{"product_id":"stokowski-conducts-music-from-the-theatre-tchaikovsky-wagner-195053-pasc167","title":"STOKOWSKI conducts Music from the Theatre: Tchaikovsky \u0026 Wagner (1950\/53) - PASC167","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAurora's Wedding - Ballet Suite\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e(arr. Diaghilev from \u003c\/span\u003e\u003c\/span\u003e\u003ci\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSleeping Beauty\u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTristan und Isolde - Symphonic Synthesis\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e(arr. Stokowski)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1950 \u0026amp; 1953\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 75:49 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eand his \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSymphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt’s an addiction, and Stokowski was the chief pusher578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn November 1921, the impresario Serge Diaghilev and his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBallets Russes \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003epresented a nearly full-length production of the Tchaikovsky-Petipa \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSleeping Beauty\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (retitled \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Princess\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nby Diaghilev) at the Alhambra Theater in London. As Richard Shead wrote\nin his history of the company, “He was taking an enormous risk, as he\nmust have known. Neither London nor Paris had taken greatly to\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Giselle\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Lac des Cygnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e [“Swan Lake”]. He had accustomed audiences to barbarously sophisticated (or sophisticatedly barbarous) spectacles such as\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Igor\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, S\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003echéhérazade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThamar\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and to witty character ballets such as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Boutique fantasque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Tricorne \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e[“The\nThree-Cornered Hat”]. Would they accept the pure, unadulterated\nclassicism of Petipa? Nowadays, of course, the great 19th-century\nballets provide the safest way to fill a house . . . but this was by no\nmeans the case in the early 1920s.” He also suggests that, because they\nhad become accustomed to dancing to Leonid Massine’s choreography, some\nof the dancers may have even lost touch with their classical roots. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Princess\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e was not \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Beauty\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e as we know it. Some numbers were cut. A few excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Nutcracker\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nwere interpolated. Some numbers were choreographed by Bronislava\nNijinska. Some were reorchestrated by Stravinsky. The sets and costumes\nof Leon Bakst, if one may judge by illustrations, were spectacular (and\nexpensive). Much of the audience, accustomed to clever novelties, got\nbored seeing the same characters on stage all evening. “Sophisticated”\nlisteners found Tchaikovsky’s music cloying and passé. Some found the\nballet to be an empty spectacle. In any event, despite the fact that the\nproduction produced a group of impassioned enthusiasts who returned\nnight after night (and sat in the cheap seats), it got lousy reviews and\nbombed at the box office, by far the biggest failure of Diaghilev’s\ncareer. The presenter who had put up the money to hire the company kept\nthe lavish sets and wouldn’t part with them unless Diaghilev came up\nwith the money to meet his losses. Trying to salvage something from the\ndisaster, Diaghilev (with help from someone like Stravinsky?) took about\n45 minutes worth of music from the full score, juggled the sequence a\nbit, and arranged a one-act ballet called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAurora’s Wedding\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nAlthough it deals with the events of the last act, it uses some music\nfrom earlier ones. It was first presented in Monte Carlo, using sets\nfrom another ballet. Since it is a brilliant divertissement, it\neventually took on a life of its own outside of the complete work. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eLeopold Stokowski recorded extensive excerpts from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sleeping Beauty\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e on 78s in 1947, which found their way onto an early RCA Victor LP and, much later, to a Cala CD. He then recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAurora’s Wedding\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nor most of it, in 1953. He re-recorded it in stereo for Sony in 1976,\nincluding two numbers that were not on the 1953 recording. This, of\ncourse, doesn’t prove that the 1976 recording is complete, either, but I\nam sure both recordings include, at least, almost all the music. I also\ncannot say if the various cuts are by Diaghilev or Stokowski, and there\nare quite a few of them throughout. Musically, the performance, if\nrather fast for balletic purposes, is brilliant, featuring the superb\nplaying and detail one is accustomed to from “his” symphony orchestra\nand \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\npost-production manipulations. The CD transfer is, likewise,\nsuperb—except for the single channel, it sounds like it might have been\ndone last year. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMy first acquaintance with music from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan and Isolde\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e came from Franz Waxman’s short fantasia for violin, piano, and orchestra, played in the movie \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHumoresque\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nby Isaac Stern (John Garfield) and Oscar Levant with Waxman leading the\norchestra. It subsequently appeared on a 10-inch LP (if you remember \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, you’re \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eold\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\nfeaturing Stern playing various pieces that were heard in the movie.\nLater, it must have turned up in one of those multi-CD tributes to Stern\nthat Sony issued. I have it now on a Pearl CD. It left me with a taste\nfor orchestrated Wagner, whether authentic or not. In this corrupt\nstate, my discovery of RCA Victor LM-1174 was a major step down the road\nto decadence. It was innocently titled “Music from Tristan and Isolde”\nand had a deceptively plain lavender and white cover. How many hours\nwere wasted as I lounged on a couch, smoking something, and letting the\nerotic music wash over me? It turned out to be Stokowski’s second\nrecording of what was called a “Symphonic Synthesis” (a term invented by\nCharles O’Connell, Victor’s A\u0026amp; R man in the 78 days) of the opera.\nHe used themes from scenes 4 and 5 of act I, the “Liebesnacht” from act\nII and Tristan’s delirium from act III, framing them with the Prelude\nand “Love Death.” He had recorded the same arrangement in 1932, but\nthose 78s were long gone by 1950 when the LP was recorded. Not content\nwith inflicting this narcotic on the musical world, he did another\n“synthesis” with the Philadelphia Orchestra in 1935, this time including\nmusic from act II only, framing the love duet with the Prelude to act\nII and its abrupt conclusion, when Melot wounds Tristan. Later, he\nrecorded the same arrangement with the All-American Orchestra, but left\nout the Prelude to act II and, instead of using the end of act II, he\nsegued into the “Liebestod.” This arrangement was simply called “Love\nMusic from acts II and III.” He retained that title when he recorded\nthis same arrangement (restoring the act II Prelude) with the\nPhiladelphia Orchestra in luscious stereo in 1960. If I had to use one\nrecording to convince someone of Stokowski’s unique powers, the ones\nthat caused Mitch Miller to refer to him as a “magic” conductor, I would\nchoose that 1960 recording. Returning to earlier times, I was so taken\nwith Stokowski’s 1950 “synthesis” that I actually own \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethree\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ncopies of it (in case of LP damage). I suppose that I can now dispose\nof them, since this Pristine Audio CD sounds far better than any of my\nLPs. It’s amazingly quiet and vivid. Stokowski ravishes the music and\ncertainly stretches the “Liebesnacht” to its limit. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eToo bad he never recorded a stereo version, but\nhappily, two of his ex-assistants, Matthias Bamert (Chandos) and José\nSerebrier (Naxos) have done so. Serebrier stretches the music to almost\nStokowskian breadth, but brings it off successfully and, in the vein of\nthe master, actually makes a few changes in the orchestration. Bamert is\nmore tight-fisted in his approach (many may prefer it this way—it’s\n“tighter” and less sprawling), but I think that he, too, emerges with\nhonor and both he and Serebrier use full string sections; Stokowski’s\nseems to be the usual cut-down one that he used with “his” symphony\norchestra. You would not go wrong with any of them. Check out the\ncouplings and decide. The Bamert and Serebrier CDs include other\nStokowski Wagner transcriptions. I don’t know if they are still\navailable, but Gerard Schwarz and Edo de Waart recorded their own \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTristan\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ntakes. Schwarz’s is not a transcription, since he orchestrated nothing,\nand simply arranged a sequence featuring the Prelude to act I,\nBrangaene’s Warning, the act III Prelude, and the “Liebestod” with\nAlessandra Marc providing the vocals. If Stokowski’s 38 minutes isn’t\nenough for you, de Waart recorded a 64-minute chunk of music from the\nopera, using an arrangement by Henk de Vlieger. Don’t be frightened by\nthe awful cover art—if you really want to wallow in decadent, sensuous\nWagner, go for it. I own them all, plus Ormandy’s 27-minute go at the\nPrelude-“Liebesnacht”-“Liebestod” from 1953. What can I say? It’s an\naddiction, and Stokowski was the chief pusher. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:2 (Nov\/Dec 2009) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC167.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eTwo rarely-heard arrangements of famous works\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eSuperb sound quality and fabulous playing - with Stokowski at his best\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\nThis remastering was drawn from two excellent transfers of early 1950s RCA Victor LPs. Of the two, the Wagner shows its age slightly more than the Tchaikovsky, though both have come up remarkably well.\n\u003cp class=\"body\"\u003eIn order to construct an accurate tonal reference for \u003cem\u003eAurora's Wedding\u003c\/em\u003e it was necessary to attempt to 'do a Diaghilev' on a complete recording of \u003cem\u003eSleeping Beauty\u003c\/em\u003e, and in doing so it became clear how little he actually changed the music. \u003cem\u003eAurora's Wedding\u003c\/em\u003e is almost entirely a cut-and-paste collection of highlights from the full ballet, engineered by Diaghilev into something he could stage with his existing resources and sets - the degree to which it has been 'arranged' in the traditional musical sense is perhaps debatable: the music and scoring appears to be 99.9% Tchaikovsky, with the intervention being almost entirely confined to cutting and re-ordering.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis is not in any way to denigrate \u003cem\u003eAurora's Wedding\u003c\/em\u003e - it is delightful and at a very digestible 40 minutes a great listen - and this XR remastering has brought out an amazing palette of orchestral colour and depth, something barely hinted at in the original LP incarnation, but always waiting to be released from the confines of those early fifties grooves.\u003c\/p\u003e\n\u003cp class=\"body\"\u003ePut together this is something like an orchestral highlights release of both of these otherwise very lengthy works. Stokowski draws on the finest musicians in New York at the time, with excellent results - the LP covers note the following:\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\"\u003eTchaikovsky:\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eFirst players for this recording:\u003c\/p\u003e\n\u003ctable style=\"width: 91%;\" cellspacing=\"4\" cellpadding=\"0\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003e\u003cem\u003eViolin\u003c\/em\u003e: Louis Gabowitz\u003cbr\u003e \u003cem\u003eViola\u003c\/em\u003e: William Lincer\u003cbr\u003e \u003cem\u003eCello\u003c\/em\u003e: Frank Miller\u003cbr\u003e \u003cem\u003eBass\u003c\/em\u003e: Joseph de Angelis\u003cbr\u003e \u003cem\u003eFlute\u003c\/em\u003e: Arthur Lora\u003cbr\u003e \u003cem\u003eOboe\u003c\/em\u003e: Robert Bloom\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd class=\"body\"\u003e\n\u003cem\u003eEnglish Horn\u003c\/em\u003e: Richard Nass\u003cbr\u003e \u003cem\u003eClarinet\u003c\/em\u003e: Robert McGinnis\u003cbr\u003e \u003cem\u003eBasson\u003c\/em\u003e: Wlliam Polisi\u003cbr\u003e \u003cem\u003eHorn\u003c\/em\u003e: James Chambers\u003cbr\u003e \u003cem\u003eTrumpet\u003c\/em\u003e: William Vacchiano\u003cbr\u003e \u003cem\u003eHarp\u003c\/em\u003e: Lucille Lawrence\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\n\u003cp class=\"bodybigblue\" style=\"margin-left: 25px;\"\u003eWagner:\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003e\"This performance was recorded in New York City with an orchestra that included the following instrumentalists:\u003c\/p\u003e\n\u003cp class=\"body\" style=\"margin-left: 25px;\"\u003eW. Lincer, viola; Leonard Rose, Frank Miller, cello; Robert Bloom, oboe; Julius Baker, flute; J. De Angelius, bass; E. Brenner, W. Criss, English Horn; R. McGinnis, Clarinet; William Polisi, bassoon; J. Chambers, W. Namen, M. Fischer, J. Singer, J. Barrows, Horns; William Vacchiano, Trumpet; G. Pulis, Trombone; W. Bell, Tuba; S. Goodman, Timpani; L. Lawrence, harp.