{"product_id":"pabx051-cd","title":"MENGELBERG The Concertgebouw Telefunken Recordings — Complete set - PABX051 - CD","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 5\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 6, 'Pastoral'\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eTCHAIKOVSKY \u003c\/strong\u003eSymphony No. 6, 'Pathétique'\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eTCHAIKOVSKY \u003c\/strong\u003eSerenade for Strings\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBERLIOZ \u003c\/strong\u003eRoman Carnival Overture\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eFRANCK \u003c\/strong\u003ePsyché st Éros\u003cbr\u003e\n\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 1\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 8\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBRAHMS\u003c\/strong\u003e Symphony No. 4\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eR. STRAUSS\u003c\/strong\u003e Don Juan\u003cbr\u003e\n\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 4\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBRAHMS \u003c\/strong\u003eSymphony No. 2\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eTCHAIKOVSKY \u003c\/strong\u003e1812 Overture\u003cbr\u003e\n\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 3 'Eroica'\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eFRANCK \u003c\/strong\u003eSymphony in D minor\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eR. STRAUSS\u003c\/strong\u003e Ein Heldenleben\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eRÖNTGEN \u003c\/strong\u003eOld Netherlands Dances\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eWAGNER\u003c\/strong\u003e Die Meistersinger - Overture\u003cbr\u003e\n\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eSymphony No. 5\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eDVOŘÁK \u003c\/strong\u003eSymphony No. 9 'From the New World'\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eTCHAIKOVSKY \u003c\/strong\u003eSymphony No. 6 'Pathétique'\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eR. STRAUSS\u003c\/strong\u003e Death and Transfiguration\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBORODIN \u003c\/strong\u003eIn the Steppes of Central Asia\u003cbr\u003e\n\u003cstrong style=\"font-weight: 700;\"\u003eSCHUBERT \u003c\/strong\u003eSymphony No. 8 'Unfinished'\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eSCHUBERT \u003c\/strong\u003eSymphony No. 9 'The Great'\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBEETHOVEN \u003c\/strong\u003eThe Creatures of Prometheus - Excerpts\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBERLIOZ \u003c\/strong\u003eThe Damnation of Faust - Excerpts\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eBRAHMS \u003c\/strong\u003eTragic Overture\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eMOZART \u003c\/strong\u003eEine Kleine Nachtmusik\u003cbr\u003e\u003cstrong style=\"font-weight: 700;\"\u003eWAGENAAR \u003c\/strong\u003eCyrano de Bergerac Overture\u003c\/p\u003e\n\u003cp style=\"font-size: 14px;\"\u003eMusic by \u003cstrong style=\"font-weight: 700;\"\u003eVivaldi, Bach, Schubert, Debussy, Valerius, Dopper, R. Mengelberg \u0026amp; Andriessen\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio recordings, 1937-1943\u003cbr\u003eTotal duration: 14hr 18:55\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cstrong style=\"font-weight: 700;\"\u003eConcertgebouw Orchestra of Amsterdam\u003c\/strong\u003e\u003cbr\u003econducted by \u003cstrong style=\"font-weight: 700;\"\u003eWillem Mengelberg\u003c\/strong\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC776.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 1 (1937-38) - PASC624\u003c\/summary\u003e\u003cp\u003e\n    In celebration of the 150th anniversary of the birth of Willem Mengelberg\n    (28 March 1871), Pristine is pleased to present the first in a series of\n    releases surveying the conductor’s recordings with the Concertgebouw\n    Orchestra for Telefunken, the label for which he made the bulk of his\n    commercial discs. They will be presented in roughly chronological order,\n    with the present volume featuring all the recordings Mengelberg made in\n    1937, along with the first he did the following year. (The conductor’s\n    Telefunken recordings with the Berlin Philharmonic have already been\n    released on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC348\"\u003ePASC 348\u003c\/a\u003e.)\n\u003c\/p\u003e\n\u003cp\u003e\n    After the completion of his May, 1932 Columbia sessions (featured in \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC616\"\u003ePASC    616\u003c\/a\u003e), Mengelberg found himself without a recording contract for the first\n    time in a decade. Six sides made for Decca in June, 1935 did not lead to\n    any further recordings with that label. In 1937, he was approached by the\n    German electronics giant, Telefunken, which had launched its own recording\n    subsidiary eight years earlier. Telefunken had established a reputation for\n    being on the cutting edge of recording and reproducing technology; and the\n    conductor released a statement lauding their “decisive commitment in\n    placing all the resources of modern electro-acoustics at the service of\n    music” which had produced “such convincing results.”\n\u003c\/p\u003e\n\u003cp\u003e\n    The first sessions were held in May, 1937 not in the Grote Zaal (Great\n    Hall) of the Concertgebouw, where concerts and previous recording sessions\n    had taken place, but oddly in the Kleine Zaal, a smaller venue usually\n    devoted to chamber music and recitals. Mengelberg was particularly keen to\n    record works which had he had not been able to set down while at Columbia.\n    Beethoven was central to his repertoire; but although he had recorded the\n    First and \u003cem\u003eEroica\u003c\/em\u003e symphonies with the New York Philharmonic for\n    Victor (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC412\"\u003ePASC 412\u003c\/a\u003e), he had not been allotted any by Columbia, which already\n    had all nine in its catalog, conducted mainly by Weingartner.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg began his cycle with a fiery reading of the Fifth. If the second\n    movement seems a bit too brusque, perhaps it was due to trying to squeeze\n    it onto two sides (his 1940 broadcast [\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC236\"\u003ePASC 236\u003c\/a\u003e] is nearly a minute longer\n    here), while the last two movements feature several brass errors which the\n    conductor uncharacteristically allowed to pass. In the \u003cem\u003ePastoral\u003c\/em\u003e\n    from the following December, by which time the sessions had been moved to\n    the Grote Zaal, Mengelberg puts his stamp on the second movement with a\n    pronounced rubato at the outset, and causes time to stand still before the\n    bird calls toward the end.