FREE BEETHOVEN
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A FREE 128k MP3
BEETHOVEN
Symphonies 4 & 5
Mengelberg
Concertgebouw
1940
CLASSIC REVIEW:
Pristine's Andrew Rose continues his traversal of Mengelberg's live 1940 Beethoven cycle, with (once again) amazing results. Applying his XR remastering system to mint Philips LPs, Rose's transfers (after some poor sound at the beginning of the Fourth Symphony, owing to damage to the original acetate source) far surpass the quality of any previous CD release, including Philips's own.
The first movement of No. 4 (with exposition repeat) is rich and weighty, with Mengelberg's characteristic highly polished sheen to the orchestral tone, together with minutely detailed characterization to the end of clarifying phrase structure-listen, for example, to the way the main theme is subjected to constant tempo manipulation and rhetorical emphases, or his leisurely swinging into the second theme. Yet along with such license, there is a remarkable feeling of authentically classical elegance deriving from his phenomenal rhythmic control. The Adagio is notable for its operatic vividness of "vocal" phrasing (the main theme memorably molded, with more agogic manipulations than you would think the music can take, but Mengelberg makes it work). The Scherzo achieves a remarkable balance between whiplash snap with graceful shapeliness. The finale (with exposition repeat) is again unhurried, with time for nuanced shaping, and tremendous bite and articulacy.
The first movement of the Fifth is deliberate, though very flexible, and notable for his highly calculated intensification of rhetorical underlining as the movement progresses-most obviously in the increasingly dramatized treatment of the motto at each appearance, but also in more subtly structural ways, as in the degree of controlled accelerando he applies toward the closing section of exposition and recapitulation. The exposition repeat is not observed (surprisingly, given both his generosity with repeats elsewhere in this cycle, and his observance of it in the Telefunken studio recording of a few years before). His obsessive clarity of phrase articulation reaches rare heights of ferocity in the coda. At 10:07, the Andante is a whole minute slower than the brisk 1937 studio version, and a miracle of grace, fluidity, and pungent clarity-for a small example, hear the woodwind arabesques at bars 132 ff., combining minutely nuanced shaping with an extraordinary singing freedom. The Scherzo is phrased in long arcs, continued in an exceptionally fluid account of the Trio. The finale combines massive rhetorical freedom, at a constantly ebbing and flowing tempo, with articulation of phenomenal precision. The orchestra members play as if their lives depended on it; I don't think it's reading too much into these performances to hear in them the same kind of anxiety-tinged edge to the musical intensity that distinguished Furtwängler's wartime concerts. At the same time, the German maestro's (1943) conception of Beethoven's symphonic drama remained something altogether loftier, more idealized, less personal and idiosyncratic than the Dutchman's, reflected in his more seamless, gradual approach to tempo adjustment. At the other extreme, Toscanini's straight-ahead, uncompromising 1939 treatment-for all its incandescence-comes across as comparatively lacking in complexity and nuance.
If you don't know these performances, you're in for a uniquely exciting and rewarding Beethovenian experience. If you do, you'll hear them with new ears in these revelatory transfers..
Boyd Pomeroy
FANFARE Mar/Apr 2011
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PASC 236
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LATEST REVIEW
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25 November 2012
Fiedler's Brahms
by Gary Lemco
"Historic Brahms performances by a "living witness" to that composer's style, though less "authentic" than often startlingly original in energetic conception"
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Conductor Max Fiedler (1859-1939), along with conductor Fritz Steinbach (1855-1916), has come to be known as a Brahms interpreter uncommonly close to the tradition the composer himself embodied. Unfortunately, Steinbach left no recorded legacy, though conductors Adrian Boult and Arturo Toscanini claimed him as a powerful influence on their Brahms performances. Pristine, however, through the restoration efforts of Mark Obert-Thorn, resurrects the 1930-1940 mostly Grammophone shellacs that reveal to us Fiedler's idiosyncratic vision of Brahms, a willful and often immensely energized Brahms of power and conviction.
Historians often argue that Fritz Steinbach took a relatively conservative approach to the Romantic repertory, and as such influenced the classically-minded Felix Weingartner. Fiedler's more liberal, metrically-subjective approach cannot claim the same "authenticity," but it certainly provides a specific atavistic realization of the Brahms scores that communicates warmth and spontaneity of feeling. The Academic Festival Overture (rec. 1931) provides an instant case in point: athletic, driven, and prone to sudden advances and retreats in tempo that must be felt as liberal responses to the Brahms ethos that wants to break free of the composer's own emotional restraints. We find similar "deviations" from the letter of the composer in Bruno Walter and Dimitri Mitropoulos, without our necessarily censuring their efforts. Besides, Fiedler, too, often releases inner voices and harmonic counterpoints that others bypass or elide, strictly to emphasize melodic continuity.
