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Pristine Newsletter - 8 February 2013  
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CALLAS

Tosca

 

Di Stefano
Gobbi
La Scala
de Sabata
1953 
 

CLASSIC REVIEW

Although the words "historic" and "classic" are all too often used to describe any recording more than a few years old which might still be worth hearing they apply with all their original force to this set. Everything came together in the studio to produce a version which grips the listener from start to finish, with no hint of routine, every phrase characterised to perfection, and real theatrical tension. This is due above all to the conductor, Victor de Sabata, who ensures urgency, clarity and apparent spontaneity throughout. Callas and Gobbi are heard at the peak of their form, and comparison with their stereo version in 1964 shows a sad coarsening in both of their performances allied with routine conducting from Georges Prêtre. Even Giuseppe Di Stefano, a very variable artist, is heard at something like his best in the 1953 version; he was replaced by Carlo Bergonzi in the later version.
 
Understandably this 1953 version has been frequently reissued, and not only EMI but also Naxos, Regis, Brilliant, and probably many others, have it in their catalogues. Andrew Rose, who re-mastered the present version, explains that he felt that a new transfer could only be justified if it brought something really special and new to distinguish it from earlier versions. I have not been able to compare it directly with those others but I accept that what is heard here is much more clear and comfortable to listen to as well as more convincing than those I have heard previously. The sound of the voices has astonishing realism, although their closeness can be a little wearing at times, and re-hearing does increase my incomprehension at the ineffectual realisation of the "effects" built into the score in respect of the cannon shot in the first Act, the closing of the window in the second, and the rifle volley in the third. These are part of the score, not extraneous to it, but were treated almost apologetically by Walter Legge, the producer of the set.
 
That is however a common problem with all reissues of this reading. One version or another should be in the collection of any Puccini enthusiast, and I can only say that I have had considerable pleasure from this re-mastering. Memories can be unreliable but this is certainly much superior in my memory to the original discs. There are however two irritations which may make you prefer one of the other reissues. The first - the lack of a libretto or translation - is of minor importance when they are easily available either online or elsewhere. The second is more serious. When the whole opera lasts less than two hours, it seems unfortunate as well as unnecessary to divide Act Two between the two discs. Other versions on CD have Acts Two and Three on the second disc. The change here comes immediately after Vissi d'arte. Admittedly, in the theatre, all too often the tension is dissipated with applause but a gap here is something I can do without when listening at home. Whether this is likely to bother you I cannot say. Certainly if it does not this must be accounted a very fine transfer of a performance which can properly be described as historic and a classic.
  

JOHN SHEPPARD
MUSICWEB OCT 2012     

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NEW REVIEW
Classical CD Review

January 2013
 

Various recordings    

by R.E.B.

  

"these have never sounded better and will amaze those who know previous issues"

 

 

   
 

One usually doesn't associate Arturo Toscanini with music of Sibelius, but his direct approach and attention to detail offer powerful readings. These performances are from NBC studios, Swan of Tuonela and Finlandia broadcast February 18, 1939, Symphony No. 2 and Pohjola's Daughter (Toscanini's only US performance of the work) December 7, 1940. You won't hear rich sonorities because of the venue, but the sound is well-balanced and Andrew Rose's XR remastering works wonders with the many problems of original recordings-these have never sounded better and will amaze those who know previous issues.    

 

PASC 364  ( 70:43)





Music of Ralph Vaughan Williams usually is not associated with Charles Munch, but he turns out to be a remarkable interpreter of his music. This fascinating Pristine Audio CD offers a treasure, a live performance of Symphony No. 8 from a concert in Boston's Tanglewood Berkshire Festival August 2, 1958. This is the first time this performance has appeared on CD, unique in that it features neither a British conductor nor a British orchestra-perhaps a moot point. This is a fresh insightful performance of music that had its premiere May 2, 1956 with Sir John Barbirolli and the Hallé Orchestra. Leopold Stokowski recorded the Scherzo with a pickup orchestra for Capitol in 1956, and his live 1964 Proms performance with the BBC Symphony is available on CD. In 1958, a studio recording was made for EMI with Sir Adrian Boult and the London Philharmonic. This exciting Munch/BSO performance is presented in rich, resonant stereo sound. Broadcast announcements are included for the Vaughan Williams-and he is identified as " Ralph," not "Rafe."