\n\u003c\/p\u003e\n\u003cp\u003e\n    While Mengelberg was more successful in being able to record Tchaikovsky\n    symphonies for Columbia (the Fourth and Fifth are on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/PASC511\"\u003ePASC 511\u003c\/a\u003e), the label\n    had assigned the \u003cem\u003ePathétique\u003c\/em\u003e to Oskar Fried, so he was particularly\n    eager to get his interpretation onto disc. After a recording in May was not\n    passed, a second one was made in December. The biggest difference between\n    this version and his 1941 remake is in the final movement, which is nearly\n    a minute longer in the later recording, and more appropriately “lamentoso”.\nIn the composer’s String Serenade, the Waltz is slower and has a bit less    \u003cem\u003eélan\u003c\/em\u003e than the Columbia version of a decade earlier; but Mengelberg\n    ends the work with a rousing finish, full of high spirits.\n\u003c\/p\u003e\n\u003cp\u003e\n    The two short French works are each successful, but for opposite reasons.\n    In the Berlioz, Mengelberg turns in a straight, unexaggerated performance\n    of great beauty and excitement; while in the Franck, his often-criticized\n    indulgences of tempo variation and string portamenti are completely in the\n    spirit of the piece, and create an ecstatic, passionate rhapsody which\n    ranks among the conductor’s finest realizations on disc.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 2 (1937-38) - PASC664\u003c\/summary\u003e\u003cp\u003e\n    \n        In celebration of the 150th anniversary of the birth of Willem\n        Mengelberg (28 March 1871), Pristine continues its series of releases\n        surveying the conductor’s recordings with the Concertgebouw Orchestra\n        for Telefunken, the label for which he made the bulk of his commercial\n        discs. They are being presented in roughly chronological order, with\n        the present volume featuring recordings Mengelberg made in 1937\/8. (The\n        conductor’s Telefunken recordings with the Berlin Philharmonic have\n        already been released on PASC 348.)\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    Our program begins with two versions of Vivaldi’s Concerto No. 8 in A minor\n    from \u003cem\u003eL’estro armonico \u003c\/em\u003eand its “filler side”, the Air from Bach’s\n    Orchestral Suite No. 3. Previously, it was thought that there was a single\n    issued version of these recordings, which most discographies listed as\n    having been made in December, 1938. However, a discovery I made during the\n    production of this reissue revealed that, in fact, two completely different\n    versions were recorded a year apart and issued under the same catalog\n    numbers. The first one presented here was made in December, 1937. Before\n    restoration, it had a prominent 50 Hz mains hum which was absent from the\n    remake, heard directly following it.\n\u003c\/p\u003e\n\u003cp\u003e\n    According to the original Telefunken recording cards, the Vivaldi is played\n    in an arrangement made by American violinist and conductor Sam Franko.\n    While Mengelberg had previously recorded the Bach Air with the New York\n    Philharmonic in an all-string setting by Mahler (on Pristine PASC 378), by\n    1937 this would not have been permitted for a German-based label, and\n    another version with a harpsichord continuo (credited on some original 78\n    rpm editions as being by “Telico”, although I’ve found no evidence of a\n    composer or arranger by that name) was substituted.\n\u003c\/p\u003e\n\u003cp\u003e\n    The Beethoven First Symphony was another work which Mengelberg had\n    previously recorded in New York (PASC 412). In the earlier version, which\n    took up eight sides, he included the repeats in the first and fourth\n    movements (as he also did in his live 1940 Concertgebouw broadcast, on PASC\n    221). The remake cut it down to six by eliminating them. The Eighth\n    Symphony, recorded the following day, was new to his discography (except\n    for the second movement, which had previously been recorded as a filler\n    side for Columbia), while the Schubert \u003cem\u003eRosamunde\u003c\/em\u003e Overture had only\n    figured among his recordings earlier in an acoustic version from New York\n    in 1924, cut to fit one side.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg had recorded only one complete Brahms Symphony earlier (the\n    Third, for Columbia, now on PASC 616), so the Fourth was a major addition\n    to his discography. He would go on to record the Second for Telefunken in\n    1940 (to be featured in the next volume of this series), but the First\n    would only be preserved via a live radio performance from the same year\n    (PASC 221).\n\u003c\/p\u003e\n\u003cp\u003e\n    As one of the greatest interpreters of the works of Richard Strauss (as\nwell as a friend of the composer and the dedicatee of    \u003cem\u003eEin Heldenleben\u003c\/em\u003e), it’s puzzling that Mengelberg’s interpretations\nof his scores were not more frequently recorded. Besides two versions of \u003cem\u003eHeldenleben\u003c\/em\u003e (from New York and Amsterdam) and one of    \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e, there was only this \u003cem\u003eDon Juan\u003c\/em\u003e\n    to make up his complete Strauss discography. Our program concludes with\n    Debussy’s \u003cem\u003ePrelude to the Afternoon of a Faun\u003c\/em\u003e, the only commercial\n    recording of a work by that composer that Mengelberg made, although a\n    broadcast performance of the Debussy \u003cem\u003eFantasy \u003c\/em\u003ewith Gieseking has\n    survived.\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the transfers were German and French Telefunken pressings\n    from the original masters (no American Capitol-Telefunken dubbings), with a\n    portion of the beginning of the final movement of the Beethoven First taken\n    from a Czech Ultraphon edition.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 3 (1938-40) - PASC686\u003c\/summary\u003e\u003cp\u003e\n    In celebration of the 150th anniversary of the birth of Willem Mengelberg\n    (28 March 1871), Pristine continues its series of releases surveying the\n    conductor’s recordings with the Concertgebouw Orchestra for Telefunken, the\n    label for which he made the bulk of his commercial discs. They are being\n    presented in roughly chronological order, with this third volume featuring\n    recordings Mengelberg made in 1938 and 1940.\n\u003c\/p\u003e\n\u003cp\u003e\nOn 1 December 1938, immediately following the Debussy    \u003cem\u003ePrelude to the Afternoon of a Faun\u003c\/em\u003e which concluded our previous\n    set, Mengelberg recorded the two works which begin the present program.\n    Somewhat surprisingly, it was the first time he had recorded any Dutch\n    music with the Concertgebouw Orchestra, and the only occasion on which he\n    made a 10-inch disc with that ensemble. The first track features the Dutch\n    national anthem in an arrangement by the conductor, followed by Valerius’\n    “Dutch Prayer of Thanksgiving” (best known outside of the Netherlands as\n    the hymn “We Gather Together”) orchestrated by Wagenaar.