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Pristine Newsletter - 22 February 2013  
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STOKOWSKI in Philadelphia, 1962
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CLASSIC REVIEW

Viscount Hidemaro Konoye (1898-1973) came from a distinguished political family in Imperial Japan; and after his initial violin studies, he went to Europe to study with Vincent d'Indy in Paris and Franz Schreker in Berlin. His conducting teachers included Erich Kleiber and Karl Muck, associations cemented in 1924.  He made the premier electrical recording with the New Symphony Orchestra of Tokyo of the Mahler Fourth in 1930 [Wow!...Ed.]  and a 1931 Beethoven First with the La Scala Orchestra.

As reconstructed by engineer Mark Obert-Thorn, the Mozart Sinfonia Concertante (4 January 1937) capitalizes on the extremely clear and accurate playing by the Berlin Philharmonic principals, of whom Alfred Buerkner's clarinet and Oskar Rothensteiner's bassoon prevail even with the consummate artistry of fellow soloists Erich Venzke, oboe and Martin Ziller, horn. The tempos in each of the three movements flow with easy grace, and the sense of Mozart's most extroverted "outdoor" style never wanes or becomes lax. Konoye cuts the fifth variation of the last movement to accommodate the strange decision by Columbia to issue the originals on seven shellac sides while leaving a blank eighth side. [Ah hah, the Ultimate Mahler Adagio!...Ed.]  The transparency of texture and innate brio of the performance holds forth from the outset, and we feel Konoye's delivery of the Viennese style has been gleaned by rich and vital studies.

Most of the repeats have disappeared in the performance (on Polydor, 21 April 1938) of the infrequent Haydn Symphony No. 91, but even from the slow introduction we feel an authenticity of style has not been compromised. Once the Allegro assai receives its impetus, the alternately vigorous and stately figures achieve a resolutely firm grip on our musical imagination. The warmth of the basses in the first movement as they swell over a decided tension in the BPO violins quite resonates with Haydn's expansively contrapuntal ideas, the momentum controlled and articulate, especially as Haydn's melodic line periodically interrupts legato phrases with gallops and minuet figures.  The Andante enjoys a pompous self-assured energy in its theme and variations, at least until an explosive burst in trills amidst the horn work seems to create a bit of controlled turmoil. The Minuet's trio claims some fame as a real waltz by Haydn, a true precursor for Schubert and Weber. The last movement, a sonata-rondo, shimmers with a fixated energy, given the relatively monothematic content whose good nature rather bubbles with woodwind sunlight.

Whether we required a whirlwind performance of Mussorgsky's A Night on Bare Mountain (Polydor, 21 April 1938) to compete with that made by Leopold Stokowski around the same period remains open for debate, but Konoye's hair-raising inscription elicits from the BPO the kind of fierce tumultuous sinew we know from the likes of Oskar Fried. The trumpet work-including triple-tonguing-proves particularly engaging and virtuosic, the strings liquid in their ironic smiles and demonic invocations.  The spirits' grudging dawn return to their graves conveys a willowy nostalgia, as required.

Tracks 9-11 contain music that qualified as "political contraband" until recently: anthems that celebrate National Socialism and Japanese Imperialism, they can only document musical loyalties that warrant apologies for the jingoism best enacted in cinema by Conrad Veidt, John Carradine, and Richard Loo.    

GARY LEMCO
AUDIOPHILE AUDITION 
May 14, 2011       

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PASC 288

 


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NEW REVIEW
MusicWeb International

16 February 2013
 

Doráti conducts Tchaikovsky, Albeniz, de Falla 

by Jonathan Woolf 

 

 

"this vital and energising account makes a most exciting impact"

 


Antal Doráti's Minneapolis recordings were notable for their vitality, grandeur and technical excellence. The three under review demonstrate the point triumphantly, even when they may seem stylistically somewhat at odds with the music.
 
