{"product_id":"toscanini-conducts-richard-strauss-1938-46-pasc549","title":"TOSCANINI conducts Richard Strauss (1938-46) - PASC549","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDon Quixote\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTod und\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVerklärung\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSalome - Dance of the Seven Veils\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eEin Heldenleben\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDon Juan\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAUSS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTill Eulenspiegels lustige Streiche\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recordings, 1938-46\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 26:47\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEmanuel Feuermann\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, cello\u003c\/span\u003e\u003cbr\u003e\u003cb\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;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA priceless addition to both the Toscanini and Strauss discography, and yet another triumph for Andrew Rose and his Pristine crew578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThere is some extraordinary music-making here,\nfull of color and imagination. As is pointed out in the terse program\nnotes, Toscanini’s interest in the music of Strauss was limited, if\nintense. All of this material is early Strauss, and with the exception\nof the music from \u003c\/span\u003e\u003ci\u003e\u003cspan class=\"TIMESi\"\u003eSalome\u003c\/span\u003e\u003c\/i\u003e\u003cspan class=\"TIMES\"\u003e,\nall tone poems. The men knew each other and admired one\nanother—Strauss, who was himself an important conductor, revered\nToscanini’s artistry. They split personally over politics, as Strauss\nbecame involved with the Nazi regime (Toscanini famously declared “to\nStrauss the composer I lift my hat, to Strauss the man I put it back\non”). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eDespite the historic nature of these mostly\npre-World War II recordings, and despite my own life long enthusiasm for\nthe work of Toscanini, this big, lush music is best served by the\nplethora of superb performances in bright, shiny modern sound. There\nare, nevertheless, a couple of stand-outs, and overall, this release is a\ntreasure chest for admirers of both the composer and the conductor. Of\nchief interest for collectors here is the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e\u003ci\u003eDon Quixote\u003c\/i\u003e \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efeaturing\nthe legendary and tragically short lived cellist Emanuel Feuermann (he\ndied as a result of a botched surgery in 1942, at the age of 39). More\nso than almost any other recording of this wonderful work that I know,\nToscanini makes the drama that inspires the music pop, with delightfully\nraucous sound emanating from the brass section in particular. Feuermann\nproduces vibrant, focused tonality, but I find his patrician bearing\nsomewhat out of place in this rather wild ride. I suppose one could\nargue that this reflects Cervantes’s vision of his gallant hero adrift\nin a hostile world, but musically I still prefer the more cohesive sound\nof the classic recording by George Szell and the Cleveland Orchestra,\nwith the under-rated Pierre Fournier as the glorious cello soloist. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eToscanini’s way with \u003c\/span\u003e\u003ci\u003e\u003cspan class=\"TIMESi\"\u003eTill Eulenspiegel\u003c\/span\u003e\u003c\/i\u003e\u003cspan class=\"TIMES\"\u003e\u003ci\u003e\n\u003c\/i\u003e has long been my benchmark for this delightful score. Whenever I hear a\nnew performance, I anticipate whether or not the musicians will express\nthe subtle wit and frantic, and, paradoxically, controlled energy with\nsome level of the attention to detail and sheer dramatic insight that\nToscanini brought to this music. Many come close, but none exceed his\nvision. As has been frequently observed by Toscanini mavens, his\npre-World War II recordings and his live recordings, whether with the\nnascent NBC Symphony Orchestra or with his guest appearances with the\nBBC Symphony Orchestra, feature an ease of presentation and spontaneity\nthat seemed to ebb away from his post-war studio recordings, wherein,\none supposes, there was both external and internal pressures to produce\n“definitive” versions of the great classics. Such is the case here; the\nwell-worn 1955 recording is spectacular, and yet this live 1946 version\nallows just enough more elasticity to give the music that much more\nvivacity. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe rest of the program is equally engaging. \u003c\/span\u003e\u003ci\u003e\u003cspan class=\"TIMESi\"\u003eTod und Verklärung\u003c\/span\u003e\u003c\/i\u003e\u003cspan class=\"TIMES\"\u003e\nseems to be the most recorded Strauss work from Toscanini. In the realm\nof historical recordings, I am partial to the eerily beautiful\nToscanini reading with the Philadelphia Orchestra, but I prefer to hear\nthis music in superior sound reproduction, as well as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e\u003ci\u003eDon Juan\u003c\/i\u003e \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand \u003c\/span\u003e\u003ci\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003c\/i\u003e\u003cspan class=\"TIMES\"\u003e.\nNonetheless, this is a priceless addition to both the Toscanini and\nStrauss discography, and yet another triumph for Andrew Rose and his\nPristine crew. For those so inclined, this is a must-have. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003ci\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003ePeter Burwasser \u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003e\n\n\n\n\n\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 42:6 (July\/Aug 2019) 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\/PASC549.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nToscanini was an early champion of the music of Richard Strauss and he\ncontinued to conduct his works throughout his long career. The two men knew\neach other and met on more than one occasion. When Toscanini heard Strauss\nwas working on an operatic version of \u003cem\u003eSalome\u003c\/em\u003e he corresponded with\nthe composer about giving the Italian premiere. This eventually became a\npoint of contention between the two men. Toscanini wished to give the\nItalian premiere at La Scala but Strauss had already signed a contract\ngiving Turin the honour. This episode undoubtedly soured the relationship\nbetween them, and when Strauss accepted an offer to conduct at Bayreuth in\n1933 after Toscanini had refused to return due to the festival’s Nazi ties,\nToscanini allegedly said ‘To Strauss the composer I lift my hat, to Strauss\nthe man I put it on again.’\n\u003c\/p\u003e\n\u003cp\u003e\nIn reality, Toscanini’s interest in Strauss as a composer was limited. He\nnever conducted anything Strauss composed after \u003cem\u003eSalome \u003c\/em\u003eand when he\nattended the premiere of \u003cem\u003eArabella\u003c\/em\u003e in Vienna in 1933 he described\nit as ‘wretched stuff.’ His love of Strauss’s earlier compositions\nremained, particularly his tone poems mostly composed in a prolific decade\nbetween 1888 and 1898, and demonstrates how Toscanini was able to separate\nmusic from composer. For his part, Strauss had a strong admiration for\nToscanini as a conductor, once remarking to his assistant, George Szell,\nthat after hearing Toscanini conduct he was inclined never to conduct\nhimself again.\n\u003c\/p\u003e\n\u003cp\u003e\nStrauss’s tone poems are rightly regarded as masterpieces of late Romantic\nmusic. Lushly orchestrated, the pieces are as long as some symphonies but\neach tells a specific story, using the orchestra in highly imaginative\nways. The fluttering brass imitating bleating sheep in \u003cem\u003eDon Quixote\u003c\/em\u003e\nis just one obvious example of the way that Strauss could conjure a musical\nimage for the listening audience.\n\u003c\/p\u003e\n\u003cp\u003e\nThis release features recordings of all the Strauss works that Toscanini\nconducted. \u003cem\u003eTod und Verklarung\u003c\/em\u003e (Death and Transfiguration) was by\nfar the most frequently performed and recorded, with no less than ten\nextant recordings, including a commercial one with the Philadelphia\nOrchestra (1942). The one chosen for this release is the middle one of\nToscanini’s three NBCSO broadcasts to feature the work (1938, 1946 and\n1952). \u003cem\u003eDon Juan\u003c\/em\u003e featured on four of Toscanini’s NBCSO broadcasts,\nas well as in one La Scala concert in 1949. The one included here is the\nearliest NBCSO performance, from 1939. Toscanini conducted \u003cem\u003eDon Quixote\u003c\/em\u003e three times with the NBCSO and in once with the BBCSO.