\n\u003c\/p\u003e\n\u003cp\u003e\n    Finishing out the session, Mengelberg began recording the Beethoven Fourth\n    Symphony, concluding it the following day. It was a new addition to his\n    discography of the composer, and differs from the broadcast of 25 April\n    1940 (on Pristine \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc236\"\u003e\u003ci\u003ePASC 236\u003c\/i\u003e\u003c\/a\u003e) mainly in its lack of repeats in the third\n    movement in order to fit it on a single side.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg and his orchestra would not stand before Telefunken’s\n    microphones again for another 16 months. He returned for four days of\n    sessions in April, 1940, the first three of which were mainly taken up with\n    the Brahms Second. It was the last of the composer’s symphonies that he\n    would record, after the Third (for Columbia, now on \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc616\" target=\"_blank\"\u003ePASC 616\u003c\/a\u003e\u003c\/i\u003e) in 1932 and\n    the Fourth in 1938 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc664\" target=\"_blank\"\u003e\u003ci\u003ePASC 664\u003c\/i\u003e\u003c\/a\u003e). The First would only be preserved via a live\n    radio performance from 1940 (\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc221\" target=\"_blank\"\u003e\u003ci\u003ePASC 221\u003c\/i\u003e\u003c\/a\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    The three Dutch compositions which begin the second disc here were recorded\n    the day after the Brahms sessions were completed. In addition to the well\n    over a hundred works he composed, Cornelius Dopper was also assistant\nconductor of the Concertgebouw Orchestra from 1908 to 1931. His    \u003cem\u003eCiaconna Gotica\u003c\/em\u003e, considered by many to be his masterpiece, was\n    premièred in 1920, and attracted the interest of Leopold Stokowski, who\n    gave its first American performance in Philadelphia six years later.\n    Mengelberg’s recording was made just seven months after Dopper’s death,\n    probably as a tribute to the composer.\n\u003c\/p\u003e\n\u003cp\u003e\n    Rudolf Mengelberg was Willem’s nephew, and studied composition under him\n    and Dopper. His setting of \u003cem\u003eSalve Regina\u003c\/em\u003e and the Hendrik Andreissen\n    song which was the recording’s “filler” side were the only issued studio\n    recordings Mengelberg and the Concertgebouw made with a soloist. (His set\n    of the Tchaikovsky First Piano Concerto with Hansen was done with the\n    Berlin Philharmonic, and all other Mengelberg recordings with soloists stem\n    from broadcasts.) Jo Vincent was a frequent partner in the conductor’s\nperformances, singing a wide range of works from Bach (    \u003cem\u003eSt. Matthew Passion\u003c\/em\u003e) to Brahms (\u003cem\u003eA German Requiem\u003c\/em\u003e, on \u003ca href=\"https:\/\/www.pristineclassical.com\/products\/paco012\"\u003e\u003ci\u003ePACO 012\u003c\/i\u003e\u003c\/a\u003e) to Mahler (Symphony No. 4, \u003ci\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc055\" target=\"_blank\"\u003ePASC 055\u003c\/a\u003e\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\n    The Tchaikovsky \u003cem\u003e“1812” Overture\u003c\/em\u003e which concludes our program was\n    actually recorded at the tail end of the Brahms Second sessions. Even\nwithout a chorus or cannons, it remains one of the most exciting – and    \u003cem\u003emusical\u003c\/em\u003e – performances of the work ever made, and has been placed\n    here to provide a rousing conclusion to our program.\n\u003c\/p\u003e\n\u003cp\u003e\n    The sources for the transfers were German and French Telefunken 78 rpm\n    shellac pressings from the original masters.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 4 (1940-41) - PASC719\u003c\/summary\u003e\u003cp\u003e\n    \n        In celebration of  the 150th anniversary of the birth of Willem\n        Mengelberg (28 March 1871),  Pristine continues its series of releases\n        surveying the conductor’s recordings  with the Concertgebouw Orchestra\n        for Telefunken, the label for which he made  the bulk of his commercial\n        discs.  They are  being presented in roughly chronological order, with\n        this fourth volume  featuring recordings Mengelberg made in 1940 and\n        1941.\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    After  the April, 1940 recordings featured in our previous volume (PASC\n    686),  Mengelberg’s next Telefunken sessions were held in Berlin that July,\n    and  featured Tchaikovsky’s Piano Concerto No. 1 (with Conrad Hansen as\n    soloist) and  his Fifth Symphony, both with the Berlin Philharmonic (PASC\n    348).  Back in Amsterdam for his next sessions in  November, Mengelberg\n    returned to a work he had previously recorded ten years  earlier with the\n    New York Philharmonic, Beethoven’s “Eroica” Symphony.\n\u003c\/p\u003e\n\u003cp\u003e\n    While  that earlier recording had been notable for including the repeats for\n    both the  first and third movements, the remake omitted them (following the\n    usual  practice of recordings of the time, thereby saving a disc).  In two\n    contemporaneous live recordings of the  work (one from 1940, which is\n    missing the first movement, and another dated as  1942), Mengelberg included\n    the repeat in the Scherzo in both performances, but  omitted the first\n    movement’s repeat in the single complete extant live  broadcast.  The remake\n    benefits from the  warmer acoustic of the Concertgebouw’s Grote Saal, as\n    well as from the alert,  characterful playing of the ensemble and\n    Mengelberg’s more involved  interpretation than in his earlier New York\n    version (PASC 412).\n\u003c\/p\u003e\n\u003cp\u003e\n    Immediately  following the Beethoven at the same session, Mengelberg set\n    down the last of  his studio recordings of Dutch repertoire with Julius\n    Röntgen’s arrangement of two traditional Netherlands  dances from the\n    composer’s 1904 suite, originally issued as the filler side to  Dopper’s\n    \u003cem\u003eCiaconna Gotica\u003c\/em\u003e.  The long  session concluded with a recording of\n    Mozart’s Flute Concerto No. 2 with the  Concertgebouw’s principal flutist,\n    Herbert Barwahser, as soloist, but this  studio version remained unissued\n    and is presumed lost.\n\u003c\/p\u003e\n\u003cp\u003e\n    The  next two days were given over to recording the Franck Symphony, which\n    had been  broadcast the previous month (a live performance later released by\n    Philips) and  Wagner’s Overture to \u003cem\u003eDie Meistersinger\u003c\/em\u003e.   (The\n    Wagner, though recorded at the tail end of the Franck, has been  placed\n    before it due to timing limitations on our CD version.)  