The main event is Tchaikovsky's Fifth Symphony which was recorded over three days in April 1952 for Mercury. Doráti takes a decisive series of tempo decisions pretty much throughout, and this is a fleet and tensile reading. Pristine's XR work on this mono recording has given depth to the sound spectrum, and the ambient stereo brings the advantage of warmth. I've not had the opportunity to listen to the original LP, so can't comment on the nature of the work in any useful detail, but can say that it sounds attractive. I do wonder, however, to what extent the brass and, say, the lower string pizzicati have been boosted. Those whose experience of the symphony ranges in its earlier recordings from Alexander Kitschin, Rodzinski, Stokowski, Mengelberg, Koussevitzky, Lambert, Stock and Beecham may find Doráti unyielding and over-metrical but I happen to find him driving and exciting and cumulatively powerful.

 
He also recorded Enrique Fernández Arbós's orchestration of Albéniz's Iberia a few years later, this time in stereo. Fortunately there's a benchmark, which is the orchestrator himself in his 1928 recording of El corpus en Sevilla, Triana and El Puerto, made with the Madrid Symphony Orchestra [Dutton CDBP 9782]. The grandiose, magnificently ebullient and assertive Minneapolis performances of the complete set only very seldom sounds remotely Spanish. In fact for some of the time it cleaves close to Tchaikovsky - more like a ballet waltz in Evocación, and in its grandiloquence and bravura sounding strangely like a symphonic finale in El Corpus en Sevilla. When Doráti slows down he can make his points well, but he hustles Triana too much. As an example of orchestral panache and discipline, as well as rhythmic tenacity, this can't be faulted. As an example of fidelity to idiom, it leaves a great deal to be desired. The Interlude and Dance from Falla's La Vida Breve was made at the same time and makes for a pleasing envoi.
 
If the reckoning here is the Tchaikovsky, and it's likely to be, then this vital and energising account makes a most exciting impact.

 

PASC 350  (74:40)
NEW REVIEW
Fanfare

March/April 2013
 

Callas's 1955 Norma   

by Bob Rose

 


"reaching levels of excitement as thrilling as anything I've ever heard on disc"

 


This performance previously released on the MYTO label was reviewed in Fanfare 32:3 by Marc Mandel along with six other operas starring Maria Callas. As Mandel wrote: "By now all of Callas's recordings have been so much discussed in the literature that my aim here is to consider these performances as briefly and efficiently as possible." I certainly agree with Mandel and will follow his advice and try to be both brief and efficient. As Mandel pointed out, and as is mentioned in the brief notes on the inside of the cover, the first 15 minutes of this performance were not recorded and they are again in this release spliced in from the earlier RAI concert performance with Del Monaco.

I agree with Mandel who praised this performance as "so overwhelming theatrical as to make for an amazing visceral listening experience, reaching levels of excitement as thrilling as anything I've ever heard on disc." Not only does it feature Callas and Del Monaco, two of the greatest star singers of their era, but also the wonderful mezzo Giuletta Simionato and the fine bass Nicola Zaccaria. Antonio Votto's conducting brings out the drama in the score. There is no booklet, just what are labeled Transfer notes by AR, who explains how he improved the sound through remastering. The program notes, as for other Pristine Audio recordings, can be obtained online. Recommended to anyone who does not have a copy of the MYTO release.

 

PACO 083  (2hr 34:37)
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CONTENTS
This Week    A quick preview
The Beatles They keep on working their magic
Digital          An audio-video system on a stick?
Stokowski   Beethoven, Wagner, Ravel, Stravinsky & more
PADA            Leonid Hambro plays Bartók's Improvisations

Kindle this, iPod that: the ongoing digital revolution

Winners and losers?            



This Week's Preview

This week
we return to Leopold Stokowski's 1962 concerts in Philadelphia that we began 2013 with, with the release of his 16th March concert as guest conductor of the Philadelphia Orchestra (PASC372).

Stokowski
Today's new release consists of the programme performed on 17th December, 1962, once again drawn from radio tapes specially prepared for Stokowski's private archive, and which passed, via his assistant Jack Baumgarten, to Edward Johnson at The Stokowski Society.

