{"title":"Vienna Philharmonic Orchestra","description":"\u003cp\u003eThe Vienna Philharmonic (VPO; German: Wiener Philharmoniker), founded in 1842, is an orchestra regularly considered one of the finest in the world.\u003cbr\u003e\u003cbr\u003eThe Vienna Philharmonic is based at the Musikverein in Vienna, Austria. Its members are selected from the orchestra of the Vienna State Opera. Selection involves a lengthy process, with each musician having to demonstrate his or her capability for a minimum of three years' performing for the opera and ballet. After this probationary period, the musician may request from the Vienna Philharmonic's board an application for a position in the orchestra.\u003c\/p\u003e\r\n\u003cp\u003eThe Vienna Philharmonic was already observed to have a characteristic sound by the turn of the last century. David Hurwitz notes that Bruno Walter told an interviewer on Austrian Radio in 1960 that hearing the Vienna Philharmonic for the first time in 1897 was for Walter (in Hurwitz's translation): \"...a life-altering impression, because it was this sound of the orchestra that I have experienced ever since – I have the feeling: this is the way an orchestra should sound; the way it should play. I had never heard the beauty, this calmness of the sound, that sort of glissando, the manner of vibrato, the string sound, the blend of woodwinds with the strings, with the brass, the balance of the brass in combination with the percussion contributing together to the overall sonority of the orchestra. For me, this impression was definitive, and now I would like to anticipate a point and tell you this: this sound, 1897, is the same today.\".\u003cbr\u003e\u003cbr\u003eThe VPO's sound has been attributed in part to the VPO's instruments and in part to its playing styles.\u003c\/p\u003e\r\n\u003cp\u003eHurwitz notes that the 1960 Walter interview indicates that the strings' vibrato (as of 1960) was audibly like that of 1897, and also quotes music critic Richard Specht in 1919 writing of \"something inimitable in the vibrato and the passionate virtuosity of the violins\" of the Vienna Philharmonic.\u003cbr\u003e\u003cbr\u003eAs for other instruments, using early recordings, the musicologist Robert Philip has documented some changes in how VPO players used vibrato during the mid-20th century, although he also notes differences between the VPO and other orchestras of the era. As was typical of the era, the pre-1945 flutes show \"very little vibrato\" in recordings \"until after World War II... even in the long solo in Mahler's Das Lied von der Erde the flautist [under Bruno Walter in 1936]... plays almost without vibrato\" except on \"a few long notes [with] a delicate medium-speed vibrato\"; but \"by the late 1940s the flautists... had adopted a gentle medium-speed vibrato\". The oboes before the 1940s show \"little or no vibrato,\" but by the late 1940s \"the principal oboist had adopted a very delicate fast vibrato ... but he uses it very sparingly.\" (The cor anglais is, he notes, even in the late 1940s still played \"without any vibrato\"). The bassoonists \"show virtually no bassoon vibrato up to the 1950s\".\u003cbr\u003e\u003cbr\u003eThe Vienna Philharmonic website states that today, with the flute, \"as in all wind and brass instruments in the Viennese classics, vibrato is used very sparingly.\"\u003cbr\u003e\u003cbr\u003ePhilips notes that by 1931 the Vienna Philharmonic strings were reported to use uniform bowing, which was still unusual in Britain.[60] As for portamento – sliding audibly from one note to another, a prominent effect among pre-war string players – the VPO strings' sliding in the early 1930s \"sounds more deliberately expressive, and less a matter of routine, than that of British orchestras. This is partly because of the firmer dynamic shaping of the melodic line, partly because of the warmer and fuller string tone.\"[61] Further, he hears \"strong evidence of a free approach to portamento\" – that is, of \"different players shifting at different points\" within the same phrase (which, he shows, was standard internationally in pre-war orchestral playing). He notices a reduced use of portamento in recordings from 1931 to 1936, but in 1936 also notes that the VPO strings still make \"conspicuous\" use of portamento in Mozart, where British orchestras by this time were using less of it in Classical-era composers. Finally, he hears a \"trend towards greater subtlety in the use of portamento\" post-war, with \"only discreet portamento\" in a recording under Herbert von Karajan in 1949.\u003c\/p\u003e","products":[{"product_id":"pasc318","title":"CURZON plays Beethoven Piano Concertos 4 \u0026 5 (1954\/57) - PASC318","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-weight: bold; font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-weight: bold; font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto No. 5\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1954\/57\u003cbr\u003eTotal duration: 73:02\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 14px; font-weight: bold;\"\u003eClifford Curzon, \u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003epiano\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 16px; font-weight: bold;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eHans Knappertsbusch, \u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003econductor\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis classic combination of pianist and conductor belongs in everyone’s collection578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThese 1954 (No. 4) and 1957 (No. 5) monaural studio recordings have been remastered into stereo by the master-of-remastering, Andrew Rose, under the renowned Pristine label. The featured artists, Clifford Curzon and Hans Knappertsbusch, are masterly performers from the past. I have been an admirer of Curzon’s playing, but a very neglectful admirer because I own none of his very few recordings. I have never liked what little I’ve heard of Knappertsbusch’s conducting except for that on an old vinyl disc set of Die Meistersinger— a remnant of my previous life as a Wagnerphile. Andrew Rose has sparked in me a reassessment, not of Wagner but of Knappertsbusch, and a reappreciation of Curzon. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCurzon’s phrase shaping and passagework are noteworthy, and Knappertsbusch’s command of the orchestra enabling detail to be heard without overwhelming the piano is especially appreciated. The Vienna Philharmonic’s violin sections, however, are, while adequate, not of the high quality encountered in today’s best orchestras. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eCurzon’s quiet solo entry to begin the first movement of the Fourth Concerto is truly poetic, presaging the character of the entire movement. Knappertsbusch is suitably responsive, allowing the fine orchestral detail to be heard in lyrical response. The orchestra enters strongly to begin the unusual second movement, and Curzon responds in quiet reverence. This pattern changes, as the orchestra diminishes its prominence, and the piano takes command—in the style of responsive reading. Curzon and Knappertsbusch trade roles of dominance and subordinance as the movement progresses. Curzon is enthralling in the impressionistic solo passages from bar 56 through bar 63. This is as good as the classic treatment found in the Artur Schnabel\/Malcolm Sargent recording of the 1930s. The final movement is exuberant and well articulated. Curzon’s legato is especially noteworthy. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eAs good as the Fourth Concerto is, the “Emperor” is even better. Curzon’s bold entry at the start of the first movement employs rubato very carefully as a foreshadowing of the movement’s majesty to come. Knappertsbusch controls the orchestra superbly to reveal the movement’s great detail. Revelation of the “Emperor”’s dominance among concertos is shared equally here by both pianist and conductor. Knappertsbusch’s reverential opening of the second movement is complemented by Curzon’s poetic entry. This magnificent combination pervades the movement. Curzon is unmatched here, except possibly by Artur Schnabel. The final movement is worthy of the “Emperor”’s crown as Curzon and Knappertsbusch in concinnity tame its tempestuous exuberance to conclude a grand musical experience. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis classic combination of pianist and conductor, recorded almost 60 years ago, belongs in everyone’s collection. Courtesy Andrew Rose and associates, it is a sonic marvel for its age (although there is occasional orchestral blurring); courtesy Curzon and Knappertsbusch, it is a marvelous musical experience. \u003cbr\u003e\u003cb\u003e\u003cbr\u003eBurton Rothleder \u003c\/b\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC318.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eClifford Curzon is \"the ideal pianist for the Fourth\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eTwo excellent Decca recordings given new life by Pristine's XR remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003eThese two recordings straddle Decca's move in the mid-50s from\nmono to stereo - the mono Fourth Concerto here is presented in Ambient Stereo,\nretaining a central mono sound but allowing hall ambience some realistic stereo\nspread. Both recordings were rather constrained and a little boxy in sound,\nsomething that XR remastering has largely cured. Viennese orchestral pitch was\nnotably high in the Fifth Concerto, something I've confirmed with electrical\nhum analysis - both original pitches have been accurately and precisely\nrestored.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 4 in G, Op. 58\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Cyril Windebank\u003cbr\u003eRecorded 4-5 April, 1954\u003cbr\u003eGrosser Saal, Musikverein, Vienna\u003cbr\u003eTransfer from Decca ECS 752\u003cbr\u003e\u003cb\u003ePresented in Ambient Stereo\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 5 in E flat, Op. 73, \"Emperor\"\u003cbr\u003eMono Producer: John Culshaw\u003cbr\u003eStereo Producer: Erik Smith\u003cbr\u003eMono Engineer: Gordon Parry\u003cbr\u003eStereo Engineer: James Brown\u003cbr\u003eRecorded 10-15 June, 1957\u003cbr\u003eSofiensaal, Vienna\u003cbr\u003eTransfer from Decca SXL 2002 \u003cbr\u003e\u003cb\u003ePresented in Stereo\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eClifford Curzon \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eHans Knappertsbusch \u003c\/b\u003econductor\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC318.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC318.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":34131811277,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34131811341,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34131811405,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC318.jpg?v=1724852351"},{"product_id":"pasc326","title":"BACKHAUS Beethoven Edition: Volume 9 - Piano Concerto 1, Diabelli Variations (1954\/58) - PASC326","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 1 in C major, Op. 15\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eVariations on a Waltz by Diabelli, Op. 120\u003c\/span\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1954 and 1958\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 76:51\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra \u003cbr\u003eHans Schmidt-Isserstedt, \u003c\/b\u003econductor\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Historic Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis performance of the \"Diabelli\" variations is a magnificent achievement578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eHaving completed the whole cycle of Beethoven's piano sonatas Backhaus will now, I imagine, and hope, add the finest of the remaining keyboard works.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eHis performance of the \"Diabelli\" variations is a magnificent achievement: and it says a great deal for Katchen's much more youthful art that his own performance stands up so well to it and may even be considered, in the final variation (and the wonderful modulation that leads up to it) more spiritually radiant. But Katchen, naturally, does not command the grand manner of Backhaus, which is of the master's time ?nd not of to-day ; nor can one expect of him the maturity born of a lifelong experiencv. Comparisons, therefore, would be, as is said, odious.\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThere is an astonishingly youthful vigour in Backhaus' playing, a tremendous sense of enjoyment in the formidable task of bringing the great work to life, and a moving sensitivity in those variations that call for it, particularly in the lovely Chopinesque Variation (No. 31). I must also single out the superbly clear and vital playing of the following fugal variation. The piano tone is on a level with the best we have had in the Backhaus series. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eA.R. - The Gramophone, April 1955\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC326.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003e\"A magnificent achievement\", played with \"an astonishingly youthful vigour\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eBackhaus's stereo Diabelli Variations and Piano Concerto No. 1 in new 32-bit Pristine XR remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eTonally the Piano Concerto recording was good in this stereo\nversion (possibly offering a different tone to the mono release reviewed\nabove), if somewhat hissy, and this restoration has concentrated mainly on\nreducing the latter as well as correcting some quite significant pitch\nanomalies at edit points throughout the recording. These caused jumps in the\npitch of the recording were edits from different takes had been made or up to a\nquarter-semitone at a time, helping make some edits sound particularly clunky.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe recording was also rather sharp, more so than the \u003cem\u003eDiabelli\nVariations\u003c\/em\u003e, which managed a far more even and consistent A=445Hz. Here my\nefforts were concentrated on lifting the veil on a somewhat thin and\nboxy-sounding instrument, coupled with the removal or suppression of a large\nnumber of extraneous clicking noises which appeared to emanate from the\nkeyboard itself.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 1 in C major, Op. 15\u003cbr\u003e \u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e \u003cb\u003eHans Schmidt-Isserstedt \u003c\/b\u003econductor\u003cbr\u003e \u003cbr\u003eRecorded 16-22 April 1958\u003cbr\u003eFirst issued as Decca BR 3001\u003cbr\u003eProducer Erik Smith\u003cbr\u003eEngineer Alan Abel\u003cbr\u003eRecorded at Sofiensaal, Vienna\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eBEETHOVEN \u003c\/b\u003eVariations on a Waltz by Diabelli, Op. 120 \u003cbr\u003e \u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cbr\u003e \u003cbr\u003e Recorded 14-20 October 1954\u003cbr\u003e First issued as Decca LXT 5016\u003cbr\u003e Producer Victor Olof\u003cbr\u003e Engineer Roy Wallace\u003cbr\u003e Recorded at Victoria Hall, Geneva\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Backhaus\u003cbr\u003e\u003cbr\u003eTotal duration: 76:51\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC326.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC326.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cdiv\u003e\n\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 1\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThis is the first disc in a new Decca series called \"Immortal Masterpieces\". BRs have a bright blue label (the colour of old Columbia LXs) and come packed as usual in the stiff polythene envelope and stiff glossy sleeve—this one has a small coloured reproduction of \"Rocky Landscape\" by Brill—but without programme notes on the back. Most of the first 10 BRs are old friends, but Backhaus's version of the C major concerto appears to be new. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe concerto has usually been issued as a 12-incher, mostly with a fill-up. Serkin, in a now deleted Philips, got it on to ten-inch format by galloping the first movement; Backhaus doesn't need to do that—he and Isserstedt take it rather slower than the fine Solomon\/Menges (H.M.V. ALP 1583) performance. But Backhaus plays the Largo as a rather Schubertian Andante, which no doubt helps him to get the last two movements on to one side. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eIt's a dashing, mettlesome performance, well poised; I had forgotten how lively and companionable a pianist Backhaus could be (I'm not a fan of his readings of the last three concertos), and the performance reminded me that he used to be an admired Mozart pianist. The florid runs and the sense of shape are particularly good; I only didn't care for the extensive meno mosso which Backhaus declares before the Adagio in the coda of the last movement— it overweights the music. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eThe piano tone is inclined to glare at you, and the range of orchestral tone is a bit small. Perhaps that explains the popular label; musically it's an agreeable performance, smartly accompanied.. \u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv\u003eW.S.M. - The Gramophone, November 1959\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":40245158861,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":40245158925,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":40245158989,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC326.jpg?v=1499347157"},{"product_id":"pasc330","title":"BACKHAUS Beethoven Edition: Volume 10 - Piano Concertos 2 and 3 (1950\/52) - PASC330","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 2 in B flat major, Op. 19 \u003c\/span\u003e\u003cdiv\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003e \u003c\/b\u003ePiano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\n\u003c\/div\u003e\u003cdiv\u003e\n\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1952 and 1950\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 61:45\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra \u003cbr\u003eClemens Krauss, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eKarl Böhm, \u003c\/b\u003econductor \u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical CD Review review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fBackhaus glitters in the quick movements and sings beautifully in the middle one578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eGreat second, problematic third. For sure, Backhaus knows how to play the\n      piano. No one has ever questioned his regard for, even worship of Beethoven.\n      However, I found his complete traversals of the piano sonata cycle inconsistent,\n      to say the least. Superb, sharply-etched readings stand side-by-side with\n      clueless, shapeless ones. Furthermore, a certain corporate blandness hangs\n      over too many -- a \"white paper\" interpretation, rather than\n      a personal one.\u003cbr\u003e      \n      \u003cbr\u003e\n      Consequently, I approached this disc gingerly. I set my expectations low,\n      and Backhaus confounded them with strong performances in both cases. The\n      Classical period sorted concertos into various types: lyrical, pastoral,\n      divertissement, and martial or military among them. Beethoven concentrated\n      exclusively on the martial concerto, probably since it best fit his style\n      of extreme dramatic contrast. Most performers treat the Concerto No. 2\n      like a poor relation. They put up with it but would prefer to spend time\n      communing with Nos. 3 through 5. For years, I made excuses for the Second\n      as almost student Beethoven. I had the excuse that Beethoven himself afterward\n      rated this and No. 1 as \"not among my best,\" but I feel ashamed\n      of myself. Backhaus changed my mind. I now don't think of the work as an\n      inferior Beethoven concerto, lacking the innovations of, say, No. 4, but\n      a superior Mozart one, moving with great assurance within the conventions\n      of late Classicism. Years later, Beethoven himself still thought enough\n      of it to write a cadenza for it.\u003cbr\u003e      \n      \u003cbr\u003e\n      Formally, the concerto follows the usual lines: a sonata first movement,\n      an A-B-A song slow movement, and a rondo finale (A-B-A-C-A-B-A). However,\n      the level of thematic invention and variation remains high throughout. \u003cbr\u003e      \n      \u003cbr\u003e\n      Backhaus glitters in the quick movements and sings beautifully in the middle\n      one. However, Böhm and the Vienna Phil also contribute substantially\n      to make this one of the great recordings of the concerto. In the first\n      movement, the Vienna strings, forgetting their usual suavity, give their\n      lines exciting little nips that perk up your ears. In the second, Böhm\n      finds the depth in a movement that too often just goes by. Both he and\n      Backhaus convince you that this is one of the great Beethoven adagios.\n      The final movement is noteworthy for the way Backhaus and the orchestra\n      flick the syncopations of the main theme. Backhaus's passagework sparkles.\n      The near-perfect ensemble balance reinforces the unanimity of intention\n      between soloist and orchestra.\u003cbr\u003e      \n      \u003cbr\u003e\n      The third concerto lacks that strong connection. First, under Krauss the\n      orchestra's attack (particularly the strings) becomes spongy. The winds,\n      for the most part, manage sharp attacks but combined with the strings,\n      the ensemble is often raggedy, particularly not really what you want in\n      such a martial concerto. You miss certain important thematic details from\n      the orchestra, not helped by a poor recording balance on the original LP\n      which puts the players slightly too far back in the image, like a consort\n      who walks seven paces behind the ruler. In the first movement, another\n      c-minor storm like the \u003cem\u003ePathétique\u003c\/em\u003e Sonata, the orchestra handles\n      the introduction beautifully, with superbly well-managed crescendos. However,\n      as the movement progresses, it begins to lose focus. Backhaus becomes the\n      rather stern marshal, apparently taking direction over from Krauss by an\n      insistence on the rhythmic integrity of the measure. I reserve most of\n      my admiration for Backhaus, who gives a vivid performance. He uses his\n      own cadenza, which starts out well, but sometimes veers away from Beethoven\n      into Liszt-Rachmaninoff territory (I think especially of a loud sequential\n      passage of articulated diminished-seventh chords). On the one hand, it's\n      great piano playing, but I'm not sure what to make of the stylistic difference.\n      If we long for the days when the soloist actually improvised his cadenza,\n      then I think we must expect an individual take on the material and take\n      into account that the soloist has heard music the composer has not and\n      that such experience likely goes into the improvisation. The question then\n      becomes the worth of the cadenza. I think, ultimately, that the cadenza\n      shows me less about Beethoven and more about Backhaus the pianist, the\n      wizard of the keys.\u003cbr\u003e      \n      \u003cbr\u003e\n      The second-movement Largo is a variation set. Krauss and Backhaus go for\n      Profundity (a peeve of mine), but, by Granny's undies, they pretty near\n      pull it off. Backhaus toes the line of pokey, but manages to keep the musical\n      line spinning. The strings of the Vienna Phil are gorgeous here, Backhaus's\n      pedaling as well. As far as I can tell, he actually follows Beethoven's\n      pedaling indications, not usual enough to take for granted.\u003cbr\u003e      \n      \u003cbr\u003e\n      The performers regard the rondo finale in an off-beat way. Usually, players,\n      considering other Beethoven c-minor scores, look to storm the heavens.\n      Backhaus and Krauss work to stress intimacy and ensemble.\u003cbr\u003e      \n      \u003cbr\u003e\n      Backhaus's second I think an essential performance, the third less so,\n      though by no means routine. It's a reading you add once you've experienced\n      more basic ones. \u003cstrong\u003ePristine\u003c\/strong\u003e delivers one of its better sonic reconstructions.\n      Extraneous noises and distortions have been cleaned up. More importantly,\n      in LPs of this era, the sound tends to reproduce as if three dimensions\n      have been flattened to two. \u003cstrong\u003ePristine\u003c\/strong\u003e has an ap for that:\n      you seem to hear the ambience of the hall.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e S.G.S. (November 2012)\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC330.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n    \u003cem\u003e\n        \u003cspan style=\"font-size: 24px;\"\u003e\"A fine performance matched by a first-class recording\" - Gramophone\n    \u003c\/span\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n    \u003cem\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eBackhaus's classic Concerto recordings have been completely transformed\n        in these new remasters\n    \u003c\/span\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Both of these recordings, whilst fundamentally sound, have benefited\n    enormously from a thorough restoration and XR remastering - given the\n    recording dates, right at the beginning of the adoption of tape mastering\n    and LP distribution, the myriad of now-correctable faults was entirely\n    unsurprising. Pitch generally fluctuated between about A=335Hz and A=440Hz,\n    and these variations have been evened out to concert pitch - but the coda\n    of Concerto No. 2 came in at A=432Hz - a significant drop suggesting a\n    section edited in from a very different recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    The tonal difficulties suggested in contemporary reviews sound even more\n    pronounced today, I would suggest, given our far improved listening\n    equipment over a reviewer of the early 1950s. Fortunately we now also have\n    the technology and expertise to address these shortcomings. I've also been\n    able to make significant inroads on tape hiss and an assortment of\n    extraneous noises and irrirants. The results here have proved particularly\n    satisfying - a full, clear, clean sound has been discovered both for piano\n    and orchestra to an extent that demands a critical reassessment of both of\n    these recordings. My sense is that, as has happened regularly before, the\n    listener will now find significantly more to enjoy here than in any\n    previous release.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cem\u003eAndrew Rose\u003c\/em\u003e\n\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\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 2 in B flat major, Op. 19\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eClemens Krauss \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded 25-26 May 1952 \u003cbr\u003eFirst issued as Decca LX 3084\u003cbr\u003eProducer Victor Olof \u003cbr\u003eEngineer Cyril Windebank \u003cbr\u003eRecorded at Grosser Saal, Musikverein, Vienna\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Piano Concerto No. 3 in C minor, Op. 37\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eWilhelm Backhaus\u003c\/b\u003e piano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eKarl Böhm \u003c\/b\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003eRecorded 23 September 1950 \u003cbr\u003eFirst issued as Decca LXT 2553\u003cbr\u003eProducer Victor Olof \u003cbr\u003eEngineer Cyril Windebank \u003cbr\u003eRecorded at Grosser Saal, Musikverein, Vienna\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, February-March 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Backhaus\u003cbr\u003e\u003cbr\u003eTotal duration: 61:45\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC330.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC330.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 2 (excerpt)\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eBackhaus gives it a performance that is markedly \nmore sensitive than some of those he has lately accorded the solo \nsonatas ... Throughout everything is clear and in place; a fine \nperformance matched by a recording that manages to be first-class in \nspite of—or perhaps because of—the absence of any endeavour to be \nsensational. That quality, indeed, would not be in place; and sobriety \nof the order that is unwaveringly maintained throughout this disc is not\n at all to be despised. The millennium will occur when this standard is \nthe normal minimum to be expected of all records offered for public \nsale...\u003c\/p\u003e\u003cp class=\"body\"\u003eM.M. - The Gramophone, February 1953\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW\u003c\/b\u003e - Piano Concerto No. 3 (excerpt)\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eBackhaus's performance has his usual brittleness \nand precision. He is here the classic-minded performer, more interested \nin form and pattern than in the personal expression of Beethoven the man\n ; and his treatment suits this work better than it would, perhaps, the G\n major. The orchestral playing is discreet rather than forceful ; there \nis, to one pair of ears, a slight over-prominence of the piano, just as \nthere is a slight excess in the use of the damper pedal. The recording \nas such is not wholly satisfactory, for it suffers from that odd quality\n to which long-players seem to be liable—unevenness. The piano jangles \nsomewhat on its first entrance, then the tone warms up, then there is \nsome more jangling, and then, in the cadenza' the piano tone comes \nproperly into focus (though even here it is a little hard). On the first\n side the bass is light...\u003c\/p\u003e\u003cp\u003e\nH.F. - The Gramophone, February 1951\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":40280449357,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":40280449421,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40280449485,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40280449549,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC330_9c2ce3fe-dd9f-4cd2-88fe-04aa9b992f77.jpg?v=1499414100"},{"product_id":"pasc435","title":"BÖHM Bruckner: Symphony No. 7 (1943) - PASC435","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCKNER\u003c\/b\u003e  Symphony No. 7 in E major\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded Großen Musikvereinssaal, Vienna, 4-5 June 1943\u003cbr\u003eTotal duration: 67:19  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eKarl Böhm, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA performance from close to three-quarters of a century ago which can be heard accurately for the first time578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe seemingly endless parade of \nBruckner releases combines the continuing interest of collectors in the \nperformances of Karl Böhm (see 38:5 for interesting reviews of Mozart \nand Brahms). In this instance, Pristine Audio’s Andrew Rose has come up \nwith something of a curate’s egg, a restored performance which may be of\n interest although (in my view) not necessarily for the best of reasons.\n I first knew this recording six decades ago, 1955, heard on Vox LPs (PL\n 7190) in the listening booth of my local emporium. The dreadful sonics \ncould not compare with the van Beinum recording on the London (Decca) \nlabel (see my comment in 38:4) and the sample album was returned to the \nshelf. A few years later, Vox issued a five-LP set which included this \nSeventh, the Klemperer\/VSO Fourth, a Horenstein Ninth, and what \npurported to be a March 1949 performance of the Eighth Symphony led by \nFurtwängler with the Berlin PO. Again, the supposed Böhm performance, \nlike that by Furtwängler, was in sonics so poor as to warrant no more \nthan a single listening. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI had forgotten about this performance,\n from June 1943, not a happy period in VPO, Austrian, or for that mater \nworld history. From another conductor, we might in mid-war Vienna have \ngotten a performance of catharsis. From Böhm we hear Bruckner at times \n(in the second movement) close to stasis. I generally enjoy Böhm in \nWagner and Richard Strauss, in some Mozart and Verdi, more in the opera \nhouse than in the concert hall. I saw him conduct \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at the old Met with Nilsson—one of the unforgettable musical \nexperiences of my life. I do not share the view of Frau Elisabeth \nFurtwängler and others (see 38:5, p. 312) that he was merely a \n“Kapellmeister.” Like many (most?) performers, his inspiration level \nvaried. As a Brucknerian, however, I do not question his inspiration, \njust his basic feeling for the music. I don’t think he was capable of \nleaning into the ebb and flow of Bruckner as I personally wish to hear \nhis music performed. It is too straight, with too many bar lines. This \nsuits the Seventh Symphony better than the Fourth, which Böhm recorded \non 78-rpm discs prior to World War II in Dresden, and later in stereo \nfor DG with the VPO—a recording praised to the skies, particularly in \nthe UK, but not by me. He also did a Fifth Symphony pre-war in Dresden \nand I regret never having heard that. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is, do not mistake me, a \nremarkable performance. And Pristine Audio’s remarkable resuscitation of\n early German (Austrian) tape technology—Rose assumes this to be a tape \nrather than a wire recording, if I read his helpful notes \ncorrectly—enables us to hear it in reasonable sonics for the first time.\n A previous Preiser issue was an improvement on Vox’s wretched LPs but \nhardly capable of letting us hear the wartime VPO in full cry. I wanted \nto hear the orchestra, stripped of its Jewish members, sounding \ninferior, but such was not the case, any more than with Furtwängler’s \nsurviving performances. This is exciting, accurate playing, with solid \nbass and impactful brass. The notes give us some indications of the \nproblems which were overcome in the restoration; they were massive. This\n disc is one of Pristine’s most amazing technical accomplishments and \nself-recommending on that score alone. No matter what my reservations \nabout the performance, we are hearing history here. (Andrew Rose \nspeculates the broadcast was spread over two days, hence the dates shown\n in the headnote, above.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn truth, my reservations are fewer the\n more I listen. It is, for me, a performance deficient in lyric feeling.\n The first movement is successful, and has considerable dramatic thrust.\n Timing is spot-on normal for the course (not that I normally worry \nabout such). I have come to regard the last two movements more highly \nthan I initially did, having come to the conclusion that I allowed \nmyself to be disaffected by my distaste for Böhm’s performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The scherzo moves along well, and the finale, although a bit peremptory\n (perhaps “terse” is a better term), works in the conductor’s fashion. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut for me, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n fails. It is not simply a matter of being “too slow,” although at 27:35\n that charge can well be made. Rather, to state the case differently: As\n I have repeatedly listened to it, I consistently feel it is just taking\n too long to get from one point to another. The music stands still at \ntimes; it does not flow. Concentration is lost. Jochum takes not quite \ntwo minutes less in his leisurely traversal (in his Dresden\/EMI \nrecording). At 24:38, Carl A. Bünte is only one additional minute faster\n than Jochum in his performance which I discussed in 38:4. In that \nissue, James A. Altena reviewed a performance of the Seventh led by Paul\n Hindemith and he noted that 22 to 24 minutes seem typical for this \nmovement but that a large number of conductors are faster than that. \nLooking at the discs on my own shelves, I find most recordings I have \ntake just about the same amount of time for each of the first two \nmovements. That doesn’t make it “right,” it’s just what I am most used \nto. Furtwängler\/BPO in Cairo (1951) took just under 22 minutes. Both \nBünte and Jochum are fine, although slower. I suspect what I dislike in \nBöhm’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is not so much the tempo as the lack of forward momentum (a feature Altena praised in the Hindemith performance). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHaving indulged myself regarding the \nperformance, I must summarize by saying that what we have here is a \nremarkable sonic snapshot of history, which we can now appreciate in \nproper focus. This is a performance from close to three-quarters of a \ncentury ago which can be heard accurately for the first time. That \nshould be reason for our gratitude to Pristine Audio, and more than \nreason enough to purchase this disc. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC435.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKarl Bohm's electric wartime take on Bruckner's 7th Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"One of the outstanding performances ... everyone should hear this\" \u003cbr\u003e- CD Review, BBC Radio Three\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eThe short quote here (\u003cem\u003esee Additional Notes\u003c\/em\u003e) from BBC Radio \nThree's CD Review provided, in a nutshell, the inspiration for tackling \nthis recording, made over two days but apparently live, so I'm guessing \nin two halves for broadcast. It has appeared on a number of labels in \nvarious states of distress over the years - mislabelling has been rife, \nthe third and fourth movements have been transposed by a semitone, and \nsound quality has ranged from the barely adequate to the abysmal.\u003c\/p\u003e\n\u003cp\u003eThis release aims to correct that, as much as is possible. Pitch \nissues have finally been conquered using Capstan software to correct \nsome quite significant drifting down towards the ends of what I can only\n assume were reels of German tape, a technology still in its infancy but\n widely used in Nazi Germany at a time when it didn't exist elsewhere: \nthe final four minutes of the first movement, for example, sees a \ngradual fall of almost a complete semitone.  \u003c\/p\u003e\n\u003cp\u003eI'm pleased to report too that a total sonic transformation has also \nbeen possible, moving on from the thin and harsh sound of the very best \nprevious issues to something much fuller, richer and more powerful than \never heard before in this recording, though at times some overloading of\n the original tapes remains apparent.\u003c\/p\u003e\n\u003cp\u003eIt is however an outstanding performance, and it needs to be heard in sound as much improved as this. \u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRUCKNER\u003c\/b\u003e  Symphony No. 7 in E major (Gutmann edition)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003eRecorded Großen Musikvereinssaal, Vienna, 4-5 June 1943\u003cbr\u003eProducer and XR Remastering: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Karl Böhm\u003cbr\u003eTotal duration: 67:19  \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv style=\"padding-left: 30px;\"\u003e\n\u003cb\u003eKarl Böhm, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC435.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC435.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRadio Transcript\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eIn Conversation\u003c\/b\u003e CD Review, BBC Radio Three\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;\"\u003e\u003cem\u003eAndrew McGregor\u003c\/em\u003e -\n There are other ways of doing Bruckner 7 aren’t there, which don’t have\n that absolute sense of calm and stillness for so much of the music.