Another unissued\n    recording would follow the  Wagner:  Franck’s Symphonic Variations  with\n    Theo van der Pas as soloist, whose matrices are also presumed lost.\n\u003c\/p\u003e\n\u003cp\u003e\n    Mengelberg  would next perform for Telefunken’s microphones five months\n    later, in April,  1941, for a remake of what is perhaps the conductor’s most\n    celebrated New York  recording, Strauss’ \u003ci\u003eEin Heldenleben\u003c\/i\u003e\u003cem\u003e\u003c\/em\u003e.  The composer had\n    dedicated the score to  Mengelberg and the Concertgebouw Orchestra together,\n    so it was appropriate that  the combination should leave a lasting document\n    of the score.  The solo violinist was the Concertgebouw’s  newly-appointed\n    concertmaster, Ferdinand Helman, who had just succeeded Louis  Zimmermann at\n    the start of the season.   If the somewhat broader tempos of this\n    performance have led many to  prefer the 1928 New York recording (PASC 104),\n    it still scores in its superior  sonics and in the equal commitment and\n    dedication of both conductor and  orchestra.\n\u003c\/p\u003e\n\u003cp\u003e\n    The  sources for the transfers were German, Swiss and Swedish “Telestar”\n    Telefunken 78  rpm shellac pressings from the original masters.\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 5 (1941-42) - PASC751\u003c\/summary\u003e\u003cp\u003eIn celebration of the 150th anniversary of the birth of Willem Mengelberg (28 March 1871), Pristine continues its series of releases surveying the conductor’s recordings with the Concertgebouw Orchestra for Telefunken, the label for which he made the bulk of his commercial discs.  They are being presented in roughly chronological order, with this fifth and penultimate volume featuring recordings Mengelberg made in 1941 and 1942.  Due to timing limitations on the CD version of this release, \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e is presented following the Tchaikovsky symphony rather than just before the Beethoven, which was its original recording order.\u003c\/p\u003e\n\u003cp\u003eOur present program begins the day following the recording session for Strauss’ \u003cem\u003eEin Heldenleben\u003c\/em\u003e which concluded our previous release (PASC 719).  The Tchaikovsky \u003cem\u003ePath\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003etique\u003c\/em\u003e was a remake of one of Mengelberg’s earliest Telefunken sets (reissued in PASC 624).  The biggest interpretational difference between this version from 1937 and the one presented here is in the final movement, which is nearly a minute longer in the later recording, and more appropriately “lamentoso”.  Another reason for wanting to remake the set may have been a prominent 50 Hz mains hum, removed from the Pristine restorations, which afflicted all of the conductor’s 1937 Telefunken sessions.\u003c\/p\u003e\n\u003cp\u003eThe two days following the Tchaikovsky session were devoted to Mengelberg’s only commercial recording of a work by Dvořák, the \u003cem\u003eNew World\u003c\/em\u003e Symphony (although a 1943 air check exists of a live performance of the composer’s Violin Concerto with soloist Maria Neuss).  This very individualized interpretation features an extraordinarily expansive \u003cem\u003eLargo\u003c\/em\u003e movement.  Unfortunately, it suffers from a higher-than-usual complement of surface noise, probably inherent in the masters, as it appears on all copies of which I am aware. \u003c\/p\u003e\n\u003cp\u003eThat defect may have been the reason for the non-release of two other tantalizing titles from this group of sessions:  a complete recording of the Beethoven Second Symphony, made immediately following the Dvořák on April 24th; and what would have been Mengelberg’s only Sibelius recording, \u003cem\u003eFinlandia\u003c\/em\u003e, set down the following day.  Just before the Sibelius came the recording of Borodin’s \u003cem\u003eIn the Steppes of Central Asia\u003c\/em\u003e, a title common on American Capitol’s dubbed 78 rpm version, but rare in its original Telefunken appearance, used for transfer here.\u003c\/p\u003e\n\u003cp\u003eIt would be another year before Mengelberg and the Concertgebouw Orchestra recorded for Telefunken again, and this time their efforts were more consistently successful from a technical point of view.  The 1942 sessions began on April 14th with Richard Strauss’ \u003cem\u003eDeath and Transfiguration\u003c\/em\u003e.  It is odd that one of Strauss’ greatest interpreters, the one to whom the composer dedicated \u003cem\u003eEin Heldenleben\u003c\/em\u003e, left so few recordings of his works.  Besides two versions of \u003cem\u003eHeldenleben\u003c\/em\u003e (New York and Amsterdam), there was only a studio and a live version of \u003cem\u003eDon Juan\u003c\/em\u003e to attest to his abilities with this repertoire.\u003c\/p\u003e\n\u003cp\u003eThe following day, Mengelberg set down a remake of his first recording for Telefunken, the Beethoven Fifth Symphony (PASC 624).  In addition to the hum in the 1937 version, there were also a couple ensemble issues that the conductor might have wanted to clean up.   Like the previous year’s Beethoven Second and \u003cem\u003eFinlandia\u003c\/em\u003e, Telefunken never issued it on 78 rpm; but unlike those lost recordings, a release was made by the American Capitol label in the early 1950s on all three formats then in use (78, 45 and LP), dubbed from vinyl test pressings. \u003c\/p\u003e\n\u003cp\u003eHowever, there was no indication on the Capitol releases that it was the remake from 1942; and as late as 1994, it continued to be reissued on CD by Telefunken, erroneously identified as the 1937 recording.  The confusion has only been sorted out in the past couple decades as correctly-attributed reissues of both versions have allowed for comparison.  The present transfer has been made from the original Capitol LP, while all other restorations on this release have come from original Telefunken 78s.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 6 (1942-43) - PASC776\u003c\/summary\u003e\u003cp\u003eThis release concludes Pristine’s six-volume survey of Willem Mengelberg’s complete Telefunken recordings with the Concertgebouw Orchestra of Amsterdam, begun in 2021 to mark the 150th anniversary of the conductor’s birth (28 March 1871). Telefunken was the label for which Mengelberg made the bulk of his commercial discs, and they are presented here in chronological order.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThis final volume features some of his rarest recordings. The notes for a 1995 Pearl CD release claimed that only two copies of \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e were known to exist, while Mengelberg’s recording of Schubert’s \u003cem\u003e“Unfinished”\u003c\/em\u003e has long been a sought-after holy grail among collectors. These and other rarities have been newly transferred directly from original Telefunken shellac 78s.