I have long treasured the Ravel/D'Indy recordings featuring pianist Nicole Henriot-Schwweitzer. The French pianist (1925-2001) in 1958 married Albert Schweitzer's nephew; hence her hyphenated name. She had a distinguished career and was a favorite musical collaborator of Munch. These recordings were made in a single day, March 28, 1958. These new transfers were made from audiophile Classic Records 45 rpm single-sided vinyl disks. They sound terrific here, open and spacious, and performances could hardly be bettered. D'Indy's Symphony is unjustly neglected-it should appear more often in concerts-what an enchanting work it is! RCA's issue of this performance on their discontinued Papillion series (available on Arkivmusic) is a dim listening experience compared with Pristine's efforts. The Henriot-Schweitzer/Munch team also made a spectacular recording for RCA of Prokofiev's Concerto No. 2; let us hope Pristine Audio will turn their attention to it. 

 

PASC 368  ( 76:25)






Paul Paray was music director of the Detroit Symphony from 1951 to 1962. During his tenure, he made about 70 recordings for Mercury, many of which are still in the catalog-and have been reviewed on this site. Pristine Audio already has issued many of the Paray recordings in their distinctive XR remastering and this is the final issue in their series. It is important as it contains recordings not issued on Mercury. Mono recordings were made 1954-1955; the single stereo recording-The Parsifal Act I Prelude-was taped in March 1956. Pristine Audio's remastering has provided a welcome "ambient stereo" effect to the mono recordings. Don't expect rich orchestral sound from any of these, but they are important additions to the Paray catalog. With the exception of Flying Dutchman, these are the conductor's only recordings of this repertory.  

 

PASC 367  (75:24)






Hungarian Antal Doráti (1906-1988) was a major figure on America's musical scene after he became an American citizen in 1947. He literally founded the Dallas Symphony in 1945, brought the Minneapolis Symphony to national fame, primarily from his Mercury recordings, when he was its music director (1949-1960), and he rescued Washington's National Symphony from bankruptcy when he was their leader, 1970-1977. And after that, he led the Detroit Symphony 1977-1981. Dorati has always specialized in music of Tchaikovsky and has many near-definitive recordings, particularly the four orchestral suites that he recorded with the New Philharmonia Orchestra for Philips in 1966. He was a favorite in Amsterdam; his 1956 Symphony No. 4 is among the finest, as are his 1975 Nutcracker and 1979 Sleeping Beauty.(there were plans to record Swan Lake with the Concertgebouw Orchestra, but unfortunately this never took place). Pristine Audio's new CD features Dorati with the Minneapolis Symphony, Tchaikovsky's Symphony No. 5, a mono recording made in April 1952, and the works by Albéniz and De Falla listed above, stereo recordings made in 1957. The Minneapolis Symphony is in top form throughout in these dynamic performances, and the mono sound has been enhanced by "ambient stereo." The other works are true stereo, quite spectacular sonically with extended range, clarity and impact. Doráti, unfortunately, rushes all of this music often with exciting results. These are important additions to the Dorati catalog.  

 

PASC 350  (74:40)

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CONTENTS
Editorial     Why and how a NAS works with all your music
Toscanini   The second London Brahms concert
PADA          David Oistrakh plays Hindemith's Violin Concerto

Network music storage - the way forward for you?

Added flexibility for the future, if the price is right          



Toscanini
This week
we return to Toscanini's two Brahms concerts in London, which took place in the Autumn of 1952 at the Royal Festival Hall with the Philharmonia Orchestra, then widely regarded as one of the finest around.

As with the concert of 29th September, which featured the first two Brahms symphonies together with his Tragic Overture, each half of the 1st October concert featured a symphony, with the first half adding the Haydn Variations to the programme.

Once again we've managed to bring together archive BBC commentary with high quality EMI music recordings to help try and convey the fantastic atmosphere of the event.