\nAgain, the one included here is the earliest NBCSO one, from 1938. The\ncello soloist in \u003cem\u003eDon Quixote\u003c\/em\u003e is Emanuel Feuermann, a Jewish émigré\nfrom Europe who had performed the piece with Toscanini in London in May\n1938. There are also four examples of Toscanini \u003cem\u003econducting Till Eulenspiegel\u003c\/em\u003e, all with the NBCSO, and this one is\nthe second, from 1946. There are two extant recordings of Toscanini\nconducting the \u003cem\u003eDance of the Seven Veils\u003c\/em\u003e from \u003cem\u003eSalome\u003c\/em\u003e, one\nwith the NY Philharmonic and the second, heard here, with the NBCSO in\n1939. Despite \u003cem\u003eEin Heldenleben\u003c\/em\u003e being one of Toscanini’s regular\nconcert pieces, there is only one extant recording of him conducting it,\nwith the NBCSO in 1941.\n\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\u003cspan style=\"font-size: 20px;\"\u003eTOSCANINI conducts Richard Strauss\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC ONE\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Quixote, Op. 35\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e1. Introduction  (5:24)\u003cbr\u003e2. Theme  (1:52)\u003cbr\u003e3. Sancho Panza  (2:20)\u003cbr\u003e4. Variation 1  (1:33)\u003cbr\u003e5. Variation 2  (3:34)\u003cbr\u003e6. Variation 3  (3:53)\u003cbr\u003e7. Variation 4  (1:56)\u003cbr\u003e8. Variation 5  (4:14)\u003cbr\u003e9. Variation 6  (1:10)\u003cbr\u003e10. Variation 7  (0:50)\u003cbr\u003e11. Variation 8  (1:47)\u003cbr\u003e12. Variation 9  (0:57)\u003cbr\u003e13. Variation 10  (3:53)\u003cbr\u003e14. Finale  (5:33)\u003cbr\u003e\u003cb\u003eEmanuel Feuermann\u003c\/b\u003e, cello\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTod und Verklärung, Op. 24\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e15. I. Largo  (5:07)\u003cbr\u003e16. II. Allegro molto agitato  (3:55)\u003cbr\u003e17. III. Meno mosso, ma sempre alla breve  (7:32)\u003cbr\u003e18. IV. Moderato  (7:25)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e19. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSalome, Op. 54\u003c\/span\u003e \u003c\/b\u003e- Dance of the Seven Veils  (10:15)\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDISC TWO\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEin Heldenleben, Op. 40\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e1. Der Held  (3:59)\u003cbr\u003e2. Des Helden Widersacher  (3:25)\u003cbr\u003e3. Des Helden Gefährtin  (12:11)\u003cbr\u003e4. Des Helden Walstatt  (8:15)\u003cbr\u003e5. Des Helden Friedenswerke  (4:04)\u003cbr\u003e6. Des Helden Weltflucht und Vollendung  (10:39)\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e7. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eDon Juan, Op. 20\u003c\/span\u003e\u003c\/b\u003e  (17:08)\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e8. \u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eTill Eulenspiegels lustige Streiche, Op. 28\u003c\/span\u003e\u003c\/b\u003e  (13:56)\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003eNBC Symphony Orchestra    \u003cbr\u003econducted by Arturo Toscanini\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRecording Dates\u003c\/b\u003e\u003cbr\u003eDon Quixote: 22 October, 1938\u003cbr\u003eTod und Verklärung: 17 November, 1946\u003cbr\u003eSalome Dance: 14 January, 1939\u003cbr\u003eEin Heldenleben: 1 February, 1941\u003cbr\u003eDon Juan: 14 October, 1939\u003cbr\u003eTill Eulenspiegel: 17 March, 1946\u003cbr\u003e\u003cbr\u003eTotal duration:  2hr 26:47    \u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\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\/PASC549.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC549.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":54932342866259,"sku":"sox1789302445435","price":23.39,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932342899027,"sku":"rma1789302445436","price":16.08,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":54932342931795,"sku":"oew1789302445437","price":15.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/toscanini-conducts-richard-strauss-1938-46---pasc549_1.jpg?v=1789302452","url":"https:\/\/vendnora.com\/products\/toscanini-conducts-richard-strauss-1938-46-pasc549","provider":"My Store","version":"1.0","type":"link"}