Edward sent us the ten-inch tape reels containing both concerts in the autumn of last year, and so impressed was I by the sound quality captured and preserved therein, I decided to make these our first ultra-high-resolution 24/96 releases.

This second concert has required a little extra remastering work by comparison to the first. For reasons unclear, the sound quality of the evening's centrepiece, Beethoven's Fifth Symphony, was somewhat inferior to that of the rest of the concert, with a rather muffled quality about it, and it's taken some considerable effort (and a lot of technology!) to bring it up to match the music which precedes and follows it in the programme. Happily we got there, and it'll take some very sharp ears indeed to notice any change in sound quality as the music passes from Wagner to Beethoven, and then from Beethoven to Ravel.

The full concert was actually a few minutes too long to squeeze onto a CD, and as such something had to give - even after trimming of announcements and commentary to a bare minimum. On reflection both Edward and I felt that the weakest musical moment of the evening was perhaps the performance of Sensemaya by the Mexican composer Silvestre Revueltas, and this has therefore unfortunately had to be excised from the CD and MP3 issue. However, thanks to the flexibility offered by the music download revolution, this performance of the piece, among the composer's most important output, is not lost for ever! It's been included as a "bonus" track in both our FLAC download versions, and can also be found on our website as a completely free 320kbps MP3 download.


The Beatles (again)

Andrew Rose on Wednesday
The release on 4th January of our earlier 1962 Stokowski recording coincided with an ever-so-slightly tongue-in-cheek XR-remastered reissue of The Beatles' first single, 1962's Love Me Do - it was given away as a free FLAC Download for all our newsletter readers.

The thinking behind this was to bring wider attention to  changes in EU copyright laws due later this year, and my conviction that this is primarily being done in order to safeguard the revenues of probably the only 1960s act which can still sell its sixties recordings in significant quantities, The Beatles - despite the changes being sold to the European press as a measure to aid the incomes of hard-up 60s session musicians.

The timing seemed ripe: I'd had to hold off on the Stokowski concert until it too fell into the public domain on 1st January 2013. This lapse into public ownership is something that I believe highly unlikely ever to be repeated here; just as the Disney Corporation has successfully lobbied US politicians for extensions to American copyright legislation, ensuring that the image of a certain Mouse stays within their eternal control, so I imagine that within the next two decades we'll see a strong push to further extend the new 70 year period (up from 50 years, fortunately though not retrospectively applied) to 90 years as the year 2034 approaches.

The Beatles in the 1960s
By then I'd wager there'll be few alive to remember many concerts given by Leopold Stokowski. And if the next extension passes, perhaps nobody will ever get to appreciate the recordings which followed those released today, but which took place in 1963 (and later) and sit silently on tape reels in the Johnson collection right now. The complexity of negotiation of rights to remaster and reissue these kinds of recordings (made under broadcast contracts which, in the UK at least, typically permitted just 2 transmissions) most likely renders them effectively locked away for good.

Well, it seems that the magic of The Beatles' name still works. The story of our "release" has slowly spread, thanks first to an article in the Philadelphia Inquirer, which was picked up by music trade press, and it has gradually worked its way around the world. A couple of weeks ago I took a call from one of the major TV channels here in France regarding the possibility of an interview on the subject, and this week we were featured in the regional newspaper for the area, Sud Ouest (whose photo is reproduced above, and whose article, in French of course, can be read here). Who's next?




Will your next music player look like this?

Ug007 Android Mini-PC
It's about the size of a memory stick, it retails for $67.10 in the US on Amazon.com (that's around €50 or Ł44, but seems currently unavailable in Europe), and it's almost ready to take control of your hi-fi system...

OK, so that's perhaps exaggerating the current state of play just a little, but this little chap is so close to being an ideal piece of kjit as to be more than worth some comment here. The tiny PC-on-a-dongle illustrated to the right, the Ug007, has almost all you need to power your next digital music system.