The D Major Symphony (rec. 1931, for Polydor), among the composer's sunniest scores, enjoys wonderful forward motion and persuasive sympathy. Fiedler credited Hans von Bulow as his own model for the shaping of the Brahms periods, but the resonant colors Fiedler achieves strike me as singularly his own. The long arches that no less emphasize the resilience of the interior contrapuntal phrases seem a cross between Walter and Toscanini; when the luftpausen and rubati apply, we move closer to the Brahms world that Willem Mengelberg bequeathed us. The Adagio generates a "genial melancholy," if that is not too paradoxical. The sudden storm in the midst of reflection attains some vividly lyric outpourings by strings and winds in Fiedler's Berlin Philharmonic. The Intermezzo enjoys a plastic transparency that lightens the mood until it, too, undergoes a brief moment of passion in the midst of otherwise bucolic musings. The robust elan of the last movement Allegro con spirito rather basks in the tempo adjustments Fiedler imposes in the course of its lyric outpourings. Fiedler graduates the snarling and darkly grumbling lower voices so they soon ascend, ineluctably, to an explosion of joyful ardor, perhaps a consciously volatile rebuttal to Hugo Wolf's criticism that Brahms could not exult.
Fielder's approach to the Fourth Symphony (rec. 1930 for Grammophone, but here taken from American Brunswicks) urges its monumental dignity, its gloomy Spartan nobility. Fiedler rocks the rising and falling thirds with discrete moments of metric tugging, affecting the essentially lyrical effluvium surrounded by an excess of "learned" tissue. On the other hand, few conductors have brought out the Schubert influence, the country laendler element, with such thoughtful affection. The deliberately maestoso coda that suddenly leaps forward suggests a sleeping tiger hiding among contrapuntal vines. Equally monumental, the Fiedler Andante confirms the opinion of Richard Strauss, who called it "a funeral procession moving in silence across moonlit heights." The sheer melancholy warmth of the BSOO cello line warrants the price of admission. This remains a sturdy, passionate account by any standard. The muscular Allegro giocoso declares itself a scherzo with no apologies, the colors intensely accented and driven with hearty vigor. Fiedler imbues the last movement passacaglia with solemn majesty, careful to underline the irregular agogics and sudden thrusts that impel this ancient form to new relevance. String tremolandi and strettos take on particular impact under Fiedler, and his brass periods convey a heft and pomp we miss from many a glib current recording.
The Brahms B-flat Concerto with Elly Ney (1882-1968) was inscribed in two distinct sessions, of which only the first (1-5 June 1939) actually "belong" to Max Fiedler. Ney's unhappiness with some takes resulted in a projected date to re-record; but Fiedler's death in December 1939 forced the producers at Grammophon to hire an uncredited conductor (Alois Melichar?) for the second set (29 April 1940) of takes with Ney. The hybrid (duly noted by Mark Obert-Thorn in the accompanying booklet) still projects a loving vision of the composer's "symphony with piano obbligato," lyrical and phrased with ripe, rounded periods and imaginative fire, if not note-perfect digital accuracy. Rather, the pearly play and broad grandeur of the conception of Ney's playing commands our attention. The Andante movement features lovely singing dialogues between an intimate Ney and first cellist Hungarian virtuoso Tibor de Machula (1912-1982). Taken quite literally, the last movement plays Allegretto grazioso, of which the first three minutes belongs to Fiedler. For the Brahms connoiuseur, these performances supply precious moments for our sense of stylistic evolution and musicianship in the grand manner.
