, Beecham, Wood and the Northern Irish Harty) while the \nremainder were given to Weingartner, already generally acknowledged as a\n Beethoven specialist.\u003c\/p\u003e\u003cp\u003eFor the Seventh and Eighth Symphonies, Weingartner was returning to \nscores he had only relatively recently recorded for Columbia using the \nold acoustical process. In the Seventh, he restored a cut he had made in\n the Scherzo in the previous nine-sided version, while the remade Eighth\n took one side less due to the elimination of a large overlap of \nrepeated music in the third movement. Both of the present versions are \nswifter than their 1936 remakes, but the differences are not as marked \nas those between his 1927 and 1933 versions of the Fifth Symphony \n(detailed in the notes to Volume 3).\u003c\/p\u003e\u003cp\u003eThe two overtures date from the Concertgebouw Orchestra’s first \nrecording sessions in May, 1926. The early electrical sound is \nnoticeably more primitive than that of the symphonies, showing the great\n advances Columbia had made over the intervening months. The single \nmovement from the Eighth Symphony was included as the filler side to \nMengelberg’s recording of Cherubini’s Anacreon Overture. While not part \nof the Centennial Symphonies series per se, these sides have been \nincluded not only to fill out an otherwise short program, but also \nbecause, along with Henry Wood’s Leonore Overture No. 3 in Volume 1 and \nthe symphonies, they comprise the complete electrical orchestral \nrecordings of Beethoven which Columbia had in print by the end of the \nCentennial year of 1927, (excluding Louis Zimmermann’s recording of the \nViolin Concerto, released only in Holland).\u003c\/p\u003e\u003cp\u003eThe sources for the present transfers were American Columbia \n“Viva-Tonal” pressings. While these are usually the quietest versions \navailable, a higher-than-average amount of surface noise will be \nnoticeable in the Mengelberg items. When played using the typical \nrecording curve for the early electric era, these sides sound dull and \nbass-heavy; however, by playing them with a “flat” equalization and then\n significantly boosting the upper frequencies, the balance and detail of\n the original recordings comes into focus, albeit at the expense of \nsignificantly increased hiss. The severe speed fluctuations of the \noriginals have been corrected through the application of Celemony \nCapstan, allowing the performances to be heard with rock-solid pitch for\n the first time since the original recording sessions.\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\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 20, 25 – 26 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2383-2, 2390-2, 2391-2, 2392-1, 2393-1, 2394-2, 2397-2, 2398-2, 2399-2 \u0026amp; 2400-2\u003cbr\u003eFirst issued on Columbia L 1898 through 1902\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 27 – 28 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2412-2, 2413-2, 2404-2, 2405-2 2406-2 \u0026amp; 2407-2\u003cbr\u003eFirst issued on Columbia 1903 through 1905\u003cbr\u003e \u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eFelix Weingartner \u003c\/b\u003e conductor\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan, Op. 62 – Overture\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 1546-2 \u0026amp; 1547-2\u003cbr\u003eFirst issued on Columbia L 1848\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Egmont, Op. 84 – Overture\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 1544-3 \u0026amp; 1545-1\u003cbr\u003eFirst issued on Columbia L 1799\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93 - \u003cem\u003e2nd Mvt.: Andante molto moto\u003c\/em\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 10 June 1927 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix no.: WAX 2844-1\u003cbr\u003eFirst issued on Columbia L1973\u003cbr\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eConcertgebouw Orchestra\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\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\/PASC414.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC414.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":31976002765,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31976002829,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC414_ba3eac8a-7e84-42ca-bdde-fc64d2c808f1.jpg?v=1487682648"},{"product_id":"pasc482","title":"WALTER The Complete Acoustic Columbia Recordings (1924-25) - PASC482","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Der Freischütz – Overture\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e A Midsummer Night’s Dream – Nocturne\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Damnation of Faust – Minuet of the Will-o’-the-Wisps\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tristan und Isolde – Liebestod\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Meistersinger – Prelude to Act 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Götterdämmerung – Siegfried’s Rhine Journey\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Siegfried Idyll\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Death and Transfiguration\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1924-25\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:51\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\u003cul\u003e\n\u003c\/ul\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDespite the primitive nature of the horn recording, these are especially important examples of Walter’s art578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAll of Bruno Walter’s 1924-25 acoustic Columbia recordings fit into this\n handy 76-minute disc. They were made at the company’s Petty France \nstudios in London, which was not always the most responsive environment \nfor large-scale acoustic recording but which managed to yield a good \nreturn over the years. And the A\u0026amp;R men chose repertoire wisely, \nencouraging Walter to record Wagner, Strauss, Weber, Berlioz and \nMendelssohn; he had just starred in Covent Garden’s German Season \ndirecting the Ring, \u003cem\u003eTristan,\u003c\/em\u003e and \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e. \nIndeed, despite the primitive nature of the horn recording, these are \nespecially important examples of Walter’s art as he never returned to \nthe studio to record the Tristan \u003cem\u003eLiebestod\u003c\/em\u003e, the \u003cem\u003eMidsummer Night’s Dream\u003c\/em\u003e music or the Berlioz excerpt.\u003cbr\u003e \u003cbr\u003e Weber’s overture to \u003cem\u003eDer Freischütz\u003c\/em\u003e,\n which was only issued in America, can be heard over two sides. There \nare the usual bass reinforcements and the strings slither about as was \nthen fashionable – especially noticeable in the ad-hoc British set-up of\n the time – but the direction is authoritative. I assume one of the \nBrain family was drafted in for the Mendelssohn \u003cem\u003eNocturne\u003c\/em\u003e on a freelance basis whilst the Berlioz goes vey agreeably. The \u003cem\u003eLiebestod\u003c\/em\u003e\n sees the strings on so-so form and the winds’ intonation wanders - \nthere’s a degree of pitch battling to be heard. Just before they \nrecorded the \u003cem\u003eTristan\u003c\/em\u003e extract Walter and the band tackled the Prelude to Act III of \u003cem\u003eDie Meistersinger\u003c\/em\u003e\n and here one can hear the first desk fiddles sawing happily away – this\n was the band known as the Royal Philharmonic Orchestra, though it was \nmuch earlier than Beecham’s orchestra of the same name. One wonders how \nmuch rehearsal time was available as ensemble is approximate and the \nstygian bass reinforcements sound very treacly. But of enthusiasm \nthere’s no shortage.\u003cbr\u003e \u003cbr\u003e Most of these pieces had already been recorded by 1924 and that goes for \u003cem\u003eSiegfried’s Rhine Journey\u003c\/em\u003e. In fact, Walter’s was not even the first British recording as Percy Pitt had made a disc of it back in 1921. The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e\n took up four sides of two 78s. Walter does little actively to resist \nthe lashing of sentimental portamenti, mostly – thankfully – uniform. \nThough the bass reinforcements tend to glue it down and prohibit maximum\n flow, it’s an endearing reading and can be listened to in the context \nof the near-simultaneous recordings of the piece made by Albert Coates, \nLeo Blech and Siegfried Wagner’s own recording. The other major \nundertaking is the last, Strauss’s \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e \nwhich stretches 21 minutes. This must have been suggested because of \nWalter’s operatic prestige in Strauss. Perhaps surprisingly Columbia was\n a Johnny-come-lately as Abendroth, Coates and Eduard Mörike had all \nrecorded it by then. Walter’s searing reading is hindered only by the \ncircumstances of the recording and the unfamiliar orchestra.\u003cbr\u003e \u003cbr\u003e \nThis is a valuable corpus of recordings, splendidly transferred. As I’ve\n noted before Pristine is doing worthwhile work on behalf of Bruno \nWalter’s early recording career, which has long been overlooked in the \nworld of sonic restoration.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJonathan Woolf\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC482.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBruno Walter's complete Royal Philharmonic Columbia acoustics\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a valuable corpus of recordings, splendidly transferred\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAlthough Bruno Walter claimed late in life that he had made his first\n recordings around 1900, his earliest documented discs date from 1923 \nwhen he began a series for Grammophon\/Polydor in Berlin, most of which \nhave been reissued on Pristine PASC 142 and PASC 322.  In May, 1924, \nWalter was in London for the first presentation of a German opera season\n at Covent Garden since the end of the Great War.  That month, he \nconducted Wagner’s \u003cem\u003eRing\u003c\/em\u003e cycle, \u003cem\u003eTristan und Isolde\u003c\/em\u003e, and Strauss’ \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e\n in enthusiastically-received productions featuring Frida Leider in her \nCovent Garden début, Lauritz Melchior, Friedrich Schorr, Lotte Lehmann \nand Elisabeth Schumann.\u003c\/p\u003e\u003cp\u003eOn May 22, Walter entered the Columbia studios at Petty France to \nmake the first in a series of discs for a label with which, on one side \nof the Atlantic or the other, he would be associated for much of the \nrest of his life.  A \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was recorded that day, followed by the first three sides of Strauss’ \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e the following day; however, neither was approved for release. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIt would not be until the following December that Walter, who had \nreturned to London to conduct the (old, pre-Beecham) RPO in a \nperformance of Elgar’s First Symphony in the presence of the composer, \nwould be back in the Columbia studios.  Over the next five days, he \nwould preside over four recording sessions, one of which was devoted to a\n single title (Mozart’s \u003cem\u003eMarriage of Figaro\u003c\/em\u003e Overture) which \nultimately remained unissued.  Four further sides would be recorded the \nfollowing February before the microphone supplanted the old acoustic \nmethod of recording.\u003c\/p\u003e\u003cp\u003eThe present collection brings together all of Walter’s published acoustic Columbias.  It includes one recording (Weber’s \u003cem\u003eFreischütz\u003c\/em\u003e Overture) which was only released in America, as well as two which were only published in Britain (the “Rhine Journey” and \u003cem\u003eSiegfried Idyll\u003c\/em\u003e).  A further recording of “Siegfried’s Funeral Music” from \u003cem\u003eGötterdämmerung\u003c\/em\u003e which came out on American Columbia credited to Walter was actually conducted by Hamilton Harty.\u003c\/p\u003e\u003cp\u003eThe repertoire chosen largely follows the composers and even some of \nthe particular works with which Walter was making a name for himself at \nCovent Garden at the time – much Wagner, along with Strauss – and \nincludes several works to which Walter would not return again in the \nstudio (the Mendelssohn, Berlioz and the \u003cem\u003eTristan \u003c\/em\u003e“Liebestod”). \n The playing of the orchestra is variable, both in ensemble and pitch; \nand some of the tempi seem a bit speeded up in order to get the music \nonto a single side (particularly in the Mendelssohn and the \u003cem\u003eMeistersinger\u003c\/em\u003e\n Prelude).  Elsewhere, though, Walter is given the opportunity to take \nas long as he wants, with the Weber overture spread over three sides, as\n it would not be in his Paris remake fourteen years later, and the \n“Liebestod” generously given two 12-inch matrices for its six-minute \nduration.\u003c\/p\u003e\u003cp\u003eThe transfers for this release drew wherever possible upon American \nColumbia “New Process” pressings (for the Weber, Mendelssohn, Berlioz, \nStrauss and Wagner “Liebestod”) which featured the most (relatively) \nquiet surfaces available, and English Columbia discs for the remainder. \n From its original release onward through all modern discographies I’ve \nseen, the Berlioz has always been misidentified as the “Dance of the \nSylphs” rather than as the “Minuet of the Will-o’-the-Wisps”, to which \nit has been corrected here.  \u003cbr\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWEBER\u003c\/b\u003e  Der Freischütz, Op. 77 – Overture\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 December 1924 ∙ Matrices:  AX 795-3, 796-1 \u0026amp; 797-2 (Am. Columbia 67082\/3-D)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMENDELSSOHN\u003c\/b\u003e A Midsummer Night’s Dream, Op. 61 – Nocturne\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 881-2 (Columbia L 1651)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBERLIOZ \u003c\/b\u003eThe Damnation of Faust, Op. 24 – Minuet of the Will-o’-the-Wisps\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 December 1924 ∙ Matrix: AX 794-1 (Columbia L 1623)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Tristan und Isolde – Liebestod\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrices: AX 879-1, 880-2 (Columbia L 1652)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Die Meistersinger von Nürnberg – Prelude to Act 3 \u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 11 February 1925 ∙ Matrix: AX 878-2 (Columbia L 1651)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER\u003c\/b\u003e  Götterdämmerung – Siegfried’s Rhine Journey\u003c\/span\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 7 December 1924 ∙ Matrices: AX 798-2, 799-2 (Columbia L 1636)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e Siegfried Idyll \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 3 \u0026amp; 5 December 1924 ∙ Matrices: AX 782-1, 783-1, 789-2 \u0026amp; 790-2 (Columbia L 1653\/4)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Death and Transfiguration, Op. 24 \u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 December 1924 ∙ Matrices: AX 787-1, 788-2, 791-2, 792-2 \u0026amp; 793-1 (Columbia L 1621\/3)\u003c\/span\u003e\u003c\/p\u003e\n\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\u003eRoyal Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBruno Walter,\u003c\/b\u003e conductor\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003eAll recordings made in the Columbia Petty France Studio, London\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\/PASC482.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC482.