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eJohn Deathridge\u003c\/em\u003e -\n Yes, the calm is in there of course, but this is a very varied work \nindeed and there are other ways of doing the symphony. A direct contrast\n to this is the 1943 Böhm recording, which is highly dramatic. \nIncidentally, this is done before the appearance of the Robert Haas \nedition, so he didn’t know anything about all of that. This is part of \nthe second part of the middle section of the first movement, and you can\n hear just how dramatically Böhm is attacking this music – quite \ndifferent…\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e[\u003cem\u003eMusical excerpt from Preiser CD\u003c\/em\u003e]\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cbr\u003e\u003cem\u003eAM\u003c\/em\u003e\n - Karl Böhm and the Vienna Philharmonic from 1943. OK, vintage recorded\n sound, but the electricity of that just slices through, doesn’t it? \nIt’s young Böhm as well…\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eJD\u003c\/em\u003e\n - Yes, it’s not all heavenly bliss in this symphony. It bristles with \nexpression, in structure as well, and the young Böhm is fearless in \nbringing all this out. His later recordings tend to be a bit more \nprosaic, unfortunately, and I much prefer this over the later ones with \nthe Vienna Philharmonic, for example. His later recordings are better \nengineered, obviously, and one drawback with this early recording is \nthat the recording quality is a little dubious in places.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eAM\u003c\/em\u003e - It makes is hard to recommend, doesn’t it, against some others…\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eJD\u003c\/em\u003e\n - Yes, the frequency variations – in fact the orchestra seems to change\n in pitch in some places – so it’s a pity about that, because I think \nthis is actually one of the outstanding performances of this.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eAM\u003c\/em\u003e - Everyone should hear this. I came to it new last week, and I found it really exciting...\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e\u003cem\u003eJD\u003c\/em\u003e - Yes, it’s definitely to be recommended.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small; font-family: arial, helvetica, sans-serif;\"\u003e\u003cb\u003eCD Review, BBC Radio Three, 13 December 2014\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small; font-family: arial, helvetica, sans-serif;\"\u003e\u003cb\u003eAndrew McGregor\u003c\/b\u003e, presenter\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small; font-family: arial, helvetica, sans-serif;\"\u003e\u003cb\u003eJohn Deathridge\u003c\/b\u003e, Professor of Music, King's College London\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975401933,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975401997,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975402061,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975402125,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC435_ff84f330-885a-4c02-9f75-3b0366d667bc.jpg?v=1487681923"},{"product_id":"paco095","title":"FURTWÄNGLER Beethoven: Fidelio (1953) - PACO095","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1953 \u003cbr\u003eTotal duration: 2hr 14:42\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eLeonore\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e - Martha Mödl\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eFlorestan\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e – Wolfgang Windgassen\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eDon Pizarro\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e - Otto Edelmann\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eRocco\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e – Gottlob Frick\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: 14px;\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eWilhelm Furtwängler\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine’s sound is fuller, the voices sound less cramped and less harsh, and the ambience that comes from the XR process is a welcome addition and never intrusive578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAndrew Rose’s remastering of EMI’s 1953\n studio recording is masterful. Although I labelled it “monaural” in the\n headnote, because the original recording is indeed monaural, I heard it\n in Pristine’s XR stereo format. I directly compared it to EMI’s CD \nremastering (CHS 7 64496 2), comparing individual segments and then \nhearing the entire opera in both versions. Pristine’s sound is fuller, \nthe voices sound less cramped and less harsh, and the ambience that \ncomes from the XR process is a welcome addition and never intrusive. \nEMI’s edition is not bad, but the difference is meaningful, particularly\n over the length of the opera. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHowever, the question is whether this is the Furtwängler \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto\n have, if one is having only one. I would say not. The decision was made\n to eliminate all of the dialogue and record only musical numbers. One \nproblem is that this gives a less-than-complete picture of the drama \nthat is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. \nMore importantly, while this would be a valuable performance to have if \nthere were no alternative, the truth is that this is somewhat earthbound\n when compared to the conductor’s 1950 Salzburg Festival performance, \nwell transferred by EMI (CHS 764901 2). That is a complete, live, staged\n performance from August 5, 1950, and it has the smell of the theater \nrunning through from beginning to end. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn comparing casts, the Salzburg comes \nout somewhat ahead as well. Mödl is excellent here, but she doesn’t have\n the tonal splendor of Flagstad in Salzburg. Even in 1950, the richness \nof the Flagstad sound is something of a miracle. Additionally, Julius \nPatzak is a significantly superior Florestan: more varied in tone and \ninflection. The remainder of the cast is relatively evenly balanced. \nJurinac here, Schwarzkopf there as Marzelline are both superb, Paul \nSchöffler’s Pizzaro (Salzburg) is more subtly drawn than Edelmann here, \nthough Edelmann has the blacker voice. Anton Dermota’s sound is more \nappealing in Salzburg as Jaquino. There are slight mishaps that one \nexpects in a live performance, though none are serious. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBut it is in the conducting, and \noverall pacing of the opera that the Salzburg performance really \noutshines the studio effort. From subtle rubatos to more spontaneously \nshaded dynamics, it is clear that everyone was “on” that evening, and \nthe result is thrilling. If any performance could accuarately be \ndescribed as “explosive,” the Salzburg \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFidelio \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n it. The EMI studio sound, as realized here by Pristine, is better, but \nit isn’t that much better as to compensate for the musical and dramatic \nedge of the Salzburg performance. Perhaps Pristine will have a go at \nthat one some day. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 37:4 (Mar\/Apr 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO095.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's brilliant 1953 studio recording of Beethoven's Fidelio\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The glory of this performance is in the orchestral playing under Furtwängler\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003eFurtwängler's only studio\n recording of Beethoven's only opera, Fidelio, took place in Vienna's \nMusikvereinsaaal between 13th and 17th October 1953, and followed a \nperformance on 12th October in the Theater an der Wien with almost the \nsame cast (Alwin Hedricks replaced Hermann Gallos for the recording).\u003cbr\u003e\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cbr\u003eThe recording was \ncertainly well made for its era, though it's no surprise to find most of\n the dialogue absent in a studio recording of its time. Remastering it \nhas, however, brought far more musicality out of the performance than \nwas previously apparent. In addition to curing some small pitch \nanomalies (early tape machines frequently drifted up and down in speed),\n I've used XR remastering techniques to completely open up the sound, \nwith a far more even frequency response than could be captured at the \ntime generating a much more natural tone across both instruments and \nvoices. The lower end is fuller and richer, the top end clear and \nbrighter, whilst the latest digital noise reduction techniques have \nhelped reduce tape hiss without damaging the clarity of the sound.\u003cbr\u003e\u003cbr\u003eAmbient Stereo processing\n has worked wonders to bring our the natural acoustic of the recording \nvenue, and is highly recommended for this recording.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"western\" style=\"margin-bottom: 0cm;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eFidelio\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eAn opera in 2 Acts with libretto by  Joseph Sonnleithner \u0026amp; Friedrich Tritschke after Jean-Nicolas Bouilly\u003cbr\u003e\u003cbr\u003eRecorded 13-17 October 1953\u003cbr\u003eMusikvereissaal, Vienna\u003cbr\u003eProducer: Lawrance Collingwood\u003cbr\u003e\u003cbr\u003eFirst issued as HMV LPs ALP1130-2\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003eCAST\u003cbr\u003e \u003c\/b\u003e\u003cbr\u003e Leonore - \u003cb\u003eMartha Mödl\u003c\/b\u003e\u003cbr\u003eFlorestan – \u003cb\u003eWolfgang Windgassen\u003c\/b\u003e\u003cbr\u003eDon Pizarro - \u003cb\u003eOtto Edelmann\u003c\/b\u003e\u003cbr\u003eRocco – \u003cb\u003eGottlob Frick\u003c\/b\u003e\u003cbr\u003eMarzelline - \u003cb\u003eSena Jurinac\u003c\/b\u003e\u003cbr\u003eJacquino - \u003cb\u003eRudolf Schock\u003c\/b\u003e\u003cbr\u003eDon Fernando - \u003cb\u003eAlfred Poell\u003c\/b\u003e\u003cbr\u003eFirst Prisoner - \u003cb\u003eAlwin Hendricks\u003c\/b\u003e\u003cbr\u003eSecond Prisoner -\u003cb\u003e Franz Bierbach\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Phiharmonic Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e  -  conductor\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\/PACO095.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO095.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":32533624845,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32533624909,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32533625037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32533625101,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO095.jpg?v=1487757416"},{"product_id":"pasc407","title":"FURTWÄNGLER conducts Richard Strauss (1950\/54) - PASC407","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. Strauss\u003c\/b\u003e Tod und Verklärung, Op. 24\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. Strauss\u003c\/b\u003e Don Juan, Op. 20\u003cbr\u003e\u003cb\u003eR. Strauss\u003c\/b\u003e Till Eulenspiegels lustige Streiche, Op. 28\u003cbr\u003e\u003cb\u003eR. Strauss\u003c\/b\u003e Vier letzte Lieder, Op. post.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings · 1950\/54\u003cbr\u003eTotal duration: 79:57\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 class=\"body\"\u003eWilhelm Furtwängler, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003econducto\u003c\/span\u003e\u003cspan class=\"body\"\u003er\u003c\/span\u003e\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eKirsten Flagstad\u003c\/b\u003e, soprano\n\u003cbr\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnyone with a serious interest in Flagstad, Furtwängler, and\/or Strauss’s Four Last Songs will find this a necessity578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe world premiere of Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Last Songs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was given on May 22, 1950, at the Royal Albert Hall in London, and was \nprivately recorded. Versions of that recording (often misattributed as \nthe dress rehearsal) have circulated for many years on a variety of \nlabels, in sound ranging from the atrocious to the very poor. In 2008, \nTestament came out with a version that sounded much better than its \npredecessors, but was still difficult to enjoy. Now Andrew Rose has \ntried has hand at it, applying his XR remastering technique, and the \nresult is the best yet. I do not want to create false hopes here. The \noriginal recording is in many ways hopelessly flawed. There is constant \nsurface noise and grit, distortion at climactic moments, and on the \nearlier reissues the inconsistent pitch from wow and flutter was \ncrazy-making. While Testament’s issue fixed the pitch problems and \nminimized the others, Pristine goes further. The orchestral colors are \nmore vividly realized here, Flagstad’s voice is clear and brilliant, and\n one can enjoy the performance in a way that is not even possible on \nTestament’s version. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eSo, then, the discussion can center on \nthe performance itself. Surely no singer since this premiere has sung \nthese songs with a richer, warmer, more full-sounding dramatic soprano \nvoice (though Jessye Norman brought similar qualities). Indeed, the \ntrend has been consistently toward lighter, more lyric sopranos. It is \nimportant to remember that Strauss wrote these songs specifically with \nFlagstad in mind, and persuaded her to learn them and sing the premiere \n(though he died before it took place), and it was Flagstad who insisted \nupon Furtwängler. In the decades since, we have become accustomed to \nthose lighter voices (Schwarzkopf imprinted herself on many of us), and \nto a degree of specificity in word-pointing that Flagstad does not \ndeliver. One can find any number of performances with a greater variety \nof inflection and vocal color, but very few with this degree of tonal \nwarmth and beauty throughout the range. Flagstad seems to be luxuriating\n in this music, and she and Furtwängler are in synch with each other at \nevery turn of phrase. The orchestra positively glows at the beginning of\n “Im Abendrot,” and that is more apparent in Pristine’s transfer than it\n ever has been. The order of the songs at this premiere differs from \nwhat has become the established order (remember that Strauss did not \nnecessarily conceive them as a set). Here we have “Beim Schlafengehen”; \n“September”; “Frühling”; “Im Abendrot.” Even after Andrew Rose’s \nsuperlative work, enough flaws remain that this could hardly be \nrecommended as anyone’s standard recording of these songs. It is, \nhowever, a valuable and important document of the world premiere by the \nsoprano for whom they were written and one of the great conductors of \nthe era, and it is finally in listenable sound. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has chosen three EMI studio \nStrauss recordings to round out the disc, and their XR remastering \nbrings a degree of color and life to these recordings that improve upon \nthe EMI transfers with which I am familiar. There is a 1947 live \nperformance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDeath and Transfiguration \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n Furtwängler and the Hamburg Philharmonic that exceeds this 1950 \nrecording in terms of intensity and raw power (it has been issued by \nMusic \u0026amp; Arts, Nuova Era, Arlecchino, and various other labels), but \nthis has much more satisfying sound quality and is better played. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e there are a number of Furtwängler alternatives that have more life to them. This 1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\n a bit earthbound, and even Pristine’s vivid restoration work cannot \nmake it the equal of various alternatives: a 1947 Berlin Philharmonic \nperformance on DG or a 1953 Salzburg Festival reading on Orfeo have a \ndegree of spontaneity lacking here, though the clarity of the recording \nand beauty of the central section make this worth having. For \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n the 1943 Berlin performance on DG (or even better on Eduardo Chibas’s \ntransfer at furtwanglersound.com) is hair-raising, but somehow \nFurtwängler and the VPO managed to find a degree of panache here that \neluded them in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, even though \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\n recorded the next day, and this is almost the equal of that wartime \nlive performance. These performances are clearly the work of an \nimportant and great conductor, and one hears his attention to orchestral\n sonority and balance perhaps more clearly in Pristine’s transfers than \never before. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs is usual, there are very minimal \nnotes with the disc. Pristine says “full programme notes can be found \nonline,” but I cannot locate them, and don’t know whether they include \ntexts for the songs. Anyone with a serious interest in Flagstad, \nFurtwängler, and\/or Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Last Songs \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewill find this a necessity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:1 (Sept\/Oct 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC407.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWilhelm Furtwängler's brilliant interpretations of Richard Strauss\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Rarely can a first performance have served any music and its composer so well\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThe decision to tackle Flagstad and Furtwängler's legendary première recording of Richard Strauss's \u003cem\u003eFour Last Songs\u003c\/em\u003e\n in the year of the composer's 150th birthday was taken following the \nsuggestion of a correspondent who e-mailed me last summer with the idea.\n That it's taken more than nine months to bring to fruition has much to \nsay for the difficulties involved in trying to do anything to improve \nthe frankly abysmal quality of the original recording, originally \ncaptured on acetate discs that have seen far too many heavy needles over\n the years.\u003c\/p\u003e\u003cp\u003eThe flaws inherent in the original recordings are myriad: Surface \nnoise is a constant intrusion; Thumps, bumps, clicks and scratches \nabound; The frequency range is limited, the frequency response deeply \nunrepresentative; Swish is endless to the point of being almost \noverwhelming; Distortion rears its head too often. Restoration and \nremastering technology can help enormously - XR remastering brings out \nmuch of the orchestral richness and texture and lifts a veil from \nKirsten Flagstad's voice, whilst pitch correction helps with wayward wow\n and flutter. Much of the swish has been smoothed out, and noise \nreduction has done just that. The recording remains pretty compromised, \nas I suspect it always will, but once the ears have adjusted to the \nshortcomings of the medium there's much to be enjoyed and cherished.\u003c\/p\u003e\u003cp\u003eThe other three recordings were made in the Musikvereinssaal in Vienna for commercial releases. The first, \u003cem\u003eTod und Verklärung\u003c\/em\u003e,\n was originally destined for 78rpm issue in 1950, and although it would \nhave been taped, is of noticeably lower quality than the later, 1954 \nrecordings. Hiss levels were higher and the upper frequencies less well \ndefined - though of course all three recordings are much, much better \nfrom a technical point of view than the\u003cem\u003e Four Last Songs\u003c\/em\u003e. As with the \u003cem\u003eSongs\u003c\/em\u003e,\n the recordings all responded very well to XR remastering, which has \nonce more brought new life and light to the orchestral sound.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eR. STRAUSS Tod und Verklärung\u003c\/b\u003e \u003cem\u003e(Death and Transfiguration)\u003c\/em\u003e,\u003cb\u003e Op. 24\u003c\/b\u003e  \u003cbr\u003e\u003c\/span\u003eRecorded 21, 23, 24 January 1950\u003cbr\u003eRecording producer: Walter Legge\u003cbr\u003eRecording Engineer: Anthony Griffith\u003cbr\u003eFirst issued as HMV 78s DB.21169-71 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eR. STRAUSS Don Juan, Op. 20\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 2 March,1954\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS Till Eulenspiegels lustige Streiche\u003c\/b\u003e \u003cem\u003e(Till Eulenspiegel's Merry Pranks)\u003c\/em\u003e,\u003cb\u003e Op. 28\u003c\/b\u003e\u003cbr\u003eRecorded 3 March,1954\u003c\/p\u003e\n\u003cp\u003eRecording producer: Lawrance Collingwood\u003cbr\u003eRecording Engineer: Francis Dillnutt\u003cbr\u003eRecorded at the Musikvereinssaal, Vienna\u003cbr\u003eFirst issued as HMV LP ALP.1208  \u003c\/p\u003e\n\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cb\u003eR. STRAUSS Vier letzte Lieder\u003c\/b\u003e \u003cem\u003e(Four Last Songs)\u003c\/em\u003e,\u003cb\u003e Op. post.\u003c\/b\u003e \u003cbr\u003eRecorded 22 May, 1950\u003cbr\u003eWorld Première, Royal Albert Hall, London\u003cbr\u003e\u003cbr\u003e\u003cb\u003eKirsten Flagstad\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003ePhilharmonia Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor \u003cbr\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\/PASC407.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC407.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":31975572237,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975572301,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975572365,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32969357099069,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC407_9eb3a3fa-23d0-4c6d-9a74-5f5806af515c.jpg?v=1606485313"},{"product_id":"paco075","title":"FURTWÄNGLER Mozart: Die Zauberflöte, Symphony No. 39 (1951\/1944) - PACO075","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDie Zauberflöte\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 39 in E flat\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 9px;\"\u003eDie Zauberflöte\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 9px;\"\u003e Recorded Salzburg, 6 August 1951. Total duration: 2hr 51:54 \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 9px;\"\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 9px;\"\u003eSymphony No. 39\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 9px;\"\u003e Recorded Berlin, 8 February 1944. Total duration: 27:59 \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eWilma Lipp, \u003c\/b\u003eKönigin Der Nacht\u003cbr\u003e\u003cb\u003eIrmgard Seefried, \u003c\/b\u003ePamina\u003cbr\u003e\u003cb\u003eAnton Dermota, \u003c\/b\u003eTamino\u003cbr\u003e\u003cb\u003eVienna State Opera Chorus\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003eBerlin Philharmonic Orchestra\u003cbr\u003eWilhelm Furtwängler,\u003c\/b\u003e Conductor \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO075.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eTwo fabulous live Mozart recordings from Furtwängler\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe legendary 1951 Salzburg Magic Flute and his 1944 Berlin Symphony 39 sonically transformed!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eDie Zauberflöte \u003c\/b\u003eThat\n we have a recording of this superlative live performance at all is to \nan extent a matter of luck and good fortune. The original broadcast by \nAustrian Radio was apparently recorded, but the tapes were later \ndestroyed. Thus it has been reconstructed from off-air recordings, and \nas a result there are a number of additional hurdles to be jumped when \nrestoring such material. I have worked here from a secondary source. On \nthe whole this has been very successful - I've been able to rescue some \nfine sound quality, particularly in the musical sections. Some of the \nspeech sections, however, have suffered from very heavy-handed treatment\n before me, and it shows.\u003c\/p\u003e\u003cp class=\"body\"\u003eNevertheless, the overall impression is excellent. I've \nmanaged to greatly improve the general sound quality through 32-bit XR \nremastering , as well as deal with a number of wayward pitch issues \nwhich saw significant drifts up and down across the opera. A careful \nanalysis of the recording's residual electrical mains hum suggests an \noriginal tuning of somewhere around A=445, and it is to this pitch that \nI've tuned the final master.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eSymphony No. 39\u003c\/b\u003e This live recording was one of a \nnumber recorded during the Second World War for broadcast in Germany \nwhich ended up spending a number of years in the Soviet Union prior to a\n rash of reissues on different labels in recent years. The sound quality\n of the original was typically brash and harsh, making it quite a hard \nlisten (one reviewer of a previous issue referred to it as \"dismal\").\u003c\/p\u003e\u003cp class=\"body\"\u003ePristine's 32-bit XR remastering has made a huge \ndifference to this, and has really brought out the full and clear sound \nof Furtwängler's Berlin Philharmonic in a way previously unheard in this\n particular performance. It is one of those transformations which is \nboth stunning and - unfortunately - also revealing of some of the \ninsurmoutable faults of the original. There is inescapable peak \ndistortion in the louder sections, which also suggest a degree of \ncompression in the original recording, for example. It also feels odd to\n hear a Mozart symphony in the hands of such powerful forces as \nFurtwängler musters here. As with Die Zauberflöte there was clear \nevidence in the recording to suggest the orchestra was tuned to a pitch \nof A=445Hz.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eDie Zauberflöte\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Broadcast recorded at the Salzburg Festival, 6 August 1951\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"body\"\u003eTHE CAST\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eJosef Greindl\u003c\/b\u003e\u003cspan\u003e Sarastro\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eAnton Dermota\u003c\/b\u003e\u003cspan\u003e Tamino\u003c\/span\u003e\u003cbr\u003e \u003cb\u003ePaul Schöffler\u003c\/b\u003e\u003cspan\u003e Sprecher\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFred Liewehr\u003c\/b\u003e\u003cspan\u003e Erster Priester\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFranz Hobling\u003c\/b\u003e\u003cspan\u003e Zweiter Priester\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eWilma Lipp\u003c\/b\u003e\u003cspan\u003e Königin Der Nacht\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eIrmgard Seefried\u003c\/b\u003e\u003cspan\u003e Pamina\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eChristel Goltz\u003c\/b\u003e\u003cspan\u003e Erste Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eMargherita Kenney\u003c\/b\u003e\u003cspan\u003e Zweite Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eSieglinde Wagner\u003c\/b\u003e\u003cspan\u003e Dritte Dame\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eErich Kunz\u003c\/b\u003e\u003cspan\u003e Papageno\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eEdith Oravez\u003c\/b\u003e\u003cspan\u003e Papagena\u003c\/span\u003e\u003cbr\u003e \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cspan\u003e Monostatos\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eHannelore Steffek\u003c\/b\u003e\u003cspan\u003e Erster Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eLuise Leitner\u003c\/b\u003e\u003cspan\u003e Zweiter Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFriedl Meusburger\u003c\/b\u003e\u003cspan\u003e Dritter Knabe\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eHans Beirer\u003c\/b\u003e\u003cspan\u003e Erster Geharnischter\u003c\/span\u003e\u003cbr\u003e \u003cb\u003eFranz Bierbach\u003c\/b\u003e\u003cspan\u003e Zweiter Geharnischter\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003e Vienna State Opera Chorus\u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003e \u003cbr\u003e Wilhelm Furtwängler \u003c\/b\u003econductor \u003cbr\u003e \u003cbr\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\u003eMOZART \u003c\/b\u003eSymphony 39 in E flat major, K543\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Broadcast performance recorded at the State Opera House, Berlin, 8 February 1944\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Wilhelm Furtwängler \u003c\/b\u003econductor \u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBroadcast performances, Salzburg 1951, Berlin 1944\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, March 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Furtwängler and The arrival of the Queen of the Night - stage set by Karl Friedrich Schinkel (1781–1841) for an 1815 production. Gouache, Stiftung Preußischer Kulturbesitz, Staatliche Museen, Berlin.\u003cbr\u003eDie Zauberflöte Recorded Salzburg, 6 August 1951. Total duration: 2hr 51:54\u003cbr\u003eSymphony No. 39 Recorded Berlin, 8 February 1944. Total duration: 27:59\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\/PACO075.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO075.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Gramophone Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"body\"\u003e\"This is an antidote, perhaps too strong a one, to the \nswift, period-instrument versions to which we have been growing \naccustomed. Furtwängler's reading is deliberate, spiritually inclined, \nromantic in the extreme with long \u003cem\u003erallentandos\u003c\/em\u003e at cadential \npoints, stretching his singers to their limits yet, paradoxically, never\n becoming heavy because of the translucency of the playing. Whether his \napproach is 'right' or 'wrong' seems irrelevant in the light, and that \nis the right word, of the conductor's deep empathy with the depth and \nsincerity of the score's serious side— listen to the sense of conviction\n in the Priests' chorus. His reading also leaves room for the orchestra,\n intricately rehearsed, to project the details in the score, as for \ninstance, the pizzicato underlying the announcement of the three Boys, \nor the rnarcato in the upward string figure accompanying the second half\n of \"\u003cem\u003eIn diesen heil'gen Hallen\u003c\/em\u003e\". And would one really ask for a faster tempo for \"\u003cem\u003eBei Mannern\u003c\/em\u003e\" when Furtwängler's allows his Pamina and Papageno to sing it with such breadth and warmth?\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAnd what a Pamina and Papageno we have here. Seefried \nand Kunz took those roles in the roughly contemporaneous EMI recording \n(November 1950) under Karajan, but there they were in a studio \nenvironment and not permitted any dialogue. Here, in the context of a \nlive performance at the Salzburg Festival, their interpretations are \nthat much more involving. Kunz, in particular, benefits; his is an \nendearing, light, smiling, unforced account of the birdcatcher's words \n(delivered in an \u003cem\u003eecht\u003c\/em\u003e Viennese accent) and music. It is one of \nthe most persuasive performances of Papageno on disc. Seefried's appeal \nin her role is well-known, and she is here at her most glowing and \nfervent, even managing the conductor's very slow speed for her G minor \naria. This being virtually the Vienna cast of the day, Dermota is again \nher Tamino, so smooth and fluent, yet characterful in his traversal of \nthe part, observing all the Mozart verities, even when sorely pressed by\n his conductor to maintain his line. What Innigkeit he brings to the \nscene with Pamina before the trials!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eLipp's Queen of Night is not quite as fluent as for \nKarajan in the studio, with moments of variable pitch in her second \naria. Greindl, Salzburg's Sarastro over many years, also has his \nintonation problems, but presents a noble, grave portrait, very much in \nkeeping with, and trained to, his conductor's ideas. Klein's Monostatos \nis suitably vicious. We are consoled for a somewhat squally trio of \nLadies by the ethereal purity and beauty of the Boys, led by the young \nSteffek.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sound is on a par with the Furtwängler\/ EMI \u003cem\u003eFidelio\u003c\/em\u003e\n (12\/93) of the previous year, which means occasional distortion in the \nsoprano voices, a few stage noises and a deal of applause at the end of \nnumbers. However, considering this radio tape is not the original (which\n was destroyed) but one privately made and in the collection of the \nconductor's widow, the sound is truly remarkable. Even in those early \ndays, Austrian Radio achieved an excellent balance between stage and \npit. As with \u003cem\u003eFidelio\u003c\/em\u003e, we are once more present at a historic \noccasion, and share a tradition virtually lost today. It won't be \nanyone's first choice, yet I would put aside many more recent recordings\n in favour of this one. I even prefer it to the classic 1937-8 Beecham \nand 1964 Klemperer versions, set in the same mould, simply because it is\n live and includes dialogue, without which any \u003cem\u003eZauberflöte\u003c\/em\u003e is, for me, incomplete.\"\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eAlan Blyth, Gramophone \u003c\/b\u003eJanuary 1996 (EMI CD issue)\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":33844468365,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33844468429,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33844468493,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33844468557,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO075.jpg?v=1489155433"},{"product_id":"paco100","title":"FURTWÄNGLER Wagner: Die Walküre (1954, studio) - PACO100","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eDie Walküre\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio Recording · 1954\u003cbr\u003eTotal duration: 3hr 50:55 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere are many wonderful things unique to this Walküre578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is the EMI studio recording made in 1954 that was supposed to be the first installment in a complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecycle.\n The project was never completed because Furtwängler died less than two \nmonths after the completion of this recording. It has been reviewed a \nnumber of times in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n most recently by me in 30:4 when Naxos reissued it. Both Naxos and \nUrania have produced transfers on CD more satisfying than EMI’s, and the\n question here (at least for those who already know the performance) \nwill center around Pristine’s work. As you might expect, it is superb, \nand certainly if you have the EMI version and enjoy it there would be \nample reason to replace it with this. The Naxos transfer is also quite \ngood, and if I find this more satisfying it would be hard to say that \nevery collector will find the investment worthwhile in replacing Naxos \nwith Pristine. For me there is a degree of color that Andrew Rose gets \nout of both the orchestra and the voices that surpasses even the Naxos, \nespecially in the XR stereo version that is a specialty of Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe changing world of technology has \ncast an interesting light on this recording in unexpected ways. As \nFurtwängler collectors know, there are two complete live \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\n that have been in circulation in various guises for years: the Rome RAI\n studio broadcasts and the staged La Scala performances. When they first\n saw the light of day, the resulting sound quality ranged from dismal to\n barely tolerable. But over the years, reissues have consistently \nimproved both to the point where they are much more satisfying. Clearly \nthe Vienna Philharmonic, in a professionally produced studio setting \nwhere mistakes can be redone and corrected, is in a whole different \nleague from both the RAI Rome and La Scala orchestras. Furtwängler \ngenerally disliked studio recordings, but one senses that he felt the \nsignificance of being asked to make what would be the first complete \nprofessional recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRing\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n cycle, and the performance here certainly has plenty of intensity and \ndrama. But it is also true that it lacks the fire heard in the Scala \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWalküre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Now that the Scala cycle is itself well transferred by Pristine (there \nis also a new version that I have not heard yet from Eduardo Chibas at \nfurtwanglersound.com) it remains, for me, the most thrilling of the \nFurtwängler cycles. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eBut there are many wonderful things unique to this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWalküre\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The playing of the Vienna Philharmonic is at the top of that list, with\n a richness and variety of orchestral color not available to the \nconductor from the Italian orchestras. And this is certainly not a \nstatic, studio performance lacking energy. Rysanek and Mödl are actually\n astonishing in the commitment they bring to their roles, and all the \nsingers are alert to nuances of text and music. Were there no live \nversions with Furtwängler available, or were they still only available \nin cramped and distorted sound, this would be mandatory for all serious \ncollectors. As it is, it is perhaps more appropriate to say it remains \nan important recording, one that those interested in this conductor and \nrepertoire will want to obtain. \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 37:6 (July\/Aug 2014) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO100.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's final studio recording in a brilliant XR remastering transformation\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eFrom the Ring that never was - Furtwängler shows his could have been the best: this Walküre is one breath-taking ride\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"western\"\u003eIt should have been the world's first full \u003cem\u003eRing\u003c\/em\u003e on LP - Furtwängler's \u003cem\u003eDie Walküre\u003c\/em\u003e\n the first of the four operas to be recorded by EMI, in mono (would they\n have remade it?) in the autumn of 1954. Two months later the conductor \nwas dead, his most ambitious recording plan barely begun. EMI duly \nreleased the LPs, to the response reprinted here, and music-lovers were \nleft to guess what might have been, their what-ifs only further \namplified by the two live Furtwängler \u003cem\u003eRings\u003c\/em\u003e that have trickled out since.\u003c\/p\u003e\u003cp class=\"western\"\u003eThis XR remastering shines a whole new light onto the Furtwängler \u003cem\u003eWalküre\u003c\/em\u003e,\n stripping away the years and embuing it with a sense of life and depth \nthat makes the original 1954 sound seem flat and dull - it really is one\n of the most remarkable transformations I've heard using these \nremastering techniques.\u003c\/p\u003e\u003cp class=\"western\"\u003eThis Walküre offers moments as dark and as thrilling \nas you're ever likely to hear in a recording: from the moment the rosin \nstarts flying off the double-basses in the opening \u003cem\u003ePrelude\u003c\/em\u003e to the blaring, then glowing brass in the music's dying moments, this \u003cem\u003eWalküre\u003c\/em\u003e is one breath-taking ride.