{"product_id":"toscanini-an-all-debussy-concert-1936-pasc113","title":"TOSCANINI An All-Debussy Concert (1936) - PASC113","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLe Martyr de San Sébastien (excerpts)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrélude à l'Après-midi d'un Faune\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eNocturnes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eImages: 2. Ibèria\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa Damoiselle Elue\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded Sunday 19th April 1936\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal Duration: 1hr 50:43\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBidú Sayão, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRose Bampton, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWomen's Chorus of the Schola Cantorum\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs for the performances, they are uniformly excellent578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThere is so much to say about this album that I\nscarcely know where to begin, or in which order to say them. Therefore, I\nhope the reader will forgive me if I seem to jump around a bit. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eFirst and foremost, this was a remarkable concert for several reasons. With the exceptions of the wonderful, underrated \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMarche eccosaise \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand Ravel’s orchestration of an earlier \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eincluded\nin an all-Debussy concert with NBC almost exactly four years later,\nthese discs represent all of the Debussy that Toscanini ever performed\npublicly in America or England. Stubborn old mule that he was, he never\nincluded the third nocturne, “Sirenes,” even when (as here) he had a\nwomen’s chorus to sing it, or other works such as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eJeux, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe other two \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eImages\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, or \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEstampes.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e This is his seventh available version of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eon\nrecords and the fifth version of “Ibéria,” and these two major works\nwere previously issued on a Music \u0026amp; Arts CD, though not in such\nclear sound (more on that later). In general outline and detail they\nvary little from his other versions, but they are not identical either.\nIn general, these 1936 performances, even when faster than their later\ncounterparts, show a greater relaxation of momentum within the basically\nconsistent tempos, particularly the second movement of “Ibéria”\n(Perfumes of the night) which is considerably slower than most of his\nother versions. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eSecondly, there is the sound quality of the New\nYork Philharmonic, imperfectly captured to be sure but still basically\nwarmer, lusher, more equal in tonal balance, which makes it a better\nDebussy orchestra than the often brighter sonorities of the NBC\nSymphony. Flutist John Amans, practically a legend in New York, plays\nsensuously in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude à l’aprés-midi d’un faune, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand\nfirst horn Bruno Jaenicke is likewise more elegant and sweeter of tone\nthan Harry Berv. Also, these recordings, unlike the NBC documents, were\nmiked some distance from the stage, which gave a greater ambience to the\nsound. Only the Philadelphia recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nand “Ibéria,” and the NBC recording of the latter work, have quite as\nmagical a sound. From this perspective, the common complaint that\nToscanini made the inner voices too clear, that he did not respect the\ncomposer’s wishes for ambient sound in performance, is moot. Listening\nfrom an audience perspective, as we can here, as opposed to the “podium\nperspective” Toscanini demanded in his NBC years, we realize that his\ndoubling of winds to clarify texture led not to a stark, dry, grating\nsound, as is so often accused of him (particularly by Joseph Horowitz),\nbut, in live performance, to a shimmering quality, almost like strands\nof silver gently radiating from the stage like a shower of stars. In \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDamoiselle élue,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthis effect is heightened by the American debut of a then-unknown\nsoprano, Bidù Sayão, whose mother-of-pearl vocal quality adds to the\nshimmering. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThat all this may be heard despite the horribly\nlimited sonics and rough condition of the original broadcast acetates is\na tribute to engineer Andrew Rose. In some circles he has been\ncriticized for artificially enhancing the Toscanini sound by restoring\nboth upper and lower frequencies not audible on the original recordings,\nthe theory being that this falsifies the sound of Toscanini’s\norchestra. This would be true if he boosted frequencies beyond normal\nlevels, added resonance, flattened response, or did any of the other\nquestionable things that RCA Victor did during the late 1950s and\nthroughout the 1960s. But he has not. He has simply taken a normal\nrecording of each work, created a sound print in order adequately to\njudge the frequency range that such pieces normally produce, and then\nsuperimposed that sound print on older recordings. If the resultant\nsound is different from what is actually on the record—which, after all,\nis simply an artifact and not a real performance—it is usually because\nin clarifying so much, his process sometimes exposes flaws originally\nhidden by the original duller sound. Certainly there are strange and\nunrealistic sounds on this recording. The basses and low trombones in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Sébastien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e sound muffled, there is some going out of phase in the middle of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nand in both pieces in which they participate, the Women’s Chorus sounds\noccasionally occluded and fuzzy. I happen to have copies of both \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSt. Sébastien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\npretreatment, and exactly the same problems