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"16-bit FLAC","offer_id":31976081997,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps MP3","offer_id":31976082061,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC482.jpg?v=1487682762"},{"product_id":"pasc408-cd","title":"DOHNÁNYI plays Dohnányi, Haydn, Beethoven, Schumann (1951\/56) - 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PASC482 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":31976520781,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":31976520845,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC482_6e45951d-9db8-4b15-8ea0-08b978021037.jpg?v=1658743766"},{"product_id":"pasc492","title":"WALTER Rarities, Volume Two (1923-1938) - PASC492","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRoman Carnival Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"FR\" style=\"mso-ansi-language:FR\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eParsifal Act I Transformation Music\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSiegfried Idyll\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe\nNozze di Figaro – Overture\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eEine Kleine Nachtmusik\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto Grosso In B Minor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Freischütz – Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1923-38\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:28\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eB\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eruno Walter, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMozart Festival Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBritish Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eParis Conservatoire Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEnthusiastically recommended to all fellow Walterians578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHistoric reissue labels such as Pristine Audio \noften issue certain releases solely as a labor of love or for singular \ndocumentary value, knowing that their efforts will often be rewarded \nwith but a handful of sales. But one must especially admire Andrew Rose \nand Mark Obert-Thorn for going ahead with this release, which despite \nits merits may not even break into double digits for purchases of it. \nThe contents are a true odds-and-ends miscellany of performances by \nBruno Walter, with the mix containing two items of particular \nimportance.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first of these is the 1923 recording of Berlioz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe carnaval romain Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n which was overlooked when Pristine previously issued three CDs of \nWalter’s acoustics. Within the severe sonic limitations of its vintage \nit is a fine performance, and reminds one of just what an insightful \nconductor of Berlioz Walter was. Beyond that, however, this release \nmarks a historic milestone; excepting a possible separate acoustic \nrecording of the scherzo from Tchaikovsky’s “Pathétique” (it is \ngenerally presumed, but not certain, that it was recycled into the \ncomplete recording of the symphony that Walter made shortly thereafter),\n every officially released studio recording made by Walter has now been \nissued on CD. Ideally, I might wish that Pristine would have reissued \none of the first two discs in this series with this overture added \nin—there would be space for it on either one—but given that except for \nPristine’s doughtiness several of Walter’s acoustics would not be \navailable on CD, I’m not looking a gift horse in the mouth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other especially noteworthy item is the first-ever release of a recording of the overture to Mozart’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe nozze di Figaro \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethat Walter made in Paris (with the Paris Conservatory Orchestra under a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enom de plume\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\n in 1928. It originally was to have been a filler to what was planned as\n seven sides for a recording of Schumann’s Symphony No. 4, but when that\n took up eight sides on its own instead, plans to issue the overture \nwere scrapped. This one pressing is known to have survived, and a \npersonal background story goes with it. Over 30 years ago, it popped up \nfor sale in the hands of the well-known British record dealer Raymond \nGlaspole, with whom I was briefly in contact at that juncture. The \nasking price for such a rarity was far beyond my means then, as a \ntypical financially hand-to-mouth graduate student. I wrote him to ask \nif by any chance he could run off a cassette copy of the disc for me \nbefore selling it, and he most kindly did so. I’ve had that cassette in \nmy private collection ever since, hoping that at some point its contents\n might see the light of day more generally, and lo and behold the disc \nitself has now resurfaced to that end. I have never forgotten that \nexceptional gesture of gracious generosity. I see that Mr. Glaspole is \nstill alive and active, with his own website; I hope that this review \nwill come to his attention, so that he can once again accept my \nexpression of deep appreciation.   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe remaining contents of this release were chosen\n simply because they are among Walter’s more scarce recordings in terms \nof circulation, both on 78s and CDs. In his accompanying notes to this \nrelease, Obert-Thorn expresses “a particular affection” for this, the \nfirst of Walter’s four studio recordings of the Mozart Serenade (three \nlive performances are also extant). I do not share that inclination, and\n rank this rendition far below the conductor’s 1936 Vienna remake and \nthe live accounts from Stockholm (1950) and San Francisco (1954). In my \nreview back in 40:3 of Pristine’s release of Walter’s complete acoustics\n for Columbia, I provided a list of his 13 surviving performances of \nWagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried Idyll\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (more than for any other work in his repertoire), six studio and seven \nlive. There, based on my EMI Japan issue, I gave the timing for this \n1926 rendition as 17:34; in Obert-Thorn’s remastering here it is only \n17:03. As I trust Obert-Thorn’s work implicitly I’m confident he and not\n EMI Japan is correct; even so, it still ranks among the slowest of the \nconductor’s traversals of the score, especially relaxed and sunny. While\n it is not about to displace the 1953 New York Philharmonic studio \naccount as the finest version by Walter (or by anyone ever, for that \nmatter), it is very much worth having in its own right. The 1925 act I \nTransformation Scene from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eParsifal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was originally a filler side to the act I Prelude; Walter rerecorded \nall four sides just two years later, along with an orchestral \narrangement of Klingsor’s Magic Garden and the Flower Maidens’ Music \nfrom act II. Why remains a mystery to me, as the sound is not \nappreciably better, and the earlier interpretation is to my mind \nsuperior; but the latter set immediately displaced the earlier one. \nSince the 1925 recording of the Prelude was issued on CD by VAI (albeit \nalmost 20 years ago), Rose and Obert-Thorn elected to include only this \nfiller side here and save the extra space for a different Walter rarity.\n   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWalter did keep a handful of Baroque pieces in his\n active repertoire: Corelli’s “Christmas” Concerto (recorded in the \nstudio in 1938, with three live performances also surviving from 1939, \n1947, and 1948), Handel’s Concerto grosso op. 6\/6 (preserved in a 1940 \nNBC Symphony broadcast), and the 1938 studio version of the Concerto \ngrosso, op. 6\/12, presented here. Interpretively it is a forward looking\n account for its time, with lively tempos and, remarkably, use of \nharpsichord continuo (most likely but not certainly played by Walter \nhimself). The disc closes with Walter’s 1938 Paris remake of the \nOverture to Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n of which he originally made an acoustic recording in London early in \n1925 (a live 1950 performance with the Los Angeles Standard Symphony \nalso survives). Whereas the earlier London account is spread over three \nsides and requires a fairly typical 10-plus minutes to traverse, this \nrendition was issued on only two sides and comes in at a \nhell-for-leather 8:51. The orchestral playing is somewhat scrappy, but \nit’s an exciting if wild ride.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs always, Obert-Thorn’s transfers are exemplary. \nWhile this disc will by its nature only interest the most avid Walter \nenthusiasts, I hope that there are a sufficient number of those reading \nthese pages who will order a copy and make this venture unexpectedly \nworthwhile financially for proprietor Rose. Enthusiastically recommended\n to all fellow Walterians. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\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\u003eThis article originally appeared in Issue 40:6 (July\/Aug 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC492.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    While the first volume in this series (PASC 452) focused on Bruno Walter’s\n    American years, here we turn the clock back to his pre-war European\n    recordings. Like that earlier release, the emphasis is on presenting items\n    which have had scant, if any, CD availability. Many of the selections here\n    have been reissued in Japan and some in France, in releases that have had\n    spotty availability elsewhere. One performance is published here for the\n    first time.\n\u003c\/p\u003e\u003cp\u003e\n    The \u003cem\u003eRoman Carnival\u003c\/em\u003e Overture, one of Walter’s earliest recordings,\n    was inadvertently omitted from Pristine’s two volumes of his acoustic\n    Polydors (PASC 142 and PASC 342), and presents a work to which he would not\n    subsequently return in the studio. The \u003cem\u003eParsifal\u003c\/em\u003e excerpt comes from\n    a mere two years later; yet, the difference between the old acoustic\n    process and the new electrical technology makes it seem like an eon has\n    passed.\n\u003c\/p\u003e\u003cp\u003e\n    The \u003cem\u003eSiegfried Idyll\u003c\/em\u003e dates from the following year, and again the\n    sonic comparisons between this and the acoustic version Walter made two\n    years earlier with the same ensemble (on PASC 482) are striking. By this\n    time, Columbia was apparently imposing a four-minute limit to its\n    twelve-inch sides; and the same work which took up four sides in 1924 now\n    had to be spread over five. Perhaps because of this – or because of the\n    obtrusive swish which plagues the end of the first side – the recording was\n    never issued outside the USA. Oddly, despite the additional room to spread\n    out, the recording is notably faster than the four-sided acoustic version\n    (17:03 vs. 17:35, not including post-track spaces).\n\u003c\/p\u003e\u003cp\u003e\n    The next selection is a souvenir of a highly successful Mozart opera\n    festival that Walter led in Paris in June, 1928. Several recordings were\n    made with the “Mozart Festival Orchestra” (which was in fact the Paris\n    Conservatoire ensemble, perhaps renamed for contractual reasons), but only\n    two were released: the overture to \u003cem\u003eDie Zauberflöte\u003c\/em\u003e and, oddly,\n    Schumann’s Fourth Symphony. Two other overtures were recorded, probably\nintended to be coupled on a single disc:    \u003cem\u003eDie Entführung aus dem Serail\u003c\/em\u003e and \u003cem\u003eLe Nozze di Figaro\u003c\/em\u003e.\n    While no trace has turned up of the former, the latter has survived on a\n    unique shellac test pressing, which was used for the present transfer. It\n    makes its first appearance here.\n\u003c\/p\u003e\u003cp\u003e\n    \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e\n    was one of a series of recordings Walter made with the British Symphony\n    Orchestra, an ensemble created by returning veterans of the Great War. I’ve\n    always had a particular affection for this version, both because of the\n    quirky \u003cem\u003eLuftpause\u003c\/em\u003e Walter introduces after the opening phrase and\n    its repeats (an affectation he dropped in later recordings), and because of\n    the gusto with which the players attack the closing measures of the finale.\n\u003c\/p\u003e\u003cp\u003e\n    By the spring of 1938, Walter had settled in Paris after escaping Vienna\n    during the \u003cem\u003eAnschluss\u003c\/em\u003e. He made a series of recordings there with\n    the Conservatoire Orchestra, including the Handel and Weber works which\n    close our program. The Handel is noteworthy in its inclusion of a\n    harpsichord continuo, something not yet the norm at that time. Walter had\n    previously recorded the Weber overture acoustically, spread over three\n    sides (on PASC 482). Perhaps due to the time limits of the two sides he was\n    now allotted, the remake is nearly a minute and a half faster, and gains in\n    breathtaking excitement.\n\u003c\/p\u003e\u003cp\u003e\n    \u003ci\u003eMark Obert-Thorn\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    1 \u003cstrong\u003eBERLIOZ: Roman Carnival Overture, Op. 9 \u003c\/strong\u003e (8:44)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eBerlin Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 28 \u0026amp; 30 August or 8\/9 October 1923 in Berlin\u003cbr\u003eMatrices: 80 az and 81 ½ az (Grammophon\/Polydor 69588)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    2 \u003cstrong\u003eWAGNER: Parsifal – Act I Transformation Music\u003c\/strong\u003e (4:40)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eRoyal Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 25 November 1925 in the Columbia Petty France Studios, London\u003cbr\u003eMatrix: WAX 1170-2 (English Columbia L 1745)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    3 \u003cstrong\u003eWAGNER: Siegfried Idyll\u003c\/strong\u003e (17:12)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eRoyal Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 19 November 1926 in the Scala Theatre, London\u003cbr\u003eMatrices: WRAX 2180-1, 2181-2, 2182-1, 2183-2 and 2184-2 (American Columbia\n    67317\/19-D in Set 68)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    4 \u003cstrong\u003eMOZART: Le Nozze di Figaro, K492 – Overture\u003c\/strong\u003e (4:03)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eMozart Festival Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 14 June 1928 in Paris\u003cbr\u003eMatrix: WAX 3844 (Previously unpublished)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        MOZART: Serenade No. 13 in G major, ‘Eine Kleine Nachtmusik’, K525\n    \u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    5 Allegro (3:54)\u003cbr\u003e6 Romanza (4:53)\u003cbr\u003e7 Menuetto (2:22)\u003cbr\u003e8 Rondo (3:59)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eBritish Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 21 May 1931 in Central Hall, Westminster, London\u003cbr\u003eMatrices: WAX 6104-2, 6105-3, 6106-2 and 6107-1 (English Columbia LX 144\/5)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eHANDEL: Concerto Grosso in B minor, Op. 6, No. 12 (HWV330)\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    9 Largo (2:29)\u003cbr\u003e10 Allegro (3:43)\u003cbr\u003e11 Larghetto e piano (4:17)\u003cbr\u003e12 Largo (0:58)\u003cbr\u003e13 Allegro (2:23)\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003eParis Conservatoire Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 17 May 1938 in the Théâtre Pigalle, Paris\u003cbr\u003eMatrices: 2LA 2393-2, 2394-2, 2395-2 and 2396-2 (HMV DB 3601\/2)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n    14 \u003cstrong\u003eWEBER: Der Freischütz, Op. 77 – Overture\u003c\/strong\u003e (8:51)\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eParis Conservatoire Orchestra\u003c\/strong\u003e\u003cbr\u003eRecorded 9 May 1938 in the Théâtre Pigalle, Paris\u003cbr\u003eMatrices: 2LA 2531-1 and 2532-1 (HMV DB 3554)\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eBruno Walter (conductor)\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    \u003cbr\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to \u003cb\u003eRichard A. Kaplan\u003c\/b\u003e and \u003cb\u003eDavid Schmutz\u003c\/b\u003e for providing source\n    material\n\u003c\/p\u003e\u003cp\u003e\n    Total Timing: \u003cb\u003e72:30\n\u003c\/b\u003e\u003c\/p\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\/PASC492.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC492.