{"product_id":"toscanini-beethoven-symphony-no-9-choral-1952-pasc120","title":"TOSCANINI Beethoven: Symphony No. 9 \"Choral\" (1952) - PASC120","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp align=\"left\" class=\"footer\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphon\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ey No. 9 'Choral'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1952\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 65:06 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"left\" class=\"footer\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEileen Farrell, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Nell Merriman, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003emezzo\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Jan Peerce, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Norman Scott, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e Robert Shaw Chorale\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\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;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is now a recording that easily ranks among the top four or five Beethoven Ninths of all time578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe question of what Toscanini really sounded like\nin live performance may never be fully answered to our satisfaction,\nfor no other reason than that the sound quality of his surviving\nrecordings varies so greatly in perspective and aural balance. Some are\noverly bright and harsh; some are bright, but not harsh; some are harsh,\nbut not very bright; some are warm and rich with little brightness; and\nsome, taken from a little distance from the stage, have an interesting\nsound. The orchestra can be heard with each section in perfect equipoise\nto the others, yet never “together” in the sense of a unified block of\nsound. Each section has a slightly discrete sound, emanating from the\nstage like individual strands of silver. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAndrew Rose of Pristine Classical first uncovered\nmore ambience in a Toscanini recording than he thought possible when\nreprocessing the 1941 Tchaikovsky Piano Concerto No. 1 for issue. There,\nunder layers of tight sound and overly bright strings and brass, he\nuncovered real hall resonance. Toscanini fans, however—including some\nsurviving NBC musicians, whose memories played them false—accused him of\nadding ambience and “sweetening” the sound. He had done no such thing.\nWhat was there was what was there, no more, no less. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eFor this reissue of one of Toscanini’s most famous\nrecordings, however, Rose added ambience to the sound and spread the\norchestral tone slightly between two channels, producing what he calls\n“ambient stereo” (which is why I didn’t denote this recording as mono,\nthough an alternative mono version is available). When I first heard a\nsample of his new treatment, the first five minutes of the first\nmovement uploaded as a free sample, I admit that I was quite surprised.\nHaving put up with 40 years of artificial stereo, I expected to dislike\nit. On the contrary, I found that the added ambience aided my listening\nenjoyment considerably. Why? Because the ambient “spread” helped link\nthe musical phrasing by having instrumental overtones overlap in time as\nthe music progressed. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI’ve heard six previous issues of this\nperformance: the RCA Victrola boxed set of the nine symphonies, good\nsolid mono sound but with a little dulling of the top; the Victrola\nsingle-disc issue, in which the third movement was split between two LP\nsides, good mono sound, a little dull but also a little compressed; the\noriginal Red Seal LP issue, in which the sound was brighter yet somehow\nnot as full; the Red Seal boxed set of the nine symphonies, in which the\nsound was both a little fuller than the original issue and brighter\nthan the Victrola boxed set; the RCA Gold Seal CD, much like the\nVictrola set, full but a little dull; and the last RCA edition of the\nsymphonies, the 1999 twofer with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa solemnis,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin which the sound was almost a carbon-copy of the Red Seal LP set. (I\nhaven’t heard the latest Sony\/BMG box of the complete symphonies.) In\nall these, I found myself continually frustrated by what I heard as an\nalmost note-to-note reading of the score, powerful yet somehow\ndiscontinuous. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn this new transfer, the performance does \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003enot\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nsound discontinuous. In fact, I’m now willing to place it on a par with\nthe legendary 1936 New York Philharmonic reading (reviewed elsewhere).\nThere is a shade more sublimity of detail and warmer tone in the\nPhilharmonic version, despite the much scrappier sound, and in the final\npages of the last movement the timpani’s crashing thunder adds much\nmore to the excitement of the finale, but this one is very, very close.