It seems my guess at Richard Baker as commentator in the first concert was correct, and I had two suggestions for the announcer in the second concert, both BBC veteran newsreaders and announcers: Frank Philips and Alvar Lidell. So I spent some time earlier this week digging around various online sound archives for examples of both commentators' speech patterns, both as announcers and in more casual settings (or, at least, as casual as it ever got in a BBC radio studio in those days!) and decided it must be Frank Philips here, thanks to a slightly lower vocal register than Lidell.

This is of course secondary to the magnificent performances, and, for many, we have here two of Toscanini's finest in this repertoire. For MusicWeb International's reviewer Marc Bridle, this Third Symphony is indeed Toscanini's best ever: "one of the most memorable things Toscanini did in his last years", he wrote in 2000. And when the next paragraph in his review begins "Almost as memorable, in fact, as the astonishing Fourth..." you know it's worth hearing again and again. Once again, XR remastering has worked wonders on these recordings, and anyone who loves either Brahms or Toscanini has to hear this concert in this superb audio quality.




NAS = "Network Attached Storage"

I had an e-mail earlier this week which has prompted some thought and a little research into NAS, a storage technology I've started to take for granted at my home, but appreciate may be something of a knowledge black hole for many readers to this column. Here's an excerpt from that query:

Pristine's Netgear NAS
"I am very attracted to the NAS drive pre-loaded with your entire catalogue. I feel I should have a lifetime of music to enjoy on that. My question is how I will connect it to my Hi-Fi. I am more or less computer illiterate, but my current amplifier [Arcam A38] has an Arcam wireless DAC attached to it, which plays music stored on my laptop remotely.
 
Whilst I would like to use the NAS unit, I am worried that the substantial expense might not justify itself if I cannot easily play the music through my hi-fi. I understand that the device attaches to the Home Hub via a lead. Is it then fed wirelessly to my computer from where it goes wirelessly to the Arcam DAC and then onwards? Or have I misunderstood?
 
Sorry if this seems a bit basic but I would like to buy one of these devices without risking not being able to play the music on it quite easily."



Is a NAS is not the same as a USB external drive?
I suspect that most of those reading this newsletter can easily get their heads around the idea of an external hard drive, something that attaches to their PC most usually using a USB connection. It's a straightforward device, perhaps the size of a packet of playing cards, perhaps bigger. You attach it to your computer and it appears as an extra drive, just like you can with a USB memory stick. The drive can be formatted as you like and it'll hold anything to care to save onto it.

A NAS drive is, in many way, very similar. But instead of attaching it directly to your computer (though this is entirely possible), it normally attaches to a network. In the home this usually means you can attach it to your wi-fi router, or, if you have a wired network, you can plug it into some sort of network hub - in a domestic setting, a little box not dissimilar to a USB hub, simply networking together everything that's plugged into it.

A self-contained mini-PC
Unlike the external USB drive, a NAS actually has a small, relatively low-powered computer built into it. This usually runs on a free operating system called Linux, which handles the unit's drive(s), networking and other basic tasks. In my experience, this goes on transparently - you don't need to learn a new computer system or connect the NAS to a monitor or keyboard to set it up and use it as you would a PC or a Mac. Instead, control over the device takes place in a web browser such as Internet Explorer, Safari or Firefox on your main PC, with the commands being transmitted across the wired or wi-fi network. Normally this is simply a case of "set it and forget it" - once configured as you want, the NAS works on your PC as if it were any other hard drive, and you can read and write data just like you do with an external or internal drive.

So why bother?
Well, first of all a NAS offers independence from any other PC. If you acquire a new amplifier, for example, such as those recently produced by a number of hi-fi companies which include network connectivity, you should find it can "talk" directly to your NAS and play the music stored on it directly, without need of any intervention from your PC. (Some of these devices have additional, optional control applications that can run on a PC or a smartphone, but that's a separate issue.)

