{"product_id":"pabx055","title":"PABLO CASALS - The Pristine Collection - PABX055","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 18px;\"\u003e\u003cb\u003eBACH\u003c\/b\u003e Suites for Solo Cello, BWV 1007–1012\u003cbr\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102; Cello Sonata No. 2 in F major, Op. 99\u003cbr\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e Cello Sonata No. 4 in A, G4\u003cbr\u003e\u003cb\u003eDVOŘÁK\u003c\/b\u003e Cello Concerto in B minor (1937 and 1960 recordings; the latter in stereo)\u003cbr\u003e\u003cb\u003eELGAR\u003c\/b\u003e Cello Concerto in E minor, Op. 85\u003cbr\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A minor, Op. 129\u003cbr\u003e\u003cb\u003eSCHUBERT\u003c\/b\u003e Piano Trio No. 1 in B flat, D898\u003cbr\u003eShorter works by \u003cb\u003eFAURÉ\u003c\/b\u003e, \u003cb\u003eGODARD\u003c\/b\u003e, \u003cb\u003eGRANADOS\u003c\/b\u003e and \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"font-size: 12px;\"\u003eStudio and live recordings, 1926–1960\u003cbr\u003eTotal duration: 6:13:29\u003c\/p\u003e\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eJacques Thibaud\u003c\/b\u003e, violin\u003cbr\u003e\u003cb\u003eAlfred Cortot\u003c\/b\u003e, piano and conductor of the \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBlas Net\u003c\/b\u003e, \u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e and \u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cb\u003eCzech Philharmonic Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eGeorge Szell\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003c\/b\u003e, conducted by \u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003c\/b\u003e, conducted by \u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM021.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCasals' finest recordings as never heard before\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eXR remastering strips away the decades to reveal incredible detail and nuance\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003eWhen one considers all of the recordings made in the \npost-1925 electrical recording era, but before the development of full \nfrequency range recordings in the 1940s, there can be few instruments \nmore suited to the restrictions of the technology at the time than the \ncello. The range of frequencies required to capture it well, thanks to \nits low register, generally falls within the capabilities of 1930 disc \nrecording, and this makes it a prime candidate for XR remastering. I've \nalready had considerable success with Casals - his 1938 recording of the\n Dvorák Cello Concerto (PASC 246) beat all others, old and new, to \nbecome Gramophone's recommended recording of the work in February 2011.\u003cbr\u003e\u003cbr\u003eHowever, nothing prepared me for the possibilities lying\n hidden in the grooves of his Cello Suites recordings of 1936 to 1939, \nwhich have surpassed all expectations. I was already familiar with \nissues on both EMI and Naxos (the latter a considerable improvement on \nthe former), but neither offers the listener the full-bodied tone of \nCasals' cello, the crispness of his sound, the sense of immediacy and \nclarity which lay hidden in these recordings for so many decades.\u003cbr\u003e\u003cbr\u003eMy first task was to take the disparate recordings and \nbring some homogeneity to the sound of the instrument - each suite was \ninitially processed separately, using a common reference in order to \niron out differences in the recording equipment and locations used \nduring the recording sessions. Thereafter I brought them together to \ncontinue what was at times a tricky restoration - revealing so much \nmusical detail also reveals much else that is unwanted. Occasionally \nthis may still be heard, but it should not distract you from one of the \nmost remarkable restorations it has been my pleasure to undertake.\u003cem\u003e\u003cbr\u003e\u003cbr\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eClassic cello recordings from one of the all-time greats\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eCasals sounds incredibly fresh in these new XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThe major concerto recordings of Pablo Casals, in particular that of the Dvorák \u003cem\u003eCello Concerto\u003c\/em\u003e of 1937, have been staples of the classical catalogue ever since their original releases. At the time of writing there are several issues available in different transfers by different labels, and it is surely fair, therefore, to ask why the world needs yet another transfer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe truth of the matter is that this release came out of an instance of pure curiosity on my part. I had received, in amongst a major collection of LP records, a vinyl transcription of the Dvorák on a white-label test pressing that appeared to have been barely, if ever, played. I confess I have no idea whether this transfer was released, and if so, when - it was simply to serve as a quick and easy means of subjecting the