{"title":"Westminster Choir","description":"\u003cp\u003eWestminster Choir is a choral ensemble associated with Westminster Choir College.\u003c\/p\u003e\u003cp\u003eWestminster Choir College was founded in the United States in the early twentieth century and became known for choral training.\u003c\/p\u003e\u003cp\u003eThe choir has been associated with concert, broadcast and choral-orchestral repertory.\u003c\/p\u003e","products":[{"product_id":"paco061","title":"STRAVINSKY conducts Stravinsky: Perséphone (1957) - PACO061","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePerséphone\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 January 1957 Columbia 30th Street Studios New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 53:33\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eVera Zorina, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNarrator\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eRichard Robinson, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eTenor\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003edirector Dr. John Finley Williamson\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Igor Stravinsky\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is a major addition to the heritage of Stravinsky performances578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMESi\"\u003ePerséphone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the “balletic retelling of the regeneration mystery” (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew Grove\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e), written in Paris in 1933–34, is a weak sister of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOedipus Rex\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n and the Symphony of Psalms. “Narrator” (taken from the original LP) is a\n misnomer; the speaker is Perséphone herself, taking full part in the \naction. In the 22-CD set \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWorks of Igor Stravinsky\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n ($31.99 at Amazon—one of the great bargains), the part is labeled \n“Perséphone (the Goddess).” The tenor role is there called “Eumolpus \n(The Priest),” who oversees the drama, acting more as narrator than does\n the Goddess. Confused yet? The ancient myth, involving trips to Hades \nas well as the regeneration of spring on earth, crams too much into one \ntale, and André Gide’s libretto is of little help. The uneven and \nunconvincing story is responsible for the distinct lack of attention \nthis work has received. Which is too bad, because the score contains \nmuch of interest, if not quite the tension and power of its siblings. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis monaural recording was made by \nColumbia Records on January 14, 1957, months before the company switched\n to stereo (it had made one stereo recording in New York, Leonard \nBernstein’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMessiah,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in December 1956). Andrew Rose’s transfer was made from a “near mint” \ncopy of the Columbia LP, ML-5196, and it is a notable improvement over \nthat vinyl disc. Not only has noise been eliminated and clarity \nimproved, but the tenor’s voice has gained color and an appropriate \nring. Stravinsky remade \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePerséphone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n in stereo in Hollywood a decade later, but that performance is more \ngeneralized, with looser orchestral playing; nor is the overly sweet \nstereo sound appropriate for this work. So this is a major addition to \nthe heritage of Stravinsky performances. It is sung and spoken in the \noriginal French, but neither of the Stravinsky-led CDs has a libretto; \ngiven the complex, confusing nature of the tale, this makes the original\n LP a keeper for its six-page libretto, with French and English printed \nside-by-side. The Internet offers at least one libretto to download; I \nhave not seen it and so cannot recommend it. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames H. North\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO061.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eStravinsky's definitive recording of his melodrama Perséphone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eBizarrely overlooked 1930s masterpiece in superb 1957 New York recording\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis transfer of Stravinsky's far too rarely-heard \u003cem\u003ePerséphone\u003c\/em\u003e\n was suggested to me by John Phillips, who also supplied the source \nrecording, a copy of the original Columbia Masterworks LP in near mint \ncondition. The original recording was exceptionally well made, though \none can only curse Columbia for their non-adoption of stereo at this \nstage in the 1950s! In carrying out the XR remastering of the recording I\n compared it sonically to a more recent recording of the work by Kent \nNagano and the London Symphony Orchestra (as referenced in the review \nabove).\u003c\/p\u003e\u003cp class=\"body\"\u003eThe two shared a very close average frequency response \ncurve, though the latter did highlight a slight thinness in the voices \nand suggest an adjustment which brings out greater richness in the voice\n of the tenor, Richard Robinson. This aside, and with a reduction in the\n tape hiss present on the original LP, this transfer is exceptionally \nfaithful to the original. Unlike the LP, however, there is here no \nrequirement to split the lengthy second section into two halves in order\n to meet the time limitations of the vinyl long playing record.\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\u003cul\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eSTRAVINSKY  \u003c\/b\u003ePerséphone\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 14 January 1957 Columbia 30th Street Studios New York City\u003cbr\u003eTransfer from Columbia Masterworks LP ML 5196\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, May 2011\u003cbr\u003e Cover artwork based on a photograph of Igor Stravinsky\u003cbr\u003eTotal duration: 53:33\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eVera Zorina, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eNarrator\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eRichard Robinson, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003eTenor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003edirector Dr. John Finley Williamson\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eConducted by\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e Igor Stravinsky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\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\/PACO061.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO061.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":33845714125,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":33845714189,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":33845714253,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":33845714317,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO061.jpg?v=1489157362"},{"product_id":"paco050","title":"TOSCANINI Brahms: Ein Deutsches Requiem (1943) - PACO050","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e \u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eEin Deutsches Requiem, Op. 45\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of January 24th 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:46\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eVivian della Chiesa, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert Janssen, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003ebaritone\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\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_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis broadcast provides a stunning walk into history and a prime example of Toscanini’s giving new life and meaning to work that was often thought to be depressingly dreary578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThis release offers Toscanini’s only NBC performance of Brahms’s \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"TIMESi\"\u003eGerman Requiem\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"TIMES\"\u003e\n and constitutes its second CD appearance, coming six years after an \nimpressive one released by Guild (2290). Neither in sound nor in content\n are they identical. Differences in the latter are minor, the Guild disc\n offering more of the announcements that frame this broadcast \nperformance, which is sung in English. But although both releases \napparently draw upon a prime source, the sound of this new one is \nbrighter and more forward, a virtue that proves especially welcome in \nthe choral sections. Usually the Westminster Choir, when under John \nFinley Williamson’s direction (as it is in this performance), produced a\n rounded, blended sonority, which, although pleasing, often caused a \nblurring of texture and text. Evidently Toscanini would have none of it,\n the choir here projecting a clarity that comes far closer to what the \nRobert Shaw Chorale produced for the Maestro—textural transparency with a\n clear delineation of the choral lines. Musically, the reading may well \nsurprise those accustomed to hearing the music in another performance. \nFast sections are sometimes slower than usual, traditionally slow ones \nsometimes faster. Although some of the solo singing is not up to the \nhighest standards, it remains adequate. What may surprise many is the \nexceptionally fine sound of Studio 8H, as heard here. Granted, it \nremains dry, but with a presence, clarity, and dynamic range never \nmatched in studio recordings of the period. In short, this broadcast \nprovides a stunning walk into history and a prime example of Toscanini’s\n giving new life and meaning to work that was often thought to be \ndepressingly dreary. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eMortimer H. Frank \u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO050.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eToscanini's only recording of A German Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eAstounding sound quality from this 1943 radio broadcast\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIt is unfortunate for students of Toscanini this is the only recorded performance of Brahms' \u003cem\u003eA German Requiem\u003c\/em\u003e under his baton, as Mortimer H. Frank rightly comments in \u003cem\u003eArturo Toscanini - The NBC Years\u003c\/em\u003e:\n “Not that it is an inferior account; on the contrary, it is \nmagnificent.” The question remains as to whether this would have been \nToscanini's interpretation a decade later, or a decade earlier, prone as\n he was to the constant revision and reinterpretation of his readings.\u003c\/p\u003e\u003cp class=\"body\"\u003eCertainly this is one of those great performances which \ngoes contrary to the received wisdom that Toscanini was often too \ninclined to faster tempi – Frank again: “some of his tempos here are \nconsiderably slower than the norm. The effect of this approach is to \nstrip away the halo of Victorian sobriety that have hung over many \naccounts of this score...”. He also notes the fact that the performance \nis in English and wonders whether this was due to wartime anti-German \nsentiment.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs the sole recording from Toscanini it is no great \nsurprise that this specially-extended broadcast, the last in a \nsix-programme Brahms season for NBC, has been made available on a number\n of issues, and one might question the need for another. I was strongly \ninfluenced in my decision to at least investigate this recording by the \nincredible quality of the original transfer supplied to me. For a 1943 \nbroadcast it was exceptionally clean, clear and had a wonderfully \nextended frequency and dynamic range. It would appear that the \ntranscription was a straight and high-quality dub of near-mint \noriginals, with no interference whatsoever – even the side joins \nremained undone. In my experience it has been rare to have such strong \nsource material to work on from this period.\u003c\/p\u003e\u003cp class=\"body\"\u003eBut the fact remains that others may have started with \nsimilar sources. Thus I decided that it was worth going a step further \nthan I might otherwise do. Naturally the recording received a full XR \nremastering; this performed wonders on the already clear sound quality, \nremoving perhaps a decade or two from the perceived age of the \nrecording. Then we come, inevitably, to the sound of NBC's Studio 8H. At\n the time it had recently been overhauled to try and improve the \nacoustic, and NBC's engineers were busy trying various microphone \nset-ups to bring out the best in it. But the recording here was rendered\n nearly dead by an acoustic as dry as the desert.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis is where convolution reverberation comes in, \nsomething I've written extensively about before. By effectively placing \nthe recording in the acoustic of a real hall (as opposed to the \nartificial sound of generic digital reverb), it acquired a new and \nentirely natural life that was totally sympathetic to the recording. \nIndeed, I suggest that only the listener used to – and conditioned to – \nthe dryness of 8H would even think for a moment that this is not what \nthe audience experienced on the day (as indeed they might have - \ndepending on how the microphones were hung we may have little real idea \nas to the actual sound as heard by those attending these concerts.)\u003c\/p\u003e\u003cp class=\"body\"\u003eThe result is for me a particularly satisfying \nachievement, and one which allows me to be further absorbed in the music\n than before, when subject to the constant irritant of the original \nsound and the way it to often made certain sections of the music sound \nraw and almost amateur in delivery. In short, I believe this is closer \nto how this performance would have sounded in a real concert hall than \nhas ever been heard before, and is all the better for it.\u003c\/p\u003e\u003cp\u003e\n\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\u003eBRAHMS \u003c\/b\u003e \u003cspan\u003eEin Deutsches Requiem, Op. 45\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of January 24th 1943\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Transfers from the private collection of Christophe Pizzutti \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e XR remastering by Andrew Rose at Pristine Audio, September 2010\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 73:46\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003eVivian della Chiesa, \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e Herbert Janssen, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003ebaritone\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e The Westminster Choir\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodymidarial\" style=\"font-size: 14px;\"\u003eDirector: John Finlay Williamson\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e NBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003econductor\u003c\/span\u003e\u003cspan class=\"body\" style=\"font-size: 14px;\"\u003e\u003cb\u003e Arturo Toscanini\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO050.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO050.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":32417920717,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417920909,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417921165,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417921421,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO050_7cf0c428-b682-4e1a-a216-da14ea68d011.jpg?v=1487682698"},{"product_id":"paco038","title":"TOSCANINI Verdi: Requiem (1940) - PACO038","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eAida\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eCASTELNUOVO-TEDESCO\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e - Overture to \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Taming of the Shrew\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eRadio broadcasts from 1940\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 100.01 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZinka Milanov, Bruna Castagna, Jussi Björling, Nicola Moscona\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e Arturo Toscanini\u003c\/span\u003e\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_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis new Pristine edition is the finest I have heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"TIMES\"\u003eEspecially compelling is his 1940 NBC broadcast of \nthe Verdi Requiem. This has, of course, received a good transfer from \nMusic \u0026amp; Arts, but this new Pristine edition is the finest I have \nheard, one that does full justice to Toscanini’s conception. Almost \nsonically competitive with his 1951 RCA edition, it features superior \nsoloists and somewhat greater flexibility.  \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eWant List for \u003cb\u003eMortimer H. Frank\u003c\/b\u003e [2010]\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO038.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eNew source discovered for Toscanini's classic 1940 Verdi Requiem\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus Aida Overture première and an unreleased overture by Castelnuovo-Tedesco\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe discovery of a new source copy of Toscanini's 1940 Verdi \u003cem\u003eRequiem\u003c\/em\u003e\n will be of great interest to collectors. The tape appears to be a \nstraight dub of 16-inch acetate discs, with no editing between sides \nwhich (just) overlap sufficiently to create a seamless recording. \nItalian collector Luciano Crivello acquired the tapes recently and, in \naddition to making them available to online Toscanini groups in a \nstraight copy transfer, offered them to Pristine Audio for editing and \nrestoration, commenting: \"...of this Requiem several were the issues \n(Arturo toscanini Society, Music and Arts and many others, I have one \nalso with commentaries and the Deum, but the sound is not so good). The \nmaterial is really very rare and certainly has never been used even by \nprivate labels. This material has never been put in Commerce. It seems \nto me that the previous releases for sale do not have this sound so \ngood, although some were of excellent quality. But there are some points\n of this record that sound so natural and strong, as I had never heard \nbefore.\"\u003c\/p\u003e\u003cp class=\"body\"\u003eThe sound quality was indeed remarkably good, if at \ntimes a little strident and prone to overload distortion during some \nlouder passages. The treble is reasonably extended and it's been \npossible to remove some background noise as well as to extend and \nreinforce the bass. Various minor faults and flaws in the recording have\n been tackled, including occasional pitch instability and small disc \nsurface defects.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe other two recordings included here both date from \nearlier in 1940 and have been preserved in remarkably good sound quality\n - both are cleaner and have considerably higher treble response than \nthe \u003cem\u003eRequiem.\u003c\/em\u003e Whilst it is well known that Toscanini premièred Verdi's discarded overture to \u003cem\u003eAida\u003c\/em\u003e\n at the 1940 concert of March 30th, it has been impossible at the time \nof writing to find out much about the Castelnuovo-Tedesco overture.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe composer had been supporting of Toscanini in Italy \nwhen the conductor was under scrutiny by Mussolini, and eventually was \nforced to flee to the United States, where Toscanini sponsored his \nrelocation in 1939. The overture was played twice in concerts given by \nToscanini and the NBC Symphony Orchestra (the second performance, on 3rd\n March 1944, is also available on CD), and in 1945 Toscanini also gave a\n single performance of the Castelnuovo-Tedesco's overture \u003cem\u003eA Fairy Tale\u003c\/em\u003e. I have failed to locate any other recording of the present \u003cem\u003eTaming of the Shrew Overture\u003c\/em\u003e, nor any further information about the work.\u003c\/p\u003e\u003cp class=\"body\"\u003eAs such it is impossible to state whether this is the \noverture's world première, its broadcast première, its US première, or \nindeed, all three - or of course none of the above. Should this or any \nother pertinent information become available I will of course update \nthis page. Alas my recording of the work contained too little \nrapidly-faded applause to include here - suffice to say, therefore, that\n the audience response was certainly positive, and not the silence \nimplied by the present transfer.\u003c\/p\u003e\u003cp\u003e\n\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\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI \u003c\/b\u003e- Missa da Requiem\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eVERDI\u003c\/b\u003e - Overture to Aida (world première performance)\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eCASTELNUOVO-TEDESCO\u003c\/b\u003e - Overture to The Taming of the Shrew (previously unissued)\u003cbr\u003e \u003cbr\u003e \u003cb\u003eZinka Milanov\u003c\/b\u003e, soprano\u003cbr\u003e \u003cb\u003eBruna Castagna\u003c\/b\u003e, contralto\u003cbr\u003e \u003cb\u003eJussi Björling\u003c\/b\u003e, tenor\u003cbr\u003e \u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e \u003cb\u003eThe Westminster Choir\u003c\/b\u003e, director \u003cb\u003eJohn Finlay Williamson\u003c\/b\u003e\u003cbr\u003e \u003cb class=\"body\"\u003eThe NBC Symphony Orchestra\u003cbr\u003e conductor Arturo Toscanini\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eSource information:\u003c\/p\u003e\n\u003cp class=\"bodymidarial\"\u003e\u003cb\u003eREQUIEM\u003c\/b\u003e: The Alma Gluck Memorial concert, benefitting the Roosevelt Hospital\u003cbr\u003e Live broadcast from Carnegie Hall, 23rd November 1940 \u003cbr\u003e New source material courtesy of Luciano Crivello\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eOVERTURES\u003c\/b\u003e: Studio 8H, 30th March 1940\u003cbr\u003e Aida Overture: disc transfer from Penzance Records LP #37\u003cbr\u003e Taming of the Shrew Overture: tape transfer from the Pristine archives\u003cbr\u003e Transfers by Andrew Rose, January 2010\u003c\/span\u003e\u003c\/p\u003e\n\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\/PACO038.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO038.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":32417949645,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":32417949709,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":32417949837,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":32417949965,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO038_ca12fdad-9ef9-4f94-bbc5-cc2d1e50fb9c.jpg?v=1487682714"},{"product_id":"paco050-cd","title":"TOSCANINI Brahms: Ein Deutsches Requiem (1943) - 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PACO061 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478080845,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478080909,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO061_9263c163-932d-43cb-a18f-7911efad324c.jpg?v=1658482305"},{"product_id":"pasc385","title":"WALTER conducts Mahler's Second Symphony (1957-8) - PASC385","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMAHLER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2, Op. 47 \"Resurrection\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1957\/58 in stereo\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003e Total duration: 79:40\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEmilia Cundari \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaureen Forrester \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWestminster Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is an essential interpretation578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003ePristine has chosen a striking cover design for \n          this issue to reflect the cosmic nature of the \u003ci\u003eResurrection Symphony\u003c\/i\u003e: \n          artwork based on photos from the Hubble Space Telescope is used as the \n          backdrop to the image of Bruno Walter, baton poised. This is a recording \n          that was almost never completed: the sessions were delayed by a year \n          following Walter’s heart attack in March 1957, just after he had \n          recorded the fourth and fifth movements. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s way with this mighty work has been revered since it first \n          appeared; regarding its musical content, I have nothing much to contribute \n          beyond reiterating the many virtues already commented upon by previous \n          reviewers. This is a recording which belongs in every serious Mahlerian’s \n          collection; the question is whether a newcomer or an established collector \n          should contemplate forking out for this XR re-mastering by Andrew Rose. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          I have long been a fan of Pristine’s engineering and just recently \n          extolled the extraordinary clarity and depth which Mr Rose has breathed \n          into the Furtwängler La Scala \u003ci\u003eRing\u003c\/i\u003e. I am invariably impressed \n          by what he can do for venerable recordings and I can certainly hear \n          how he has reduced hiss, enhanced lower frequencies and revealed the \n          brass and chorus in greater glory. However, after repeated close comparison \n          with the CBS issue - originally very well recorded by Philips - I cannot \n          in all conscience claim that anyone who already owns it need rush to \n          replace it with this Pristine single disc, especially as the CBS double \n          CD set, offering the First Symphony too, is available at bargain prices. \n          Indeed, occasionally I even felt that that the CBS engineering retained \n          more bite and body than the Pristine version. \u003cbr\u003e\n            \u003cbr\u003e\n          Walter’s vision for this work is one of quiet mastery and concentration; \n          there is nothing showy or interventionist about his conducting but under \n          his direction the music seems always to be doing just what it should. \n          He never lingers or indulges and those looking for the equally masterly \n          but very different, slower approaches of Tennstedt or Levine or Klemperer’s \n          more granitic assault, will be surprised. Walter’s version fits \n          neatly onto one disc but he never seems to be rushing. He storms heaven \n          with an orchestra - here correctly credited as the New York Philharmonic, \n          which was originally billed as the “Columbia Symphony Orchestra” \n          for the usual contractual reasons - which plays out of its skin. \u003cbr\u003e\n            \u003cbr\u003e\n          The key to the first movement lies in the instruction “maestoso”; \n          Walter maintains a steady, majestic and inexorable stride in this funeral \n          march, but also permits the pastoral interludes to unfold gently, uniting \n          the two moods with a firm sense of purpose. His control is absolute; \n          he knows how to meld the contrasting and conflicting moods into a coherent \n          narrative. When the menacing opening theme returns on the insistent \n          brass, the discords build and build to a thrilling climax at 14:54 before \n          the tantalising offer of consolation subsides into a wholly ambiguous \n          conclusion, reflecting Mahler’s ambivalence about his search for \n          God; Walter displays a wholly convincing understanding of the spiritual \n          dimension of this symphony. \u003cbr\u003e\n            \u003cbr\u003e\n          The Andante unfolds with lilt and charm; Walter’s subtle rubato \n          and the singing cello tone effortlessly convey the recollection of happy \n          memories in a past life. This restrained style perhaps carries over \n          too much into the “St Anthony preaching to the fishes” movement, \n          eliciting a criticism from some quarters which has some validity, that \n          he is a tad too blithe and relaxed to capture fully the grim and bitter \n          irony of the saint’s efforts; the music here should sound like \n          a metaphor for the circularity and pointlessness of life’s frustrations, \n          but yet again Walter secures a powerful close to the movement. \u003cbr\u003e\n            \u003cbr\u003e\n          “Urlicht” is tender and prayerful, as it should be. Maureen \n          Forrester’s smoky, rich-toned contralto, with its appealing, flickering \n          vibrato, is amongst the very best in this music; only Janet Baker in \n          her many versions and perhaps Jessye Norman for Maazel surpass her. \n          The monstrous finale is simply glorious: Emilia Cundari - a singer with \n          whom, I confess, I am entirely unfamiliar - is silvery and soaring, \n          while Forrester intones her text like the Cumaean Sibyl. The Westminster \n          College Choir is wonderfully expressive, first mysterious, then impassioned \n          and ecstatic. The otherworldly off-stage effects in the “Grosse \n          Appel” are highly effective and in the last ten minutes are amongst \n          the most serene and ethereal of any recording. Consistent with his strategy \n          in directing the whole symphony, Walter makes a slow-burn progress towards \n          an overwhelmingly powerful climax. \u003cbr\u003e\n            \u003cbr\u003e\n          Whether you buy it on Pristine or CBS, this is an essential interpretation. \n          \u003cbr\u003e\n            \u003cbr\u003e\n          \u003cb\u003e\u003ci\u003eRalph Moore \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC385.