{"product_id":"pasc773","title":"SABATA New York Broadcasts (1951) - PASC773","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture, The School for Scandal\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 8\u003cbr\u003e\u003cb\u003eWAGNER\u003c\/b\u003e Die Meistersinger von Nürnberg - Prelude\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Parsifal - Prelude to Act I\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Parsifal - Good Friday Spell\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Tristan und Isolde - Prelude and Liebestod\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Götterdämmerung - Brünnhilde’s Immolation Scene\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert recordings, 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e2hr 26:35\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eClaudio Arrau\u003c\/b\u003e, piano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003eEileen Farrell\u003c\/b\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003cb\u003eVictor de Sabata\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC773.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eIn March 1951 Victor de Sabata appeared at Carnegie Hall as guest conductor of the Philharmonic-Symphony Orchestra of New York, in a group of concerts later drawn upon for CBS broadcast. The dates given here are the concert dates, not the broadcast dates. The broadcasts themselves came later, introduced on air by Jim Fassett, and were edited from the original programmes.\u003c\/p\u003e\n\n\u003cp\u003eThe first concert represented here took place on 18 March 1951, with Claudio Arrau as soloist. The printed programme also included Debussy’s \u003cem\u003eIberia\u003c\/em\u003e, but the CBS transcription preserved here gives us Barber’s \u003cem\u003eOverture to The School for Scandal, Op. 5\u003c\/em\u003e, Schumann’s Piano Concerto in A minor, and Beethoven’s Symphony No. 8 in F major. De Sabata was making his first guest appearance of the season with the orchestra, and contemporary criticism was fascinated, if not entirely persuaded, by his personality on the podium. Olin Downes heard a conductor of strong effects, concerned less with literal textual polish than with atmosphere, colour and dramatic projection.\u003c\/p\u003e\n\n\u003cp\u003eBarber’s overture was still a relatively modern American score in 1951, composed in 1932 and inspired by Sheridan’s comedy. It is an ideal curtain-raiser: quick-witted, brilliantly scored and full of theatrical sparkle. In this context it also reminds us that De Sabata’s visit was not simply a parade of old-world Austro-German monuments. He could bring his operatic instinct for character and timing to a score whose energy depends on precision, brightness and lift.\u003c\/p\u003e\n\n\u003cp\u003eSchumann’s Piano Concerto placed De Sabata alongside Claudio Arrau, one of the great serious pianists of the age. Arrau’s playing was sometimes described in terms of intellectual weight and classical restraint, qualities that suit a concerto which resists empty display. Schumann’s soloist is not a conquering hero set against the orchestra, but a poetic presence woven into it. The critic found Arrau a little held back on this occasion, yet the surviving performance allows us to hear the meeting of two large musical temperaments: Arrau’s inward gravity and De Sabata’s taste for colour and expressive surge.\u003c\/p\u003e\n\n\u003cp\u003eBeethoven’s Eighth Symphony completed the surviving part of the 18 March programme. Compact, energetic and often slyly comic, it is a work whose apparent lightness can deceive. Its wit is structural, rhythmic and dramatic, and in De Sabata’s hands it becomes less a polite Classical interlude than a finely sprung orchestral mechanism, alert to sudden turns and flashes of temperament.\u003c\/p\u003e\n\n\u003cp\u003eThe second concert heard here took place on Easter Sunday afternoon, 25 March 1951, and was devoted to Wagner, with Eileen Farrell as soloist. This concert followed an orchestral-only Wagner programme earlier in the same period, which perhaps explains the slightly tangled trail left by the contemporary reviews. The printed 25 March programme included \u003cem\u003eForest Murmurs\u003c\/em\u003e from \u003cem\u003eSiegfried\u003c\/em\u003e, but the edited CBS transcription heard here centres on the Prelude to \u003cem\u003eDie Meistersinger von Nürnberg\u003c\/em\u003e, the Prelude to Act I and Good Friday Spell from \u003cem\u003eParsifal\u003c\/em\u003e, the Prelude and Liebestod from \u003cem\u003eTristan und Isolde\u003c\/em\u003e, and Brünnhilde’s Immolation Scene from \u003cem\u003eGötterdämmerung\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eFarrell was warmly received. Her Wagner singing was praised for its fullness, warmth and command, and the source recording captures her with particular success. The \u003cem\u003eTristan\u003c\/em\u003e and \u003cem\u003eGötterdämmerung\u003c\/em\u003e excerpts demand not only power but breadth of line and emotional concentration, and Farrell brings both scale and human warmth to music that can too easily become merely monumental.\u003c\/p\u003e\n\n\u003cp\u003eThe orchestral Wagner reveals De Sabata at his most characteristic: grand, theatrical, sometimes extravagant, but never anonymous. One critic thought him happiest when able to “shake the roof”; another heard vitality even where refinement was not the principal virtue. These performances confirm that impression. De Sabata’s Wagner is not neutral, devotional wallpaper. It is painted in dark colour, strong gesture and high relief.