{"product_id":"toscanini-the-1939-beethoven-cycle-volume-4-1939-pasc555","title":"TOSCANINI The 1939 Beethoven Cycle, Volume 4 (1939) - PASC555","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eEgmont\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSeptet for Woodwind, Horn \u0026amp; Strings\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1939\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:55\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\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;\"\u003e Arturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eGet 6 Boxed CDs for the price of 5 when you buy the full Digipack printed CD set\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fClassical Source review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fA profoundly moving and humbling experience578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cdiv\u003eSome twelve years ago I reviewed a Music \u0026amp; Arts box featuring\nArturo Toscanini’s celebrated 1939 cycle of Beethoven’s Symphonies – all\nbar the ‘Choral’ recorded at Studio 8H – and it has since released\nanother version that is better in some ways and worse in others. I hoped\nthat that doyen of historical transfer engineers, Andrew Rose, would\nlay his hands on some aptly pristine acetates and produce\nstate-of-the-art re-mastering, which is exactly what has happened, plus\nthe 1940 Carnegie Hall Missa solemnis. Apart from the sound, what makes\nthe concerts different is that these are complete, including Overtures\nand orchestrated chamber pieces.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eToscanini’s readings bring together visceral power, rhythmic drive,\neffortless rubato, tempo and dynamic variation, humour and beautifully\nsculpted melodic lines to create a totally uncompromising, exalted\nvision of these supreme masterworks, which makes the entire\nperiod-instrument school sound hopelessly underpowered and sadly\nirrelevant. Crucially on these Pristine releases for the first time you\nunderstand why contemporaries talked of the richly upholstered, yet\ndefined sound Toscanini drew from an orchestra, lustrous strings,\nexulting brass, and you realise that unusually for that era the\ntimpanist’s savage assaults were made using pretty hard sticks. In the\nNinth Symphony and Choral Fantasy (the latter incisively and wittily\nconducted, but scrappily played by Ania Dorfmann) the vocal soloists are\nthere in front of you and the chorus is very life-like. Added to this\nthere is exceptional clarity, so one can appreciate the masterly way in\nwhich Toscanini layers the sound, structures chords and builds climaxes.\nIndeed at the end of the Ninth I was moved to tears by the glorious,\nmeasured majesty of his conception.\u003c\/div\u003e\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\u003cdiv\u003eAs for the Missa solemnis, a stellar line-up of singers includes a\ntwenty-eight-year-old Jussi Björling. In the opening ‘Kyrie’ one\nimmediately notes at a measured tempo the way the imposing dead-weight\nchords contrast with the fluid vocal line Toscanini weaves. Beethoven\nwas famous for not really giving a damn whether anybody could perform,\nlet alone understand, the music he composed in his third period and the\nferocious, tumultuous start to the ‘Gloria’ is fiendishly difficult to\nbring off. The way in which the composer illustrates the text with\nchanges of pace, emphasis and emotional stress has defeated many a\nconductor, but Toscanini simply tears into the opening and, as in the\nSymphonies, always seems to find the right tempo that enables him to\nsegue perfectly from section to section, so the colossal fugue carries\nenormous conviction, although the final chord is split. In the ‘Credo’\nthe opening tempo is restrained, the architecture massive, the move to\nAdagio effortlessly achieved, the soloists are beautifully led by\nBjörling and the huge double fugue moves inexorably forward, with\nabsolutely no sense of hurry, and a sense of dramatic timing that any\naspiring Beethoven conductor would do well to study. And so it goes\non... profound contemplation, precision of execution, exemplary\ndynamics, inexorable power ... and the work’s enigmatic ending makes\nperfect musical and emotional sense.