\u003c\/p\u003e\r\n\r\n\u003cp\u003eOur program begins on April 16, 1942, the day after the session that produced Mengelberg’s remake of the Beethoven Fifth which concluded our previous volume. It opens with three dances from Berlioz’s \u003cem\u003eDamnation de Faust\u003c\/em\u003e. Although Mengelberg reversed the order of the first two in a concert broadcast eleven months later, the matrix numbers show that Mengelberg recorded the works in the order reproduced here. The “Hungarian March” is given complete, unlike the abbreviated version he recorded for Columbia in 1926 (PASC 595). He then returned to native Dutch composers for the final time on disc with Johan Wagenaar’s overture \u003cem\u003eCyrano de Bergerac\u003c\/em\u003e, a work strongly reminiscent of Strauss’s \u003cem\u003eDon Juan\u003c\/em\u003e. These recordings, as with most of the April 1942 sessions, have the finest sound Telefunken provided for his Concertgebouw discs.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe following day brought Schubert’s \u003cem\u003eMarche Militaire\u003c\/em\u003e, issued only in a sonically compromised dubbing, presumably to reduce the volume of loud passages to avoid wear, and Brahms’s \u003cem\u003eTragic Overture\u003c\/em\u003e. Mengelberg’s broad, brooding reading of the latter contrasts sharply with the propulsive urgency heard in the four earlier recordings by Boult, Beecham, Toscanini, and Mengelberg’s former Cologne Conservatory classmate, Frederick Stock.\u003c\/p\u003e\r\n\r\n\u003cp\u003eThe next sessions from November 1942 began with three sides of Beethoven. The first two contain music from \u003cem\u003eThe Creatures of Prometheus\u003c\/em\u003e, including the number whose theme Beethoven later used in the finale of the “Eroica” Symphony. Telefunken did not issue these sides on 78s; they first appeared in dubbed form on Capitol in the early 1950s and are transferred here from a Capitol LP pressing. The rare overture to \u003cem\u003eThe Ruins of Athens\u003c\/em\u003e, originally issued as the filler for Eugen Jochum’s \u003cem\u003eParsifal\u003c\/em\u003e “Good Friday Spell,” has been taken from the same LP.\u003c\/p\u003e\r\n\r\n\u003cp\u003eFour days later came Mengelberg’s unusually swift \u003cem\u003eEine Kleine Nachtmusik\u003c\/em\u003e. Like the Beethoven selections and the two Schubert symphonies recorded seven months later, it suffers from peak distortion at louder moments inherent in the original recording, rather than from disc wear. Given Telefunken’s excellent results in April, this is puzzling. Because the distortion resembles that sometimes heard on early magnetic tape, I suspect these final sessions may have been recorded on tape and dubbed to wax masters. Due to the destruction of Telefunken’s archives in a 1950s Elbe River flood, we may never know.\u003c\/p\u003e\r\n\r\n\u003cp\u003eMengelberg’s final sessions, held over two days in June 1943, focused on Schubert’s last two symphonies. The “Great” C Major came first, appropriately enough since it was still generally known as the Seventh. Mengelberg again confounds expectations, taking a faster-than-usual introduction in the first movement but more measured tempi in the third. The uncut third movement was spread over three sides, with its da capo repeat requiring the listener to replay the opening side*. The \u003cem\u003eluftpause\u003c\/em\u003e I have left before the trio follows Mengelberg’s December 1940 live broadcast.\u003c\/p\u003e\r\n\r\n\u003cp\u003eIn the “Unfinished,” critic Rob Cowan has noted that the exposition repeat heard in Mengelberg’s November 1939 broadcast is omitted here, while the string portamenti are more restrained. Previous transfers relied on tape dubs of discs from a private collector and a Dutch archive. For this edition, I worked directly from a complete original 78 set, supplemented by two single discs from other sets, in the hope of achieving better results.\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e*From the matrix sequence, it appears that a separate final side of the Scherzo was recorded but not issued in order to save an extra disc.\u003c\/span\u003e\u003c\/p\u003e\u003c\/details\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\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 1 (1937-38) - PASC624\u003c\/summary\u003e\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eMENGELBERG \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003eand the CONCERTGEBOUW ORCHESTRA\u003c\/span\u003e\u003cspan style=\"font-size: 24px;\"\u003e: Telefunken Recordings ∙ Volume 1\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1 (76:55)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e BEETHOVEN Symphony No. 5 in C minor, Op. 67\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro con brio (7:59)\u003cbr\u003e2. 2nd Mvt.: Andante con moto (9:13)\u003cbr\u003e3. 3rd Mvt.: Allegro (5:09)\u003cbr\u003e4. 4th Mvt.: Allegro (8:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 May 1937 ∙ Matrices: 022110\/7 ∙ First issued on Telefunken SK\n    2210\/3\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 6 in F major, Op. 68 ‘Pastoral’\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro ma non troppo (8:33)\u003cbr\u003e6. 2nd Mvt.: Andante molto moto (11:53)\u003cbr\u003e7. 3rd Mvt.: Allegro (5:36)\u003cbr\u003e8. 4th Mvt.: Allegro (3:21)\u003cbr\u003e9. 5th Mvt.: Allegretto (7:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 \u0026amp; 23 December 1937 ∙ Matrices: 022708\/17 ∙ First issued on\n    Telefunken SK 2424\/8\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e10. \u003cstrong\u003eBERLIOZ Roman Carnival Overture \u003c\/strong\u003e(8:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 December 1937 ∙ Matrices: 022676\/7∙ First issued on Telefunken\n    SK 2489\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (76:52)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eFRANCK Psyché et Eros \u003c\/strong\u003e(7:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23 December 1937 ∙ Matrices: 022718\/9 ∙ First issued on Telefunken\n    SK 2463\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n        TCHAIKOVSKY Symphony No. 6 in B minor, Op. 74 ‘Pathétique’\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Adagio – Allegro non troppo (17:22)\u003cbr\u003e3. 2nd Mvt.: Allegro con grazia (8:09)\u003cbr\u003e4. 3rd Mvt.: Allegro molto vivace (8:41)\u003cbr\u003e5. 4th Mvt.: Adagio lamentoso (8:40)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 \u0026amp; 22 December 1937 ∙ Matrices: 022666\/75 ∙ First issued on\n    Telefunken SK 2214\/8\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e TCHAIKOVSKY Serenade for Strings, Op. 48\u003c\/strong\u003e\u003cbr\u003e6. 1st Mvt.: Pezzo in forma di sonatina: Andante non troppo – Allegro\n    moderato (9:01)\u003cbr\u003e7. 2nd Mvt.: Valse: Moderato – Tempo di valse (4:01)\u003cbr\u003e8. 3rd Mvt.: Élégie: Larghetto elegiaco (7:30)\u003cbr\u003e9. 