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cdiv\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e- Die Walküre WWV 86B\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003eRecording producer: Lawrance Collingwood\u003cbr\u003eRecording Engineer: Francis Dillnutt\u003cbr\u003eRecorded: 28 September - 6 October, 1954\u003cbr\u003eMusikvereissaal, Vienna\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003eSiegmund - \u003cb\u003eLudwig Suthaus\u003c\/b\u003e\u003cbr\u003eSieglinde - \u003cb\u003eLeonie Rysanek\u003c\/b\u003e\u003cbr\u003eWotan - \u003cb\u003eFerdinand Frantz\u003c\/b\u003e\u003cbr\u003eBrünnhilde - \u003cb\u003eMartha Mödl\u003c\/b\u003e\u003cbr\u003eHunding - \u003cb\u003eGottlob Frick\u003c\/b\u003e\u003cbr\u003eFricka - \u003cb\u003eMargarete Klose\u003c\/b\u003e\u003cbr\u003eGerhilde - \u003cb\u003eGerda Scheyrer\u003c\/b\u003e\u003cbr\u003eOrtlinde - \u003cb\u003eJudith Hellwig\u003c\/b\u003e\u003cbr\u003eWaltraute - \u003cb\u003eDagmar Schmedes\u003c\/b\u003e\u003cbr\u003eSchwertleite - \u003cb\u003eRuth Siewert\u003c\/b\u003e\u003cbr\u003eHelmwige - \u003cb\u003eErika Köth\u003c\/b\u003e\u003cbr\u003eSiegrune - \u003cb\u003eHertha Töpper\u003c\/b\u003e\u003cbr\u003eGrimgerde - \u003cb\u003eJohanna Blatter\u003c\/b\u003e\u003cbr\u003eRoßweiße - \u003cb\u003eDagmar Hermann\u003c\/b\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO100.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO100.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":31975587917,"sku":null,"price":48.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975587981,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975588109,"sku":null,"price":33.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 320kbps MP3","offer_id":31975588237,"sku":null,"price":27.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO100_78a65147-79ab-480d-8790-78b14618d3b0.jpg?v=1487682141"},{"product_id":"paco122","title":"FURTWÄNGLER Weber: Der Freischütz (1954) - PACO122","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eWEBER \u003c\/b\u003eDer Freischütz\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded live in Salzburg, 1954\u003cbr\u003eTotal duration: 2hr 30:58 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eChorus of the Vienna State Opera\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003econductor\u003cb\u003e Wilhelm Furtwängler\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance remains one of the finest of this opera ... grab this reissue because of its sonic improvement over all predecessors.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI entered this performance, when it was issued on CD by Music \u0026amp; Arts, into \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s Classical Hall of Fame (24:3), and that review can be found in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive.\n For that reason I will not go into great detail here. But I will say \nthat while the Music \u0026amp; Arts has been the best remastering of this \nsomewhat dry sounding 1954 recording until now, Pristine Audio has \nimproved upon it significantly. Andrew Rose, the proprietor of Pristine,\n felt that the best sound of prior versions was the Fonit Cetra LP issue\n (and I’ll admit it was close to the M\u0026amp; A, though I preferred the \nlatter) and he used a mint condition set of those LPs as his source. \nWhat he has managed here is a richer orchestra sound, with a \nparticularly striking depth in the bass, and he has taken some of the \nedge off the voices of the singers. A bit of that hard edge is still \npresent—probably there forever—but the overall sound now is extremely \nsatisfying. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance remains one of the finest of this opera, although \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n Jim Miller in 12:5 dissents a bit, finding it a satisfactory \nperformance but not a great one. Furtwängler is slower than most, but I \nfind his conducting intensely theatrical and powerful. As I said in my \noriginal review, “If you think of this as a light folk opera, this \nperformance will seem overblown. But if you see the opera as the root of\n German Romanticism through to Wagner, then this reading will make a \ngreat deal of sense.” Furtwängler gets everyone in the cast on the same \npage, so that we hear real characters interacting with each other, not \nsingers vocalizing to the audience. The inflection is dramatically alert\n and convincing in the spoken dialogue and in musical numbers. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHans Hopf’s somewhat whiny tone remains\n a bit of a problem, but his singing is more lovely and elegant than it \nusually was and he is effective for the most part. The rest of the cast \nis terrific, most particularly Grümmer. You are likely to want to stop \nbreathing during Agathe’s great cavatina, as she and Furtwängler create a\n very special world. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs is usual with Pristine, there are minimal notes (actually, only an excerpt of my earlier \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ereview\n and a producer’s comment). Nonetheless, fans of this performance, or \nthose who are tempted by the extraordinary combination of cast and \nconductors, should grab this reissue because of its sonic improvement \nover all predecessors. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis justly famed performance already has five previous reviews in the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Fanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Archive, for five previous incarnations on CD. Easily the best of the \npreviously available versions is that on Music \u0026amp; Arts, discussed in \ndetail by Henry Fogel back in 24:3. Here, Andrew Rose of Pristine Audio \nhas again applied his trademark XR remastering wizardry to produce a new\n sonic profile that significantly improves on all previous versions, \nwith the results being nearly on the level of studio recordings of the \nsame vintage. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn that review, Fogel wrote: “As for the performance, there is no other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e like it....There is a gravitas about this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that is unmatched by any recording I know....What is most startling is \nits dramatic impact.” With those sentiments I concur completely. \nAlthough I have a few criticisms of the conducting for being too slow in\n spots—e.g., the Peasant Dance in act I is overly heavy in tread, and \nthe final portion of “Durch die Wälder” is so drawn out that Hans Hopf, a\n singer known for his considerable lung capacity, audibly struggles to \nsustain his phrases—there is indeed no other conductor who matches \nFurtwängler for the weight and intensity of expression he brings to this\n drama. And, of course, he has the Vienna Philharmonic at his command \nhere. Unless you’ve heard this performance, warts and all, you arguably \nhave not really ever heard \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFogel and I do differ in our \nassessments of some of the singers. In his earliest review of a release \nof this performance (dating all the way back to issue 6:3!), he wrote: \n“Every role is superbly sung with the exception of Max....Once beyond \nHopf, though, you will hear some of the finest singing Weber has ever \nbeen treated to.” In my judgment, this performance falls short vocally \ncompared to what I consider to be the desert-island \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFreischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n the nearly contemporaneous 1955 radio broadcast conducted by Erich \nKleiber with three of the same principals: Elisabeth Grümmer, Rita \nStreich, and Hans Hopf. Fogel and I agree absolutely on the merits of \nGrümmer as Agathe and Streich as Aennchen (both nonpareil) and the \ndemerits of Hopf as Max (a flabby, beefy voice and somewhat whiny \ncharacterization). All three are much the same in the two performances; \nwith Kleiber, Hopf has better breath control under his faster tempos but\n is somewhat careless at certain points about intonation. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAfter that, our judgments diverge. I \nhave always considered Kurt Böhme to be a much overrated singer, \nafflicted with a grainy, somewhat hollow voice and persistent wobble. \nHere, he is actually in fairly good form as Kaspar—generally steady in \nemission and suitably malevolent in characterization, though his top \nnotes are clearly a stretch. He is, however, simply no match, either \nvocally or interpretively, for the wonderfully sinister and potent Max \nProebstl under Kleiber. In the comprimario roles, Alfred Poell sings \nOttokár in both performances, but is heard to significantly better \nadvantage under Kleiber. Böhme appears under Kleiber as the Hermit \ninstead of as Kaspar; he’s tolerable, although Otto Edelmann for \nFurtwängler is even better, but neither one can hold a candle to Gottlob\n Frick in the EMI set under Keilberth that still remains far and away \nthe best studio and stereo recording of this opera. (That set also has \nthe stupefying luxury of Hermann Prey as Ottokár!) As Kuno, I prefer \nHeiner Horn under Kleiber to Oskar Czerwenka under Furtwängler, and \nlikewise the well-sung Kilian of Kurt Marschner is infinitely superior \nto the grotesquely ugly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSprechgesang\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n of Karl Dönch. Finally, Kleiber also has the superior Samiel in that \nimportant speaking role, and the studio sound effects for the Wolf’s \nGlen scene for him are of absolutely hair-raising horror. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll that said, even with its secondary \nflaws, this set is still indispensable. While the Kleiber performance is\n in my judgment much superior, there are a couple of factors that may \nsway other people’s in a different direction than mine. First, the \nKleiber version was a radio studio broadcast that used professional \nactors for the spoken dialogue instead of having the singers speak their\n own lines. That doesn’t bother me—at least in this instance, because \nevery one of the actors is superb—but some people may object. Second, \nthe broadcast has two cuts: the long spoken narrative in act I of the \ninstitution of the “free-shot” competition, and Aennchen’s act III aria.\n According to booklet notes in the Koch-Schwann release of the Kleiber \nversion, this apparently was done because Streich fell ill in the course\n of making the tapes for broadcast. However, since Streich’s singing of \nthat aria is preserved not only here but also in a complete studio \nrecording of the opera on DG conducted by Eugen Jochum, I’ve simply \nremedied that omission by splicing in these two items from the Jochum \nset into the Kleiber broadcast on CDs I burned for myself. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIn the last analysis, then, Kleiber remains my top recommendation for a recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n In addition, one should also have the aforementioned EMI studio set \nwith Keilberth, which yet again stars Elisabeth Grümmer as Agathe. While\n not ideal, Rudolf Schock is a major improvement on Hans Hopf; Lisa Otto\n is a fine Aennchen, if not quite in Rita Streich’s league; Karl \nChristian Kohn is a solid Kaspar vocally, though somewhat short on \nmenace; all the smaller roles are cast from strength; and Keilberth \nleads a well-considered though not superlative account of the score. \nWhile this Furtwängler version ranks third behind Kleiber and Keilberth \nas an overall performance, it arguably ranks first for its masterful \nconducting, and is an essential acquisition for that reason—especially \nin this superior new transfer. Despite some caveats about casting in \nminor supporting roles, highly recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames A. Altena\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:2 (Nov\/Dec 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO122.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFurtwängler's definitive 1954 Salzburg Freischütz in superb sound quality\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eVast sonic improvements over all previous issues of this essential recording \u003cbr\u003e\u003cbr\u003e\"Despite the joys of the various commercial recordings by Kubelik, Keilberth, \u003cbr\u003eHeger, and Carlos Kleiber, this performance is the one I will most often turn to\"\u003cbr\u003e- Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThis recording has appeared on a number of labels, large and small, \nover the years. The present transfer was taken from mint 1982 Italian LP\n pressings on the Fonit Cetra label, and - I believe - presents this \nsuperb performance of\u003cem\u003e Der Freischütz\u003c\/em\u003e in by far the best overall sound it has ever received.\u003c\/p\u003e\u003cp\u003eSignificant improvements in the pitch anomalies present in the \noriginal have now been possible, thanks to technological developments \nunavailable to previous restorers, but more than this, the application \nof Pristine's 32-bit XR remastering process has brought forth a rich \ntonal quality and depth that appears to have evaded all previous issues.\n Gone is the often thin, sharp, unappealing sound heard elsewhere - in \nits place the full glory of the Vienna Philharmonic Orchestra under \nmaestro Furtwängler can be fully appreciated at last. Likewise the \nsinging, surprisingly well captured for a stage performance, rings \nthrough clearly and beautifully, with none of the unpleasant hard edge \nto be found in previous issues.\u003c\/p\u003e\u003cp\u003eThe aim here has been realism, above all. I believe this issue comes \nsignificantly closer to this goal than any that has gone before it.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWEBER \u003c\/b\u003e Der Freischütz\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eElisabeth Grümmer - \u003cem\u003eAgathe\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eRita Streich - \u003cem\u003eAennchen\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eHans Hopf - \u003cem\u003eMax\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eAlfred Poell - \u003cem\u003eOttokar\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKarl Dönsch - \u003cem\u003eKilian\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eOskar Czerwenka - \u003cem\u003eKuno\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eKurt Böhme - \u003cem\u003eKaspar\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eClaus Clausen - \u003cem\u003eSamiel\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: medium;\"\u003eOtto Edelmann - \u003cem\u003eA Hermit\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eChorus of the Vienna State Opera\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded 26 July 1954\u003cbr\u003eFestspielhaus, Salzburg\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\/PACO122.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO122.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":31975597965,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975598029,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975598093,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975598157,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO122_f0568988-ed66-44df-b1ba-9eaf9b368a34.jpg?v=1487682147"},{"product_id":"pasc421","title":"HUBERMAN Beethoven \u0026 Brahms: Violin Concertos (1934\/44) - PASC421","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e  Violin Concerto in D major, Op. 61\u003cb\u003e\u003cbr\u003eBRAHMS\u003c\/b\u003e  Violin Concerto in D major, Op. 77\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cbr style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings · 1934 \u0026amp; 1944\u003cbr\u003eTotal duration: 76:23 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eBronislaw Huberman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003eVienna Philharmonic Orchestra \u003c\/b\u003e\u003cb\u003e\u003cbr\u003eGeorge Szell, \u003c\/b\u003econductor\u003cb\u003e\u003cbr\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/b\u003e\u003cb\u003e\u003cbr\u003eArtur Rodzinski, \u003c\/b\u003econductor\n\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is essential listening for anyone interested in performance style history, the violin, or these great concertos578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese classic performances have been reviewed before in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with those reviews ranging from positive to enthusiastic. The Beethoven\n is a 1934 British Columbia studio recording, and the Brahms is a New \nYork Philharmonic live broadcast from January 23, 1944. One particularly\n unusual feature of the Brahms is a cadenza I have never encountered \nbefore, credited to one Hugo Heerman. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat, however, is not the most unusual \naspect of these performances. It is the playing itself that is unusual. \nHuberman was never a universally accepted violinist, but to those of us \nwho loved his playing the flaws were insignificant. What were those \nflaws? A tone that can at times turn thin or coarse, occasional \nroughness in fingerwork, and occasional intonation trouble. \nInterestingly, though, when one listens to his mid-1920s acoustical \nrecordings such as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e one marvels at the technical ability and accuracy at blazing speeds. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eBut what Huberman had was an \nextraordinary musical imagination, and he applied it to every phrase. \nThere is a well-known story of his performance of the Brahms when the \nviolinist was 14, that reduced Brahms to tears. The legend is that \nafterwards, when Brahms wrote a touching inscription in Huberman’s \nmusic, the young violinist complained that the audience applauded after \nthe cadenza, to which Brahms replied, “Then you should not have played \nit so beautifully.” (One presumes Huberman performed the Joachim cadenza\n in 1895). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is clearly violin playing from \nanother age, an age when performers were willing to risk a level of \nindividuality that would be frowned upon today. It would take any \nlistener with even middling experience and knowledge only a few minutes \nto distinguish between performances by Heifetz, Kreisler, Szigeti, \nHuberman, and Milstein. That would be far less likely in today’s music \nworld. Huberman’s performances are deeply personal, with turns of phrase\n and touches of dynamic shadings that no one else might think of. He \nuses a liberal amount of portamento (sliding from one note to the next),\n a performance tool that was more common in his time than it is in ours,\n and he uses less vibrato than did his colleagues. His phrasing is \nhighly individualistic, and the playing is so alive and in-the-moment \nthat it is impossible for you not to be fully engaged by the \nperformances. Not one phrase is tossed off without a clear sense of \nwhere it fits in the overall scheme of the piece. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt must also be noted that both \nperformances gain from remarkable conducting. Szell and Rodzinski were \nnot conductors who saw their roles as simple accompanists, but rather as\n full-fledged musical partners, attentive to both detail and overall \nsweep. If I were ordered to use a single word as a descriptor of these \nperformances, that word would be “urgency.” They have about them an \nurgency that communicates a sense that “we must play these pieces right \nnow, and in this way, because we believe so passionately in what the \nmusic has to say and we simply \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emust \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esay it.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIf you want more detail descriptions, you can go to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n and read reviews of the Beethoven by John Bauman (16:5), John W. N. \nFrancis (7:5), and Mortimer Frank (13:5), and of the Brahms by Mortimer \nFrank (7:2) and Lynn René Bayley (37:2). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis new Pristine remastering \nsurpasses all prior versions of both recordings, in fullness of \norchestral sound particularly. The EMI LP transfers of the Beethoven \nhave always sounded remarkably good for a 1934 recording, and there is a\n good Naxos edition as well, but Andrew Rose has somehow managed to find\n a new level of richness of color for both Huberman and the Vienna \nPhilharmonic. The Brahms has undergone an even more major improvement \nover its Music \u0026amp; Arts incarnation. The original source is probably \nan off-the-air recording, rather than a master, and a number of labels \nhave issued it, but never with as little distortion and as wide a \nfrequency range as it has here. The XR ambient stereo version simply \ngives the recording a sense of space that the pure mono version lacks. \nThis is essential listening for anyone interested in performance style \nhistory, the violin, or these great concertos. (That should cover just \nabout everyone)! \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:3 (Jan\/Feb 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC421.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eBronislaw Huberman's legendary Beethoven and Brahms concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"As\n soon as Brahms heard the sound of the violin, he pricked up his ears, \nduring the Andante he wiped his eyes...\" Max Kalbeck, 1896\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eIt was Mark Obert-Thorn who introduced me to the violinist Bronislaw \nHuberman with his transfers for Pristine of the complete Mozart and Bach\n recordings (PASC397) that we issued in 2013. So when I was browsing \nthrough a large collection of LPs donated to Pristine and discovered a \ncouple of discs dedicated to Huberman I resolved to see what I might be \nable to do with them.  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNot for the first time I've found that working from EMI's excellent \nanalogue LP transfers has produced excellent results I would struggle to\n match from their shellac discs, and here the Beethoven has come up \nmagnificently - bar the occasional intrusion of slight peak distortion \nat the very top end you might easily think this a recording from the \n1950s rather than the first half of the 1930s. Huberman's playing and \ntone truly shines, and the Vienna Philharmonic's playing is fully \nrounded and truly magnificent. This is one of the great recordings of \nthe Beethoven Concerto, and in this XR remastered version has surely \nnever sounded this fabulous before.\u003c\/p\u003e\u003cp\u003eThe Brahms hails from a live recording made in 1944, some 48 years \nafter Huberman's playing of the work had won praise and tears from its \ncomposer. Once again I've been able to make major and significant \nimprovements to the sound quality - again battling against high end peak\n distortion whilst trying to preserve and highlight as much of \nHuberman's tone as possible. This is a masterful performance indeed - \nand here once again it is available in unprecedented sound quality that \ndoes full justice to the playing.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eViolin Concerto in D major, Op. 61 \u003c\/span\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra  -  George Szell\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 18-20 June, 1934\u003cbr\u003eColumbia 78s LX.509-512\u003cbr\u003eMatrix Nos. WHAX.30-38\u003c\/p\u003e\n\u003cbr\u003e \u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eViolin Concerto in D major, Op. 77\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York  -  Artur Rodzinski\u003c\/b\u003e\u003cbr\u003e\n\u003cp\u003eRecorded 23 January 1944\u003cbr\u003eLive at Carnegie Hall, New York\u003cbr\u003eBroadcast recording\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003eBronislaw Huberman\u003c\/b\u003e - violin\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC421.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC421.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e1896 - playing for Brahms\u003c\/b\u003e: Max Kalbeck tells of Brahms’s response to the young Huberman's performance of the Violin Concerto: ‘\u003cem\u003eAs\n soon as Brahms heard the sound of the violin, he pricked up his ears, \nduring the Andante he wiped his eyes, and after the finale he went into \nthe green room, embraced the young fellow, and stroked his cheeks.\u003c\/em\u003e’\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eAs a 14-year-old he played Brahms’s Violin Concerto to the composer, \nwho was stunned and allegedly wanted to write a rhapsody especially for \nhim. For his Viennese concerts at around the same time (1896), the \naudience included the likes of Dvorák, Mahler, Bruckner and Johann \nStrauss. Two years earlier the legendary diva Adelina Patti had invited \nhim to take part in her farewell gala in London, which he did, to great \nacclaim. When Europe was in turmoil in the 1930s and with Hitler’s \nGermany out of bounds he would regularly, and passionately, promote the \nideal of a ‘Pan-Europa’ movement. Even Furtwängler’s heartfelt pleas for\n him to return fell on deaf ears. With Europe’s Jews being thrown into \nexile, or worse, he founded what was eventually to become the Israel \nPhilharmonic, Arturo Toscanini conducting the first concerts (without \nfee). Polish-born Bronisław Huberman (1882-1947) constituted a model \ncombination of nobility, impulse and intellect. He was a musical \nmaverick who brooked no compromise and whose few recordings prove the \npoint with a vengeance... \u003c\/p\u003e\u003cp\u003eIn 1937, just before the Anschluss, Huberman left Vienna and took \nrefuge in Switzerland. A year later his career nearly ended when the \naircraft he was travelling in crashed in Sumatra: his wrist and two \nfingers of his left hand were broken. Miraculously, after intensive and \npainful retraining he was able to resume performing. His surviving \noff-air recordings date from this later period, including \nthe Tchaikovsky Concerto under Eugene Ormandy – identical in all but \nsmall details to the 1929 version under William Steinberg – and, most \nvaluably, the Brahms Concerto with Artur Rodzinski on the rostrum (Music\n \u0026amp; Arts, A\/03). To hear Huberman quietly glide back into the main \nbody of the first movement after the cadenza is to understand why Brahms\n reacted the way he did. How sad that he died before writing that \nrhapsody. And what a scoop it would have been, a Brahms rhapsody played \nand recorded by its dedicatee....\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRob Cowan\u003c\/b\u003e, Gramophone, March 2014 - \u003cem\u003eIcons: Bronislaw Huberman (excerpts)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":37144485197,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":37144485261,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":37144485325,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":37144485389,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC421_5c4a7720-a2f0-40dd-a037-701b1b4ccc4c.jpg?v=1494338021"},{"product_id":"pasc439","title":"HUBERMAN plays Tchaikovsky and Lalo (1928-34) - PASC439","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e Violin Concerto\u003cb\u003e\u003cbr\u003eLALO\u003c\/b\u003e Symphonie Espagnole\u003cbr\u003eEncores by \u003cb\u003eBrahms, Chopin, Sarasate, Tchaikovsky\u003c\/b\u003e and \u003cb\u003eZarzycki\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eStudio and live recordings, 1928-34\u003cbr\u003eTotal duration: 72:03\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eBronislaw Huberman, \u003c\/b\u003eviolin \u003cb\u003e\u003cbr\u003eWilliam Steinberg ∙ Staatskapelle Berlin\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eGeorge Szell ∙ Vienna Philharmonic Orchestra\u003c\/b\u003e\u003cb\u003e\u003cbr\u003eSiegfried Schultze\u003c\/b\u003e, piano\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performances are unique. There really was no other violinist quite like Huberman578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI can join a long line of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ecritics\n (as well as many others) in praising these recordings, which have been \nclassics since they were made (the Tchaikovsky in 1928, the Lalo in \n1934, and the miniatures 1929–1932). You can go to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive\n and read enthusiastic raves (and excellent descriptions too) by John \nBauman in 12:4 and 16:5 (the latter the Lalo only), by David Nelson in \n14:4, and Lynn René Bayley in 36:6. Bayley’s review was of a Japanese \nreissue on the Opus Kura label, and I was able to make a direct A-B \ncomparison between the Opus Kura and the Pristine. More importantly, I \nwas able to compare the Pristine with the excellent Naxos transfer of \nthe Tchaikovsky made by Mark Obert-Thorn (paired with a less successful \ntransfer of the Huberman\/Szell Beethoven Concerto) issued in 1999. \nWhatever comparison you make, this now becomes the preferred version of \nboth of these big works, with the miniatures making a lovely bonus. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Opus Kura transfer was noisy and a \nbit harsh. Their engineers obviously took a minimalist approach to \nremoving surface noise from the original 78s, and one admires the purism\n of that style of transferring. However the result had a distracting \namount of noise, and frankly also a hardness of tone to Huberman’s \nplaying and the orchestral strings. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Naxos transfer from 1999 was the \nbest to that date of the Tchaikovsky, and it stood the test of time for \nwell over a decade. The Lalo has never had a truly first-rate transfer. \nBut Andrew Rose has trumped all of his predecessors. There is less noise\n on the Tchaikovsky than is audible on Naxos’s transfer, but Rose has \nmanaged to remove that noise without negatively affecting the sound of \nthe soloist or orchestra. And his XR stereo approach adds some air and \nspace to the overall soundstage without detracting from clarity or \npresence. It is difficult to imagine that anyone will ever make these \nsound better, though I suppose I might have said that after the Naxos \nTchaikovsky release. At any rate, this is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eversion to have of these two classic performances.  [\u003ci\u003e*see note below\u003c\/i\u003e]\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performances are unique. There \nreally was no other violinist quite like Huberman, and you can get a \nsense of that from reading the reviews in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eArchive that I cited above. Huberman could produce a beautiful, rich tone (listen to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n the Lalo or the Canzonetta of the Tchaikovsky), but beautiful tone was \nnot the centerpiece of his art. Huberman was, in my view, about \nspontaneous flair, spur-of-the-moment drama that nonetheless didn’t pull\n the piece out of shape. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI think this is the very first \nrecording of the Tchaikovsky Concerto. That it has remained available to\n the public on various labels on both LP and CD in the 87 years since it\n was made already makes a statement about its quality. Huberman’s highly\n individual use of portamento and rubato, his phenomenal ability to \nemploy a spiccato technique with a musicality and accuracy that are \nuncanny, his feel for the ebb and flow of Tchaikovky’s line, and the \nfeeling he conveys that he is composing the music as he plays it, \ncombine to make this an extremely important and valuable recording of a \ncornerstone of the repertoire. The Canzonetta is a model of how to use \nrubato effectively to enhance a melodic line. Other critics have \nobserved that Huberman did not concern himself with “elegance,” with the\n niceties of avoiding occasional scrapings or edgy sounds. He was, \nfrequently, going for excitement and creating musical fire, and if a bit\n of beauty were to be sacrificed, all well and good. However much you \nadmire and enjoy Heifetz, Oistrakh, Milstein, Elman, or any other master\n violinist, it is essential that you know this recording. It is unlike \nany of the others. William Steinberg’s flexible accompaniment, and \norchestral playing with a real sense of occasion about it (after all, \nmaking a complete recording of a violin concerto was not an everyday \noccurrence back in 1928) add to the total. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe Lalo is perhaps not as definitive a\n recording, if only because it followed the then common practice of \nomitting the third movement Intermezzo. Still, that same sense of \n“making it up on the spot,” a kind of excitement of discovery of the \nmusic that we rarely get in performances, is present here. And George \nSzell, by treating the score with the same respect he might give a \nMozart or Beethoven concerto, and by getting razor-sharp playing from \nthe Vienna Philharmonic, also makes a major contribution to the whole. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eOne can feel a smile in the face during\n the playing of the miniatures. Clearly Huberman is having fun with the \nSarasate and Zarzycki pieces (I wish Pristine had included what I \nconsider to be Huberman’s greatest recording—Sarsate’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCarmen Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), and all are transferred with a more natural sound than previous efforts. They make a lovely bonus. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eFor anyone to whom the violin is an \nimportant instrument, and to anyone for whom the Tchaikovsky and\/or Lalo\n works are important pieces in the repertoire, this is a release of \ntruly historic importance. “Historic” can be an overused word, but in \nthis case it applies perfectly. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMESb\"\u003e\u003ci\u003e*NB. This is a mono release prepared for Pristine by Mark Obert-Thorn, not, as the reviewer mistakenly implies, an XR Ambient Stereo release remastered by Andrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC439.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eHuberman's magnificent Tchaikovsky and Lalo - and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"T\u003cspan class=\"TIMES\"\u003ehis is a release of truly historic importance\u003c\/span\u003e\" - Fanfare\u003cbr\u003e\"There are no greater violin recordings in existence\" - Gramophone\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eBronislaw Huberman’s 36-year recording career began with four sides \nfor Berliner in 1899 and continued in a series of piano-accompanied \nacoustics for American Brunswick (1921 - 1925).  But it was not until he\n started making electrical recordings for Columbia in Europe (1928 – \n1935) that he was first heard on disc with orchestra.  The Tchaikovsky \nConcerto presented here comes from his first session for the label; but \nthere would be a hiatus of six years before he would record any more \nconcertos, and the rest were all done in a group of concentrated \nsessions in a single month.\u003c\/p\u003e\u003cp\u003eDuring a ten-day period from June 13th through the 22nd in 1934, \nHuberman recorded the two Bach violin concertos and the Mozart 3rd under\n Issay Dobrowen (all on Pristine PASC 397), followed by the Beethoven \n(PASC 421) and the present Lalo \u003cem\u003eSymphonie espagnole\u003c\/em\u003e with George\n Szell.  The sessions were a logistical nightmare:  the hall was often \nin use for other functions; the orchestra was playing at a special \nfestival every night; and Szell had to commute between Vienna and \nPrague, where he conducted evening performances after spending the days \nrecording. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAdded to this was Huberman’s own highly-strung temperament.  As \nColumbia A\u0026amp;R rep Rex Palmer wrote to his London home office at the \ntime, the violinist “broke down in the middle of a record on innumerable\n occasions, and even after obtaining a [completed] master he needed 5 or\n 10 minutes rest before anything further could be done.”  Despite the \nvarious tribulations, Huberman produced classic accounts of all the \nworks recorded, not the least of which was the Lalo.  Through the rather\n over-reverberant hall sound and occasional technical imperfections of \nthe original recording, we hear a performance of great panache and \ndazzling, insouciant virtuosity. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Tchaikovsky Concerto shows another aspect of Huberman’s art.  \nCritic Hans Keller famously called the violinist “part gypsy, part \nsaint”; and while the Bach concertos embody the latter quality, the \nTchaikovsky is perhaps the best example of the former.  No soloist today\n would dare to play the work with the kind of rough-hewn individuality \nand disciplined abandon that Huberman brings to it.  When we hear it, we\n are reminded anew why we listen to historical recordings.  Huberman is \npartnered here with the conductor then known as Hans Wilhelm Steinberg, \nwith whom he would go on to co-found the Palestine Symphony Orchestra \n(later to become the Israel Philharmonic) some eight years later.\u003c\/p\u003e\u003cp\u003eAfter his recording career reached a premature end, Huberman would \ncontinue to play the concerto repertoire in concerts, some of which were\n broadcast and preserved on disc.  A Mozart 4th under Bruno Walter \nsurvives (PASC 397), as does the Brahms with Rodzinski (PASC 421), \nanother Beethoven with Leon Barzin and, just a year before his death, \nanother Tchaikovsky with Ormandy.  Unlike those performances, fine as \nthey are, the recordings on this collection catch him at the height of \nhis powers, before the 1937 plane crash that injured his hands.  They \nstand as a testament to one of the greatest of all violinists and \nrecreative artists.\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\n    \u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eHUBERMAN: TCHAIKOVSKY Violin Concerto, LALO Symphonie Espagnole\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        Encores by Brahms, Chopin, Sarasate, Tchaikovsky and Zarzycki\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cstrong\u003eColumbia Studio Recordings ∙ 1928 – 1934\u003c\/strong\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n    \u003cp\u003e\n        \u003cstrong\u003e \u003c\/strong\u003e\n    \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e TCHAIKOVSKY: Violin Concerto in D major, Op. 35\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro moderato – Cadenza (16:04)\u003cbr\u003e2. 2nd Mvt.: Canzonetta: Andante (6:06)\u003cbr\u003e3. 3rd Mvt.: Finale: Allegro vivacissimo (6:00)\n\n\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eStaatskapelle Berlin ∙ William Steinberg\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 10px;\"\u003eRecorded 28 \u0026amp; 30 December 1928 in the Beethovensaal, Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix nos.: WAX 4509-2, 4510-1, 4511-1, 4512-2, 4513-2, 4514-1 \u0026amp;\n    4515-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2335 through 2338\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e4. \u003cstrong\u003eTCHAIKOVSKY: Mélodie, Op. 42, No. 3\u003c\/strong\u003e (3:29)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 22 February 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 4671-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2338\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    5.