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":38674412557,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 320kbps MP3","offer_id":38674412621,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC492.jpg?v=1496234065"},{"product_id":"pasc492-cd","title":"WALTER Rarities, Volume Two (1923-1938) - 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PASC366","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLeonore Overture No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926\/27\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 66:56\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir George Henschel • Royal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham • London Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Henry J. Wood • New Queen’s Hall Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTruly deserving of the designation “historic” and I look forward to the rest of the series578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIn 1927, the British Columbia recording company marked the Beethoven centennial by issuing the first \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eelectrical\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n recordings of his nine symphonies. In another 14 years, these \nrecordings will have been recorded as close to the year of Beethoven’s \ndeath as they are to us. Pristine Audio will eventually reissue new \ntransfers of all these historic recordings. These were not, however, the\n first recordings of Beethoven symphonies. Quite a few go back even \nfurther. According to Mark Obert-Thorn, who is responsible for these \nexcellent transfers, “All of the Beethoven symphonies were recorded \nmultiple times complete, acoustically. Claude G. Arnold’s discography of\n acoustic orchestral recordings (The Orchestra on Record, 1896-1926) \nlists nine pages of them...Frieder Weissmann came closest to doing a \ncomplete cycle; his lacked only the Seventh and the final movement of \nthe Ninth (which was recorded with Eduard Mörike conducting the Ode to \nJoy).” Appropriately enough, the first CD in Pristine’s reissue contains\n Beethoven’s first two symphonies, which still carry traces of the 18th \ncentury with them. Malcolm Sargent once suggested that, if Beethoven’s \nsymphonies had come down to us without numbers or dates, one could \nprobably place the First, Second, and Ninth Symphonies in their proper \nplaces but putting the rest in sequence would be difficult. It seems to \nbe generally assumed that musical performances were more “expressive” \nand “free-wheeling” or just plain eccentric a century ago. There is, to \nbe sure, some recorded evidence of this, but my guess would be “it \ndepends.” Some conductors undoubtedly were more individualistic and \nself-indulgent than those we are accustomed to hearing but you may be \nsure that there were many virtuous straight-arrows who were less willing\n to inflict their personalities on the music. There were also, no doubt,\n a considerable number of hacks.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eGeorg (later “George”) Henschel was born in \nGermany but lived most of his career in the English-speaking world and \nwas eventually knighted. Oddly, for a conductor, his principal \ninstrument was his baritone voice but he could play the piano well \nenough to accompany himself and did, on several recordings. He was a \nfriend of Brahms and wrote a memoir of his friendship with the composer.\n When Henschel was born, in 1854, Brahms was 20 years old and Beethoven \nhad been dead for only 27 years. Can you remember events that took place\n 27 years ago, in 1986? Chernobyl? Iran–Contra? The space-shuttle \nChallenger exploding? Bill Buckner’s unfortunate misadventure? Is it \nreally \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e long \nago? It is possible that Henschel was the oldest conductor of any \ncelebrity to make an electrical recording. His contemporaries, Robert \nKajanus (1856-1933), Max Fiedler (1859-1939), and Karl Muck (1859-1940) \nalso made some. Artur Nikisch (1855-1922) only lived long enough to make\n some acousticals. Interestingly, three of them, Nikisch, Fiedler, and \nMuck, eventually followed Henschel as music directors of the Boston \nSymphony Orchestra, of which he was the very first one. A photograph of \nHenschel and the orchestra reveals a peculiarity of the seating \narrangement: the basses and cellos are divided, with half on the \norchestra’s extreme left, behind the violins, and half on the extreme \nright. Brahms reputedly approved of this setup.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eHenschel’s performance of the First Symphony is a fairly leisurely one; he doesn’t feel a need for urgency in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n first movement but the tempo is a comfortable one and what I assume to \nbe a smaller-than-usual orchestra mitigates any feeling of heaviness. \nLikewise, he observes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of the second movement but minimizes the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003econ moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The effect is quite pleasant; in fact, the whole performance has a \nrelaxed lightness that I found quite enjoyable. The Minuet is \nmore-or-less conventional, and perhaps his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro molto e vivace \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n fast enough but not particularly urgent and the orchestra certainly \nplays well enough. Can we infer anything about 19th-century performance \npractices from this recording? I doubt it. Incidentally, he observes all\n the repeats, which did not always happen on 78s, whether for musical or\n practical reasons. Unhappily, this is his only recording as a conductor\n though he lived until 1934. I wonder how he would have done a Brahms \nsymphony.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eOn the other hand, Thomas Beecham, while he \nadheres to convention in the Second Symphony’s Scherzo, ignores the \nfirst movement’s exposition repeat. Beecham’s moderately paced \nintroduction leaves one unprepared for the way he takes off at the \noutset of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n I think I can say with the utmost sobriety that this is the fastest \nperformance of the movement you are likely to hear. As Obert-Thorn \nwrites, the performance “threatens to go off the rails.” The playing of \nthe strings is astonishingly accurate and nearly unanimous though, \ninevitably, some of the fast passagework is a bit blurred. He dispatches\n the movement in 7:28! The rest of the performance, at least, resembles \nhis two very good subsequent ones from 1936 and 1957. Was he trying to \nsqueeze the first movement onto two sides? Given that the original “78” \nrpm recording (it was actually recorded at a speed of 84.4 rpm!) uses \nfour discs, I don’t see the necessity. Perhaps it was merely a momentary\n eccentricity, like the pauses he makes before and after the Trio in the\n Scherzo. Henry Wood’s supple and intense \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n No. 3 serves as a nice bonus. Given the age of these pioneering \nrecordings, I was pleasantly surprised at how good they sounded.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI once lived next to a switching yard with the \noccasional rumble and squeal of train wheels going on all day; the only \ntime I would notice it was when I had a visitor who would ask something \nto the effect of “How can you stand all that noise?” The rest of the \ntime I was oblivious to it. Although the producer issues a warning that \nthese early electricals were inherently noisy, it’s no big deal. I had \nno problem with it at all and found myself quite absorbed in the \nperformances. Obviously, they do not compete with the best modern ones \n(though I really enjoyed Henschel’s First Symphony), but they are truly \ndeserving of the designation “historic” and I look forward to the rest \nof the series, which will line up as follows: No. 3 (Henry Wood), No. 4 \n(Hamilton Harty), and the rest (Felix Weingartner). \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 36:5 (May\/June 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC366.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eGroundbreaking Symphonic series first issued in 1927 begins here in new Obert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis volume is the first of five which will reissue, for the first time in one series, the complete symphony cycle which English Columbia commissioned to commemorate the centennial of Beethoven’s death in 1927.  It was a bold move for the label, perennially in the shadow of its larger competitor, HMV, to embark on such a project at a time when no other company had recorded all nine symphonies using the relatively new electrical process.  Indeed, HMV and Polydor would not complete their cycles until several years after the centennial had passed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first four symphonies were assigned to British conductors (Henschel, Beecham, Wood and the Northern Irish Harty) while the remainder were given to Weingartner, already generally acknowledged as a Beethoven specialist.  The German-born Sir George Henschel (1850–1934) was equally noted for his appearances as a baritone recitalist as he was for his conducting.  He was the first music director of the Boston Symphony Orchestra, and this Beethoven First Symphony is his only recording as a conductor.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBeecham’s recording of the Second Symphony was the first of three he would make (the others were in 1936 with the LPO and 1956\/7 with “his” RPO).  While all share an exuberant approach to the main theme of the first movement, the present performance threatens to go off the rails with tempi that are just short of humanly impossible to play.  The \u003cem\u003eLuftpausen\u003c\/em\u003e just before and after the Trio in the Scherzo were an interpretive indulgence Beecham did not repeat in his later versions.  It has never been reissued on CD before, perhaps in part due to the unusually high playback speed required (84.4 rpm at A4 = 440Hz, quite the fastest speed I’ve ever encountered for an electrical recording).  Henry Wood’s contemporaneously-recorded \u003cem\u003eLeonore\u003c\/em\u003e Overture, although not part of the Centennial Symphonies series, has been included to fill out the short program, as a sort of preview for his \u003cem\u003eEroica\u003c\/em\u003e on Volume 2.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were first edition American Columbia “Viva-Tonal” pressings.  Multiple copies of each were assembled, and the best sides were chosen for transfer, although it must be kept in mind that these early electrics are inherently rather noisy.  The Henschel set was plagued by pitch fluctuation throughout each side, which has been corrected in this transfer.\u003c\/p\u003e\n\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 1 in C, Op. 21\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 14 and 21 December 1926 and 4 February 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2284-1, 2285-1, 2286-2, 2287-6, 2303-6, 2304-2, 2305-1 and 2306-2\u003cbr\u003eFirst issued on Columbia L 1889 through 1892\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eRoyal Philharmonic Orchestra\u003cbr\u003eSir George Henschel\u003c\/strong\u003e conductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 2 in D, Op. 36\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 9 - 10 November 1926 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2142-2, 2143-2, 2144-2, 2145-2, 2149-3, 2150-2, 2151-2 and 2152-2\u003cbr\u003eFirst issued on Columbia L 1864 through 1867\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Symphony Orchestra\u003cbr\u003eSir Thomas Beecham \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Leonore Overture No. 3, Op. 72b\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 28 February 1927 in London\u003cbr\u003eMatrix nos.: WRAX 2467-2, 2468-1, 2469-1 and 2470-1\u003cbr\u003eFirst issued on Columbia L 1978 and 1979\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNew Queen's Hall Orchestra\u003cbr\u003eSir Henry Wood\u003c\/strong\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 66:56\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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(+MP3)","offer_id":40478161741,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478161805,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC366.jpg?v=1658308869"},{"product_id":"pasc374","title":"SARGENT conducts Beethoven and Schubert (1960\/61) - PASC374","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8 'Unfinished'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1960 \u0026amp; 1961 in stereo\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:58\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Malcolm Sargent \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHearing the standard repertoire played this well is something no one should take for granted. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMalcolm Sargent rarely recorded the core German \nsymphonic repertoire. That he did so beautifully should not be \nsurprising, given his excellent accompaniments to Artur Schnabel in \nBeethoven’s piano concertos. I would not say that the renditions on this\n CD are great interpretations, but they are great performances \nnevertheless. Their greatness resides in the gorgeousness of the \norchestral playing, as accomplished an account of these two symphonies \nas I’ve ever heard. I don’t mean gorgeous in the Karajan\/Berlin \nPhilharmonic sense of the word, with a dark hued wash of enveloping \nsound. Rather, I mean beauty in the nuts and bolts of orchestral \nplaying. Sargent’s attention to detail in note values, attacks, \nintonation, balance, and dynamics is just breathtaking. Raymond Leppard,\n whom Sargent befriended early in Leppard’s career, wrote that he didn’t\n think Sargent looked too deeply into his scores, but “you couldn’t miss\n with that stick.” Indeed, Sargent was one of the most gifted conductors\n of his generation. He also was a rigorous rehearser, an aspect of his \nart that is brought out by the superbly prepared performances on this \nCD. George Martin of Beatles fame produced a number of Sargent’s \nrecordings, and it would be interesting to know if he was the producer \nfor these sessions. Regardless, this CD shows that there was much more \nto Sargent than his nickname of “Flash Harry” would suggest.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe first movement of the “Eroica” goes at a \nmoderate clip, without the exposition repeat. The blend of the strings \ncan give you goose bumps. The brass never overwhelm them, while the wind\n choirs play with subtlety. Sargent’s funeral march is slow but not \nheavy handed. He always provides the sense of forward motion, never \nallowing the phrasing to drag. His scherzo is quick and angular, with \nparticular care for accents. The horn playing in the trio is especially \nelegant. Sargent takes the last movement at a moderate tempo, always \nphrasing with a delicate touch. His coda is exuberant, the timpanist \nadding just the right amount of propulsion. This is an “Eroica” whose \ndetails you never will tire of.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eSargent paces the first movement of the \n“Unfinished” at a relatively quick tempo, and includes the exposition \nrepeat. He gets a dark sound from the strings, and a wide dynamic range \nfrom the entire orchestra. The intonation of the lower strings is \nbreathtaking, while the sound of the brass choir has plenty of depth. \nThe second movement features a measured tempo, yet it moves. A sense of \ntragedy is paramount, with the quiet moments at times possessing a \nfeeling of desolation. This is a highly distinctive “Unfinished.” Andrew\n Rose’s remasterings from LPs in both symphonies are warm and agreeable.\n The tuttis, however, have a slight fuzziness, and the dynamic range is a\n little restricted. The “Eroica” was available on a Royal Classics CD I \nhave not heard. If forced to recommend just one recording of each of \nthese symphonies, I would choose Hiroshi Wakasugi and the Saarbrücken \nRadio Symphony for the “Eroica,” and Leonard Bernstein and the New York \nPhilharmonic in the ‘Unfinished.” Sargent’s recordings allow us to revel\n in the craft of a master conductor. Mstislav Rostropovich compared him \nto “a lion.” Hearing the standard repertoire played this well is \nsomething no one should take for granted. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC374.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eTwo Classical masterpieces from Sargent and the RPO\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eSurprisingly rare repertoire for this conductor in superb EMI stereo recordings, XR remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFor a conductor of Sir Malcolm Sargent's stature, and \nfor one who was such a prolific recording artist, it seems odd that his \nrecorded output includes so few of the \"warhorses\" of the mainstream \nsymphonic repertoire. Sargent's studio work, on the whole, tended to \nconcentrate on choral music (Beecham referred to him as \"the greatest \nchoirmaster we have ever produced\"), concertos (\"he seems to sense what \nthe pianist wants of the music even before he begins to play it\" - Cyril\n Smith), and English music.