4th Mvt.: Finale (Tema russo) – Andante – Allegro con spirito (5:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 November 1938 ∙ Matrices: 023643\/8 ∙ First issued on Telefunken\n    SK 2901\/3\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eConcertgebouw Orchestra of Amsterdam\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Willem Mengelberg\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\n        Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll recordings made in the Grote Zaal, Concertgebouw, Amsterdam except\n    Beethoven Symphony No. 5, made in the Kleine Zaal\n\n\u003cbr\u003eCover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\n\u003cp\u003eTotal duration:  2hr 33:44  \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 2 (1937-38) - PASC664\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG \u003c\/b\u003eThe Concertgebouw Telefunken Recordings, Vol. 2 (1937-38)\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1 (77:29)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n       \n        VIVALDI Concerto No. 8 \n        in A minor from \u003cem\u003eL’estro armonico\u003c\/em\u003e, Op. 3, RV 522\n    \u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\u003cbr\u003e1. Allegro (3:44)\u003cbr\u003e2. Larghetto e spiritoso (4:33)\u003cbr\u003e3. Allegro (2:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded December 1937\n    ∙ Matrices: 022616\/8 ∙ First issued on Telefunken SK 2401\/2\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eLouis Zimmermann, Ferdinand Helman (violins); Henk van Wezel (cello)\n    \u003c\/strong\u003e\n\n\u003c\/p\u003e\n\u003cp\u003e\n    4. \u003cstrong\u003eBACH Air from Orchestral Suite No. 3, BWV 1068\u003c\/strong\u003e (4:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 December 1937 ∙ Matrix: 022665 ∙ First issued on Telefunken\n        SK 2402\n    \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVIVALDI Concerto No. 8 in A minor from \u003cem\u003eL’estro armonico\u003c\/em\u003e, Op.\n        3, RV 522\u003c\/strong\u003e\u003cbr\u003e5. Allegro (3:47)\u003cbr\u003e6. Larghetto e spiritoso (4:37)\u003cbr\u003e7. Allegro (2:30)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 December 1938 ∙ Matrices: 022616-I, 022617-I \u0026amp; 022618-I\n        ∙ First issued on Telefunken SK 2401\/2\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003eLouis Zimmermann, Ferdinand Helman (violins); Henk van Wezel (cello)\n    \u003c\/strong\u003e\n    \u003cstrong\u003e\u003c\/strong\u003e\n\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    8. \u003cstrong\u003eBACH Air from Orchestral Suite No. 3, BWV 1068\u003c\/strong\u003e (4:14)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 December 1938 ∙ Matrix: 022665-I ∙ First issued on\n        Telefunken SK 2402\n    \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 1 in C major, Op. 21\u003c\/strong\u003e\u003cbr\u003e9. 1st Mvt.: Adagio molto - Allegro con brio (7:01)\u003cbr\u003e10. 2nd Mvt.: Andante cantabile con moto (6:46)\u003cbr\u003e11. 3rd Mvt.: Menuetto: Allegro molto e vivace (3:38)\u003cbr\u003e12. 4th Mvt.: Allegro molto e vivace (4:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 November 1938 ∙ Matrices: 023649\/54 ∙ First issued on\n        Telefunken SK 2770\/2\n    \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBEETHOVEN Symphony No. 8 in F major, Op. 93\u003c\/strong\u003e\u003cbr\u003e13. 1st Mvt.: Allegro vivace e con brio (7:39)\u003cbr\u003e14. 2nd Mvt.: Allegretto scherzando (4:15)\u003cbr\u003e15. 3rd Mvt.: Tempo di menuetto (4:48)\u003cbr\u003e16. 4th Mvt.: Allegro vivace (8:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 November 1938 ∙ Matrices: 023663\/8 ∙ First issued on\n        Telefunken SK 2760\/2\n    \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eCD 2 (74:37)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1. \u003cstrong\u003eSCHUBERT Rosamunde - Overture \u003c\/strong\u003e(9:17)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 November 1938 ∙ Matrices: 023713\/4 ∙ First issued on\n        Telefunken SK 3008\n    \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n       BRAHMS Symphony No. 4 in E minor, Op. 98\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Allegro non troppo (12:25)\u003cbr\u003e3. 2nd Mvt.: Andante moderato (11:43)\u003cbr\u003e4. 3rd Mvt.: Allegro giocoso (6:18)\u003cbr\u003e5. 4th Mvt.: Allegro energico e passionato (9:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 - 30 November 1938 ∙ Matrices: 023703\/12 ∙ First issued on\n        Telefunken SK 2773\/7\n   \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    6.\u003cstrong\u003e R. STRAUSS Don Juan, Op. 20 \u003c\/strong\u003e(16:38)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 November 1938 ∙ Matrices: 023659\/62 ∙ First issued on\n        Telefunken SK 2743\/4\n  \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    7.\n    \u003cstrong\u003e\n        DEBUSSY Prélude à l’après-midi d’un faune\n    \u003c\/strong\u003e\n    (8:24)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 December 1938 ∙ Matrices: 023715\/6 ∙ First issued on\n        Telefunken SK 2955\n   \n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eConcertgebouw Orchestra of Amsterdam\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003econducted by Willem Mengelberg\u003c\/strong\u003e\n\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Michael Gartz and Charles Niss for\n        providing source material and to Michael Gray for discographic help\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAll recordings made in the Grote Zaal, Concertgebouw, Amsterdam\n\n\u003c\/p\u003e\n\u003cp\u003eTotal duration:  2hr 32:06 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 3 (1938-40) - PASC686\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG \u003c\/b\u003eThe Concertgebouw Telefunken Recordings, Vol. 3 (1938-40)\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1 (74:27)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    1.\n    \n        \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eTRADITIONAL Wilhelmus van Nassouwe\u003c\/span\u003e \u003c\/strong\u003e(orch. Mengelberg)\n    \n    (2:20)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 December 1938 ∙ Matrix: 023717-I ∙ First issued on Telefunken NK\n    1965\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eVALERIUS Niederl\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eä\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003endisches Dankgebet\u003c\/span\u003e\u003c\/strong\u003e    (orch. Wagenaar) (1:58)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 December 1938 ∙ Matrix: 023718 ∙ First issued on Telefunken NK\n    1965\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN Symphony No. 4 \n        in B flat major, Op. 60\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e3. 1st Mvt.: Adagio – Allegro vivace (9:10)\u003cbr\u003e4. 2nd Mvt.: Adagio (11:29)\u003cbr\u003e5. 3rd Mvt.: Allegro vivace (4:52)\u003cbr\u003e6. 4th Mvt.: Allegro ma non troppo (7:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1-2 December 1938 ∙ Matrices: 023719\/26 ∙ First issued on\n    Telefunken SK 2794\/7\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003cspan style=\"font-size: 18px;\"\u003eBRAHMS Symphony No. 2 in D major, Op. 73\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e7. 