\n\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eTimings, always an indicator of how a performance\nof this symphony goes, are much more spacious than are any of his\nversions since 1936, and it shows. For quite some time, Toscanini seemed\nto want to compress each of the first three movements into a 13-minute\ntime frame, the second in particular being terrifically fast in 1939\n(and sounding unnervingly mechanical as a result), and even the third\nmovement being under 14 minutes. In the 1941 version at Buenos Aires (an\ninteresting reading in which Toscanini rebalanced the orchestra to\nfavor lower instruments in each section), the third movement is\nstretched out a little, but not much. Here, as in 1936, it is more than\n14 and a half minutes, allowing more majesty in its presentation, though\nthere is more of a nudge to its forward momentum here; the music\ndoesn’t “float” quite as it did in 1936. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eUpon reaching the last movement, I felt a certain\nunease hearing the vocal soloists surrounded by so much ambience,\nparticularly Eileen Farrell, whose voice rang out so commandingly in\nboth of the early Red Seal pressings. On the other hand, Farrell’s lack\nof tonal dominance balances the vocal quartet better, bringing this more\nin line with the kind of balance Toscanini achieved with his quartets\nin the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMissa solemnis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (1939, 1940, and 1954) and the ensembles of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eUn ballo in maschera\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n(1954). Also, someone very close to me who heard Peerce live at the\nMetropolitan Opera in the early 1960s said that the way this recording\nis engineered makes him sound more as he did in person as opposed to\nrecords, where he was always close-miked and tonally aggressive, and the\nRobert Shaw Chorale benefits even more from this perspective. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eNorman Scott, so commanding in the 1948 Beethoven Ninth and as Ramfis in the 1949 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAida\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nis not in his best voice here, sounding a little strained, but still\ncommanding in his delivery of Schiller’s lines. The vastly underrated\nNan Merriman is splendid as always in what is perhaps the most\nungrateful score for a mezzo to make her mark in. Those who follow along\nwith a score will undoubtedly notice the myriad textural changes\nToscanini made—as conductor Massimo Frecha put it in a 1960s interview,\n“massive changes, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eespecially\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin the first movement!” But no matter. This is now a recording that\neasily ranks among the top four or five Beethoven Ninths of all time, a\nlist that for me includes the 1966 Hans Schmidt-Isserstedt recording for\nDecca with Sutherland, Horne, King, and Talvela, and both of Karajan’s\n1970s versions: the CD with Tomowa-Sintow, Baltsa, Schreier, and van\nDam; and the DVD with René Kollo replacing Schreier. Enjoy! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eLynn René Bayley \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 32:3 (Jan\/Feb 2009) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC120.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWriting in second edition of \u003cem\u003eThe Record Guide\u003c\/em\u003e, in 1955, the authors noted of this recording:\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003ci\u003eNowhere, perhaps, is Toscanini's genius more apparent than in this work. At the age of eighty-five he had lost none of the concentration and energy which he always brought to it: he sweeps irresistibly forward, as though in a single fierce creative impulse. At the climax of the first movement, where the main theme returns in the major key, the listener has a strange sensation of being at the heart of a whirlwind: he feels impelled to leave his chair and pace the room. The Scherzo is amazingly vigorous and distinct. In the Adagio, the ethereal beauty of the conception compensates for some want of tonal bloom and warmth. In the Finale the choir is first class; the soloists sound a little remote, and are far from ideally eloquent. Nevertheless, the power of this exalted, exultant movement emerges with all the splendour that has made Toscanini the foremost conductor of our age. The NBC orchestral tone, throughout, is clean and vivid.\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eHowever, in the course of the next review, a number of\nphrases jump out quite to suggest all was not sonically perfect with the\nToscanini recording - highlighted below:\u003c\/p\u003e\u003cp\u003e\u003ci\u003eIn the circumstances, Kleiber's excellent account of this work tends inevitably to be eclipsed. Yet, in fairness, we must point out that his performance is weighty in conception, finely built, and scrupulous in detail. \u003cb\u003eHe receives a better recording than does Toscanini\u003c\/b\u003e: the Vienna strings sound superb across \u003cb\u003ea very wide dynamic range\u003c\/b\u003e, although in the earlier movements one might wish for the woodwind to sing out more clearly. In the finale the Viennese soloists, and particularly Anton Dermota, score heavily over the Americans. The choir is equally good, and \u003cb\u003ethe tonal perspective better\u003c\/b\u003e...