\u003c\/p\u003e\u003cp class=\"body\"\u003eThus the two recordings here represent, surprisingly, \nrare moments in his studio career. They were recorded seven months apart\n in 1960 and 1961, a time when the conductor was also engaged in trying \nto preserve the Royal Philharmonic Orchestra in the wake in March 1961 \nof the death of Sir Thomas Beecham.\u003c\/p\u003e\u003cp class=\"body\"\u003eDespite their issue on the budget HMV Concert Classics \nlabel, they were of course well-recorded by EMI, and this new XR \nremasterings of transfers made for us by Edward Johnson has worked to \nclear out some of the boxiness of the original, adding clarity and focus\n as well as overall body to the orchestral sound. Pitch analysis \nsuggests the orchestra tuned to A443 for both recordings - this has been\n retained for this release.\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\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Symphony No. 3 in E flat, Op. 55 \"Eroica\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded May 1961. Issued as HMV SXLP 20040\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodybigblue\"\u003e Symphony No. 8 'Unfinished' in B minor, D759\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded October 1960. Issued as HMV SXLP 20029\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eTransfers by Edward Johnson for Pristine Audio\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRoyal Philharmonic Orchestra\u003cbr\u003eSir Malcolm Sargent\u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, January 2013\u003cbr\u003eCover artwork based on a photograph of Sir Malcolm Sargent\u003cbr\u003e\u003cbr\u003eTotal duration: 76:58\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\/PASC374.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC374.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e Beethoven Eroica, original LP issue\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003eI\n should never have guessed Sargent as the conductor of this had I not \nknown beforehand. It is a civilised, polished reading, lacking some \ndrama and intensity, and in these qualities it reminded of Kempe's \n\"eighteenth-century\" reading of last month. But Sargent is less extreme \nin this view, and the playing is fresh, the musical argument \nconsistently gripping one as it should. The opening of the slow movement\n illustrates the performance's qualities--as well as its shortcomings. \nThe speed is extremely slow, but where with a Toscanini the tension is \nfrightening Sargent caresses the music, giving it a velvet quality. \nRarely have I felt the aptness so much of Coleridge's famous remark \nabout this being a funeral procession in deep purple. The Royal \nPhilharmonic woodwind respond superbly. \u003cbr\u003e\u003cbr\u003eThe scherzo is on the \nslow side too, and the finale is as slow as the music can stand (not \nquite so slow as Kempe however). The work loses some stature and \ncertainly intensity, but the merits I have noted shine consistently \nthrough, and anyone wanting a bargain \u003cem\u003eEroica\u003c\/em\u003e in very warm and \nample stereo should be delighted with it. Matacic provides a possible \nstereo alternative on Whitehall (PLPS129), a more vigorous, dramatic \nperformance, but the recording is sour by comparison. I have yet to hear\n the mono version of the Sargent. Unfortunately his slow speed for the \nFuneral March entails a tum-over in the middle.\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eE.G., The Gramophone\u003c\/strong\u003e, November 1961\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW\u003c\/strong\u003e Schubert Unfinished, original LP issue\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\"Pop\n Schubert at a pop price,\" I wrote when the mono version of this disc \nappeared. Hearing it in stereo I feel even more like adding that it \nwould be good value at any price. Sargent's view of the first movement \nof the \u003cem\u003eUnfinished\u003c\/em\u003e is so very well integrated. I remarked of \nanother conductor's recent record of the symphony that he made parts of \nit sound like Tchaikovsky. That is easy to do, but it is the sort of \ntrap into which Sargent never falls. This first movement holds together \nmost convincingly from start to finish. The playing throughout is \nexcellent in the second movement, too. \u003cbr\u003e\u003cbr\u003eSince the stereo sound is excellent, this record, with its admirable playing from the RPO, is well worth its modest price.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eT.H., The Gramophone\u003c\/strong\u003e, March 1962, \u003cem\u003eexcerpt\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":"Stereo 24-bit FLAC","offer_id":34188802765,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34188802893,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34188803021,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC374.jpg?v=1489679531"},{"product_id":"pasc374-cd","title":"SARGENT conducts Beethoven and Schubert (1960\/61) - PASC374 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478172749,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478172813,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC374_c9e34bc5-24d2-412a-905c-1ec5cad622ac.jpg?v=1658309068"},{"product_id":"pasc381","title":"DOHNANYI plays DOHNANYI (1951-56) - PASC381","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDOHNÁNYI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSonata for Violin and Piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDOHNÁNYI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFour Rhapsodies\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDOHNÁNYI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1951-56\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 69:57 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnő Dohnányi \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Spalding \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Adrian Boult \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRecommended as a composer’s recording, as a reissue of rare material, and as an example of a playing style that died with Dohnányi’s generation of musicians578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhat an intriguing CD this is! Incorporating \ncompositions from early (Rhapsodies, 1902–03), middle (Violin Sonata, \n1912), and late (Concerto, 1946) periods in Dohnányi’s career, it \npresents three recordings made in the 1950s by three musicians born in \nthe 19th century.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eTaken chronologically: The 1951 Remington \nrecording of the rhapsodies gives us the 74-year-old composer playing \nworks he had composed a half-century before. The playing is \nextraordinary: No contemporary pianist would dare play this music with \nthe sort of rhythmic flexibility in evidence here. Further, it is clear \nthat getting the proper gesture is more important to Dohnányi the \npianist than hitting all the right notes; he still has an impressive \ntechnique, but is not loath to produce fistfuls of clams. The works \nthemselves are virtuoso late-Romantic music; despite the title, which \nsuggests four individual pieces, the set forms a cycle in which the main\n theme of No. 2 recurs in the middle section of No. 3, and No. 4 is a \ncombination of a setting of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDies irae\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with cyclic recurrences of all three of the previous rhapsodies.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe violin sonata, recorded the following year, \nfeatures the American violinist Albert Spalding, nephew of the baseball \nHall-of-Famer and sporting-goods magnate. Spalding (1888–1953), a \nfrequent sonata partner of Dohnányi late in life, was well past his \nprime in this recording (as well as in his and Dohnányi’s Remington \nrecordings of Brahms’s sonatas), but his playing is revealing. Not only \ndo we find the same rhythmic freedom as in the rhapsodies, but the \nextensive use of portamento is something just not heard today. This \nrecording, not issued by Remington, was taken from its first issue, a \n1978 Varèse Sarabande LP.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Second Piano Concerto was recorded in stereo, along with the more famous \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVariations on a Nursery Theme\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n in 1956. Its only stereo issue, however, was on Angel Records in the \nU.S.; that LP was the source used for this transfer. This recording was \nalso reissued on a Praga CD, but that is a horrible-sounding transfer, \napparently from a mono source, so it’s good to have the stereo version \navailable again in a good remastering. Despite the later recording date,\n Dohnányi seems more rhythmically and note-accurate here than in the \nrhapsodies; perhaps the necessity of staying together with the orchestra\n reined in his freer inclinations.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eEspecially considering the problematic source \nmaterial—early Remington LPs were notoriously noisy and are rarely found\n in decent condition, and Angel stereo LPs were vastly inferior to the \noriginal HMV masters—Mark Obert-Thorn has produced admirable transfers. \nRecommended as a composer’s recording, as a reissue of rare material, \nand as an example of a playing style that died with Dohnányi’s \ngeneration of musicians. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eRichard A. Kaplan  \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\/PASC381.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eErnő Dohnányi performs in rare recordings of his own compositions\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eExcellent Obert-Thorn transfers of hard-to-find LP performances from the 1950s\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe present release brings together three recordings from Dohnányi’s later years which have seen scant, if any, availability in recent decades. The Violin Sonata was recorded with the composer’s friend and frequent recital partner, American violinist Albert Spalding, in 1952, but was not issued at the time, perhaps due to the lack of a discmate. It first came out on LP in 1978, but has never appeared on CD.\u003c\/p\u003e\n\u003cp\u003eThe four Rhapsodies have some engineering problems on the original LPs. The first has instances of volume fluctuation which I have attempted to counteract. The third has a brief dropout toward the beginning on the master, and also appears to have a tape tracking problem in the middle which introduces a wobble to the sound. This track also has a section at the end that seems to have been spliced in from a crackly disc source, perhaps a backup acetate. These selections have been unavailable commercially since the demise of the Remington label in the 1950s.\u003c\/p\u003e\n\u003cp\u003eThe final work, Dohnányi’s Second Piano Concerto, was apparently only issued in stereo in America on an Angel LP. EMI released its original coupling, the composer’s \u003cem\u003eVariations on a Nursery Tune\u003c\/em\u003e, for the first time in stereo in the UK on a 1987 LP, but significantly did not pair it with the concerto, nor did it do so on a subsequent CD reissue. It is reasonable to assume that the stereo master is lost or otherwise unusable. The recording did receive one previous CD release on an independent label which some critics characterized as having come from a noisy mono LP source. There is some low frequency popping on the original master tape during quiet passages unrelated to the disc source used here.\u003c\/p\u003e\n\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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDOHNÁNYI \u003c\/strong\u003eSonata for Violin and Piano, Op. 21\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003eAlbert Spalding\u003c\/strong\u003e violin\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded in 1952 in New York City for Remington \u003cbr\u003e First issued on Varèse Sarabande VC 81048\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\u003eDOHNÁNYI\u003c\/strong\u003e Four Rhapsodies, Op. 11\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded in 1951 in New York City \u003cbr\u003e First issued on Remington RLP-199-43\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\u003eDOHNÁNYI\u003c\/strong\u003e Piano Concerto No. 2 in B minor, Op. 42\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eSir Adrian Boult · Royal Philharmonic Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e Recorded September, 1956 in EMI Abbey Road Studio No. 1, London \u003cbr\u003e First issued on Angel S-35538 [STEREO]\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e Ernő Dohnányi \u003c\/strong\u003epiano\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\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 Ernő Dohnányi\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eSpecial thanks\u003c\/strong\u003e to Nathan Brown, Richard Kaplan, \u003cbr\u003e Donald Manildi and the International Piano Archives \u003cbr\u003e at the University of Maryland (IPAM), and Charles Niss\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 69:57 \u003cbr\u003e ©2013 Pristine Audio\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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Classical","offers":[{"title":"Stereo 16-bit FLAC","offer_id":34252828941,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34252829005,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC381.jpg?v=1489741395"},{"product_id":"pasc381-cd","title":"DOHNANYI plays DOHNANYI (1951-56) - PASC381 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478176397,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478176461,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC381_404aaf5f-0e83-4321-bbce-b9451f87f12b.jpg?v=1658309266"},{"product_id":"pasc399","title":"The Columbia Beethoven Centennial Symphony Series, Volume 3 (1927) - PASC399","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1927\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 60:52 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Weingartner, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA marvellous Pastoral symphony but a Fifth that rather falls into the category of a historical curiosity578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis disc is one of a Pristine line making \navailable recordings issued as part of the Columbia Beethoven Centennial\n series. An earlier disc of symphonies 3 and 4 is reviewed \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Oct13\/Beethoven_sys34_PASC386.htm\"\u003ehere\u003c\/a\u003e.\u003cbr\u003e\n  \u003cbr\u003e\n  An unusual feature in comparison with later recordings of the \u003cstrong\u003e\u003cem\u003ePastoral\u003c\/em\u003e\u003c\/strong\u003e \u003cstrong\u003eSymphony\u003c\/strong\u003e\n is the small body of strings used. This brings to the first movement, \n‘Pleasant, cheerful sensations awakened on arrival in the countryside’, \ninformality and intimacy. At the same time Weingartner points up the \nrhythmic life, clarity and flexibility of Beethoven’s phrasing. The \nopening is unfussy yet has a skip and lilt. Most of all there’s a sense \nof the movement’s eagerness of awakening, notably in the whirling \nviolins in the \u003cem\u003etuttis\u003c\/em\u003e. The second theme (tr. 5, 1:07) has an \neasy glide but the clear bass gives it rusticity. In the development the\n bass generates expectation which culminates in thrilling \u003cem\u003efortissimo\u003c\/em\u003e\n climaxes. These are followed by alternating peaceful and affirmative \npassages. Given that the general progress is temperate, such contrasts \nfully make their effect. The horns’ exciting take-up of the second part \nof the second theme from 6:04 is particularly satisfyingly realized in \nrelation to the overall texture.\u003cbr\u003e\n  \u003cbr\u003e\n  I compared the 1937 recording by Arturo Toscanini with the BBC Symphony Orchestra (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Apr04\/beethoven6_toscanini.htm\"\u003eNaxos Historical 8.110877\u003c\/a\u003e). Toscanini provides more detailed dynamic contrast and dramatization. His \u003cem\u003etutti\u003c\/em\u003es have more gusto but his \u003cem\u003efortissimo\u003c\/em\u003e\n passages stand out less markedly than Weingartner’s. Toscanini has a \nmore rounded body of sound but Weingartner offers fine vertical clarity \nof ensemble. Neither recording makes the exposition repeat.