Or you may wish to use multiple music devices in different rooms. Again they can communicate directly with the NAS drive if they're logged into your wi-fi. Thus in our house we use a networked wi-fi "radio" in our kitchen which can also play music directly from the NAS. Likewise my iPad can access it, as can my son's PC in his bedroom, and my Samsung Android-powered phone.

Pristine's NAS: The PADMC02
In the case of the NAS we offer as a digital music collection device, pictured above, there are two disc drives slotted into the case. The NAS controls these entirely independently of any PC or Mac, as I've just explained. It formats the drives when they're new, and it maintains them, ensuring each is a perfect copy of the other, so that all of the data is permanently and safely backed-up. None of this is "visible" to the user under normal operation - it doesn't need to be, unless you want to go looking with that browser control panel I talked about earlier. All you see is a single hard drive on your system, it's just that it's busy looking after itself so you don't need to. The NAS is shipped with a complete collection of our FLAC files in all mono, stereo, ambient stereo, 16-bit and 24-bit formats as available, as well as other recordings from our PADA Exclusives MP3 collection.

Connecting to a NAS at home
The question above relates principally to connectivity. How would our correspondent best integrate a NAS into his system?

Right now his laptop holds and plays his music. It connects via a wireless Bluetooth* adaptor to an ingenious Arcam DAC (digital-to-analogue converter), which attaches as an audio source to his amplifier. Unlike the external USB system I use, which is wired directly to my audio PC in the living room, he can use his laptop anywhere within Bluetooth range (around 10 metres) and play music in very high quality from his laptop onto his hi-fi. I admit I'd not seen this Bluetooth DAC before, and I'm very impressed with it. (*I use Bluetooth earphones to play music while I'm cycling to avoid being physically attached to my phone - it's like a short-range kind of wi-fi connection.)

Right now our correspondent's Internet connectivity is, I imagine, coming to his laptop from a wi-fi linked ADSL modem - the thing plugged into the wall socket which connects him to the internet. (Or it may be a modem which then connects to an separate wireless router, which is what I use, and has a number of network sockets on it.) Either way, the NAS connects to the wi-fi transmitter using the standard network cable that comes with it.

Under Windows (the system we mainly use) the NAS then appears, as if by magic, in a list of Network items, from which it can be directly accessed or assigned a disk drive letter. On a Mac the process of connection to a NAS is also very straightforward. Once this connection is established you can start to play any music files stored on the NAS, as well as saving your own recordings or other files onto it, just like any other drive. And any other device which connects to your wi-fi network has, in theory, the capability to play media stored on the NAS, as I described earlier

Wired or wireless? Both, actually...
Now because the NAS sits on our network, here at Pristine we can access ours both on wi-fi and wired networks. All of our five office PCs can use it as an external hard drive, as they're all connected together on our network. And as I've already indicated, because there's a wi-fi element to our network, our NAS can also be accessed anywhere in the building where a wi-fi signal can be received. In addition, thanks to a wi-fi extender, I can even connect to it while I'm out in the garden - even if all our PCs are switched off - and listen to music via my phone's wi-fi connection (on my Sennheiser Bluetooth headphones, of course!). The NAS operates independently of our PCs, and is built for always-on, low-power reliability. Change your PC or laptop and it's still there. Add another replay device, whether it's a PC or a smart TV or a wi-fi pre-amp, and it's still there, a small, simple computer dedicated to the task of looking after your music collection and giving you access to it whenever you want it.

So is NAS right for you?
It won't be the answer for everyone. And it won't make your system sound any better. Whether it's worth investing in will depend on your own needs. Our correspondent already has an external drive attached to his laptop, and this may well suffice. In my case, the ability to locate the drive in a different room, where any noise it may make from cooling fans or whirring drives (it's very quiet but not 100% silent - no computer with moving parts ever is) takes place behind closed doors, is another bonus. I have a music replay PC that is totally silent in my living room, and keeping my music on a NAS several rooms away keeps it so.