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eBruno Walter, \"whose reading may be accepted as authentic\", conducts Mahler's 2nd\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eFabulously improved sound quality for \"this admirable issue\" in this 32-bit XR remastering\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003eAs with other issues in this series of Bruno Walter's Mahler recordings, Pristine's 32-bit XR remastering system has succeeded in delving deep into the original recording to reveal new depths and new heights. Where previously the brass sounded perhaps a little veiled, now they can be heard in all their blazing glory. Meanwhile the choir opens out wonderfully, making previous issues sound perhaps a little strangled by comparison. Finally the full rumbling majesty of the lowest organ stops can be felt as well as heard to marvellous effect. The Gramophone's reviewer talks about an \"apocalyptic\" performance - now we can hear it in sound to match that artistic vision.\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMAHLER\u003c\/strong\u003e Symphony No. 2, \u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003eOp. 47 \"Resurrection\"\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmilia Cundari \u003c\/strong\u003esoprano\u003cstrong\u003e\u003cbr\u003e Maureen Forrester \u003c\/strong\u003econtralto\u003cstrong\u003e\u003cbr\u003e Westminster Choir\u003cbr\u003e John Finlay Williamson \u003c\/strong\u003echorus master\u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e New York 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 1st mvt. recorded 17 February 1958\u003cbr\u003e 2nd \u0026amp; 3rd mvts. recorded 21 February 1958\u003cbr\u003e 4th \u0026amp; 5th mvts. recorded 18 February 1957\u003cbr\u003e Carnegie Hall, New York\u003cbr\u003e First issued as Columbia M2L 256\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e XR remastering by Andrew Rose at Pristine Audio, April 2013\u003cbr\u003e Cover artwork based on a photograph of Bruno Walter\u003cbr\u003e \u003cbr\u003e Total duration: 79:40\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\/PASC385.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC385.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 1959 UK LP issue\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIn good time for next year’s Mahler centenary comes a recording which is certain to make a strong appeal to all real Mahler enthusiasts, all the more since it is conducted by the composer’s distinguished disciple, Bruno Walter, whose reading may be accepted as authentic and who clearly loves this music. The Second Symphony, provided by Mahler with a weighty “programme” about life and death, the Last Trump and the resurrection of the dead, and the assurance of a life hereafter (“Sterben werd* ich, um zu leben”), is nevertheless a work which takes a good deal of stomaching. Faced with concepts of such magnitude, Mahler becomes merely grandiloquent: the enormous apparatus he demands—a huge orchestra, with large reserves of extra brass and percussion, organ, chorus and soloists—ends jby becoming unwieldy; the suspicion increases, as the symphony’s vast length unfolds, that it would have been the better for more matter and less art; and it cannot be denied that at the very point where nobility of thought is needed, Mahler (like Strauss in a similar context) falls dangerously near bathos. For all that, beneath all the pomp there lie some characteristically striking and beautiful ideas, and when Mahler, for contrast, reverts to the vein of childhood innocence and naivete—as in the Landler movement - (based on one of the Knaben Wunder horn songs)—he is at his most charming. Indeed, there may be more of heaven here, as seen through the eyes of a child, than in all the alarums and excursions later.\u003cbr\u003e\u003cbr\u003eThe Klemperer recording which has been the only one available until now was not particularly satisfactory, owing to the general sense of constriction, the restricted dynamic range and the string quality, which tended to sound starved just when it should have been most opulent. The present issue, except for a short patch in the finale where the engineers, not altogether surprisingly, seem to have feared for the safety of their equipment and have brought their fader down a notch or so, is remarkably well recorded, with particularly good balance and excellent quality. Adequately to contain Mahler’s vision of the heavens opening, with trumpets disposed to right and left, near and far, stereo at least is called for (and, in fact, the stereo version exists in America); but even in mono this does not overload. It is Walter’s interpretation, however, which is the real joy of this issue: not only is he more apocalyptic than Klemperer, but in the lyrical passages he brings far more grace to the music. The second subject of the opening movement, for example, has more Viennese charro, without, as in the previous recording, turning into mere goo at the recapitulation; the Landler flows more easily (what lovely singing tone from the ’cellos, incidentally!); and the Scherzo, which before seemed unduly protracted, is taken at a better speed and is more pointed rhythmically. Though one should not forget the wonderfully steady singing of Hilde Rössl-Majdan in the earlier set, the soloists and chorus here are very good, and complete the attraction of this admirable issue.\u003cbr\u003e\u003cbr\u003eL.S., The Gramophone, June 1959\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":34255886349,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":34255886413,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":34255886541,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385.jpg?v=1489743208"},{"product_id":"pasc385-cd","title":"WALTER conducts Mahler's Second Symphony (1957-8) - PASC385 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":40478178765,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":40478178829,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC385_b2d2c1d6-8f14-4c45-8598-25ac96e8af1c.jpg?v=1658309344"},{"product_id":"pasc222","title":"KARAJAN in New York Vol. 1: Beethoven Symphony No. 9 (1958) - PASC222","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9 \"Choral\"\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1958, New York\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 66:35\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeontyne Price, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMaureen Forrester, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Simoneau, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eTenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNorman Scott, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eBass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWestminster Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eHerbert von Karajan\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI was in the audience...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI should confess that I do not bring complete \nobjectivity to this performance for the simple reason that I was in the \naudience when it took place. Like many record collectors then, I had \nbeen struck by Karajan’s initial postwar recordings made for English \nColumbia with the Vienna Philharmonic, particularly that of the Ninth \nSymphony. What was immediately clear from hearing him live was how he \ntransformed the sonority of the New York Philharmonic and suggested in \nthe first movement (without quite duplicating) those cascading legatos \nthat typified that first of what ultimately proved to be his five studio\n accounts of the work. Granted this resurrection is not a performance \nfor the general collector. For one thing, some of the orchestral playing\n is a bit sloppy, no repeats are taken in the second movement, and the \nend of the finale is a frantic mess. The four soloists were, of course, \ndistinguished, though some may be surprised by Norman Scott’s opening \nrecitative rendered with its appoggiatura sung as a very short grace \nnote. Considering that the source of this release is an AM broadcast, \nthe sound is remarkably good. Although somewhat limited in dynamic \nrange, lacking uppermost frequencies, and suffering from occasionally \nskewed balances, the transfer remains eminently listenable with a very \nquiet background. Certainly for those interested in Karajan or in live \nperformances in general, this release is worth having. The only \nannouncement included is James Fassett’s closing statement. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMortimer H. Frank  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC222.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eHerbert von Karajan conducts the New York Philharmonic!\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFirst of three volumes chronicling his only appearances with the orchestra\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003e\"\u003cstrong\u003eHerbert von Karajan\u003c\/strong\u003e (5 April 1908 – 16\n July 1989) was an Austrian orchestra and opera conductor. His obituary \nin The New York Times described him as \"probably the world's best-known \nconductor and one of the most powerful figures in classical music\". \nKarajan conducted the Berlin Philharmonic orchestra for 35 years. He is \nthe top-selling classical music recording artist of all time, having \nsold an estimated 200 million records during his career.\"\u003c\/i\u003e - \u003cem\u003eWikipedia\u003c\/em\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eDespite his lengthy and varied career, Karajan was \npredominantly a Europe-based conductor and rarely conducted American \norchestras - in 169 concerts in the USA he conducted only three \norchestras: the Los Angeles Philharmonic once (1959), the Metropolitan \nOpera Orchestra fifteen times (1967-69), and the New York Philharmonic \neight times in November, 1958. His only other engagements with an \nAmerican orchestra were two concerts with the Cleveland Orchestra in \nSalzburg and Lucerne during August 1967.\u003c\/p\u003e\u003cp class=\"body\"\u003eThe New York Philharmonic concerts were split into two \ngroups of four: The first concerts, of 13-16 November 1958, consisted of\n three works: Webern's \u003cem\u003eFive Pieces for String Orchestra\u003c\/em\u003e, Mozart's\u003cem\u003e \"Jupiter\" Symphony, No. 41\u003c\/em\u003e, and Richard Strauss's \u003cem\u003eEin Heldenleben\u003c\/em\u003e. A week later, between 20th and 23rd November, Karajan played an all-Beethoven programme, beginning with the \u003cem\u003eFirst Symphony\u003c\/em\u003e and ending with the \u003cem\u003eNinth\u003c\/em\u003e - in the case of the\u003cem\u003e Ninth \"Choral\" Symphony\u003c\/em\u003e these\n constituted four of ten performances the conductor gave of this work in\n 1958 alone - three with the Berlin and three with the Vienna \nPhilharmonics complete the total.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003eTransfer notes\u003c\/p\u003e\u003cp class=\"body\"\u003eEach group of four New York Philharmonic concerts \nreceived a radio broadcast - in each case it was the third of the four \nconcerts, held on Saturday evenings, which was broadcast on the CBS \nradio network. At the present time the only surviving recordings of \nthese concerts appear to have been taken from AM broadcasts. Although \nthe quality, both of the recordings and the transmissions themselves is \nvery good, they are inevitably diminished by the limited bandwidth and \ndynamic range of this broadcast medium.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eAs a result there is no recorded signal above \nabout 6kHz, and at times some of the very loudest passages sound \nsomewhat compressed in volume. However, with such obvious interest in \nthese rare recordings, made by such top rank musicians, it was clear \nthat they could not be ignored, and we were delighted to be sent \nexcellent source copies by an American collector. Restoration has \nrevolved around minimising hiss, dealing with very occasional light \ndrop-out, the odd click and crackle, and one short instance of line \nwhistle. Thereafter the XR remastering process has been used in order to\n ty and extract the very best sound quality possible from this \ncompromised source material. Although the results would be considered \nfine for a recording of earlier years it's clearly not up to the \nstandards one normally expects of 1958 technology, hence the designation\n \"Special Interest\" for this release.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\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\u003cp\u003e\u003cbr\u003e    BEETHOVEN Symphony No 9 ‘Choral' in D minor, Op. 125\u003cbr\u003e    Concert broadcast from Carnegie Hall, 22nd November, 1958\u003cbr\u003e\u003cbr\u003e    Played by New York Philharmonic Orchestra\u003cbr\u003e    conductor Herbert von Karajan\u003cbr\u003e\u003cbr\u003e    Leontyne Price, Soprano\u003cbr\u003e    Maureen Forrester, Alto\u003cbr\u003e    Leopold Simoneau, Tenor\u003cbr\u003e    Norman Scott, Bass\u003cbr\u003e    Westminster Choir (director: Warren Martin)\u003cbr\u003e\u003cbr\u003e    Recorded live at Carnegie Hall, New York City\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003eConcert broadcast from Carnegie Hall, 22nd November, 1958\u003cbr\u003eOriginally broadcast by CBS Radio, announcer Jim Fassett\u003cbr\u003eRecording designated \"Special Interest\" due to limited frequency range indicative of AM broadcast\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, April 2010\u003cbr\u003eCover artwork based on a photograph of Herbert von Karajan\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 66:35\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\/PASC222.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC222.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\"Herbert von Karajan showed yesterday at Carnegie Hall that he could conduct with tension and virility. In dealing with the first and last symphonies of Beethoven he proved that he could combine an awareness of tradition with a strong feeling of personal involvement.\u003cbr\u003e\u003cbr\u003eThis was, for the most past, Beethoven brimming with vitality and passion. The New York Philharmonic gave Mr. von Karajan playing that had delicacy and muscularity, tenderness and power. It was a supple, responsive instrument. It cooperated with the conductor at every turn. It enabled him to prove that he was a Beethoven interpreter of character...\"\u003cbr\u003e\u003cb\u003eHoward Taubman, New York Times\u003c\/b\u003e, from Concert Review, 22nd November 1958\u003cbr\u003e \u003cbr\u003e\u003cbr\u003e\"To hear Karajan working with an American orchestra is a treat (he only ever conducted four in his entire life), and the New York Phil plays beautifully – only occasionally would a phrase have been more ‘rounded’ in Berlin. But the performance is very similar to the ’62 in conception, and the solo quartet (Leontyne Price, Maureen Forrester, Léopold Simoneau and Norman Scott) very classy; the choir is terrific (possibly better than Vienna’s Singverein to whom Karajan stayed extraordinarily loyal throughout his career). There's a terrific dynamism and vitality about the interpretation too.\u003cbr\u003e\u003cbr\u003eThe sound is fine, though for a 1958 recording could sound a load better – the recordings were made from an AM radio broadcast. But I found that I soon attuned to the slightly cramped sound (Pristine label it \"SI\" for Special Interest: maybe they’re being slightly cautious): only the opening of the finale is a bit of a mess aurally.\u003cbr\u003e\u003cbr\u003eI found the performance fascinating: Karajan performed the Choral Symphony ten times during 1958 (four with the NYPO, three each with the Vienna and Berlin Philharmonics): no wonder that when he came to record it (and there’s also a live recording from the opening of the Philharmonie) there’s a confidence and total security in his vision. If you’re a Karajan admirer this is well worth a listen: you can sample the first movement and decide whether the sound is good enough for you...\"\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJames Jolly, Gramophone blog,\u003c\/b\u003e 5th May 2010\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":34440431181,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":34440431245,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Mono MP3","offer_id":34440431309,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC222.jpg?v=1490023169"},{"product_id":"pasc222-cd","title":"KARAJAN in New York Vol. 1: Beethoven Symphony No. 9 (1958) - 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Good Friday Spell\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTe Deum\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAlto Rhapsody\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMONTEVERDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMagnificat\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eXerxes - Largo\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto No. 1\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcert Music For Strings And Brass\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast concerts, 1956\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 15:36\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMartha Lipton, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ealto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Firkušný\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic-Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIf you love great conducting of great music, make this absolutely a priority, must-have acquisition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eThis set brings us the last two concerts that Guido Cantelli conducted with the New York Philharmonic—indeed, the final concerts he gave in the USA—before his tragic death on November 24, 1956 in a plane crash. The Brahms Concerto and the Handel and Hindemith selections were performed on April 8, and the other works on April 1. This set is also valuable because only the Handel and Monteverdi works have other performances surviving in Cantelli’s discography; indeed, these were the conductor’s first performances ever of the works by Brahms and Verdi, while he had conducted the Wagner only once before, in 1945. The sound quality throughout the set is excellent; Andrew Rose obviously had access to excellent original sources even before applying his trademark XR sound processing to them. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eEven more importantly, with only one exception they are performances of the very front rank. The exception occurs right at the start of the first CD: the Good Friday Spell from Parsifal is prosaic and businesslike, technically well played but completely lacking in atmosphere. After that, Cantelli moves from strength to strength. Both the Verdi Te Deum and the Brahms Alto Rhapsody receive impassioned renditions—the Verdi shows what a grievous loss Cantelli’s premature death was to the opera world—with excellent work by the Westminster Choir matching the instrumentalists of the New York Philharmonic. In the Brahms, Martha Lipton is a very capable soloist, though she lacks the unique vocal profiles and interpretive insights of such great contemporaries as Marian Anderson and Kathleen Ferrier. An unexpectedly fine surprise is provided by Giorgio Federico Ghedini’s arrangement for orchestra of Monteverdi’s Magnificat. A previous performance with identical forces was given on January 6, 1952 and issued in a 12-CD set of Cantelli performances by Music \u0026amp; Arts; there the much inferior recorded sound and more ragged playing and singing made the work something of a trial. Here, it springs vividly to life; if hardly in line with present-day HIP standards for Baroque music, the modern forces make a visceral impact with suitable grandeur. I do wish that the fine solo soprano in the opening lines had been identified. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eIn the second concert, the ever-popular Largo from Handel’s Xerxes has competition in the Cantelli discography from a December 27, 1953 NBC Symphony broadcast. While the NBC version has more sonic presence and attains an extra degree of rapt intensity, this one is still quite fine on its own terms (although both versions milk the closing bars for overly Romanticized emotion). The Brahms and Hindemith works that follow receive interpretations that are pinnacles of excellence. Cantelli brings both a fiery intensity and passionate lyricism to the orchestral part that far surpasses the somewhat stolid accompaniment that William Steinberg and the Pittsburgh Symphony would provide for Firkušný in an October 1956 studio recording. For his part, the Czech pianist is inspired by his partner to great heights, balancing high drama with ardent songfulness and technically clean execution. This is one of the truly great accounts of this score that belongs in every collector’s library. The Hindemith Concert Music is well-nigh miraculous. I had never expected to hear anyone equal Leonard Bernstein’s fabled 1961 New York Philharmonic studio recording, but Cantelli actually aces him with a stunningly perfect command of Hindemith’s musical rhetoric. He brings out an extra degree of febrile tension in the score by crisp accentuation of rhythms and articulation and keenly balanced contrasts in the often discordant brass harmonies, while the strings have an almost serpentine menace to them. This is now my go-to version for a performance of this marvelous, too little appreciated masterpiece. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eAs usual with Pristine, only minimal notes are provided. While Andrew Rose has issued many fine releases over the years, this one in my estimation ranks in the top 10 percent. If you love great conducting of great music, make this absolutely a priority, must-have acquisition; urgently recommended. \u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold; font-style: italic;\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC523.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003eThese two CDs preserve Guido Cantelli's programmes of his last subscription concerts and are valuable for two reasons. First, they contain Cantelli's very last concerts which he gave in America, but second and more importantly three of the compositions - both of the Brahms and the Verdi - were the first time that the conductor had performed these works. Additionally, Cantelli had only conducted the Wagner and Hindemith once: the Wagner was given in Italy during 1945 so it is unlikely that it was recorded but,fortunately, the Hindemith - a new addition to Cantelli's repertoire - was broadcast with the NBC Symphony Orchestra and is available on a Pristine Audio CD, PASC 111. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eKeith Bennnett\u003c\/b\u003e (author of \"\u003ci\u003eGuido Gantelli, Just Eight Years of Fame\u003c\/i\u003e\")\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003eThese two final broadcast concerts conducted by Guido Cantelli were sourced from high quality mono FM radio recordings and offer excellent sound quality throughout. That said, there were some issues with wow and flutter which I was able to deal with using Capstan pitch stabilisation software, and other minor sonic technical issues were easily overcome. Commentaries were quite long between most works, and these have been trimmed down  - at times considerably. I chose, however, to leave the very final closing as broadcast - it was the last time Cantelli would appear on US radio and on a US concert platform. The following month he headed to London for recording sessions with the Philharmonia Orchestra, and for the rest of the year conducted in London, Milan, Johannesburg, Modena and, finally, in Brescia, Italy on 15 November 1956. Nine days later he was to lose his life in a fatal plane crash in Paris, France, having just a week earlier been named Musical Director of La Scala, Milan.\u003c\/p\u003e\u003cp\u003eNB. The arrangement of Handel's \u003ci\u003eLargo \u003c\/i\u003efrom \u003ci\u003eXerxes\u003c\/i\u003e is attributed by the commentator to the Italian composer Bernadino Molinari, whereas the New York Philharmonic Orchestra's official archive suggests the more common arrangement by Arthur Luck. An examination of the printed concert programme for the evening is of no help - there is no mention here of the arranger (by contrast the Monteverdi arrangement is properly attributed to Ghedini). An examination of the recording indicates that Cantelli does not, in fact, use the Luck arrangement - Luck begins with strings, Cantelli with wind; Luck proceeds with solo violin and harp, Cantelli with solo violin and other orchestral instruments, and so forth. We have been unable to verify 100% that a Molinari arrangement is used here but have no reason to doubt it, despite this contradicting the \"official\" record.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Radio Introduction, 1 April 1956  (1:01)\u003cbr\u003e2. \u003cb\u003eWAGNER \u003c\/b\u003eParsifal - Good Friday Spell  (11:06)\u003cbr\u003e3. \u003cb\u003eVERDI \u003c\/b\u003eTe Deum  (14:32)\u003cbr\u003e4. \u003cb\u003eBRAHMS \u003c\/b\u003eAlto Rhapsody  (16:11)\u003cbr\u003e\u003cb\u003eMartha Lipton\u003c\/b\u003e, alto\u003cbr\u003e5. \u003cb\u003eMONTEVERDI \u003c\/b\u003e(arr. Ghedini) Magnificat for 6 voices (from \u003cspan class=\"st\"\u003eVespro della Beata Vergine, SV 206)\u003c\/span\u003e (21:22)\u003cbr\u003e6. Radio Ending, 1 April 1956  (1:29)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eWestminster Choir\u003c\/b\u003e\u003cbr\u003eDirector: John \u003cb\u003eFinlay Williamson\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Radio Introduction, 8 April 1956  (1:08)\u003cbr\u003e2. \u003cb\u003eHANDEL \u003c\/b\u003e(arr. B. Molinari) Xerxes - Largo  (6:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiano Concerto No. 1 in D minor, Op. 15\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Maestoso  (21:15)\u003cbr\u003e4. 2nd mvt. - Adagio  (12:51)\u003cbr\u003e5. 3rd mvt. - Rondo. Allegro non troppo  (11:42)\u003cbr\u003e\u003cb\u003eRudolf Firkušný\u003c\/b\u003e     piano\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e6. \u003cb\u003eHINDEMITH \u003c\/b\u003eConcert Music for Strings and Brass  (15:55)\u003cbr\u003e7. Radio Ending, 8 April 1956  (0:46)\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Philharmonic-Symphony Orchestra\u003cbr\u003e\u003c\/b\u003eConducted by \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Guido Cantelli\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 1\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 1 April, 1956\u003cb\u003e\u003cbr\u003e\u003cbr\u003eConcert No. 2\u003cbr\u003e\u003c\/b\u003eCBS Radio Broadcast\u003cbr\u003eIntroduced by Jim Fassett\u003cbr\u003eCarnegie Hall, 8 April, 1956\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 15:36\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC523.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC523.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":12856924766269,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205548458318,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205548491086,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC523_d0a34d88-7a40-4603-840c-3e4c603949a4.jpg?v=1537526434"},{"product_id":"pasc523-cd","title":"CANTELLI in New York, Vol. 3: Wagner, Verdi, Brahms, Monteverdi, Handel, Hindemith (1956) - 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Mr. Stokowski led a dramatic performance that had special drive and crispness in the scherzo and that built up into a series of big climaxes in the last movement\u003c\/i\u003e.\" - New York Times, 1941\u003c\/p\u003e\u003cp\u003eExactly one month prior to the entry of the United States into World War II, on Armistice Day 1941, Leopold Stokowski conducted the NBC Symphony Orchestra in a rare performance for him of Beethoven's Symphony No. 9. As the NY Times reviewer pointed out, \"he chose a solemn day in a momentous time to set forth once more Beethoven’s affirmation of the brotherhood of man.