PASC 363 (72:20)
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CONTENTS
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Editorial The onward march of digital music
Cortot Chopin & Debussy - Prelude recordings, 1930-33
Klemperer Beethoven Symphonies 4-6, Große Fuge
PADA Liszt Piano Transcriptions, played by Egon Petri
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The onward march of what they're calling "digital"
Though surely CDs have been digital for 30 years?... This week we have the second of our Klemperer Beethoven three-parter, bringing together the complete symphonies in his classic late 1950s stereo EMI recordings, and sounding better than ever before. And because it's my birthday today and I'm feeling particularly jolly, I'm giving away a free 24-bit FLAC download of the First Symphony from the series so you can test it out with a digital replay system of your choice - see below for further details. The Klemperer series, as discussed here a couple of weeks ago, was certainly well made in its day. But those 1950s recordings can sound a little flat by modern standards, which is where XR remastering comes in, and why we're undertaking the present series. I'm currently listening to the finale of the Fifth as I type these words, in its 24-bit version, and by golly does it sound amazing! For those who demand the very best this series is a must. By contrast the 1930s recordings of Alfred Cortot present greater challenges to the remastering engineer. I can't recall now the number of times I've started remastering Cortot's solo piano recordings of this era, only to give up and move on to something "easier". For all sorts of reasons technical and sonic the results I was achieving weren't up to the standards I'd hoped for, and I've had to apologise to a number correspondents for the lack of these classic recordings in our catalogue over the years. But, as always, technology continues to advance apace, and I think we're finally ready to get to work on Monsieur Cortot and his piano. Alfred Cortot made four complete recordings of the Chopin Preludes, Op. 28, and it is the second of those, made in 1933-34, which I've started with. (The 1926 recording is brilliantly played and fascinating, but technically some way inferior - though I may come back to it in due course, the recommended remastering of this for now has to be the Naxos issue). I've coupled the Chopin with Book One of Debussy's Preludes, recorded a couple of years earlier (and a little more noisily, I'm afraid). Again the Debussy was later re-recorded, just once in this case in October 1949, but for many it's perhaps the earlier incarnation which offers greater pianistic delights. A very selective musician when he wanted to be, Cortot had no time for Debussy's second book of Preludes, and never recorded anything from it! What we hear now, thanks to these new remasters, is a fullness and solidity of tone from Cortot's piano that has never been heard before: the sense of a real instrument in the room with you, being played by a living pianist, in contrast to the somewhat dim, distant sound of previous issues (even the very latest from EMI, I'm sorry to say) is quite incredible to hear. I strongly recommend the Ambient Stereo issue of the Cortot release, which you can sample in an MP3 download below (which consists of three Chopin and four Debussy Preludes). I felt that the dead sound of the original acoustic (not the instrument) would benefit from a little assistance, in the shape of the small recital hall at Santa Cecilia in Rome. The sympathetic resonances of the room contribute greatly to the sense of life and place in these remasters - thus whilst Cortot and his piano remains centrally mono, he has a space around his instrument that deserves two loudspeakers. But whichever you personally prefer, true mono or Ambient Stereo, this really is a must for all piano lovers. Just as our Schnabel Beethoven was rapturously received for what pitch stabilisation and XR remastering did for it - forcing some critics to completely re-evaluate their approach to him -so I expect a great response to this Cortot. It really is very special indeed. We're all going digital now, aren't we?Some times it's been a little lonely living "ahead of the curve" with respect to digital music systems which eschew discs, tapes and other "hard" media. Just as downloading music seemed obvious to me back in 2004 (when legal options to do so were almost nil, and very few were actively interested in classical downloading), the adoption of what the media and press like to call "digital" feels like it's still getting started, but is surely just as inevitable too. It really niggles me that journalists refer to a switch to MP3s, FLACs and digital downloads as "going digital" - after all, what do they think is stored on all those CDs and DVDs they've got weighing their shelves down? It certainly isn't analogue data! But I suppose if they're going to have to use some kind of easy shorthand for this ongoing digital revolution I'm not likely to be able to change the choice of terminology single-handedly. One example that change is afoot comes in the technical pages of Gramophone magazine, where a once-sniffy section editor has grown visibly more enthusiastic about hard-drive based replay over recent years. But perhaps this month's new issue is the first to review what you might rather unfairly call a computer sound-card. (I confess I don't read every issue from cover to cover, so I might have missed something, but I do think this is a first for them.) I certainly didn't ever expect to read this kind of thing back in the 80s when I fired up my first Sinclair home computer - it's a £215 USB "soundcard", for want of a better word, roughly the size of a memory stick, which you plug into your PC or laptop for superior sound output: "...AudioQuest provided a 5m length of its Big Sur interconnect for this test, terminated with a 3.5mm stereo plug at one end to suit the DragonFly's output and two standard phono plugs at the other for my amplifier, so I was able to test the unit both as a headphone amplifier and through my main system. In both implementations it proved highly convincing, driving my B&W P3 headphones extremely well and sounding really rather good when connected in through a line input on my Naim SuperNait amplifier and then out to the big PMC speakers. Using a variety of software players, the DragonFly made my MacBook Pro sound every bit like a proper CD player and, even more amazingly, sounded more than respectable when used with a £200 netbook I sometimes use for travelling.