\u003cbr\u003e\n  \u003cbr\u003e\n  Weingartner’s ‘Scene by the brook’ is the most magical account I’ve \never heard. It’s a swiftly flowing stream, appropriately enough given \nBeethoven’s marking \u003cem\u003eAndante molto mosso,\u003c\/em\u003e but of equal significance is the gentleness of articulation and manner. Weingartner obtains an unaffected ease of \u003cem\u003ecantabile\u003c\/em\u003e expression aided by occasional, affectionate touches of \u003cem\u003eportamento\u003c\/em\u003e\n in the strings. The score with all its ornaments and activity looks \nfussy yet Weingartner reveals it in lucid transparency. Late on, the \nclarinet’s version of and cadenza on the opening theme is delivered with\n unsurpassed joyous eloquence. The coda’s birdcalls have never been more\n unassumingly fresh. Toscanini’s is also a beautifully played account, \nwith a fuller tone, a more intent, searching and emotively shaped \nappreciation where Weingartner lets the movement flow contentedly. \nToscanini makes you more aware of its structure, at the cost of less \nfreely expressive woodwind solos.\u003cbr\u003e\n  \u003cbr\u003e\n  Toscanini’s larger orchestra is, however, preferable in the ‘Merry \ngathering of the country people’, bringing more exuberance to the Minuet\n opening, yet a more realistic, harder-toned trio headed by oboe \ndepicting the village band. The rustic dance has more gusto and \nenjoyment. Weingartner is niftier, lighter. His Trio (tr. 7, 0:49) is \nincredibly virtuosic for a homely band. The descending clarinet cascade \n(1:11) is barely capable of articulation although the lively rhythm of \nthe rustic dance is clear. There’s also more tension because Weingartner\n omits Beethoven’s written-out repeat of the entire minuet and trio \nbefore the coda (Bärenreiter urtext bars 204-405) - the folk in panic \nfrom the outset.\u003cbr\u003e\n  \u003cbr\u003e\n  Weingartner’s ‘Thunder. Storm’ (tr. 8) however, outclasses Toscanini’s\n in its greater sense of urgency and alarm, owing to a faster tempo, \n3:05 against 3:27. The \u003cem\u003efortissimo\u003c\/em\u003e strings at 0:21 are \nespecially exciting, but this is the moment when the timpani should also\n be heard as this is the only symphony in which Beethoven keeps them \nsilent for the first three movements to give them maximum impact now. \nIt’s a recording problem: they are only heard at 2:42 when only the \nlower strings are otherwise playing. The other instruments entering for \nthe first time in this movement, the piccolo and trombones, are clearer \nin Weingartner’s recording than in Toscanini’s.\u003cbr\u003e\n  \u003cbr\u003e\n  In the finale, ‘Shepherds’ Song: Beneficent feelings bound with thanks\n to the Godhead after the storm’, Weingartner is more uplifting in \nspirit because of his greater fluency. His timing is 7:49 against \nToscanini’s 8:56. Weingartner’s first violins’ first statement of the \nopening theme is more humble yet natural, where Toscanini lingers \nlovingly. Weingartner’s \u003cem\u003etutti\u003c\/em\u003e repeat has a sunny grandeur but \nthis is also clearly playing from the heart. As restoration engineer \nMark Obert-Thorn points out in his inlay card note, Weingartner has the \nbrass unusually prominent in the \u003cem\u003etutti\u003c\/em\u003es, but in context for me \nthis satisfyingly emphasizes a whole community giving thanks. \nToscanini’s account also has great fervour, but there’s an element of \nrhetoric about it too which takes away something of the joy with which \nWeingartner completely invests the movement, unselfconsciously glorying \nin its finesse.\u003cbr\u003e\n  \u003cbr\u003e\n  That same small body of strings used in the \u003cstrong\u003eFifth Symphony\u003c\/strong\u003e is far less successful than in the \u003cem\u003ePastoral\u003c\/em\u003e.\n The rigour of the work really needs more heft. Weingartner’s virtues as\n an interpreter remain consistent. This is a fluent and neat account, \nbut it seems rather distant and wanting in tension. The musical line in \nthe development of the opening movement (tr. 1, 1:36) is especially \nclear but the proceedings lack fire. The \u003cem\u003eadagio\u003c\/em\u003e oboe solo \n(3:22), a moment of poise and expressiveness, stands out from the rest. I\n compared Weingartner’s 1932 recording with the British Symphony \nOrchestra (\u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2003\/May03\/Beethoven56_Weingartner.htm\"\u003eNaxos Historical 8.110861\u003c\/a\u003e)\n which has more edge, momentum and involvement. The quieter moments are \nmore airily reflective too, so there’s more contrast. Neither recording \nmakes the first movement exposition repeat. A pleasing feature of both \nrecordings, after the horns sing out their variant of the opening motto \ntheme, is the contrast between the first violins’ comment (0:57), played\n with \u003cem\u003eportamento,\u003c\/em\u003e and the clarinet and flute echoes, played without. Violins today don’t play Beethoven with \u003cem\u003eportamento,\u003c\/em\u003e\n but would he have expected it? It was beginning to be used in his time \nbut its use seems to have only become common after his death.\u003cbr\u003e\n  \u003cbr\u003e\n  1927’s second movement takes 7:36 against 1932’s 8:36 but Beethoven’s marking is \u003cem\u003eAndante con moto.\u003c\/em\u003e\n There are gains and losses. In 1927 the main theme seems more \nunassuming — the moving into C major at the end of its second strain is \nmore jubilant than triumphant. The construction of the movement is more \ntransparent without detriment to its musicality. The opening theme which\n is at first nonchalant is finally an affirmation. In 1932 the progress \nis more careful but also more caring and the greater space to breathe \nbrings more glowingly reflective woodwind contributions.\u003cbr\u003e\n  \u003cbr\u003e\n  The 1927 Scherzo starts with a suitably questioning opening, but its \nmain material doesn’t quite catch the intended return to the grimness of\n the first movement. The Trio (tr. 3, 1:42) offers a wonderfully \ndexterous tiny body of cellos and double basses, highlighting the return\n of C major. However, come the return of the Scherzo the \u003cem\u003ecrescendo\u003c\/em\u003e into the finale isn’t tense enough. The 1932 recording has a more questioning opening by observing better Beethoven’s \u003cem\u003epoco ritardando\u003c\/em\u003e\n markings at the end of the first two phrases. It also has a more \ninsistent Scherzo and a Trio which has more of a twinkle in the eye and a\n jollier close. The deconstruction of the Scherzo as it returns is more \nhumorously surveyed.\u003cbr\u003e\n  \u003cbr\u003e\n  The 1927 finale opens a touch stiffly. 1932’s has more zip from the \noutset, partly because of its larger body of strings. 1927’s is simply \ninadequate for effectiveness albeit the internal balance is good. Its \ncoda is also just slightly too fast for the articulation of the \npiccolo’s semiquaver ascents to be clear. Both recordings omit the \nexposition repeat.\u003cbr\u003e\n  \u003cbr\u003e\n  In sum, then, on this CD there’s a marvellous \u003cem\u003ePastoral\u003c\/em\u003e symphony but a Fifth that rather falls into the category of a historical curiosity.\u003cbr\u003e\n  \u003cbr\u003e\n  \u003cstrong\u003e\u003cem\u003eMichael Greenhalgh\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC399.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eContinuing this groundbreaking Symphonic series, first issued in 1927, in new Mark Obert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"western\"\u003eThis volume is the third of five which will reissue, \nfor the first time in one series, the complete symphony cycle which \nEnglish Columbia commissioned to commemorate the centennial of \nBeethoven’s death in 1927. The first four symphonies were assigned to \nBritish conductors (Henschel, Beecham, Wood and the Northern Irish \nHarty) while the remainder were given to Weingartner, already generally \nacknowledged as a Beethoven specialist.\u003c\/p\u003e\u003cp class=\"western\"\u003eOddly, even though he had already recorded a complete\n acoustic version of the Fifth Symphony three years earlier, Weingartner\n was not Columbia’s first choice for their Centennial series. On \nNovember 19th and 22nd of 1926, Bruno Walter led the (old, pre-Beecham) \nRoyal Philharmonic in their first electrical version. Copies of the \nshells were even shipped to Columbia’s American affiliate before the \nrecording was cancelled on January 24th of the following year and the \nmatrices destroyed. Four days later, Weingartner began recording the \nversion heard here.\u003c\/p\u003e\u003cp class=\"western\"\u003eAs he did in his 1932 set with the British Symphony \nOrchestra (but not in his recordings of 1924 and 1933), Weingartner here\n omits the first movement repeat. But the most anomalous feature of the \npresent version is the incredibly swift tempo of the second movement, \nwhich starts at ♪ = 96, faster even than Beethoven’s metronome marking \nof ♪ = 92. This movement beats his final recording by nearly two and a \nhalf minutes – 7:30 vs. 9:55 (not counting the pauses after the tracks).\n Almost certainly, this was due to Columbia’s enforcement of a \nfour-minute limit on the duration of the sides of their early electrical\n recordings.\u003c\/p\u003e\u003cp class=\"western\"\u003eThat same reason would account for the \u003cem\u003ePastoral\u003c\/em\u003e’s\n 33 minutes being lavishly spread over ten 12-inch sides. The brief \nduration of the symphony is due not only to similarly fast tempi, but \nalso to the omission of all repeats. Although Weingartner had begun an \nacoustic recording of the symphony in 1924, it was never completed; and,\n alone among his 1926\/27 series of the Fifth through the Ninth, this one\n was not re-recorded by him in the 1930s. Of particular note is his \nhandling of the brass in the last movement, bringing it to the fore in \npassages where most conductors keep it as accompaniment.\u003c\/p\u003e\u003cp class=\"western\"\u003eThe sources for the present transfers were American \nColumbia “Viva-Tonal” pressings. While these are usually the quietest \nversions available, a higher-than-average amount of surface noise will \nbe noticeable, particularly in the Fifth Symphony. The best portions of \nmultiple copies of the recordings were used for transfer, so it is \npossible the noise may be inherent in the masters. The severe speed \nfluctuations of the originals have been corrected through the \napplication of Celemony Capstan, allowing the performances to be heard \nwith rock-solid pitch for the first time since the original recording \nsessions.\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\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 28 – 29 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2414-2, 2415-2, 2417-2, 2418-2, 2419-2, 2420-2, 2421-2 \u0026amp; 2422-3\u003cbr\u003eFirst issued on Columbia L 1880 through 1883\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 6 in F major, Op. 68 \"Pastoral\"\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 18 – 19 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2363-1, 2364-2, 2365-1, 2366-2, 2377-3, 2378-1, 2379-2, 2380-2, 2381-2 \u0026amp; 2382-1\u003cbr\u003eFirst issued on Columbia 1893 through 1897\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eFelix Weingartner \u003c\/strong\u003e conductor\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eCover artwork based on a photograph of Felix Weingartner\u003cbr\u003e\u003cbr\u003eTotal duration: 60:52 \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 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(+MP3)","offer_id":40478185293,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478185357,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC399_a937af3c-d329-4a55-937c-a660ba0bc33a.jpg?v=1658309654"},{"product_id":"pasc207","title":"SCHERCHEN Beethoven: Symphony No. 4, Six Overtures (1954) - PASC207","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSix Overtures\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eT\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eotal duration: 71:48 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Vienna State Opera Orchestra \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003e Hermann Scherchen\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fScherchen’s Fourth was truly revolutionary for its time578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is the second installment in Pristine’s \nedition of Hermann Scherchen’s Westminster Beethoven cycle. Again, the \ntransfer of the Fourth Symphony, from a U.K. Nixa LP, is evenly matched \nwith the recent Tahra edition, with little to choose between the \ntwo—both are excellent, Tahra a little brighter, Pristine a little \nwarmer. The overtures have no competition, however, making the new disc \nindispensible on their account.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eLike his reading of the Eighth with the same \norchestra (Beecham’s Royal Philharmonic, recording for contractual \nreasons under the pseudonym “Philharmonic Symphony Orchestra of \nLondon”), Scherchen’s Fourth was truly revolutionary for its time (1954)\n in taking Beethoven’s metronome markings seriously. The slow \nintroduction is tense and ominous, with hair-trigger dynamic nuances, \nleading to an Allegro of exceptional brio and sharpness of focus, at \nexactly Beethoven’s marking of 80; by comparison, contemporaneous \nversions range from Karajan\/Philharmonia (EMI, 1953) at 66, to that \nincorrigible laggard Toscanini (NBC\/RCA, 1951) at 72. Scherchen was \ndecades ahead of his time here; apart from his own live 1965 performance\n with the sub-par Swiss-Italian Radio Orchestra (Accord), and René \nLeibowitz’s blistering 1961 recording, also with the RPO (Reader’s \nDigest\/Scribendum), the tempo was unmatched until the period-instrument \nversions of the 1980s. What really matters, of course, is not the tempo \nin itself, but what Scherchen is able to do with it: the exceptional \nbuoyancy, razor-sharp rhythmic articulation, and textural transparency \n(the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epp\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e strings \nand timpani rolls before the recapitulation speaking with a rare point \nand clarity). The RPO is in formidable form throughout: those legendary \nwind principals really shine in the slow movement, and in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emoto perpetuo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e finale the orchestra’s response, both solo and collective, to Scherchen’s whirlwind pace is truly breathtaking.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe stellar RPO is a hard act to follow, and \nplunging straight into the Viennese sound world of the overtures is \ninitially quite a shock to the system—wiry strings, acid-toned winds, \nand some dubious tuning. But no matter! They roar their way through \nthese overtures with a zest, larger-than-life vitality, and total \ncommitment that serve the spirit of Beethoven as few other such \ncollections have. All are immensely enjoyable, but highlights are \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConsecration of the House,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e which finds the orchestra hanging on for dear life at a tempo bordering on reckless—but what a ride!—and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eKing Stephen,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e dispatched with an unforgettable \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchwung\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Hungarian panache. I eagerly look forward to Pristine’s release of the remaining overtures. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 33:6 (July\/Aug 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC207.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eHermann Scherchen at his best in Beethoven\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eExcellent sound quality backs excellent performances from 1954\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\"\u003e\"The gramophone's most unpredictable conductor gives a superlative performance of the Beethoven Fourth. It is powerful and tense in a degree not normally associated with the work, but made entirely convincing by the dash and skill of its presentation. The traditional view of the Fourth as a predominantly lyrical symphony has indeed much to recommend it; but the performance here of its first, third and fourth movements welds the lyrical elements briskly, and not at all unacceptably, into a vigorous whole. The slow movement, too, has its felicities: the slightest of accelerandos, just before the end, lends a new point to that familiar demisemiquaver passage. And this movement, along with the others, exhibits to the full the most beautiful orchestral playing: there are woodwind passages here to catch the heart (and, thinking of Scherchen's whirlwind tempo for the bassoon in the finale, the breath!)