\"\u003c\/p\u003e\u003cp\u003eIt's a performance that has never been heard in full since. A scheduling anomaly meant that whilst Stokowski performed the entire work before a packed house, radio listeners were treated only to the final choral movement. The first three movements were never broadcast, and as far as we can tell, have not been issued before.\u003c\/p\u003e\u003cp\u003eThey were however captured in a line recording, from which the present release is largely drawn, and preserved in stunning sound quality for the day. Indeed the finale, which was drawn from a recording of the broadcast (complete with closing commentary), whilst also of fine sound quality, struggles to quite match that heard in the opening three movements.\u003c\/p\u003e\u003cp\u003eIt should at this point be noted that a very short section at the end of the third movement was missing from the original source recording. We assume that the time recording was faded out at this point in order for the commentator to be heard on NBC radio. For this I have patched in a later recording by Stokowski, digitally aged to match the sound of the 1941 recording and spliced in so seamlessly that two Stokowski experts who heard it prior to release were unable to detect the change. It helped enormously that Stokowski's later performance matched the 1941 tempo almost exactly during that third movement. I have also reconstructed a shorter pause between third and fourth movements than was heard by the audience on the night - an extra delay was caused by the need to go \"on air\" prior to commencing the finale, as the Times' reviewer noted the following day.\u003c\/p\u003e\u003cp\u003eAnd so we present an entirely new Stokowski performance of the Choral Symphony. As you'll hear from the sample  movement (the second) on this page, it really is a stunning sounding performance - and one you won't wish to be without.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1. 1st mvt. - Allegro ma non troppo, un poco maestoso  (13:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2. 2nd mvt. - Scherzo. Molto vivace - Presto  (10:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3. 3rd mvt. - Adagio molto e cantabile  (15:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4. 4th mvt. - Presto - Allegro assai  (24:37)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5. RADIO Closing announcements  (2:19)\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003eAnne Brown. \u003c\/b\u003esoprano  \u003cb\u003e\u003cbr\u003eWinifred Heidt. \u003c\/b\u003econtralto  \u003cb\u003e\u003cbr\u003eWilliam Horne. \u003c\/b\u003etenor  \u003cb\u003e\u003cbr\u003eLawrence Whisonant. \u003c\/b\u003ebass\u003cp\u003e\u003cb\u003eThe Westminster Choir\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra   \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eCosmopolitan Opera House, New York City\u003cbr\u003eMovements 1-3 not broadcast\u003cbr\u003eLive broadcast recording, 11 November 1941\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTotal duration:  66:04\u003cb\u003e  \u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC541.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC541.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fSleevenotes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    Leopold Stokowski’s recording career spanned an astonishing sixty years,\n    from 1917 to 1977. Yet in all that time he recorded Beethoven’s Ninth\n    Symphony only twice: in 1934 with the Philadelphia Orchestra, and in 1967\n    (in stereo) with the London Symphony Orchestra. It was a piece he\n    programmed comparatively rarely in concerts, particularly when compared to\n    Beethoven’s Fifth or Seventh Symphonies. Stokowski had been appointed as\nprincipal conductor of the NBCSO for the 1941-2 season and this broadcast was\n    only his second appearance as conductor. In order to allow for acoustical changes to be made, at Stokowski’s \ninstigation, to the usual broadcast studio (8H) the orchestra had decamped to the\n    Cosmopolitan Opera House in New York City. For this new season the\n    broadcasts were moved from Saturdays to Tuesdays, and the length of the\n    broadcast was shortened to just an hour. To complicate matters further,\n    this particular broadcast was only allotted thirty minutes, from 9.30 to\n    10pm, as from 10pm several networks joined up to broadcast the ‘Red Cross\n    Roll Call’. Beethoven’s Ninth would not have fit into the broadcast hour\n    anyway, so the network decided to broadcast just the last movement, with\n    the first three movements being heard only in the house by the (paying)\n    audience. Fortunately for us, the NBC engineers recorded the non-broadcast\n    movements (most likely for later relay to Latin America).\n\u003c\/p\u003e\n\u003cp\u003e\n    The New York Times was impressed by a ‘dramatic performance that had\n    special drive and crispness’. Stokowski decided to perform the choral\n    section in English and gathered four young American soloists, all under the\n    age of 30. In an acknowledgement of Beethoven’s theme of universal\n    brotherhood, two of the soloists were African American. Despite Marion\n    Anderson and Paul Robeson becoming very well known, opportunities for black\n    singers remained very limited in the USA and the racial segregation of\n    schools, housing, and public transport was commonplace.\n\u003c\/p\u003e\n\u003cp\u003e\n    Anne Wiggins Brown was recognised as a prodigiously talented soprano from\n    an early age. She studied at the Julliard School in New York, and while\n    still a student she heard that George Gershwin was writing an opera about\n    black life in the South and she requested an audition. Gershwin was so\n    impressed that he immediately cast her as Bess in Porgy and Bess. She sang\n    in the world premiere and the subsequent US tour. Despite her talent, and\n    relative fame, Brown remained disappointed at the continued racism of US\n    society, at one point refusing to sing Bess in Washington DC until the\n    theatre was desegregated. She eventually left the US to live in Norway.\n\u003c\/p\u003e\n\u003cp\u003e\n    Contralto Winifred Heidt was at the start of her fairly short career at the\n    time of this broadcast. Although she had been a runner-up at the Met\n    auditions in 1939 her stage appearances with the company were limited to\n    just two \u003cem\u003eWalküres\u003c\/em\u003e in 1940. After the war she appeared as Carmen\n    with New York City Opera and was a regular concert performer with husband\n    Eugene Conley. In 1954 she appeared on Broadway in \u003cem\u003eCarousel\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tenor William Horne was only 28 at the time of this broadcast, and (due to\n    a short stint in the army during the war) would not make his stage debut\n    until 1944 with the New York City Opera. In 1946 he sang the title role in\n    the US premiere of \u003cem\u003ePeter Grimes\u003c\/em\u003e conducted by Leonard Bernstein.\n\u003c\/p\u003e\n\u003cp\u003e\n    Lawrence Whisonant (also later known as Lawrence Winters) was a still a\n    college student at the time of this broadcast. Like Horne he served in the\n    US army in the war, and he joined both Horne and Heidt at the New York City\n    Opera in 1946 where he sang a number of leading baritone roles. He became\n    the most prominent African American baritone of his generation, performing\n    at the Royal Opera Stockholm, Deutsche Opera Berlin, Hamburg State Opera,\n    and the Vienna State Opera. His US career was certainly curtailed by his\n    race he never appeared at the Met for instance, though he did sing with the\n    San Francisco Opera, and in concerts with the New York Philharmonic.\n\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_labelfb55cd020f0643f08418183279e63a5fHistoric NY Times Review578a9379d1e540bd96d26f03a79628d9tab5_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab5_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eSTOKOWSKI LEADS BEETHOVEN’S NINTH\u003c\/span\u003e\u003cbr\u003eWestminster Choir Sings the Choral Passages in English With NBC Orchestra\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFOUR SOLOISTS ARE HEARD\u003cbr\u003eLawrence Whisonant, William Horne, Winifred Heidt and Anne Brown Appear\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIt was probably no coincidence that Leopold Stokowski scheduled Beethoven’s Ninth Symphony for Armistice Day. In presenting the tremendous work at his second concert with the NBC Symphony Orchestra at the Cosmopolitan Opera House last night, he chose a solemn day in a momentous time to set forth once more Beethoven’s affirmation of the brotherhood of man.\u003cbr\u003e\u003cbr\u003eMr. Stokowski made an effort to put the ideal into practice by inviting two Negro singers — Anne Brown, soprano, and Lawrence Whisonant, bass — to join the quartet of soloists. The others were Winifred Heidt, contralto, and William Horne, tenor. The Westminster Choir, which is directed by John Finley Williamson, sang the choral pages. The text was sung in English in the interest of comprehensibility.\u003cbr\u003e\u003cbr\u003eIt was a rousing performance — what one could hear of it in proper balance. What goes over the air may have the perfection of ensemble tone that a Stokowski orchestra usually commands. These concerts are designed for broadcasting primarily, and if reception in the home does justice to the orchestra more than half the battle is won. The audience in the hall, however, has cause for complaint, for it pays an admission fee, and the bald fact is that the acoustics in this theatre were no better last night than Studio 8-H in Radio City, if not worse.\u003cbr\u003e\u003cbr\u003eMaking allowances for distortions and coarseness of tone quality, one may say that Mr. Stokowski led a dramatic performance that had special drive and crispness in the scherzo and that built up into a series of big climaxes in the last movement. Because he was going on the air with the beginning of the choral movement, Mr. Stokowski had to pause for a minute or two at the end of the third, which is unfortunate, for Beethoven's logic is better served if the final movement follows immediately.\u003cbr\u003e\u003cbr\u003eThe members of the choir sat through the performance downstage at the sides, which must have been rather taxing on their nerves during the first three movements when their only task was to sit still. When they sang, they dominated the orchestra, because they were in front. They sang with gusto and fine vocal quality. The soloists managed the difficult music with reasonable smoothness.\u003cbr\u003e\u003cbr\u003eDuring the first three movements, especially the third, the audience was subjected to a prime nuisance that Mr. Stokowski would surely not have tolerated, had he known about it, nor would the NBC management at one of its Radio City studios. Latecomers were ushered in and allowed to clatter and climb to their seats. The great slow movement was not benefited by this treatment.\u003cbr\u003e\u003cbr\u003eH. T.\u003cbr\u003eThe New York Times\u003cbr\u003e12 November 1941\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab5_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":12966982778941,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205545017678,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205545050446,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC541_ca09c3e0-29e8-4b8f-878b-9c099b60ffbb.jpg?v=1587025592"},{"product_id":"pasc541-cd","title":"STOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - 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Over six \nweekly concert broadcasts Toscanini had conducted all nine symphonies, \nroughly in order, together with various overtures, excerpts and other \nworks - perhaps most interestingly the Choral Fantasy, Op. 80. This was coupled \nwith the Ninth \"Choral\" Symphony in this special broadcast live from \nCarnegie Hall (the other concerts took place in his more usual radio \nstudio venue), and constitutes the only recorded example of him \nconducting this work ever. Mortimer H. Frank suggests that Toscanini \nconsidered conducting the work again in 1952 in London but dropped the \nidea - he also suggests this may have been the only time Toscanini ever \nconducted the Choral Fantasy.\u003c\/p\u003e\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc548\"\u003ePASC548\u003c\/a\u003e) and the music of Richard Strauss (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc549\"\u003ePASC549\u003c\/a\u003e),\n I have been able to access source recordings of unprecedented quality, \ntaken from acetate discs recorded directly by NBC and almost certainly \nnot played since. For optimal sound quality this is crucial - the \ndelicate surfaces of these discs are prone to immediate deterioration \nwhen played, especially when the weighty pick-ups in common use in the \n1940s were used, resulting in distortion, higher background noise, and \npotential loss of high frequencies and other details. Previous issues \nhave relied on Toscanini's own copies, discs which have seen \nconsiderable wear and use over the years.\u003c\/p\u003e\u003cp\u003eThe use of these new \nsource discs translates directly into remarkable audio quality, with \nquiet backgrounds and a particularly wide frequency range - and sound \nquality that would have been considered excellent on a hi-fi era LP \nrecord from twenty or more years later. The use of the latest audio \nrestoration technology brings with it rock-solid pitching, excellent \ntonal balance, and a clean, clear sound quality throughout. As with \nprevious releases there were some speed (and thus pitch) differences \nbetween disc sides, as well as a degree of wow and flutter, though in \nthe case of this volume neither was as extreme as seen on previous \nvolumes.\u003c\/p\u003e\u003cp\u003eOf the six volumes if there is to be heard a dip in sound quality, from the superb to the merely great, it is perhaps here with the final volume. Although once again our discs were in incredibly good condition, they lack the finest edge of quality heard in the studio recordings which preceded the Carnegie Hall concert. A part of this may be down to acoustics. We might also consider the sub-optimal recording conditions by comparison to a dedicated studio with carefully tailored microphones and equipment. A third possibility is that our discs may have been cut at NBC's headquarters having passed down a long analogue line from the concert hall venue and lost a degree of fidelity as a result. I'm prepared to believe all three of these may have played a part. \u003c\/p\u003e\u003cp\u003eNevertheless there is still remarkable sound quality to he heard here - it is in truly excellent shape for an 80-year-old recording, and offers superb fidelity for its 1939 vintage; only up against the previous five volumes might it be held to be anything less than ideal. If I was to give the previous volumes five stars for sound quality then I suggest this would merit four and a half.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA certain amount of gain-riding was clearly being used by the NBC engineers - no great surprise here given the forces involved. In its most blatant and unfortunate application I've endeavoured to correct this, though any correction can only be a mixture of experience, a careful reading of the surrounding musical sections, and an element of educated guesswork. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eEach of the concert broadcasts ran for \nlonger than was usual, and it has been necessary to trim some of the \ncommentary from these recordings in order to fit each one onto a single \nCD release without cutting any of the music. The amount of speech \nediting has varied from release to release, but the intention is to \npreserve as much as possible the occasion as heard some 80 years ago - \nthis is, we believe, the first time they have been presented as \nbroadcast in this manner. This final volume came particularly close to requiring a second disc, but by keeping the commentary to a minimal back-announcement at the end of each work and trimming the amount of applause I have been able to keep everything within the bounds of a single disc - helped in no great amount by Toscanini's often brisk tempi!\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eFantasia for Piano, Chorus and Orchestra, Op. 80\u003c\/span\u003e\u003cbr\u003e1. Adagio  (2:57)\u003cbr\u003e2. Finale. Allegro  (5:44)\u003cbr\u003e3. Adagio ma non troppo  (1:57)\u003cbr\u003e4. Marcia assai vivace  (1:59)\u003cbr\u003e5. Allegretto ma non troppo quasi andante con moto  (2:06)\u003cbr\u003e6. Presto  (2:10)\u003cbr\u003e\u003cb\u003eAnia Dorfmann\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Allegro ma non troppo, un poco maestoso  (12:36)\u003cbr\u003e8. 2nd mvt. - Scherzo. Molto vivace - Presto  (12:42)\u003cbr\u003e9. 3rd mvt. - Adagio molto e cantabile  (13:00)\u003cbr\u003e10. 4th mvt. - Presto - Allegro assai  (24:35)\u003cbr\u003e\u003cb\u003eJarmila Novotna\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eKerstin Thorborg\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Westminster Choir\u003cbr\u003eNBC Symphony Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 2 December, 1939, Carnegie Hall, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:46    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC557.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC557.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNew York Times Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eToscanini Directs Beethoven’s Choral Fantasia and Ninth Symphony With the\n    NBC Orchestra\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cb\u003e\n\u003c\/b\u003e\u003cp\u003e\u003cb\u003e\n    By OLIN DOWNES\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Mr. Toscanini accomplished two more of his marvels when he led the NBC\n    Symphony Orchestra last night in Carnegie Hall in performances of\n    Beethoven's Choral Fantasia and Ninth symphony, for the benefit of the New York Junior League Welfare Fund. The thrilling effect of\n    the Ninth symphony was anticipated, especially by those who had heard Mr.\n    Toscanini direct the same work with the same orchestra two seasons ago in\n    the same hall. What had not been anticipated was the astonishing vitality\n    and significance which he conferred upon the Choral Fantasia.\n\u003c\/p\u003e\n\u003cp\u003e\n    That work, scored for piano, orchestra and chorus, in a curious form which\n    wavers between classic design and contents that anticipate, thematically as\n    also, in a degree, structurally, the last Beethoven symphony, is usually\n    hailed as a historic curiosity, or billed as a piece which hires a pianist\n    as well as a chorus and a symphony orchestra to give the audience the worth\n    of its money. And there may have been those present last night who were\n    attracted by the array of talent involved—Miss Anita Dorfmann, pianist, and\n    the hosts of the Westminster Choir, to augment the orchestral scheme.\n\u003c\/p\u003e\n\u003cp\u003e\n    The thing that happened and which in happening conveyed, as Mr. Toscanini\n    is apt to do, the sense of sheer wonder was the rebirth of this relatively\n    early Beethoven music, so that the audience was for the nonce a gathering\n    in 1808, hearing for the first time this new and fascinating music. Every\n    element in the score took its place as part of one thought and design.\n    Every idea glowed with life and beauty. The passage work and the flourishes\n    of the piano were just as germane to the musical scheme as anything done by\n    the singers or gentlemen of the orchestra. Miss Dorfmann played admirably\n    in the style of the period and in perfect taste. This also held for the\n    chorus and the orchestra. Each element was merged in the conception of a\n    single despotic spirit—that of Toscanini—and, together with Toscanini,\n    glorified Beethoven.\n\u003c\/p\u003e\n\u003cp\u003e\n    We had heard no such performance of the Choral Fantasia, had never before\n    perceived the music in its real light, nor had we attached very much\n    importance to it anyhow. Well, it was shown again that Beethoven was seldom\n    unimportant; that, like other composers, even great masters, he needs\n    constantly the insight and the passion of a worthy interpreter.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Ninth symphony, given with the assisting quartet of Jarmila Novotna,\n    Kerstin Thorborg, Jan Peerce and Nicola Moscona, was of course the capstone\n    of the occasion, and for everyone involved a towering experience. It is\n    extremely possible that when a performance of such music, as great as the\n    previous one that Mr. Toscanini had given in the same hall, is repeated,\n    its significance is more fully grasped by the listener. It may also be the\n    case that Mr. Toscanini, who never, whatever he attains, stands still as an\n    artist, sculptured more mightily than ever before the shape of the great\n    tone-poem. The result appeared as a further evolution on the part of an\n    artist whose intuition and faith bring him always nearer the very center of\n    Beethoven’s thought. Certainly the last movement surpassed anything the\n    conductor had previously done with the passage. For its ecstasy was cosmic.\n    There was a scene of wild enthusiasm following this performance.\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Times\u003c\/b\u003e, 3 December 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":14114246590525,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205541478734,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205541511502,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC557.jpg?v=1705315449"},{"product_id":"pasc557-cd","title":"TOSCANINI The 1939 Beethoven Cycle, Volume 6 (1939) - PASC557 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC557.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"You can still get 6 Boxed CDs for the price of 5 when you buy the full Digipack printed CD set","offer_id":47520472367438,"sku":null,"price":14.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205541445966,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PASC557_77c11ab3-f083-413b-a636-76fd6bad7b5d.jpg?v=1705315488"},{"product_id":"pabx023","title":"TOSCANINI The Complete 1939 Beethoven Cycle (1939) - PABX023","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 'Eroica'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6 'Pastoral'\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9 'Choral'**\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eChoral Fantasy*\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoriolan Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eCreatures of Prometheus\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEgmont\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eFidelio Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eLeonore Overture No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eLeonore Overture No. 2\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eLeonore Overture No. 3\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSeptet for Woodwind, Horn \u0026amp; Strings\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartet No. 16 \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1939\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e*Ania Dorfmann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e**Jarmila Novotna\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e**Kerstin Thorborg\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, alto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e**Jan Peerce\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, tenor\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e**Nicola Moscona\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, bass\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra   \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC554.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 1 (1939) - PASC552\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eOn 28 October 1939, Arturo Toscanini took to the podium with his NBC Symphony Orchestra to begin what would be a unique series of six concerts: his only recorded Beethoven integral symphony cycle. Over six weekly concert broadcasts Toscanini would conduct all nine symphonies, roughly in order, together with various overtures, excerpts and other works, most interestingly the Choral Fantasy, Op. 80. This was coupled with the Ninth \"Choral\" Symphony in a special broadcast live from Carnegie Hall (the other concerts took place in his more usual radio studio venue), and constitutes the only recorded example of him conducting this work ever. Mortimer H. Frank suggests that Toscanini considered conducting the work again in 1952 in London but dropped the idea - he also suggests this may have been the only time Toscanini ever conducted the Choral Fantasy.\u003c\/p\u003e\n\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc548\"\u003ePASC548\u003c\/a\u003e) and the music of Richard Strauss (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc549\"\u003ePASC549\u003c\/a\u003e), I have been able to access source recordings of unprecedented quality, taken from acetate discs recorded directly by NBC and almost certainly not played since. For optimal sound quality this is crucial - the delicate surfaces of these discs are prone to immediate deterioration when played, especially when the weighty pick-ups in common use in the 1940s were used, resulting in distortion, higher background noise, and potential loss of high frequencies and other details. Previous issues have relied on Toscanini's own copies, discs which have seen considerable wear and use over the years.\u003c\/p\u003e\n\u003cp\u003eThe use of these new source discs translates directly into remarkable audio quality, with quiet backgrounds and a particularly wide frequency range - and sound quality that would have been considered excellent on a hi-fi era LP record from twenty or more years later. The use of the latest audio restoration technology brings with it rock-solid pitching, excellent tonal balance, and a clean, clear sound quality throughout. Small details shine through, with exquisite tonal shading that may previously have been overlooked can now clearly audible - take a listen to our example above and the subtle shading of the trumpets for the chords at 2:17, for example.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach of the concert broadcasts ran for longer than was usual, and it has been necessary to trim some of the commentary from these recordings in order to fit each one onto a single CD release without cutting any of the music. The amount of speech editing will vary from release to release, but the intention is to preserve as much as possible the occasion as heard some 80 years ago - this is, we believe, the first time they have been presented as broadcast in this manner. Certainly they have never sounded as fresh and fine as this before.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 2 (1939) - PASC553\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eOn 28 October 1939, Arturo Toscanini took to the podium with his NBC \nSymphony Orchestra to begin what would be a unique series of six \nconcerts: his only recorded Beethoven integral symphony cycle. Over six \nweekly concert broadcasts Toscanini would conduct all nine symphonies, \nroughly in order, together with various overtures, excerpts and other \nworks, most interestingly the Choral Fantasy, Op. 80. This was coupled \nwith the Ninth \"Choral\" Symphony in a special broadcast live from \nCarnegie Hall (the other concerts took place in his more usual radio \nstudio venue), and constitutes the only recorded example of him \nconducting this work ever. Mortimer H. Frank suggests that Toscanini \nconsidered conducting the work again in 1952 in London but dropped the \nidea - he also suggests this may have been the only time Toscanini ever \nconducted the Choral Fantasy.\u003c\/p\u003e\n\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc548\"\u003ePASC548\u003c\/a\u003e) and the music of Richard Strauss (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc549\"\u003ePASC549\u003c\/a\u003e),\n I have been able to access source recordings of unprecedented quality, \ntaken from acetate discs recorded directly by NBC and almost certainly \nnot played since. For optimal sound quality this is crucial - the \ndelicate surfaces of these discs are prone to immediate deterioration \nwhen played, especially when the weighty pick-ups in common use in the \n1940s were used, resulting in distortion, higher background noise, and \npotential loss of high frequencies and other details. Previous issues \nhave relied on Toscanini's own copies, discs which have seen \nconsiderable wear and use over the years.