The netbook is a bit noisier (in the electrical sense) than the MBP but the sound quality possible through this little DAC is still remarkable: big, powerful and tight bass, gorgeous dynamics and an excellent tonality for voices and instruments alike, allied to excellent bite and treble sparkle. It's a sound one could willingly enjoy as part of a main home hi-fi system, provided you don't mind a cable snaking from computer to hi-fi. As a means of driving a pair of headphones from a computer, either while travelling or just for some private listening, this little device is simply excellent..." Meanwhile the computer companies seem to be quietly moving on the opportunities this digital music revolution, coupled with ever faster and wider Internet access, offers the consumer. This week I've been busy with Google Play. It's a potentially game-changing free service which builds on Apple's iTunes model to offer truly useful functionality both for mobile and home music listeners. Although it launched a little earlier in the US, it's only very recently arrived here in Europe, and I'm unsure of the availability elsewhere yet. First of all it's a music download store. Nothing remarkable about that - iTunes has been doing the same for a long time. Some folk suggest it's a little cheaper than Apple's offering. But I can now buy and download music directly onto my Android phone (which iTunes doesn't allow), rather than having to buy an iPhone or iPad for mobile music shopping. Frankly that's not so important to me though - I usually shop right here in the studio! What it also comes with is a pretty massive free online music depository. Once you've installed Google's Play software on your PC or Mac you can ask it to scan folders and directories of your choosing on your computer system and upload all the music tracks to their "cloud" storage system. Rather generously, they've allowed all users enough free storage for up to 20,000 music tracks from their own systems - supplemented by any purchases made from their own music store. The system supports a variety of formats, including the MP3s and FLACs which Pristine offers. In the case of the latter, and other high resolution formats, Google converts these to 320kbps MP3 before upload. This makes for smaller files, allowing for direct streaming to a wider range of online connections. And it's the direct streaming which is the key here. Wherever you are with an Internet connection (of suitable bandwidth) you can log into Google Play through a web browser and access your complete music collection - assuming it runs to less than 20,000 tracks and you've uploaded them all to Google's free space. If you have an Android device (Google's mobile phone operating system is now by far the most popular on smartphones around the world) you can install a small music player app which deals directly with your Google Play recordings - these appear on your phone alongside any music already stored on the phone whenever you have an Internet connection, and can be played at the touch of the screen. The software caches music ahead, so you shouldn't experience immediate dropout from an intermittent Internet connection, and allows too for gapless playback. You can also choose to download any of your online music files to your phone and keep them there for those times when you can't connect - such as on a plane flight. An alternative but similar idea I've written about before comes in the shape of AudioGalaxy. In this case, again you install some software on your PC or Mac which scans your disk drives for music files, supports multiple formats (MP3, AAC, ALAC, FLAC, WMA, and OGG), and allows you remote access from a player on your mobile phone (which allows you to download content to your phone), as well as online replay wherever you are. But this service deviates from Google in two major ways: 1 - they're not selling you any music; 2 - your music is delivered (via AudioGalaxy) directly from your own hard drive. The latter is the crucial bit: there's no uploading to a remote server, and thus no limits on the number of tracks you can handle, but it does require you to have your PC always online and the AudioGalaxy software running in order to access any of your music files. If your home connection drops off whilst you're listening from the other side of the globe your music will stop playing. And your home Internet connection may be slightly less reliable than Google's! It seems Songbird is getting in this kind of act too. What started life as a free open-source music player is now going down the 'social media' route too, coupled with a cloud service somewhat akin to Google's. But even if you're not using it on the move, the desktop versions of this player are good for PC and Mac users alike, handling a wide range of music formats and concentrating solely on music replay - unlike the iTunes approach. It's a definite recommend for a straightforward free music player - albeit with options which potentially take it much wider than this. Finally our old friend XBMC, the audio-video replay all-rounder with a rather steep initial learning curve (and no real technical support!) that handles just about any audio or video format I can find, and sits at the heart of our home system here at