recording to an XR remastering test - I certainly was not expecting the results of this to merit issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, the LP transfer turned out to be much better than I had expected, and the XR remastering brought such new life to it that I decided to persevere with it, needing only to drop in a couple of short sections from alternative sources where top-end quality was less than excellent. Sitting close by was another test pressing, this time the Boccherini \u003cem\u003eCello Concerto No 9\u003c\/em\u003e with Casals conducting and Maurice Gendron playing. Investigations suggested that this was the first time Boccherini's original - rather than Grützmacher's bastardised version - had been recorded, and that it dated from 1958 but appeared since to have disappeared from the catalogue. I quickly got to work on this stereo recording with the intention of partnering it with the Dvorák, only to discover at the last minute that the erudite and well-respected author of the notes from which I'd taken the recording date was out by a matter of two years, and that the recording itself would remain in copyright until 2012.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eTurning - in need of some other recording to add to this release - to the Pristine Audio collection of 78s, I dug out the older recording of Brahm's \u003cem\u003eDouble Concerto\u003c\/em\u003e. As it dates from 1929 my hopes were less high than for the Dvorák, but despite some noisier sides I was extremely impressed with how these came out. The XR process not only opened out upper frequencies and harmonics beyond those normally heard, it also unleashed an unusually rich acoustic from the recording venue which had been somewhat squashed before.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe \u003cem\u003eDouble Concerto \u003c\/em\u003erecording contains clues as to why the XR process can be so successful in reviving older cello recordings - whereas the cello's harmonics are generally quite well represented in the limited frequency range of 1929 recording equipment, there are points where Thibaud's highest harmonics have a tendency to distort and thus produce a less pleasant sound. That said, it's still a remarkably clear and balanced recording for its day, and now far clearer and cleaner than ever before.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFinally, as a result of recent diligent cataloguing work of the darker recesses of our collection by our archivist, I discovered the Boccherini disc tucked away in a large album of mixed 78s and in very good condition. As it was recorded in Barcelona shortly after the Brahms I decided to add it to the concerto recordings as a kind of musical stepping stone between the larger works. Again the remastering process brought out much clarity, warmth and a lovely reverberant acoustic to complement the instruments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\n    \"Pablo Casals is probably the most astonishing figure of any musician of our\n    day, all the more astonishing because everything he achieves is so simple\n    and is always naturally right; and it may be because he has the most\n    sensitive ear possible, and he uses it all the time. But, of course, his\n    also very passionate nature, which he has entirely under control, is\n    probably, with his upbringing, the cause of his greatness. He is a most\n    typical Catalan, which must not be confused with Spaniards proper - they\n    are as different as the Celts are from the Anglo-Saxons - and you must know\n    that the education there is all in the hands of the monks, who give their\n    pupils a complete training in Gregorian Music, which is a wonderful\n    foundation to any musical training. As a matter of fact, Casals wrote a\n    number of choral works in his youth, and a cycle, called The Twelve Months,\n    which I heard two summers ago when I was spending my holiday at Vendrell\n    (Casals' native town near Tarragona), and which contains some lovely music.\n    He wanted to be a composer, and although he studied the violin first he was\n    attracted towards the 'cello only because, when he saw one for the first\n    time at his father's house, he thought the shape of it was so fine! He does\n    not spend much time on practising the 'cello, but he learns everything\n    mentally from the score. Conducting is really what he enjoys most, and,\n    apart from his work, what he likes best is to be at San Salvador by the sea\n    smoking his pipe after lunch at the little casino (only a cafe), where he\n    plays games of \u003ci\u003etrezilio \u003c\/i\u003e(a most complicated card game) with his friends\n    during the holidays.