\u003c\/p\u003e\n\u003cp\u003eThe use of these new \nsource discs translates directly into remarkable audio quality, with \nquiet backgrounds and a particularly wide frequency range - and sound \nquality that would have been considered excellent on a hi-fi era LP \nrecord from twenty or more years later. The use of the latest audio \nrestoration technology brings with it rock-solid pitching, excellent \ntonal balance, and a clean, clear sound quality throughout. \u003c\/p\u003e\n\u003cp\u003eThis second concert contained more music than any of the others in the series - only by cutting all commentary and with judicious use of fades during audience applause and trimming of gaps between movements have we been able to fit the entire concert onto a single CD. And if some sides were perhaps less than optimal sonically, they still shine through after restoration, with excellent sound quality throughout as heard in our sample here of the finale from the Symphony No. 4. Certainly this concert has never sounded as fresh and\n fine as this before.\u003c\/p\u003e\n\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 3 (1939) - PASC554\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eOn 28 October 1939, Arturo Toscanini took to the podium with his NBC \nSymphony Orchestra to begin what would be a unique series of six \nconcerts: his only recorded Beethoven integral symphony cycle. Over six \nweekly concert broadcasts Toscanini would conduct all nine symphonies, \nroughly in order, together with various overtures, excerpts and other \nworks, most interestingly the Choral Fantasy, Op. 80. This was coupled \nwith the Ninth \"Choral\" Symphony in a special broadcast live from \nCarnegie Hall (the other concerts took place in his more usual radio \nstudio venue), and constitutes the only recorded example of him \nconducting this work ever. Mortimer H. Frank suggests that Toscanini \nconsidered conducting the work again in 1952 in London but dropped the \nidea - he also suggests this may have been the only time Toscanini ever \nconducted the Choral Fantasy.\u003c\/p\u003e\n\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc548\"\u003ePASC548\u003c\/a\u003e) and the music of Richard Strauss (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc549\"\u003ePASC549\u003c\/a\u003e),\n I have been able to access source recordings of unprecedented quality, \ntaken from acetate discs recorded directly by NBC and almost certainly \nnot played since. For optimal sound quality this is crucial - the \ndelicate surfaces of these discs are prone to immediate deterioration \nwhen played, especially when the weighty pick-ups in common use in the \n1940s were used, resulting in distortion, higher background noise, and \npotential loss of high frequencies and other details. Previous issues \nhave relied on Toscanini's own copies, discs which have seen \nconsiderable wear and use over the years.\u003c\/p\u003e\n\u003cp\u003eThe use of these new \nsource discs translates directly into remarkable audio quality, with \nquiet backgrounds and a particularly wide frequency range - and sound \nquality that would have been considered excellent on a hi-fi era LP \nrecord from twenty or more years later. The use of the latest audio \nrestoration technology brings with it rock-solid pitching, excellent \ntonal balance, and a clean, clear sound quality throughout. On the present volume pitching was a particular issue, with severe wow and flutter to deal with as well as some considerable problems with pitch drift, manifested as a gradual drop over the course of each 10-15 minute side. This is all now fixable thanks to recent developments in digital restoration technologies, employed here possibly for the first time.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach of the concert broadcasts ran for \nlonger than was usual, and it has been necessary to trim some of the \ncommentary from these recordings in order to fit each one onto a single \nCD release without cutting any of the music. The amount of speech \nediting will vary from release to release, but the intention is to \npreserve as much as possible the occasion as heard some 80 years ago - \nthis is, we believe, the first time they have been presented as \nbroadcast in this manner. Certainly they have never sounded as fresh and\n fine as this before.\u003c\/p\u003e\n\u003cdiv id=\"tab1\" class=\"tab-body tab-content current\"\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 4 (1939) - PASC555\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\u003cdiv id=\"tab1\" class=\"tab-body tab-content current\"\u003e\n        \u003cp\u003eOn 28 October 1939, Arturo Toscanini took to the podium with his NBC \nSymphony Orchestra to begin what would be a unique series of six \nconcerts: his only recorded Beethoven integral symphony cycle. Over six \nweekly concert broadcasts Toscanini would conduct all nine symphonies, \nroughly in order, together with various overtures, excerpts and other \nworks, most interestingly the Choral Fantasy, Op. 80. This was coupled \nwith the Ninth \"Choral\" Symphony in a special broadcast live from \nCarnegie Hall (the other concerts took place in his more usual radio \nstudio venue), and constitutes the only recorded example of him \nconducting this work ever. Mortimer H. Frank suggests that Toscanini \nconsidered conducting the work again in 1952 in London but dropped the \nidea - he also suggests this may have been the only time Toscanini ever \nconducted the Choral Fantasy.\u003c\/p\u003e\n\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc548\"\u003ePASC548\u003c\/a\u003e) and the music of Richard Strauss (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc549\"\u003ePASC549\u003c\/a\u003e),\n I have been able to access source recordings of unprecedented quality, \ntaken from acetate discs recorded directly by NBC and almost certainly \nnot played since. For optimal sound quality this is crucial - the \ndelicate surfaces of these discs are prone to immediate deterioration \nwhen played, especially when the weighty pick-ups in common use in the \n1940s were used, resulting in distortion, higher background noise, and \npotential loss of high frequencies and other details. Previous issues \nhave relied on Toscanini's own copies, discs which have seen \nconsiderable wear and use over the years.\u003c\/p\u003e\n\u003cp\u003eThe use of these new \nsource discs translates directly into remarkable audio quality, with \nquiet backgrounds and a particularly wide frequency range - and sound \nquality that would have been considered excellent on a hi-fi era LP \nrecord from twenty or more years later. The use of the latest audio \nrestoration technology brings with it rock-solid pitching, excellent \ntonal balance, and a clean, clear sound quality throughout. On the \npresent volume I had to contend with both wow and flutter throughout the recording, and also two different pitches caused by the disc cutters running at different speeds. There was also a degree of pitch drift to be seen across sides. Cumulatively this resulted in differences of up to a semitone in pitch between the highest and lowest points of the recording, and a section of around four minutes where the pitch slowly rose by almost this amount. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach of the concert broadcasts ran for \nlonger than was usual, and it has been necessary to trim some of the \ncommentary from these recordings in order to fit each one onto a single \nCD release without cutting any of the music. The amount of speech \nediting will vary from release to release, but the intention is to \npreserve as much as possible the occasion as heard some 80 years ago - \nthis is, we believe, the first time they have been presented as \nbroadcast in this manner. Certainly they have never sounded as fresh and\n fine as this before.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n      \n        \n    \u003c\/div\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 5 (1939) - PASC556\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eOn 28 October 1939, Arturo Toscanini took to the podium with his NBC \nSymphony Orchestra to begin what would be a unique series of six \nconcerts: his only recorded Beethoven integral symphony cycle. Over six \nweekly concert broadcasts Toscanini would conduct all nine symphonies, \nroughly in order, together with various overtures, excerpts and other \nworks, most interestingly the Choral Fantasy, Op. 80. This was coupled \nwith the Ninth \"Choral\" Symphony in a special broadcast live from \nCarnegie Hall (the other concerts took place in his more usual radio \nstudio venue), and constitutes the only recorded example of him \nconducting this work ever. Mortimer H. Frank suggests that Toscanini \nconsidered conducting the work again in 1952 in London but dropped the \nidea - he also suggests this may have been the only time Toscanini ever \nconducted the Choral Fantasy.\u003c\/p\u003e\n\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc548\"\u003ePASC548\u003c\/a\u003e) and the music of Richard Strauss (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc549\"\u003ePASC549\u003c\/a\u003e),\n I have been able to access source recordings of unprecedented quality, \ntaken from acetate discs recorded directly by NBC and almost certainly \nnot played since. For optimal sound quality this is crucial - the \ndelicate surfaces of these discs are prone to immediate deterioration \nwhen played, especially when the weighty pick-ups in common use in the \n1940s were used, resulting in distortion, higher background noise, and \npotential loss of high frequencies and other details. Previous issues \nhave relied on Toscanini's own copies, discs which have seen \nconsiderable wear and use over the years.\u003c\/p\u003e\n\u003cp\u003eThe use of these new \nsource discs translates directly into remarkable audio quality, with \nquiet backgrounds and a particularly wide frequency range - and sound \nquality that would have been considered excellent on a hi-fi era LP \nrecord from twenty or more years later. The use of the latest audio \nrestoration technology brings with it rock-solid pitching, excellent \ntonal balance, and a clean, clear sound quality throughout. As with previous releases there were some speed (and thus pitch) differences between disc sides, as well as a degree of wow and flutter, though in the case of this volume neither was as extreme as seen on previous volumes.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach of the concert broadcasts ran for \nlonger than was usual, and it has been necessary to trim some of the \ncommentary from these recordings in order to fit each one onto a single \nCD release without cutting any of the music. The amount of speech \nediting will vary from release to release, but the intention is to \npreserve as much as possible the occasion as heard some 80 years ago - \nthis is, we believe, the first time they have been presented as \nbroadcast in this manner. \u003c\/p\u003e\n\u003cp\u003eThis fifth concert contained significantly less music than any of the other concerts, and so we have been able to retain much more of the radio commentary. In general where this is lengthy it has been tracked separately so that it can be skipped if required. It is the only volume where we have been able to include the interval talk by Samuel Chotzinoff, who looks into the impact on Beethoven of his brother's early death and the ensuing difficulties over the adoption of his nephew and the ultimate effect of this emotional trauma on Beethoven's later work. Including this talk, which lasts almost 9 minutes, meant some minor editing in other links and the loss of the pay-off after the final applause had been faded out, but otherwise it offers a much closer impression of the actual radio broadcasts than has been possible in the other volumes of this series, due to the time restrictions inherent in audio CDs.\u003c\/p\u003e\n\u003cp\u003eAs with the previous volumes, the sound quality here is once again excellent, if a little less \"open\" in its dynamic range as a result of a degree of audio compression used at the time of broadcast to limit peak volumes. The audio sample here of the opening movement of the Symphony No. 8, which you're hearing in its 320kbps MP3 format, gives a good example of the otherwise excellent sound quality to be heard throughout this volume.\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 6 (1939) - PASC557\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eOn 2 December 1939, Arturo Toscanini took to the podium at Carnegie Hall, New York, with his NBC \nSymphony Orchestra to complete what would prove to have been a unique series of six \nconcerts: his only recorded Beethoven integral symphony cycle. Over six \nweekly concert broadcasts Toscanini had conducted all nine symphonies, \nroughly in order, together with various overtures, excerpts and other \nworks - perhaps most interestingly the Choral Fantasy, Op. 80. This was coupled \nwith the Ninth \"Choral\" Symphony in this special broadcast live from \nCarnegie Hall (the other concerts took place in his more usual radio \nstudio venue), and constitutes the only recorded example of him \nconducting this work ever. Mortimer H. Frank suggests that Toscanini \nconsidered conducting the work again in 1952 in London but dropped the \nidea - he also suggests this may have been the only time Toscanini ever \nconducted the Choral Fantasy.\u003c\/p\u003e\n\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc548\"\u003ePASC548\u003c\/a\u003e) and the music of Richard Strauss (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc549\"\u003ePASC549\u003c\/a\u003e),\n I have been able to access source recordings of unprecedented quality, \ntaken from acetate discs recorded directly by NBC and almost certainly \nnot played since. For optimal sound quality this is crucial - the \ndelicate surfaces of these discs are prone to immediate deterioration \nwhen played, especially when the weighty pick-ups in common use in the \n1940s were used, resulting in distortion, higher background noise, and \npotential loss of high frequencies and other details. Previous issues \nhave relied on Toscanini's own copies, discs which have seen \nconsiderable wear and use over the years.\u003c\/p\u003e\n\u003cp\u003eThe use of these new \nsource discs translates directly into remarkable audio quality, with \nquiet backgrounds and a particularly wide frequency range - and sound \nquality that would have been considered excellent on a hi-fi era LP \nrecord from twenty or more years later. The use of the latest audio \nrestoration technology brings with it rock-solid pitching, excellent \ntonal balance, and a clean, clear sound quality throughout. As with \nprevious releases there were some speed (and thus pitch) differences \nbetween disc sides, as well as a degree of wow and flutter, though in \nthe case of this volume neither was as extreme as seen on previous \nvolumes.\u003c\/p\u003e\n\u003cp\u003eOf the six volumes if there is to be heard a dip in sound quality, from the superb to the merely great, it is perhaps here with the final volume. Although once again our discs were in incredibly good condition, they lack the finest edge of quality heard in the studio recordings which preceded the Carnegie Hall concert. A part of this may be down to acoustics. We might also consider the sub-optimal recording conditions by comparison to a dedicated studio with carefully tailored microphones and equipment. A third possibility is that our discs may have been cut at NBC's headquarters having passed down a long analogue line from the concert hall venue and lost a degree of fidelity as a result. I'm prepared to believe all three of these may have played a part. \u003c\/p\u003e\n\u003cp\u003eNevertheless there is still remarkable sound quality to he heard here - it is in truly excellent shape for an 80-year-old recording, and offers superb fidelity for its 1939 vintage; only up against the previous five volumes might it be held to be anything less than ideal. If I was to give the previous volumes five stars for sound quality then I suggest this would merit four and a half.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eA certain amount of gain-riding was clearly being used by the NBC engineers - no great surprise here given the forces involved. In its most blatant and unfortunate application I've endeavoured to correct this, though any correction can only be a mixture of experience, a careful reading of the surrounding musical sections, and an element of educated guesswork. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach of the concert broadcasts ran for \nlonger than was usual, and it has been necessary to trim some of the \ncommentary from these recordings in order to fit each one onto a single \nCD release without cutting any of the music. The amount of speech \nediting has varied from release to release, but the intention is to \npreserve as much as possible the occasion as heard some 80 years ago - \nthis is, we believe, the first time they have been presented as \nbroadcast in this manner. This final volume came particularly close to requiring a second disc, but by keeping the commentary to a minimal back-announcement at the end of each work and trimming the amount of applause I have been able to keep everything within the bounds of a single disc - helped in no great amount by Toscanini's often brisk tempi!\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 1 (1939) - PASC552\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 1\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. RADIO Opening announcement  (0:33)\u003cbr\u003e2. \u003cb\u003eBEETHOVEN  Fidelio, Op. 72 - Overture\u003c\/b\u003e  (7:19)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Symphony No. 1\u003c\/b\u003e in C, Op. 21\u003cbr\u003e3. 1st mvt. - Adagio molto – Allegro con brio  (8:04)\u003cbr\u003e4. 2nd mvt. - Andante cantabile con moto  (6:20)\u003cbr\u003e5. 3rd mvt. - Minuet. Allegro molto e vivace - Trio  (3:14)\u003cbr\u003e6. 4th mvt. - Finale. Adagio – Allegro molto e vivace  (5:38)\u003cbr\u003e\u003cbr\u003e7. RADIO Midway announcements  (1:05)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Symphony No. 3\u003c\/b\u003e in E flat, Op. 55 \"Eroica\"\u003cbr\u003e8. 1st mvt. - Allegro con brio  (13:50)\u003cbr\u003e9. 2nd mvt. - Marcia funebre. Adagio assai  (16:21)\u003cbr\u003e10. 3rd mvt. - Scherzo. Allegro vivace - Trio  (5:24)\u003cbr\u003e11. 4th mvt. - Finale. Allegro molto  (10:36)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e12. RADIO Closing announcement  (0:36)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra   \u003cbr\u003e\u003c\/b\u003econducted \u003cb\u003eby Arturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 28 October, 1939\u003cbr\u003eNBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:00\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 2 (1939) - PASC553\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 2\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  Symphony No. 2\u003c\/span\u003e\u003c\/b\u003e in D, Op. 36\u003cbr\u003e1. 1st mvt. - Adagio molto - Allegro con brio  (12:22)\u003cbr\u003e2. 2nd mvt. - Larghetto  (10:42)\u003cbr\u003e3. 3rd mvt. - Scherzo. Allegro - Trio  (3:13)\u003cbr\u003e4. 4th mvt. - Allegro molto  (6:24)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN  Symphony No. 4\u003c\/span\u003e\u003c\/b\u003e in B flat, Op. 60\u003cbr\u003e5. 1st mvt. - Adagio - Allegro vivace  (12:30)\u003cbr\u003e6. 2nd mvt. - Adagio  (8:52)\u003cbr\u003e7. 3rd mvt. - Allegro vivace  (5:09)\u003cbr\u003e8. 4th mvt. - Allegro ma non troppo  (7:03)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e9. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN Leonore Overture No. 3, Op. 72a\u003c\/span\u003e\u003c\/b\u003e  (13:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 4 November, 1939\u003cbr\u003eNBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:48    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 3 (1939) - PASC554\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 3\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cp\u003e1. RADIO Opening Announcement  (0:18)\u003cbr\u003e2. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBEETHOVEN Coriolan Overture, Op. 62\u003c\/span\u003e\u003c\/b\u003e  (7:26)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN  Symphony No. 6\u003c\/b\u003e in F, Op. 68 \"Pastoral\"\u003c\/span\u003e\u003cbr\u003e3. 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande.  (11:41)\u003cbr\u003e4. 2nd mvt. - Scene am Bach. Andante molto moto  (11:53)\u003cbr\u003e5. 3rd mvt. - Lustiges Zusammensein der Landleute. Allegro  (5:03)\u003cbr\u003e6. 4th mvt. - Gewitter. Sturm. Allegro  (3:27)\u003cbr\u003e7. 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto  (9:01)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e8. RADIO Midway announcements  (0:31)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN  Symphony No. 5\u003c\/b\u003e in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e9. 1st mvt. - Allegro con brio  (7:19)\u003cbr\u003e10. 2nd mvt. - Andante con moto  (9:15)\u003cbr\u003e11. 3rd mvt. - Scherzo. Allegro - Trio  (4:51)\u003cbr\u003e12. 4th mvt. - Allegro  (8:43)\u003c\/p\u003e\n\u003cp\u003e13. RADIO Closing Announcement  (0:16)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 11 November, 1939\u003cbr\u003eNBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:44\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 4 (1939) - PASC555\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e1. RADIO Opening Announcement  (0:37)\u003c\/p\u003e\n\u003cp\u003e2. \u003cb\u003eBEETHOVEN Egmont, Op. 84\u003c\/b\u003e  (8:21)\u003c\/p\u003e\n\u003cp\u003e3. RADIO Midway Announcement 1  (1:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Septet in E flat for Woodwind, Horn \u0026amp; Strings\u003c\/b\u003e, Op. 20 \u003cbr\u003e4. 1st mvt. - Adagio - Allegro con brio  (8:00)\u003cbr\u003e5. 2nd mvt. - Adagio cantabile  (8:25)\u003cbr\u003e6. 3rd mvt. - Tempo di menuetto - Trio  (3:10)\u003cbr\u003e7. 4th mvt. - Tema con variazioni. Andante  (7:34)\u003cbr\u003e8. 5th mvt. - Scherzo. Allegro molto e vivace - Trio  (2:59)\u003cbr\u003e9. 6th mvt. - Andante con molto alla marcia - Presto  (5:27)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e10. RADIO Midway Announcement 2  (0:38)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Symphony No. 7\u003c\/b\u003e in A, Op. 92\u003cbr\u003e11. 1st mvt. - Poco sostenuto - Vivace  (11:19)\u003cbr\u003e12. 2nd mvt. - Allegretto  (8:08)\u003cbr\u003e13. 3rd mvt. - Presto  (6:51)\u003cbr\u003e14. 4th mvt. - Allegro con brio  (6:40)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e15. RADIO Closing Announcement  (0:44)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 18 November, 1939\u003cbr\u003eNBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:55\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 5 (1939) - PASC556\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e1. RADIO Introduction  (1:59)\u003cbr\u003e2. \u003cb\u003eBEETHOVEN Leonore Overture No. 1, Op. 13\u003c\/b\u003e8  (8:48)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Symphony No. 8 in F, Op. 93\u003c\/b\u003e\u003cbr\u003e3. 1st mvt. - Allegro vivace e con brio  (9:14)\u003cbr\u003e4. 2nd mvt. - Allegretto scherzando  (3:43)\u003cbr\u003e5. 3rd mvt. - Tempo di Menuetto  (4:48)\u003cbr\u003e6. 4th mvt. - Allegro vivace  (7:14)\u003c\/p\u003e\n\u003cp\u003e7. RADIO End of part 1  (1:33)\u003cbr\u003e8. RADIO Intermission talk - Samuel Chotzinoff  (8:48)\u003cbr\u003e9. RADIO Start of part 2  (0:35)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  String Quartet No. 16 in F Major, Op. 135\u003cbr\u003e\u003c\/b\u003e10. 3rd mvt. - Lento assai, cantate e tranquillo  (7:36)\u003cbr\u003e11. 2nd mvt. - Vivace  (3:32)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e12. \u003cb\u003eBEETHOVEN The Creatures of Prometheus, Op. 43\u003c\/b\u003e\u003cbr\u003e     No. 5: Adagio - Andante quasi Allegretto  (7:22)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e13. \u003cb\u003eBEETHOVEN Leonore Overture No. 2, Op. 72a\u003c\/b\u003e  (13:12)\u003cbr\u003e\u003cbr\u003e14. RADIO Ending  (1:17)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 25 November, 1939\u003cbr\u003eNBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:41\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eTOSCANINI The 1939 Beethoven Cycle, Volume 6 (1939) - PASC557\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eFantasia for Piano, Chorus and Orchestra, Op. 80\u003c\/span\u003e\u003cbr\u003e1. Adagio  (2:57)\u003cbr\u003e2. Finale. Allegro  (5:44)\u003cbr\u003e3. Adagio ma non troppo  (1:57)\u003cbr\u003e4. Marcia assai vivace  (1:59)\u003cbr\u003e5. Allegretto ma non troppo quasi andante con moto  (2:06)\u003cbr\u003e6. Presto  (2:10)\u003cbr\u003e\u003cb\u003eAnia Dorfmann\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125 \"Choral\"\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Allegro ma non troppo, un poco maestoso  (12:36)\u003cbr\u003e8. 2nd mvt. - Scherzo. Molto vivace - Presto  (12:42)\u003cbr\u003e9. 3rd mvt. - Adagio molto e cantabile  (13:00)\u003cbr\u003e10. 4th mvt. - Presto - Allegro assai  (24:35)\u003cbr\u003e\u003cb\u003eJarmila Novotna\u003c\/b\u003e, soprano\u003cbr\u003e\u003cb\u003eKerstin Thorborg\u003c\/b\u003e, alto\u003cbr\u003e\u003cb\u003eJan Peerce\u003c\/b\u003e, tenor\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eThe Westminster Choir\u003cbr\u003eNBC Symphony Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 2 December, 1939, Carnegie Hall, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:46    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":14116562927677,"sku":null,"price":96.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205541380430,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205541413198,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX023.jpg?v=1769529753"},{"product_id":"pabx023-cd","title":"TOSCANINI The Complete 1939 Beethoven Cycle (1939) - PABX023 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5f\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"6 CDs in 2 printed Digipack covers (+MP3)","offer_id":47520434454862,"sku":null,"price":95.0,"currency_code":"EUR","in_stock":true},{"title":"6 CDs only in plastic sleeve (+MP3)","offer_id":55205541347662,"sku":null,"price":75.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PABX023_170c1cb0-f5ed-4c26-b70a-858892b012fe.jpg?v=1705316141"},{"product_id":"paco159","title":"TOSCANINI Beethoven: Missa Solemnis (1940 - Milanov, Castagna, Björling, Kipnis) - PACO159","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMissa Solemnis\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast performance, 1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:56\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZinka Milanov, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruna Castagna, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJussi Björling, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlexander Kipnis, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWestminster Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fJussi Björling is simply beyond miraculous578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eI will open by confessing to a bit of heresy. \nDespite the immense fame of this performance, I heretofore had not been \nparticularly taken by it. I found the sound quality disagreeably harsh, \neven in the best previous remasterings (Guild 2004 and Music \u0026amp; Arts \n2011); I’m not the huge fan of Zinka Milanov that some folks are (though\n I certainly don’t discount her merits); and contrary to many critics I \npreferred Toscanini’s interpretive approach in his two earlier surviving\n performances from 1935 and 1939 (the latter also with Milanov, who is \ngood but not at her very best there). But hearing a sample sound clip of\n this new remastering from Andrew Rose at Pristine Audio swept away all \nreservations and led me to plead for a review copy. Much of the \nharshness has been removed or mitigated, and there is a slight extra \ntouch of clarity to instrumental and vocal lines as well.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThe praises of this rendition have been sung so \noften before by so many others that I will keep my own remarks brief. \nThis is Toscanini at his very greatest: dramatically incisive and \ncompelling, exercising iron discipline in service of the score without \nany seeking for superfluous effects. The overall approach is large-scale\n and operatic, and yet it remains devotional in spirit as well. Unlike \nin some of his performances, there is never any sense of anything being \npushed or rushed; many passages are allowed to breathe expansively, and \nattention is particularly drawn to how often he makes an impact through \nquiet understatement rather than blazing histrionics. (Much of the \nBenedictus illustrates this.) Except for a brief flubbed trumpet \nentrance at the beginning of the Credo (one wishes that this had been \nquietly corrected), the chorus and orchestra sing and play with \nrazor-sharp discipline; Mischa Mischakoff excels in his extended solos \nin the Benedictus. For many collectors, it is the stellar quartet that \nmakes this truly special. Milanov is in radiant form, with her trademark\n easily floated high notes. It speaks volumes of the quality of singers \navailable to Toscanini that the great Bruna Castagna could step in for \nan indisposed Kerstin Thorborg on short notice; unlike in the Ninth \nSymphony, where the alto gets the short end of the vocal stick and is \nall but anonymous, here she has many of the plum lines, and Castagna is \nmagnificent in every way. But the real amazement comes with the two male\n vocalists. No other basso has the sepulchral tones and vocal heft here \nof Alexander Kipnis, and his intoning of the opening of the Agnus Dei is\n the very epitome of fearful despair.