Pristine. XBMC is about to see yet another major update, with version 12.0 (Froyo) currently in the first beta test phase. With big screen writing, designed for viewing across the room on your TV set, rather than up close on your PC monitor, and with an interface that's as easily useable with a TV remote as it is with a keyboard, I know its logic has thrown a few people who've tried it. I do believe it's getting simpler to install and set up, and I do think it's worth the investment of time and effort to get started if this is what you want. It's solid, stable, and being constantly improved. And once you've told it where to find your music and video files and its scanned your folders, when you switch from viewing files and folders to browsing XBMC's libraries everything starts to make sense. By comparison to all of these, and other replay software out there, iTunes is starting to look rather long in the tooth (* see latest update news below), and remains annoyingly restrictive, though it too is connected to a "cloud" service which you might find useful. I do occasionally use it for music shopping, but never for replay nor transferring music to my iPod ( Media Monkey handles that much more easily and reliably on my Windows PC). Perhaps the main problem with it is that iTunes tries to do too much in one place - a Jack of all trades but master of none. And unless you jump through a whole load of hoops it will refuse to recognise this week's little giveaway to readers of this column - a 24-bit 48k FLAC download of Beethoven's First Symphony, played by the Philharmonia Orchestra under Otto Klemperer, and culled from our first volume of the Klemperer Beethoven symphonies.  So if you're already set up digitally - or if you fancy wrestling with this in your spare time (and please see our online files and the software suppliers instructions for any assistance here!) - then click here for a free download. It's in the same zipped format as all our FLAC downloads, with artwork and a score. Take it for a spin and see how you get on. As this e-mail will be archived for posterity I don't promise the link will work for ever, but we'll keep it up for a good while. Good luck - and remember, it's all about enjoying the music, however you choose to listen! Andrew Rose (age 44!)
30 November 2012
*STOP PRESS: Apple has in the last 24 hours released an updated version of iTunes, which now stands at version 11.0. I've been unable to test this out properly yet you so will reserve judgement. Suffice to say it still won't play your FLAC files.
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Cortot's brilliant 1930s recordings of Chopin and Debussy Preludes
Truly superb sound quality in these newly 32-bit XR remastered recordings
 CHOPIN
24 Preludes, Op. 28
DEBUSSY
Preludes, Book 1
Recorded 1930-34
Producer and Audio Restoration Engineer: Andrew Rose
Alfred Cortot piano
Web page: PAKM 059
Short Notes
"His complete recording of them seven years ago has a place in gramophone history; the significance of this set is in what good piano recording of to-day has been able to do for it. It tells tremendously, of course, in such as Nos. 8, 12, the middle part of No. 15 (the "raindrops"), and No. 19. Those, indeed, are the ones that most move me to marvel; No.8 can only be compared to lightning, or to a rapid, crystal-clear stream scintillating in the sun..."
- C. M. Crabtree, The Gramophone, March 1934
Cortot's recordings of the Chopin and Debussy Preludes are rightly the stuff of legend - superlative playing and exquisite interpretation set a bar almost impossibly high to follow.
Now you can hear these fabulous recordings in sound quality that finally does justice to the performer, brought to incredible new life with Pristine's 32-bit XR remastering; this album is spellbinding from start to finish.
Notes On this recording
I've attempted on a number of occasions to work on the solo piano recordings Alfred Cortot left us in the earlier years of electrical recordings, but on previous occasions found my source material lacking, or my technical resources not up to the job. There is little point reworking this repertoire unless and until one can bring something really special to it.
That is what this volume, which I hope will be the first of many, has I hope achieved. For the first time the vagaries of 1930s pitch stability have been treatable, bringing an iron-like stability and solidity to Cortot's piano. This, coupled with the re-equalisation of 32-bit XR remastering, brings Cortot's instrument back to life as never before. I've also used the sympathetic resonances of the small recital hall at Santa Cecilia in Rome to further bring a sense of "being there" to the sound of these unsurpassed performances, and for this reason would recommend listeners to the Ambient Stereo editions of this release - they retain the mono integrity of the original recording whilst offering breathing space around the intrument.
As with our remastering of Schnabel's Beethoven sonatas, the combination of these approaches will surely allow those already familiar with these recordings to hear them almost afresh, to re-evaluate Cortot's artistry again, and greatly enhance the pleasure of listening to one of the greatest of pianists at his very finest.