1st Mvt.: Allegro non troppo (13:11)\u003cbr\u003e8. 2nd Mvt.: Adagio non troppo (9:31)\u003cbr\u003e9. 3rd Mvt.: Allegretto grazioso (5:08)\u003cbr\u003e10. 4th Mvt.: Allegro con spirito (9:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9-11 April 1940 ∙ Matrices: 024858\/67 ∙ First issued on Telefunken\n    SK 3075\/9\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 2 (50:21)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDOPPER Ciaconna gotica\u003c\/span\u003e\u003c\/strong\u003e    \u003cstrong\u003e \u003c\/strong\u003e(19:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 April 1940 ∙ Matrices: 024876, 024877, 024878-II, 024879 \u0026amp;\n    024880 ∙ First issued on Telefunken SK 3155\/7\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    2.\u003cstrong\u003e \u003cspan style=\"font-size: 18px;\"\u003eR. MENGELBERG Salve Regina\u003c\/span\u003e \u003c\/strong\u003e\n    (11:03)\u003cbr\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 April 1940 · Matrices: 024882\/4 · First issued on Telefunken SK\n    3084\/5\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    3.\u003cstrong\u003e \u003cspan style=\"font-size: 18px;\"\u003eANDRIESSEN Magna res est amor \u003c\/span\u003e\u003c\/strong\u003e\n    (4:11)\u003cbr\u003e\u003cb\u003eJo Vincent\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 April 1940 · Matrix: 024885 · First issued on Telefunken SK\n    3085\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n    4.\n    \u003cstrong\u003e\n        \u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY Ouverture solennelle ‘1812’\u003c\/span\u003e\n    \u003c\/strong\u003e\n    (15:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 April 1940 ∙ Matrices: 024872\/5 ∙ First issued on\n        Telefunken SK 3080\/1\u003c\/span\u003e\n    \n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcertgebouw Orchestra of Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by Willem Mengelberg\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    Producer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll recordings made in the Grote Zaal, Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 4:49\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 4 (1940-41) - PASC719\u003c\/summary\u003e\u003cp\u003e\n    \u003cstrong\u003e\n        \u003c\/strong\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG \u003c\/b\u003eThe Concertgebouw Telefunken Recordings, Vol. 4\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 1\n        (59:20)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \n        \u003cstrong\u003eBEETHOVEN Symphony No. 3 in E-flat major, Op. 55  “Eroica”\u003cbr\u003e\u003c\/strong\u003e1.         1st  Mvt.:  Allegro con brio (14:26)\u003cbr\u003e2.         2nd Mvt.:  Marcia funebre:  Adagio assai (15:58)\u003cbr\u003e3.         3rd  Mvt.:  Scherzo:  Allegro vivace (3:58)\u003cbr\u003e4.         4th  Mvt.:  Allegro molto (11:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 November 1940 ∙ Matrices: 025350\/61 ∙ First  issued on\n        Telefunken SK 3117\/22\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRÖNTGEN Old Netherlands Dances, Op. 46\u003cbr\u003e\u003c\/strong\u003e5.         No. 5 – Bergerette – Les grands  douleurs (2:11)\u003cbr\u003e6.         No.  6 – Pavane – Les quercarde (2:25)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 11 November 1940 ∙ Matrix: 025362 ∙ First issued on  Telefunken\n        SK 3157\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e7. \u003cstrong\u003eWAGNER  Die Meistersinger von N\u003c\/strong\u003e\u003cstrong\u003eü\u003c\/strong\u003e\u003cstrong\u003ernberg \n    – Overture \u003c\/strong\u003e(9:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 13 November 1940 ∙ Matrices: 025377\/8 ∙ First  issued on\n        Telefunken SK 3137\n    \n\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCD 2\n        (77:35)\n    \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n    \u003cstrong\u003eFRANCK Symphony in D minor\u003cbr\u003e\u003c\/strong\u003e1.         1st  Mvt.:  Lento – Allegro non troppo (16:16)\u003cbr\u003e2.         2nd  Mvt.:  Allegretto (9:35)\u003cbr\u003e3.         3rd  Mvt.:  Allegro non troppo (9:23)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12-13 November 1940 ∙ Matrices: 025367\/73 ∙ First  issued on\n        Telefunken SK 3145\/9\n    \n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eR. STRAUSS  Ein Heldenleben, Op. 40\u003cbr\u003e\u003c\/strong\u003e4.         The  Hero (4:18)\u003cbr\u003e5.         The  Hero’s Adversaries (3:17)\u003cbr\u003e6.         The  Hero’s Companion (11:08)\u003cbr\u003e7.         The  Hero’s Battlefield (8:40)\u003cbr\u003e8.         The  Hero’s Works of Peace (4:13)\u003cbr\u003e9. The Hero’s Retreat from the World and Fulfilment\n    (10:41)\u003cbr\u003e\u003cstrong\u003eFerdinand Helman\u003c\/strong\u003e, solo violin\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 April 1941 ∙ Matrices: 025639\/48 ∙ First issued  on Telefunken\n    SK 3181\/5\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eConcertgebouw Orchestra of Amsterdam\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eWillem Mengelberg\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer:  Mark Obert-Thorn\u003cbr\u003eSpecial  thanks to Nathan Brown and Charles Niss for providing source\n    material\u003cbr\u003eAll  recordings made in the Grote Zaal, Concertgebouw, Amsterdam\u003c\/p\u003e\n\u003cp\u003eTotal duration: 2hr 16:56\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 5 (1941-42) - PASC751\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG \u003c\/b\u003eTelefunken Recordings, Volume 5\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCD 1 (67:40)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6 in B minor, Op. 74 ‘Pathétique’ \u003c\/span\u003e\u003cbr\u003e1.    1st Mvt.:  Adagio – Allegro non troppo (16:58)\u003cbr\u003e2.    2nd Mvt.:  Allegro con grazia (8:19)\u003cbr\u003e3.    3rd Mvt.:  Allegro molto vivace (8:49)\u003cbr\u003e4.    4th Mvt.:  Adagio lamentoso (9:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22 April 1941 ∙ Matrices: 022666-IV, 022667-III, 022668-III, 022669-II, 022670-II, 022671-III, 022672-IV, 022673-III, 022674-II \u0026amp; 022675-III ∙ First issued on Telefunken SK 3176\/80\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e5.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eR. STRAUSS\u003c\/b\u003e  Death and Transfiguration, Op. 24\u003c\/span\u003e (23:55)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 14 April 1942 ∙ Matrices: 026403\/8 ∙ First issued on Telefunken SK 3738\/40\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCD 2 (77:48)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eSymphony No. 9 in E minor, Op. 95 ‘From the New World’\u003c\/span\u003e\u003cbr\u003e1.    1st Mvt.:  Adagio – Allegro molto (8:36)\u003cbr\u003e2.    