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n  \u003cspan class=\"TIMES\"\u003eBut, saving the best for last, Jussi Björling is \nsimply beyond miraculous. If asked to select a test spot for judging a \nperformance of this work, I suspect that most hearers would go for one \nof the big climaxes—the fugal close of the Gloria, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePleni sunt coeli\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of the Benedictus, the desperately imploring reiterations of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAgnus Dei!\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n at the martial irruption halfway through the eponymous movement. For \nme, however, possibly the most critical point in the score is in the \nCredo, with the tenor solo entry at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eet incarnatus est\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n All time and nature stand still in rapt silence at this juncture, \nbeholding and contemplating the mystery of the Incarnation, God made \nman, climaxing in the tenor’s emphatic declaration \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eet homo factus est\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\n Heretofore my benchmark for this moment has been the little-known but \nexcellent William Hain, in the 1948 New York Philharmonic broadcast \nunder Bruno Walter; but Björling obliterates every memory of any rival \nhere, with singing of utterly heart-rending beauty and expressiveness. \nHe alone—indeed, this section of the performance alone—makes acquisition\n of this recording indispensible.  \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n  \u003cspan class=\"TIMES\"\u003eThere are a few minor shortcomings. Toscanini’s \nusual fault in this work of having the trumpets play far too loudly is \npresent in spades. (Contrary to the claims of some critics, I do not \nthink this is due to faulty microphone placement, as it occurs in all of\n his performances.) The closing fugal section of the Gloria is \nmetrically a bit stiff; the closing measures of the Agnus Dei are too \nclipped and abrupt (though exceedingly few conductors have made that \nending fully convincing). But would that so many more performances had \nso little about which to quibble. Without question, this is a \nperformance that, in his standard-setting new remastering, amply \ndeserves its niche in the Classical Hall of Fame. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena  \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n      \n    \n  \n  \u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n    \u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 43:1 (Sept\/Oct 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n  \u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO159.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eJust over a year after completing his ground-breaking 1939 Beethoven symphony cycle of six concerts (PASC551-557, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pabx023\"\u003ePABX023\u003c\/a\u003e), which concluded with a live broadcast from Carnegie Hall of the Ninth Symphony and Choral Fantasy (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc557\"\u003ePASC557\u003c\/a\u003e), Toscanini returned to Carnegie Hall for another special broadcast concert three days after Christmas 1940. The concert in 1939 had been a benefit for the Junior League Welfare Fund; this 1940 concert was given in aid of the National Conference of Christians and Jews.\u003c\/p\u003e\u003cp\u003eToscanini's handling of the Missa Solemnis garnered great praise from Olin Downes in the following day's New York Times:\u003c\/p\u003e\u003cp\u003e\"\u003ci\u003eIf the performance of the mass surpassed that of the requiem in intensity and in grandeur, it is because, after all, there are few compositions in all music that stand shoulder to shoulder with Beethoven’s. It does compass the sublime, in a spirit that is Michelangelesque. But it is seldom delivered in this fashion, because of difficulties almost insurmountable for the singers, and other difficulties, inherent in the nature of the music, which conductors seldom completely solve. Last night the fierce heat of Toscanini's inspiration and integrity of purpose pierced every problem and fused together the creative elements of a masterpiece so gigantic that it is seldom comprehended by either listener or performer.\u003cbr\u003e\u003cbr\u003eIt is only by a special exercise of the creative will and the prescience of an heroic spirit that such a height is reached. And we believe that only the tragedy of the world today, felt as profoundly as Toscanini feels it, could have moved him to such a deed. We can be certain that he is not unmindful of what Beethoven put in the score that interrupts the tender concluding Agnus Dei with the sounds of war and the supplications for peace.\u003cbr\u003e\u003cbr\u003eThe Mass was given with a loftiness and almost a grim intensity of purpose which forbade anything but the greatest utterance. When the end came the audience remained for a long time, some respectfully refraining from demonstration, others applauding loud and long.\u003c\/i\u003e \"\u003c\/p\u003e\u003cp\u003eAs was the case with the 1939 Symphony Cycle I've had access once again to previously unheard and unused source recording which have yielded significant improved results over previous issues of this historic concert recording. I noted here, as with the 1939 concerts, that the Carnegie Hall sound quality was not on a par with that of the Studio 8H concerts. I can only speculate as to the reasons for this: difficulties in microphone placement for tricky works such as this to record and the quality of transmission lines would be the key components. (I am assuming that NBC cut their archive discs at their own studios using the feed from Carnegie Hall.)\u003c\/p\u003e\u003cp\u003eRestoring and remastering this recording has proved trickier than the earlier Beethoven series. I \"finished\" the remastering several times before in each event returning to earlier incarnations of my work to try and find a more optimal solution that tries to avoids midrange congestion in the choir, retains clarity of voices without suffering too much from the blasting of the exceptionally bright brass, whilst retaining the full sound of the orchestra. \u003c\/p\u003e\u003cp\u003eAlas one cannot remix a recording some eight decades after the event but work only with the mix made on the night. Under the circumstances I feel that, one or two overloaded sections excepted, this recording has come out remarkably well. The frequency range approaches full high fidelity at times, especially at the loudest trumpet moments, and for the most part there's very little background hiss or noise. The sample I've chosen here is the \u003ci\u003eCredo \u003c\/i\u003e- more than 18 minutes of music which encompasses pretty much all of the extremes of the work, from full choral and orchestral peaks to quieter introspective moments with the soloists - to give you a full idea of the sound quality you can expect across the entirety of this remarkable recording.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eMissa Solemnis  in D major, Op. 123\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e1. Kyrie. Assai sostenuto  (10:49)\u003cbr\u003e2. Gloria. Allegro vivace  (16:56)\u003cbr\u003e3. Credo. Allegro ma non troppo  (18:20)\u003cbr\u003e4. Sanctus. Adagio  (18:02)5. Agnus Dei. Adagio  (15:49)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eZinka Milanov, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eBruna Castagna, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eJussi Björling, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eAlexander Kipnis, \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003e\u003cbr\u003eThe Westminster Choir\u003c\/b\u003e\u003cbr\u003edirected by \u003cb\u003eJohn Finley Williamson\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003c\/b\u003e  \u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 28 December, 1940 - Carnegie Hall, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:56    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PACO159.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO159.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNew York Times Review, 1940578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n    \u003cspan style=\"font-size: 24px;\"\u003eBEETHOVEN MASS LED BY TOSCANINI\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducts the NBC Orchestra in the Work in D Major at Carnegie Hall Concert\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-size: 16px;\"\u003eMilanov, Thorborg, Bjoerling and Kipnis Sing With the Westminster Choir\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n    Outside of opera there have been, when all is said and done, two musical\n    events which tower over everything that has happened in concert halls of\n    New York this season. The first was the performance of Arturo Toscanini of\n    the Verdi Requiem, some weeks ago in Carnegie Hall. The second was the\n    performance that he directed in the same hall last night of Beethoven’s D\n    major Mass, with the NBC Symphony Orchestra, the Westminster Choir, and an\n    uncommonly well coordinated quartet of distinguished soloists.\n\u003c\/p\u003e\n\u003cp\u003e\n    If the performance of the mass surpassed that of the requiem in intensity\n    and in grandeur, it is because, after all, there are few compositions in\n    all music that stand shoulder to shoulder with Beethoven’s. It does compass\n    the sublime, in a spirit that is Michelangelesque. But it is seldom\n    delivered in this fashion, because of difficulties almost insurmountable\n    for the singers, and other difficulties, inherent in the nature of the\n    music, which conductors seldom completely solve. Last night the fierce heat\n    of Toscanini's inspiration and integrity of purpose pierced every problem\n    and fused together the creative elements of a masterpiece so gigantic that\n    it is seldom comprehended by either listener or performer.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eWorld Tragedy Mirrored\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    It is only by a special exercise of the creative will and the prescience of\n    an heroic spirit that such a height is reached. And we believe that only\n    the tragedy of the world today, felt as profoundly as Toscanini feels it,\n    could have moved him to such a deed. We can be certain that he is not\n    unmindful of what Beethoven put in the score that interrupts the tender\n    concluding Agnus Dei with the sounds of war and the supplications for\n    peace.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Mass was given with a loftiness and almost a grim intensity of purpose\n    which forbade anything hut the greatest utterance. When the end came the\n    audience remained for a long time, some respectfully refraining from\n    demonstration, others applauding loud and long. Very properly the conductor\n    did not return to the stage, from which he hurried when the last note had\n    sounded.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMusical “Miracles” Performed\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    We have heard choruses ere this perform miracles when driven to them by\n    Toscanini, and quartets, too. He has the qualities of the prophet and seer\n    aflame with his vision, and the clear thinking and firm unshakable hand of\n    the master. When he took the most complex passages at a rate apparently\n    reckless of every purpose save the one of complete achievement, the young\n    singers followed him with unbounded faith and ardor.\n\u003c\/p\u003e\n\u003cp\u003e\n    But they and their trainers deserve credit for a rarely beautiful as well\n    as virtuoso performance. The B-flats and Bs too came out high and clear.\n    There was a remarkably varied scale of dynamics. Pianissimos seemed to echo\n    mysteriously from afar; fortissimos rang out like the trump of judgment\n    day. But more remarkable was the treatment of the counterpoint, the\n    expressiveness of the inner voices, the interweaving of the choral and\n    orchestral parts, and, always, the white heat of the vision.\n\u003c\/p\u003e\n\u003cp\u003e\n    What has been said of the chorus holds true in principle also of the solo\n    quartet, consisting of Zinka Milanov, soprano; Bruna Castagna, contralto;\n    Jussi Bjoerling, tenor, and Alexander Kipnis, bass. These singers also had\n    tasks of great difficulty, discharged with somewhat varying degrees of\n    success, but as a whole done so well that it would be invidious to make\n    detailed distinctions. Miss Milanov and Mr. Kipnis were particularly\n    effective.\n\u003c\/p\u003e\n\u003cp\u003e\n    The performance was given for the benefit of the National Conference of\n    Christians and Jews. The hall was packed. It is good to think that thanks\n    to the radio the message of the Mass was made known to millions who\n    listened in other places. They, too, received the heritage of Beethoven.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003ci\u003e\u003cb\u003eOlin Downes\u003cbr\u003eThe New York Times, 29 December 1940\u003cbr\u003e\u003c\/b\u003e\u003c\/i\u003e\n\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":29438520950845,"sku":null,"price":16.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205540757838,"sku":null,"price":11.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205540790606,"sku":null,"price":9.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO159_aa4ddbf2-370a-41cb-bd62-b98514519183.jpg?v=1563628274"},{"product_id":"paco159-cd","title":"TOSCANINI Beethoven: Missa Solemnis (1940 - Milanov, Castagna, Björling, Kipnis) - PACO159 - CD","description":"\u003cp\u003eoverviewfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO159.mp3\u003c\/p\u003e","brand":"Pristine Classical","offers":[{"title":"CD with case \u0026 artwork (+MP3)","offer_id":14164940128317,"sku":null,"price":17.0,"currency_code":"EUR","in_stock":false},{"title":"CD only in plastic sleeve (+MP3)","offer_id":55205540725070,"sku":null,"price":13.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/products\/PACO159.jpg?v=1658497074"},{"product_id":"pabx035","title":"STOKOWSKI The Pristine NBC Symphony Series (1941-1944) - PABX035","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTOKOWSKI  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Pristine NBC Symphony Series\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003eA 16-CD set featuring music by: A\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003emfitheatrof, Antheil, Bach, Beethoven, Brahms, Butterworth, Cooley, Copland, Creston, Debussy, Gould, Hanson, Harris, Hindemith, Holst, Hovhaness, Kelly, Lavalle, Milhaud, Mohaupt, Ravel, Rimsky-Korsakov, Schoenberg, Schuman, Shostakovich, Stravinsky, Stringfield, Tchaikovsky, Thomson, Vaughan Williams, Wagner\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAnne Brown. \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano  \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWinifred Heidt. \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto  \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilliam Horne. \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor  \u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLawrence Whisonant. \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEduard Steuermann, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCollegiate Chorale\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Westminster Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra    \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC629.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eThis remarkable historic document demonstrates just how good a recording it was possible to make as long ago as 1942. It must surely rate as one of, if not the best sounding recordings I have ever encountered from that era. Things would improve dramatically in the years immediately after the end of the Second World War, but it is unusual to find such fidelity during the war years, especially outside Germany.\u003c\/p\u003e\n\u003cp\u003eThe source for this recording was a set of acetate discs apparently prepared for South American broadcasters which, by the sound of them, were never actually played. Comparisons to other sources, such as those used for a previous issue of this concert, indicate just how quickly and badly these delicate discs deteriorated with use. Indeed the bonus track on this release gives the listener some indication of the difference - taken from the English language acetates we hear the familiar indicators of wear and tear even after extensive declicking and cleaning up in the extended commentary that preceded the NBC broadcast .\u003c\/p\u003e\n\u003cp\u003eBy contrast the mint acetates which provide the musical content offer a fidelity one might normally expect from a good late-1950s mono vinyl pressing. For the most part they provided me with a very straightforward task, with XR remastering bringing out the full tonal range of the orchestra, with very low surface noise and an exceptionally full frequency range for an early 1940s recording. As is common with disc recordings there was some gradual loss of treble towards the end of each side, and side changes were pretty brutally chopped, with no overlap to allow for cross-fading. But this aside, the only other challenge was the missing first note! This was ultimately patched in from another \"digitally aged\" recording of more recent vintage, as my other sources of the Stokowski performance were of such lower sonic quality. The result is a seamless patch and and entirely convincing opening.\u003c\/p\u003e\n\u003cp\u003eIt is a shame, but entirely understandable, that we have no 1942 photo of Stokowski and Shostakovich together. As our sleevenotes detail, it's amazing that Stokowski (and a number of other major US-based conductors) were even able to get their hands on a copy of the score. I am very grateful though to Edward Johnson for digging out and sending me the 1958 photograph of composer and conductor which grace the cover of this release. Stokowski was a great champion of the Soviet composer's work. Now at last we have his only recording of the \"Leningrad\" Symphony in sound which truly does justice both to the work and to the performance.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eThese two 1944 recordings continue to astound me weeks after I first \nheard them. Culled from the same source which provided us with \nStokowski's 1942 Shostakovich \"Leningrad\" Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/collections\/artist-leopold-stokowski\/products\/pasc527\" target=\"_blank\"\u003ePASC527\u003c\/a\u003e) they again confound expectations as to what a recording of this vintage should sound like.\u003c\/p\u003e\n\u003cp\u003eHere\n we find Stokowski conducting the brilliant NBC Symphony Orchestra in \nstunning renditions of Tchaikovsky's 6th Symphony and Romeo and Juliet \nfantasy overture - made all the more so by the frankly incredible sound \nquality of the recordings. At times, stereo aside, one might be forgiven\n for thinking some of these recordings had been made last week, rather \nthan nearly three-quarters of a century ago.\u003c\/p\u003e\n\u003cp\u003eNaturally they \nweren't originally quite this good. Pitch jumps in the symphony had to \nbe corrected, clicks and scratches evened out, and Pristine's XR \nremastering system employed to accurately re-equalise the sound and \nbring out the full glory of the NBC orchestra. \u003c\/p\u003e\n\u003cp\u003eWith a full \nfrequency range, exceptionally quiet sides allowing an extraordinarily \nwide dynamic range, and very little in the way of other flaws or \naudience noise to get in the way of the listening experience, one is \nalmost immediately drawn into the performances - and they are white hot,\n as Edward Johnson's excellent sleevenotes explain.\u003c\/p\u003e\n\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\"\u003ci\u003eIt was a rousing performance ... Mr. Stokowski led a dramatic performance that had special drive and crispness in the scherzo and that built up into a series of big climaxes in the last movement\u003c\/i\u003e.\" - New York Times, 1941\u003c\/p\u003e\n\u003cp\u003eExactly one month prior to the entry of the United States into World War II, on Armistice Day 1941, Leopold Stokowski conducted the NBC Symphony Orchestra in a rare performance for him of Beethoven's Symphony No. 9. As the NY Times reviewer pointed out, \"he chose a solemn day in a momentous time to set forth once more Beethoven’s affirmation of the brotherhood of man.\"\u003c\/p\u003e\n\u003cp\u003eIt's a performance that has never been heard in full since. A scheduling anomaly meant that whilst Stokowski performed the entire work before a packed house, radio listeners were treated only to the final choral movement. The first three movements were never broadcast, and as far as we can tell, have not been issued before.\u003c\/p\u003e\n\u003cp\u003eThey were however captured in a line recording, from which the present release is largely drawn, and preserved in stunning sound quality for the day. Indeed the finale, which was drawn from a recording of the broadcast (complete with closing commentary), whilst also of fine sound quality, struggles to quite match that heard in the opening three movements.\u003c\/p\u003e\n\u003cp\u003eIt should at this point be noted that a very short section at the end of the third movement was missing from the original source recording. We assume that the time recording was faded out at this point in order for the commentator to be heard on NBC radio. For this I have patched in a later recording by Stokowski, digitally aged to match the sound of the 1941 recording and spliced in so seamlessly that two Stokowski experts who heard it prior to release were unable to detect the change. It helped enormously that Stokowski's later performance matched the 1941 tempo almost exactly during that third movement. I have also reconstructed a shorter pause between third and fourth movements than was heard by the audience on the night - an extra delay was caused by the need to go \"on air\" prior to commencing the finale, as the Times' reviewer noted the following day.\u003c\/p\u003e\n\u003cp\u003eAnd so we present an entirely new Stokowski performance of the Choral Symphony. As you'll hear from the sample  movement (the second) on this page, it really is a stunning sounding performance - and one you won't wish to be without.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003ch1 align=\"center\"\u003e\n\u003cfont face=\"Arial\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI\u003c\/span\u003e \u003cbr\u003econducts a British Music programme at the NBC\u003c\/span\u003e\u003c\/font\u003e\n\u003c\/h1\u003e\n\u003cp\u003e\n\u003cbr\u003eBritish-born Leopold Stokowski came into the world in what is now called\n    New Cavendish Street in London, just a block away from the BBC's\n    Broadcasting House. He attended St. Marylebone School, just up the road,\n    and sang in the choir of the adjoining St. Marylebone Parish Church. It was\n    here, as a 12-year-old choirboy, that he took over the performance of a\n    church service, perhaps choral evensong, when the regular choirmaster\n    failed to show up. The experience gave him a sleepless night and instilled\n    in him an overwhelming desire to become a conductor. He related these early\n    conducting ambitions when choosing his 'Desert Island Discs' for the BBC\n    radio show of that name in 1957 (it's readily available on YouTube!).\n\u003c\/p\u003e\n\u003cp\u003e\n    His musical precocity took him to the Royal College of Music in 1895 where,\n    at the age of 13, he was the youngest student at the time to be admitted.\n    Two of his fellow organ students, both a few years older, were Gustav Holst\n    and Ralph Vaughan Williams. These two were already firm friends, both\n    having a strong interest in English folk music. Stokowski's teachers at the\n    RCM included Sir Hubert Parry and Sir Charles Villiers Stanford. Needless\n    to say Stokowski could not remotely have anticipated that one day he would\n    be performing works by all four of these composers for American audiences.\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1902, the young Leopold became the organist at St. James's, Piccadilly.\n    Here he attracted the attention of the rector of St. Bartholomew's in New\n    York City. He had come to England to find a new music director for this\n    immensely fashionable church and was so impressed with the colourful\n    individuality of Stokowski's organ playing that he immediately offered him\n    the post of choirmaster.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski duly took up the appointment in 1905 and it was in the USA that\n    he made his career and where in 1915 he became an American citizen. During\n    those early years he spent his summers in Europe studying conducting. As a\n    result, his ambition to become an orchestral conductor was fully realised\n    in 1909 when he made his debut in Paris. The Cincinnati Orchestra was\n    looking for a new conductor and their representatives who heard the concert\n    were so impressed by the youthful maestro's \"remarkable qualities\" that he\n    was immediately offered the job.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's three-year apprenticeship in Cincinnati found him starting as\n    he meant to go on. He studied and learnt the basic repertoire but he also\n    included much that was being written by living composers. When it came to\n    English music, Elgar's made its first appearance in a Stokowski \/\n    Cincinnati concert with the Pomp and Circumstance March No. 1 in 1911.\n    Later that year, on 24 November 1911, came one of Stokowski's innumerable\n    US Premieres when he introduced Elgar’s 2nd Symphony to America. The\n    Cincinnati \u003cem\u003eTimes-Star \u003c\/em\u003ewas unpersuaded of the work’s merits: “The\n    composition is pleasant and interesting; but it is not great, nor in any\n    sense convincing.” Maybe that view still holds good even today, since none\n    of the great American orchestras have yet made a commercial studio\n    recording of the work!\n\u003c\/p\u003e\n\u003cp\u003e\n    In 1912, Stokowski left Cincinnati for Philadelphia where he conducted\nGustav Holst's music for the first time with a performance of the    \u003cem\u003eJapanese Suite \u003c\/em\u003eon 15 October 1925 in yet another US Premiere. He\n    returned to Holst's music in 1934 when, on learning of the composer's\n    death, he conducted \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003ePlanets\u003c\/em\u003e by way of a tribute.\n\u003c\/p\u003e\n\u003cp\u003e\n    His next performance of \u003cem\u003eThe Planets\u003c\/em\u003e came about during his\n    three-season appointment as the NBC Symphony's chief conductor following\n    Toscanini's temporary withdrawal in 1941. The war had its own influence on\n    Stokowski’s NBC programmes and he often advocated music from the Allied\ncountries. England was duly represented on 14 February 1943 by what the    \u003cem\u003eNew York Times \u003c\/em\u003edescribed as “a remarkable performance of Holst’s\ngreat mystical tone-poem\u003cem\u003e.\u003c\/em\u003e” The critic from the daily    \u003cem\u003eBrooklyn\u003c\/em\u003e \u003cem\u003eEagle \u003c\/em\u003eadded that \"Stokowski knew, of course, how\n    to show \u003cem\u003eThe Planets\u003c\/em\u003e their orchestral brilliance most graphically,\n    while the orchestra lent its virtuosity to a good cause.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    A previous incarnation of this same NBC performance several years ago\n    elicited from critic Andrew Achenbach that it was “a \u003cem\u003ePlanets\u003c\/em\u003e\n    crammed full of interpretative incident, superbly played by a legendary\n    orchestra ... Stokowski’s broadcast evinces a giant theatricality and\n    abundant zeal that prove hypnotically compelling.”\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski returned to the work in 1956 when he made its first stereo\n    recording in Capitol's 'Full Dimensional Stereo Sound' with the Los Angeles\n    Philharmonic. This reading proved controversial in several ways and was\n    given short shrift in the \u003cem\u003eGramophone\u003c\/em\u003e by Trevor Harvey who in any\n    case confessed in print that he was no admirer of Stokowski. Even so, the\n    LP's total sales, on the original Capitol label together with its Music for\n    Pleasure reissue, reached nearly half-a-million copies in the UK which\n    wasn't bad going!