\n    \u003cstrong\u003e\n        CHOPIN (arr. Huberman): Waltz in C-sharp minor, Op 64, No. 2\n    \u003c\/strong\u003e\n    (3:15)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 22 February 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 4672-2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LX 137\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n6. \u003cstrong\u003eBRAHMS (arr. Joachim): Hungarian Dance No. 1 in G minor \u003c\/strong\u003e    \u003cstrong\u003e \u003c\/strong\u003e(3:01)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 7 February 1932\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: IDWA 9155-5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LB 8\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    7.\n    \u003cstrong\u003e\n        SARASATE: Romanza andaluza (No. 1 from \u003cem\u003eDanzas españolas\u003c\/em\u003e, Op.\n        22)\n    \u003c\/strong\u003e\n    (4:39)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 10 June 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 5006-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2332\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    8. \u003cstrong\u003eZARZYCKI: Mazurka in G major, Op. 26\u003c\/strong\u003e (4:22)\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded 11 June 1929 in the Columbia Petty France Studio, London\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix no.: WAX 5011-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia L 2332\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n    \u003cstrong\u003eSiegfried Schultze (piano) \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eLALO: Symphonie espagnole, Op. 21\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt.: Allegro non troppo (7:22)\u003cbr\u003e10. 2nd Mvt.: Scherzando: Allego molto (3:49)\u003cbr\u003e11. 4th Mvt.: Andante (6:02)\u003cbr\u003e12. 5th Mvt: Rondo: Allegro (7:54)\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eVienna Philharmonic Orchestra ∙ George Szell\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cspan style=\"font-size: 10px;\"\u003eRecorded 20 \u0026amp; 22 June 1934 in the Mittlerer Konzerthaussaal, Vienna\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eMatrix nos.: WHAX 39-3, 40-2, 41-2, 42-1, 43-3 \u0026amp; 44-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eFirst issued on Columbia LX 347 through 349\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBronislaw Huberman (violin)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003e\n    Additional restoration and pitch stabilisation by Andrew Rose\n\u003c\/p\u003e\n\u003cp\u003e\n    Total Timing: 72:04\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC439.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC439.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":14167871389757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":14167871422525,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC439_1e2ce042-89d4-4b33-815c-d28714f3c727.jpg?v=1556784961"},{"product_id":"paco068","title":"KARAJAN Strauss: Die Fledermaus (1960) - PACO068","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eJ STRAUSS II \u003c\/b\u003eDie Fledermaus\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1960\u003cbr\u003eTotal duration: 1hr 57:05\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eHilde Gueden\u003cbr\u003eWaldemar Kmentt\u003cbr\u003eErika Köth\u003cbr\u003eRegina Resnik\u003cbr\u003eVienna Philharmonic Orchestra \u0026amp; State Opera Chorus\u003cbr\u003eHerbert von Karajan\u003c\/b\u003e, conductor\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fTo my surprise, comparison with Decca’s own latest CD incarnation gives a clear advantage to Pristine578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis lavish Decca stereo (John Culshaw)\n production from 1960 famously featured not only the elaborate sound \neffects for which the company was well known in those days, to enhance \nthe party atmosphere in act II, but also an interpolated Gala \nperformance of star turns from a succession of Decca big names in an \neclectic selection of light and what would now be called “crossover” \nfare. The recording also included the act II ballet sequence, part of \nStrauss’s score but rarely heard. Previous CD reissues on Decca have \nretained the Gala but not the ballet (which presumably would have \nnecessitated a third CD). Pristine does the opposite, restoring the \nballet but excising the Gala. For my part, I find it an irrelevant \ndistraction and don’t miss it one bit, but for those who feel otherwise,\n Pristine has released it separately. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAt first I was skeptical that Andrew \nRose’s XR treatment could do anything for such vintage stereo fare from a\n major label. But to my surprise, comparison with Decca’s own latest CD \nincarnation, in its Originals line, gives a clear advantage to Pristine;\n tuttis are more open, warmer, with sharper detail and imaging. On the \nother hand, Decca’s sound is a little smoother in quiet passages, where \nPristine’s transfer betrays its LP source, though this is a small point.\n Overall this is most impressive, and given the choice I would now opt \nto listen to the Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance is a classic that calls\n for little comment. Karajan’s conducting combines high polish and an \nidiomatic Viennese quality: an easy authority that is very persuasive, \neven if his direction is longer on aristocratic reserve, and rather \nshorter on spontaneous high spirits, than with the Philharmonia in his \nEMI set of five years earlier. And if he is less memorably individual \nthan Clemens Krauss was with the Vienna Philharmonic in Decca’s 1950 \npredecessor, so is every other conductor on record. The cast is \nuniformly excellent (Hilde Gueden repeating her entrancingly earthy \nRosalinde from the Krauss set, now 10 years older and a little darker in\n voice and expression)—with one exception, Regina Resnik’s low-pitched, \ntired-sounding Orlofsky, who sounds much too old. A major difference \nfrom the two classic sets mentioned above concerns the inclusion of \nspoken dialog, which is most welcome in imparting crucial breathing room\n to the listening experience. (It is completely cut from the other \nsets.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIf you have the set in one of its \nprevious CD incarnations you already have the Gala, so you won’t miss it\n here. But you have to buy the Pristine (or the original LP set) to get \nthe ballet—reason enough to justify purchase, and you’ll get a \nbetter-sounding remastering into the bargain. A win-win proposition, and\n strongly recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO068.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKarajan's ground-breaking 1960 stereo Decca Fledermaus\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIn a stunning 21st century XR-remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A win-win proposition, and strongly recommended\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording of Die Fledermaus was chosen by Decca to \nlaunch a premium-price opera label, and in its original release included\n a sequence at the end of the second act, Prince Orlofsky's Gala Ball, \nin which a series of Decca's star singers not otherwise involved in the \nrecording perform a series of songs, including \u003cem\u003eSummertime\u003c\/em\u003e,\u003cem\u003e I Could Have Danced All Night\u003c\/em\u003e, \u003cem\u003eAnything You Can Do\u003c\/em\u003e,\n and others. Although this sequence appears on subsequent Decca CD \nissues, it was excluded from their 1962 SXL issue and is omitted here - \nas the Gramophone critic noted in 1960, for some listeners it would \nsurely constitute \"a very considerable disruption of the kind of mood so\n far established\". It can be found, together with the ballet music and a\n collection of earlier Strauss recordings by Karajan on Pristine \nPACO070.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eMy initial aim in this new transfer and 32-bit \nXR-remastering was simply to see what 21st century technology might \nbring to a superb, but now 51-year-old recording, if anything. I was \ndelighted to discover the answer was \"quite a lot\" - more immediacy, \nvibrancy and sense of dimension that really does breathe new life to a \nclassic. I also noted carefully the pitching, as Viennese tunings \ntraditionally tend to be slightly sharper than the standard A4=440Hz. \nThe recording came off the Decca LPs at A=449.24, but close analysis of \nresidual electrical hum suggested an original tuning of A=445.67, and my\n restoration therefore adopts this pitch.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJOHANN STRAUSS II \u003c\/b\u003eDie Fledermaus\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded at the Sofiensaal, Vienna, 12-20 June, 1960\u003cbr\u003e Produced by John Culshaw, Christopher Raeburn and Erik Smith\u003cbr\u003e Engineered by James Brown (stereo) and Gordon Parry (mono)\u003cbr\u003e First issued in November 1960 as Decca SET201-3\u003cbr\u003e Transfers from Decca SXL 6015\/6\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003eRosalinde (\u003cem\u003ewife of Eisenstein\u003c\/em\u003e) \u003cb\u003eHilde Gueden\u003c\/b\u003e\u003cbr\u003e Gabriel von Eisenstein (\u003cem\u003ea well-to-do gentleman\u003c\/em\u003e) \u003cb\u003eWaldemar Kmentt\u003c\/b\u003e\u003cbr\u003e Adele (\u003cem\u003emaid to Rosalinde\u003c\/em\u003e) \u003cb\u003eErika Köth\u003c\/b\u003e\u003cbr\u003e Falke (\u003cem\u003efriend of Eisenstein\u003c\/em\u003e) \u003cb\u003eWalter Berry\u003c\/b\u003e\u003cbr\u003e Frank (\u003cem\u003ea prison governor\u003c\/em\u003e) \u003cb\u003eEberhard Wächter\u003c\/b\u003e\u003cbr\u003e Alfred (\u003cem\u003ean Italian tenor\u003c\/em\u003e) \u003cb\u003eGiuseppe Zampieri\u003c\/b\u003e\u003cbr\u003e Prince Orlofsky (\u003cem\u003ea young Russian nobleman\u003c\/em\u003e) \u003cb\u003eRegina Resnik\u003c\/b\u003e\u003cbr\u003e Dr. Blind (\u003cem\u003eEisenstein's lawyer\u003c\/em\u003e) \u003cb\u003ePeter Klein\u003c\/b\u003e\u003cbr\u003e Frosch (\u003cem\u003ea prison warder\u003c\/em\u003e) \u003cb\u003eErich Kunz\u003c\/b\u003e\u003cbr\u003e Ida (\u003cem\u003eAdele's sister\u003c\/em\u003e) \u003cb\u003eHedwig Schubert\u003c\/b\u003e\u003cbr\u003e Lord Barrymore (\u003cem\u003ean English nobleman\u003c\/em\u003e) \u003cb\u003eOmar Godknow\u003c\/b\u003e*\u003cbr\u003e Ivan (\u003cem\u003ebutler to Prince Orlofsky\u003c\/em\u003e) \u003cb\u003eB. Fasolt\u003c\/b\u003e*\u003cbr\u003e Carikoni (\u003cem\u003ean influential man\u003c\/em\u003e) \u003cb\u003eAndre von Mattoni\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eVienna Philharmonic Orchestra \u0026amp; State Opera Chorus \u003cbr\u003e Herbert von Karajan \u003c\/b\u003econductor \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded at the Sofiensaal, Vienna, 12-20 June, 1960\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, November 2011\u003cbr\u003e Front cover artwork based on a photograph of Herbert von Karajan rehearsing Fledermaus\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e*We assume these two are pseudonyms - \"oh my god no\" and \"beef assault\" (beef and salt?) if you read them out loud...\u003cbr\u003e \u003cbr\u003e\n Update: We've been reliably informed that: \" “Omar Godknow” is \nChristopher Raeburn (one of the producers and eventually head of Decca \nOpera Recordings) and “B. Fasolt” is Terry McEwen, who ran \nDecca\/London’s New York office.\"\u003cbr\u003e\u003cbr\u003eFrom another correspondent: \"[B.\n Fasolt ]is an anagram of the words \"Fat slob\" in referring to the \nDecca's man in the USA - Terry McEwen, later to become General Manager \nof the San Francisco Opera. The unkind description referred to his \nrather bulky size. I only ever met him once, a not very memorable \nexperience and he came across as rather grand and with his bulk always \nseemed to be next to you in a room. His gift for recognising voices can \nbe found on a number of Sutherland\/Bonynge recordings where one can hear\n for example early disc appearances by Samuel Ramey and James Morris, \neven Horne and Pavarotti. Raeburn was very nice and was the most \nmusically artistic of the Decca team.\"\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO068.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO068.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":32595795021,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":32595795149,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":32595795277,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO068_3d3e1252-2c1e-4f32-a2ec-fdc3c7f9c6de.jpg?v=1487848907"},{"product_id":"paco070","title":"KARAJAN Strauss: Die Fledermaus Ballet \u0026 Gala, Walztes \u0026 Overtures (1960, 1940-42) - PACO070","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eJ STRAUSS II \u003c\/b\u003eDie Fledermaus: Ballet \u0026amp; Gala (various composers)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eJ STRAUSS II \u003c\/b\u003eWaltzes and Overtures\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D770C60\"\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded Vienna 1960 and Berlin 1940-42\u003cbr\u003eTotal duration: 74:28\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\u003cul data_liveedit_tagid=\"000000000D7708D0\"\u003e\n\u003c\/ul\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eRenata Tebaldi, \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBirgit Nilsson,\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eJussi Björling, \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eLeontyne Price\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eEttore Bastianini, \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eLjuba Welitsch \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003eet al\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eVienna Philharmonic Orchestra \u0026amp; State Opera Chorus\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra \u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eHerbert von Karajan\u003c\/b\u003e, conductor \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs for the early Strauss recordings, they show a Karajan much more in the true Viennese waltz tradition. Considering that this is Johann Strauss and not Richard, I say go for the schmaltz!578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis is Andrew Rose’s reissue of the gala sequence from Karajan’s 1960 recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Fledermaus, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ealong\n with four rare early 1940s recordings of Strauss pieces with the Berlin\n Philharmonic. In his notes, Rose explains the splitting up of the gala \nfrom the main recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFledermaus\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e: It seems that the LP copy he transcribed to CD didn’t include either.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI never thought this particularly long gala \nsequence, with its inclusion of Broadway and pop tunes of the time, was \nreally appropriate within \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFledermaus,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n despite what one considers “tradition.” Moreover, I felt that Renata \nTebaldi sounded both dull in interpretation and vocally uncomfortable, \nand as someone who spent the better part of a decade (1971–81) \ncollecting everything that Jussi Björling ever recorded, I have to \nsay—very subjectively—that this performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDein ist mein ganzes Herz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is, for me, the worst piece of singing by him issued commercially. The \nvoice sounds strained and labored throughout, with even a touch of \nwobble—the only Björling recording to have a wobble. Of course, there \nwere mitigating circumstances. He had suffered a heart attack in March \n1960, just before a performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Bohème\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at Covent Garden. The reason he refused to cancel was that Queen \nElizabeth was present, and Björling had been raised to believe that you \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enever\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n canceled for royalty. He had also just finished recording the Verdi \nRequiem at the Sofiensaal with Fritz Reiner, and in fact was currently \nrehearsing \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUn ballo in maschera\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n for yet another recording, this time with Georg Solti. Thus he was \noverworked at a time when what he desperately needed was rest. I’m sure \nthat John Culshaw pressed him into service for this gala just because he\n was handy and under contract, but it was a bad idea to issue his \ncontribution. One could also say the same of Ljuba Welitsch’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWien, Wien nur du allein,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n where the singer’s poor vocal estate, like Björling’s, is not at all \nhelped by Karajan’s ridiculously slow tempos. Good grief! Even Richard \nTauber would fall apart trying to sing the piece at \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003etempo!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe other subpar contribution here is not the \nresult of being in poor voice but of just being who she was, and that is\n Joan Sutherland’s unintelligible, portamento-ridden, droopy version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIl bacio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. (I almost fell on the floor laughing as she uncorked a downward portamento that I thought would actually fall \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethrough \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe floor.) Otherwise, there are some really fun moments here, particularly Fernando Corena’s singing of the French pop tune \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomino,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e an unbuttoned Nilsson performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eI Could Have Danced All Night\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (complete with a ringing high C at the end), Berganza’s ear-ravishing performance of the little Lavilla \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLullaby,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and those two well-known vaudevillians, Simionato and Bastianini, having great fun with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAnything You Can Do.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Leontyne Price’s version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSummertime\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (this might be her earliest recording of it) is fresh-toned and glorious.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs for the early Strauss recordings, they show a \nKarajan much more in the true Viennese waltz tradition. The music has \nplenty of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egemüchlichkeit,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e even with throbbing string vibrato in the performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eArtist’s Life\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n that I’m sure the Karajan of the 1950s would have denied ever having \ndone. The same may be said of the other pieces from this era. This is \ncertainly not the way we’d hear this music performed today, and to a \ncertain extent that’s good, but considering that this is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJohann\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Strauss and not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRichard,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e I say go for the schmaltz!  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePerformance-wise, then, it’s a mixed bag. \nSonically, it’s a treat. Rose has managed to slightly reduce the \nfrustrating tunnel sound that Decca-London had recently begun indulging \nin (and which would last a decade), which makes the orchestra and voices\n sound rather clearer. Your decision to acquire it will, of course, \ndepend on your nostalgia for this particular recording or your curiosity\n in hearing it if you haven’t already. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003ch4\u003e\n\u003cspan style=\"font-size: 11px;\"\u003eThis article originally appeared in Issue 35:6 (July\/Aug 2012) of \u003c\/span\u003e\u003cspan style=\"font-size: 11px;\"\u003eFanfare\u003c\/span\u003e\u003cspan style=\"font-size: 11px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO070.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKarajan's ground-breaking 1960 stereo Decca Fledermaus\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIn a stunning 21st century XR-remastering\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A win-win proposition, and strongly recommended\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eOur remastering of Karajan's 1960 Die Fledermaus (PACO \n068) was drawn from the a 1962 SXL issue which excluded the Ballet and \nGala sequence of the original LPs. Immediately following the release I \nwas asked by a number of correspondents to restore both the Gala (which \nalso appears on the current Decca CD reissue) and the Ballet (which does\n not). For my own personal tastes the present, separate release, is a \nmore satisfactory solution both to the interruption otherwise of the \nflow Die Fledermaus, and to the difficulties of fitting the entire thing\n onto two CDs. I have applied exactly the same XR remastering treatments\n to the Ballet and Gala as were applied to the previous issue and faded \nout the present recording at the point at which the two begin to match \nonce more.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis splitting of the works not only allows for the \nBallet to be issued, but also for us to explore Herbert von Karajan's \nfour Johann Strauss recordings of the early 1940s, made with the Berlin \nPhilharmonic Orchestra for 78rpm release by Deutsche Grammophon. In each\n case the recordings have been completely transformed from dull, wartime\n issue sound into music which sparkles and shines in a quite remarkable \nand unexpected manner. Despite the occasional flaw one expects from \nrecordings of this vintage, the detail and range of the recordings is \nastonishing when heard in these 32-bit XR-remastered reincarnations.\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\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eJOHANN STRAUSS II \u003c\/b\u003eDie Fledermaus - Ballet\u003c\/span\u003e\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLEHAR, LEON, STEIN\u003c\/b\u003e Vilia-Lied \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(\u003cem\u003eThe Merry Widow\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eRenata Tebaldi\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eFERRARI, PLANTE\u003c\/b\u003e Domino\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eFernando Corena\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLOEWE, LERNER\u003c\/b\u003e I Could Have Danced All Night \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(\u003cem\u003eMy Fair Lady\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eBirgit Nilsson\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eVALENTE, TAGLIAFERRI, BOVIO\u003c\/b\u003e Passione\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eMario del Monaco\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eLAVILLA\u003c\/b\u003e Lullaby\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eTeresa Berganza\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eARDITI\u003c\/b\u003e Il bacio\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eJoan Sutherland\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\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\u003eLEHAR\u003c\/b\u003e Dein ist mein ganzes Hertz \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(\u003cem\u003eLand of Smiles\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eJussi Björling\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eGERSHWIN, GERSHWIN, HEYWARD\u003c\/b\u003e Summertime \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(\u003cem\u003ePorgy and Bess\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eLeontyne Price\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBERLIN\u003c\/b\u003e Anything you can do \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e(\u003cem\u003eAnnie Get Your Gun\u003c\/em\u003e)\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eGiulietta Simionato \u0026amp; Ettore Bastianini\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSIECZYNSKI\u003c\/b\u003e Wien, Wien nur du allein\u003cbr\u003e \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003eLjuba Welitsch\u003cbr\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded at the Sofiensaal, Vienna, 12-20 June, 1960\u003cbr\u003e Produced by John Culshaw, Christopher Raeburn and Erik Smith\u003cbr\u003e Engineered by James Brown (stereo) and Gordon Parry (mono)\u003cbr\u003e First issued in November 1960 as Decca SET201-3\u003cbr\u003e Transfers from Decca SET 202\/3 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003ePresented in Stereo\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eVienna Philharmonic Orchestra \u0026amp; State Opera Chorus \u003cbr\u003e Herbert von Karajan \u003c\/b\u003econductor \u003cb\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSTRAUSS\u003c\/b\u003e Künstlerleben, Op. 316\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSTRAUSS\u003c\/b\u003e Kaiser-Walzer, Op. 437\u003c\/li\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eSTRAUSS\u003c\/b\u003e Der Zigeunerbaron - \u003cem\u003eOverture\u003c\/em\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Die Fledermaus - \u003cem\u003eOverture\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003e\u003cbr\u003e Künsterleben\u003c\/b\u003e\u003cbr\u003e Recorded Raum IX, Alte Jacobstrasse 31\/32, Berlin, 7 June 1940\u003cbr\u003e \u003cb\u003eKaiser-Waltzer\u003c\/b\u003e\u003cbr\u003e Recorded Raum IX, Alte Jacobstrasse 31\/32, Berlin, 6 September 1941\u003cbr\u003e \u003cb\u003eOvertures\u003c\/b\u003e\u003cbr\u003e Recorded 21 October 1942\u003cbr\u003e Transfers from Polydor 67585, 67649, 67997, 68043 \u003cbr\u003e \u003cb\u003ePresented in Ambient Stereo\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003e Berlin Philharmonic Orchestra\u003cbr\u003e Herbert von Karajan \u003c\/b\u003econductor\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eRecorded Vienna 1960 and Berlin 1940-42\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, December 2011\u003cbr\u003e Front cover artwork based on a photograph of Herbert von Karajan rehearsing Fledermaus\u003cbr\u003eTotal duration: 74:28\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\/PACO070.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO070.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003eFURTHER INFORMATION ON THE GALA RECORDINGS:\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\n There's absolutely no hard information given with the LP booklet as to \nexactly who's playing on the gala sequence. The nearest we get is some \npassages in John Culshaw's note: \u003cbr\u003e \u003cbr\u003e \"In producing this Gala \nPerformance of Johann Strauss's \"Fledermaus\" for records we have tried \nto surround the self-contained vivacity of the music with dialogue and \neffects \"paced\" according to the atmosphere of each act: the intimate, \ndrawing-room comedy of the first, the bustle and gaiety of Orlofsky's \nparty in the second, and four-in-the-morning hangover which persists for\n the first part of the third. The Gala sequence itself, in which many of\n the world's greatest opera singers appear in a series of party turns, \nis based on a tradition preserved in several opera houses (notably the \nMetropolitan, New York) for the special New Year's Eve performance. It \nfits neatly into the second act and demands no modification in Strauss's\n original score. \u003cbr\u003e \u003cbr\u003e Making the recording of the second act was \nsomething of a party itself. In addition to the principals and the \nVienna Philharmonic, hundreds of \"extras\" and several small bands took \npart so that one should be able to imagine the guests moving from one \npart of the palace to another: from the gambling room to the garden, and\n from Orlofsky's reception hall to the dance floor. For example, \nimmediately after those who are surrounding Adele have applauded her \naria another burst of applause is heard some distance away, signifying \nthe arrival of Frank disguised as the Chevalier Chargrin, while the band\n in that part of the building greets him with a suitable anthem. A \ndifferent sort of innovation occurs in the Act 3 melodrama, immediately \nafter Frosch's opening monologue. Since records cannot convey the comic \nmime for which this passage was written, we have devised a sort of aural\n equivalent — the incident of Frosch's disastrous encounter with an \nancient Viennese coffee machine. \u003cbr\u003e \u003cbr\u003e This, then, is a Gala \nFledermaus produced and recorded in Johann Strauss's own city, Vienna — \nindeed, in a hall in which he himself frequently appeared. Perhaps this \ncontributed more than anything else to the atmosphere we were trying to \nre-create: the \"Schwung\", the comedy and the elegance of this \nincomparable operetta.\" \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e Philip Stuart's Decca Discography states the following were recorded as a part of the main sessions: \u003cbr\u003e \u003cbr\u003e Dein ist mein ganzes Herz - Jussi Björling (tenor) \u003cbr\u003e Summertime - Leontyne Price (soprano) \u003cbr\u003e Wien, Wien nur du allein - Ljuba Welitsch (soprano) \u003cbr\u003e I could have danced all night - Birgit Nilsson (soprano) \u003cbr\u003e Anything you can do - Giulietta Simionato (mezzo-soprano) \u003cbr\u003e \u0026amp; Ettore Bastianini (baritone) \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e It then adds: \u003cbr\u003e \u003cbr\u003e Five more “guests” were recorded in London and Rome in Jun-Jly 60. \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e I tracked down first the Rome recordings: \u003cbr\u003e \u003cbr\u003e Pr: John Culshaw Eng: Roy Wallace \u003cbr\u003e [ab] 18-19 \u0026amp; [c] 25-26 Jly 1960 Santa Cecilia, Rome \u003cbr\u003e [a] Passione - Mario Del Monaco (tenor) \u003cbr\u003e [b] Domino - Fernando Corena (bass) \u003cbr\u003e [c] Vilja - Renata Tebaldi (soprano) \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e Then the London sessions: \u003cbr\u003e \u003cbr\u003e Pr: Michael Bremner Eng: Alan Abel (m), Cyril Windebank (s) \u003cbr\u003e [a-g] 8-11 \u0026amp; [h] 10 Jun 1960 Kingsway Hall \u003cbr\u003e Teresa Berganza (mezzo-soprano); [h] Felix Lavilla (piano); \u003cbr\u003e [a-g] Royal Opera House Orchestra, Alexander Gibson \u003cbr\u003e [a] HANDEL Giulio Cesare HWV17 : Piangerò, la sorte mia \u003cbr\u003e [b] PERGOLESI La Serva Padrona : Stizzoso, mio stizzoso \u003cbr\u003e [c] GLUCK Alceste : Divinités du Styx \u003cbr\u003e [d] GLUCK Orfeo ed Euridice : Che farò \u0026amp; Che puro ciel \u003cbr\u003e [e] GLUCK Paride ed Elena : O del mio dolce ardor \u003cbr\u003e [f] PAISIELLO Nina Pazza per Amore : Il mio ben \u003cbr\u003e [g] CHERUBINI Medea : Medea, O Medea \u003cbr\u003e [h] Lullaby [for Prince Orlofsky’s Gala Ball] \u003cbr\u003e \u003cbr\u003e \u003cbr\u003e Pr: James Walker Eng: Arthur Lilley \u003cbr\u003e 26 Jly 1960 West Hampstead Studios \u003cbr\u003e Joan Sutherland (soprano), ensemble \u003cbr\u003e ARDITI Il bacio - waltz song [for Prince Orlofsky’s Gala Ball] \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":33843491917,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":33843492045,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":33843492109,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO070.jpg?v=1489153420"},{"product_id":"paco111","title":"KEILBERTH, KRAUSS R Strauss: Salome, Aus Italien (1951\/53) - PACO111","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e Salome\u003cb\u003e\u003cbr\u003eR. STRAUSS\u003c\/b\u003e Aus Italien\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eLive and studio recordings · 1951 \u0026amp; 1953\u003cbr\u003eTotal duration: 2hr 19:29\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eInge Borkh\u003c\/b\u003e (Salome)\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eIrmgard Barth\u003c\/b\u003e (Herodias)\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eHans Hotter\u003c\/b\u003e (Jokanaan)\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eMax Lorenz \u003c\/b\u003e(Herod)\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eLorenz Fehenberger \u003c\/b\u003e(Narraboth)\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003eBavarian State Opera Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eJoseph Keilberth\u003c\/b\u003e, conductor \u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eClemens Krauss\u003c\/b\u003e, conductor \u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fDelightful through and through, bathed in Italian sunshine filtered through Strauss578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe premiere of Strauss’s opera took \nplace in Dresden in December 1905. By the time five months had passed \nthe opera had generated enough controversy that among the audience which\n attended the first Graz performance were Mahler, Puccini, and \nSchoenberg. Strauss may or may not have been being facetious when he \nsaid the opera contained no difficulties, describing it as “a scherzo \nwith a fatal conclusion” and claiming that “it should be played as if it\n were by Mendelssohn.” I suspect that the anecdote that has him telling \nthe orchestra to play louder “because I can still hear the singers” is \napocryphal and much of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’s\n orchestration, despite the huge orchestral forces, is quite delicate \nand refined. He originally wanted the title role performed by a dramatic\n soprano despite the fact that few of them could convincingly pass as \nteenagers, much less actually perform the Dance of the Seven Veils. His \nchoice as the original Herod was Carl Burrian (Karel Burian), a \nHeldentenor who sang nearly all the big Wagnerian tenor roles at the \nMet. Eventually, Strauss decided that lighter-voiced sopranos could sing\n the role after all, and among the eventual Salomes were Maria Cebotari,\n Lisa Della Casa, and Anna Silja. He even composed a thinner \norchestration for use in smaller theaters, and recordings have made it \npossible for “character tenors” to play Herod, but the live broadcasts \nI’ve heard use Heldentenors: Set Svanholm (Reiner), Jon Vickers (Kempe),\n and Max Lorenz (Keilberth). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eAs you can see above, Keilberth’s \ndates from July 1951. Yes, it is monaural, but surprisingly vivid for an\n old radio broadcast. Joseph Keilberth, of whom I have never been a big \nadmirer, holds his own with such recorded colleagues as Karajan, Kempe, \nKrauss, Sinopoli, and Solti, helped to a considerable extent by the fact\n that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is a\n piece of musical machinery that is difficult to ruin—once set in motion\n by a competent conductor and given a good enough cast, it’s going to \nwork. Leading Keilberth’s cast is Inge Borkh, a celebrated Salome and \nElektra who certainly puts across, at least, the aural picture of Salome\n as an impulsive, obsessive teenager. Hans Hotter’s Lieder smarts avail \nhim little in so declamatory a role as Jokanaan—he’s good but really no \nbetter than Hans Braun (Krauss), Bryn Terfel (Sinopoli), Thomas Stewart \n(Kempe), José van Dam (Karajan) or Eberhard Wächter (Solti). The veteran\n Heldentenor Max Lorenz may not have been much of a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n by 1951, but he could certainly handle Herod as well as anyone else \nI’ve heard perform it. Kempe’s live performance from the Orange (France)\n Festival has the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecachet \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eof\n Jon Vickers in a role he seldom (if ever again) undertook, but the \ndirector had him spending a lot of time toward the rear of the stage so \nthis in-house recording minimizes his impact on the performance. Leonie \nRysanek is a disappointing Salome who seems more concerned about being \ndrowned out than creating a character. She’s the Herodias on Sinopoli’s \nrecording, which stars Cheryl Studer, who takes full advantage of the \nfact that she doesn’t have to project her voice into a large theater. \nBryn Terfel’s cistern seems a bit far away but you can always hear him. \nHorst Hiestermann is a more-than-adequate Herod. I used to think that \nHerbert von Karajan and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was a perfect match of conductor and opera and his recording did not \ndisappoint me, nor did Hildegard Behrens’s performance of the title \nrole. The rest of the cast is fine, too. Solti has the benefit of Birgit\n Nilsson’s terrific Salome, both dramatically as well as vocally. \nGerhard Stolze, who might have been unsatisfactory in person, is able to\n create a nice, slimy Herod on the recording and Eberhard Wächter’s \nbang-it-out style works for Jokanaan. If you don’t mind a single \nchannel, Clemens Krauss gave us a fine recording 60 years ago that still\n holds up well. Christel Goltz, Hans Braun, and Julius Patzak head the \nstrong cast of Viennese veterans. I have hardly mentioned Herodias and \nNarraboth because these characters, while they contribute to the action,\n are not exactly make-or-break roles. Given the excellent two-channel \nrecordings by Karajan, Sinopoli, and Solti, I can see little \njustification for recommending Keilberth’s 1951 broadcast, despite its \nobvious virtues. If it matters, Clemens Krauss’s 1954 studio recording \nof \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e \nserves as a bonus filler, but in Pristine’s transfer the strings seem a \nbit too bright and disembodied from the orchestra. If I must listen to \nthis overlong, early Strauss tone poem in a mono recording, I prefer \nDecca’s CD transfer of the Krauss (they were presumably able to work \nfrom the master tape). The most interesting thing about \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e for me is that Strauss, under the illusion that it was a folk song, made several strong allusions to Luigi Denza’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFuniculi, funicula\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in the final movement only to discover, to his embarrassment, that it was under copyright.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e \u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis performance has been available \nbefore, but here appears under the Pristine label in a remastering by \nAndrew Rose. Previous commentators are right to identify Hans Hotter as \nthe prime reason for acquiring the set. He sang the role with Strauss \nhimself conducting (and not just once), so there is a sense of \nauthenticity from that regard. And Hotter’s Jokanaan is indeed \nremarkable, his velvety voice still capable of carrying huge distances \n(even, ostensibly, from the bottom of wells). When he is first in focus \n(that is, at ground level) it is less imposing, more truly frightening, a\n prophet who surely should be in the Old Testament with its tales of \nutter violence. From this perspective, the outlay on the issue is fully \nvindicated. He is magnificent, a vocal Empire State Building. The top \nend of his voice never thins, maintaining the richness of tone, \nsomething vital in this role. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe sound on Pristine’s offering seems \nvery open, and there is plenty of orchestra detail. It also sheds more \nlight on Inge Borkh’s rather harsh sound and sometimes unpleasant \nvibrato. The surely deliberate petulance of the earlier parts of the \nopera opens out later, allowing the torment and, indeed, vortex of \nemotions to shine through. Max Lorenz starts off with plenty of vocal \nstrength for Herod (“Salome, komm, trink Wein mit mir”), and manages to \nproject the frustrations of obsession well, if not absolutely \ngrippingly. He does seem to tire later, though; neither is his Herodias,\n Irmgard Barth, in top form. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eHowever, Keilberth’s way with the \norchestra is mightily impressive. There is amazing detail to the louder \npassages lost in many other recordings, a fact particularly impressive \ngiven the provenance of the issue. He seems to have an instinctive grasp\n of the light and shade (there is light) of the score, and his \nrealization of Strauss’s harmonic points have just the right amount of \ngive for them to register fully without degenerating into point-making. \nThe foregrounded percussion at the outset of Salome’s Dance is somewhat \nsurprising; the way Keilberth slides into the dance itself via the \nslithery bass figures more than compensates, as does the way he paces it\n inexorably towards its climax as if it were a Ravel \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n viewed through a hallucinogenic kaleidoscope. Keilberth shapes the \nfinal portion of the opera like a master, increasing the horror of the \nunfolding story (listen to the vivid bass, perfectly retained here in \nthis issue, around “Ach ich habe deinen Mund geküssst,” towards the end \nof the opera: The hollowness of that bass, the sparseness of the texture\n and the desolate wind figurations tell the whole story. The Modernist \nshrieks of the final pages are viscerally rendered. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAus Italien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n was issued on Decca LXT2917, produced by Victor Olof. Recorded in \nDecember 1953 in the Grosser Musikverein, this is a much undervalued \nscore (I for one have yet to hear it live), yet it holds much of value. \nKrauss is here fortunate to have the golden sound of the Vienna \nPhilharmonic at his disposal: Listen to how the opening of the first \nmovement, “Auf der Campagna,” glows with an inner light. The long violin\n lines are dripping with affection above a lush carpet of an \naccompaniment. There is no sense of apology for the youth of the \ncomposer here (it was written in 1887). One can discern the great \norchestrator (try the opening of the third movement, “Am Strande con \nSorrent”), and many Strauss fingerprints are there (the rhythmic figures\n of the second movement, “In Roms Ruinen,” for example, given with such \naccuracy by the Vienna players). The score is, at many points, simply \nmagical and has lain in the shadow of the more famous tone poems for far\n too long. Keilberth is a miraculous guide, allowing the lines to \nbreathe naturally. The explosion of the finale (“Neapolitanisches \nVolksleben”) uses a tune by Denza (you’ll know it, for sure) which \napparently Strauss mistook for a Neapolitan folk tune. The finale is in \nfact delightful through and through, bathed in Italian sunshine filtered\n through Strauss. Interpreted by the VPO, who could ask for more? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eColin Clarke\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO111.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKeilberth and Krauss conduct a Richard Strauss double bill: Salome \u0026amp; Aus Italien\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Strauss\n wanted Mendelssohn-like textures in his Salome. These Keilberth, one of\n the last conductors to work with the composer, provides...\" - \nGramophone\u003cbr\u003e\u003cbr\u003e\"I don’t know of any record that sounds better than this highly recommended one of Aus Italien\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eAs live staged opera recordings of the era go, the 1951 Keilberth \u003cem\u003eSalome\u003c\/em\u003e\n was remarkably successful., giving me plenty to work from. This XR \nremastering has dealt with the rather constricted sound of the original,\n bringng out depth, a sense of space, and a sparkling top end that makes\n a huge difference to the dramatic impact of the performance. This had \nthe unexpected bonus of improving the perceived balance between singers \nand orchestra to a significant degree, all of which is of great benefit \nto the overall impression of drama and what Gramophone's reviewer called\n a \"vital sense of occasion\".\u003c\/p\u003e\u003cp\u003eI've coupled it with Krauss's 1954 \u003cem\u003eAus Italien\u003c\/em\u003e at least \npartly because the works fit well onto two discs - there was no suitable\n Keilberth Strauss recording to fulfill this role. The Decca studio \nrecording was indeed excellent for its day, but the tone was a little \nthin, especially at the bottom end. Again, though, I had a good start, \nand the full, beautiful tone of the Vienna Philharmonic can now be heard\n to great effect in one of Clemens Krauss's final recording sessions.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eSalome, Op. 54\u003c\/span\u003e\n\u003cp\u003eInge Borkh (Salome)\u003cbr\u003eHans Hotter (Jokanaan)\u003cbr\u003eMax Lorenz (Herodes)\u003cbr\u003eIrmgard Barth (Herodias)\u003cbr\u003eLorenz Fehenberger (Narraboth)\u003cbr\u003eKatja Sabo (Page)\u003cbr\u003eKarl Ostertag, Peter Kaussen, Georg Binder, Walther Carnuth, Rudolf Wünzer (Fünf Juden)\u003cbr\u003eMax Proebstl (Erste Nazarener)\u003cbr\u003eAlbrecht Peter (Zweite Nazarener)\u003cbr\u003eAdolf Keil (Soldat)\u003cbr\u003eFritz Friedrich (Soldat), \u003cbr\u003eKarl Hoppe (Cappadozier)\u003c\/p\u003e\n\u003cp\u003eBavarian State Opera Orchestra \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJoseph Keilberth\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLive stage performance, Munich Festival Hall, 21 July 1951\u003cbr\u003eTransfer from Melodram MEL-S 106 (2) \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eAus Italien, Op. 16\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eVienna Philharmonic Orchestra \u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eClemens Krauss\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded December 1953, Grosser Saal, Musikverein, Vienna\u003cbr\u003eProducer: Victor Olof\u003cbr\u003eEngineer: Cyril Windebank\u003cbr\u003eIssued as Decca LXT.2917\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\/PACO111.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO111.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":31975707341,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":31975707469,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":31975707597,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":31975707725,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO111_a946381f-3c88-427c-94ab-6057dd06272d.jpg?v=1487682284"},{"product_id":"pasc309","title":"KRAUSS conducts Richard Strauss (1950) - PASC309","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Also sprach Zarathustra\u003cb\u003e\u003cbr\u003eSTRAUSS\u003c\/b\u003e Don Juan\u003cbr\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche\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\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in 1950\u003cbr\u003eTotal duration: 63:41\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003eClemens Krauss, \u003c\/b\u003econductor\u003c\/span\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe orchestra had these works in its blood578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5fReview of \u003cb\u003ePASC309\u003c\/b\u003e and \u003cb\u003ePASC311\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cli\u003e\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThese two discs showcase the conductor \nwho was, more than any other, closely identified with Richard Strauss’s \nmusic during his lifetime. The first is a selection from the extensive \nseries he recorded with the Vienna Philharmonic for Decca in the early \n1950s. These recordings have previously appeared on CD, on four \nTestament discs, remastered from the original tapes. For the present \nrelease, Andrew Rose has drawn on LP incarnations in Decca’s Ace of \nClubs line (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e) and Eclipse series from the 1970s (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e),\n the latter associated with the now thoroughly discredited technique of \nfake stereo processing, which, as Rose readily admits, was a sonic \ndisaster. His restoration involved “negating the fake stereo (and \nremoving any phase errors it introduced) and then re-equalizing in XR \nprocessing.” While the results thankfully undo the egregious damage \ninflicted by the Eclipse fake stereo, the question is how they compare \nwith the Testament discs. Another difference is the pitch; according to \nRose, “extensive frequency readings both of the music and the electrical\n mains hum indicate that Krauss was using a tuning of A = 449Hz, and \nthis has been restored to the final masters.” This is fascinating, \nthough I don’t entirely understand his reasoning and wish he’d \nelaborated a little more on it. It does make for a markedly sharper, \nbrighter sound. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eQuestions of pitch aside, I find the new transfers a mixed success. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n quieter passages come across as recessed, grainy, and lacking presence;\n the recordings then suddenly come to life in the loud passages. In \ncomparison, the Testament transfers consistently score higher on \nsolidity, presence, and sense of hall acoustic. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n taken from Ace of Clubs, fares somewhat better, a pleasingly mellow \nsonic blend, but again lacking the impact (though also taming the early \nDecca “fizzy” quality) of the Testament. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for the performances, they need \nlittle comment from me. They are classics of the gramophone, unsurpassed\n in their natural, idiomatic Viennese character. The orchestra had these\n works in its blood—virtuoso writing is dispatched with finesse and an \nalmost insolent sense of poise and equanimity, even at the fastest \ntempos; ensemble is taut and trenchantly articulate; tuttis have a \ngolden, saturated, but always transparent sound; wind solos possess a \nstriking “speaking” quality. Fine as other conductors are in this music,\n with the same orchestra (including Strauss himself in 1944 [Preiser], \nand Decca’s later stereo series with Karajan in 1959–60), Krauss remains\n interpretively in a class of his own. No one brings out the heady waltz\n in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlso sprach Zarathustra,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e the scherzando swagger in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Juan,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e or the picaresque wit in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e quite like this. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy recommendation for these \nperformances would remain the Testament discs. But these may be hard to \nfind now, in which case the new Pristine will do very nicely. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eNo such reservations about the second \ndisc, which gathers three recordings made in Bamberg for Bavarian Radio \nin 1953–54. Although not intended for commercial release, they were \npublished in the 1960s by Philips, whose LPs have been used for the \npresent remastering. The sound is excellent for its time and radio \norigin. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n came out a few years back on Preiser, but Pristine’s transfer is \npreferable, slightly noisier but more open. The performance is paced \nvery naturally, less febrile than some, clearly articulated with a \nfull-throated vocal quality that is very involving. The string playing \nis totally committed, if not always as polished as some bigger-name \norchestras. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThe other two performances are new to me. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n waltzes are dispatched with an easy authority and a memorably fruity, \nearthy response from the Bavarian players. The Divertimento is a real \nrarity, the second and lesser-known of Strauss’s two orchestral suites \nbased on Couperin’s music. It is a substantial work of about 36 minutes,\n in eight movements, and drawing on 17 keyboard pieces. Strauss clearly \nrelished the music’s harmonic and contrapuntal originality, as well as \nits luxuriance of embellishment. His orchestration (for chamber \norchestra, including harpsichord!) is subtle and inventive, in \nwide-ranging reconceptions of the originals involving thickening of \nCouperin’s spare keyboard textures, harmonic filling out, and addition \nof contrapuntal lines (often with a teasing three-against-two rhythmic \nplay). Although the Bamberg orchestra is not always flawless, Krauss’s \ndirection is ideally light and stylish. An indispensable supplement to \nhis Decca recordings. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cspan class=\"TIMES\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eBoyd Pomeroy\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 35:4 (Mar\/Apr 2012) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC309.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003e\u003cem\u003eClemens Krauss conducts some of the finest of his friend Richard Strauss\u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Classics of the gramophone, unsurpassed in their natural, idiomatic Viennese character\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp class=\"body\"\u003eThe recordings of\u003ci\u003e Also sprach Zarathustra \u003c\/i\u003eand \u003ci\u003eTill \nEulenspiegel \u003c\/i\u003ewere both drawn from Decca's 1970 Eclipse reissue, whereas \n\u003ci\u003eDon Juan\u003c\/i\u003e was transferred from their Ace of Clubs disc. Both presented \nissues that have only been resolvable with the latest remastering \ntechnology.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Eclipse LP combines a superior pressing with some \nreally awful fake stereo processing, which serves to present a \nparticularly nasty, boxy sound. By negating the fake stereo (and \nremoving any phase errors it introduced) and then re-equalising in XR \nprocessing, a much fuller, clearer and more extended sound picture \nemerged, demonstrating what marvellous performances had been captured in\n 1950.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eMeanwhile Don Juan, whilst in better sound on the \nearlier mono pressing, showed most clearly the fact that these recording\n had been made with 78rpm discs in mind - the central section \n(equivalent to two 78rpm sides) was pitched significantly sharper than \nthe two outlying sides. This has been corrected with Capstan pitch \nstabilisation processing. Elsewhere I've attempted to improve poor side \njoins, but one remains unfortunately obvious in Zarathustra.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, extensive frequency readings both of the music \nand the electrical mains hum indicate that Krauss was using a tuning of \nA=449Hz, and this has been restored to the final masters presented here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/li\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\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Also sprach Zarathustra, Op. 30\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 12-13 June, 1950 \u003cbr\u003eFirst issued as Decca 78s KX283554-58 and Decca LP LXT2548 in 1950\/51\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\u003eSTRAUSS\u003c\/b\u003e Don Juan, Op.20\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eSTRAUSS\u003c\/b\u003e Till Eulenspiegels lustige Streiche, Op. 28\u003cspan class=\"bodymidarial\"\u003e \u003c\/span\u003e\u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 16 June, 1950 \u003cbr\u003eFirst issued as Decca 78s KX28364-67 and Decca LP LXT2549 in 1950\/51\u003cbr\u003e\u003cbr\u003eTransfers from Decca ACL 16 (Don Juan) and ECS 572 (Zarathustra, Till Eulenspiegel)\u003cbr\u003eRecording location: Grosser Saal, Musikverein, Vienna\u003cbr\u003eRecording producer: Victor Olof\u003cbr\u003eRecording Engineer: Cyril Windemank \u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eVienna Philharmonic\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e Orchestra\u003c\/b\u003e \u003cbr\u003e\u003cb\u003eClemens Krauss\u003c\/b\u003e conductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, September-October 2011\u003cbr\u003eCover artwork based on a photograph of Clemens Krauss with Richard Strauss\u003cbr\u003eTotal duration: 63:41\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 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Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":32483452941,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32483453005,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":32483453133,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC309_b8edcc75-4b84-4023-9b35-b03e5ccd75bd.jpg?v=1658306944"},{"product_id":"paco001","title":"KRAUSS Strauss: Die Fledermaus (1950) - PACO001","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eJ STRAUSS II\u003c\/b\u003e Die Fledermaus\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 1950\u003cbr\u003eTotal duration: 1hr 32:28\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb data_liveedit_tagid=\"000000000D7755A0\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eSoloists\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr data_liveedit_tagid=\"000000000D7756D0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna State Opera Chorus\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eConductor: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eClemens Krauss\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO001.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKrauss's classic 1950 Decca Fledermaus\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eSuperb transfer from Peter Harrison\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\" align=\"left\"\u003eIn their 1956 book, \u003cem\u003eThe Record Guide\u003c\/em\u003e,\n Edward Sackville-West and Desmond Shawe-Taylor, not a pair to mince \ntheir words, sit on the fence or hold back from expressing an opinion, \nwrote of this recording:\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003e\"It is scarcely possible to imagine a more delightful pair of records than the complete Decca \u003cem\u003eFledermaus\u003c\/em\u003e.\n There is no spoken dialogue, but a virtually uncut performance recorded\n with good balance and a wonderful bloom on the vocal and orchestral \ntone. No better conductor could have been found for this delectable \nscore than Clemens Kraus; he handles the detail with as much care as \nthough it were Mozart...an almost incredible delicacy... Perhaps the \ngreatest musical pleasure comes from Julius Patzakand Hilde Gueden \u003cem\u003e[right, as Rosalinde]\u003c\/em\u003e: their duet in the second act \u003cem\u003e[Dieser Andstand]\u003c\/em\u003e...is\n particularly ravishing. Apart from its musical and technical \nexcellence, the recording has captured to a remarkable degree the \nillusion of a stage performance... This is one of the best opera sets \nyet published in England.\"\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003ePristine Audio is delighted to bring you an\n incredible brand new transcription and restoration of these discs from \nthe golden ears of Peter Harrison of \u003cem\u003edisk2disc\u003c\/em\u003e. When I put it to Peter that Sackville-West and Shawe-Taylor seemed to like it quite a lot, he replied: \u003cem\u003e\"So do I - and I have five other recordings of it! The only one that comes close is a DVD with Carlos Kleiber.\"\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"left\"\u003eThis really is a masterful recording, \nlovingly restored from near-mint original vinyl, and sounding gorgeous -\n in this his first commercial remastering for Pristine Audio, Peter \nHarrison truly excelled!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003cb\u003eNB.\u003c\/b\u003e \u003cem\u003eIn January 2010 we prepared \nan Ambient Stereo version of this recording, which was among Pristine's \noriginal set of twelve releases for our launch in February 2005. We also\n took the opportunity at this time to upgrade the MP3 files to a maximum\n possible 320kbps resolution and to make additions and minor \nmodifications to the cover notes.\u003c\/em\u003e\u003c\/p\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli\u003e\n\u003cb\u003eJ. STRAUSS II \u003c\/b\u003eDie Fledermaus\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\n\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e \u003cbr\u003eJulius Patzak \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e - \u003c\/span\u003e\u003c\/b\u003eGabriel von Eisenstein\u003cbr\u003e \u003cb\u003eHilde Gueden \u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e - \u003c\/span\u003e\u003c\/b\u003eRosalinde\u003cb\u003e\u003cbr\u003e Kurt Preger - \u003c\/b\u003eFrank\u003cb\u003e\u003cbr\u003e Sieglinde Wagner - \u003c\/b\u003ePrince Orlofsky \u003cb\u003e\u003cbr\u003e Anton Dermota - \u003c\/b\u003eAlfred\u003cb\u003e\u003cbr\u003e Alfred Poell - \u003c\/b\u003eDr. Falke \u003cb\u003e\u003cbr\u003e August Jaresch - \u003c\/b\u003eDr. Blind \u003cb\u003e\u003cbr\u003e Wilma Lipp - \u003c\/b\u003eAdele\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eVienna State Opera Chorus\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eVienna Philharmonic Orchestra \u003c\/b\u003e\u003cbr\u003e Conductor \u003cb\u003e Clemens Krauss \u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded: 16-22 September 1950, Musikvereinsaal, Vienna\u003cbr\u003eReleased as Decca LXT 2550-2551\u003cbr\u003e Producer: Victor Olaf\u003cbr\u003e Engineer:Cyril Windebank\u003cbr\u003e Location: Grosser Saal, Musikverein, Vienna\u003c\/p\u003e\n\u003c\/li\u003e\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\/PACO001.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO001.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":33989697037,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33989697101,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320 kbps Mono MP3","offer_id":33989697165,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO001.jpg?v=1489417316"},{"product_id":"paco036","title":"LEHMANN R. Strauss: Der Rosenkavalier (1933) - PACO036","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eR. STRAUSS \u003c\/b\u003eDer Rosenkavalier (abridged)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 20-24 September, 1933\u003cbr\u003e Total duration: 118:26 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eLehmann, Olszewska, Mayr, Schumann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e et al\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Robert Heger\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fNo one who loves this music can afford to be without this recording578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eRecorded almost eighty years ago it is remarkable how much information \n                  was hidden on the twenty-six shellac sides. In his technical \n                  notes on the Pristineclassical website Andrew Rose claims to \n                  have opened up the top end of the frequency range to somewhere \n                  around 10kHz through use of with the use of XR technology. That’s \n                  ‘roughly double the expected frequency response for a set of \n                  78s’. The risk is that there are also hidden shortcomings, primarily \n                  ‘the dreaded swish’. Today it is possible to eliminate swish \n                  without affecting the music - but it has to be done one swish \n                  at a time and on this set it is a question of more than 9000! \n                  Obviously it’s a very laborious task. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Eight years ago \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2002\/Nov02\/RichardSTRAUSSrosenk.htm\"\u003eNaxos\u003c\/a\u003e \n                  issued this set, restored by Mark Obert-Thorn; also on \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2004\/Mar04\/Strauss_Rosenkavalier_Andante.htm\"\u003eAndante\u003c\/a\u003e. \n                  Since then there have been important technological advances. \n                  Unfortunately I haven’t had access to that earlier set, but \n                  I have several snippets from this legendary recording on various \n                  LPs and the difference is amazing. First and foremost we hear \n                  so much more of the orchestra. The introduction, so magically \n                  scored, now unfolds with a clarity and richness of detail that \n                  one couldn’t have dreamed were inherent in the old shellacs. \n                  The velvety strings of the Vienna Philharmonic caress the ear \n                  with marvellous warmth and the pizzicato playing in the introduction \n                  to act III is extraordinarily well-defined. The delicious final \n                  bars are also pin-point clear. The voices are well defined and \n                  even though dynamics are limited compared to more recent efforts \n                  there is an overall quality that should make this issue attractive \n                  even to those who normally are allergic to historical recordings. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  The performance in itself is a true classic and it has been \n                  hailed uncountable times. Let me just add to the laurels heaped \n                  upon it with a few personal notes. It is heavily cut, so heavily \n                  that it is not even an abridged version but ‘Selected passages’ \n                  as the header correctly states. The whole reception scene in \n                  act I is gone, thus also the Italian tenor’s \u003ci\u003eDi rigori armato.\u003c\/i\u003e \n                  Great portions of Baron Ochs’s boisterous behaviour in act II \n                  are also cut as well as much else. An uncut performance takes \n                  a little more than three hours; this one plays for 98:26, not \n                  118:26 as stated on the inlay. In other words about half the \n                  score is cut out. What remains offers what is indubitably the \n                  best of the opera, very much concentrated around the four leading \n                  characters. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Of these Richard Mayr, who was nearing the end of a more than \n                  30-year-long career and died only two years later, was a little \n                  past his best. His tone had dried out compared to what he sounded \n                  like a decade earlier. He was however \u003ci\u003ethe \u003c\/i\u003eOchs of his \n                  time in Vienna, where he sang in the first performance on 8 \n                  April 1911. By 1933 he had chiselled out a many-faceted portrait \n                  that made the character less bullish, more likeable than he \n                  actually is. Whether this is good or bad is open to debate. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  Lotte Lehmann and Elisabeth Schumann, arguably the two best \n                  sopranos in the Austro-German repertoire during the years after \n                  WW1, were still at the zenith of their careers. Both incidentally \n                  were born the same year, 1888, and thus in their mid-forties. \n                  Lehmann has never been surpassed in the role of Feldmarschallin \n                  – though Elisabeth Schwarzkopf was her equal. Hers is a portrait \n                  of deep insight and sensitivity. Schumann is possibly the most \n                  charming Sophie ever and though there are imperfections – the \n                  odd note off-pitch, some exaggerated portamenti – this is negligible \n                  in the face of such identification and loveliness. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Maria Olszewska’s Octavian is not quite in their class. She \n                  sings well and her round and darkish tone is well contrasted \n                  to the two sopranos’ but as an interpreter she is anonymous, \n                  compared to some later singers of the role: Christa Ludwig, \n                  Yvonne Minton, Frederica von Stade and Anne Sofie von Otter. \n                  That said, in the duets and trios she is a rock-solid complement \n                  to the lighter and brighter voices and the finale is a vocal \n                  treat from beginning to end. \u003cbr\u003e\n                    \u003cbr\u003e\n                  Robert Heger may have been an able rather than extraordinary \n                  conductor, but he seems to have been particularly fond of this \n                  score and draws lovely playing from the admirable Vienna Philharmonic. \n                  \u003cbr\u003e\n                    \u003cbr\u003e\n                  No one who loves this music can afford to be without this recording \n                  and with the new-dimensional sound that Andrew Rose has conjured \n                  up from the old records there is further reason to procure this \n                  pair of Pristine Audio discs. \u003cbr\u003e\n                    \u003cbr\u003e\n                  \u003cb\u003e\u003ci\u003eGöran Forsling\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO036.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe classic 1933 Lehmann abridged Rosenkavalier\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eIn astonishingly open and vibrant XR-remastered sound\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe twenty-six sides which go to make up this recording \nare not the easiest to remaster. In his notes for the Naxos 2002 issue \nof the recording, Mark Obert-Thorn wrote: \"Although recorded over a \nfive-day period on twenty-six consecutive sides by HMV, this legendary \nabridged version of \u003cem\u003eDer Rosenkavalier\u003c\/em\u003e poses many problems for \nthe restoration engineer.\" And a few days ago he confirmed this to me by\n e-mail: \"my source discs ... came from about a half-dozen different \ncopies (Victor Z, Victor Gold and Electrola), none of which was perfect \nall the way through.  I had to use sides from each of the copies I had \nto do the transfer...\"\u003c\/p\u003e\u003cp class=\"body\"\u003eThe Naxos edition is of course still in print, and \noffers the prospective purchaser an alternative to this new \nXR-remastered release. Naturally both of our approaches at the \nremastering of a recording such as this are quite different in many \nrespects, and I've been able to take advantage of a number of \nsignificant technological advances which were simply unavailable to the \nrestoration engineer as recently as seven years ago.\u003c\/p\u003e\u003cp class=\"body\"\u003eAlthough my discs, which were a near-mint set of British\n HMV pressings, were in very good, clean condition, the effect of using \nXR to open up the top end - and it really does open up, with vocal \nharmonic extension at times reaching up to somwhere in the region of \n10kHz, roughly double the expected frequency response for a set of 78s -\n is to reveal a plethora of other shortcomings in the discs which might \npreviously have remained hidden, most prevelant of which on a good \nnumber of sides was the dreaded swish.\u003c\/p\u003e\u003cp class=\"body\"\u003eSwish on discs is a problem for which, until recently, \nthere was little or no solution. The current state of technology, in \n2009, is that we can either ameliorate or, often, completely 'zap' each \nswish in such a way that the music remains untouched. The downside of \nthis latest technology is that one has to process a swish at a time, \nwhich on a recording of this length means over 9000 individual \nselections and interventions purely to tackle this issue. It's a \nlaborious task, but one which I believe yields results which are \nworthwhile.\u003c\/p\u003e\u003cp class=\"body\"\u003eWhat you'll hear in this remastering is a sense of \nopenness and clarity which has perhaps not been heard before in this \nrecording. I've opted for as light a touch as possible with hiss and \nnoise reduction - always a difficult balance to strike with a recording \nof this vintage - but I think the results speak for themselves.\u003c\/p\u003e\u003cp class=\"body\"\u003eMark Obert-Thorn notes in his previous restoration a \nconsiderable variation between sides with regard to balance between \nsoloists and orchestra and overall levels. I felt perhaps less aware of \nthis after the re-equalisation of the recording in XR remastering, \nbeyond the occasional sense that a singer may have taken a step closer \nto the microphone at one point or another - something which is to be \nexpected in a staged opera, if not a studio recording. As such I let \nthis pass, and did not attempt any adjustments of levels or perspective.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt's a marvellous recording - and one which I think this XR remastering manages to shine a refreshing new light on.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eRICHARD STRAUSS \u003c\/b\u003e- Selected passages from \u003cb\u003eDer Rosenkavalier,\u003c\/b\u003e Op. 59\u003cbr\u003e \u003cbr\u003e \u003cb\u003eDie Feldmarschallin\u003c\/b\u003e Fürstin Werdenberg - \u003cb\u003eLOTTE LEHMANN\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eDer Baron Ochs\u003c\/b\u003e auf Lerchenau - \u003cb\u003eRICHARD MAYR\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eOctavian\u003c\/b\u003e, called Quinquin, a young nobleman - \u003cb\u003eMARIA OLSZEWSKA\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eHerr von Faninal\u003c\/b\u003e, a rich, newly-enobled contractor - \u003cb\u003eVICTOR MADIN \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eSophie\u003c\/b\u003e, his daughter - \u003cb\u003eELISABETH SCHUMANN\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eMarianne Leitmetzerin\u003c\/b\u003e, her Duenna - \u003cb\u003eÄNNE MICHALSKY\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eValzacchi\u003c\/b\u003e, An Italian Intriguer - \u003cb\u003eHERMANN GALLOS\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eAnnina\u003c\/b\u003e, his accomplice -\u003cb\u003e BELLA PAALEN\u003c\/b\u003e\u003cbr\u003e A Police Commissary -\u003cb\u003e KARL ETTL\u003c\/b\u003e\u003cbr\u003e An Inn-Keeper - \u003cb\u003eWILLIAM WERGNICK\u003c\/b\u003e\u003cbr\u003e Four Lackeys of the Marschallin's household (Two Tenors and Two Basses)\u003cbr\u003e Four Waiters (One Tenor, Three Basses)\u003cbr\u003e \u003cbr\u003e\u003cb class=\"body\"\u003eChorus of The Vienna State Opera\u003cbr\u003e The Vienna Philharmonic Orchestra\u003cbr\u003e \u003c\/b\u003econducted by\u003cb class=\"body\"\u003e ROBERT HEGER\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\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\/PACO036.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO036.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\n\u003cp\u003e\u003cb\u003eCD1 (Acts 1 \u0026amp; 2)\u003c\/b\u003e: Transfers from HMV 78s \u003cb\u003eDB.2060-7\u003c\/b\u003e Matrices 32.4100-4115\u003cbr\u003e And 2WX 501II, 587I, 588II, 589II, 601IIA, 594IIIA, 591II, 590IA, 592II, 603IIA, 597IIA, 582IIA, 583IVA, 602I, 596A, 598A\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eCD2 (Act 3)\u003c\/b\u003e: Transfers from HMV 78s \u003cb\u003eDB.2068-72\u003c\/b\u003e Matrices 32.4124-5 and 32.4116-23\u003cbr\u003e And 2WX 599IA, 595II, 605I, 604IIA, 593IA, 600IIIA, 595IIIA, 586IIA, 606II, 584IIA \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003eCD1: \u003cb\u003eAct One\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e 1. \u003cem\u003eIntroduction\u003c\/em\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:02)\u003c\/span\u003e\u003cbr\u003e 2. Wie du warst! Wie du bist!\u003cspan class=\"bodysmallarialblue\"\u003e (8:11)\u003c\/span\u003e\u003cbr\u003e 3. Der Feldmarschall sitzt im krowatischen Wald\u003cspan class=\"bodysmallarialblue\"\u003e (2:51)\u003c\/span\u003e\u003cbr\u003e 4. Die Stimm!\u003cspan class=\"bodysmallarialblue\"\u003e (3:32)\u003c\/span\u003e\u003cbr\u003e 5. Hat Sie scon einmal mit einem Kavalier\u003cspan class=\"bodysmallarialblue\"\u003e (4:03)\u003c\/span\u003e\u003cbr\u003e 6. Da geht er hin, der aufgeblasene schlechte Kerl \u003cspan class=\"bodysmallarialblue\"\u003e(4:23)\u003c\/span\u003e\u003cbr\u003e 7. Ach! Du bist wieder da!\u003cspan class=\"bodysmallarialblue\"\u003e (1:58)\u003c\/span\u003e\u003cbr\u003e 8. Die Zeit, die ist ein sonderbar Ding \u003cspan class=\"bodysmallarialblue\"\u003e(1:59)\u003c\/span\u003e\u003cbr\u003e 9. Mein schöner Schatz\u003cspan class=\"bodysmallarialblue\"\u003e (3:56)\u003c\/span\u003e\u003cbr\u003e 10. Ich werd jetzt in die Kirchen geh'n \u003cspan class=\"bodysmallarialblue\"\u003e(4:28)\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eAct Two\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e 1. In dieser feierlichen Stunden der Prufung\u003cspan class=\"bodysmallarialblue\"\u003e (3:18)\u003c\/span\u003e\u003cbr\u003e 2. Mir ist die Ehre widerfahren\u003cspan class=\"bodysmallarialblue\"\u003e (5:57)\u003c\/span\u003e\u003cbr\u003e 3. Ich kenn' Ihn schon recht wohl\u003cspan class=\"bodysmallarialblue\"\u003e (1:49)\u003c\/span\u003e\u003cbr\u003e 4. Zu Ihm hätt' ich ein Zutrau'n\u003cspan class=\"bodysmallarialblue\"\u003e (3:52)\u003c\/span\u003e\u003cbr\u003e 5. Wart', dich hau' i' z'amm\u003cspan class=\"bodysmallarialblue\"\u003e (2:16)\u003c\/span\u003e\u003cbr\u003e 6. Da! ... Herr Kavalier!\u003cspan class=\"bodysmallarialblue\"\u003e (4:11)\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003eCD2: \u003cb\u003eAct Three\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 1. \u003cem\u003eIntroduction and Pantomime\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (4:11)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 2. Hab'n Euer Gnaden noch weitre Befehle?\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:39)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 3. Nein, nein, nein, nein! I trink' kein Wein\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:14)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 4. Muss jetzt partout zu ihr!\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (4:26)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 5. Weiss bereits nicht\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (3:45)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 6. Leupold, wir geh'n!\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (1:40)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 7. Mein Gott, es war nicht mehr als eine Farce\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:21)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 8. Heut' oder morgen oder den ubernächsten Tag\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (4:03)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 9. Marie Theres'! ... Hab' mir's gelobt\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (5:04)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 10. Ist ein Traum, kann nicht wirklich sein\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:04)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 11. Sind halt aso, die jungen Leut'!