There are some a few things you'll need to have in place: your music collection is (at least partially) shorted on a hard drive (such as a NAS server) accessible on your wi-fi network; you've some kind of Bluetooth digital-to-analogue converter (such as Arcam's nifty rBlink); you have a TV or monitor with an available HDMI socket (that's where you plug in the mini-PC - its HMDI connector is as shown in the picture); and you have some means of controlling the mini-PC - a Bluetooth keyboard and mouse or an Android smartphone running the free app that allows remote control operation from the phone's touch-screen,

That perhaps sounds like a lot of things to get started with, but you may have some or most of these already. This is the little fellow that brings them all together and makes it all work. And if you're happy to use your TV sound (or have a good set of amplified speakers attached in some way to your TV set) you won't need that Arcam converter right away - which is almost where I'm at right now: Music on hard drive? check. Wi-fi network? check. TV audio link to hi-fi? (sort of) check. Phone running Google's Android OS? check.

So why that caveat in the opening line, almost ready? Well, for me there are currently a couple of things holding this particular mini-PC's revolution back. First up, its Bluetooth link is probably a standard one, which doesn't implement the advanced Apt-X encoding that makes Arcam's DAC a worthwhile investment. This new audio transmission standard is currently in place on, amongst others, new top-end Samsung smartphones and Apple Mac PCs and laptops (among other things), but isn't yet available on iPhone or iPad, or on many other phones. There are other hi-fi related devices which do use it, and when companies like Arcam, Sennheiser, Onkyo, Monster, Chord, Musical Fidelity and others start to incorporate it into their equipment, it's just possible it might take off more widely (there a list of products which are Apt-X compatible here). What's important here is this: with Apt-X you get full CD-quality sound over a wireless Bluetooth link; without it you're looking at no more than reasonable-MP3-quality audio.

Secondly, the control software isn't quite finished yet, in my opinion, in its new Android incarnation. XBMC, my preferred media player, is up and running, but is still under heavy development for this operating system. If you want it to play high definition video, for example, you might find some of the Android hardware isn't up to this kind of power just yet. Getting that kind of performance out of a PC on a stick or in a phone is only just starting to become possible - but it will happen, and pretty soon I'm sure.

So it really can't be long before someone manages to pull all this together into a simple device you can slip into your shirt pocket, slot into your TV, that plays every music and video recording you own, transmits high quality sound without wires to your hi-fi amplifier and speakers, and does it all at a cost that's relatively negligible - certainly well under $100. If I was a hi-fi manufacturer I'd be seriously worried about this - their attempts to shoe-horn this kind of thing, audio only, into an inflexible amplifier-based format will date very rapidly indeed.

And of course, being a mini-PC (of sorts), unlike those amplifier-cum-wi-fi-receivers, one of these dongle devices can also be used for browsing the web, sending e-mails, and running almost any of the hundreds of thousands of apps available for the Android platform (though it might be a little useless as a sat-nav replacement!). Or maybe someone will make one to run Windows, or iOS, or OSX, or Linux.

If you can use wi-fi and Bluetooth to do away with the need for any major on-board storage, or stacks of assorted connector sockets, wires and plugs (bar a single video connector), what other possibilities might there be just around the next technological corner?

 

Andrew Rose
22 February 2013   
Go Digital

Stokowski in Philadelphia, December 1962 - one of his finest Beethoven 5ths and more!

Another 24-96 ultra high-resolution transfer and download direct from Stokowski's own master tapes

 

  

STOKOWSKI
In Philadelphia     
  

Recorded 1962                       

Producer and Audio Restoration Engineer: 

Andrew Rose            

   

 
WAGNER Prelude to Act 3 of Lohengrin 
BEETHOVEN Symphony No. 5 in C minor 
RAVEL Alborada del Gracioso 
STRAVINSKY Petrushka Suite

ENCORES 
CLARKE Trumpet Prelude 
GOULD Guaracha 
RACHMANINOV Prelude in C sharp minor 
HAYDN Farewell Symphony Finale


BONUS TRACK 
REVUELTAS Sensemaya

 
The Philadelphia Orchestra 
Conductor Leopold Stokowski     
   

 

Web page: PASC 379  

    

  

Short Notes  

  

Having handed over the conductorship of the Philadelphia Orchestra in 1941, Leopold Stokowski returned in the 1960s for a series of occasional guest concerts. This is one of the best!