\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's next traversal of \u003cem\u003eThe Planets\u003c\/em\u003e took place in the Royal\n    Albert Hall in 1963 with the London Symphony Orchestra. The programme was\n    all-British, with John Addison's \u003cem\u003eCarte Blanche\u003c\/em\u003e Ballet Suite and\n    Vaughan Williams's \u003cem\u003eTallis Fantasia\u003c\/em\u003e occupying the first half and\n    Holst coming after the interval. This time, as was often the case in those\n    days, the critical reactions to a \"live\" Stokowski performance could be\n    quite different to the reviews of one of his LPs. For example, one\n    commentator wrote of his LSO performance of \u003cem\u003eThe Planets\u003c\/em\u003e that\n    \"Stokowski evoked, with scarcely a vehement gesture, gusts and storms,\n    winged chatter, whimsical heartiness and the mystery of voices dying in\n    space,\" while another described him as \"a marvellous conductor; individual\n    certainly, eccentric even on occasion; but capable of achieving unique,\n    exciting and vastly stimulating results.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    But to return to the war-time NBC seasons and \u003cem\u003eA Shropshire Lad\u003c\/em\u003e by\n    George Butterworth. Doubtless Stokowski had heard Sir Adrian Boult's\n    performance in an all-British NBC broadcast in 1938 and decided to revive\n    it himself. Butterworth's idyllic orchestral rhapsody was to prove highly\n    influential on several British composers but as with the seven performances\n    on Pristine's \"Wartime NBC Premieres\" release (PASC 536) this was the only\n    occasion on which Stokowski conducted the work.\n\u003c\/p\u003e\n\u003cp\u003e\n    So to Vaughan Williams. Stokowski was - as with so many living composers at\n    the time - something of an RVW champion as far as American audiences were\n    concerned. He introduced \u003cem\u003eA\u003c\/em\u003e \u003cem\u003ePastoral Symphony\u003c\/em\u003e (RVW's 3rd)\nto his fellow Philadelphians in 1924 and followed that with the    \u003cem\u003eTallis Fantasia\u003c\/em\u003e two years later. He gave a blazing performance of\n    the 4th Symphony with the NBCSO in 1943 and made the first recording of the\n6th with the New York Philharmonic in 1949. He performed the    \u003cem\u003eSinfonia Antartica\u003c\/em\u003e in Houston in 1954 and played No. 8 in London's\n    Royal Festival Hall in 1957 in the delighted composer's presence. The\n    following year, on hearing of Vaughan Williams's death, he paid tribute by\n    conducting the US Premiere of RVW's last Symphony, his Ninth.\n\u003c\/p\u003e\n\u003cp\u003e\n    This leads us to the final work in this NBC selection and something of a\nrarity it is too! The original score of the    \u003cem\u003eFantasia on Christmas Carols\u003c\/em\u003e requires a baritone soloist, a choir\n    and an accompanying orchestra. However, it was also published in other\n    formats, including a version with a string orchestra and organ supplying\n    the accompaniment, or just an organ or a piano on its own.\n\u003c\/p\u003e\n\u003cp\u003e\n    Vaughan Williams's \u003cem\u003eSerenade to Music \u003c\/em\u003ehad also been published in\n    several formats, the original being for 16 voices and orchestra, though the\n    work can also be performed by orchestra alone. We can only speculate on\n    Stokowski's decision in the run-up to his Christmas 1943 concert but it\nseems likely that he took his cue from RVW's own orchestral version of the\u003cem\u003eSerenade to Music \u003c\/em\u003eand adopted the same procedure with the    \u003cem\u003eCarols Fantasia\u003c\/em\u003e. It therefore seems probable that he asked an NBC\n    'house copyist' to cue the vocal parts into the orchestral ones. Thus, for\n    example, the baritone solo at the start is played by a bassoon, while the\n    first choral entry is taken over by the strings. This orchestral version\n    proves an effective alternative to the choral original and one wonders why\n    Stokowski's idea hasn't been adopted and published, so that other\n    orchestras can play it in their own Christmas concerts!\n\u003c\/p\u003e\n\u003cp\u003e\n    To conclude, when it came to English music, Stokowski probably performed\n    more of it than any of his equally illustrious States-side podium\n    colleagues. In addition to those mentioned above, he played compositions by\n    Richard Arnell, Malcolm Arnold, Arnold Bax, Arthur Bliss, Havergal Brian,\n    Benjamin Britten, Henry Walford Davies, George Dyson, Edward German,\n    Kenneth Leighton, Ermest Moeran, Roger Quilter, Alan Rawsthorne, Edmund\n    Rubbra, Cyril Scott, Arthur Sullivan, Michael Tippett, William Walton and\n    David Wooldridge. Happily, broadcasts such as the ones presented here have\n    survived, thus giving us an opportunity to hear Stokowski's \"remarkable\n    qualities\" for ourselves!\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    When Stokowski visited London in 1957 to make his annual appearances in the\n    capital, he was invited onto 'Desert Island Discs.' This is the BBC's\n    long-running radio programme in which well-known persons are asked to\n    choose 8 recordings to take with them, should they be marooned on a desert\nisland. Among Stokowski's choices was \"Sirènes\" from Debussy's    \u003cem\u003eThree Nocturnes\u003c\/em\u003e. \"I am a great lover of Debussy,\" he told the\n    presenter, \"and when I was a student in Paris a long time ago I heard him\n    play the piano and I also heard him conduct. I think he was a great\n    genius.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's devotion to Debussy's music was exemplified in his orchestral\n    arrangements of \"The Engulfed Cathedral\" and \"Night in Granada,\" both\n    presented here. He also transcribed \"Clair de lune,\" his 1937 Philadelphia\n    Orchestra 78rpm disc becoming a huge best-seller in its day.\n\u003c\/p\u003e\n\u003cp\u003e\n    However, the one Debussy piece that Stokowski conducted the most, both on\n    record and in the concert-hall, was \"Prelude to the Afternoon of a Faun.\"\n    He performed it for the first time in Cincinnati in 1912, made the first\n    American recording acoustically in 1924 (PASC 441) and played it for the\n    last time in 1972 at the age of 90. In his notes to a 1958 Capitol LP\n    featuring the work, he wrote: \"This music is a miracle of delicate, erotic\n    beauty, suggesting a dream world of pagan loveliness, utterly original, in\n    every way perfect.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    One of the many interesting aspects of Stokowski's three-season tenure with\n    the NBC Symphony was the extraordinary amount of new music he programmed.\n    Perhaps even more remarkable was that he played many such works just once\n    for a single radio broadcast but never returned to them. The selected\n    'Symphonic Fragments' from Debussy's \"Le Martyre\n    de Saint Sebastien\" are a case in point, as is Darius Milhaud's 1st\n    Symphony in what was its New York premiere.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Milhaud family had fled to the USA in early 1940, following the Nazi\n    invasion of France. The Symphony No. 1 had just been completed, having been\n    commissioned by the Chicago Symphony as one of the works marking its 50th\n    Anniversary celebrations that year, and it was conducted by Milhaud himself\n    on 17 October 1940. Commentators have said that this is one of his finest\n    works, with Stokowski's performance having been called \"highly idiomatic\"\n    and the composer himself declaring it \"very powerful.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Our final selection, the 2nd Suite from Ravel's \"Daphnis and Chloe,\" was\n    also the concluding work on that particular day's programme. Listening to\n    it, one wonders if the great maestro had glanced at the studio clock and\n    wanted to make sure the broadcast didn't over-run. At any rate, in the\n    final dance he pushed the NBC players to their utmost limits and duly\n    brought the house down. One thing can safely be said of Stokowski: he was\n    seldom if ever dull!\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003eWhen the 88-year-old Leopold Stokowski conducted a work by Charles Ives with the London Symphony Orchestra in 1970, one critic referred to the maestro as \"the man who has done more for contemporary music in America than all the rest of his generation put together.\" Indeed, \u003ci\u003eThe New York Times\u003c\/i\u003e once estimated that Stokowski had given around 2,000 \"first performances\" (World Premieres, US Premieres, first broadcasts and so on) and we begin with one of them.\u003cbr\u003e\u003cbr\u003eAlan Hovhaness, American-born of Armenian-Scottish descent, was a highly prolific composer who found in Stokowski his foremost presenter of several World Premieres. These included \"Mysterious Mountain,\" especially written - in the composer's own words - for \"a very great and wonderful man.\" For his part, in his 1957 appearance on the BBC Radio show \"Desert Island Discs\" (you'll find the programme on YouTube!) Stokowski singled Hovhaness out as a considerable talent among the younger composers of the time.\u003cbr\u003e\u003cbr\u003eThe \"Exile\" Symphony was premiered in England in 1939 by the BBC Symphony under Leslie Heward and was introduced to America by Stokowski in 1942. The music evokes the terrible sufferings of the Armenian people during the First World War. Years later, Hovhaness was to replace the middle movement, here entitled \"Conflict,\" with a completely new one called \"Grazioso.\" Stokowski's NBC premiere broadcast remains the only complete extant recording of the \"Exile\" Symphony as first conceived.\u003cbr\u003e\u003cbr\u003eAlthough Stokowski was renowned for conducting numerous premieres, he was equally keen to perform new works introduced by others. He was already a staunch advocate of Stravinsky's music, having presented to America several of the composer's major works. These included \"The Rite of Spring\" in its concert and ballet presentations, as well as its first US recording. He also featured it, somewhat abridged and rearranged, in Walt Disney's \"Fantasia,\" thus ensuring its continuing popularity in concerts and on records.\u003cbr\u003e\u003cbr\u003eThe Symphony in C was premiered in Chicago in 1940 by Stravinsky himself. He was to conduct it several times with other American orchestras before it was taken up by Stokowski, who said of the work: \"It is remarkable for its simplicity and flowing cadence and has a certain 18th century flavour, with a wonderful expression of rhythm and counter-rhythm.\" The NBC radio premiere heard here was praised by Virgil Thomson for its \"detailed clarity and overall comprehension.\"\u003cbr\u003e\u003cbr\u003eLike so many other German musicians in the 1930s, Paul Hindemith fell foul of the Nazis and in 1940 had to settle in America. The Symphony in E flat was the first of his major works to be composed in the USA and was introduced by Mitropoulos and the Minneapolis Symphony in November the following year. The work consists of a vigorous first movement, a dirge-like second, a 'danse macabre' scherzo and a martial finale. Stokowski was sufficiently taken with the work to play it again with the Hollywood Bowl Symphony and the New York Philharmonic, doubtless revelling in its triumphant closing pages.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eTechnical note\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDespite their age, these wonderfully preserved acetate disc recordings reveal an astonishing level of detail and sound quality and a full frequency response. It's easy to forget, when hearing them, just how old they are - at the time of writing nearly 80 years has passed since these performances took place. Not all of their imperfections have been eradicable, but these minor surface noises pale into insignificance against the majesty of Stokowski's 1942\/3 NBC orchestra and the sound quality captured here. Indeed these are some of the very finest quality recordings I've ever heard from this era. I would have liked to preserve the announcements from each of the performances, but to do so would have taken more space than is available on a single disc. In this instance therefore they have been cut and instead a short amount of applause left at the end of each work.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    Although Stokowski never recorded a complete Beethoven cycle, several of\n    the nine symphonies remained firmly in his repertoire during his long\n    conducting career. He played a Beethoven work for the first time in 1909\n    when, at the age of 27, he conducted the Cincinnati Orchestra in the 5th\n    Symphony. Sixty-five years later, aged 91, he performed Beethoven's music\n    for the last time when he gave an LSO concert that included the 8th\n    Symphony and the \"Eroica,\" both hailed by one critic for their \"striking\n    and imaginative performances.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski was among the first conductors to record many works that were -\n    and are - part of the regular concert repertoire. His first Beethoven disc,\n    recorded acoustically in 1920, was of the 8th Symphony's \"Allegretto\n    Scherzando\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\"\u003ePASC192\u003c\/a\u003e). With the advent of electrical recording, he and his\n    Philadelphians made the first American 78s of the 7th Symphony, an\n    exhilarating performance described by Mark Obert-Thorn as \"a reading of\n    immense vitality and rhythmic propulsion\" (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc483\"\u003ePASC483\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    Next came the Beethoven 5th in another American \"first\" - a specially\n    recorded performance designed to introduce RCA's \"Program Transcription\"\n    LPs in 1931. They couldn't have been worse timed and as a result of the\n    great depression soon died a death. Then in 1934, Stokowski made the first\n    American recording of the \"Choral\" Symphony. Seven years later, in 1941, he\n    was given a three-season contract to take over the NBC Symphony during\n    Toscanini's temporary withdrawal and it was Beethoven's 9th Symphony which\n    featured in his second NBC concert (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc541\"\u003ePASC541\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    The NBC Symphony's players were of course used to performing Beethoven\n    under Toscanini's direction and after his year's absence, the great Italian\n    maestro returned as Stokowski's co-conductor. This arrangement prompted\n    critic David Hall to comment that \"the most spectacular combination of\n    performances and programming were the two Toscanini-Stokowski seasons.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    \"Spectacular\" is a word that can readily be applied to the performances\n    heard here, particularly the Beethoven 5th. The \"Pastoral\" Symphony in this\n    1942 broadcast is now the earliest complete Stokowski performance on\n    record, the \"Fantasia\" soundtrack version having been much abridged. As to\n    the 7th Symphony, Stokowski felt that something stated strongly just once\n    could be weakened by repetition, so he followed the precedents set in other\n    Beethoven symphonies by omitting the second appearance of the Trio in the\n    third movement.\n\u003c\/p\u003e\n\u003cp\u003e\n    Finally to Wagner, whose \"Prelude and Liebestod\" followed the Beethoven 7th in the 1942 broadcast heard here. A one-time church organist, Stokowski clearly enjoyed pulling out all the stops! 'Parsifal' was the only Wagner opera that he conducted complete, with a Philadelphia concert presentation in 1933. He also began making \"Symphonic Syntheses\" of Wagner's music dramas and the \"Good Friday Spell\" is followed by one of these arrangements. It is music from Act 3 evoking the world of the Knights of the Holy Grail and in this 'live' broadcast, Stokowski brings in a chorus from the opera's final pages. It is a wonderful effect not realised in his three orchestral recordings of the 'Parsifal' \"Synthesis\" and thus makes this performance unique in his immense discography.\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    \"I'm very fond of Russian music\" Stokowski would often say in interviews\n    and, as with so many contemporary composers during his long career, he was\n    a foremost champion of the Russians, frequently performing works by\n    Rachmaninoff, Shostakovich, Prokofiev, Khachaturian, Scriabin and many\nothers. He was also an advocate of Stravinsky's music, with\u003cem\u003eThe Rite of Spring\u003c\/em\u003e, \u003cem\u003eLes Noces\u003c\/em\u003e, \u003cem\u003eOedipus Rex\u003c\/em\u003e,\u003cem\u003eThe Song of the Nightingale\u003c\/em\u003e and the    \u003cem\u003eSymphonies of Wind Instruments\u003c\/em\u003e all receiving their US premieres\n    under his direction.\n\u003c\/p\u003e\n\u003cp\u003e\nOn Philadelphia Orchestra 78s too, he made the first US recordings of    \u003cem\u003eThe Rite of Spring\u003c\/em\u003e and \u003cem\u003ePetrushka\u003c\/em\u003e, from which he devised\nthe colourful Suite heard here. However, it was \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eFirebird\u003c\/em\u003e Suite which appealed to Stokowski the most. He recorded\n    this work no fewer than eight times, starting with an acoustic set in 1924\n    (PASC192, also featuring \u003cem\u003eFireworks\u003c\/em\u003e). Incidentally, he occasionally\n    added the effective clang of a tubular bell at the start of the \"Infernal\n    Dance,\" as in the brilliantly played NBC performance on this CD.\n\u003c\/p\u003e\n\u003cp\u003e\n    Tchaikovky's 4th Symphony also featured in Stokowski's list of numerous\n    disc premieres, its first American recording having been made with the\n    Philadelphia Orchestra in 1928. He was to re-record it for Victor two days\n    after the broadcast heard here in a 78rpm set that has been described as\n    \"fiery and impetuous\" and even \"wilful,\" words that are also applicable to\n    the preceding live performance.\n\u003c\/p\u003e\n\u003cp\u003e\nRimsky-Korsakov was also much in Stokowski's repertoire, with    \u003cem\u003eScheherazade\u003c\/em\u003e excerpted on acoustics (PASC476) and recorded five\ntimes thereafter. He made the first American 78s of the    \u003cem\u003eRussian Easter Festival Overture\u003c\/em\u003e in 1929 and this he also\n    re-recorded with the NBC Symphony for Victor shortly after its 1942\n    broadcast. However, for this performance he made a colourful emendation.\n    About half-way through, Rimsky-Korsakov directs a solo trombone to depict\n    the chanting of a Russian Orthodox priest during an Easter service. At this\n    point, Stokowski decided on what might be called the \"authentic\" touch and\n    engaged Nicola Moscona to intone the Old Slavonic text instead. On the\n    other hand, in the case of the dazzling \u003cem\u003eSpanish Caprice\u003c\/em\u003e, Stokowski\n    rather curiously didn't get round to recording this work commercially until\n    1973, a few months before his 91st birthday!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, it is Tchaikovsky who occupies a major portion of Stokowski's\n    discography and we conclude with the 5th Symphony. He recorded the second\n    movement acoustically in 1923 (PASC441) and one of his commercial LPs -\n    taped in 1953 with his own special team of top-flight New York musicians -\n    can be found on PASC188. The same adjectives that have described\n    Stokowski's reading of the 4th Symphony can also be applied to the 5th.\n    Small cuts in both will be noted, though abridging Tchaikovsky in those\n    days was quite common - witness Toscanini's deletion of over 100 bars from\n    the \u003cem\u003eManfred\u003c\/em\u003e Symphony's finale! Nevertheless, in Stokowski's hands,\n    the NBC Symphony gives these Tchaikovsky symphonies virtuosic performances\n    as visceral, intense and as passionate as they come.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cdiv align=\"center\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducts Brahms at the NBC\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\"Joy!\" exclaimed W. R. Anderson in the \u003ci\u003eGramophone \u003c\/i\u003eof July 1930, \"Brahms's Third at long last. Our prayers have prevailed.\" He was reacting with delight to the first complete 78rpm set of the work in which Leopold Stokowski conducted the Philadelphia Orchestra. The review concluded enthusiastically: \"This is a grand orchestra and a constructive conductor; and in this music of fine nerve and developed muscle we find fullness of joy.\"\u003cbr\u003e\u003cbr\u003eStokowski began his 60-year recording career in 1917 with acoustic 78s of Brahms's Hungarian Dances\u003ci\u003e \u003c\/i\u003eNos. 5 and 6 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC192\" target=\"_blank\"\u003ePASC192\u003c\/a\u003e). In 1921 he made the first recording of any of the movements in Brahms's symphonies, the 3rd Symphony's \u003ci\u003eAllegretto \u003c\/i\u003e(\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC476\" target=\"_blank\"\u003ePASC476\u003c\/a\u003e). With the advent of electrical recording, the Philadelphians under his direction became the first orchestra to record a complete cycle of all four symphonies (1927-1933). (No. 1: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC500\" target=\"_blank\"\u003ePASC500\u003c\/a\u003e; No.3: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC540\" target=\"_blank\"\u003ePASC540\u003c\/a\u003e; Nos 2 \u0026amp; 4: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC562\" target=\"_blank\"\u003ePASC562\u003c\/a\u003e).\u003cbr\u003e\u003cbr\u003eStokowski once confessed that he \"always wanted to be first\" and Brahms featured in quite a few of his first engagements over the years. He played a Brahms symphony for the first time - the 3rd - in his debut season with the Cincinnati Orchestra in 1909. Three years later, he conducted the London Symphony in another debut, this time featuring the 1st Symphony. Also in 1912 came another new appointment, as the Philadelphia Orchestra's chief conductor, and the Brahms 1st was played in his debut concert with them.\u003cbr\u003e\u003cbr\u003eFast forward to 1941 and Stokowski's three-season appointment as the NBC Symphony's chief conductor following Toscanini's temporary withdrawal. In his first NBC concert, it was Brahms who yet again featured in a Stokowski debut, with the 3rd Symphony presented here. In his introduction, he spoke of the work's contrasting moods: \"Fiery agitation, melancholy, tranquillity, childlike simplicity.\" Following a genuine \u003ci\u003eAllegro con brio\u003c\/i\u003e at the start, these moods were then illustrated by some extreme tempo changes. Various musicologists consider this work \"difficult to bring off\" but for his part, Stokowski's somewhat rhapsodic approach, as evidenced in his two commercial recordings and also this broadcast, was notably consistent.\u003cbr\u003e\u003cbr\u003eIn the case of the Brahms 4th Symphony, Stokowski's performances were invariably speedy, with the codas to the \u003ci\u003eAllegro \u003c\/i\u003emovements having the \u003ci\u003estringendo \u003c\/i\u003epedal forcefully applied each time. As it happens, it was the Brahms 4th which Stokowski conducted in his final UK public concert in 1974. \"A performance to set one cheering\" wrote Edward Greenfield in \u003ci\u003eThe Guardian\u003c\/i\u003e, \"as indeed the audience did after the first movement.\"\u003cbr\u003e\u003cbr\u003eEven at the age of 95, Stokowski hadn't quite finished with Brahms. In 1977 he recorded the 2nd Symphony with the National Philharmonic Orchestra. Mortimer Frank in \u003ci\u003eFanfare \u003c\/i\u003ehailed it as \"a great Brahms Second,\" while in Classic Record Collector, Robin Golding remarked: \"For me, Stokowski has suddenly become a conductor of world class.\" Some of us knew he was that the first time we heard him!\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eEdward Johnson\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    When Stokowski died at the age of 95 in 1977, the vast 60-years discography\n    of his commercial recordings revealed three composers heading the list:\n    Bach, mostly in his own orchestral transcriptions; Tchaikovsky, whom he\n    once declared was his favourite Russian composer; and Wagner, whose music\n    Stokowski also frequently performed both in the concert hall and recording\n    studio.\n\u003c\/p\u003e\n\u003cp\u003e\n    Born in 1882, his first experience as a conductor came when he sang in the\n    choir at St. Marylebone's Parish Church in London. One evening the regular\n    choirmaster was unable to take a rehearsal, so the 12-year-old Leopold\n    stood in for him. He was later to confess that he had a sleepless night, as\n    he suddenly realised that conducting was something he wanted to do above\n    all else. His musical precocity led him the following year to become the\n    youngest student at that time to enter the Royal College of Music. His work\n    as a youthful organist and choirmaster in several London churches led in\n    1905 to a similar appointment at St. Bartholomew's in New York. Here his\n    brilliantly played organ recitals drew large and fashionable crowds,\n    entranced not only by his playing of Bach but also by his own organ\n    arrangements of orchestral music, including many works by Wagner.\n\u003c\/p\u003e\n\u003cp\u003e\n    His musical direction of church services also stood him in good stead for\n    the time when he could fulfil his ambition to be an orchestral conductor.\n    That day arrived in 1909 when he made his official conducting debut with\n    the Colonne Orchestra. The Cincinnati Orchestra was looking for a new\n    conductor and two of their representatives were in the Paris audience.\n    Stokowski received an ovation and the representatives' description of him\n    as \"a magnetic conductor\" ensured his immediate Cincinnati appointment.\n\u003c\/p\u003e\n\u003cp\u003e\n    His first concert with them the following November included works by\nMozart, Weber and Beethoven. The programme ended with music by Wagner - the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e and the \u003cem\u003eRide of the Valkyries - \u003c\/em\u003eand with\n    these two works Stokowski conducted Wagner's orchestral music for the very\n    first time. The \u003cem\u003eSiegfried Idyll,\u003c\/em\u003e an eloquent birthday present from\n    Wagner to his wife Cosima, was originally scored for a small ensemble and\n    later expanded for larger forces. Although Stokowski recorded numerous\n    works by Wagner commercially, the \u003cem\u003eSiegfried Idyll\u003c\/em\u003e was not among\n    them, so this NBC broadcast is something of a rarity.\n\u003c\/p\u003e\n\u003cp\u003e\n    Like Brahms, the music of Wagner was to pop up in a number of Stokowski\n    debuts. For example, his first concert with the London Symphony Orchestra\n    in 1912 began with the \u003cem\u003eMastersingers\u003c\/em\u003e Overture. Later that year,\n    his appointment as the Philadelphia Orchestra's new chief conductor found\n    the \u003cem\u003eTannhäuser\u003c\/em\u003e Overture concluding his opening concert with them.\n    In 1917, when he and his Philadelphians began making 78s, Wagner was\n    naturally included. (All the Stokowski \/ Wagner acoustics have been issued\n    on Pristine Audio: \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc192\" target=\"_blank\"\u003ePASC 192\u003c\/a\u003e, \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc441\" target=\"_blank\"\u003ePASC 441\u003c\/a\u003e and \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc471\" target=\"_blank\"\u003ePASC 471\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    As it happens, the concert listings for Stokowski's Philadelphia seasons\n    reveal that when it came to single-composer programmes, Wagner topped the\nbill. The first of these, in December 1912, included the    \u003cem\u003eSiegfried Idyll\u003c\/em\u003e again. However, Stokowski never conducted a\n    complete Wagner music-drama in the opera house. The nearest he came was\n    when he gave a concert performance of \u003cem\u003eParsifal\u003c\/em\u003e, its three acts\n    given over successive evenings during Easter Week in 1933. It was also\n    around this time that he began creating \"Symphonic Syntheses\" of Wagner's\n    operas and his own arrangement of music from Act 3 of \u003cem\u003eParsifal\u003c\/em\u003e was\n    duly recorded by his Philadelphians in 1934 and repeated for his NBC\n    audience in 1942 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc591\" target=\"_blank\"\u003ePASC 591\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eTristan and Isolde\u003c\/em\u003e\n    was also given the \"Symphonic Synthesis\" treatment, though it exists in\n    more than one version. His first recording, made in 1932, began with the\n    Act 1 Prelude and lasted 35 minutes. He was to record this \"long version\"\n    again for a 1950 LP with his \u003cem\u003ead hoc\u003c\/em\u003e 'Symphony Orchestra' (PASC\n    167). Later, he utilised music just from Acts 2 and 3, originally entitled\n\"Liebesnacht\" and \"Liebestod,\" and this became the \"Love Music\" from    \u003cem\u003eTristan and Isolde\u003c\/em\u003e. Stokowski wrote: \"All through the three acts\n    of \u003cem\u003eTristan\u003c\/em\u003e is sounding the despair and ecstasy of love, but its\n    supreme expression is in the garden scene of the second act and in the last\n    scene of the third act ... This love music continues its overpowering\n    eloquence when words cannot continue. It is the supreme and ultimate of the\n    poetry of love.