\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e In terms of the sound, there were issues with occasional\noverloading and very prominent trumpets, but compared to three other\nversions I have of this performance this has far greater weight,\ndefinition and presence, far better reproduces the distinctive timbres\nof the soloists and the dark-hued sonorities of the chorus.\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003ePristine had access to excellent source materials – presumably mint\nacetates – and Andrew Rose is not afraid to use an array of modern\nsoftware to further improve the sound heard on these fragile\neighty-year-old lacquers. This includes Celemony Capstan (yours for\naround €3,500!) that removes excessive wow and flutter caused by\nvariable cutting speeds and\/or faults on the lacquer. In terms of noise\nreduction, things have moved on enormously from the early days of Cedar\nwhich removed excessive hiss and some snap, crackle and pop, but largely\ndestroyed the upper frequencies and harmonics, whereas now the image is\nnot deadened.\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003eIn 1939 and 1940 multi-channel stereo recording was unknown, so\neven at Carnegie Hall the engineers used just one microphone, which fed,\nby modern standards, decidedly low-fidelity cabling, amplification,\nlathes and cutting-heads, which could not capture low and high\nfrequencies and struggled with clarity and definition. However over a\ndecade ago a company produced a cheap application called Har Bal, which\nenabled anyone to select a piece of music of whatever length and import\nthe frequency response of a modern recording, which as anyone who owns\nthis will know, makes a huge difference to the internal balance because\nit liberates frequencies and thereby instruments, and Pristine uses\nthis.\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003eThen there is ambient imaging, which broadens the sound-stage\nwithout any loss of definition and again creates something closer to\nwhat the audiences would have heard. Related to this there is software\nwhich enables a remastering engineer to replace part of or the entire\nacoustic signature of a hall with that of another, where this has been\nmeasured. Clearly this is totally unnatural, so why would you use it, to\nwhich the answer is Studio 8H. This was built specifically to house the\nNBC Symphony Orchestra at full-strength; unfortunately the architect\nknew absolutely nothing about acoustics, as a result of which the sound\nproduced and thereby recorded was unacceptably shallow, bass-light,\ntreble-heavy and harsh, so Pristine adds a dash of Carnegie Hall to the\nmix, which is a huge improvement.\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003eWith regard to formats, 24-bit downloads were used, but you can get\n16-bit, CD and – heaven forbid – MP3. What we have here is by some\ndistance the greatest Beethoven Symphony cycle and account of the Missa\nsolemnis ever recorded in sound that for the first time does justice to\nthem and it has been a profoundly moving and humbling experience to once\nagain listen to these supreme masterworks.\u003c\/div\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv\u003e\u003cspan style=\"font-weight: bold;\"\u003eRob Pennock\u003c\/span\u003e\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC555.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv id=\"tab1\" class=\"tab-body tab-content current\"\u003e\n\u003cp\u003eOn 28 October 1939, Arturo Toscanini took to the podium with his NBC\nSymphony Orchestra to begin what would be a unique series of six\nconcerts: his only recorded Beethoven integral symphony cycle. Over six\nweekly concert broadcasts Toscanini would conduct all nine symphonies,\nroughly in order, together with various overtures, excerpts and other\nworks, most interestingly the Choral Fantasy, Op. 80. This was coupled\nwith the Ninth \"Choral\" Symphony in a special broadcast live from\nCarnegie Hall (the other concerts took place in his more usual radio\nstudio venue), and constitutes the only recorded example of him\nconducting this work ever. Mortimer H. Frank suggests that Toscanini\nconsidered conducting the work again in 1952 in London but dropped the\nidea - he also suggests this may have been the only time Toscanini ever\nconducted the Choral Fantasy.