\"\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_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\u003cstrong\u003eTCHAIKOVSKY\u003c\/strong\u003e Aurora's Wedding - Ballet Suite (arr. Diaghilev from \u003cem\u003eSleeping Beauty\u003c\/em\u003e)\u003cbr\u003e\u003cstrong\u003eWAGNER\u003c\/strong\u003e Tristan und Isolde - Symphonic Synthesis (arr. Stokowski)\u003c\/p\u003e\u003cp\u003eRecorded 1950 \u0026amp; 1953\u003cbr\u003eTotal duration: 75:49 \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eLeopold Stokowski and his Symphony Orchestra\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded 8\/9 April 1953 and 17 October, 9 November 1950\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"bodysmallarial\"\u003eIssued as RCA victor LPs LM 1774 and LM 1174\u003cbr\u003e LP transfers from the collection of Edward Johnson\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, June 2009\u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003cbr\u003e \u003cbr\u003e Total duration: 75:49 \u003c\/span\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\/PASC167.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC167.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Music\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003ebased on notes by Edward Johnson\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eAurora's Wedding\u003c\/strong\u003e was devised by Diaghilev when a lavish 1921 London production of Tchaikovsky's complete \u003cem\u003eSleeping Beauty\u003c\/em\u003e\nwas a costly failure. He salvaged what he could from the production by\nputting together a single one-act sequence of dances taken from the\nballet and called it \u003cem\u003eAurora's Wedding\u003c\/em\u003e. It has often been performed that way in the theatre, and Stokowski first recorded it in 1953.\u003c\/p\u003e\u003cp class=\"body\"\u003eStokowski was the first conductor in the USA to record a substantial selection of music from \u003cem\u003eThe Sleeping Beauty\u003c\/em\u003e\n(over 50 minutes of music taken from all the acts) as opposed to the\nusual Suite, and he did that on RCA 78s in 1947. These were later issued\non an early RCA LP and also an HMV LP in the UK.\u003cbr\u003e \u003cbr\u003e Then in April 1953 he recorded the Diaghilev one-act selection under it's \u003cem\u003eAurora's Wedding\u003c\/em\u003e\ntitle - though that didn't appear on HMV or indeed anywhere else\noutside the USA. Some of the numbers are inevitably common to each\nrecording. The 1947 \u003cem\u003eSleeping Beauty\u003c\/em\u003e set was reissued on Cala Records in 1998. The 1953 \u003cem\u003eAurora's Wedding\u003c\/em\u003e\nLP appeared some years ago on a Rediscovery CD, its only other release\nsince its LP days, and allegedly not a very good-sounding transfer.\nStokowski later re-recorded \u003cem\u003eAurora's Wedding\u003c\/em\u003e in 1976 for Sony\nand that too has come out on Cala. It is slightly more complete than the\n1953 LP, which omitted one or two short numbers.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eTristan and Isolde\u003c\/strong\u003e was given the \"Symphonic Synthesis\" treatment by Stokowski, so that between the \u003cem\u003ePrelude\u003c\/em\u003e and \u003cem\u003eLiebstod\u003c\/em\u003e he interpolated the \u003cem\u003eLiebesnacht\u003c\/em\u003e in which the voices are transferred to solo instruments or full string sections.\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eStokowski made three recordings of what is known as the \"long version\" of his Symphonic Synthesis of \u003cem\u003eTristan and Isolde\u003c\/em\u003e\n- two Philadelphia sets in the 1930s and this 1950 LP. The sequence\nstarts with the complete Act 1 Prelude of about 10 minutes. String\ntemolos herald more music from Act 1 and then it moves to Acts 2 and 3\nfor the so-called Liebesnacht and, for the last 5 minutes or so, the\nLeibestod. (Stokowski also made what he called \"\u003cem\u003eLove Music from Acts 2 and 3\u003c\/em\u003e\" which is a sequence of about 25 minutes that omits the Act 1 Prelude entirely.) \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"body\"\u003eStokowski never recorded the complete \"long\nversion\" in stereo but his two assistant conductors did: Matthias Bamert\nand Jose Serebrier have both recorded it.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":54932178829651,"sku":"mwv1789301097767","price":13.92,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932178862419,"sku":"zgg1789301097768","price":9.06,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":54932178895187,"sku":"zhh1789301097769","price":9.83,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":54932178927955,"sku":"cop1789301097770","price":6.58,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/stokowski-conducts-music-from-the-theatre-tchaikovsky-wagner-195053---pasc167_1.jpg?v=1789301105","url":"https:\/\/vendnora.com\/products\/stokowski-conducts-music-from-the-theatre-tchaikovsky-wagner-195053-pasc167","provider":"luckagni","version":"1.0","type":"link"}