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    The Prelude to \u003cem\u003eLohengrin\u003c\/em\u003e was one of the many orchestral works that\n    Stokowski transcribed for organ during his St. Bartholomew's period. He\n    conducted it for the first time in Cincinnati during his opening season\n    there and recorded it acoustically in 1924 with the Philadelphia Orchestra.\nHe also recorded an acoustic 78 of a hugely abridged version of    \u003cem\u003eWotan's Farewell and Magic Fire Music\u003c\/em\u003e, actually its closing pages,\n    though his later recordings with the New York Philharmonic and Houston\n    Symphony were both complete. The musical evocation of Wotan, ruler of the\n    gods, putting his disobedient daughter Brünnhilde to sleep on a rock\n    surrounded by flickering flames is well realised in Stokowski's\n    grandiloquent arrangement and provided a splendid addition to that\n    evening's NBC Symphony concert.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    It was in 1951 that Stokowski became an international maestro, his\n    conducting career up to then having been spent almost exclusively in\n    America. In fact, he'd been hard at work during the post-war period as one\n    of the New York Philharmonic's guest conductors and would dearly have liked\n    to become its principal music director. However, that position went to\n    Dmitri Mitropoulos instead. This left Stokowski free to make annual\n    appearances all over the world, conducting many of the great orchestras in\n    Europe and elsewhere.\n\u003c\/p\u003e\n\u003cp\u003e\n    His concerts in England were notable highlights of each season and were\n    invariably sold out. One such occasion occured in June 1970, when he\n    conducted the London Symphony Orchestra in an adventurous programme which\n    included the first performance outside America of Charles Ives's 2nd\n    Orchestral Set. Music critic Peter Heyworth wrote: \"That astonishing old\n    wizard, now in his eighty-ninth year, showed that those supremely eloquent\n    hands have lost none of their cunning ... And how characteristic it is that\n    a man who has done more for contemporary music in America than all the rest\n    of his generation put together should choose to advocate this problematic\n    score.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Ives was among the countless American composers whom Stokowski championed,\n    his 1965 performance of the Ives 4th Symphony being just one of the\n    innumerable World Premieres he presented over his six-decades conducting\n    career. In particular, his three-season appointment as the NBC Symphony's\n    chief conductor from 1941-44 found him performing the works of nearly two\n    dozen contemporary American composers. (Several have already been issued on\n    Pristine CDs - Copland, Lavalle, Hanson and Antheil on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc536\" target=\"_blank\"\u003ePASC 536\u003c\/a\u003e, and\n    Hovhaness on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc587\" target=\"_blank\"\u003ePASC 587\u003c\/a\u003e - all 'first performances' of one sort or another.)\n\u003c\/p\u003e\n\u003cp\u003e\nThe present selection of Americana starts with \u003cem\u003eA\u003c\/em\u003e \u003cem\u003eSymphonic Patrol\u003c\/em\u003e by \u003cb\u003eLamar Stringfield\u003c\/b\u003e (1897-1959). It dates from\n    1931 and was described by the composer as a memorable event in a little\n    Southern village with the sound of beating drums drawing near. \"People -\n    black and white alike - turn their heads and listen to the approaching\n    procession. It is their day. The strutting drum and bugle corps passes in\n    review, sounding a barbaric rhythm of proud hearts.\" It has also been\n    suggested that the piece portrayed the marching of slaves towards freedom,\n    the slow middle section evoking their singing of a gospel-like hymn.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eMorton Gould\u003c\/b\u003e (1913-1996) was another composer much championed by Stokowski.\n    His \u003cem\u003eChorale and Fugue in Jazz\u003c\/em\u003e had been given its World Premiere in\n    Philadelphia in 1936, while the \u003cem\u003eDance Variations\u003c\/em\u003e of 1953 were\n    given their first recording that same year by Stokowski and the San\n    Francisco Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc274\" target=\"_blank\"\u003ePASC 274\u003c\/a\u003e). The \u003cem\u003eSpirituals\u003c\/em\u003e heard here were\n    first performed under the composer's baton in 1941. He wrote: \"The songs\n    range from strictly spiritual ones that are escapist in feeling, to those\n    having tremendous depth and impact. My idea was to get five widely\n    contrasted moods. 'Proclamation' has a dramatic religious intensity.\n    'Sermon' is a sort of lyrical folk tale. 'A Little Bit of Sin' is humorous\n    and good-natured. 'Protest\u003cem\u003e'\u003c\/em\u003e is grim and crying out, while\n    'Jubilee' is a festive dance-like piece.\" When Stokowski reached the age of\n    90 in 1972, numerous musicians from all over the world sent him birthday\n    greetings. Morton Gould wrote: \"We are in your debt for having explored,\n    stimulated, enhanced and guided the sound of our music with your genius.\"\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003ePaul Creston\u003c\/b\u003e (1906-1985) also found in Stokowski a considerable advocate of\n    his music, notably when the maestro included his \u003cem\u003eToccata \u003c\/em\u003ein a\n    special concert marking his 50 years as a conductor in 1958. The 'Scherzo'\n    from Creston's 1st Symphony of 1940 was recorded the following year by the\n    All-American Youth Orchestra and it was often included in Stokowski's\n    concerts as a separate number. The \u003cem\u003eChant of 1942\u003c\/em\u003e was the\n    composer's \"personal reaction to the tragic events of that year - an\n    expression of sadness and indignation but also hope,\" this last feeling\n    being portrayed at the end by a triumphant marching section. Stokowski's\n    NBC performance was its radio premiere.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eWilliam Schuman\u003c\/b\u003e (1910-1992) similarly had a wide range of emotions in mind\n    when he composed his \u003cem\u003ePrayer, 1943. \u003c\/em\u003e\"This work is not programme\n    music,\" he wrote, \"there is no story, nor any realistic event being\n    depicted. The title is merely some indication of the kind of feeling that\n    went into the composition.\" Solemnity characterises the work for the most\n    part, though it is not without energetic moments that introduce a confident\n    mood. However, it ends not in triumph but in a chant-like prayerful\n    close.This was in fact the first time Stokowski conducted any of Schuman's\nmusic and he was to play the work again, under its new title    \u003cem\u003ePrayer in Time of War,\u003c\/em\u003e with the New Orleans Philharmonic-Symphony\n    in 1955.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eRobert Kelly\u003c\/b\u003e (1916-2007) began his studies at the Juilliard School of Music\n    in 1935 and was accepted as a composition student by the Curtis Institute\n    of Music in Philadelphia three years later. His \u003cem\u003eAdirondack Suite\u003c\/em\u003e\n    dates from 1941 and its atmospheric 'Sunset Reflections' movement was\n    included by Stokowski in a programme that ended with the Brahms 4th\n    Symphony (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc602\" target=\"_blank\"\u003ePASC 602\u003c\/a\u003e). Kelly's little piece was receiving its first\n    performance and was described by Stokowski as \"impressions of sunset in the\n    mountains, lyrical and poetic, with a quick vibrating rhythm like the\n    pulsations of light.\"\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eVirgil Thomson\u003c\/b\u003e (1896-1989) was noted both as a music critic and a composer\n    of symphonies, operas, ballets and film scores. In 1936 he was commissioned\n    to write the music for \u003cem\u003eThe Plow that Broke the Plains\u003c\/em\u003e, a short\n    documentary which revealed the disastrous effect that uncontrolled farming\n    was having on the American and Canadian prairies at the time. Thomson's\n    score for the soundtrack was the basis of a concert suite that the composer\n    himself premiered in Philadelphia in 1943. It consists of six short\n    movements, their titles reflecting what was seen on the screen. Stokowski's\n    NBC broadcast the following year was succeeded in turn by the work's first\n    recording, a set of RCA Victor 78s on which he conducted the Hollywood Bowl\n    Symphony, one of several orchestras that Stokowski himself created. In\n    fact, he was sufficiently taken with the work to re-record it with the\n    Symphony of the Air for Vanguard in 1961. With its mixture of folk music,\n    popular melodies and religious themes, it is probably the most 'American'\n    work in this compendium.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eCarlton Cooley\u003c\/b\u003e (1898-1981) was one of America's foremost viola players. He\n    joined the Philadelphia Orchestra at the age of 21, became Principal\n    Violist of the Cleveland Orchestra in 1922 and took up a similar position\n    with the NBC Symphony in 1937. He also authored a number of compositions,\n    the \u003cem\u003eEastbourne Sketches\u003c\/em\u003e being three musical reminiscences of \"a\n    holiday spent at that delightful resort on the English Channel during the\n    summer of 1924.\" The work was scored for strings and the opening\n    'Promenade' heard here, in which the composer himself led the viola\n    section, evokes \"the care-free spirit along the boardwalk, the pranks of\n    the bathers, a small band and the town crier.\"\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eRoy Harris\u003c\/b\u003e (1898-1979) composed an enormous number of works in every\n    category imaginable, making him one of the most prolific of American\n    composers. However, it was his 3rd Symphony, premiered by Koussevitzky in\n    1939, which made his name and for which he is probably still best known.\n    His \u003cem\u003eFolk Rhythms of Today\u003c\/em\u003e was another of those war-time works that\n    Stokowski championed during his NBC tenure. It had its origins in a ballet\n    called \u003cem\u003eWhat So Proudly We Hail \u003c\/em\u003eand its rambunctious nature\n    provides a suitably bright and breezy finale to this colourful all-American\n    programme.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003e\n        With acknowledgements to Adrien Strugeon for his help in researching\n        the above composers.\n    \u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n    In his 1947 collection of essays entitled \u003cem\u003eMi Contra Fa\u003c\/em\u003e, the\n    self-styled 'Machiavellian Musician' Kaikhosru Shapurji Sorabji had this to\n    say about 'The Art of the Arranger': \"The great transcriber expounds,\n    enlarges and amplifies matter and thought inherent in the original text and\n    makes the original a \u003cem\u003epoint de départ\u003c\/em\u003e for a great new creation.\"\n    Sorabji went on to discuss the great piano transcriptions of such masters\n    as Godowsky, Liszt and Busoni but his words could equally apply to many of\n    the orchestral arrangements which have stood the test of time, headed\nnaturally enough by Ravel's orchestration of Mussorgsky's    \u003cem\u003ePictures at an\u003c\/em\u003e \u003cem\u003eExhibition \u003c\/em\u003efor solo piano but also\n    including many of Leopold Stokowski's famous \"Symphonic Transcriptions.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    In considering the Bach arrangements heard here, we should not forget that\n    JSB was himself the foremost borrower of many of his contemporaries' works.\n    Indeed, his reworkings of the music of Buxtehude, Telemann, Corelli,\n    Couperin, Albinoni, Marcello and others were often very free adaptations,\n    rather than straightforward arrangements. A classic example is Bach's\n    Concerto for Four Harpsichords and Orchestra in A minor, a technical tour\n    de force based on Vivaldi's Concerto for Four Violins in B minor.\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski was of course familiar with Bach's keyboard works from his early\n    days as a church organist, both in London and New York. His recitals were\n    said to have dazzled listeners, not only with his playing of Bach but also\n    assorted orchestral pieces arranged for the organ. Indeed, on one occasion,\nat the end of a St. Bartholomew's recital, he let rip with    \u003cem\u003eThe Ride of\u003c\/em\u003e \u003cem\u003ethe Valkyries\u003c\/em\u003e, only to be sternly admonished\n    by a local critic for playing music of such \"unchurchliness\"!\n\u003c\/p\u003e\n\u003cp\u003e\n    However, Stokowski soon moved with alacrity from the organ console to the\n    conductor's podium, learning the basic repertoire during his three years\n    with the Cincinnati Orchestra. A few of Bach's instrumental works found\n    their way into his concerts there but with his move to Philadelphia in\n    1912, his repertoire became much more extensive and widespread.\n\u003c\/p\u003e\n\u003cp\u003e\n    With much nostalgia, he looked back to his church organist days,\n    recollected the Bach works he played in his youth and decided to transcribe\n    them for his new Philadelphia audience. The most popular orchestration of\nany of Bach's organ works is undoubtedly Stokowski's transcription of the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e. This received its premiere on 8\n    February 1926, its first recording being made the following year. That\n78rpm shellac disc was a phenomenal best seller and was hailed in the    \u003cem\u003eGramophone\u003c\/em\u003e as \"one of the most exciting achievements of the\n    American orchestra ... the only word is 'magnificent.' Every organist has\n    his ideal conception of how he would like this arranged for orchestra but I\n    do not think any will withhold very high praise indeed to the transcriber\n    and the players.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    Stokowski's transcription was to find even larger world-wide fame when it\n    was featured in Walt Disney's \u003cem\u003eFantasia\u003c\/em\u003e. As a result, many\n    conductors have included it their concert repertoire and it has been\n    commercially recorded by Wolfgang Sawallisch and Yannick Nézet-Séguin,\n    former and present conductors of the Philadelphia Orchestra, as well as\n    José Serebrier and Matthias Bamert, Stokowski's associates during his time\n    with the American Symphony Orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    Less well known perhaps is the \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e from Book 1 of\n    the Well-Tempered Clavier. This arrangement was given its first performance\n    as well as its first recording in 1927. It was also the opening item on\n    Stokowski's debut concert with the NBC Symphony in 1941 and is one of his\n    most solemn and reflective Bach transcriptions.\n\u003c\/p\u003e\n\u003cp\u003e\n    As is well-known, Bach himself often re-used his own music in different\n    works and we have an example in the \u003cem\u003eArioso\u003c\/em\u003e heard next. It is the\n    slow movement from his Keyboard Concerto No. 5 in F minor as well as the\nopening \"Sinfonia\" to the Cantata No. 156    \u003cem\u003eIch steh mit einem Fuß im Grabe. \u003c\/em\u003eIn the \"Sinfonia,\" Bach gives the\n    melody to the solo oboe throughout but in Stokowski's version, it is played\n    by the massed strings.\n\u003c\/p\u003e\n\u003cp\u003e\n    Bach used the Lutheran chorale \u003cem\u003eEin Feste Burg \u003c\/em\u003eon a number of\n    occasions and Stokowski made three versions of it himself. The first one -\n    a \"short\" version - was recorded on a 10\" Philadelphia Orchestra disc in\n1933. It was this arrangement that he used to mark his movie debut in    \u003cem\u003eThe Big Broadcast of 1937\u003c\/em\u003e. He then expanded it to a longer version\n    and this had its first recording in 1939. Two years later, in a New York\n    Philharmonic concert, he introduced a third version which he played again\n    with the NBC Symphony in 1942. It's a real curiosity, in which the Lutheran\n    chorale is interspersed with an assortment of woodwind cadenzas. Evidently\n    Stokowski decided that the second \"long\" version was the best of the three\n    and it was that which he re-recorded on two further occasions. The NBC\n    performance of the third version is presented here in its only extant\n    recording.\n\u003c\/p\u003e\n\u003cp\u003e\n    When Stokowski was invited onto the BBC's long-running radio programme\n    \"Desert Island Discs\" in 1957, the first of the eight records he chose to\n    be marooned with was a Bach Chorale Prelude. He transcribed several of\n    these and of \u003cem\u003eWir glauben all' an einen Gott\u003c\/em\u003e, he wrote: \"In giving\n    this music orchestral expression, I have tried to imagine what Bach would\n    do if he had the vast resources of the modern orchestra as his instrument,\n    instead of the more limited instrumental means of his time.\" Stokowski\n    added that the music is an organ fugue and that the pedal theme \"has the\n    sound of giant-like strides up and down the octave - from which comes the\n    familiar name of the 'Giant Fugue'.\" This performance began the NBC\n    broadcast of 6 December 1942 and was immediately followed by the next piece\n    without a pause.\n\u003c\/p\u003e\n\u003cp\u003e\nIt is the middle movement of the organ    \u003cem\u003eToccata, Adagio and Fugue in C major\u003c\/em\u003e and features what Stokowski\n    described as \"the balance between the intellectual and emotional sides of\n    Bach's personality. It has the improvisational freedom of so much of Bach's\n    music. Possibly the germ of its themes and the mood of its feeling stem\n    from an occasion when Bach was improvising on the organ.\" Stokowski and his\n    Philadelphians made the first recording of the piece in 1933 but he never\n    re-recorded it commercially, thus making his NBC performance something of a\n    rarity.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eEs is vollbracht \u003c\/em\u003e\n    comes from the second part of the St. John Passion where it is a solo aria\n    for alto. The opening words translate as \"It is accomplished; what comfort\n    for suffering human souls. I can see the end of the night of sorrow.\" With\n    the words \"The hero from Judah ends his victorious fight!\" the music\n    brightens up and a solo trumpet emulates the alto part, the music then\n    reverting to the grave solemnity with which the piece began.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eChrist lag in Todesbanden\u003c\/em\u003e\n    is another of the organ Chorale Preludes which Stokowski transcribed for\n    orchestra. Bach based it on an Easter Hymn by Martin Luther which itself\n    was derived from earlier examples of the melody. Stokowski's arrangement is\n    sombrely scored and was another of the Bach transcriptions which he\n    recorded commercially only once, on a Philadelphia 78 in 1931.\n\u003c\/p\u003e\n\u003cp\u003e\n    To complete the entire selection of Bach arrangements which Stokowski\n    performed, and in some cases introduced, during his three seasons as the\nNBC Symphony's chief conductor, we hear the mighty    \u003cem\u003ePassacaglia and Fugue in C minor. \u003c\/em\u003eBy a remarkable coincidence this\n    was the very last work that he played on his final NBC Symphony programme\nand - rather like a pair of bookends - it mirrored the    \u003cem\u003ePrelude in Eb minor\u003c\/em\u003e with which he opened his first NBC concert\n    three years earlier!\n\u003c\/p\u003e\n\u003cp\u003e\n    This was in fact one of Stokowski's earliest Bach transcriptions and it had\nits premiere on 10 February 1922. As with the    \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e, he recorded it several times over\n    the years, the first occasion with the Philadelphia Orchestra in 1929 and\n    the last with the Czech Philharmonic shortly after his 90th birthday in\n    1972. In his published score he wrote: \"Bach's Passacaglia is in music what\n    a great Gothic cathedral is in architecture - the same vast conception -\n    the same soaring mysticism given eternal form. Whether played on the organ,\n    or by the greatest of all instruments - the orchestra - it is one of the\n    most divinely inspired creations ever conceived.\"\n\u003c\/p\u003e\n\u003cp\u003e\n    To conclude, we turn from arranged Bach to an appropriate non-transcribed\n    finale - the closing chorus from the St Matthew Passion, sung in an English\n    edition: \"Here yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O\n    Saviour blest; rest Thou calmly, Thou calmly, calmly rest.\" This was a work\n    Stokowski conducted several times over the years, starting in 1907 when he\n    was organist and choirmaster at New York's St Bartholomew's Church. His\n    biographer Oliver Daniel was to remark that \"it was surely one of the\n    earliest American performances of the complete work.\" Stokowski also\n    featured it in his very last concerts with the Philadelphia Orchestra in\n    1941, following his resignation from an ensemble he had built into one of\n    the world's finest. This NBC performance of the final chorus is again\n    something of a rarity, insofar as Stokowski's discography is concerned, but\n    it makes a suitable conclusion to a compendium of music by the maestro's\n    declared favourite composer.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eEdward Johnson\n\u003c\/b\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Shostakovich: Symphony No. 7 'Leningrad' (1942) - PASC527\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7 in C, Op. 60 \"Leningrad\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegretto  (28:17)\u003cbr\u003e2. 2nd mvt. - Moderato (poco allegretto)  (10:50)\u003cbr\u003e3. 3rd mvt. - Adagio  (17:51)\u003cbr\u003e4. 4th mvt. - Allegro non troppo  (15:55)\u003cbr\u003e\u003cbr\u003e5. Bonus track: Radio Introductory Commentary  (6:41)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski \u003c\/b\u003eand \u003cb\u003eShostakovich\u003c\/b\u003e, taken in 1958\u003cbr\u003e\u003cbr\u003eLive concert broadcast, 13 December 1942\u003cbr\u003eCarnegie Hall, New York City\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  79:34\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Tchaikovsky (1944) - PASC531\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eSTOKOWSKI conducts Tchaikovsky\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eRomeo and Juliet - Fantasy Overture  (20:34)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eTCHAIKOVSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 6 in B minor, Op. 74 \"Pathétique\"\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Adagio - Allegro non troppo  (19:39)\u003cbr\u003e3. 2nd mvt. - Allegro con grazia  (8:04)\u003cbr\u003e4. 3rd mvt. - Allegro molto vivace  (8:20)\u003cbr\u003e5. 4th mvt. - Adagio lamentoso  (10:52)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  67:29    \u003cbr\u003e\u003cbr\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eStokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTchaikovsky \u003cb\u003eRomeo \u0026amp; Juliet\u003c\/b\u003e\u003cbr\u003eBroadcast of 16 January 1944\u003cbr\u003e\u003cbr\u003eTchaikovsky \u003cb\u003eSymphony No. 6\u003c\/b\u003e\u003cbr\u003eBroadcast of 30 January 1944\u003cbr\u003e\u003cbr\u003eLive broadcast concerts from RCA Studio 8H, Radio City, New York City\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  67:29    \u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Wartime NBC Premières (1942-44) - PASC536\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003eWartime NBC Premières\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC ONE\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eCOPLAND \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eShort Symphony (Symphony No. 2)\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - quarter note = 144  (4:31)\u003cbr\u003e2. 2nd mvt. - half note = 44  (4:51)\u003cbr\u003e3. 3rd mvt. - quarter note = 144  (6:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 9 January 1944 - US Première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eMOHAUPT \u003c\/b\u003eConcerto for Orchestra based on Red Army Songs\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Allegro  (6:39)\u003cbr\u003e5. 2nd mvt. - Largo  (8:30)\u003cbr\u003e6. 3rd mvt. - Vivace  (6:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 19 December 1943 - World première\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eLAVALLE \u003c\/b\u003eSymphonic Rhumba\u003c\/span\u003e  (5:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of  6 December 1942 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHANSON \u003c\/b\u003eSymphony No. 4, 'Requiem', Op. 34\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Kyrie: Andante inquieto  (7:08)\u003cbr\u003e9. 2nd mvt. - Requiescat: Largo  (4:38)\u003cbr\u003e10. 3rd mvt. - Dies irae: Presto  (2:14)\u003cbr\u003e11. 4th mvt. - Lux aeterna: Largo pastorale  (7:57)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 2 January 1944 - Radio première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDISC TWO\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eAMFITHEATROF \u003c\/b\u003eDe profundis clamavi\u003c\/span\u003e  (19:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 20 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eANTHEIL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 4, '1942', W.177\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Moderato - Allegretto  (10:11)\u003cbr\u003e3. 2nd mvt. - Allegro  (8:46)\u003cbr\u003e4. 3rd mvt. - Scherzo: Presto  (4:29)\u003cbr\u003e5. 4th mvt. - Allegro non troppo  (8:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 13 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e6. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Schoenberg Piano Concerto  (0:25)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSCHOENBERG \u003c\/b\u003ePiano Concerto, Op. 42\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Andante  (4:37)\u003cbr\u003e8. 2nd mvt. - Molto allegro  (2:36)\u003cbr\u003e9. 3rd mvt. - Adagio  (6:15)\u003cbr\u003e10. 4th mvt. - Giocoso (Moderato)  (6:11)\u003cbr\u003e\u003cb\u003eEduard Steuermann, \u003c\/b\u003epiano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 February 1944 - World première\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra    \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eAaron Copland\u003c\/b\u003e and \u003cb\u003eLeopold Stokowski\u003c\/b\u003e in 1942\u003cbr\u003e\u003cbr\u003eTotal duration:  \u003cb\u003e2 hr 16:23   \u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Beethoven: Symphony No. 9 'Choral' (1941) - PASC541\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 9 in D minor, Op. 125, 'Choral'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1. 1st mvt. - Allegro ma non troppo, un poco maestoso  (13:51)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e2. 2nd mvt. - Scherzo. Molto vivace - Presto  (10:09)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e3. 3rd mvt. - Adagio molto e cantabile  (15:08)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e4. 4th mvt. - Presto - Allegro assai  (24:37)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e5. RADIO Closing announcements  (2:19)\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cb\u003eAnne Brown. \u003c\/b\u003esoprano  \u003cb\u003e\u003cbr\u003eWinifred Heidt. \u003c\/b\u003econtralto  \u003cb\u003e\u003cbr\u003eWilliam Horne. \u003c\/b\u003etenor  \u003cb\u003e\u003cbr\u003eLawrence Whisonant. \u003c\/b\u003ebass\n\u003cp\u003e\u003cb\u003eThe Westminster Choir\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eNBC Symphony Orchestra   \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCosmopolitan Opera House, New York City\u003cbr\u003eMovements 1-3 not broadcast\u003cbr\u003eLive broadcast recording, 11 November 1941\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTotal duration:  66:04\u003cb\u003e  \u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts British music at the NBC (1943\/44) - PASC546\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e1 RADIO Introduction  (0:19)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eHOLST  \u003c\/b\u003eThe Planets\u003c\/span\u003e  Op. 32\u003cbr\u003e2. 