\n\u003c\/p\u003e\n\u003cp\u003e\n    I had the pleasure of spending a wonderful day there two years ago on the\n    occasion of a fete that was given to Casals by the \"Commune,\" to which he\n    had presented a piece of ground on the sea front to be used for the\n    national dance - the \u003ci\u003eSardana\u003c\/i\u003e. Casals was at the height of happiness, all\n    the people there gathered on the new \"Place Publique,\" where the Cobla of\n    Barcelona had assembled and was going to play the ritual music - for\n    Catalans the \u003ci\u003eSardana \u003c\/i\u003eis almost a religious rite - it is the most\n    reverential form of dancing I have watched; men dance it together with very\n    serious expressions; women join in the happy circle as the dance goes on,\n    and the whole effect is most impressive. As an expression of rhythm it is\n    also unequalled.\n\u003c\/p\u003e\n\u003cp\u003e\n    This little snapshot I took just before the dance began shows Casals with\n    his two nieces-his violinist brother Enrique's children. Casals, who thinks\n    also a great deal of sport, has built a tennis court next to his villa, and\n    as it is the only one for miles around, he allows anybody who likes to come\n    and play on it. He himself used to play a very good game although he had so\n    little training, but his head work was so strong that he always managed to\n    score. As he wrote on [\u003ci\u003ea\u003c\/i\u003e] photograph of the Trio taken years ago with the\n    Hungarian composer, Em. Moor, \"C'est moi qui gagne \" - which is Casals'\n    real motto.\"\u003c\/p\u003e\n\u003cp\u003e\n    \u003cb\u003eAndré Mangeot\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, December 1927\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-style: italic;\"\u003e(André Louis Mangeot (25 August 1883 – 11 September 1970) was a French-born violinist and impresario. He founded the International String Quartet in 1919, to which he invited the young John Barbirolli to become its cellist. This specialised in modern works, especially by young British composers. They made the first recording of Maurice Ravel’s String Quartet in 1927 and collaborated in the first (broadcast) performance of Benjamin Britten’s Phantasy Quartet in 1933. Later he formed the André Mangeot Quartet in 1947.)\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe late genius of Pablo Casals - his first and his final post-war concerto recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eLive festival recordings - including the much sought-after stereo Dvorák from Puerto Rico in 1960\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eAt the end of the Second World War, Pablo Casals \nhoped that the Allied forces which had just ousted Hitler would now turn\n their attention to removing the dictator Franco from Spain. When they \nshowed no inclination to do so, he broke off a London recording session \nof the Haydn D Major Cello Concerto in October, 1945 and withdrew to his\n French home in Prades near the Spanish border, vowing not to perform \npublicly again until democracy was restored to his homeland.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eHe was drawn out of his self-imposed silence by \nBudapest Quartet violinist Alexander Schneider, who first approached him\n for coaching help with the Bach violin suites, and who later suggested \nholding a festival in Prades to mark the 200th anniversary of Bach’s \ndeath in 1950. American Columbia was brought in to make recordings, a \nseries which continued as the festival expanded its purview beyond Bach \nand moved to larger quarters in nearby Perpignan in 1951, returning to \nPrades the following year.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eWhile Casals had conducted and played in chamber \nmusic performances, the Schumann from the 1953 festival was his first \nconcerto recording as a soloist since the aborted Haydn set. \nInterestingly, master accompanist Eugene Ormandy was not credited on the\n original LP, nor on its first reissue in the budget-priced Odyssey \nseries, probably for contractual reasons. In 1957, a new series of \nCasals festivals was begun in Puerto Rico, where the cellist had \nrecently married and made his home. It was there that his final concerto\n recording was made.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThe Dvořák has an interesting history. Recorded by \nEverest during the 1960 Puerto Rico festival, it remained unapproved \nwhen the label changed hands shortly thereafter. The new owners found \nthe tape in a box and issued it, believing they owned the rights. Casals\n promptly sued to have the release withdrawn, claiming it damaged his \nreputation. It has never subsequently been reissued in any authorized \nedition from the Everest masters, although a couple European CD \nreleases, apparently transferred from monaural sources, have appeared. \nThe original suppressed LP is now a highly sought-after collector’s \nitem. I was fortunate to have two stereo pressings in good condition to \nwork from for the present transfer. (The first note, incidentally, is \nclipped on the original recording.)