2nd Mvt.:  Largo (12:59)\u003cbr\u003e3.    3rd Mvt.:  Scherzo: Molto vivace  (7:29)\u003cbr\u003e4.    4th Mvt.:  Finale: Allegro con fuoco (10:26)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 23-24 April 1941 ∙ Matrices: 025649\/58 ∙ First issued on Telefunken SK 3190\/4\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e5.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBORODIN \u003c\/b\u003eIn the Steppes of Central Asia\u003c\/span\u003e (7:11)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 25 April 1941 ∙ Matrices: 025667\/8 ∙ First issued on Telefunken SK 3198\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003cbr\u003e6.    1st Mvt.:  Allegro con brio (7:51)\u003cbr\u003e7.    2nd Mvt.:  Andante con moto (9:13)\u003cbr\u003e8.    3rd Mvt.:  Allegro (5:12)\u003cbr\u003e9.    4th Mvt.:  Allegro (8:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 15 April 1942 ∙ Matrices: 022110-II, 022111-II, 022112-II, 022113-I, 022114-I or VII, 022115-II or VI, 022116-I or X \u0026amp; 022117-I or III ∙ First issued on Capitol P-8110 (LP)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eProducer and Audio Restoration Engineer:  \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eAll recordings made in the Grote Zaal, Concertgebouw\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 25:28\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 6 (1942-43) - PASC776\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eMENGELBERG \u003c\/b\u003eTelefunken Recordings, Volume 6\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eCD 1 (72:15)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa damnation de Faust, Op. 24\u003c\/span\u003e\u003cbr\u003e\r\n1.    Menuet des Follets (5:50)\u003cbr\u003e\r\n2.    Danse des Sylphes (2:40)\u003cbr\u003e\r\n3.    Marche hongroise (4:21)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 April 1942 ∙ Matrices: 026409\/11 ∙ First issued on Telefunken SK 3243\/4\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n4.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eWAGENAAR \u003c\/b\u003eCyrano de Bergerac, Overture, Op. 23\u003c\/span\u003e (13:33)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 April 1942 ∙ Matrices: 026412\/5 ∙ First issued on Telefunken SK 3744\/5\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n5.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eMarche militaire No. 1, D733\u003c\/span\u003e (4:33)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 April 1942 ∙ Matrix: 026416 ∙ First issued on Telefunken SK 3244\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n6.    \u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eTragic Overture, Op. 81\u003c\/span\u003e (14:37)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 April 1942 ∙ Matrices: 026417\/20 ∙ First issued on Telefunken SK 3327\/8\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eThe Creatures of Prometheus, Op. 43\u003c\/span\u003e\u003cbr\u003e\r\n7.    Overture (4:46)\u003cbr\u003e\r\n8.    No. 16 - Finale: Allegretto (4:49)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 November 1942 ∙ Matrices: 027008\/9 ∙ First issued on Capitol P 8078 (LP)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eThe Ruins of Athens, Op. 113\u003c\/span\u003e\u003cbr\u003e\r\n9.    No. 4 – Turkish March (3:08)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1 November 1942 ∙ Matrix: 027010 ∙ First issued on Telefunken SK 3713\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eMOZART \u003c\/b\u003eSerenade No. 13 in G major, K525 ‘Eine kleine Nachtmusik’\u003c\/span\u003e\u003cbr\u003e\r\n10.    1st Mvt.:  Allegro (3:42)\u003cbr\u003e\r\n11.    2nd Mvt.:  Romance: Andante (4:27)\u003cbr\u003e\r\n12.    3rd Mvt.:  Menuetto: Allegretto (1:55)\u003cbr\u003e\r\n13.    4th Mvt.:  Rondo: Allegro (3:48)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 November 1942 ∙ Matrices: 027011\/4 ∙ First issued on Telefunken SK 3750\/1\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cb\u003eCD 2 (73:37)\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 9 in C major, D944\u003c\/span\u003e\u003cbr\u003e\r\n1.    1st Mvt.:  Andante – Allegro ma non troppo (12:39)\u003cbr\u003e\r\n2.    2nd Mvt.:  Andante con moto (14:19)\u003cbr\u003e\r\n3.    3rd Mvt.:  Scherzo: Allegro vivace – Trio (11:52)\u003cbr\u003e\r\n4.    4th Mvt.:  Finale: Allegro vivace (11:55)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16-17 June 1943 ∙ Matrices: 026989\/026997 \u0026amp; 026999\/027001 ∙ First issued on Telefunken SK 3341\/6\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eSCHUBERT \u003c\/b\u003eSymphony No. 8 in B minor, D759 ‘Unfinished’\u003c\/span\u003e\u003cbr\u003e\r\n5.    1st Mvt.:  Allegro moderato (11:11)\u003cbr\u003e\r\n6.    2nd Mvt.:  Andante con moto (11:38)\u003cbr\u003e\r\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 17 June 1943 ∙ Matrices: 027002\/7 ∙ First issued on Telefunken SK 3352\/4\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eConcertgebouw Orchestra of Amsterdam\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\r\n\u003cspan style=\"font-size: 18px;\"\u003econducted by \u003cb\u003eWillem Mengelberg\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\r\n\r\nProducer and Audio Restoration Engineer:  \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003e\r\nSpecial thanks to Ward Marston for providing source material\u003cbr\u003e\r\nAll recordings made in the Grote Zaal, Concertgebouw\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 25:52\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\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_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc624\"\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 1 (1937-38) - PASC624 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc664\"\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 2 (1937-38) - PASC664 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc686\"\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 3 (1938-40) - PASC686 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc719\"\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 4 (1940-41) - PASC719 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc751\"\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 5 (1941-42) - PASC751 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc776\"\u003eMENGELBERG The Concertgebouw Telefunken Recordings, Vol. 6 (1942-43) - PASC776 — cover art\u003c\/a\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab3_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":"12 CDs with cases \u0026 artwork (+MP3)","offer_id":60826628096334,"sku":null,"price":210.0,"currency_code":"EUR","in_stock":true},{"title":"12 CDs only in plastic sleeve (+MP3)","offer_id":60826629636430,"sku":null,"price":150.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX051_53248af4-3f9e-4d6c-b9de-943a5317b23d.jpg?v=1789482931","url":"https:\/\/www.pristineclassical.com\/products\/pabx051-cd","provider":"Pristine Classical","version":"1.0","type":"link"}