\u003c\/p\u003e\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\"\u003eAs the recording is very good, having all the brilliance but not quite all the richness of the best, this must inevitably become the primary recommendation for a one-sided version of the Fourth; it outclasses Toscanini's H.M.V. on one or two counts. Less tension, if that is sought, may be found in Karajan's reading on the very well-recorded Columbia; here the symphony's finale goes over on to the second side, which is completed by the extended aria Ah, Perfido! An even less tense performance is secured by Krips on his Decca disc; but, though recorded most beautifully smoothly, that record, given wholly to the symphony, is now beginning to look expensive...\" \u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"body\"\u003e- from the Gramophone review of 4th Symphony, April 1956\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eSome recordings from the 1950s are a pleasure for the transfer and remastering engineer, and these certainly come into that category. Well-recorded for their day, on excellent near-mint pressings, and perfect for XR remastering to bring out the very best sound quality - and, most importantly, some really excellent performances.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eScherchen's recording of Beethoven's \u003cem\u003eFourth Symphony\u003c\/em\u003e was originally coupled with a recording of the Fifth, made at the same time and with the same orchestra - the Royal Philharmonic recording under a pseudonym, \u003cem\u003e\"The Philharmonic Symphony Orchestra of London\"\u003c\/em\u003e. My original plan to reunite these recordings for a single release was thwarted by the length of the Overtures LP when coupled with his 1951 recording of the \u003cem\u003eEmperor Concerto\u003c\/em\u003e with Badura-Skoda, which together run to a little over 82 minutes. Hence the decision to pair here the Overtures with the Fourth, saving the two mighty \"Fifths\" for another issue due out shortly after this release.\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\"\u003eBEETHOVEN \u003cstrong\u003eSymphony No. 4 in B flat\u003c\/strong\u003e, Op. 60\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in September 1954 by Westminster Records\u003cbr\u003e Transferred from UK Nixa LP pressing WLP 20003\u003cbr\u003e \u003cstrong\u003eThe Royal Philharmonic Orchestra\u003cbr\u003e conductor Hermann Scherchen \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSix Beethoven Overtures\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e:\u003cbr\u003e \u003cstrong\u003eThe Creatures of Prometheus\u003c\/strong\u003e, Op. 43\u003cbr\u003e \u003cstrong\u003eThe Ruins of Athens\u003c\/strong\u003e, \u003c\/strong\u003eOp. 113\u003cstrong\u003e\u003cbr\u003e \u003cstrong\u003eConsecration of the House\u003c\/strong\u003e, \u003c\/strong\u003eOp. 124\u003cstrong\u003e \u003cbr\u003e \u003cstrong\u003eCoriolan\u003c\/strong\u003e, Op. 62\u003cbr\u003e \u003c\/strong\u003e\u003cstrong\u003eKing Stephen\u003c\/strong\u003e, Op. 117\u003cstrong\u003e\u003cstrong\u003e\u003cbr\u003e Namensfeier\u003c\/strong\u003e, \u003c\/strong\u003eOp. 115\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in June 1954 by Westminster Records\u003cbr\u003e Transferred from UK Nixa LP pressing WLP 5335 \u003cbr\u003e \u003cstrong\u003eThe Vienna State Opera Orchestra\u003cbr\u003e conductor Hermann Scherchen\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers and XR remastering by Andrew Rose at Pristine Audio, December 2009\u003cbr\u003e Original source recordings from the private collection of John Phillips\u003cbr\u003e Cover artwork based on a photograph of Hermann Scherchen\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 71:48 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC207.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC207.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":34452086029,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34452086093,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34452086157,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34452086221,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC207_43272fc9-7405-4fee-8558-3da93b286aa7.jpg?v=1490032308"},{"product_id":"pasc207-cd","title":"SCHERCHEN Beethoven: Symphony No. 4, Six Overtures (1954) - PASC207 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478188941,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478189005,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC207_479b443e-a94f-4a5d-a403-797702703640.jpg?v=1658243808"},{"product_id":"pasc210","title":"WEINGARTNER in Basle \u0026 London (1928-29) - PASC210","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDer Freischütz - Overture\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRosamunde, D797 - Entr'acte No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEINGARTNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Tempest - Scherzettino\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eInvitation to the Dance\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony 3\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1928 and 1929\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 58:41 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBasle Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Weingartner,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAn indispensable disc578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is one of Pristine’s most important releases \nto date, making available what is (so far as I’m aware) the first-ever \nrecording (1929) of Mendelssohn’s “Scottish” Symphony. (Its only \nprevious official CD incarnation was in EMI\/Toshiba’s large Weingartner \nedition of some years ago, but never available outside of Japan.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe slow introduction to the symphony is swiftly \nflowing and flexible, the light, sweet strings and lean, cutting \nwinds—wonderfully transparent textures through the obvious limitations \nof the 1929 recording—immediately conjuring an authentically \nMendelssohnian sound world. Given Weingartner’s classicist inclinations,\n the ensuing Allegro is surprisingly flexible in its constant tempo \nmodifications, though he manages to make them all quite \nnatural-sounding. There is some casual ensemble by today’s standards \n(truth to tell, the Scherzo really flies by the seat of its collective \npants!), and a tuba can be heard discreetly reinforcing the double \nbasses (this was hardly necessary in 1929, four years into the electric \nera, but the practice evidently died hard). The slow movement is supple,\n taut, and elegant, at 8:36 faster than virtually anything before the \nperiod-performance movement, and much the better for it. The finale goes\n with wonderful verve; Weingartner then shortens the major-mode coda by \ncutting several repetitions. Overall, a very impressive performance, of \nlong lines, dramatic sweep, and an unforced expressive authenticity.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eUnlike its “Italian” sibling, the “Scottish” was \nsurprisingly neglected in the 78 era; between Weingartner’s gramophone \npremiere and the LP era came Mitropoulos\/Minneapolis (1941, reissued on \nthe short-lived Nickson Records) and a Toscanini\/NBC broadcast of the \nsame year (Testament). Although both performances are highly compelling \nin their way (the Greek maestro with a positively Expressionistic \nintensity, the Italian exciting but rather unyielding), neither sounds \nvery idiomatically Mendelssohnian.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe fill-ups, from Weingartner’s Basel days in \n1928, are real rarities. Though hardly one of the world’s great \norchestras, the Basel ensemble is highly characterful in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosamunde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n items; the sound here is far closer to present-day period-instrument \ngroups than modern orchestras—indeed, it is easy to believe that these \nlight, transparent sonorities were close to what Schubert and Weber had \nin mind. Like many conductors who also composed, Weingartner took the \nlatter activity very seriously, but on this evidence his compositional \ntalent was, well, unremarkable. Weingartner the composer was, however, \nunable to resist some serious monkeying with Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eInvitation to the Dance,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n where his ingenious contrapuntal overlays and recombinations put me in \nmind of (of all things) Godowsky’s similar treatment of Chopin’s études!\n But it makes a refreshing change from the over-familiar Berlioz \nversion, and it’s all great fun, which is not diminished by some fairly \nchaotic ensemble.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eMark Obert-Thorn’s transfers are every bit as expert as one would expect. An indispensable disc. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 33:6 (July\/Aug 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC210.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eFive excellent late 1920s recordings from Felix Weingartner\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eTransfers by Mark Obert-Thorn include some of his rarest electrical recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003eThe sources for the present transfers were a mixture of American Columbia “Viva-Tonal” and “Full-Range” pressings for the Mendelssohn and English Columbias for the remainder. The Basle recordings are rather rare; \u003cem\u003eInvitation to the Dance\u003c\/em\u003e was the only title released in the USA, while Weingartner’s \u003cem\u003eTempest\u003c\/em\u003e excerpt was only released in Switzerland.\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBER\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eDer Freischütz\u003c\/strong\u003e\u003c\/em\u003e - Overture\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded 3rd May, 1928 in the Musiksaal, Basle\u003cbr\u003e Matrix nos.: WZX 75-3, 76-2 and 77-1\u003cbr\u003e First issued on Columbia 9644 and 9645\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodysmallarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eRosamunde\u003c\/strong\u003e\u003c\/em\u003e, D797 - Entr'acte No. 3 in B flat\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003c\/span\u003e\u003cbr\u003e Recorded 3rd May, 1928 in the Musiksaal, Basle\u003cbr\u003e Matrix no.: WZX 74-2\u003cbr\u003e First issued on Columbia 9645\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodysmallarial\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEINGARTNER\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eThe Tempest\u003c\/strong\u003e\u003c\/em\u003e - Scherzettino (\"Spuk neckender Geister\")\u003c\/span\u003e\u003cbr\u003e Recorded 3rd May, 1928 in the Musiksaal, Basle\u003cbr\u003e Matrix no.: WZX 73-1\u003cbr\u003e First issued on Columbia 8852\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWEBER\u003c\/strong\u003e (orch. WEINGARTNER) \u003cem\u003e\u003cstrong\u003eInvitation to the Dance\u003c\/strong\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e Recorded 3rd May, 1928 in the Musiksaal, Basle\u003cbr\u003e Matrix nos.: WZX 71-2 and 72-1\u003cbr\u003e First issued on Columbia 9691\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eBasle Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conductor\u003cstrong\u003e Felix Weingartner\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMENDELSSOHN\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eSymphony 3\u003c\/strong\u003e\u003c\/em\u003e in A minor, Op. 56 (\"Scottish\")\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded 27th March, 1929 in the Portman Rooms, Baker Street, London \u003cbr\u003e Matrix nos.: WAX 4808-2, 4809-1, 4810-1, 4811-2, 4812-1, 4813-2, 4814-1 and 4815-2 \u003cbr\u003e First issued on Columbia 9887 through 9890\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e\u003cbr\u003e Royal Philharmonic Orchestra\u003c\/strong\u003e\u003cbr\u003e conductor\u003cstrong\u003e Felix Weingartner\u003c\/strong\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 \u003cspan class=\"bodysmallarial\"\u003e Cover artwork based on a photograph of Felix Weingartner\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 58:41 \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\/PASC210.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC210.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":7002949517373,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":7002949550141,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":7002949582909,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC210_eee08067-8ec4-4b25-9f82-221c60e2d9be.jpg?v=1520850233"},{"product_id":"pasc210-cd","title":"WEINGARTNER in Basle \u0026 London (1928-29) - PASC210 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478191117,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478191181,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC210.jpg?v=1658243949"},{"product_id":"pasc213","title":"SCHERCHEN Beethoven: Symphony No. 5, Piano Concerto No. 5 (1951\/54) - PASC213","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 5 'Emperor'\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1954 \u0026amp; 1951\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:37 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePaul Badura-Skoda, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVienna State Opera Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHermann Scherchen\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnother winner from Pristine! 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe third release in Pristine’s Scherchen \nBeethoven series completes the London portion of his Westminster \nsymphony cycle. Unlike the recent Tahra edition, Pristine is \nsupplementing the symphonies with Scherchen’s other Beethoven recordings\n for the label, otherwise unavailable on CD.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eScherchen’s Fifth (1954) has the same excitingly \nradical feel as his other symphonies with this orchestra. The first \nmovement is lean and transparent in texture, purged of any hint of \nrhetorical underlinings, his refusal to indulge in any unmarked \nritardandos imparting a not inappropriate ruthless feeling. Although the\n timing of 7:02 (with repeat) was radical in its day, it’s still around \n30 seconds slower than Beethoven’s metronome marking of 108, which had \nto wait until the period-performance movement to be heard. Even so, the \nperformance has a ferocious intensity rarely matched in the work’s \nrecorded history. Despite a surprisingly measured pace (10:22), the \nAndante con moto maintains the tension to an unusual degree. (Among \nhistoric versions, Mengelberg [Concertgebouw, 1937\/Pearl or Teldec], \nToscanini [NBC, 1952\/RCA], Boult [LPO, 1956\/Vanguard], and Leibowitz \n[RPO, 1961\/Scribendum] played the movement in around nine minutes; but \nit was Weingartner in 1932 [British SO\/Naxos] who was 50 years ahead of \nhis time at an amazingly bracing 8:36!) Scherchen, however, can use a \nrelatively slow tempo to an unsettlingly subversive effect—there is a \nhungry leanness to the string lines, along with a rhythmic tautness that\n refuses to relax (e.g., the clipped woodwind articulation in the A-flat\n Minor episode, bars 167 ff., with an unusually menacing edge to it). \nThe Scherzo is also paced deliberately (Toscanini and Leibowitz much \ncloser to today’s norms—the latter performance an especially interesting\n comparison, with the RPO seven years later; although quicker than \nScherchen in three movements out of four, the effect is much more \nstreamlined, smoothing out Scherchen’s sharp edges into something far \nless radical). Here, Scherchen’s tempo enables a most original take on \nthe Trio’s fugato, which is given a surprisingly lyrical, legato \ntreatment. The transition to the finale is one of the most intense on \nrecord, in its breathtaking dynamic and rhythmic control with completely\n \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esenza vibrato\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nstrings; the finale itself then erupts at a blistering half note = 92 \n(Beethoven’s marking is 84!). It should sound too fast, but doesn’t, \nthanks to Scherchen’s high-speed control and the RPO’s hairtrigger \nreflexes. Textures are pungent and airy—a far cry from the “saturated” \nsound favored by the likes of Jochum (BPO, 1951\/Philips), Karajan \n(Philharmonia, 1954\/EMI), and Furtwängler (VPO, 1954\/EMI). The RPO \nclearly loved the ride, and its playing has an edge-of-seat excitement \nthat is unforgettable. (Scherchen didn’t repeat the experience in his \nlive 1965 performance with the RTSI Orchestra [Hermitage], which is much\n more sedate.) Among contemporary versions, Boult, Schuricht (Paris \nConservatory, 1957\/EMI), and most of all Szell (his earlier 1955 \nCleveland version, reissued on United Archives) come closest to matching\n Scherchen’s punchy exuberance, even if they don’t live quite so \ndangerously. Altogether one of the most exceptional Fifths in the work’s\n recorded history, still sounding as radical as ever.