In the case here of music on a laptop, already connected to a DAC by a wireless Bluetooth link, wi-fi access to a NAS would mean our correspondent could unplug his external USB drive for good, and then move his laptop around the room, unencumbered by extra boxes and wires, which may have some additional appeal, as would the peace of mind of that permanent back-up. In this scenario, the laptop operates simply as a data conduit between the NAS and the DAC - who knows, at some point he may choose to augment or replace it with a mobile phone or tablet device that can do the same job even more portably, as the latest generation of devices probably could. Ultimately a NAS would be then an investment for the future which offers an added degree of flexibility today over all-in-one solutions, such as the heavily-advertised Brennan JB7, or a simple external USB hard drive. (Just don't throw away that external drive - it'll plug directly into the NAS and appear as an extra drive on your network if you want it...)

So is there a definitive conclusion?
It seems to me that what's best about these new systems and ways of playing and storing music is also potentially their biggest drawback: endless, almost infinite choice and flexibility. By comparison a CD player is a simple device - you pop the disc in and press play. What could be easier? (The tiny "computer" inside it is well hidden from view!) Why change? It ain't broke, why fix it?

The best answer to these questions will be different for everyone. For some it's a question of space: our correspondent is moving into a smaller home where he simply can't accommodate a big music collection on vinyl or CD. I know how I appreciated saying goodbye to shelves full of CDs which never seemed to stay in the right order and de-cluttering my living space. Simply being able to find a recording pretty much instantly has its merits too. For others, perhaps foreseeing where music retail seems inexorably to be heading, the hassle of downloading music and then copying it to CD in order to listen to it is something they'd like to say goodbye to - there's no need if you download direct to your music folder on your NAS. Others too will be intrigued by 24-bit downloads and 96kHz sample rates that CD can't handle but an entirely hard-media-free digital system can.

It's another paradigm shift, then?
Like the change from 78s to LPs, and from LPs to CDs, doing this doesn't necessarily invalidate the old technology, nor does it force you into a trip to the charity store with all your old equipment and discs. The two can easily co-exist. But like those earlier pioneers into vinyl, and then digital CD, once you've had a taste of the new, somehow you might find yourself reluctant to go back; the dust starts to gather on that disc collection and CD player, and you begin to wonder whether the extra clutter is still worth it...


 

Andrew Rose
8 February 2013 
Go Digital

Toscanini's classic second 1952 London Brahms concert in stunning XR-remastered sound

"One of the most memorable things Toscanini did in his last years" - MusicWeb International

 

  

TOSCANINI
in London, Volume 2   
 
BRAHMS
Symphony No. 3
Symphony No. 4
Haydn Variations
 

SIR ADRIAN BOULT 
Interval Talk on Toscanini


Recorded 1952                       

Producer and Audio Restoration Engineer: 

Andrew Rose            

   

The Philharmonia Orchestra
Arturo Toscanini conductor
     
   

 

Web page: PASC 377  

    

  

Short Notes  

  

"This performance of the Third Symphony is the finest Toscanini has left us ... The first movement positively surges, the finale opens in an exhilarating fashion, with strings astoundingly fleet. In between, the contrasts between the melancholic phrasing and wild outbursts are laid bare. Pianissimos are here given suppleness, and the most fearsome fortes seem to come from the core of the earth, so shattering are they. No wonder this performance is one of the most memorable things Toscanini did in his last years."

- MusicWeb International, 2000.

Toscanini's two London concerts of 1952 - both all-Brahms programmes with the Philharmonia Orchestra, produced some of the Maestro's finest performances.

Here we present the second concert in its entirety, with BBC radio announcements, Adrian Boult's interval talk, and Toscanini's sublime music-making sounding utterly fabulous from start to finish. 

          

  

   

  

Notes On this recording   

   

This release quite literally picks up where Volume 1 left off - with the second of Toscanini's two London Brahms concerts, mixing archive BBC radio commentary and high quality EMI music recordings, all benefiting greatly from XR remastering to bring the finest possible sound quality from this historic evening of music. Great care has been taken to try and preserve continuity between the very different sound quality of the two sources and prevent any clunky sonic lurches between high and low fidelity. I've also worked hard on getting maximum clarity from Sir Adrian Boult's short interval talk.