\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (1:38)\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e 12. Ist ein Traum, kann nicht wirklich sein\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e (2:36)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":128323649562,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":128323682330,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":128323715098,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":128323747866,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO036_711123a2-934e-4ee3-beff-db010f2e3640.jpg?v=1502178477"},{"product_id":"pasc451","title":"SCHALK The Complete Recordings: Beethoven \u0026 Schubert (1928-30) - PASC451","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphonies Nos. 5, 6, 8, Leonora Overture\u003cb\u003e\u003cbr\u003eSCHUBERT \u003c\/b\u003eSymphony No. 8, “Unfinished”\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eTotal duration: 2hr 9:08\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eBerlin State Opera Orchestra \u003c\/b\u003e\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra  \u003c\/b\u003e\u003cb\u003e\u003cbr\u003eFranz Schalk,\u003c\/b\u003e conductor\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI find the Sixth Symphony superb, and the Leonora hardly less so578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis is a somewhat unexpected \nrelease—unexpected because these are little-remembered recordings, but \nthey remind us that the centenary Beethoven’s death, nearly nine decades\n ago, coincided roughly with the huge technological breakthrough of \nelectrical recording. Record companies rushed to honor the composer with\n recordings of his music using the new and vastly improved recording \nmethod. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWeingartner recorded the Ninth Symphony\n in London in March 1926, Kreisler and Blech recorded the Violin \nConcerto in Berlin in December of that year, and Pfitzner, who had \nrecorded the Schumann Fourth in Berlin, also in 1926, began his \nBeethoven symphony cycle with the First and Fourth Symphonies in 1928. \nBy that year, electrical recording was well established in the German \ncapital, when composer, editor, and conductor Franz Schalk made the \nfirst of his total of five recordings collected by Pristine on these two\n splendidly realized discs: the Schubert Eighth Symphony, for the Odeon \nlabel. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAfter making that recording on March 2,\n Schalk went to Vienna where, on April 4, the Vienna Philharmonic was \nfirst recorded by HMV using the no longer brand-new technology. We can’t\n know how much was accomplished at that first session, but between April\n 11 and 13, the Sixth and Eighth Symphonies and the Third \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonora\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Overture were committed to disc. The Fifth Symphony was recorded in \nsessions of October 1929 and January 1930. A year later a patch-up \nsession (involving the Fifth’s first movement) resulted in nothing \nusable, or perhaps better put, nothing superior to what had already been\n recorded. Although there were plans to record more (Bruckner, in fact),\n Schalk’s death, at only age 68, in September 1931 put an abrupt end to \nwhat might have been a promising recording career. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAll the more credit to Schalk, then, \nthat his small recorded legacy is so distinguished, and to Pristine and \nin particular to Mark Obert-Thorn for his superlative restorations. \nPristine’s Andrew Rose, in addition to providing the aegis for this set,\n also takes credit for correcting some pitch problems in the Schubert. \nThe sound is easily listenable throughout. To ears which are attuned to \nthe sonic capabilities of 21st-century technology, it is a bit distant \nand lacking in impact. The Schubert, however, is entirely the equal of \nwhat Obert-Thorn achieved with Kreisler’s Beethoven and Mendelssohn \n(Naxos), and what others accomplished with the Berlin recordings by \nPfitzner. The Vienna recordings are rather soft-textured in their tonal \nquality. That robs the Fifth of some impact, in comparison to other and \nlater recordings, but suits the “Pastoral” extremely well. The overture,\n arguably the most dramatic of these readings, comes through well, as \ndoes in particular the finale of the Eighth. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs to the performances, I find the Sixth Symphony superb, and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonora\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n hardly less so. The playing of the VPO of that era is particularly \nbeautiful in the “Pastoral,” with its numerous opportunities for \nwoodwind and other solo display, and the overture is a taut, disciplined\n reading which builds up in excitement to a splendid call by the solo \ntrumpet. Not for Schalk the drive of Toscanini, nor the broad and \nsometimes granitic strokes of some of his German colleagues. His \nperformances are modern sounding, clean-limbed, and remind me more of \nWeingartner’s Beethoven than any other. Take that as high praise. The \nEighth is a fine performance, most energetic and distinctive in the \nfirst and last movements. In the Fifth, tempos are well chosen and the \ntransition to the final movement well managed, but—perhaps due in part \nto sonics—one might wish for a bit more force, more drive. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eOne surely is left wishing for more. \nThe planned Bruckner recordings, Brahms, Schumann are all surely \ncomposers where we might have learned from Schalk’s insights. In the \nspirit of being grateful for what we have, thanks, once again, to \nPristine, to Obert-Thorn and Rose for these particularly successful \nreissues. No one with an interest in performers of a century ago, and in\n the dawn of electrical recording, could possibly be without this \nrelease, nor could they fail to enjoy it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:5 (May\/June 2016) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC451.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFranz Schalk - a distinguished conductor who recorded little: the complete recordings\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"One\n surely is left wishing for more. No one with an interest in performers \nof a century ago, and in the dawn of electrical recording, could \npossibly be without this release, nor could they fail to enjoy it\" - \nFanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThose at all familiar with the name of Franz Schalk most likely\n associate it with the editing of critically-disparaged cut versions of \nBruckner symphonies.  This does a disservice, however, to his \nachievements in a long conducting career.  Schalk was born in Vienna on \nMay 27, 1863.  He studied under Bruckner and violinist Joseph \nHellmesberger, and after a series of conducting posts in increasingly \nimportant venues – from Bohemia to Graz (where he premiered Bruckner’s \nFifth Symphony in 1894), Prague, Berlin, London’s Covent Garden and New \nYork’s Metropolitan Opera – Mahler appointed him First Kapellmeister of \nthe Vienna Court Opera in 1900.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eFor the next three decades, he reigned as one of the most \nimportant conductors in Vienna, heading the (renamed) State Opera from \n1919 to 1929 (where Richard Strauss, whose \u003cem\u003eDie Frau ohne Schatten\u003c\/em\u003e\n Schalk premiered in 1919, was co-director for several years), leading \nthe Gesellschaft der Musikfreunde for 17 years, and serving as one of \nthe driving forces in the postwar revival of the Salzburg Festival.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eFrom the recorded evidence, Schalk favored swift, flowing \ntempi, with occasional slowing for rhetorical effect.  In this, he was \nsimilar to other conductors of his generation such as Felix Weingartner \n(b.1863) and Richard Strauss (b.1864), musicians who came of age around \nthe time of Wagner’s passing, and different from the more monumental \napproach favored by the following generation, including Otto Klemperer \n(b.1885) and Wilhelm Furtwängler (b.1886).\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSchalk’s brief recording career began in 1928 with a Schubert \u003cem\u003eUnfinished\u003c\/em\u003e\n with the Berlin State Opera Orchestra for Odeon.  (The 1927 date given \nin earlier reissues of this recording is incorrect.)  The entire \nsymphony was recorded in single takes on January 12th, but nothing from \nthis session was issued.  A remake session on March 2nd, with all takes \nlisted as “2” was approved.  (The issued version of Side 5, listed as \n“Take 3”, is a sonically compromised dubbing in all editions).  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eA month later, Schalk began a series of Beethoven recordings \nwith the Vienna Philharmonic for HMV.  Although that orchestra had \npreviously made some acoustic recordings for Grammophon in 1924, these \nwere its first electrical discs.  Four sessions stretching over two \nweeks produced the Sixth and Eighth Symphonies and the \u003cem\u003eLeonore\u003c\/em\u003e \nOverture No. 3.  A further session eighteen months later in October, \n1929, followed by a makeup session the following January, was devoted to\n the Beethoven Fifth.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eSchalk and the VPO were to go before the microphone one final \ntime, on April 16, 1931 to remake the most problematic of his earlier \nrecordings.  The first side of the Beethoven Fifth, with its opening \nensemble imprecisions, was redone, as was the entire Beethoven Eighth, \nwhose 1928 recording was plagued with obtrusive low-frequency hum \n(corrected in this transfer).  Neither of these recordings were issued, \nhowever.  HMV’s reported plans to record Schalk in the Bruckner Third \nand Fourth Symphonies came to naught with the conductor’s death on \nSeptember 3, 1931.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe sources for the transfers were Amercian Columbia \n“Viva-Tonal” pressings for the Schubert, British HMV shellacs for the \nBeethoven Sixth and Eighth, and red label 1930s German Electrola \npressings for the \u003cem\u003eLeonore\u003c\/em\u003e Overture and the Beethoven Fifth (the latter with patches from British HMVs).\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003e\u003cspan\u003eSCHUBERT:  Symphony No. 8 in B minor, D759 ‘Unfinished’\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 2 March 1928 in Berlin\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMatrix nos.:  XXB 7918-2, 7919-2, 7920-2, 7921-2, 7922-3 \u0026amp; 7923-2\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFirst issued on Odeon O-8344\/46\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBEETHOVEN:  Symphony No. 6 in F major, Op. 68 ‘Pastoral’\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 4, 11 \u0026amp; 12 April 1928 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix nos.:  Ck 2854-2, 2855-2, 2856-2, 2857-2, 2858-1, 2859-2, 2860-2, 2861-2, \u003c\/span\u003e\u003cspan\u003e2862-2 \u0026amp; 2863-2\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eFirst issued on HMV D 1473\/7\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBEETHOVEN:  Symphony No. 8 in F major, Op. 93\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 12 – 13 April 1928 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix nos.:  Ck 2867-2, 2868-2, 2869-2, 2870-2, 2871-1 \u0026amp; 2872-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFirst issued on HMV D 1481\/3\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBEETHOVEN:  \u003cem\u003eLeonore\u003c\/em\u003e Overture No. 3, Op. 72b\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 13 April 1928 in the Mittlerer Konzerthaussaal, Vienna\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix nos.:  Ck 2873-3, 2874-1, 2875-1 \u0026amp; 2876-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFirst issued on Electrola EJ 332\/3\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan\u003e\u003cb\u003eBEETHOVEN:  Symphony No. 5 in C minor, Op. 67\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 26 \u0026amp; 28 October 1929 and 27 January 1930 in the Mittlerer Konzerthaussaal, \u003c\/span\u003e\u003cspan\u003eVienna\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix nos.:  CW 2881-2, 2882-1, 2883-4, 2884-2, 2887-4, 2888-2, 2889-2 \u0026amp; 2890-2\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFirst issued on Electrola EH 620\/3\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eBerlin State Opera Orchestra \u003c\/b\u003e(Schubert)\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e (Beethoven)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003eFranz Schalk \u003c\/span\u003e\u003c\/b\u003e(conductor)\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC451.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC451.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":31975912333,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":31975912461,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC451_1ea84e11-22c2-48ba-8dab-d0cfbe4ad1dd.jpg?v=1487682521"},{"product_id":"paco035","title":"TOSCANINI Verdi: Falstaff (1937) - PACO035","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003eVERDI \u003c\/b\u003eFalstaff\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eSalzburg Festival, 9th August 1937\u003cbr\u003e Total duration: 122:25\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eSoloists\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003eVienna State Opera Ballet \u0026amp; Chorus\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003econducted by\u003cb\u003e Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fRelaxed, detached yet in full control and able to extract the very essence of Verdi's operatic and dramatic intentions578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThis \u003ci\u003eFalstaff\u003c\/i\u003e is not the Toscanini recording described\n                by \u003ci\u003eGramophone\u003c\/i\u003e as 'one of the greatest of all operatic\n                sets, and one of Toscanini's most perfect operatic recordings'.\n                It's a re-engineering of the full live performance staged in\n                August 1937 at the Salzburg Festival. That \u003ci\u003eFalstaff\u003c\/i\u003e was\n                actually the second of three remarkable performances by Toscanini\n                at the height of his powers … relaxed, detached yet in\n                full control and able to extract the very essence of Verdi's\n                operatic and dramatic intentions. This was the same year in which\n                the conductor had successes at Salzburg with \u003ci\u003eFidelio\u003c\/i\u003e, \u003ci\u003eZauberflöte\u003c\/i\u003e and \u003ci\u003eMeistersinger\u003c\/i\u003e. \u003cbr\u003e\n                \u003cbr\u003e\n                This \u003ci\u003eFalstaff\u003c\/i\u003e has been transferred by Andrew Rose - not\n                from the collection of selenophone film at the New York Public\n                Library - which was used for another recent CD - but from a series\n                of six LPs containing a 'private recording'. The same performance\n                (presumably from another source) was also previously issued on\n                Andante (AN3080) with a recording - for comparison - of the same\n                opera by Karajan from 20 years later with the same orchestra\n                but, frankly, a weaker cast of soloists. \u003cbr\u003e\n                \u003cbr\u003e\n                These CDs from French Pristine Audio come minimally packaged:\n                the two in a single jewel case with next to no liner-notes. The\n                recording is also available from the Pristine website as a zipped\n                MP3 download. Given the age and roughness of the mono source,\n                the sound quality - although by no means high fidelity - is more\n                than adequate for you to enjoy Verdi's last opera. \u003cbr\u003e\n                \u003cbr\u003e\n                Almost the first thing you'll notice is that this \u003cb\u003eis\u003c\/b\u003e a\n                stage recording. You're well aware not just the 'noises off'\n                (applause, coughing) but also of the movement, 'business' and\n                dialogue. In the end these actually add to the experience. The\n                action of \u003ci\u003eFalstaff\u003c\/i\u003e is concentrated and inward-looking:\n                these performers convey a sense of great immediacy. Just what\n                the work needs. This includes the orchestra, which is closely\n                recorded. To bring the comedy to life and make the deceptions,\n                characterisation and shifts in the players' fortunes as vivid\n                as possible there needs to be a sense of space. Space in which\n                to mirror the body language, for example, and illuminate the\n                way the personalities interact and react to the twists in their\n                (mis)fortunes. \u003cbr\u003e\n                \u003cbr\u003e\n                After all, Verdi described \u003ci\u003eFalstaff\u003c\/i\u003e as a \u003ci\u003ecommedia lirica\u003c\/i\u003e,\n                Toscanini's is more of a dramatic conception. Comedy is not missing:\n                the delivery of the principals (Stabile, Biasini, Borgioli and\n                Somigli, in particular) is forward, pressing and zesty. This\n                is particularly true, for example, towards the end of Act II\n                [CD.2 trs.1-3]: there is an almost tangible energy in the coming\n                and going, the bustle, and in the ways in which the mischief\n                is ever more deeply confounded. But - as later, more detached,\n                scenes show - there was never rush or busyness for their own\n                sake in this performance. \u003cbr\u003e\n                \u003cbr\u003e\n                With the exception, really, of the Fenton-Nannetta interest,\n                the plot of \u003ci\u003eFalstaff\u003c\/i\u003e is simple and linear. Toscanini elicits\n                from his players and singers an equally closely and clearly driven\n                account of the events of a few intense days in such a way that\n                their characters (foibles, weaknesses, constancy, self-deception)\n                are transparent - yet still… entertaining! Each action,\n                dialogue, solo and exchange somehow contributes to a greater\n                sense of their selves. \u003cbr\u003e\n                \u003cbr\u003e\n                As is often the case with Toscanini, it's the ensemble work (so\n                important in \u003ci\u003eFalstaff\u003c\/i\u003e) that strikes one. Not just a singleness\n                of purpose or sense of team-work; but also that the soloists\n                derive the life and interpretative impetus from a source - Shakespeare,\n                when all said and done - in which they all obviously believe. \u003cbr\u003e\n                \u003cbr\u003e\n                This is unlikely to be most people's first choice as a \u003ci\u003eFalstaff\u003c\/i\u003e.\n                Yet it's much more than a historical document. It has persuasive\n                performances … Stabile's Falstaff, Borgioli's Fenton and\n                Biasini's Ford in particular. Their interpretations suggested\n                (let's not say 'dictated') the approach for a generation or two.\n                The boxy sound and lack of libretto or background material are\n                minor drawbacks. \u003cbr\u003e\n                \u003cbr\u003e\n                If you appreciate the huge contribution which Toscanini made\n                to music-making in the first half of the last century; if you\n                want a valid and special \u003ci\u003eFalstaff\u003c\/i\u003e; if you want to get\n                to know the opera anew or see it in a new light after such performances\n                as those by Abbado with the Berlin Philharmonic on DG (471194)\n                or Solti with the RCA Italian Opera Chorus and Orchestra on Decca\n                (425002), this effective reissue is worth a look. \u003cbr\u003e\n                \u003cbr\u003e\n                \u003cb\u003e\u003ci\u003eMark Sealey\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv style=\"overflow: hidden; color: rgb(0, 0, 0); background-color: rgb(255, 255, 255); text-align: left; text-decoration: none; border: medium none;\"\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO035.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's superb 1937 Falstaff newly restored \u0026amp; remastered\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eOne of the greatest recordings, now given the full Pristine XR treatment\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis remarkable recording, made at a full, live stage \nperformance at the Salzburg Festival in August 1937, was the second of \nthree performances given by Toscanini during the festival, during which \ntime he also conducted Beethoven's \u003cem\u003eFidelio\u003c\/em\u003e, Mozart's\u003cem\u003e Die Zauberflöte\u003c\/em\u003e and Wagner's \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e.\n In deciding to remaster it from the particular source available to me -\n six LP sides in a \"private recording\" set of discs issued by \"Penzance \nRecords\", I was well aware of the potential inadequacies of the source \nmaterial and thus the possible limitation of results.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe main source for this recording exists as a \nselenophone film at the New York Public Library, and was the source for a\n recent CD issue (\u003cspan class=\"bodymidarial\"\u003eread more about the Selenophone in \u003ca href=\"https:\/\/web.archive.org\/web\/20150920000510\/http:\/\/www.nytimes.com\/1990\/01\/02\/arts\/racing-against-time-to-save-recordings-of-toscanini-s-work.html?pagewanted=all\" target=\"_blank\"\u003ethis 1990 NY Times article\u003c\/a\u003e\u003c\/span\u003e).\n With this unavailable to me, the decision to work from these LPs was \ntaken after considerable investigation into their sound quality, when \ncompared with both the newer transfers and other previous LP \nincarnations. It soon became clear that the Penzance transfers were \nactually very well made and apparently true to their source, with little\n or no filtering or other intervention, and thus provided an excellent \nsource from which to work (they remain the favoured transfers of this \nrecording for some Toscanini lovers).\u003c\/p\u003e\u003cp class=\"body\"\u003eEven so, it was only after a considerable amount of XR \nremastering work and careful comparisons with other releases that I \ndecided to go ahead and complete what has been a lengthy and difficult \nrestoration (and would have been so regardless of the source). This \nwould not have been contemplated had it not been clear to me that many \nsignificant sonic improvements might be had over all the previous issues\n I've been able to sample, something I believe has been achieved here.\u003c\/p\u003e\u003cp class=\"body\"\u003eMy aim was to really try and open out the sound - as \nwith the majority of recordings of this era, regardless of recording \nmedium, the frequency response was unbalanced and uneven. In some \nprevious transfers this has been exacerbated by excessive filtering, \nparticularly in the treble end, producing a distant and muffled sound.\u003c\/p\u003e\u003cp class=\"body\"\u003eBy contrast, the XR remastering approach has served to \nopen out the top end considerably, as well as firming up the bass and \ngiving the whole sound a much more solid dimension - something further \nenhanced in the Ambient Stereo version of this release. Naturally this \nalso revealed further flaws in the original recording which then had to \nbe tackled - hiss levels varied throughout the recording, from barely \naudible to quite intrusive, and I've tried to even these out as much as \npossible. I was also able to tackle a pitch variation which changed as \nthe recording progressed, dropping by almost a quarter tone by the end \nof the opera.\u003c\/p\u003e\u003cp class=\"body\"\u003eClearly this is a live recording - footsteps are heard \nfrom the stage, soloists move around , occasionally slipping outside the\n direct pick-up range of the microphone (or microphones - I don't know \nif this was a single or multiple microphone recording) and thus heard \nsomewhat distantly, though always audible.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt's easy to underestimate the technical difficulties \nposed in recording such a performance today, let alone in 1937, just two\n years after the first commercial recording of an opera by Mozart - the \nfact that this incredible performance could be so well-captured is a \ntestament to the skills of the radio engineers of the time. I hope that \nthis new remastering will bring the listener a few steps closer to the \nimpression this performance must have given to those lucky enough to be \npresent for the performance.\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 Cast Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eVERDI \u003c\/b\u003e- Falstaff\u003cbr\u003e \u003cbr\u003e Falstaff - \u003cb\u003eMariano Stabile\u003c\/b\u003e\u003cbr\u003e Ford - \u003cb\u003ePietro Biasini\u003c\/b\u003e\u003cbr\u003e Fenton - \u003cb\u003eDino Borgioli\u003c\/b\u003e\u003cbr\u003e Dr.Cajus - \u003cb\u003eAlfredo Tedeschi\u003c\/b\u003e\u003cbr\u003e Bardolph - \u003cb\u003eGiuseppe Nessi\u003c\/b\u003e\u003cbr\u003e Pistol - \u003cb\u003eVirgilio Lazzari\u003c\/b\u003e\u003cbr\u003e Mrs.Ford - \u003cb\u003eFranca Somigli\u003c\/b\u003e\u003cbr\u003e Nanette - \u003cb\u003eAugusta Oltrabella\u003c\/b\u003e\u003cbr\u003e Mrs.Page - \u003cb\u003eMita Vasari\u003c\/b\u003e\u003cbr\u003e Mrs.Quickly - \u003cb\u003eAngelica Cravcenco\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eScenic Designer - Guido Salvini\u003cbr\u003e Stage Director - Robert Kautsky\u003cbr\u003e Costumes - Ladislaus Czettel\u003cbr\u003e Choreography - Margarete Wallmann\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003e Vienna State Opera Ballet \u0026amp; Chorus \u003cbr\u003e conducted by Arturo Toscanini\u003c\/b\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\/PACO035.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO035.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSynopsis578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodymid\"\u003eSynopsis\u003c\/p\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cdl\u003e\n\u003cdd\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eTime: The reign of Henry IV, 1399 to 1413\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/dd\u003e\n\u003cdd\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003ePlace: Windsor, England\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/dd\u003e\n\u003c\/dl\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eAct 1\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eA room at the Garter Inn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFalstaff is surrounded by his servants Bardolph, \nPistola, and the innkeeper. Dr. Caius arrives and accuses him of \nrobbery, but the excited doctor is soon ejected. Falstaff hands two \nletters to each of his servants for delivery to Mistress Ford and to \nMistress Page, two wealthy married women. In these two identical \nletters, Falstaff professes his love for each of them, although it is \nreally their husbands’ money that he covets. His servants Bardolph and \nPistol refuse, claiming that 'honour' prevents them from obeying him. \nFalstaff sends the letters by a page instead. Falstaff then responds \nironically by confronting his honourable servants and shouts (\u003cem\u003eL'onore! Ladri! Voi state ligi all’honor vostro, voi!\u003c\/em\u003e \/ “Honor! You rogues! You are bound by your honor…”) and chases them out of his sight.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eFord's garden\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAlice and Meg have received Falstaff's identical \nletters. They exchange them, and in conjunction with Mistress Quickly, \nresolve to punish the knight. Meanwhile, Ford has been warned of the \nletters by Bardolph and Pistol. All three are thirsty for revenge. \nFinding themselves alone for once, a brief love duet between Fenton (an \nemployee of Ford) and Nannetta follows. The women return home and \nMistress Quickly is requested to invite Falstaff to a rendez-vous with \nAlice. The men also arrive at the scene, and Bardolph and Pistol are \npersuaded to introduce Ford to Falstaff, but under an assumed name.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eAct 2\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eA room at the Garter Inn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBardolph and Pistol (now in the pay of Ford), pretending\n to beg for forgiveness for past transgressions, announce to their \nmaster the arrival of Mistress Quickly, who delivers the invitation to \ngo to Alice's house that very day between the hours of two and three. \nShe also delivers an answer by Mistress Page and assures Falstaff that \nneither are aware of the other's invitaton. Falstaff celebrates his \npotential success (\"Va, vecchio John\" \/”Go, old Jack, go your own way”).\n Ford is now introduced as Signor Fontana; he offers money to the fat \nknight to intercede for him with Mistress Ford. Falstaff is puzzled at \nthe request, \"Fontana\" says that if Mistress Ford falls for him, it will\n be easier that she will fall for him too. Falstaff agrees with pleasure\n and reveals that he has already succeeded, because he has a rendez-vous\n with her at two; while he dresses in his most splendid array, Ford is \nconsumed with jealousy (\u003cem\u003eÈ sogno o realtà?\u003c\/em\u003e \/ \"Is it a dream or reality?\").\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eA room in Ford's house\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThe three women plot their strategy (\"Gaie Comari di \nWindsor\" \/ “Merry wives of Windsor, the time has come!”. Nanetta also \nlearns that her father plans to marry her with Dr. Caius, but all the \nwomen declare that that will not happen. Mistress Quickly announces \nFalstaff's arrival, Mistress Ford has a large hamper placed in \nreadiness. Falstaff's attempts to seduce Alice with tales of his past \nglory (\"Quand'ero paggio del Duca di Norfolk\" \/ “When I page to the Duke\n of Norfolk I was slender”) are cut short, as Mistress Quickly reports \nthe arrival of Master Ford. When the angry Ford and his friends appear \nwith the aim of catching Falstaff red handed; he hides first behind a \nscreen and then the ladies hide the knight in the hamper. In the \nmeantime, Fenton and Nannetta have hidden behind the screen. Upon \nreturning from their search for Falstaff, the men hear the sound of a \nkiss behind the screen. They think that they will at last grab Falstaff,\n but instead find Fenton, who is ordered by Ford to leave, in the \nmeantime Falstaff has been complaining that he is sweating too much \ninside the hamper. When the men again proceed with the search, the women\n order the hamper to be thrown into the ditch through the window, where \nFalstaff is compelled to endure the jeers of the crowd.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eAct 3\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eBefore the inn\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIn a gloomy mood, Falstaff curses the sorry state of the\n world. However, some mulled wine soon improves his mood. The fat knight\n receives another invitation through Mistress Quickly, who blames the \nservants for what happened to him, the invitation consists of going to \nHerne's Oak dressed up as the Herne the Hunter, aka the Black Hunter. \nAlthough dubious at first, Falstaff promises to go. He enters the house \nwith Mistress Quickly, and the men and women concoct a plan for his \npunishment. Dr. Caius is promised Nannetta's hand in marriage and is \ntold how he may recognize her in her disguise, but the plot is overheard\n by Mistress Quickly.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eHerne's Oak in Windsor Park on a moonlit midnight\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eFenton arrives at the oak tree and sings of his \nhappiness (\"Dal labbro il canto estasiato vola\" \/ “From my lips, my song\n of ecstasy flies”) ending with “Lips that are kissed lose none of their\n allure”. Nanetta enters to finish the line with “Indeed, they renew it,\n like the moon”. The women arrive and disguise Fenton as a monk, telling\n him that they have arranged things so as to spoil Dr. Caius' plans. \nNanetta, playing the role of the Fairy Queen, instructs her helpers \n(\"Sul fil d'un soffio etesio\" \/ “On the breath of a fragrant breeze, \nfly, nimble spirits”) before all the characters arrive on the scene. \nFalstaff's attempted love scene with Mistress Ford is interrupted by the\n announcement that witches are approaching, and the men, who are \ndisguised as elves and fairies, soundly thrash Falstaff. Sir Falstaff \nrecognizes Bardolph in disguise and the joke is over, but he \nacknowledges that he has received his due. Ford announces that a wedding\n shall ensue (a second couple \"coincidentally\" asks to be married at \nthat time also) and Dr. Caius finds that instead of Nannetta, he has \nlanded Bardolph who is dressed in the same fairy queen outfit as Nanetta\n and Ford unwittingly has married Fenton and Nannetta. Falstaff, pleased\n to find himself not the only dupe, proclaims in a fugue, which the \nentire company sings, that all the world is folly and all are figures of\n fun (\u003cem\u003eTutto nel mondo è burla... Tutti gabbati!\u003c\/em\u003e \/ \"Everything in the world a jest...\").\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":32417942477,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417942669,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417942797,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417942989,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO035_d7de1ccd-c221-4c6f-986d-56ed3c0bd1f1.jpg?v=1487682706"},{"product_id":"paco024","title":"WALTER Wagner: Die Walküre (Act 1) (1935) - PACO024","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003eDie Walküre (Act 1)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\" style=\"font-size: small;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" style=\"font-size: medium;\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\" style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in Musikvereinssaal, Vienna 20-22 June 1935\u003cbr\u003eTotal duration: 61:58 \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eLotte Lehmann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e: Sieglinde\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eLauritz Melchior\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e: Siegmund\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eEmanuel List\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e: Hunding\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eVienna Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\" style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBruno Walter\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 30px;\"\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO024.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eWidely regarded as the greatest Wagner recording ever made\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThis stunning remastering leaves all previous issues redundant\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis recording is legendary - it is frequently held up \nas the greatest recording ever made of music by Wagner, despite its \nvintage sound. My aim, therefore, was simple to describe, if not so \nsimple to achieve: to get beyond that vintage sound and elevate it to a \nlevel which would bring dramatic and significant new life to the \nrecording - to literally leave previous issues in the past. I believe \nI've succeeded beyond all expectations - certainly my own. By applying \nthe very latest XR remastering techniques I've been able to lift the \nsound quality of this recording to a level I would not have considered \npossible just a few weeks ago.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eAt the time of writing I regard this as my finest ever \nremastering work. As one respected reviewer put it to me ahead of \nrelease:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eYou've done wonders here; if I hadn't recognised \nLehmann's voice, I'd never have believed this dates from 1935. I'm not \nsurprised this has been described as the cream of all Wagner \nperformances. The detail is all there, the balance is superb and there's\n an ample acoustic preserved from the originals allowing the voices to \nexpand naturally. There's such depth to the soundstage, too...\u003c\/em\u003e\u003c\/p\u003e\n\n\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBut what is it that is so special about this particular,\n single-act-only recording? Here I hand over to the Wagner experts - the\n reviewing public, as remarked on websites around the world in reference\n to previous issues of this legendary recording:\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMade in Vienna in 1935, this recording of probably \nthe most popular act of the Ring Cycle has always been the benchmark. It\n employs three unbelievable singers, under the glorious conducting of \nBruno Walter...Lauritz Melchior is unquestionably the greatest \nHeldentenor who ever lived. Here he is in fabulous voice, even by his \nstandards, and he is so much more involved and intelligent when he is \nworking with a great conductor...Lotte Lehmann is just as fabulous as \nMelchior. She has a very beautiful voice ideal for Sieglinde: solid at \nthe core but soft-edged, and she too has model diction and excellent \nlegato...finally, we come to the conducting of Bruno Walter. Helped by \nthe radiant playing of the Vienna Philharmonic, he conjures up Wagner's \nunique world of blended sound and emotion like no one else on record. He\n is as warm and lyrical as is possible, but realizes all the drama, and \nnever goes over the top...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e...[Lehmann] can be heard at her best in this \nrecording of the first act of \"Die Walküre\" made in Vienna in 1935. It \npreserves one of her most famous operatic portrayals. Few Sieglindes \nhave conveyed so much in their singing: first an eager curiosity, then a\n guarded welcome, a wondrous admiration, an intensity in the narration, \nand finally an impassioned ecstasy. Such singing lives on in the \nlistener's memory. Melchior is also represented at his best, but the \nhero of the proceedings is the conductor Bruno Walter. Under Walter's \ndirection the performance has a sweep, a warmth, a glow and a tenderness\n that I have never heard equalled...\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eSpectacular! There is simply no better CD version of\n this opera, despite being recorded in 1935. \"Du bist der Lenz\" with \nLotte Lehmann has never been surpassed. This CD is a \"MUST HAVE\" for any\n serious music lover. Modern recordings obviously have better sound, but\n the singers are like pygmies compared to these two giants - Melchior \nand Lehmann.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\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\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e\u003cspan\u003eDie Walküre (Act 1)\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded in Musikvereinssaal, Vienna 20-22 June 1935\u003cbr\u003e \u003cbr\u003eIssued as UK HMV 78s HMV DB 2636-43\u003cbr\u003e Matrix nos. 2V94-109, Takes 1, 2, 2, 1, 3A, 2, 1, 1, 2, 2, 2A, 2, 1A, 1, 1, 1\u003cbr\u003e \u003cbr\u003eRestoration and XR remastering by Andrew Rose at Pristine Audio, May-June 2008\u003cbr\u003e Cover artwork based on a photograph of Lauritz Melchior as Seigmund\u003cbr\u003e\u003cbr\u003eTotal duration: 61:58 \u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eLotte Lehmann\u003c\/b\u003e: Sieglinde\u003cbr\u003e\u003cb\u003eLauritz Melchior\u003c\/b\u003e: Siegmund\u003cbr\u003e\u003cb\u003eEmanuel List\u003c\/b\u003e: Hunding\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eBruno 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Piano Concertos 4 and 5 (1951\/53) - PASC333","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Concerto No. 