Andrew Rose
MP3 Sample Preludes - Seven complete
Listen
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Ambient Stereo MP3
Mono 16-bit FLAC
Ambient Stereo 16-bit FLAC
Ambient Stereo 24-bit FLAC
CD purchase links and all other information:
PAKM 059 - webpage at Pristine Classical
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Klemperer's classic Beethoven Symphony Cycle:
The middle set, Nos 4-6
Unprecedented sound quality in these new 32-bit XR-remastered transfers
 BEETHOVEN
Symphony No. 4
Symphony No. 5
Symphony No. 6 'Pastoral'
Große Fuge
The Philharmonia Orchestra
Otto Klemperer conductor
Recorded 1956-59, stereo
Producer and Audio Restoration Engineer: Andrew Rose
Web page: PASC 369
Short Notes
"This seemed to me a performance of the utmost integrity in the monaural version. The stereophonic one is even more impressive, and, of course, much more realistic. As you listen, you become conscious that the instruments are in their accustomed places, with an interesting exception to which I shall come in a moment, and that they show no tendency to move about. Stereophonically this record is a huge success."
- RF, The Gramophone, 1958
Recorded in the highest quality with the advent of stereo in mind, Klemperer's Beethoven cycle with the Philharmonia Orchestra is one of the highlights of the early LP era. These XR-remastered reissues blow the dust off the limits of 1950s sound technology to offer as close to a 21st century sonic experience as can be imagined for these classic recordings, to truly stunning effect - this album is worth it for the finale of the Fifth alone!
Notes on this recording
It's true to say that these recordings were very well made for their day - better perhaps than the Brahms which had preceded them. XR remastering here isn't a question of rescuing a dismal historic artefact; rather it's a case of eliciting the very finest sound quality possible from from fine source material - digging deep into the bass for added richness; opening out oft-constricted strings; lifting a veil from the upper treble. In short, whilst the current EMI transfers are perfectly acceptable representations of what was possible in 1956-59, these Pristine remastering offer us what more could have been heard had Klemperer and the Philharmonia had a 21st century recording facility to work with. It's one of those classic series of recordings which merit the very best sound quality - and which should stand thus in every collection.
Andrew Rose
Review Symphony No. 6, stereo LP issue
This seemed to me a performance of the utmost integrity in the monaural version. The stereophonic one is even more impressive, and, of course, much more realistic. As you listen, you become conscious that the instruments are in their accustomed places, with an interesting exception to which I shall come in a moment, and that they show no tendency to move about. Stereophonically this record is a huge success. The second violins are not in their usual place. Most English conductors put them behind the first violins, on the left of the platform so that the bellies of the instruments are facing the audience. But in the old days they were usually put at the front on the right, so that the audience could enjoy visually as well as aurally antiphonal effects between the two groups of violins on opposite sides of the platform. Sir Adrian Boult is one of the few modern conductors who preserves this traditional layout, and he affirms that composers in the classical period often wrote with it in mind. The disadvantage is that the second violins cannot hope to produce so full a tone as the firsts because the bellies of their instruments are facing backwards away from the audience, and certainly for sound radio and for monaural records it would seem preferable to have firsts and seconds together on the left, producing their maximum tone. But what about binaural records? For the first time in the world of canned music the antiphonal effect becomes a possibility. How conductors are going to react remains to be seen, but Klemperer for one seems happy to use the old layout with the second violins on his right. A passage like the opening of the Storm movement in the Pastoral certainly profits from this arrangement. RF, The Gramophone, October 1958
MP3 Sample All three first movements!
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Stereo MP3
Stereo 16-bit FLAC
Stereo 24-bit FLAC
CD purchase links and all other information:
PASC 369 - webpage at Pristine Classical
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Egon Petri plays Liszt Transcriptions
 | | Egon Petri |
PADA Exclusives
Streamed MP3s you can also download
LISZT Piano Transcriptions
Midsummer Night's Dream,
Beethoven's Adelaide,
Faust Waltz,
Mephisto Waltz (arr.Busoni),
Marriage of Figaro
Egon Petri piano
Recorded 18 June 1956 for Westminster LP XWN-18844
Transfers by Dr. John Duffy Additional restoration by Andrew Rose Over 500 PADA Exclusives recordings are available for high-quality streamed listening and free 224kbps MP3 download to all subscribers. PADA Exclusives are not available on CD and are additional to our main catalogue.  Subscriptions start from €1 per week for PADA Exclusives only listening and download access. A full subscription to PADA Premium gets you all this plus unlimited streamed listening access to all Pristine Classical recordings for just €10 per month, with a free 1 week introductory trial.
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