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs Andrew Rose’s notes attest, the 1951 recording \nof the “Emperor” Concerto was always something of a problem child, \nafflicted by poor balances and generally well below the high standard \nset by the symphony cycle of a few years later. Rose’s latest transfer \nhas worked wonders, however, and the sound is no impediment to enjoyment\n of a fascinating performance. Compared to his more illustrious \ncontemporaries, Paul Badura-Skoda’s playing lacked the last degree of \nindividuality of coloration and phrasing. Indeed his opening flourish \ncomes across as rather pallid and under-characterized when compared to \nthe likes of Backhaus\/Krauss (Decca, 1952), Curzon\/Szell (Decca, 1949), \nGieseking\/Karajan (EMI, 1951), Kempff\/Kempen (DG, 1953), or \nSchnabel\/Galliera (EMI, 1947\/Testament). But as the movement progresses \nhe draws us into a compellingly lyrical, if rather small-scale, \ninterpretation, of much finesse and delicacy at quiet dynamics—e.g., in \nthe “music box” textures in the first movement; in the second, a notable\n expressive variety of trills, and an uncommonly clear communication of \nthe syncopated accenting of the quiet figuration at the end. Much of the\n finale has an unusual Schubertian playfulness that is quite \ncaptivating. On the other hand, sudden bravura outbursts—at the \nbeginning of the first-movement recapitulation, and in the common (and \nlazy) practice of adding gratuitous bass octaves at places in the \nfinale—tend to sound uncomfortably grafted onto the very different \ncharacter of most of the performance. Scherchen’s raw, edgy vitality \nmakes a splendid foil for the most part (those dotted rhythms in the \nfirst movement have a rare snap), though as usual the Vienna orchestra \nis no RPO (amusingly, the notes quote the original review in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n which took exception to the strings’ “Mahlerish” playing of the \nhymn-like opening of the slow movement!). Another winner from Pristine! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 33:6 (July\/Aug 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC213.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eScherchen's excellent Beethoven series continues\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eTwo splendid 'fifths' performances in superb XR-remastered sound\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThese two recordings indicate quite powerfully the swift advances in sound quality which were obtained in orchestral recordings through the 1950s. Despite there being just three years between them, the 1951 recording of the Piano Concerto No. 5 can sound at times like it belongs to a different era when the two are compared directly.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThere could be a number of reasons for this - tape technology was still in its commercial infancy, and the degree of hiss to be heard on the earlier recording is substantially higher than that of the Symphony No. 5 recording. But there is more to it than this - there is an added directness and clarity about the Symphony recording which the Concerto quite simply lacks.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe reasons for this are not too difficult to guess, and one immediately suspects both the choice and placing of the microphone(s) used to make each recording. Whilst the recording techniques used for the 1951 recording would have seemed perfectly adequate for the 78rpm era (which was still in full swing - though not for much longer), they had simply yet to address fully the technical and sonic advances offered by the new vinyl LP disc.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn short it's reasonably good for 1951, but would not have been considered good for 1954. My aim has been to ameliorate the shortcomings of the original as much as possible and to keep the overall sound as open as I could - as a result there are slightly higher levels of background tape hiss still to be heard on the Concerto recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis is my third restoration of my second transfer of this concerto recording - and in it I believe I was finally able to do justice to both the performance and the recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMeanwhile the Symphony was, comparatively speaking, a breeze - one of those wonderful recordings which almost fell off the record thanks to a combination of excellent original coupled with a superb pressing, all of which improved further with XR remastering to bring out the very best in it - a restorer's delight!\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\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003c\/strong\u003e\u003cstrong\u003e\u003ca href=\"http:\/\/www.rpo.co.uk\/\" target=\"_blank\"\u003eThe Royal Philharmonic Orchestra\u003c\/a\u003e*\u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Hermann Scherchen\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eStudio recording, Walthamstow Assembly Rooms, London, September 1954\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e*Recording under the pseudonym \"Philharmonic Symphony Orchestra of London\"\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Piano Concerto No. 5 'Emperor' in E flat, Op. 73 \u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eSoloist \u003cstrong\u003e\u003ca href=\"http:\/\/www.badura-skoda.com\/\" target=\"_blank\"\u003ePaul Badura-Skoda, piano\u003c\/a\u003e\u003cbr\u003e \u003c\/strong\u003ePlayed by\u003cstrong\u003e \u003cstrong\u003e\u003ca href=\"http:\/\/www.wiener-staatsoper.at\/Content.Node2\/home\/eninfo\/2172.php\" target=\"_blank\"\u003eVienna State Opera Orchestra\u003c\/a\u003e\u003c\/strong\u003e \u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Hermann Scherchen\u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003eStudio recording, Vienna, June 1951\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eTransfers and XR remastering by Andrew Rose, January \u0026amp; February 2010\u003cbr\u003eCover artwork based on a photograph of Hermann Scherchen\u003cbr\u003e\u003cbr\u003eTotal duration: 70:37 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PASC234","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVAUGHAN WILLIAMS\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e A London Symphony (Symphony No. 2)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1958 and 1945\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 77:50 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Malcolm Sargent\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Dimitri Mitropoulos\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI was wondering when this Vaughan Williams Ninth \nwas going to be issued on CD. I had assumed it would come out on a label\n like BBC Classics but here it is, finally, on Pristine Audio. I have \nhad the original 10-inch BBC transcription disc in my possession for \nmany years. I even had a friend transfer it to CD. This Pristine Audio \nreissue sounds fuller and quieter and that is merely one reason I am \ndelighted to see this CD appear. Vaughan Williams, after extensive \ndiscussions with the conductor, Sir Malcolm Sargent, supervised the \nrehearsals and even paid for an extra one to make sure things went right\n at the 1958 premiere, which this recording preserves. The Ninth is an \nodd symphony. One might tend to think of it as a sort of farewell to \nlife but there is little of the valedictory about it. The Eighth \nSymphony sounds like a transitional work to me. The mystical, visionary \nNinth, with the composer seemingly staring off into the future, strikes \nme as a new phase in his creative life, one that might have generated \nseveral new symphonies but it was not to be. Sargent’s tempos, it will \nbe noted, are faster, in some cases very much so, than nearly all the \nconductors who went on to record the symphony (Pristine’s timings are \ndeceptive because they include the pauses between the movements); I \nthink Leonard Slatkin does the Scherzo just a shade faster and Kees \nBakels’s total timing is just under Sargent’s (but Bakels wasn’t part of\n British tradition and was apparently uninfluenced by it). In fact, if I\n were determined to obtain a modern, two-channel recording, it is to \nBakels (Naxos) that I would turn, though I think his last movement falls\n a bit flat, but this Sargent performance has that elusive sense of \noccasion and Pristine has preserved and enhanced it. Why, then, didn’t \nother conductors follow Sargent’s example? I have a theory about that: \nSir Adrian Boult, who was closely associated with Vaughan Williams and \nhad already recorded the existing eight symphonies, was informed about \nthe composer’s death shortly before the session during which he was to \ndo the Ninth Symphony for Everest. It goes without saying that Boult \nwould have found the death of one he so admired saddening and I think \nthat, in his mind, the symphony took on a valedictory quality that it \nreally doesn’t have—it is a step into the future, not a summing up. The \nresult was slower tempos and a more solemn approach to the music than \nthat of Sargent, who, in any case, was not closely associated with \nVaughan Williams during his career; I am aware of BBC recordings of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSea Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (with a big cut in “The Explorers”) and a very good Fourth, and that’s \nall, except for this one. It would make sense that subsequent \nconductors, knowing Boult’s authority (after this, he went on to record \nthe entire cycle all over again), were probably influenced by him. In \nany case, for me, Sargent’s energetic, swift attack gives the music more\n sharp edges and I think it is the way the piece should go and, \napparently, the way the composer thought it should go. I have one minor \ncomplaint and that is the difficulty of hearing the harp glissandos \ntoward the end of the symphony; they really impart an air of mystery, \nand some conductors do bring those passages off to great effect.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Dimitri Mitropoulos “London” Symphony is a \nfrustrating case. It just doesn’t sound very good. One company that \nspecializes in historical reissues considered issuing it but finally \ndecided that it just couldn’t be brought up to their standards. In \ntruth, it isn’t up to Pristine Audio’s standards, either, but I’m glad \nthey decided to take their chances and make it available. The 1945 NBC \ntranscription is somewhat muffled, often distorted, on rare occasions \neven a bit wobbly, but something about this music really engaged \nMitropoulos, who delivers a sensitive, by turns poetic and dynamic \naccount of the score. In my A\u0026amp; R fantasies, I have envisioned \nMitropoulos recordings of the Sixth, Seventh, Eighth, and Ninth—if I may\n judge by his studio and live Fourths, they would have been something to\n hear and, really, so is this Second, if you can listen through the \ndistractions, which do diminish somewhat after the first movement. The \nconductor’s one unorthodox gesture is the Scherzo, which, though very \nwell done, moves along quite briskly. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC234.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eWorld première of the Ninth - Rare recording of the Second\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eTwo very special Vaughan Williams symphony recordings newly remastered\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eI first received copies of these two remarkable and rare concerts back in February of this year in cassette form from Edward Johnson. We were both enthusiastic about the performances but just a little sceptical about the medium. I began by transferring the Ninth Symphony and set about its restoration, but soon realised that despite the finest Nakamichi replay equipment and all the digital restoration tools at my disposal, I would be unable to do full justice to the original recording from this particular copy. And so began the hunt for a better source.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA few weeks later, Edward came back to me with the suggestion that the renowned writer, musicologist and expert on British classical music, Lewis Foreman, thought he might have copies of these on tapes stored “in his shed”, and would we like him to dig them out? One likes to hope that, tucked away in attics and sheds around the world are carefully preserved gems like this, as when Mr. Foreman's own tape-to-CD transfer of the 9th arrived I immediately knew we were on track for an excellent-sounding release.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recording was taken from a later BBC FM rebroadcast, and I've been able to add in announcements from the original broadcast, preserved in a second transfer by Mr. Foreman of discs prepared for overseas broadcasts by the BBC in the 1950s, but of lower overall sound quality. Aside from very occasional bursts of static, which have been largely eradicated, the sound quality was excellent throughout, and it is a pleasure and privilege to be able to make this historic world première recording available to the public.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Mitropoulos is another stunning and very rare recorded performance, and again Mr. Foreman's source has been used almost throughout (some small patches from Edward Johnson's cassette were required for the opening announcement). However, this originated in another era, and suffered a wide range of faults originating in the acetate 78s onto which it would have been first recorded. I have dealt as best I can with thousands of ticks, pops and scratches, aimed to reduce or eliminate where possible peak distortion, corrected multiple pitch variation problems and kept the sound as open and vital as I possibly can. Sonically, after the 9th; it takes a moment or two for the ears to adjust, but the listener will soon find him or herself drawn into Mitropoulos' magical recreation of Vaughan Williams' London. It really is a superb rendition of this classic English symphony, one which easily transcends the limitations placed upon it by the shortcomings of the original recording.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVAUGHAN WILLIAMS \u003c\/b\u003eSymphony No. 9 in E minor (1956-7) (World Première) \u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003econducted by Sir Malcolm Sargent\u003cbr\u003eRoyal Festival Hall, 2nd April, 1958\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e A London Symphony (Symphony No. 2) (1913) \u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003econducted by Dimitri Mitropoulos\u003cbr\u003eStudio 8H, New York, 9th December, 1945\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eSpecial thanks to Lewis Foreman for these transfers from his private collection\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, February-June 2010\u003cbr\u003e Cover artwork based on a photograph of Vaughan Williams\u003cbr\u003e \u003cbr\u003e Total duration: 77:50 \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC234.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC234.