Taken from stereo broadcast tapes specially prepared for Stokowski's private archive, transferred and XR-remastered at 24/96 ultra-high resolution, it's a truly stunning record of a very special night.

The centrepiece of the concert is a stunning rendition of an all-time favourite, Beethoven's Fifth Symphony. The concert begins with a composer whose music Stokowski excelled in, Wagner, and continues into the 20th Century of Ravel and Stravinsky. Then the famous Stokowski encores arrive to bring the house down!

A bonus recording from the concert, too long to fit a single CD, of music by Mexican composer Revueltas, is included in FLAC downloads and can be downloaded for free as a high quality MP3 file.

          

  

   

  

Notes On this recording   

   

Stokowski's long association with The Philadelphia Orchestra began in 1912 when, at the age of 30, he gave his first concert in the city with the orchestra. He stayed in Philadelphia for almost thiry years, handing over to Eugene Ormandy at the end of the 1940-41 season. However, Stokowski returned in 1960 as a guest conductor and continued a series of occasional concerts with the orchestra in the years which followed.

The present concert, which took place on 17 December 1962, is taken from broadcast master tapes originally held in the conductor's own archives, and supplied for transfer for this release by Edward Johnson, who for many years put great efforts into the running of the Stokowski Society, and who obtained a number of recordings from Stokowski's assistant, Jack Baumgarten. This is its first public issue.

As with the earlier concert from the same year (16 March 1962, issued as PASC372), we took the unusual step in preparing this release of making all transfers and restoration at a very high sampling rate of 96kHz in order to preserve the highest frequencies captured on tape. Although these exceptionally high frequencies cannot be reproduced on CD, they are available in a 24/96 FLAC download from our website.

Remastering took heed of Stokowski's frequent instruction to producers of his recordings. He liked a full and reverberant sound, as Edward Johnson explains: "The thing to remember with Stokowski is that he started life as a church organist and in his recitals usually played orchestral works transcribed for the organ. So when he became a conductor he recalled the days when he had his feet on the deep 32' pedals and heard the final chord of the piece dying away down the nave for a couple of seconds. Consequently, his correction notes to record producers always asked for "more lows" and "more reverberation," as in the example attached to the producer of his LP of the "The Planets."" [Letter reproduced online] I have been careful in my application of this, using a convolution reverb of one of the world's great symphony halls to give the recording the space and texture lacking in the original radio tapes.

The December concert has at its heart a stirring performance of Beethoven's Symphony No. 5, but elsewhere Stokowski conducted a considerable chunk of 20th Century music. One piece, Revueltas's Sensemaya, which was played between the Ravel and Stravinsky, proved too long to fit onto this CD. It is, however, available to download for free here on our website and is featured as a bonus track in our FLAC downloads.

The concert featured a number of encores, including a couple of arrangements by Stokowski himself. The finale to the concert brings a light-hearted close to a concert which was put on as a fundraiser for the orchestra's pension fund, and conveys a sense of real warmth between the musicians and their audience.

Andrew Rose    

    

MP3 Sample  Wagner & Rachmaninov 

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CD purchase links and all other information:

PASC 379 - webpage at Pristine Classical  


Leonid Hambro plays Bartók

Leonid Hambro
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Bartók
Improvisations      


Leonid Hambro piano


Recorded c. 1950
Issued as Bartok Records No. 902

This transfer by Dr. John Duffy
Additional pitch stabilisation & remastering by Andrew Rose

 

 

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