\u003c\/p\u003e\n\n\u003cp\u003eThe original tapes had suffered considerable degradation, but this has been successfully addressed in the present XR remastering. The resulting sound from both concerts is excellent for its age and source, with the vocal material especially vivid. Ambient Stereo has been used to open the acoustic without falsifying the historical character of the recordings: Carnegie Hall, great artists, broadcast microphones, and interpretative risk caught in the act.\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"font-size: 24px;\"\u003e\u003cb\u003eDE SABATA\u003c\/b\u003e New York Broadcasts, 1951\u003c\/p\u003e\n\n\u003cp style=\"font-size: 18px;\"\u003e\n\u003c\/p\u003e\u003cp style=\"font-size: 18px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDisc one   (71:54)\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e1. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Introduction\u003c\/span\u003e\u003c\/em\u003e   (1:45)\u003cbr\u003e\n2. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eOverture, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe School for Scandal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e, Op. 5\u003c\/span\u003e   (9:51)\n\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Piano Concerto in A minor, Op. 54\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e3. \u003cspan style=\"font-size: 16px;\"\u003e1st mvt. - Allegro affettuoso\u003c\/span\u003e   (16:26)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n4. \u003cspan style=\"font-size: 16px;\"\u003e2nd mvt. - Intermezzo: Andantino grazioso\u003c\/span\u003e   (5:45)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n5. \u003cspan style=\"font-size: 16px;\"\u003e3rd mvt. - Allegro vivace\u003c\/span\u003e   (11:46)\u003cbr\u003e\u003c\/span\u003e\u003cb\u003eClaudio Arrau\u003c\/b\u003e, piano\u003c\/p\u003e\n\n\u003cp style=\"font-size: 16px;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e6. \u003cspan style=\"font-size: 16px;\"\u003e1st mvt. - Allegro vivace e con brio\u003c\/span\u003e   (9:29)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n7. \u003cspan style=\"font-size: 16px;\"\u003e2nd mvt. - Allegretto scherzando\u003c\/span\u003e   (3:47)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n8. \u003cspan style=\"font-size: 16px;\"\u003e3rd mvt. - Tempo di menuetto\u003c\/span\u003e   (4:35)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n9. \u003cspan style=\"font-size: 16px;\"\u003e4th mvt. - Allegro vivace\u003c\/span\u003e   (7:28)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\n10. \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Conclusion\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 12px;\"\u003e   (1:02)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 14px;\"\u003e\u003cb\u003eDisc two   (74:41)\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e1. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Introduction\u003c\/span\u003e\u003c\/em\u003e   (1:30)\u003cbr\u003e\n2. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eDie Meistersinger von Nürnberg\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude\u003c\/span\u003e   (9:48)\u003cbr\u003e\n3. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude to Act I \u003c\/span\u003e  (12:51)\u003cbr\u003e4. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eParsifal\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Good Friday Spell\u003c\/span\u003e   (13:46)\u003cbr\u003e\n5. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eW\u003c\/span\u003e\u003cspan style=\"font-size: 16px;\"\u003eAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eTristan und Isolde\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Prelude and Liebestod\u003c\/span\u003e   (17:44)\u003cbr\u003e6. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cem\u003e\u003cspan style=\"font-size: 16px;\"\u003eGötterdämmerung\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e - Brünnhilde’s Immolation Scene \u003c\/span\u003e  (17:56)\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEileen Farrell\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp style=\"font-size: 12px;\"\u003e\n7. \u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRADIO Conclusion\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 16px;\"\u003e \u003c\/span\u003e  (1:06)\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nconducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVictor de Sabata\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e\n\n\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eXR Remastered by Andrew Rose\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003eLive CBS recordings made at Carnegie Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nRecorded 18 \u0026amp; 25 March 1951\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nBroadcast 25 March \u0026amp; 1 April 1951\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\u003cb\u003eTotal duration: 2hr 26:35\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC773.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC773.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":59855588000078,"sku":null,"price":32.0,"currency_code":"EUR","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":59855588032846,"sku":null,"price":22.0,"currency_code":"EUR","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":59855588065614,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1691\/2535\/files\/PASC773_cc4a82a8-f29c-4c49-b987-eb512b05875d.jpg?v=1781096816","url":"https:\/\/www.pristineclassical.com\/products\/pasc773","provider":"Pristine Classical","version":"1.0","type":"link"}