can be heard—only much less\nin focus. Clearing up an old recording, if done properly as it is here,\nis agreeable to the ear and far from distortion. How can it be “false”\nif a flute sounds like a flute, a horn like a horn, and violins like\nviolins? \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs for the performances, they are uniformly\nexcellent. Because of the sound limitations, I personally prefer the NBC\nrecordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nand “Ibéria,” but as mentioned, the middle movement of “Ibéria” here is\nmuch more measured. “Nuages” and “Fêtes” were played pretty much the\nsame way by Toscanini throughout his career on radio and records. This\nperformance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis nearly a half-minute slower than the NBC recording, the flute solo\nmuch slower and more erotic, the strings floating as if in a cloud. This\nis the only known recorded performance by Toscanini of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Martyrdom of St. Sébastien\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and it’s exquisitely molded and chiseled. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI compared this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto\nthe 1942 Philadelphia and 1950 NBC recordings, and came away with some\namazing surprises. Without going into a section-by-section comparison,\nwhat I found runs completely counter to the generalization that the\nToscanini of 1935–42 was slower and more sober than was his later self.\nThe first movement as played by the Philharmonic is nearly, but not\nquite, as slow as the 1950 recording, and there is a rare lapse by\nhornist Jaenicke, who does not put has hand far enough into the bell of\nhis instrument to create the on-off muted effects that Debussy called\nfor. By way of compensation, however, the basses and cellos (the latter\nled by the superb Alfred Wallenstein) are far richer and lusher than\ntheir NBC counterparts and, wonder of wonders, the pause before the\nfinal section is elongated to create greater suspense. The 1936 second\nmovement, however, is practically a fevered rush of sound, not only\nfaster than the Philadelphia recording (which is in every other respect\nfaster than \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eboth \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ethe\n1936 and 1950 performances) but nearly a half-minute faster than its\nNBC counterpart! The upper strings and winds have some distortion in the\nfirst and third movements yet, paradoxically, the much louder second\nmovement is virtually distortion-free. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe real gem of this collection is \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa demoiselle élue\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nhowever. The opening string passages are simply unworldly; Rose Bampton\nwas a fairly good singer; stuck her entire career between mezzo and\nsoprano, she had the range of the first but the timbre of the latter.\nPoor woman. She does, however, shape the music imaginatively, and is\nsensitive to mood. Amans’s flute is simply superb here, as it was in the\n\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrélude. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eFrom\nthe very first notes of her entrance, Sayão is outstanding in every way,\ndespite one (and only one) lapse into one of her little sobs. Her upper\nrange gleams like a sparkler; her French is surprisingly good; it’s\nsmall wonder she was snapped up by the Metropolitan Opera. At 15:42 she\nfloats a note gorgeously. And, in this performance, Toscanini’s floating\ncontinues; there is no nudging-forward of the tempo, even though it is\nonly slightly slower than the 1940 NBC performance. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eIf this is your first exposure to Toscanini’s\nDebussy, you will have a good impression despite the sound problems.\nMost of the announcements are included intact, and it’s comical to hear a\nvery sad-sounding voice tell us that “this great leader” will not be\nreturning next year, so the Philharmonic needs your support more than\never. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC113.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cspan class=\"bodybig\" style=\"font-size: 24px;\"\u003e\u003cem\u003eToscanini's only New York Philharmonic all-Debussy programme\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eFull-length concert broadcast, previously unissued in full\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOnly once did Toscanini programme an all-Debussy concert - in 1936, his final season with the Philharmonic-Symphony Society of New York. There were three performances - on 16th, 17th and 19th April, 1936 - the latter being the concert broadcast and presented here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, Debussy was a firm favourite of Toscanini's, and he conducted the Italian première of Pelléas et Mélisande in 1908. He'd come to the score some four years earlier, in 1904, and shortly after wrote to a friend:\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e\u003cbr\u003eI hardly knew the name of [a] composer who has won all your sympathy: the Frenchman Debussy with his Pelléas and Mélisande.... His art overturns everything that has been done until now. He doesn't have [Richard] Strauss's technique, but he is a great genius, more elegant and undoubtedly more daring. On first venturing upon him, you are completely disoriented, but once you have begun to converse a little more freely with his language - and that of his inspirer Maeterlinck - you end up being fascinated. Thinking of the theatre of Maeterlinck's characters, I can confirm my opinion that Debussy's music is the fulfillment of that art. However, our public today is not yet mature to sense this, let alone accept it.\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eToscanini met Debussy for the first time in Paris in 1910, and later corresponded with him on a number of occasions - including asking for - and gaining - permission from the composer to adjust aspects of the orchestration in with doublings and rebalancings in order to improve the clarity of sound, particularly in the inner voices.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHe continued to programme Debussy's music regularly throughout his later years with the NBC Symphony Orchestra, but never again was the listening public treated to a full-length concert such as this, where Toscanini was able to explore both very early and very late compositions, leading his audience on a musical journey through some of the composer's very finest orchestral output.