\u003c\/p\u003e\n\u003cp\u003eAs with our recent issues of Toscanini conducting Russian music (PASC548) and the music of Richard Strauss (PASC549),\nI have been able to access source recordings of unprecedented quality,\ntaken from acetate discs recorded directly by NBC and almost certainly\nnot played since. For optimal sound quality this is crucial - the\ndelicate surfaces of these discs are prone to immediate deterioration\nwhen played, especially when the weighty pick-ups in common use in the\n1940s were used, resulting in distortion, higher background noise, and\npotential loss of high frequencies and other details. Previous issues\nhave relied on Toscanini's own copies, discs which have seen\nconsiderable wear and use over the years.\u003c\/p\u003e\n\u003cp\u003eThe use of these new\nsource discs translates directly into remarkable audio quality, with\nquiet backgrounds and a particularly wide frequency range - and sound\nquality that would have been considered excellent on a hi-fi era LP\nrecord from twenty or more years later. The use of the latest audio\nrestoration technology brings with it rock-solid pitching, excellent\ntonal balance, and a clean, clear sound quality throughout. On the\npresent volume I had to contend with both wow and flutter throughout the recording, and also two different pitches caused by the disc cutters running at different speeds. There was also a degree of pitch drift to be seen across sides. Cumulatively this resulted in differences of up to a semitone in pitch between the highest and lowest points of the recording, and a section of around four minutes where the pitch slowly rose by almost this amount. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEach of the concert broadcasts ran for\nlonger than was usual, and it has been necessary to trim some of the\ncommentary from these recordings in order to fit each one onto a single\nCD release without cutting any of the music. The amount of speech\nediting will vary from release to release, but the intention is to\npreserve as much as possible the occasion as heard some 80 years ago -\nthis is, we believe, the first time they have been presented as\nbroadcast in this manner. Certainly they have never sounded as fresh and\nfine as this before.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\n\u003c\/div\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\u003e1. RADIO Opening Announcement  (0:37)\u003c\/p\u003e\u003cp\u003e2. \u003cb\u003eBEETHOVEN Egmont, Op. 84\u003c\/b\u003e  (8:21)\u003c\/p\u003e\u003cp\u003e3. RADIO Midway Announcement 1  (1:02)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Septet in E flat for Woodwind, Horn \u0026amp; Strings\u003c\/b\u003e, Op. 20 \u003cbr\u003e4. 1st mvt. - Adagio - Allegro con brio  (8:00)\u003cbr\u003e5. 2nd mvt. - Adagio cantabile  (8:25)\u003cbr\u003e6. 3rd mvt. - Tempo di menuetto - Trio  (3:10)\u003cbr\u003e7. 4th mvt. - Tema con variazioni. Andante  (7:34)\u003cbr\u003e8. 5th mvt. - Scherzo. Allegro molto e vivace - Trio  (2:59)\u003cbr\u003e9. 6th mvt. - Andante con molto alla marcia - Presto  (5:27)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e10. RADIO Midway Announcement 2  (0:38)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eBEETHOVEN  Symphony No. 7\u003c\/b\u003e in A, Op. 92\u003cbr\u003e11. 1st mvt. - Poco sostenuto - Vivace  (11:19)\u003cbr\u003e12. 2nd mvt. - Allegretto  (8:08)\u003cbr\u003e13. 3rd mvt. - Presto  (6:51)\u003cbr\u003e14. 4th mvt. - Allegro con brio  (6:40)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e15. RADIO Closing Announcement  (0:44)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra   \u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 18 November, 1939\u003cbr\u003eNBC Studio 8H, Radio City, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:55\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\/PASC555.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC555.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNew York Times Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 36px;\"\u003eTOSCANINI DIRECTS BEETHOVEN SEPTET\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cdiv align=\"center\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/div\u003e\u003cp align=\"center\"\u003e\u003cb\u003e\n\u003cspan style=\"font-size: 20px;\"\u003eChamber Work, With Strings Reinforced, Feature of 4th NBC Cycle Concert\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cdiv align=\"center\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/div\u003e\u003cp align=\"center\"\u003e\u003cb\u003e\n\u003cspan style=\"font-size: 24px;\"\u003eGIVES ‘EGMONT’ OVERTURE\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cdiv align=\"center\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/div\u003e\u003cp