As for the music - well happily this has (post-remastering) a fine, open sound, with great frequency extension both in the high treble and in the rich, warm lower reaches of the orchestra. As with the first volume, the effect is totally transformative: from a constricted, boxed-in, congested and distant sound to something that's positively alive, and appears as a true musical narrative, vibrantly unfolding directly in front of you as you listen today.

Andrew Rose

 

  

Review Symphonies 3 & 4  

   

As I have already suggested, this performance of the Third Symphony is the finest Toscanini has left us. As if to illuminate the point further, Manoug Parikian, the leader of the Philharmonia Orchestra for these Toscanini concerts, later said that for him the most sublime and unforgettable moment of the series was the third movement of the Third Symphony. The opening cello theme had, according to Parikian, an unusual tenderness to it that stirred the depths of human feeling. It was, he added, "...one of my most profoundly moving experiences, and a lasting reminder of Toscanini's undoubted genius".

Great recordings of this work are thin on the ground, possibly because it is Brahms' most misunderstood symphony. It is a work that combines passion and resignation in equal measure and few conductors have been able to unite those two contrasting facets into a workable performance. This is the symphony where Toscanini's tempi are most diverse - the first movement of this Philharmonia account is almost 1½ minutes faster than on his NBC recording. Because this symphony, the most unique of all Brahms' symphonies in that it ends all of its movements piano or pianissimo, is so emotionally complex it is surprising that Toscanini, ever the objectivist, is actually able to encourage the Philharmonia to play with such astonishing weight and passion. The first movement positively surges, the finale opens in an exhilarating fashion, with strings astoundingly fleet. In between, the contrasts between the melancholic phrasing and wild outbursts are laid bare. Pianissimos are here given suppleness, and the most fearsome fortes seem to come from the core of the earth, so shattering are they. No wonder this performance is one of the most memorable things Toscanini did in his last years.

Almost as memorable, in fact, as the astonishing Fourth. This was the symphony Toscanini most admired by Brahms - and one can see why. It is a work of greatness, moving between tragedy and wild exclamation, often within the same movement. Just as it is the culmination of Brahms' symphonic output, so it is the epoch making performance on this cycle. This is the greatest single performance in Toscanini's NBC cycle and this Philharmonia account is as inspired as that, perhaps the single most impressive 'live' Fourth ever recorded (and notably different from an equally great Fourth from Celibidache with the Munich Philharmonic).

The conception is laid out in the grandest of terms, the opening bars given astonishing presence. The development is built up inexorably, and the coda to the first movement, still noble and statuesque, generates enormous energy. Toscanini, crucially, does not slow before the timpani enter near the penultimate bar, and thus the climactic ending actually gathers momentum. There is no mannerism here, just the thrill of hearing the closing bars as they should be played. The second and third movements appear in this performance more than just intervals before the extraordinary unwrapping of the great passacaglia of the final movement. True, we hear the intervention of fireworks from the roof of the Festival Hall, but Toscanini remains unfazed and the listener cannot fail to be unaware of the very conscious build up of the layers of this extraordinary movement. The music arches forward nobly and naturally, the dynamics amplified by some of the finest wind playing on any recording of the work. Horns are given astonishing girth, strings play with the most sensitive of balance. Toscanini does hold back in the final moments of the movement's coda, but this allows the inevitability of the triumphant finale to reach its apogee. The moment is sublime.

Marc Bridle, MusicWeb International, 2000

 

    

MP3 Sample  Both Symphony 3rd movements                             

Listen  

   

  

Download purchase links:

Ambient Stereo MP3 

Mono 16-bit FLAC  

Ambient Stereo 16-bit FLAC

Ambient Stereo 24-bit FLAC 

     

  

CD purchase links and all other information:

PASC 377 - webpage at Pristine Classical  


David Oistrakh plays Hindemith

David Oistrakh
PADA Exclusives
Streamed MP3s you can also download
     

 

Hindemith
Violin Concerto    

USSR State Symphony Orchestra

Gennadi Rozhdestvensky conductor


Recorded December 1962
Transfer from Russian LP MK-1584

This transfer by Dr. John Duffy
Additional remastering 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. 

 

 

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