\u003c\/p\u003e\n\u003cp class=\"western\"\u003eWhile Casals is admittedly not in top form, his \nperformance brings to mind Dr. Johnson’s famous Eighteenth Century \nwitticism likening a woman preaching to a dog walking on its hind legs \n(“It is not done well; but you are surprised to find it done at all.”) \nConsidering that he was in his 84th year at the time, it is a remarkable\n achievement; and Schneider’s heartfelt, sympathetic accompaniment \nmatches his soloist like the veteran chamber player he was. It’s an \nautumnal reading quite different from Casals’s brisker 1937 recording \nwith Szell (Pristine PASC 246), and one which despite its flaws deserves\n to be heard.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\u003e\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThibaud, Cortot \u0026amp; Casals play Schubert\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e1926 classic remastered for finest sound quality\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe legendary trio of Cortot, Thibaud and Casals is woefully \nunder-represented in the recording catalogue. Each a major artist in his\n own right, the trio came together for a month each year to tour between\n 1907 and 1934 (when split due to political differences). And yet they \nonly recorded seven pieces, between 1926 and 1929 - two Trios by \nBeethoven, and one a piece by Haydn, Mendelssohn, Schubert and Schumann,\n together with Brahms' Double Concerto with Cortot at the baton.\u003cbr\u003e\u003cp\u003e\u003cbr\u003e\n Of these recordings, the Schubert was the first, recorded in July 1926.\n This session ran so well and so smoothly that the trio, who'd always \nconcentrated on the perfection of a relatively limited repertoire, was \nable to record Beethoven's Kakadu Variations and the same time.\u003cbr\u003e\u003cbr\u003eDespite\n the age of the recording and the use of very early electric recording \ntechnology - microphones were introduced into the recording process \ncommercially in 1925 - this remains an amazingly powerful and valuable \nrecord of one of the great trios of all time. Every exquisite nuance of \nplaying, phrasing and timing is preserved for the listener's enjoyment, \nand what residual surface noise remains is quickly forgotten in this \nmagical performance.\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\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\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074\u003c\/summary\u003e\u003cul\u003e\u003c\/ul\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH \u003c\/b\u003eSuites for Solo Cello, BVW 1007-1012\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan style=\"font-size: x-small;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif;\"\u003e\u003cspan\u003eSuite 1: Paris, 2 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3671-3673\u003cbr\u003eSuites 2 \u0026amp; 3: Abbey Road, London, 25 November 1936, issued in Bach Society Volume 6, DB.3399-3404\u003cbr\u003eSuites 4 \u0026amp; 5: Paris, 13 June 1939, Eng. M. Cailly, issued in Bach Society Volume 8, DB.6538-6540\u003cbr\u003eSuite 6: Paris, 3 June 1938, Eng. M. Cailly, issued in Bach Society Volume 7, DB.3674-3677\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, February 2011\u003cbr\u003e Cover artwork based on a photograph of Pablo Casals\u003cbr\u003eTotal duration: 2hr 9:56\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246\u003c\/summary\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e Double Concerto for Violin and Cello, Op. 102\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e Jacques Thibaud, \u003c\/b\u003eviolin\u003cbr\u003e \u003cb\u003ePablo Casals Orchestra\u003c\/b\u003e \u003cb\u003e\u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e Alfred Cortot\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded in Barcelona, 10-11 May, 1929. First issued as HMV DB1311014, matrices CJ2156-63 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBOCCHERINI\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Sonata No. 4 in A, G4 \u003c\/span\u003e\u003cbr\u003e \u003cb\u003eBlas Net,\u003c\/b\u003e piano\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded in Barcelona, 16-17 June, 1929. First issued as HMV DB1392, matrices CJ2275-6 \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVORAK\u003c\/b\u003e \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"bodybigblue\"\u003eCello Concerto in B minor, B191\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cb\u003eCzech Philharmonic Orchestra \u003cbr\u003e \u003c\/b\u003econductor\u003cb\u003e George Szell\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded in Prague, 28 April, 1937. First issued as HMV DB3288-92, matrices 2HC220-9 \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cb\u003ePablo Casals, \u003c\/b\u003ecello\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTransfer \u0026amp; XR remastering by Andrew Rose at Pristine Audio, September 2010\u003cbr\u003eCover artwork based on a photograph of Pablo Casals\u003cbr\u003e\u003cbr\u003eTotal duration: 75:27 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648\u003c\/summary\u003e\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eCASALS \u003c\/b\u003eplays Elgar \u0026amp; Brahms\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eELGAR \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Concerto in E minor, Op. 85 \u003c\/span\u003e\u003cbr\u003e1. 