{"product_id":"harty-schubert-cello-concerto-symphony-no-9-192829-pasc282","title":"HARTY Schubert: Cello Concerto, Symphony No. 9 (1928\/29) - PASC282","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e(arr. Cassadó) Cello Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUBERT \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1928 and 1929\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:47 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGaspar Cassadó, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHallé Orchestra \u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Hamilton Harty\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is one of the most important historical releases for a long time578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis is truly cause for rejoicing: a major\nsymphonic recording by “the Irish Toscanini” Harty, hitherto one of the\nmost gaping holes in the historic catalog, at long last available on CD,\nand in a transfer by Mark Obert-Thorn that does it full justice (a dry\nacoustic, but great presence and immediacy). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eHarty’s “Great C Major” (Columbia, 1928) is a\nhighly original conception (and along with a closely contemporaneous\nversion from Leo Blech and the Berlin Philharmonic, one of the work’s\nearliest complete recordings). Typical of the Northern Irish maestro is\nits blend of freedom and discipline, rhythmic drive and Celtic rhapsody.\nHis phrasing in the slow introduction is set in high relief, with\ntactile vividness. The Hallé Orchestra’s playing has incredible\nindividuality: strings have a songful immediacy; winds an unblended\n“organ stop” reediness and pungency, with little use of vibrato. The\ntempo is very flexible, though Harty unusually does not aid the\ntransition to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthrough an accelerando or any proportional relationship between the two\ntempos, instead abruptly changing to a completely different pulse, like\na cinematic cut. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nitself has tremendous brio, fire, and cut and thrust; no relaxation\ninto the second theme, but a hugely flexible ebb and flow within it. The\nexposition’s climax (rehearsal G) really roars! At the end of the\ndevelopment, Harty’s handling of the twilit retransition to the\nrecapitulation is wonderfully poetic, and in the coda, he subjects the\nreturn of the theme from the introduction to massive rhetorical\nelongation. His view of the Andante is dark and somber, moving at a\nmeasured pace that becomes a remorseless juggernaut. The lyrical second\ntheme is shaped very vocally, with extraordinarily vivid dynamic\nmolding. There is one cut (in the recapitulation, 6 before F to 9 after\nG), presumably in the interest of saving an extra side, at Harty’s\nexpansive tempo. The Scherzo is taken very fast with a larger-than-life \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchwung.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nHarty had an amazing ability to shape the melodic line of an entire\nstring section with soloistic individuality—listen to the almost\noperatic treatment of the violins’ tune at rehearsal A + 2. The Trio has\na full-throated intensity, and Harty’s volatile accelerando in the\nsecond half will certainly raise eyebrows—no danger here of Schubert’s\n“heavenly lengths” outstaying their welcome! The finale has both sharp\nrhythmic point and great flexibility of pacing, with compellingly\nplastic phrase-shaping through the long spans of the second theme (Harty\nstarted his musical career as an accompanist, and as a conductor\npossessed an exceptional ear for animating an accompanimental\ntexture—listen to the dramatic crescendos with which he enlivens the\n“walking” cello\/bass quarter-notes, rehearsal C + 7 ff.). He begins the\ndevelopment \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emolto meno mosso,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ngradually regaining the main tempo during its course. The coda is\nlikewise played with an improvisatory-sounding freedom of tempo—indeed,\nmore than you would imagine anyone could possibly bring off, but in\nHarty’s hands the whole thing grips like a vise. Altogether this is like\nno other performance in the work’s recorded history. Comparisons would\nbe pointless; it bears little resemblance to other 78-era recordings\nwith British orchestras—neither the classical rigor of Boult\/BBC SO\n(1934, HMV\/Beulah) nor the romantic sensibility of Walter\/London SO\n(1938, HMV\/ASV Living Era). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe filler (1929) is inconsequential. Gaspar\nCassadó didn’t stop at orchestrating Schubert’s Arpeggione Sonata; it’s a\nradical recomposition, with virtuoso cadenza-interpolations and the\nreplacement of much of Schubert’s original by passages of Cassadó’s own\ndevising—conventional hackwork filler marking time between the big\ntunes. On its original release this preposterous kitsch was billed as\n“Schubert’s Cello Concerto”! For what it’s worth, Cassadó’s playing is\ntechnically more secure here than in his 1950s remake for Vox, and\nObert-Thorn’s transfer infinitely superior to the ridiculously\nover-filtered, dead-on-arrival travesty that appeared on Hallé’s own\nlabel some years ago. For the main work, though, this is one of the most\nimportant historical releases for a long time. Now, Pristine, how about\nHarty’s Beethoven Fourth? \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC282.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eMarvellous Schubert under the baton of Sir Hamilton Harty\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eExcellent sound from these late-20's UK Columbia recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe sources for the transfer of the concerto were primarily American Columbia \"Full-Range\" label pressings, with a patch from an earlier \"Royal Blue\" shellac copy to overcome the swish that most copies exhibit at the start of the first side. I have tried to correct the pitch fluctuations which plague the original recording. The ensemble is unknown, but may be the LSO, RPO, British SO, or a pickup combination thereof.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFor the transfer of the symphony, I had the luxury of working from four American Columbia \"Viva-Tonal\" pressings, the most quiet form of issue for this set. An anomaly among other English Columbia recordings of the period, this one has hardly any pitch problems and plays at just about 78 rpm. The main problem here was overcoming blasting during loud passages caused by the original owners' use of fiber needles, for which the multiple copies came in handy. The original recording venue is unknown, but is definitely not the expansive acoustic of Free Trade Hall in Manchester, the Hallé's usual locale. Discographic expert Michael Gray believes it was likely done in Fyvie Hall, London, where Beecham had made recordings for Columbia the previous month. \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\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\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e (arr. Cassadó) Cello Concerto in A Minor \u003cbr\u003e(adapted from the \"Arpeggione\" Sonata, D.821)\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eGaspar Cassadó\u003c\/strong\u003e cello\u003cstrong\u003e\u003cbr\u003eSymphony Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 5th March, 1929 in Central Hall, Westminster\u003cbr\u003eMatrix nos. WAX 4739-4744 (all Take 3)\u003cbr\u003eFirst issued on Columbia LBX 1-3\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUBERT\u003c\/strong\u003e Symphony No. 9 in C Major (\"The Great\") D.944\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eHallé Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 14th January, 1928 in Fyvie Hall, London\u003cbr\u003eMatrix\nnos.: WAX 3184-1, 3185-3, 3186-3, 3187-3, 3188-1, 3189-3, 3190-3,\n3191-3, 3192-3, 3193-3, 3194-1, 3195-3, 3196-3 and 3197-1\u003cbr\u003eFirst issued on Columbia L 2079-2085\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 17px;\"\u003econductor\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003e Sir Hamilton Harty\u003c\/span\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Sir Hamilton Harty\u003cbr\u003eSpecial thanks to Nathan Brown, Richard Kaplan and Charles Niss for providing source material \u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 71:47 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC282.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC282.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":54932153008467,"sku":"hyp1789300728529","price":8.55,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":54932153041235,"sku":"pss1789300728530","price":8.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/harty-schubert-cello-concerto-symphony-no-9-192829---pasc282_1.jpg?v=1789300738","url":"https:\/\/vendnora.com\/products\/harty-schubert-cello-concerto-symphony-no-9-192829-pasc282","provider":"luckagni","version":"1.0","type":"link"}