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":37144555213,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144555277,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144555405,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":37144555533,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC234_22413143-1087-41ef-9f21-607af3bf8f03.jpg?v=1494338157"},{"product_id":"pasc234-cd","title":"SARGENT \u0026 MITROPOULOS Vaughan Williams: Symphonies 2 and 9 (1945\/58) - PASC234 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478216141,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478216205,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC234_af523f02-eafe-43a4-8de0-6361af54940a.jpg?v=1658244648"},{"product_id":"pasc263","title":"BEECHAM conducts Brahms and Delius (1949-58) - PASC263","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAcademic Festival Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eNorth Country Sketches\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1949, 1956 and 1958\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:00 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC263.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eSuperb Brahms and Delius in these new XR transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eBeecham \"finds the sunlight and the vivacity in the work\" - Gramophone, 1960\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe two Brahms recordings, made in full stereo in 1956 and 1958, were taken from very clean later US pressings on the Seraphim label, and despite some minor vinyl surface inconsistencies the transfer was straightforward. XR remastering has succeeded in adding extra clarity and immediacy to the sound.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe earlier recording of Delius' North Country Sketches was made for 78rpm discs but onto tape in 1949., and this transfer was taken from a near-mint Philips white label test pressing for a later LP reissue. I was able to expand out considerably the top end of the frequency range, though this treatment did reveal some occasional treble inconsistencies in the tape which had to be rectified, as well as bringing up hiss levels slightly. I have attempted to strike a sensible balance between background hiss reduction and treble clarity.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eAcademic Festival Overture, Op. 80 \u003c\/span\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in stereo in Abbey Road Studio 1, London, 29th November, 1956\u003cbr\u003e First issued as UK Columbia LP 33CX1429\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Symphony No. 2 in D, Op. 73\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded in stereo in Abbey Road Studio 1, London, 1st December, 1958\u003cbr\u003e First issued as HMV LP ASD 348\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDELIUS\u003c\/b\u003e North Country Sketches\u003c\/span\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded in mono, 14th February, 1949\u003cbr\u003e First issued as UK Columbia 78s LX 1399-1401\u003cbr\u003e Matrix numbers CAX 11067-11072 \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cbr\u003e Royal Philharmonic Orchestra\u003cbr\u003e conductor Sir Thomas Beecham\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, December 2010\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003cbr\u003e\u003cbr\u003eTotal duration: 73:00 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC263.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC263.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eCONTEMPORARY REVIEWS\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"A colleague of mine expressed surprise the other day that I was not more moved by Beecham's new record of Brahms 2. Well, here is a second chance, so I have taken it. In stereo the orchestral sound gains immensely; the strength and gleam of the R.P.O. violins high on the E string, the presence and vitality of the brass—the trombones, for example, at the stretto in the development of the first movement- and the total sonority, not so much in climaxes as when Brahms uses the greater part of his forces somewhere below the mezzo forte level: this is where stereo does justice to the skill of a Beecham performance. His treatment of rhythm and stress is something that gave pleasure in the mono version too; perhaps I left that to be taken for granted in my review last month.\u003cbr\u003e\u003cbr\u003eNevertheless, careful listening to a different recording of the same performance (as stereo is, compared with mono) doesn't change my total impression, which is that this is a fine performance rather than one that makes me think anew about the music. Beecham finds the sunlight and the vivacity in the work; one senses the play of a brilliant interpretative mind upon great music. What I do not feel is the effect of a looking-glass — the interpretative surface that receives and surrenders the essential image of the music. This isn't a performance that distorts, but nor is it one that reflects an inescapable truth. It reflects beauty, all right; and from this point of view I urge you to hear it, if you're contemplating the acquisition of the symphony. The new version sounds more vivid than the comparable Decca. In mono form, there are other performances that tell me more about the spirit of the music.\" \u003cb\u003eW.S.M., Gramophone, July 1960\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"...The Academic Festival Overture receives a rousing and enthusiastic performance, which is helped by the spacious recording acoustic and carefully controlled tempi...\"\u003cb\u003e D.S., Gramophone, April 1957\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"There are four North Country Sketches, composed by Delius between 1913-14. i. Autumn, the wind soughs in the trees. 2. Winter landscape. 3. Dance. 4. The March of Spring. It should be noted that Autumn finishes on the first side of the Dance and so the listener should go back to Winter Landscape, complete on one side, before hearing the Dance. The March of Spring takes two sides.\u003cbr\u003e\u003cbr\u003eThe low soft undertones of autumn are succeeded by the wind soughing in the trees, with string basses and upper strings being extraordinarily well reproduced and the whole picture, exquisitely painted by Sir Thomas Beecham, being as evocative as only Delius can be. The oboe and horn tone (one little false entry may easily be forgiven) is most beautiful and the long drawn out end of the piece is among Delius' most lovely pages.\u003cbr\u003e\u003cbr\u003eWith great art Delius goes on to suggest the bare winter landscape, harp and oboe lending a certain icy glitter to the music and the massed violins suggesting the piercing cold. This is amazing scene painting and it is superbly brought to life by Sir Thomas. The Dance and the March of Spring are not musically quite on the same level: but I was fascinated by the chromatic up and down scales on the second side of the Dance and by the poetic treatment of the March, in which trumpets herald the coming of spring. It is not a criticism of the music to say that this piece brought to my mind one of the Nature films we too rarely see in which buds burst into flower before one's eyes. The end is not loud, but in the manner of the lyrical section of the violin concerto, with the familiar dotted rhythm a falling phrase.\u003cbr\u003e\u003cbr\u003eI feel most grateful to the Delius Trust for giving us not only some more of the composer's beautiful music, but for putting in semi-permanent form another of the masterly and unique interpretations of Delius' works by Sir Thomas Beecham, who has inspired the orchestra to its finest playing.\" \u003cb\u003eA.R., Gramophone, July 1951\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":8641935179837,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":8641935212605,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":8641935245373,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC263.jpg?v=1528879946"},{"product_id":"pasc263-cd","title":"BEECHAM conducts Brahms and Delius (1949-58) - PASC263 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478231885,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478231949,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC263_96599656-2d85-4457-a9d7-53ae2513dfa8.jpg?v=1658245715"},{"product_id":"pasc270","title":"BEECHAM Delius: A Mass of Life, Hassan Suite (1952-56) - PASC270","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Mass of Life\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIUS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHassan Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded London 1952\/3 and 1956\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 11:20\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoloists and Choirs\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eRoyal Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC270.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBeecham's \"A Mass of Life\": still \"perfect\" after nearly 60 years\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eStunning new XR remasters of two classic recordings of Delius's masterpieces\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eBoth of these recordings were taken from Philips\/Fontana white label test pressings in near-mint condition. My main aim in the remastering of them was to bring to the recordings the extra warmth and life which XR remastering and Ambient Stereo processing offers. Although both were highly competent recordings of their era, both sound a little dull and flat to the modern ear in their original incarnations, something which these new transfers and remasterings endeavour to remedy.\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\u003eDELIUS \u003c\/strong\u003e A Mass of Life (Eine Messe des Lebens)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Abbey Road Studio 1, London, 8 \u0026amp; 11 November, 8, 10, 12 \u0026amp; 13 December 1952, \u003cbr\u003e 1 \u0026amp; 20 January, 10 April, 14 May 1953\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003eRosina Raisbeck\u003c\/strong\u003e, soprano \u003cbr\u003e \u003cstrong\u003eMonica Sinclair\u003c\/strong\u003e, alto\u003cbr\u003e \u003cstrong\u003eCharles Craig\u003c\/strong\u003e, tenor \u003cbr\u003e \u003cstrong\u003eBruce Boyce\u003c\/strong\u003e, bass\u003cbr\u003e \u003cstrong\u003eLondon Philharmonic Choir \u003c\/strong\u003e\u003cbr\u003e (chorus-master: \u003cstrong\u003eFrederick Jackson\u003c\/strong\u003e)\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDELIUS \u003c\/strong\u003e Hassan Suite\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded at Walthamstow Assembly Halls, London, 29 May 1956\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eLeslie Fry\u003c\/strong\u003e, baritone\u003cbr\u003e \u003cstrong\u003eArthur Leavins\u003c\/strong\u003e, violin \u003cbr\u003e \u003cstrong\u003e Frederick Riddle\u003c\/strong\u003e, viola\u003cbr\u003e \u003cstrong\u003eBBC Chorus \u003c\/strong\u003e\u003cbr\u003e (chorus-master: \u003cstrong\u003eLeslie Woodgate\u003c\/strong\u003e) \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Royal Philharmonic Orchestra\u003cbr\u003e \u003c\/strong\u003econductor\u003cstrong\u003e Sir Thomas Beecham\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\nAll transfers from Philips and Fontana white label LP test pressings\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, January 2011\u003cbr\u003e Cover artwork based on a photograph of Beecham\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 2hr 11:20\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\/PASC270.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC270.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW: THE GRAMOPHONE, NOVEMBER 1953\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eWhether Nietzsche's poetry has any value or not I neither know nor care (the English translation in the vocal score makes no sense at all) but I am only grateful that it provided Delius with the images of the will of man and eternity, night and day, dance and song, and so forth, that caused him to compose this great and glorious work, which is all that matters.\u003cbr\u003e\u003cbr\u003eThe Mass of Life has always been dear to Sir Thomas Beecham and I remember well the first time I heard him conduct it, at the close of the Delius Festival in 1929, and the tremendous impression it at once made on me. Now he gives a truly inspired performance which probably surpasses that one, and will, I am certain, remain one of the finest things in the repertoire of the gramophone record. The hazards are as great in this work (perhaps even greater) as in the choral finale of the Ninth Symphony, and even under Sir Thomas a choir unable to meet all the demands, or an unintelligent baritone soloist, could wreck it. I hope Bruce Boyce will not misunderstand me if I say that, fine artist though I knew him to be, I did not know he could rise to the heights he does in this performance. It is not only that he sings the difficult and trying part with complete ease and any lack of strain, but that he sings it with such a depth of conviction and intensity of emotion. As for the London Philharmonic Choir, I feel that if Delius were alive he would write a letter to them and to Frederick Jackson similar to the ones he wrote to the Philharmonic Choir in 1929 and to its trainer, Kennedy Scott, in which he praised Kennedy Scott's great achievement\" and their \" really magnificent singing.\" \" I have never heard my works sung so subtly and with such fine nuance.\" These tributes from one slow to praise are also deserved, it seems to me, by Mr. Jackson and his choir.\u003cbr\u003e\u003cbr\u003eWhat little the other soloists have to do is well done, though the contralto's lovely address to Zarathustra needs richer tone than Monica Sinclair provides. Charles Craig has a small voice of lyrical sweetness and Rosina Raisbeck sings the exquisite end of the third part, \"they sighed and wept together\" with lovely quiet tone. All the soloists are used in the last great chorus, \"O man, mark well what tolls the solemn midnight bell,\" and here the soprano's voice tells well above the chorus sopranos.\u003cbr\u003e\u003cbr\u003eThe orchestral playing, needless to say, is of the finest quality throughout and the engineers are to be warmly congratulated on the superb recording of it they have achieved. It can have been no easy task to secure so good a balance and to contain the huge climaxes of vocal and orchestral tone in the magnificent opening hymn to the will of man and in the Finale. Most splendid of all is the section called \"On the Mountains\" (Side 2), in which the recording catches so much of the thrilling and exhilarating spirit of the music and also of the poetical picture painted by the orchestra (with the horns prominent) before the great cry with which the chorus enter. Another grand hit of recording comes after the second dance song (Side 3) (the one part of the work I do not like, for the same reason that I do not care for the Flower Maidens' chorus in Parsifal) where Zarathustra grows sad as evening falls. The penetrating sadness of the orchestral postlude, perhaps the loveliest page in the work, comes out with perfect fidelity. Very fine, too, is the orchestral prelude to the chorus following in which the oboe solo is beautifully played and recorded.\u003cbr\u003e\u003cbr\u003eNo doubt the sleeves will give all the information required about the text and divisions of the work, and there is also a helpful analysis in Warlock's biography of Delius. The huge debt that music-lovers of my generation owe to Sir Thomas Beecham is increased by this truly magnificent issue, one I shall, I know, play over again and again. Delius was wont to say, as he listened to broadcasts of his music from London, \"Perfect, Thomas, perfect,\" and, with all due respect, that is just what I want to say at the end of this review. \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":34516724685,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34516724813,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34516724877,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34516724941,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC270_a9436d15-5bbb-4bb3-82f7-21a674ec0e1b.jpg?v=1490114919"},{"product_id":"pasc270-cd","title":"BEECHAM Delius: A Mass of Life, Hassan Suite (1952-56) - PASC270 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"2CD with case \u0026 artwork (+MP3)","offer_id":40478238605,"sku":null,"price":35.0,"currency_code":"EUR","in_stock":false},{"title":"2CD only in plastic sleeve (+MP3)","offer_id":40478238669,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC270.jpg?v=1658246538"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/RPO.jpg?v=1497433202","url":"https:\/\/www.pristineclassical.com\/collections\/ensemble-royal-philharmonic-orchestra.oembed?page=8","provider":"Pristine Classical","version":"1.0","type":"link"}