1. Mars, the Bringer of War  (6:54)\u003cbr\u003e3. 2. Venus, the Bringer of Peace  (8:50)\u003cbr\u003e4. 3. Mercury, the Winged Messenger  (3:40)\u003cbr\u003e5. 4. Jupiter, the Bringer of Jollity  (7:06)\u003cbr\u003e6. 5. Saturn, the Bringer of Old Age  (9:05)\u003cbr\u003e7. 6. Uranus, the Magician  (5:48)\u003cbr\u003e8. 7. Neptune, the Mystic  (10:40)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e9 \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBUTTERWORTH  \u003c\/b\u003eA Shropshire Lad\u003c\/span\u003e  (9:33)\u003c\/p\u003e\n\u003cp\u003e10. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eVAUGHAN WILLIAMS\u003c\/b\u003e  Fantasia on Christmas Carols\u003c\/span\u003e (orchestral version)  (9:33)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Stokowski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eHOLST The Planets\u003c\/b\u003e\u003cbr\u003eBroadcast 14 February 1943\u003cbr\u003e\u003cb\u003eBUTTERWORTH A Shropshire Lad\u003c\/b\u003e\u003cbr\u003eBroadcast 13 February 1944\u003cbr\u003e\u003cb\u003eVAUGHAN WILLIAMS Carols Fantasia\u003c\/b\u003e\u003cbr\u003eBroadcast 14 December 1943\u003cbr\u003e\u003cbr\u003eLive performances broadcast from Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  71:28\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel (1943\/44) - PASC583\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts French Music: Debussy, Milhaud, Ravel\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. RADIO Introduction to The Engulfed Cathedral  (0:24)\u003cbr\u003e2.\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(arr. Stokowski) La cathédrale engloutie\u003c\/span\u003e  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 13 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Prelude to the Afternoon of a Faun  (0:30)\u003cbr\u003e4. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ePrélude à l'après-midi d'un faune\u003c\/span\u003e  (11:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 9 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to The Martyrdom of Saint Sebastian  (0:30)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eLe martyre de saint Sébastien\u003c\/span\u003e\u003cbr\u003e6. I. La Cour des lys  (4:39)\u003cbr\u003e7. II. Danse extatique et Final du 1er Acte  (7:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. RADIO Introduction to Milhaud Symphony No. 1  (0:13)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMILHAUD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 1, Op. 210\u003c\/span\u003e\u003cbr\u003e9. 1st mvt. - Pastoral. Modérément animé  (5:55)\u003cbr\u003e10. 2nd mvt. - Très vif  (3:40)\u003cbr\u003e11. 3rd mvt. - Très modéré  (5:43)\u003cbr\u003e12. 4th mvt. - Final. Animé  (5:51)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e13. RADIO Introduction to Night in Granada  (0:45)\u003cbr\u003e14. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e(arr. Stokowski) - Estampes - 2. La soirée dans Grenade\u003c\/span\u003e  (7:13)\u003cbr\u003e\u003cbr\u003e15. RADIO Introduction to Daphnis and Chloe  (1:05)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRAVEL \u003c\/b\u003eDaphnis et Chloé Suite No.2\u003c\/span\u003e\u003cbr\u003e16. 1. Lever de jour  (5:11)\u003cbr\u003e17. 2. Pantomime   (6:53)\u003cbr\u003e18. 3. Danse générale  (2:48)\u003cbr\u003e19. RADIO Final applause and conclusion  (1:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  79:26    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts C20 Symphonies - Hovhaness, Stravinsky, Hindemith (1942\/3) - PASC587\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Twentieth Century Symphonies\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHOVHANESS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony No. 1, Op. 17, \"Exile\"\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Lament  (7:40)\u003cbr\u003e2. 2nd mvt. - Conflict  [original version] (3:29)\u003cbr\u003e3. 3rd mvt. - Triumph  (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in C\u003c\/span\u003e\u003cbr\u003e4. 1st mvt. - Moderato alla breve  (9:08)\u003cbr\u003e5. 2nd mvt. - Larghetto concertante  (7:07)\u003cbr\u003e6. 3rd mvt. - Allegretto  (4:24)\u003cbr\u003e7. 4th mvt. - Largo; Tempo giusto, alla breve  (7:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 21 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eHINDEMITH  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSymphony in E flat major\u003c\/span\u003e\u003cbr\u003e8. 1st mvt. - Sehr lebhaft  (5:09)\u003cbr\u003e9. 2nd mvt. - Sehr langsam  (9:18)\u003cbr\u003e10. 3rd mvt. - Lebhaft  (6:27)\u003cbr\u003e11. 4th mvt. - Mäßig schnelle Halbe  (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003cbr\u003e\u003c\/b\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski with Alan Hovhaness in 1958\u003cbr\u003eLive broadcast concerts from NBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:42    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Beethoven \u0026amp; Wagner (1942\/3) - PASC591\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Beethoven \u0026amp; Wagner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDISC ONE\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Allegro con brio  (6:33)\u003cbr\u003e2. 2nd mvt. - Andante con moto  (11:42)\u003cbr\u003e3. 3rd mvt. - Scherzo. Allegro - Trio  (5:36)\u003cbr\u003e4. 4th mvt. - Allegro  (8:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 26 December, 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 6 in F major, Op. 68, 'Pastoral'\u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande. Allegro ma non troppo  (8:53)\u003cbr\u003e6. 2nd mvt. - Scene am Bach. Andante molto moto  (15:49)\u003cbr\u003e7. 3rd mvt. - Lustiges Zusammensein der Landleute. Allegro  (2:44)\u003cbr\u003e8. 4th mvt. - Gewitter. Sturm. Allegro  (3:15)\u003cbr\u003e9. 5th mvt. - Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm. Allegretto  (10:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 24 March, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eDISC TWO\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eBEETHOVEN  \u003c\/b\u003eSymphony No. 7 in A major, Op. 92\u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Poco sostenuto - Vivace  (11:37)\u003cbr\u003e2. 2nd mvt. - Allegretto  (10:13)\u003cbr\u003e3. 3rd mvt. - Presto  (4:53)\u003cbr\u003e4. 4th mvt. - Allegro con brio  (7:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 22 November, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eTristan und Isolde - Prelude and Liebestod\u003c\/span\u003e  (17:16)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 22 November, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER  \u003c\/b\u003eParsifal\u003c\/span\u003e\u003cbr\u003e6. Good Friday Spell  (11:31)\u003cbr\u003e7. Act 3: Symphonic Synthesis (Arr. Stokowski)  (16:51)\u003cbr\u003e\u003cb\u003eCollegiate Choir\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 31 March, 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 32:37     \u003cbr\u003e\u003cbr\u003eCD1: 73:10      \u003cbr\u003eCD2: 79:27    \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Russian Music: Rimsky-Korsakov, Stravinsky, Tchaikovsky (1941-44) - PASC596\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSTOKOWSKI \u003c\/b\u003econducts Russian Music\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cb\u003eDISC ONE\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Firebird Suite  (1:06)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSTRAVINSKY  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Firebird - Suite\u003c\/span\u003e\u003cbr\u003e2. I. Introduction  (3:08)\u003cbr\u003e3. II. The Firebird and its Dance  (1:15)\u003cbr\u003e4. III. The Princesses' Round  (5:33)\u003cbr\u003e5. IV. Infernal Dance of King Kashchei  (3:46)\u003cbr\u003e6. V. Lullaby  (3:58)\u003cbr\u003e7. VI. Finale  (2:37)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eSTRAVINSKY \u003c\/b\u003e(arr. Stokowski) Petrushka - Suite \u003c\/span\u003e (15:33)\u003cbr\u003e\u003cb\u003eEduard Steuermann\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. STOKOWSKI Introduction to Tchaikovsky Symphony No. 4  (1:32)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cbr\u003e10. 1st mvt. - Andante sostenuto - Moderato con anima  (15:52)\u003cbr\u003e11. 2nd mvt. - Andantino in modo di Canzona  (10:01)\u003cbr\u003e12. 3rd mvt. - Scherzo. Pizzicato ostinato. Allegro  (5:09)\u003cbr\u003e13. 4th mvt. - Finale. Allegro con fuoco  (9:31)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 25 November 1941*\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eDISC TWO\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e1. STOKOWSKI Introduction to Russian Easter Overture  (0:35)\u003cbr\u003e2. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Russian Easter Festival Overture, Op. 36\u003c\/span\u003e  (12:39)\u003cbr\u003e\u003cb\u003eNicola Moscona\u003c\/b\u003e, bass\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. RADIO Introduction to Capriccio Espagnol  (0:15)\u003cbr\u003e4. \u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eRIMSKY-KORSAKOV\u003c\/b\u003e  Capriccio Espagnol, Op. 34\u003c\/span\u003e  (14:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 20 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. RADIO Introduction to Tchaikovsky Symphony No. 5  (0:43)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eTCHAIKOVSKY  \u003c\/b\u003eSymphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cbr\u003e6. 1st mvt. - Andante - Allegro con anima  (14:04)\u003cbr\u003e7. 2nd mvt. - Andante cantabile con alcuna licenza  (13:08)\u003cbr\u003e8. 3rd mvt. - Valse. Allegro moderato  (5:56)\u003cbr\u003e9. 4th mvt. - Finale. Andante maestoso - Allegro vivace  (11:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 29 November 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York \u003cbr\u003eexcept *Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 32: 06 \u003c\/b\u003e    \u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCD1: 79:00      CD2: 73:06   \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Brahms: Symphonies 3 \u0026amp; 4 (1941) - PASC602\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 3  (1:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony No. 3 in F, Op. 90\u003c\/span\u003e\u003cbr\u003e2. 1st mvt. - Allegro con brio  (9:24)\u003cbr\u003e3. 2nd mvt. - Andante  (10:22)\u003cbr\u003e4. 3rd mvt. - Poco allegretto  (5:59)\u003cbr\u003e5. 4th mvt. - Allegro  (8:40)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 4 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e6. \u003cb\u003eSTOKOWSKI \u003c\/b\u003eIntroduction to Brahms Symphony No. 4  (1:50)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eSymphony No. 4 in E minor, Op. 98\u003c\/span\u003e\u003cbr\u003e7. 1st mvt. - Allegro non troppo  (10:50)\u003cbr\u003e8. 2nd mvt. - Andante moderato  (11:18)\u003cbr\u003e9. 3rd mvt. - Allegro giocoso  (5:40)\u003cbr\u003e10. 4th mvt. - Allegro energico e passionato  (9:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 18 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by\u003cb\u003e Leopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eLive broadcast recordings from the Cosmopolitan Opera House, New York\u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  74:58\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts Wagner (1942-44) - PASC609\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI conducts Wagner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 17px;\"\u003eSiegfried Idyll  \u003c\/span\u003e(18:43)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Tristan und Isolde \u003c\/span\u003e\u003cbr\u003e2. Love Music  (22:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 28 February 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003eLohengrin\u003c\/span\u003e\u003cbr\u003e3. Prelude  (10:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003e\u003cb\u003eWAGNER \u003c\/b\u003e(\u003ci\u003earr. Stokowski\u003c\/i\u003e) Die Walküre\u003c\/span\u003e\u003cbr\u003e4. Wotan's Farewell  (13:17)\u003cbr\u003e5. Magic Fire Music  (4:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eConcert of 23 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eXR Remastered by  Andrew Rose\u003cbr\u003e\u003cbr\u003eLive broadcast recordings from NBC Studio 8H, Radio City, New York \u003cbr\u003eCover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e\u003cbr\u003eTotal duration:  69:07    \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI conducts 20th Century American Composers (1941-44) - PASC625\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eSTOKOWSKI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003econducts 20th Century American Composers\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLAMAR STRINGFIELD \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e1.\u003cb\u003e A Symphonic Patrol\u003c\/b\u003e  (8:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMORTON GOULD  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSpirituals for String Choir and Orchestra\u003c\/b\u003e\u003cbr\u003e2. I. Proclamation  (4:01)\u003cbr\u003e3. II. Sermon  (3:42)\u003cbr\u003e4. III. A Little Bit of Sin  (2:07)\u003cbr\u003e5. IV. Protest  (2:24)\u003cbr\u003e6. V. Jubilee  (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 15 November 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePAUL CRESTON \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e7. \u003cb\u003eChant for 1942\u003c\/b\u003e  (9:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 26 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWILLIAM SCHUMAN \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e8. \u003cb\u003ePrayer, 1943\u003c\/b\u003e  (13:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROBERT KELLY \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e9. \u003cb\u003eAdirondack Suite - \u003c\/b\u003e\u003ci\u003eSunset Reflections\u003c\/i\u003e  (5:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 18 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVIRGIL THOMSON  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Plow That Broke The Plains, Suite\u003c\/b\u003e\u003cbr\u003e10. Prelude  (1:46)\u003cbr\u003e11. Pastorale (Grass)  (1:28)\u003cbr\u003e12. Cattle  (2:43)\u003cbr\u003e13. Blues (Speculation)  (2:36)\u003cbr\u003e14. Drought  (1:05)\u003cbr\u003e15. Devastation  (5:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 16 January 1944\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCARLTON COOLEY \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e16. \u003cb\u003eEastbourne Sketches\u003c\/b\u003e - \u003ci\u003ePromenade  \u003c\/i\u003e(4:18)\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBroadcast of 24 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eROY HARRIS \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e17. \u003cb\u003eFolk Rhythms of Today\u003c\/b\u003e  (6:08)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 19 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eNBC Symphony Orchestra  \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 17px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 17px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Morton Gould and Leopold Stokowski\u003cbr\u003eSpecial thanks to Edward Johnson and Adrien Strugeon\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  79:38  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSTOKOWSKI Bach-Stokowski Symphonic Transcriptions (1941-44) - PASC629\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eBACH-STOKOWSKI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003e Symphonic Transcriptions\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/span\u003e1. \u003cb\u003eToccata and Fugue in D minor\u003c\/b\u003e  \u003cspan style=\"font-size: 12px;\"\u003e(9:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943  \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e2.\u003cb\u003e Prelude in E flat minor\u003c\/b\u003e (from \u003ci\u003eThe Well-Tempered Clavier,\u003c\/i\u003e Book 1)  \u003cspan style=\"font-size: 12px;\"\u003e(7:02)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 4 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e3. \u003cb\u003eArioso \u003c\/b\u003e(Largo from \u003ci\u003eHarpsichord Concerto No. 5\u003c\/i\u003e in F minor)  \u003cspan style=\"font-size: 12px;\"\u003e(8:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 25 November 1941\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e4. \u003cb\u003ePrelude on Ein Feste Burg\u003c\/b\u003e  (6:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 7 April 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5. \u003cb\u003eWir Glauben all' an Einen Gott\u003c\/b\u003e (Chorale-Prelude '\u003ci\u003eGiant Fugue\u003c\/i\u003e')  \u003cspan style=\"font-size: 12px;\"\u003e(3:09)\u003c\/span\u003e\u003cbr\u003e6. \u003cb\u003eAdagio \u003c\/b\u003e(from \u003ci\u003eToccata, Adagio and Fugue in C minor\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(5:32)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 6 December 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e7. \u003cb\u003eEs ist Vollbracht\u003c\/b\u003e (from the \u003ci\u003eSt. John Passion\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(9:23)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 28 March 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e8. \u003cb\u003eChrist lag in Todesbanden\u003c\/b\u003e (\u003ci\u003eChorale-Prelude\u003c\/i\u003e)  \u003cspan style=\"font-size: 12px;\"\u003e(3:57)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 12 December 1943\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003ePassacaglia and Fugue in C minor\u003c\/b\u003e  \u003cspan style=\"font-size: 12px;\"\u003e(13:50)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 27 February 1944\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eBonus track:\u003cbr\u003e10. \u003cb\u003eSt. Matthew Passion\u003c\/b\u003e - Final Chorus  \u003cspan style=\"font-size: 12px;\"\u003e(8:52)\u003c\/span\u003e\u003cbr\u003e\"\u003ci\u003eHere yet awhile, Lord, Thou art sleeping, Hearts turn to Thee, O Saviour blest\u003c\/i\u003e\"\u003cbr\u003e\u003cb\u003eCollegiate Chorale\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eBroadcast of 31 March 1942\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra  \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeopold Stokowski\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eXR Remastered by \u003cb\u003eAndrew Rose\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeopold Stokowski\u003cbr\u003e\u003c\/b\u003eSpecial thanks to \u003cb\u003eEdward Johnson\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  77:11 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC629.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC629.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":39288619335741,"sku":null,"price":256.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55205527552334,"sku":null,"price":176.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55205527585102,"sku":null,"price":144.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC629.jpg?v=1769529897"},{"product_id":"pabx035-cd","title":"STOKOWSKI The Pristine NBC Symphony Series (1941-1944) - 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PASC772","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMAHLER \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 2, 'Resurrection'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRUCKNER \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTe Deum\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive and studio recordings, 1948 \u0026amp; 1953\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 43:10\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eNadine Conner\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eJean Watson\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, contralto\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eFrances Yeend\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMartha Lipton\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, contralto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eDavid Lloyd\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, tenor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eMack Harrell\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003e, baritone\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eWestminster Choir\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e \u003ci\u003e\u003cspan style=\"font-size: 16px;\"\u003e(Dr John Finley Williamson, director)\u003c\/span\u003e\u003c\/i\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruno Walter\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC772.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eOn Sunday afternoon, 5 December 1948, Bruno Walter returned to Carnegie Hall to conduct the Philharmonic-Symphony Orchestra of New York in Mahler’s Symphony No. 2, the “Resurrection”. It was the third performance in a remarkable sequence of concerts given that week, following earlier performances on 2 and 3 December. Joined by soprano Nadine Conner, contralto Jean Watson and the Westminster Choir under Dr John Finley Williamson, Walter brought to Mahler’s vast symphonic fresco an authority rooted not merely in tradition, but in direct personal connection to the composer’s world.\u003c\/p\u003e\n\n\u003cp\u003eEven in 1948 Mahler’s symphonies had not yet assumed the central place they occupy today. The Second Symphony, with its immense scale, philosophical ambition and choral finale, was still regarded in many quarters as an extraordinary undertaking rather than established repertoire. Walter, however, had long been recognised as one of Mahler’s supreme interpreters. As a young chorus director at the Hamburg Opera in the 1890s, he had worked closely with Mahler himself, absorbing both the practical discipline and expressive breadth that shaped these performances decades later.\u003c\/p\u003e\n\n\u003cp\u003eThe programme note distributed at Carnegie Hall traced the work’s origins through Mahler’s years in Hamburg and his struggle to find the key to the symphony’s final movement. Only after attending the funeral of Hans von Bülow in 1894, the note explained, did Mahler discover the solution he sought, hearing Klopstock’s “Resurrection” ode sung during the service: “This struck me like a flash of lightning. Everything was revealed clear and plain to my soul.”\u003c\/p\u003e\n\n\u003cp\u003eReviewing the first performance in \u003ci\u003eThe New York Times\u003c\/i\u003e, Noel Straus recognised immediately the exceptional stature of Walter’s interpretation. The symphony, he wrote, was “bound together from first to last with the utmost logic”, praising Walter’s “keen understanding of its every measure” and performances of rare “sensitivity, searching imagination and conveyance of every fluctuating mood from the most lyric to the most dramatic.”\u003c\/p\u003e\n\n\u003cp\u003eSuch comments go to the heart of Walter’s Mahler style. There is grandeur here, certainly, but never heaviness for its own sake. Walter shapes the gigantic structure organically, allowing its immense paragraphs to unfold naturally rather than forcing them into rhetorical display. The opening movement retains its terrifying weight and tragic momentum, while the \u003ci\u003eAndante\u003c\/i\u003e offers fleeting consolation before the sardonic \u003ci\u003eScherzo\u003c\/i\u003e unsettles the ground once more. Jean Watson’s deeply felt \u003ci\u003eUrlicht\u003c\/i\u003e leads into a finale whose vast choral peroration emerges not as theatrical effect, but as the inevitable fulfilment of all that has preceded it.\u003c\/p\u003e\n\n\u003cp\u003eThese Carnegie Hall performances captured Walter and the New York Philharmonic at a moment of exceptional mutual understanding. The orchestra responds with power, refinement and commitment throughout, while the Westminster Choir brings both clarity and weight to the climactic pages. Heard today, the performance still carries the electricity of live occasion: not a studio reconstruction, but a living musical event unfolding before a Carnegie Hall audience less than four decades after Mahler’s death.\u003c\/p\u003e\n\n\u003cp\u003eThis set is completed by Anton Bruckner’s \u003ci\u003eTe Deum\u003c\/i\u003e, recorded at Carnegie Hall on 7 March 1953 with the New York Philharmonic, Westminster Choir and a distinguished quartet of soloists: Frances Yeend, Martha Lipton, David Lloyd and Mack Harrell. Bruckner valued the work highly, and is said to have considered it as a possible substitute finale for his unfinished Ninth Symphony. Compact in scale beside Mahler’s monumental canvas but no less fervent in expression, the \u003ci\u003eTe Deum\u003c\/i\u003e combines exultant choral writing, blazing orchestral sonorities and moments of profound devotional stillness. Walter’s performance balances grandeur with humanity, bringing warmth and momentum to music that can sometimes become merely monumental.\u003c\/p\u003e\n\n\u003cp\u003ePristine Audio’s Ambient Stereo XR restorations present these historic performances with renewed depth, presence and transparency, preserving both the scale of the music and the profoundly human qualities at the centre of Walter’s interpretations.\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eWALTER conducts Mahler and Bruckner\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eDisc one\u003c\/b\u003e   (48:48)\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eMAHLER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003e  Symphony No. 2 in C minor, “Resurrection”\u003c\/span\u003e\u003cbr\u003e\n1. 1st mvt. - Allegro maestoso. Mit durchaus ernstem und feierlichem Ausdruck   (21:57)\u003cbr\u003e\n2. 2nd mvt. - Andante moderato. Sehr gemächlich   (11:06)\u003cbr\u003e\n3. 3rd mvt. - Scherzo. In ruhig fliessender Bewegung   (10:42)\u003cbr\u003e\n4. 4th mvt. - Urlicht. Sehr feierlich, aber schlicht   (5:03)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDisc two\u003c\/b\u003e   (54:21)\u003cbr\u003e1. 5th mvt. \u003ci\u003e(part 1)\u003c\/i\u003e - Im Tempo des Scherzos. Wild herausfahrend   (13:43)\u003cbr\u003e\n2. 5th mvt. \u003ci\u003e(part 2)\u003c\/i\u003e - Wieder zurückhaltend - Langsam. Misterioso   (20:31)\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eNadine Conner,\u003c\/b\u003e soprano\u003cbr\u003e\n\u003cb\u003eJean Watson,\u003c\/b\u003e contralto\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 20px;\"\u003eBRUCKNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 20px;\"\u003e  Te Deum in C major, WAB 45\u003c\/span\u003e\u003cbr\u003e\n3. 1. Te Deum laudamus. Allegro   (6:12)\u003cbr\u003e\n4. 2. Te ergo quaesumus. Moderato   (2:12)\u003cbr\u003e\n5. 3. Aeterna fac. Allegro. Feierlich, mit Kraft   (1:27)\u003cbr\u003e\n6. 4. Salvum fac populum tuum. Moderato   (5:17)\u003cbr\u003e\n7. 5. In te, Domine, speravi. Mäßig bewegt   (4:59)\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eFrances Yeend, \u003c\/b\u003esoprano\u003cbr\u003e\n\u003cb\u003eMartha Lipton,\u003c\/b\u003e contralto\u003cbr\u003e\n\u003cb\u003eDavid Lloyd,\u003c\/b\u003e tenor\u003cbr\u003e\n\u003cb\u003eMack Harrell,\u003c\/b\u003e baritone\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nWestminster Choir \u003cspan style=\"font-size: 14px;\"\u003e(\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003ci\u003eDr John Finley Williamson, director\u003c\/i\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003e)\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBruno Walter\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eMahler\u003c\/b\u003e: Recorded live at Carnegie Hall, New York, 5 December 1948\u003cbr\u003e\n\u003cb\u003eBruckner\u003c\/b\u003e: Recorded at Carnegie Hall, New York, 7 March 1953\u003c\/p\u003e\n\n\u003cp\u003eXR remastered by Andrew Rose\u003cbr\u003e\nCover artwork based on a photograph of Bruno Walter\u003c\/p\u003e\n\n\u003cp\u003e\u003cb\u003eTotal duration: 1hr 43:10\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC772.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC772.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":59752027259214,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59752027291982,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59752027324750,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC772.jpg?v=1779963310"},{"product_id":"pasc772-cd","title":"WALTER conducts Mahler and Bruckner (1948\/1953) - 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