1st mvt. - Adagio; Moderato  (7:39)\u003cbr\u003e2. 2nd mvt. - Lento; Allegro molto  (4:52)\u003cbr\u003e3. 3rd mvt. - Adagio  (4:03)\u003cbr\u003e4. 4th mvt. - Allegro; Moderato; Allegro, ma non troppo; Poco più lento; Adagio  (11:15)\u003cbr\u003e\u003cb\u003eBBC Symphony Orchestra\u003c\/b\u003e \u003cbr\u003econducted by \u003cb\u003eSir Adrian Boult\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 14 October 1945\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Sonata No. 2 in F major, Op. 99 \u003c\/span\u003e\u003cbr\u003e5. 1st mvt. - Allegro vivace  (9:29)\u003cbr\u003e6. 2nd mvt. - Adagio affettuoso  (8:06)\u003cbr\u003e7. 3rd mvt. - Allegro passionato  (7:49)\u003cbr\u003e8. 4th mvt. - Allegro molto  (4:29)\u003cbr\u003e\u003cb\u003eMieczyslaw Horszowski\u003c\/b\u003e, piano\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 November 1936\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eBONUS TRACKS\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e9. \u003cb\u003eFAURÉ-CASALS\u003c\/b\u003e Après un rêve  (3:03)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e10. \u003cb\u003eGODARD \u003c\/b\u003eBerceuse (from Jocelyn)  (4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 20 January 1926\u003c\/span\u003e\u003cbr\u003e11. \u003cb\u003eGRANADOS-CASSADÓ\u003c\/b\u003e Goyescas - Intermezzo  (4:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 28 February 1927\u003c\/span\u003e\u003cbr\u003e12. \u003cb\u003eSAINT-SAËNS\u003c\/b\u003e The Swan (from Carnival of the Animals)  (2:44)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003erec. 31 January 1928\u003c\/span\u003e\u003cbr\u003e\u003cb\u003eNicolai Mednikov\u003c\/b\u003e, piano\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePau Casals\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR Remastered by  Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Pau Casals taken in 1917\u003cbr\u003e\u003cbr\u003eTotal duration: 72:42  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401\u003c\/summary\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN\u003c\/b\u003e Cello Concerto in A Minor, Op. 129\u003cbr\u003e\u003cb\u003eEugene Ormandy\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePrades Festival Orchestra\u003cbr\u003e\u003c\/b\u003eRecorded 28 May 1953 in L’Église St-Pierre, Prades\u003cbr\u003eFirst issued on Columbia ML-4926\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eDVOŘÁK \u003c\/b\u003eCello Concerto in B Minor, Op. 104 (\u003cem\u003eSTEREO recording\u003c\/em\u003e) \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003eAlexander Schneider\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFestival Casals Orchestra of Puerto Rico\u003cbr\u003e\u003c\/b\u003eLive recording, Spring, 1960, in the Theatre of the University of Puerto Rico, San Juan\u003cbr\u003eFirst issued on Everest SDBR 3083\u003c\/p\u003e\n\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003ePablo Casals \u003c\/b\u003e cello\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003c\/details\u003e\u003cdetails class=\"pristine-vbs-volume\"\u003e\u003csummary\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021\u003c\/summary\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\u003eSCHUBERT \u003c\/b\u003ePiano Trio No 1 in B flat, D898\u003cspan style=\"font-size: small;\"\u003e\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 5-6 July 1926, Kingsway Hall, London.\u003cbr\u003eReleased as HMV 78s, D.B. 947-950\u003cbr\u003eMatrix numbers: CR533 - CR540 (all 1st takes) (also numbered 08273-08280)\u003cbr\u003eCR540 uses the alternate (A) cutting of the 1st take.\u003cbr\u003eDuration 30:55\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb\u003eJacques Thibaud, \u003c\/b\u003eviolin\u003cb\u003e \u003cbr\u003e Alfred Cortot, \u003c\/b\u003epiano\u003cbr\u003e\u003cb\u003ePablo Casals\u003c\/b\u003e, cello\u003c\/span\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\/pacm074\"\u003eCASALS Bach: Suites for Solo Cello (1936-39) - PACM074 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc246\"\u003eCASALS plays Brahms, Dvorák and Boccherini (1929\/37) - PASC246 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc648\"\u003eCASALS plays Elgar \u0026amp; Brahms (1926-1945) - PASC648 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pasc401\"\u003eCASALS Schumann, Dvorak: Cello Concertos (1953\/60) - PASC401 — cover art\u003c\/a\u003e\u003c\/p\u003e\u003cp\u003e\u003ca href=\"https:\/\/www.pristineclassical.com\/products\/pacm021\"\u003eTHIBAUD, CORTOT, CASALS Schubert: Piano Trio No. 1 (1926) - PACM021 — 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":"16-bit FLAC","offer_id":60913298080078,"sku":null,"price":66.0,"currency_code":"EUR","in_stock":true},{"title":"MP3","offer_id":60913298145614,"sku":null,"price":54.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PABX055.jpg?v=1790075242","url":"https:\/\/www.pristineclassical.com\/products\/pabx055","provider":"Pristine Classical","version":"1.0","type":"link"}