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1951 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 70:11\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eWilhelm Backhaus, \u003c\/b\u003epiano\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra \u003cbr\u003eClemens Krauss, \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA truly great performance that anyone who loves the work should hear578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003ePristine Audio has recently issued an \nall-Beethoven Wilhelm Backhaus Edition containing his first cycle of the\n sonatas, recorded for Decca in the 1950s, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDiabelli Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and the five piano concertos with Krauss, Böhm, and Schmidt-Isserstedt \nconducting. These recordings from 1951 (No. 4) and 1953 (No. 5) are \nPristine’s Volume 11 in the series. Backhaus is inconsistent in the \nsonatas. He plays some of them with authority and real engagement, but \nothers sound perfunctory, not fully interpreted. This is also the case \nwith the two concertos. While the Fifth represents his playing at its \nmost controlled and communicative, he doesn’t seem to identify as much \nwith the less monumental Fourth.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe “Emperor” had quite fine sound to begin with, \nbut Andrew Rose has corrected pitch problems along with issues of \nbackground hiss and tonal balance in both concertos. The result is a \nrich depth of texture in the orchestral sound that’s splendid indeed. No\n doubt, some of the pleasure comes from the orchestra being the Vienna \nPhilharmonic at a time when the sound of its strings—lush but somehow \nsweetly personal—and winds was still very distinctive.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eClemens Krauss is a fine Beethoven conductor who \noffers shapely phrasing and detailed dynamic control. In the livelier \nsections of the Fourth, he seems to be accompanying a more nuanced \nperformance than Backhaus gives. This is not to say that there aren’t \nadmirable moments. The piano’s opening statement is very beautifully \nplayed, and Backhaus is extremely sensitive and precise in the second \nmovement, but his passagework, while accurate, often sounds like he’s on\n autopilot: driven, metronomic, and without much shape or emotional \ncharacter. (A good antidote is Schnabel’s joyful, more polished 1933 \nrecording of the Fourth with Malcolm Sargent’s deft accompaniment, but \nmaybe it’s unfair to compare 67- and 51-year-old pianists.)  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWhile tempos in both concertos are fairly \nstandard, the start of the Fourth’s finale sounds miscalculated. It \nbegins deliberately, slower than it should be, and Backhaus’s opening \nstatement sounds restricted and lumpy. A few lines later, he switches \ngears, creating a true \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003evivace\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n and the performance improves. I wish that Pristine had identified the \nrambunctious cadenza—it’s more chromatic and raucous than the usual one \nby Beethoven—that Backhaus plays in this movement. I wonder whether it \ncould be his own.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe “Emperor” Concerto shows Backhaus at his \nabsolute best in playing that’s steady but not rigid, with rock-solid \nrhythm and fluent, all-encompassing technique. He has a majestic concept\n of the first movement, projects strength and good spirits in the third,\n and gives a direct, heartfelt reading of the slow movement that I find \nvery moving. The recorded sound of the piano is clearer here than in the\n Fourth. This is not simply a worthy historical recording of the \n“Emperor,” it’s a truly great performance that anyone who loves the work\n should hear.\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003ePaul Orgel  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC333.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003e\"Backhaus and Clemens Krauss give us a fine performance\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eBackhaus's classic Concerto recordings have been completely transformed in these new remasters\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAs with previous recordings in this series, I have been able to tackle not just the issues of background hiss and tonal balance, but also pitch. The Concerto No. 4 showed a gradual slide upwards through the second movement from a low start, whilst the finale drooped off at the very end. The Emperor, whilst benefiting from significantly finer sound quality, proved to be considerably erratic, pitch-wise, suggesting multiple and quite frequent edits between takes from different days or machines causing regular jumps up and down. Both concertos have been leveled out to concert pitch.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eI was able to release superb sound quality in both, and though the strings in the earlier recording still show a tendency towards shrillness, they are much improved over the original harsh sound here, without any imparment in the clarity of the piano tone which might have resulted from a straightforward reduction in treble. No such problems with the Emperor, where an already fine sound has been further rounded out, with greater extension in both treble and bass and a more generous overall feel from an excellent recording.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Piano Concerto No. 4 in G, Op. 58\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded May 1951\u003cbr\u003eFirst issued as Decca LP LXT 2629 and 78s KX28542-45\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Piano Concerto No. 5 in E flat, Op. 73, \"Emperor\"\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded May 1953\u003cbr\u003eFirst issued as Decca LXT 2839\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eProducer \u003c\/strong\u003eVictor Olof \u003cbr\u003e\u003cstrong\u003eEngineer\u003c\/strong\u003e Cyril Windebank \u003cbr\u003eRecorded at Grosser Saal, Musikverein, Vienna\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eWilhelm Backhaus\u003c\/strong\u003e piano\u003cstrong\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eClemens Krauss \u003c\/strong\u003econductor\u003c\/span\u003e\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, March-April 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Backhaus\u003cbr\u003e\u003cbr\u003eTotal duration: 70:11\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\/PASC333.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC333.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - Piano Concerto No. 4\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eBackhaus and Clemens Krauss give us a fine performance, as one might expect; and from the recording point of view I find it commendable—more level in tone and more manageable than many LPs. The piano tone is mostly very good, but wears a little thin in the cadenza of the first movement, and perhaps the balance of soloist and orchestra is just a little less good in the second movement. The Backhaus-Krauss is, of course, much nearer to the Gieseking-Karajan than to the Rubinstein-Beecham. It is a restrained performance, with the design of each movement beautifully laid out before us, and with no attempt of any kind at display on the part of the soloist. The style of the performance may thus be called \" classical\".\u003cbr\u003e\u003cbr\u003eH.F. The Gramophone, January 1952 (Reviewing LXT2629, Piano Concerto No. 4, excerpt) \u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW - Piano Concerto No. 5\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eFive Emperors ; but this last of the house clearly reigns unchallenged in one respect— its recorded sound is fuller and richer than that of any of the others, and presents for the first time a completely acceptable piano tone. The balance, too, is good throughout ... The performance revealed by this good recording is unusual, and certainly unexpected. Backhaus can, and sometimes does, pin a Chopin Mazurka back by its ears and belabour it unmercifully. The Emperor Concerto, more able to stand up to such treatment, he approaches instead in a fashion almost to be described as coy ; when a lover goes a-wooing he could more appropriately indulge in these little fancies of hesitation, and of delicacy. I don't wish to suggest that it is erratic to a fault ; I do wish to suggest that there is thought and feeling behind this of Backhaus's performances, even though all will not find themselves permanently in agreement with its results. The Vienna Philharmonic do agree, or are made to seem to do so by Krauss they, too, are unhurried and unruffled, and never fail to match their style to that of the soloist.\u003cbr\u003e\u003cbr\u003eM.M. The Gramophone, January 1954 (Reviewing LXT2839, Piano Concerto No. 5, excerpt)\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":40245188365,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":40245188429,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":40245188493,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":40245188557,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC333.jpg?v=1499347236"},{"product_id":"pasc340","title":"FURTWÄNGLER conducts Brahms Symphony No. 1, Haydn Variations, 3 Hungarian Dances (1949\/52) - PASC340","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eVariations on a Theme by Joseph Haydn\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eHungarian Dances Nos. 1, 2, 10\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1952 and 1949\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 75:06\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eVienna Philharmonic Orchestra \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThese new remasterings heighten our appreciation of this conductor’s feeling for Brahms’s beauty and sensibility, and as such are warmly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWe are so accustomed to analyzing the interpretive\n depth Wilhelm Furtwängler achieved that we often forget what a \ntechnically gifted conductor he was. As these remasterings by Andrew \nRose reveal, Furtwängler could get the most gorgeous sounds out of an \norchestra. His baton technique certainly was idiosyncratic, but he had \nno trouble attaining what he wanted. He also was an indefatigable \nrehearser. Georg Solti relates in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMemoirs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Furtwängler’s pleasure at Salzburg when Solti told him how much better \nthe Vienna Philharmonic played for Furtwängler than for Karajan. Much of\n Furtwängler’s sway over an orchestra derived from sheer force of \npersonality. A member of the Berlin Philharmonic tells of how when \nrehearsing under another conductor, the orchestra’s sound changed \nentirely after Furtwängler just walked into the hall. Thanks to Andrew \nRose, we now can hear how central the concept of sound was to \nFurtwängler’s interpretations of Brahms. There is much beauty of thought\n here certainly, but the sonic sybarite will derive much pleasure as \nwell. Brahms was a great craftsman, and the importance to him of \ncreating lovely sounds should not be underestimated.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs a composer, Furtwängler could take the \noccasionally disparate elements of Brahms’s First Symphony and find \ninherent structure and drama. The introduction to the first movement is \nalmost conversational, summarizing and prefiguring the subsequent drama \nlike a Shakespeare prolog. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n possesses weight and gravitas. It alternates between reverie-like \nfantasy and the onslaught of fate. The movement maintains a noble \ncharacter, even when tragedy lurks around the corner. Nevertheless the \nmovement never seems episodic—its transitions are finely judged. \nFurtwängler treats the slow movement as an intermezzo, with phrasing \nthat is highly vocal and operatic. It acts both as a pause in the drama \nand an intensification of the feelings so far evoked. The third movement\n is a quasi scherzo. Its B section (like a trio) brings back life’s \nrough and tumble, before fate in the brass and in pizzicato strings mark\n the return of the A section: an allusion to the brass in the third \nmovement of Beethoven’s Ninth. That symphony is even more eloquently \ndrawn upon in the final movement. Its introduction portrays whole worlds\n passing before our eyes, then disappearing. Suddenly, the great string \ntune brings us to a place of peace and satisfaction. This is followed by\n excitement, even at times jubilation. An ominous shadow eventually \nfalls over the music, which the coda pushes aside—leading to the triumph\n of the great brass chorale. Furtwängler resists the temptation to speed\n up from here, and the symphony ends on a majestic note.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFurtwängler’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Haydn Variations \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eare\n unusually somber, slower than his December 1943 Berlin recording. The \nstatement of the theme offers lovely wind and horn choirs; the \nuniqueness of the instruments used by the VPO contributes a special \nglow. Furtwängler’s tempos allow for the articulation of all the \ninstrumental parts, including some often glossed over. The third \nvariation contains a slight horn bobble. The fourth and seventh \nvariations could stand alone as genre pieces, small elegies. The finale \nis alternately stately and tender, evincing an emotional vulnerability \nrare for any conductor. The three \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eare\n hardly mere fillers. No. 1 features gorgeous, elegant string playing. \nIn No. 2, Furtwängler creates a real gypsy feeling. He revels in the \nkaleidoscopic orchestration of No. 10.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFurtwängler’s Brahms Second is less strikingly \nindividual than his First, but it is no less persuasive. In large part \nit is a showcase for how well the Berlin Philharmonic can play. Four \nyears earlier, in 1948, Furtwängler made a studio recording of the \nSecond with Eduard van Beinum’s London Philharmonic. Although the \ntimings of both performances are similar, the LPO version sounds more \nreflective, perhaps marking Furtwängler’s reaction to traditional \nEnglish string sound. The Berliners offer more fire power than the LPO, \nand their reading under Furtwängler not surprisingly sounds more \nextroverted. The naturalness of the interpretation reminds me of William\n Steinberg’s LP, although his Pittsburgh Symphony does not ascend to the\n heights of the BPO. Furtwängler’s first movement is a brilliant study \nin light and shadow, like the clouds in a painting by John Constable. \nThe brass have a field day. The next movement features phenomenal string\n playing. The coloring of the orchestra here makes me think of Vaughan \nWilliams’s “Pastoral” Symphony, a reminder that Brahms’s Second has been\n called his “pastorale.” The third movement is truly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egrazioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with elegant winds and subtle strings. In the last movement, \nFurtwängler unleashes the orchestra to brilliant effect, with meditative\n sections alternating with something like mania.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Double Concerto receives a distinctive \nperformance. It is a relaxed partnership between soloists and conductor,\n with plenty of give and take. Admirers of the more propulsive versions \nby Toscanini and Szell may be disappointed. The soloists, first chairs \nof the VPO, can stand comparison with more renowned players. Willi \nBoskovsky is well known as both soloist and conductor, while cellist \nEmanuel Brabec made a superb recording of Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Lorin Maazel. In the opening dialog between the soloists, Brabec’s\n tone is especially rich and woody. Furtwängler’s basic tempo in the \nfirst movement’s tuttis strikes a golden mean, although he leaves the \nsoloists a lot of latitude. The second movement is lovely, played with \ngreat affection by Boskovsky and Brabec. The tempo for the last movement\n is measured, yet everyone displays genuine passion.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Vienna recordings all were made in the Great \nHall of the Musikverein, and are excellent monaural. The Second \nSymphony, from the German Museum in Munich, is slightly muddy in places \nbut otherwise quite fine. When Furtwängler recorded the Second Symphony \nwith the LPO he insisted on a single microphone. It would be worth \nknowing whether he made the same requirement here of EMI. If you are \ninterested in stereo CDs of these works, I would recommend Bruno Walter \nin the First and the variations, Antal Doráti in the Second, and Gidon \nKremer, Mischa Maisky, and Leonard Bernstein in the concerto. Andrew \nRose should consider remastering Eugene Ormandy’s late 1950s LP of the \nFirst Symphony, a reading of poise and elegance. Furtwängler, as usual, \nis indispensable to a fuller understanding of this music. These new \nremasterings heighten our appreciation of this conductor’s feeling for \nBrahms’s beauty and sensibility, and as such are warmly recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC340.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003e\"The performance is incomparable\" - and now, so too is the sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eFurtwängler's finest Brahms 1 has never sounded as superb as this!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eIf I could nominate whole of this album as a showcase not only for superlative historic performances but also for the astounding sound quality occasionally to be found lurking in the gloomy grooves of older recordings then I would. The tone of the Vienna Philharmonic both in the live 1952 concert recordings and the earlier studio recordings, after Pristine's 32-bit XR remastering, is finer than I could have believed possible when I started the project.\u003cbr\u003e\u003cbr\u003eThe live recordings do have the edge over the older Hungarian Dances, which retained a degree of 78rpm crackle that was tricky to remove. It's also interesting that most discographies and reissues have followed the error in the original release and titled one of them as Hungarian Dance No. 3 in F - it's not, it's No. 10 in F.\u003cbr\u003e\u003cbr\u003eAnalysis of the pitches and residual electrical hum in each of the recordings, from three separate sources, consistently pointed to a tuning used by the VPO at the time of around A4=446.4Hz. I have accurately pitched each recording to this to give the most accurate picture possible of both the sound and pace of these performances.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Symphony No. 1 in C minor, Op. 68\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e Variations on a Theme by Joseph Haydn, Op. 56a\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded live, 27 January 1952, in the Großer Musikvereinssaal, Vienna\u003cbr\u003eTransfers from EMI LP 27 0124 1 and EMI LP SG 153-53669 M \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Hungarian Dances Nos. 1, 2, 10\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 29\/30 March \u0026amp; 4 April, 1949, in the Großer Musikvereinssaal, Vienna\u003cbr\u003eIssued as HMV DB.6976, Matrix No. 2VH.7168 and HMV DB.6934 Matrix No. 2VH.7167 \u003cbr\u003eTransfers from EMI LP SG 153-53665 M \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eVienna Philharmonic\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eWilhelm Furtwängler \u003c\/strong\u003econductor \u003cbr\u003e\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, May 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003cbr\u003e\u003cbr\u003eTotal duration: 75:06\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\/PASC340.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC340.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 Symphony No. 1\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003ePreviously unpublished, this recording qualifies under house rules for consideration alongside some selected comparisons. If I append none it is because, so far as the current catalogue is concerned, the performance is incomparable. Such comparisons as can be made concern other Furtwangler recordings of the symphony: the 1947 VPO performance, a rather cool affair by Furtwangler's standards, recorded with no great immediacy, and transferred noisily to LP (EMI Electrola\/Conifer mono IC 149 53420\/6, 12\/80), and a fine Berlin performance (DG mono 2535 162, 5\/76—nla) recorded live in the Titania-Palast on February 10th, 1952. Interestingly, the present recording was made in Vienna just a fortnight before. As a reading it is very similar, contradicting those who would have us believe that most Furtwngler performances were spur-of-themoment, random affairs. What is different is the response of the two orchestras, with the VPO, their strings in particular, playing with a singing intensity which rather puts the Berliners in the shade. To some extent, they are helped by the EMI recording which, though rather rusty-sound ing in places, does provide a real sense of presence and (an over-prominent flute apart) perspective. But it is the performance as a whole which is the thing, a marvellous example of Furtwangler's combined skills: as a conductor capable of drawing glorious playing from the VPO, as an interpreter capable of understanding the indissoluble links between musical structure and communicable feeling, and as a performer capable of turning a concert into an event.\u003cbr\u003e\u003cbr\u003eTake, for instance, the moment of recapitulation in the slow movement. We are already in alien territory. After the exhausted close of the tragic first movement we are shipped into the distant key of E major. The oboe's song, if it is anything at all, is a song of exile and, not surprisingly, it becomes increasingly troubled and yet more tonally bewildered, something stressed by Furtwangler who tends to underwrite the music's daemonic elements in a way which Brahmsians of a settled taste may find disturbing. The recapitulation, Furtwdngler already movingly implies, is bound to be a thing of great moment; and, indeed, we know as much since Brahms's preparation for it-the quiet drum roll (the drum's first appearance in the movement), the anticipatory silence and the addition of trumpets to the eventual quiet E major chord-all indicate as much. In Berlin the realization was to be perfunctory, the chording sloppy but in the Vienna performance Furtwangler's recognition and realization of the moment is utterly spell-binding, a superb piece of concert-hall theatre, as well as a moving realization of Brahms's mood.\u003cbr\u003e\u003cbr\u003eThe reading is full of such insights. Nothing is wasted, not even the Allegretto e grazioso third movement which Furtwangler treats as a microcosm of the symphony, a movement of great equanimity which becomes grand, tense, and troubled before dropping us down into the dark well of the finale's opening phrases. Above all, the difficult first movement is superbly shaped. The opening is magnificent and yet finely proportioned. True, the orchestra is not together at the start but before we begin our niggling we should note that Furtwangler belonged to a school which often liked to build chords strategically. There's nothing very strategic about the opening chord, but there are some strikingly successful examples later on in the movement. What is remarkable about the opening, apart from the glorious sostenuto sound of the high-lying violin line, the perfect, ominous flow of the rhythm and the judicious regulation of the drum, is that it is all, in retrospect, germane to what is to follow. You need no sleeve or text-book analysis to follow the organic nature of Brahms's arguments as Furtwangler unfolds them for us, whether we are thinking in terms of tonal structures, the canonic treatment of key motifs or, simply, the huge mass and disjunctive force of the development's end. No conductor today, except perhaps Giulini, seems able to exert so much downward pressure on chords, fully, amply sounded and yet sustain a singing line and a forward-moving rhythm. Certainly, it is tempting, faced with a performance like this, to write a jeremiad on the state of conducting in the postFurtwângler age. To do so would, however, be unproductive. Furtwàngler's is not the only way with Brahms's music, as Sir Adrian Boult, among others, has admirably demonstrated. For the moment, though, I confess I know no performance of this symphony which more strikingly illuminates those points where this symphony is palpably at its greatest.\u003cbr\u003e\u003cbr\u003eR. O., Gramophone March 1985\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":34140915021,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34140915085,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34140915213,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC340.jpg?v=1745411010"},{"product_id":"pasc340-cd","title":"FURTWÄNGLER conducts Brahms Symphony No. 1, Haydn Variations, 3 Hungarian Dances (1949\/52) - PASC340 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478147725,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478147789,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC340_d655b27a-e960-47e3-a28a-88ac0e90884a.jpg?v=1745411043"},{"product_id":"pasc341","title":"FURTWÄNGLER conducts Brahms Symphony No. 2, Double Concerto (1952) - PASC341","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 2\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eDouble Concerto\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 10px;\"\u003eRecorded in 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 75:57\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eBerlin Philharmonic Orchestra \u003cbr\u003eWilli Boskovsky, \u003c\/b\u003eviolin \u003cb\u003e\u003cbr\u003eEmanuel Brabec, \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003eVienna Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Double Concerto receives a distinctive performance578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWe are so accustomed to analyzing the interpretive\n depth Wilhelm Furtwängler achieved that we often forget what a \ntechnically gifted conductor he was. As these remasterings by Andrew \nRose reveal, Furtwängler could get the most gorgeous sounds out of an \norchestra. His baton technique certainly was idiosyncratic, but he had \nno trouble attaining what he wanted. He also was an indefatigable \nrehearser. Georg Solti relates in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMemoirs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n Furtwängler’s pleasure at Salzburg when Solti told him how much better \nthe Vienna Philharmonic played for Furtwängler than for Karajan. Much of\n Furtwängler’s sway over an orchestra derived from sheer force of \npersonality. A member of the Berlin Philharmonic tells of how when \nrehearsing under another conductor, the orchestra’s sound changed \nentirely after Furtwängler just walked into the hall. Thanks to Andrew \nRose, we now can hear how central the concept of sound was to \nFurtwängler’s interpretations of Brahms. There is much beauty of thought\n here certainly, but the sonic sybarite will derive much pleasure as \nwell. Brahms was a great craftsman, and the importance to him of \ncreating lovely sounds should not be underestimated.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eAs a composer, Furtwängler could take the \noccasionally disparate elements of Brahms’s First Symphony and find \ninherent structure and drama. The introduction to the first movement is \nalmost conversational, summarizing and prefiguring the subsequent drama \nlike a Shakespeare prolog. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n possesses weight and gravitas. It alternates between reverie-like \nfantasy and the onslaught of fate. The movement maintains a noble \ncharacter, even when tragedy lurks around the corner. Nevertheless the \nmovement never seems episodic—its transitions are finely judged. \nFurtwängler treats the slow movement as an intermezzo, with phrasing \nthat is highly vocal and operatic. It acts both as a pause in the drama \nand an intensification of the feelings so far evoked. The third movement\n is a quasi scherzo. Its B section (like a trio) brings back life’s \nrough and tumble, before fate in the brass and in pizzicato strings mark\n the return of the A section: an allusion to the brass in the third \nmovement of Beethoven’s Ninth. That symphony is even more eloquently \ndrawn upon in the final movement. Its introduction portrays whole worlds\n passing before our eyes, then disappearing. Suddenly, the great string \ntune brings us to a place of peace and satisfaction. This is followed by\n excitement, even at times jubilation. An ominous shadow eventually \nfalls over the music, which the coda pushes aside—leading to the triumph\n of the great brass chorale. Furtwängler resists the temptation to speed\n up from here, and the symphony ends on a majestic note.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFurtwängler’s\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Haydn Variations \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eare\n unusually somber, slower than his December 1943 Berlin recording. The \nstatement of the theme offers lovely wind and horn choirs; the \nuniqueness of the instruments used by the VPO contributes a special \nglow. Furtwängler’s tempos allow for the articulation of all the \ninstrumental parts, including some often glossed over. The third \nvariation contains a slight horn bobble. The fourth and seventh \nvariations could stand alone as genre pieces, small elegies. The finale \nis alternately stately and tender, evincing an emotional vulnerability \nrare for any conductor. The three \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHungarian Dances \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eare\n hardly mere fillers. No. 1 features gorgeous, elegant string playing. \nIn No. 2, Furtwängler creates a real gypsy feeling. He revels in the \nkaleidoscopic orchestration of No. 10.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFurtwängler’s Brahms Second is less strikingly \nindividual than his First, but it is no less persuasive. In large part \nit is a showcase for how well the Berlin Philharmonic can play. Four \nyears earlier, in 1948, Furtwängler made a studio recording of the \nSecond with Eduard van Beinum’s London Philharmonic. Although the \ntimings of both performances are similar, the LPO version sounds more \nreflective, perhaps marking Furtwängler’s reaction to traditional \nEnglish string sound. The Berliners offer more fire power than the LPO, \nand their reading under Furtwängler not surprisingly sounds more \nextroverted. The naturalness of the interpretation reminds me of William\n Steinberg’s LP, although his Pittsburgh Symphony does not ascend to the\n heights of the BPO. Furtwängler’s first movement is a brilliant study \nin light and shadow, like the clouds in a painting by John Constable. \nThe brass have a field day. The next movement features phenomenal string\n playing. The coloring of the orchestra here makes me think of Vaughan \nWilliams’s “Pastoral” Symphony, a reminder that Brahms’s Second has been\n called his “pastorale.” The third movement is truly \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egrazioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n with elegant winds and subtle strings. In the last movement, \nFurtwängler unleashes the orchestra to brilliant effect, with meditative\n sections alternating with something like mania.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Double Concerto receives a distinctive \nperformance. It is a relaxed partnership between soloists and conductor,\n with plenty of give and take. Admirers of the more propulsive versions \nby Toscanini and Szell may be disappointed. The soloists, first chairs \nof the VPO, can stand comparison with more renowned players. Willi \nBoskovsky is well known as both soloist and conductor, while cellist \nEmanuel Brabec made a superb recording of Strauss’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n with Lorin Maazel. In the opening dialog between the soloists, Brabec’s\n tone is especially rich and woody. Furtwängler’s basic tempo in the \nfirst movement’s tuttis strikes a golden mean, although he leaves the \nsoloists a lot of latitude. The second movement is lovely, played with \ngreat affection by Boskovsky and Brabec. The tempo for the last movement\n is measured, yet everyone displays genuine passion.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe Vienna recordings all were made in the Great \nHall of the Musikverein, and are excellent monaural. The Second \nSymphony, from the German Museum in Munich, is slightly muddy in places \nbut otherwise quite fine. When Furtwängler recorded the Second Symphony \nwith the LPO he insisted on a single microphone. It would be worth \nknowing whether he made the same requirement here of EMI. If you are \ninterested in stereo CDs of these works, I would recommend Bruno Walter \nin the First and the variations, Antal Doráti in the Second, and Gidon \nKremer, Mischa Maisky, and Leonard Bernstein in the concerto. Andrew \nRose should consider remastering Eugene Ormandy’s late 1950s LP of the \nFirst Symphony, a reading of poise and elegance. Furtwängler, as usual, \nis indispensable to a fuller understanding of this music. These new \nremasterings heighten our appreciation of this conductor’s feeling for \nBrahms’s beauty and sensibility, and as such are warmly recommended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e   \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC341.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eTwo major live Brahms recordings from 1952\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eFurtwängler's Brahms has never sounded as superb as this!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBoth of these live recordings were made in the year of \n1952 at a time when technical sound quality was undergoing a \nrevolutionary step forward thanks to the advent both of tape and vinyl \nLP technologies almost simultaneously. However the equipment of the day \nwas not without its sonic shortcomings, and both of these recordings \nsuffered a slightly harsh, boxy sound quality in their original states. \nFortunately this can now be largely remedied by Pristine's 32-bit XR \nremastering system, which has made great strides in improving the tonal \nqualities of both the Symphony and Concerto recordings.\u003c\/p\u003e\u003cp class=\"body\"\u003eIn both cases the orchestras played slightly sharper \nthan the standard A=440Hz, and I've used careful analysis of electrical \ntones captured in both recordings from mains interference as a guide to \nset pitch precisely to that heard at each concert. The end result of \nthis work is to bring us closer than ever before to the sound of these \nconcerts as heard by Furtwängler and his 1952 audiences.\u003c\/p\u003e\u003cp class=\"body\"\u003eNote that the lack of applause and movement breaks were as found on my source material.\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\u003eBRAHMS\u003c\/strong\u003e Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eBerlin Philharmonic\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eTransfer from EMI LP SG 153-53668 M \u003cbr\u003eRecorded live, 7 May 1952, Deutsches Museum, Munich\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Double Concerto in A minor, Op. 102\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eWilli Boskovsky \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003eviolin\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003eEmanuel Brabec \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003ecello\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003eVienna Philharmonic\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eTransfer from EMI LP SG 153-53669 M \u003cbr\u003eRecorded live, 27 January 1952, Großer Musikvereinssaal, Vienna \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003eWilhelm Furtwängler \u003c\/strong\u003econductor \u003cbr\u003e\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, May 2012\u003cbr\u003eCover artwork based on photographs of Brahms and Furtwängler\u003cbr\u003e\u003cbr\u003eTotal duration: 75:57\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\/PASC341.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC341.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 Double Concerto\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe Double Concerto was recorded at a live performance. Willi Boskovsky had been the VPO's concertmaster since 1939, and Emanuel Brabec was the orchestra's principal cellist. The acoustic is a little confined, and the solo cello seems to catch the microphone slightly, but the balance is reasonably good and the sound itself quite clear. The performance starts unpromisingly, with fairly ordinary contributions from the soloists and a rather heavy tutti from Furtwangler, but as the first movement procedes a greater spirit grows, and soon soloists and conductor establish a good rapport. The stow movement is given a lovely, serene performance, although the finale is taken at a dangerously slow tempo. There are some good touches here but a somewhat strained, impatient quality in the solo playing, as if Boskovsky and Brabec wanted to escape from the orchestra's somewhat lumbering presence. This is a flawed performance, then, but it has thought-provoking and stimulating qualities too.\u003cbr\u003e\u003cbr\u003eA.S., Gramophone September 1990\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":14141451239485,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":14141451272253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":14141451337789,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC341.jpg?v=1745411079"},{"product_id":"pasc341-cd","title":"FURTWÄNGLER conducts Brahms Symphony No. 2, Double Concerto (1952) - PASC341 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":14167966122045,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":14167966154813,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC341_ff87b10a-fd16-4e9f-a1bb-c52fcfbd9437.jpg?v=1745411090"},{"product_id":"pasc355","title":"FURTWÄNGLER conducts Beethoven Symphonies 1 \u0026 2, Leonore No. 3 (1948-54) - PASC355","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 1 \u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 2 \u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eLeonora No. 3 - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1948, 1953 and 1954\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 72:20\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eBerlin Philharmonic Orchestra\u003cbr\u003eVienna Philharmonic Orchestra \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAn essential issue on many levels. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThis program is interesting as it couples part of \none of Furtwängler’s last concert appearances, performing Beethoven’s \nFirst Symphony, with his only preserved performance of the Second. The \nprogram that included the First was repeated over two nights, and this \npresents the first of them. There are, as far as I know, five Beethoven \nFirsts from Furtwängler, but only the one Second. The First is \nreproduced here in fabulous sound. The source was Japanese JVC RCL-3333,\n pitched to A=447.43 Hz. The sound has great presence (as an exploration\n of what can go wrong with Furtwängler transfers, try The Classical \nSociety’s transfer of the 11\/30\/1952 Vienna performance on CSCD 109, a \ncar crash of an issue in just about every respect). There is no repeat \nfor the first movement, but such is the weight of Furtwängler’s \ninterpretation I remain unsure that on this occasion it was needed. The \nmusic is clearly prophetic of things to come. The conductor’s \npoint-making makes complete sense, thanks to his grasp of the larger \nstructure. Remember Furtwängler was an admirer of Schenker. There is \nlittle or no looking back to Haydn here, instead what we hear is fiery \nand wonderful, and truly of the Beethoven stable. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante cantabile\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n is rather courtly, but concentrated. A further tribute to the transfer \nis that high strings are never harsh. There is a decidedly demonic slant\n to the Menuetto, which leads into a truly jet-propelled finale, moving \nheadlong not through speed but through an unquenchable inner energy.  \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 Symphony, recorded in London’s \ncavernous Royal Albert Hall, and before the installation of the ceiling \nmushrooms (otherwise known as flying saucers, installed in 1969 to \nadjust the acoustic), is a remarkable performance. There are moments in \nthe finale that are prophetic of the drama of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore\/Fidelio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n (hence, perhaps, the filler?). A testament to Andrew Rose’s transfer is\n that the Vienna string sound is readily identifiable. The strings’ \nunanimity is remarkable in the tricky first movement (the winds are a \nlittle distanced, perhaps, and some exchanges, particularly in the \nfinale, suffer). The most notable aspect of the first movement \ninterpretation is the properly exploratory nature of Furtwängler’s \ndevelopment section. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n has real gravitas, while the fire of the Scherzo ignites the finale. \nThis performance (transferred from an Italian EMI disc) is arguably one \nof the greatest this symphony has received.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe filler is the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLeonore\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e No. 3 (Musikvereinsaal, Vienna, 10\/18\/1953, from the same Italian EMI source). The emergence of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e theme is, as one might expect, managed in masterly fashion. No sonic problems at all here with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eforte\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es,\n and no sense of crowding whatsoever, enabling us to enjoy the unfolding\n drama. The lead-in to the annunciatory trumpet fanfares is mesmerizing;\n the sparsely scored passage before the scorching coda heart-stopping. \nThe dynamism of the coda steamrolls over the decades to leave us \nbreathless. Repeated listening (forget the first, you’ll be so carried \naway) reveals no loss of attention to detail on the performers’ part, \nand continued fidelity on the part of the recording and sterling \ntransfer. An essential issue on many levels. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eColin Clarke   \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC355.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eFurtwängler's Beethoven Symphonies in a fabulous XR-remastered makeover\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eHis only recording of the 2nd is magical - and his last ever recording, of the 1st sublime\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003eIn this release, we bring together a recording from Furtwängler's final concerts of Beethoven's Symphony No. 1 (the programme was repeated over two nights and the recording dates from the first of the two - the second was his very last appearance on the concert stage), with the only known recording of Furtwängler conducting Beethoven's Symphony No. 2, at the Royal Albert Hall in London in 1948. The companion piece to these two symphonies is a studio recording of the third Leonore Overture made during the 1953 recording of Fidelio.\u003cbr\u003e\u003cbr\u003eWhilst the studio overture recording presented few difficulties, I'm pleased to report that it has been possible to make considerable improvements to the sound quality, filling out the orchestral texture considerably and bringing the whole performance to life. Likewise his final recording of the First Symphony, which was somewhat dull and flat in its original incarnation. XR remastering has worked wonders in teasing out the full impact of the Berlin Philharmonic at this historic final concert - the sound is bright and full, with real depth. I've deliberately not attempted to remove all traces of tape hiss from this recording so as to preserve as much fine detail as possible in the upper treble.\u003cbr\u003e\u003cbr\u003eThe only known recording of the Second Symphony was first discovered and issued in 1979, and despite repeated reissues, little has ever been achieved in attempts to improve the dismal sound quality of the original discs. This new XR-remastered transfer aims to change that. Whilst one must still bear in mind the abysmal state of the original, here at last is a full-bodied orchestra, with surprising upper-end extension and a far more even sound, allowing the performance to be better appreciated than ever before. A major effort has been undertaken in stitching together tiny gaps in individual notes and dealing with hundreds of bumps and clunks. Despite the loss in the quietest sections of fine detail, overall it's a truly astonishing transformation of this historic document.\u003cbr\u003e\u003cbr\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 1 in C, Op. 21 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 September 1954\u003cbr\u003eTitania-Palast, Berlin\u003cbr\u003eTransfer from Japanese JVC RCL-3333\u003cbr\u003ePitched to A4=447.43Hz\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eBerlin Philharmonic\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e \u003c\/strong\u003eSymphony No. 2 in D, Op. 36\u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 3 October 1948\u003cbr\u003eRoyal Albert Hall,London\u003cbr\u003eTransfer from Italian EMI 3C 053-03635 M\u003cbr\u003ePitched to A4=446.36Hz\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Leonora No. 3 - Overture, Op. 72b\u003c\/span\u003e \u003cbr\u003eRecorded 18 October 1953\u003cbr\u003eMusikvereinssaal, Vienna\u003cbr\u003eTransfer from Italian EMI 3C 053-03635 M\u003cbr\u003ePitched to A4=446.16Hz\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003eVienna Philharmonic Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWilhelm Furtwängler\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, September 2012\u003cbr\u003eCover artwork based on a photograph of Furtwängler at the Royal Albert Hall, 3 October 1948\u003cbr\u003e\u003cbr\u003eTotal duration: 72:20\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\/PASC355.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC355.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eFurtwängler's Beethoven Symphony No. 2\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\"To\n Furtwangler the even-numbered symphonies were not lesser but different,\n and his performance of the Second Symphony demonstrates the strength he\n found in the marrow of this work. It may be less formidable than the \nThird and Seventh Symphonies, but it is no less muscular and represents a\n broadening of Beethoven's horizons compared to the First Symphony. For \nsome reason, Furtwangler rarely performed the Second Symphony; it was \nnot until 1979 that this recording was discovered and issued. But though\n the recorded sound is poor, it is adequate enough to demonstrate what a\n singular approach Furtwangler took with this music. His tempos are \ntempestuous and brisk (even in the opening adagio and the \nsecond-movement larghetto), and his concept of the music is incisive and\n vivid. Apart from the fleetness and brilliance of the performance, its \nmost interesting aspect is the way Furtwangler broadens the trio section\n of the third movement to create a foil for his breathless pacing of the\n scherzo, where all repeats are taken; only the first-movement repeat is\n omitted.\"\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Furtwängler Record\u003c\/strong\u003e, John Ardoin -\u003cem\u003e excerpt concerning the recording of Symphony No. 2, pp.118-119 (Amadeus Press, 1994)\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":29213384212541,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":29213384245309,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":29213384310845,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC355_74726c14-3b19-4c6e-9643-fc8d83be8f78.jpg?v=1732006510"},{"product_id":"pasc355-cd","title":"FURTWÄNGLER conducts Beethoven Symphonies 1 \u0026 2, Leonore No. 3 (1948-54) - PASC355 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":29213386702909,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":29213386735677,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC355.jpg?v=1732006484"},{"product_id":"pasc359","title":"FURTWÄNGLER conducts Beethoven Symphonies 6 and 8 (1952\/53) - PASC359","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 6\u003cbr\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1952 and 1953\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003eTotal duration: 70:12\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eVienna Philharmonic Orchestra\u003cbr\u003eBerlin Philharmonic Orchestra \u003cbr\u003e\u003c\/b\u003econductor \u003cb\u003eWilhelm Furtwängler\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f“I’m speechless.” That was my reaction the first time I heard the present CD578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eRecently I watched Fellini’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e8 1\/2 \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n a friend who never had seen it before. Her reaction when it was over \nwas, “I’m speechless.” That was my reaction the first time I heard the \npresent CD. Now a critic who is speechless would be of little use to his\n readers, so I have listened to this CD several more times and attempted\n to gather my thoughts. What’s foremost in my mind is that Furtwängler, \nmore than any other conductor in my experience, conveys the epic nature \nof Beethoven. By epic I do not mean monumental, which so easily can be \nconfused with grandiose—as sometimes occurs in the Beethoven \nperformances of Klemperer and Bernstein. No, Furtwängler’s Beethoven is \nepic in the way that it tells a story, notably a story that illuminates \nthe entire culture it comes from. For Furtwängler, Beethoven essentially\n is a lyric composer, and he conveys this quality in his interpretations\n through beauty of phrasing and of orchestral sonority. The epic quality\n exists in performances as widely divergent as Furtwängler’s 1944 and \n1952 Vienna versions of the “Eroica.” In the recordings on the present \nCD, Andrew Rose’s superb remasterings contribute immeasurably to our \nappreciation of the distinctive sound Furtwängler got from Beethoven. \nThis sound is not manicured like with Karajan but rather soulful and \nmajestic. In Furtwängler’s hands Beethoven becomes the Homer of \ncomposers, a truly epic poet.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eWith the “Awakening of cheerful feelings” that \nbegins the “Pastoral,” Furtwängler focuses notably on “awakening.” I’m \nreminded of the same sensation in the first movement of Mahler’s First \nSymphony. Furtwängler’s tempo here is measured and thoughtful, not \nbubbly. This is not just anybody entering the countryside, but Beethoven\n himself. A deep thinking personality is suggested by richness in the \nlower strings, horns, and first clarinet (is it Alfred Boskovsky?). In \nthe second movement, one can imagine the composer lying on the ground by\n a brook. Furtwängler’s tone-painting is especially subtle, with \ngorgeous playing from the Vienna principals. Luscious string sound \nconveys the deep green of the countryside. The winds and horns in the \nnext movement suggest that the “country folk” may have brought their own\n instruments to their “gathering.” Furtwängler’s conducting here reminds\n me of certain moments in his performance of Weber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Freischütz\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n The thunderstorm has elements of light and shadow as in a Gainsborough \nlandscape. There is a solitariness and a tension for the bridge passage \nto the last movement. Then, all nature seems to celebrate, as \nFurtwängler adopts a relatively quick tempo in the final movement. The \noverwhelming sense of joy prefigures the finale of the Ninth Symphony.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eFor Furtwängler’s Eighth, we are in Berlin. Klaus \nTennstedt claimed that the Berlin Philharmonic was not a great orchestra\n until Karajan took over. I guess that all depends on what one means by \ngreat. If the ability to convey musical truth is what matters, then \nFurtwängler’s Berliners were one of the greatest orchestras ever. In the\n first movement of the Eighth Symphony, the orchestral sound is like a \nliving organism, out of which the thematic material asserts itself. The \ntumult is celestial, like the birth of a galaxy. The metronome joke in \nthe next movement is an occasion for gentle humor, with a few guffaws. \nFurtwängler’s moderate tempo here recalls the slow movement of Haydn’s \n“Clock” Symphony, with its own tick-tocking joke. The next movement’s \nminuet manages to be broad and delicate at the same time. The horns and \nclarinet engage in playing of almost superhuman delicacy in the trio. \nThe last movement offers beauty with clarity. The music constitutes a \ndialogue that prefigures the late quartets.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eIf you are looking for stereo CDs of these works, \nthe ones I listen to the most are by George Szell and the Cleveland \nOrchestra, and Rudolf Kempe and the Munich Philharmonic in the \n“Pastoral,” while for the Eighth I like Wolfgang Sawallisch and the \nRoyal Concertgebouw, and Roger Norrington and the Stuttgart Radio \nSymphony. The Norrington offers historically informed performance \npractice with a vengeance. It’s important to remember that H.I.P. \nrepresents a historical artifact of today’s place and time as much as \nFurtwängler’s Eighth was of its time in 1953. I believe we lose a lot \nmusically if we turn H.I.P. into an absolute ideal. One would have to be\n a hard hearted ideologue to dismiss Furtwängler’s performances on this \nCD because of vibrato in the strings and failure to adhere to \nBeethoven’s metronome markings. As Stravinsky said to Colin Davis, a \nmetronome marking is just a beginning. I’m confident that Furtwängler’s \nBeethoven, particularly in these marvelous remasterings by Andrew Rose, \nwill be a part of our high culture for a long time to come. This is a \ngreat conductor at his peak. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:4 (Mar\/Apr 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC359.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eFurtwängler's finest recordings of Beethoven's 6th and 8th Symphonies\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eThese XR-remastered issues bring a new sound quality to match the brilliance of the performances\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eJohn Ardoin lists seven Furtwängler recordings of \nBeethoven's Sixth and three recordings of the Eighth Symphony in his \ndiscography, and though it appears that a fourth, partial 1932 recording\n of No. 8 exists, he is most insistent that the present, 1953 Berlin \nrecording easily trumps the rest. Here the full benefits of XR \nremastering can be heard, with dramatic improvements in sound quality, \norchestral tone and texture immediately apparent to the listener used to\n the previous boxy and constricted acoustic of earlier issues. This \nissue is also considerably brighter in tone, a result of the careful \nanalysis of remnants of electrical hum in the original recording, \npointing to a far sharper tuning than the \"standard\" orchestral 440Hz - \nthe 453Hz tuning of the orchestra is however not unusual for \nFurtwängler.\u003c\/p\u003e\u003cp class=\"body\"\u003eIt's no great surprise to find less room for improvement\n over EMI's \"studio\" recording of the 6th Symphony, yet this too yeilded\n far greater tonal colour than the original might lead one to believe, \nand the XR remastering of this recording does seem to have injected a \ndegree of life into it that Ardoin found lacking when comparing it to \ncontemporary live performances. Once again I found that the original \npitching was sharper than concert standard - EMI have it at around 446Hz\n though my own measurements suggested 451Hz was closer to the \norchestra's actual tuning. In both recordings I've been able to minimise\n the use of additional noise reduction processing to keep as open and \nglorious a sound as possible.\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\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 6 in F, \"Pastorale\", Op. 68 \u003cspan class=\"bodymidarial\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 24-25 November \u0026amp; 1 December 1952\u003cbr\u003eGroßer Saal, Musikverein, Vienna\u003cbr\u003eTransfer from HMV ALP 1041\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eVienna Philharmonic\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e \u003c\/strong\u003eSymphony No. 8 in F, Op. 93 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003elive at Titania-Palast, Berlin\u003cbr\u003eTransfer from Cetra FE 4\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cstrong\u003eBerlin Philharmonic Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWilhelm Furtwängler\u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, October 2012\u003cbr\u003eCover artwork based on a photograph of Wilhelm Furtwängler\u003cbr\u003e\u003cbr\u003eTotal duration: 70:12\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC359.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC359.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eFurtwängler's Beethoven Symphonies 6 \u0026amp; 8\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\"In Furtwängler's hands, the Pastoral became remarkably expressive clay, to which he brought a plasticity vouchsafed no other conductor. There is a clarity to his performances (including the few prosaic ones) in which every note speaks. Even while weathering the storm of the fourth movement, Furtwängler's performance conveys a feeling of chamber rather than symphonic music and always implants a sense of serenity and well-being. Textures are transparent, bowings are light and subtle, and dynamics are carefully monitored. A fortissimo here is not the same as one in the other symphonies, the Third or Fifth, for example; it is more a matter of weight than decibels, with accents more a surge than a sharp delineation. It is only with the third-movement scherzo that the music grows in girth and momentum, as clouds start to gather at the end of the movement.\"\u003cbr\u003e\u003cbr\u003e\"The Eighth Symphony, both in actuality and in Furtwängler's approach, continues much in the spirit of the Sixth, though the music is (like the performances) more concentrated in a temporal and formal sense. But the same outpouring of well-being permeates both. In the three performances available, Furtwangler opens with a grand gesture, a musical embrace that attempts to reach out and gather in everyone and everything. It is like a shout of joy at being alive. There is an abundance of the brio Beethoven asks for, and a true vivace, in the sense of a vivacious, living organism.\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Furtwängler Record, John Ardoin\u003c\/b\u003e - excerpts: p.133 (Symphony 6) \u0026amp; p.137 (Symphony 8) (Amadeus Press, 1994)\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":34180717261,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34180717325,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34180717453,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC359_848b0c71-f48c-48a3-9d6d-93af02bf1a6b.jpg?v=1738252667"},{"product_id":"pasc359-cd","title":"FURTWÄNGLER conducts Beethoven Symphonies 6 and 8 (1952\/53) - PASC359 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478156493,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478156557,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC359.jpg?v=1732006549"},{"product_id":"pasc389","title":"WALTER Mahler Symphony No. 9 - World premiere recording (1938) - PASC389","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMAHLER \u003c\/b\u003eSymphony No. 9\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan style=\"font-size: 10px;\"\u003eRecorded in 1938\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 10px;\"\u003e Total duration: 71:00\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVienna Philharmonic Orchestra \u003cbr\u003e Bruno Walter \u003c\/b\u003econductor\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis famous performance demands to be heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eI detest the current almost universal use - one might say abuse - of the\n word ‘iconic’. However, I might stretch a point in the case of this \nfamous recording of Mahler’s Ninth. It was taken down live, in an act of\n extraordinary vision, by Fred Gaisberg and his HMV team in January \n1938. That was just a matter of weeks before the Anschluss which made \ncontinued life in Austria an impossibility for Bruno Walter and a good \nnumber of the players who had taken part in this performance. \u003cbr\u003e\n  \u003cbr\u003e\nIt was only a few months ago that I welcomed a fine Pristine \nre-mastering of Bruno Walter’s 1961 stereo recording of Mahler’s Ninth \nand now we have a new transfer from them of the celebrated 1938 \nrecording, which was the first-ever recording of the symphony. \nIncidentally, if Pristine gave the correct date for the 1961 recording -\n and in my \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2013\/Mar13\/Mahler_Walter_PASC376.htm\"\u003ereview\u003c\/a\u003e\n I suggested they may not have been quite correct - then the sessions \ntook place forty-three years to the day after the 1938 Vienna \nperformance. While on the subject of dates, I’m intrigued to see that \nPristine indicate that the 1938 recording took place over \u003ci\u003etwo\u003c\/i\u003e \ndays. I’ve always believed that HMV recorded a single performance - on \n16 January - and that seems to be confirmed by a 1944 article by Fred \nGaisberg in which he specifically states that the performance was \nrecorded that day though he does also say that there were “five \nrehearsals during which our engineers could make their tests and \nexperiments in ‘mike’ positions.” That article is reprinted in the \nbooklet for the transfer of the performance that I’ve owned for many \nyears. It’s a transfer by Michael J Dutton (Dutton Essential Archive \nCDEA 5005). \u003cbr\u003e\n  \u003cbr\u003e\nSo much has been written about this extraordinary reading that it seems \nalmost superfluous to say more. It’s often a scalding interpretation and\n the urgency of the music-making is as remarkable as it is palpable. In \nmy review of the 1961 disc I drew attention to the fact that the 1938 \nreading is some twelve minutes shorter. In the absence of any other \nrecordings of Walter around this time it’s impossible to know how \nrepresentative of his thoughts on the symphony at the time this 1938 \nevent was. One would normally assume that a performance presents the \nartist’s considered view at the time it was given but it’s possible that\n the feverish political atmosphere in Austria in early 1938 - and the \ntrepidation this must have caused people like Walter - may have added an\n extra febrile quality to his music-making at the time. Having said \nthat, a photograph of him, which was taken in the green room immediately\n before the 1938 concert, shows him looking serious but calm. \u003cbr\u003e\n  \u003cbr\u003e\nThe performance was discussed in some detail by Tony Duggan in his \u003ca href=\"http:\/\/www.musicweb-international.com\/Mahler\/mahler9.htm\"\u003esurvey\u003c\/a\u003e\n of some of the recordings of the Ninth and I largely concur with his \njudgements. I share his relative disappointment over the quite swift \npacing of the finale but Tony seems happier with the very sturdy pace \nfor the second movement \u003ci\u003eLändler\u003c\/i\u003e than I am: it seems almost stolid\n to me. I could also wish that Walter had been more expansive in the \ntrumpet-led nostalgic episode in the third movement (from 5:38). Tony \nwas absolutely right to comment on the strain under which the orchestra \nis audibly working and one of the ironies is that the clearer a modern \ntransfer is the more those frailties show up. One wonders whether the \nfrequent fallibilities in the playing owe more to the unfamiliarity with\n this complex score or to those volatile times. It’s salutary to \nremember that this was then a very new piece: Walter had led the \npremiere only in 1912 and one wonders how many members of the VPO had \nplayed it before. \u003cbr\u003e\n  \u003cbr\u003e\nA comparison of this new Pristine transfer and the one by Michael Dutton\n has been very interesting. The first bit of comparative listening I did\n - the opening of the first movement - was to the Dutton disc. Leaving \nthe controls unaltered I then played the same passage on Pristine. The \nPristine transfer is at a higher level and, to be honest, a comfortable \nlevel for listening to Dutton was a little uncomfortable for Pristine. \nOverall, my impression is that the Pristine sound is a little more \ndefined but it’s also rather fierce at times. I think perhaps Andrew \nRose of Pristine may have retrieved a bit more detail from his source \nmaterial - but there’s a good deal of detail on the Dutton transfer too.\n Thus, for example, we can hear it quite clearly when a member of the \norchestra drops something during the first movement (7:24); it’s just \nthat bit more obvious on the Pristine version, as is audience noise \ngenerally. Perhaps there’s a little more space round the orchestral \nsound in the Pristine transfer but it’s marginal and you get a good \nsense of the hall’s ambience in both transfers. \u003cbr\u003e\n  \u003cbr\u003e\nThe Dutton transfer makes for more comfortable listening when the \norchestra is playing loudly. Thus, for example, the first big climax in \nthe first movement (around 3:00) sounds a bit strident with Pristine and\n later on in the same movement (around 19:50) the brass do blare rather \nmore than they do with Dutton. On the other hand, lightly scored \npassages, such as the end of that movement, come off well with Pristine.\n I’ve referred earlier to Walter’s sturdy way with the \u003ci\u003eLändler\u003c\/i\u003e \nmusic in the second movement. Near the start of the movement he gets the\n strings really to dig in and the sense of that is almost tangible with \nPristine. \u003cbr\u003e\n  \u003cbr\u003e\nCome the great concluding Adagio and I think it’s the Dutton transfer \nthat does more justice to the tone of the VPO strings. Whichever version\n you hear allowances have to be made for the age of the recording but \nthere’s more edge to the sound of the strings with Pristine. Both \nversions report a good, solid string bass sound. The big climax, \nstarting around 12:00, is another example of unpleasantly blaring brass \nin the Pristine transfer. This is another instance where the Dutton \ntransfer tames the brass a bit more - to beneficial effect. In either \nversion it’s fascinating to listen from about 15:00 and to hear the \nsuccession of downward \u003ci\u003eportamenti\u003c\/i\u003e in the strings (around 15:20). \nThere’s aching nostalgia in the playing and a sense of a world that was \nvery soon to vanish for ever. As I listened to the last two or three \nminutes of the movement in each transfer I forgot about making \ncomparisons. \u003cbr\u003e\n  \u003cbr\u003e\nAfter I’d done my listening and as I sat down to type up this review I \ndecided to see what Tony Duggan had had to say about Walter’s 1938 \nrecording. I was interested to see that he’d compared an old EMI \nRéférences transfer, which I used to own years ago, with the Dutton. \nWhile praising the latter for, among other things, a gain in detail, he \nfelt that the EMI transfer offered a more comfortable listening \nexperience. As it happens that sums up my feelings after this present \ncomparison. The Pristine transfer is very clear and present but perhaps \nit shines too bright and unforgiving a spotlight. Some may feel that the\n Dutton tames the sound too much but I feel that it offers a more \ncomfortable experience for domestic listening - though, arguably, \nlistening to Mahler’s Ninth should never be ‘comfortable’. \u003cbr\u003e\n  \u003cbr\u003e\nIf you already have the Dutton I see no reason to part with that and \nacquire the new Pristine version. However, whichever transfer you opt \nfor this famous performance demands to be heard. It’s amazing that this \nremarkable, truly historic reading speaks to us, and does so vividly. \nseventy-five years after it was given. For that we must give thanks for \nthe vision and technical skills of Fred Gaisberg and his team and also \nfor the skill and dedication of transfer engineers such as Michael \nDutton and Andrew Rose. \u003cbr\u003e\n  \u003cbr\u003e\n\u003cb\u003e\u003ci\u003eJohn Quinn\u003c\/i\u003e\u003c\/b\u003e  \u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC389.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter's world première recording of Mahler's 9th Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003e\"I would urge everyone who cares about Mahler to listen to it\" - Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eBruno Walter's historic first recording of Mahler's 9th \nSymphony, which he takes some eleven minutes faster than his 1961 \nColumbia recording (PASC376) has long been regarded as one of the great \nartefacts of the history of music recordings. It was remarkably \nwell-made for its day, and here, after extensive XR remastering work, is\n revealed to have held within the grooves a quality of sound that is \nquite incredible for any 1930s recording. Despite some occasional upper \nend distortion, this is a full frequency recording, and it sounds \nmagnificent as a result.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 9 in D major\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e Vienna Philharmonic Orchestra\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003eBruno Walter \u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e Recording Producer: Fred Gaisberg\u003cbr\u003e Recorded 15-16 January 1938, Musikvereinssaal, Vienna\u003cbr\u003e First issued as HMV 78s DB.8569\/78\u003cbr\u003e Matrix Nos. 2VH.7027-46\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e Total duration: 71:00 \u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, January-June 2013\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC389.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC389.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW 1989 CD reissue\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eBruno Walter conducted the first performance of Mahler’s Ninth Symphony in 1912 (it is dedicated to him) as well as this, its first commercial recording. It bestrode no fewer than ten 78 rpm discs and consumed many fibre needles! (I recall paying five shillings or 25p a record for this secondhand—and playing the set almost every evening for weeks on end, doubtless to the despair of those within earshot.) Although later performances (including Walter’s subsequent CBS recording in the early 1960s) have offered more polished orchestral playing and more vivid recording, none brings one closer to its world of feeling or takes one more deeply into its spirit. Its fires are white-hot and there is a blazing intensity that in my experience has never been surpassed on the gramophone. There is a demonic passion to the Rondo Burlesque (the orchestra play as if their corporate life is at stake) and the final Adagio has a poignancy that once heard is not easily forgotten. Even younger readers unencumbered by nostalgia will, i think, recognize the authenticity of feeling here, and I would urge everyone who cares about Mahler to listen to it.\u003cbr\u003e\u003cbr\u003eOf course, there can be no such thing as a 'definitive' performance but this is as near as one can get. This and a modern recording such as the Karajan (DG) or the Bernstein (CBS) are all one needs. Some years ago the Walter was excellently transferred to LP by Anthony Griffith (World Records-nla) with the Adagietto from the Fifth Symphony and the Siegfried Idyll as a fill-up. Let us hope that room can be found for the former as a fill-up, say, to Walter’s 1936 set of Das Lied with Kerstin Thorbord and Charles Kullmann, which must surely follow before too long. The digital remastering by Keith Hardwick enables one to hear more detail than before. As AB’s note says, “more then 50 years later it [the Mahler Ninth] still carries a unique charge in terms of dedication and intensity of utterance”.\u003cbr\u003e\u003cbr\u003eR.L., Gramophone, August 1989\u003cbr\u003e\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW 1939 78rpm release\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThis, I understand, is a limited issue, which will be prized by those who love the composer’s music, not only for its own sake, but because of the associations of Walter and Vienna. The admirable recording was made at a concert a year ago. The conductor has written of Mahler with persuasive affection, and here is his testament of interpretation about a work that cannot be heard without deep sympathy for a composer who did not live to hear it. If he had, it seems likely that he might have compressed parts of it. It cannot be denied that extreme length is apt to deter well-wishers ; but it may be more rewarding, in the end, than acerbic brevities in which the heart pulsates too feebly, and the rhythm too brashly: a pulsation oddly paralleled, one notes, in the cock-a-whoops of the petty, who cannot uphold their idols without spitting upon those who do not share their adolescent enthusiasms: the surest sign, this, of the true shamateur, There is room for every kind of real devotion, whose deepest proof is often the quietness of the devotee, but I have no use for the mere fandom of the half-baked, One may well wish enthusiasms to be shared (though, as a medical writer on the late “slashings” pointed out, the followers of evil, just as much as the devotees of righteousness, are urgent to make converts) ; but I think the great bulk of intelligent music-Iovers now realise (even if other would-be dictators do not) the silly futility of attempted conversion by the bludgeon.\u003cbr\u003e\u003cbr\u003eWe listen, then, with all possible sympathy to these distinguished records of music that came at the end of a life too soon cut off (Mahler was little over fifty when he died in 1911). His belief in devotion to spiritual intimations was well expressed in his saying “One docs not compose: one is composed.” E. N. has aptly said “Mahler’s is the last noble mind in German music,” He sings, in the Song of the Earth, his twilight song. In the ninth symphony, which came after, the feeling is perhaps more equally divided between personal resignation and our sense of the end of German romanticism. Strauss, in some measure, had similarly sung, but in Mahler is a spirit of finer texture : one might say of it at its best, of divination. Heard against the background of historical knowledge, and with some appreciation of the forces that we now clearly see were piling up in those so deceptive years of the first decade of the century ; heard, too, with some understanding of the Austrian scene, of Mahler’s desire to escape from his long toil in the opera-housc, such music has much to say to the inseeing and inhearing. The quieter moods of the first movement are so quickly broken by dramatic urgencies ; here is obviously a powerful drive of interplaying forces ; superficially the most immediate reference is to the Strauss tone-poem style, but no “programme” is given us. We shall probably regard the music as a mentally concentratcd (if physically extended) working-out of problems not new, but now seen more clearly and more sharply suggested to the listener.\u003cbr\u003e\u003cbr\u003eThe second movement (beginning at side 8) turns again to the simplicities of old German and Austrian life, by making use of the style of the country dance, the Ländler ; but tills is no happy motion of minds at rest and bodies glad to keep them so. Not only the very striking orchestration (that throughout makes the music so vivid, even if sometimes almost affrighting), but the abrupt, perhaps harsh-feeling ejaculations bring a sense of doubt, which some might interpret as bearing a heart of sadness, expressed in a brusque heaviness. Though one does not at all attempt a comparison of values, it comes to my mind that here is some tincture of thinking-into-the-future, as well as of the past, not unlike (yet on a different plane to) that which late-Beethoven injects into an otherwise pcaccful world—and, so doing, makes it uneasy, dangerous, foreboding. We should not read too much, where so little was given out ; but the music does seem full of strange finger-posts, an impression not lessened by repetition.\u003cbr\u003e\u003cbr\u003eThe third movement (side 13), called “Burleskc,” adopts a more open wildness and stronger contrasts, and develops the contrapuntal art that Mahler so greatly esteemed (Bach and Beethoven were his prime delights). The word “ bitter ” is much in one’s mind ; but it is not easy to define the nature of the music, as its so varying lights sweep the sky of the mind of composer and listener. One searchlight may pick out an object for A, whilst another light momentarily blinds B. A cloud, even, may seem like a bomber.\u003cbr\u003e\u003cbr\u003eFinale (side 16). It is in moments such as the beginning of this movement that the faith of some who may have wavered about Mahler should be deepened. That does not at all mean that I think one ought to cherish equally everything written by a man who can write greatly ; I am all for making distinctions ; and the strongest of them all is, I think, not made for us, but by us: to adapt Mahler’s phrase that I quoted, about composition, we do not, in the end, distinguish, we are distinguished (however undistinguished, in one sense) : nature, temperament, upbringing, determine our bent: and so, perhaps, the less we deave others about that the better. But however we choose to regard late Mahler—whether as chiefly a testimony of unrest, uncertainty, self-doubt, as a more important future-forecasting than some of our friends consider it, or even as a too poignantly coloured decadence of romance, I cannot think that so remarkable a revelation of the man's spirit at the end of his life can fail to impress any musical mind and move any open heart.\u003cbr\u003e\u003cbr\u003eW.R.A., The Gramophone, January 1939\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_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":34261191693,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":34261191757,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34261191821,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":34261191885,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC389_48a2fa69-807c-4e0e-baf0-f9a0d3bc02c1.jpg?v=1489747295"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/collections\/ViennaPhilharmonic-Credit-Richard-Schuster_t479.jpg?v=1497432943","url":"https:\/\/www.pristineclassical.com\/collections\/ensemble-vienna-philharmonic-orchestra.oembed?page=10","provider":"Pristine Classical","version":"1.0","type":"link"}