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cstrong\u003eNotes on the remastering\u003c\/strong\u003e: At least two versions of this recording have circulated amongst collectors over the years, and parts of it surfaced some time back on a Music and Arts CD release. Until now, however, no commercial release has ever taken place, quite possibly as a result of the poor quality of the original recordings, made onto acetate 78rpm discs by recording directly off-air from the AM concert broadcast.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis has a number of implications, some of which are more readily overcome than others. The clicks and crackles of the disc surface, and a good deal of surface noise, have been dealt with. A heavy hum has also been removed. Pitch instabilities and variations have been smoothed out. The tonal balance has been improved considerably.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat cannot be \"fixed\" is the narrow frequency range captured from the broadcast - there simply isn't anything else above the highest frequencies heard here to be had. Likewise the limited dynamic range, and tendency to slight overload distortion during some loud passages, is indelibly branded onto this recording, and one can only attempt to make the best of this type of problem. There were also a handful of minor dropouts and moments of interferenceand other noises which proved beyond repair.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOverall, however, I judge this historic recording to be a more than worthwhile release, as it gives us a unique chance to witness the full sweep of Toscanini's Debussy at a time when he was at the peak of his powers. There is indeed much to be enjoyed here.\u003c\/p\u003e\n\u003cp class=\"body\" align=\"left\"\u003e\u003ci\u003eAndrew Rose\u003c\/i\u003e\u003cbr\u003e\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\u003ctr\u003e\u003ctd colspan=\"2\"\u003e\n\u003cdiv class=\"bodybigblue\" align=\"center\"\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eConcert Programme\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv class=\"bodybigblue\" align=\"center\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003c\/td\u003e\u003c\/tr\u003e\u003ctr\u003e\n\u003ctd width=\"600\" valign=\"top\" height=\"400\"\u003e\n\u003cp class=\"bodymid\"\u003ePart One\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e1.\u003c\/strong\u003e Radio Introduction (0:44)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eLe Martyre de Saint Sébastien\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cspan class=\"m0l1i\"\u003eAct 1: La Cour De Lys (excerpts)\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e2.\u003c\/strong\u003e 1. Prélude (6:28)\u003cbr\u003e \u003cstrong\u003e3.\u003c\/strong\u003e 2. Danse Extatique de Sébastien (6:38)\u003cbr\u003e \u003cspan class=\"bodysmallarialblue\"\u003eWomen's Chorus of the Schola Cantorum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e4.\u003c\/strong\u003e \u003cb\u003e\u003cspan class=\"bodybigblue\"\u003ePrélude à l'Après-midi d'un Faune\u003c\/span\u003e \u003c\/b\u003e(9:52)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eNocturnes\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cstrong\u003e5.\u003c\/strong\u003e 1. Nuages (6:31)\u003cbr\u003e \u003cstrong\u003e6.\u003c\/strong\u003e 2. Fêtes (6:34)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eImages: 2. Ibèria\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cstrong\u003e7.\u003c\/strong\u003e 1. Par les rues et par les chemins (7:14)\u003cbr\u003e \u003cstrong\u003e8.\u003c\/strong\u003e 2. Les parfums de la nuit (7:19)\u003cbr\u003e \u003cstrong\u003e9.\u003c\/strong\u003e 3. Le matin d'un jour de fête (5:05)\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cb\u003eDuration: 56:26 \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd class=\"body\" width=\"300\" valign=\"top\" height=\"250\"\u003e\n\u003cp class=\"bodymid\"\u003ePart Two\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e1.\u003c\/strong\u003e Introductions to Part Two (4:58)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e2.\u003c\/strong\u003e \u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eLa Damoiselle Elue\u003c\/span\u003e \u003c\/b\u003e(22:03)\u003cbr\u003e \u003cspan class=\"bodysmallarialblue\"\u003eSoloists: \u003c\/span\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cspan class=\"body\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 14px;\"\u003eBidú Sayão\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarialblue\"\u003e\u003cb\u003e \u003c\/b\u003e(soprano), \u003cb\u003eRose Bampton\u003c\/b\u003e (contralto)\u003cbr\u003e Women's Chorus of the Schola Cantorum\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e \u003cstrong\u003e3.\u003c\/strong\u003e 1. De l'aube à midi sur (8:34)\u003cbr\u003e \u003cstrong\u003e4.\u003c\/strong\u003e 2. Jeux de vagues (6:23)\u003cbr\u003e \u003cstrong\u003e5.\u003c\/strong\u003e 3. Dialogue du vent et de (9:53)\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e6.\u003c\/strong\u003e Closing announcements (2:27)\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003eDuration: 54:17\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003eCBS Announcer: Davidson Taylor, director of serious music\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003e\u003ci\u003eThis recording was taken from off-air acetate\ndisc recordings made from a WABC New York AM radio broadcast. We have\naimed to preserve as much of the broadcast as was available to us,\nhowever the spoken introduction to Part Two is incomplete.\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\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\/PASC113.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC113.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 24-bit FLAC","offer_id":54932155892051,"sku":"rpb1789300796631","price":25.25,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932155924819,"sku":"ppg1789300796632","price":17.62,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":54932155957587,"sku":"xhw1789300796633","price":16.59,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":54932155990355,"sku":"zgs1789300796634","price":15.46,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/toscanini-an-all-debussy-concert-1936---pasc113_1.jpg?v=1789300804","url":"https:\/\/vendnora.com\/products\/toscanini-an-all-debussy-concert-1936-pasc113","provider":"luckagni","version":"1.0","type":"link"}