\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eIf you listen to the Toscanini recording now, in its\noriginal state, it's easy to hear from where these reservations\noriginated. The sound quality is stodgy, lumpen, flat and congested.\nThere's an unpleasant hiss around 8kHz. The bottom end booms in the\nlouder moments. Altogether - even in its apparently finest modern issue -\nit's somewhat unsatisfactory and hard work to listen to \u003cem\u003eand enjoy.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eXR Remastering with Ambient Stereo\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eI must admit it had not been my intention to remaster\nthis recording for release - after all the RCA CD is readily available\nfor anyone who wants to hear it, and we had only just a few weeks\nearlier issued Toscanini's classic 1936 reading of the same work. Yet\nwhat began as experimentation with a new test piece of software ended up\nproducing results so stunning that I felt I had no choice but to finish\nthe remastering work and make it available here.\u003c\/p\u003e\u003cp class=\"body\"\u003eFirst up was that \"lumpen\" sound I described earlier -\nwell, as one finds over and over again with XR remastering, this kind of\nsound is often masking something much, much better, almost hidden in\nthe grooves of the recording. During the restoration process I was also\nable to deal with a number of hum tones that aflicted previous issues,\nas well as do a better job of blending in a rather hissy edited section\nthat had been dropped into the finale.\u003c\/p\u003e\u003cp class=\"body\"\u003eThen there's the question of Ambient Stereo, a new,\nsonically transparent process which extracts the ambience inherent in a\nrecording and allows the remastering engineer to give it varying degrees\nof spread across a stereo (or surround) soundstage, without disturbing\nor disrupting the main central mono signal. The effect is to give a real\nsense of space, presence, and dimension to the recording.\u003c\/p\u003e\u003cp class=\"body\"\u003eAn excerpt of this recording, made with Ambient Stereo\nearly in the remastering process, was released on the Internet for\ncomment and reaction. Most of this was very positive indeed - though\ninterestingly a number of comments were sent privately, rather than\nbeing posted in the open forums where comment had been invited. It\nseemed a number of people didn't really want the world to know that they\npreferred this Ambient Stereo to the mono equivilent!\u003c\/p\u003e\u003cp class=\"body\"\u003eI was persuaded by a number of these (privately)\nenthusiastic comments to continue the remastering and then to offer the\nresults in both mono and Ambient Stereo. I'm not shy to pin my own\ncolours to the mast and state that I prefer the latter. As you can read\nfrom the comments above by Lynn Bayley (who at the time of writing had\nonly heard that 5-minute test excerpt), it does seem to give\u003cem\u003e the performance\u003c\/em\u003e a cohesiveness which it has always lacked.\u003c\/p\u003e\u003cp class=\"body\"\u003eTo my mind, and ears, this is how this recording and performance \u003cem\u003eshould\u003c\/em\u003e sound - and I'm pretty certain that a good many people will agree with me.\u003c\/p\u003e\u003cp\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\u003cp class=\"footer\" align=\"left\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eSymphon\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003ey No. 9 'Choral'\u003c\/span\u003e\u003cbr\u003e \u003cb\u003e\u003cbr\u003eEileen Farrell, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003e Nell Merriman, \u003c\/b\u003emezzo\u003cb\u003e\u003cbr\u003e Jan Peerce, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003e Norman Scott, \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003e Robert Shaw Chorale\u003cbr\u003eNBC Symphony Orchestra\u003cbr\u003e\u003c\/b\u003econducted by\u003cb\u003e Arturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eRecorded in Carnegie Hall, New York, 31st March and 1st April, 1952\u003cbr\u003e Released in the UK as HMV LP ALP 1039-40\u003cbr\u003e\u003cbr\u003e Restoration \u0026amp; XR remastering by Andrew Rose at Pristine Audio, July-August 2008\u003cbr\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\n\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 65:06\u003c\/span\u003e \u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif;\"\u003e\u003cbr\u003e\u003c\/span\u003e\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\/PASC120.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC120.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":54932165296467,"sku":"lfl1789300880755","price":13.18,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932165329235,"sku":"qcf1789300880756","price":9.31,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":54932165362003,"sku":"iqa1789300880757","price":9.31,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":54932165394771,"sku":"cpp1789300880758","price":6.26,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/toscanini-beethoven-symphony-no-9-choral-1952---pasc120_1.jpg?v=1789300888","url":"https:\/\/vendnora.com\/products\/toscanini-beethoven-symphony-no-9-choral-1952-pasc120","provider":"My Store","version":"1.0","type":"link"}