align=\"center\"\u003e\u003cb\u003e\n\u003cspan style=\"font-size: 20px;\"\u003eAlso Makes a Characteristic innovation in Scherzo of the Symphony in A\nMajor\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cdiv align=\"center\"\u003e\u003cb\u003e\n\u003c\/b\u003e\u003c\/div\u003e\u003cp align=\"center\"\u003e\u003cb\u003e\nBy OLIN DOWNES\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\nPerhaps those who listen to an instrumental concert by means of the radio\nget the greatest rewards from the scores which employ but a few\ninstruments, as, for example, the Beethoven septet, which, with reinforced\nstrings, was performed by the NBC Symphony Orchestra under Toscanini's\ndirection last night in Studio H-8 in Radio City in the fourth concert in\nthe Beethoven cycle. At least, this principle holds true if Toscanini\ndirects the performance.\n\u003c\/p\u003e\n\u003cp\u003e\nHe is pre-eminent in music which requires the clarity, artistocratic grace\nand inherent power of the representative scores of the Haydn-Mozart and\nearly Beethoven period. Much of the Septet might be Haydn, were it not for\na new compression, energy and humor which entered music with Beethoven, It\nwas a common mistake of even a quarter of a century ago to refer\ncondescendingly to the early scores of the Bonn master, but Toscanini\nalways knew better. He makes of each phrase a masterpiece.\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Toscanini would probably agree with the Arabian philosopher who\ndiscovered in a small ring the reflection of the completeness of the\nuniverse. Here, in simple melodic lines and small dimensioned forms, are\nthe profound formal ideas which underly the symphonies. The enchanting\nsimplicity of the Septet, in a word, is matched by its consumate\nworkmanship. To achieve a like simplicity and mastery in performance is an\naccomplishment of only secondary magnitude.\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Toscanini accomplished this so felicitously that at times one wanted to\nlaugh aloud in sheer exhilaration at his achievement. There were not only\ngrace and wit, but also a pervasive beauty of song in the playing which\nprovided the last essential of a great interpretation. Thirty strings\nreplaced Beethoven’s four. These thirty proved that they could play, not\nlike four, but like one.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\nThe utter absence of bombast or mere dramatic rhetoric, and the\nquintessence of drama and heroism in the “Egmont” score were precisely\nreflected in the performance. The Beethoven Seventh Symphony had the same\nunsurpassable sincerity and complete absence of effect for effect’s\nsake, or for any reasons save those both implicit and explicit in the\nscore.\n\u003c\/p\u003e\n\u003cp\u003e\nIt would be interesting, one of these days, if that rare being, the\nconductor who loves Beethoven but fears him as he does his God, should\nattempt a small editing to obtain somewhat better balances in the\norchestration of the symphony's introduction, where the wind parts, with\nthe noble swinging motive in half notes, are in certain measures not strong\nenough to balance properly the ascending sixteenths of the strings. That is\nBeethoven’s shortcoming.\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Toscanini, as usual, takes the trio of the scherzo of the symphony\nfaster than is customary. The more one hears this, the more it seems\nlogical, and no injustice to the music. He made no attempt to read special\nthings into the uproarious finale, built principally on the Nora McCruna\nsong. He gave the music its head, and we were richly rewarded.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eNew York Times,\u003c\/b\u003e 19 November, 1939\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_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":"Ambient Stereo 24-bit FLAC","offer_id":54932352958803,"sku":"slb1789302533052","price":14.85,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":54932352991571,"sku":"sdl1789302533053","price":9.57,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":54932353024339,"sku":"zid1789302533054","price":6.79,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/toscanini-the-1939-beethoven-cycle-volume-4-1939---pasc555_1.jpg?v=1789302540","url":"https:\/\/vendnora.com\/products\/toscanini-the-1939-beethoven-cycle-volume-4-1939-pasc555","provider":"luckagni","version":"1.0","type":"link"}