{"product_id":"a-felix-slatkin-compendium-1954-59-pasc218","title":"A FELIX SLATKIN Compendium (1954-59) - PASC218","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDohnányi, Khachaturian, Britten, \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eVilla-Lobos, Bach, Chavez, Milhaud\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eStereo and mono recordings, 1954 - 1959\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 19:10 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eVictor Aller, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonard Pennario, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarni Nixon, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHal Reese, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epercussion\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eConcert Arts Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Slatkin\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAltogether a gem of a set578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eFelix Slatkin was one of the most versatile\nmusicians of the 1950s, as a concertmaster on the Los Angeles studio\nscene (including on Frank Sinatra’s Capitol recordings), first violin of\nthe fabled Hollywood String Quartet, and conductor of the Concert Arts\nand Hollywood Bowl orchestras. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis enterprising set restores to circulation some\nConcert Arts classics recorded for Capitol in the later 1950s,\nfeaturing both the full orchestra and ensembles drawn from it. Its sonic\ncharacter is very distinctive: that “Hollywood” sound, with its\nshimmering, glamorous patina. The strings’ style is freely expressive,\ntonally rich, with more (and unselfconscious) use of expressive\nportamento than was common in the classical world at that time. Winds\nare full-toned and vibrant, vocal in phrasing with liberal use of\nexpressive vibrato. Rhythmic style is light in touch, crisply pointed. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Britten (recorded 1956) makes a marvelous\nshowcase for the stellar quality of every department of the orchestra.\nPerhaps surprisingly, Britten comes off with less of a “foreign accent”\nhere than in other non-British versions from around this time: van\nBeinum\/Concertgebouw (Decca, 1953) or Ančerl\/Czech Philharmonic\n(Supraphon, 1958); of course, the presence of a British orchestra in\nitself guarantees nothing—Giulini (Philharmonia\/EMI, 1962) makes the\nmusic sound like Bruckner! Slatkin’s Californians have much more in\ncommon with the natural idiomaticness of Boult (Pye\/Nixa, 1956, but the\nConcert Arts play rings around the lean, mean London Philharmonic) and\nBritten himself (London Symphony Orchestra\/Decca, 1963). The performance\nis admirably faithful to Britten’s meticulously detailed markings; more\nimportant, it radiates spontaneity and enjoyment. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe performance of the Dohnányi pits Victor\nAller’s straight, rather deadpan playing against Slatkin’s richly\ncharacterful accompaniment—an effective way to play this once-popular,\nnow rarely heard score, and the opposite of the contemporaneous version\nfrom Katchen\/Boult (with a much more characterful soloist, and well\nconducted, but again the LPO is no match for the Hollywood orchestra). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Khachaturian is a real period piece—glorified\nSoviet poster art, really, in its mélange of folk elements with generic\nurban modernism (Prokofievian bitonality, but without his originality);\nunsubtle, rambling, but effective in its way. Leonard Pennario’s crisp,\ndebonair treatment makes the best possible case for it, and Slatkin\nprovides luxury support—gorgeous wind solos in the slow movement,\nincluding the silkiest bass clarinet you’ll ever hear. The work enjoyed\nimprobable Western popularity in the postwar period, with recordings\nfrom Kapell\/Koussevitsky (steely and intense); Levant\/Mitropoulos\n(bullish, hard-bitten); and Lympany\/Fistoulari (softer-edged, more\nmusical—if that really qualifies as a virtue in this context—but the\nonly one to include the called-for wailing flexatone in the slow\nmovement). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eOf the shorter pieces on disc 2, the cello\nensemble plays Villa-Lobos with immense panache and stylistic empathy.\nMarni Nixon (better known for her work in musical soundtracks) would\nalone be worth the price of the set: She is perfection, with a bell-like\nclarity tempered by a hint of smokiness; stunning agility; and\ndead-center intonation of your wildest dreams—once heard, never\nforgotten. The Bach arrangement is the E♭-Minor from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eWTC\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nBook 1, but transposed to D Minor (prelude) and C Minor (fugue),\nrespectively. Whatever your feelings about such arrangements (including\nin this case the curious addition by Villa-Lobos of a few extra pedal\nnotes), the performance has an all-out intensity and overwhelming\nrichness that are impossible to resist. As for the Chavez Toccata, well,\nno doubt it’s gripping stuff for percussionists … . But the Milhaud is\nfun, with its weird little orchestra of flutes and clarinets, solo\ntrumpet and trombone, and strings. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe recording is clear, though in a very dry\nstudio acoustic. Transfers are excellent as usual from this source, and\nthe music-making so vividly communicative that any sonic limitations are\nquickly forgotten. Altogether a gem of a set. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:2 (Nov\/Dec 2010) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC218.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eAn eclectic mix of truly special performances\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eStunning stereo XR-remastered sound quality that just has to be heard!\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eFollowing a generally favourable response to our release in 2009 of \u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003eFelix Slatkin's Delius, Saint-Saëns and Ibert \u003c\/span\u003e\u003cspan style=\"font-size: 14px;\"\u003erecordings we decided to delve deeper into the back catalogue and, thanks to the hard work of Edward Johnson, put together the present double-CD-length release, which aims to cover even more eclectically the kind of music Slatkin was recording in the mid to late 1950s.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe musical scope here in without doubt broad, and yet despite bringing together the recordings from four very different LP releases it seems to work well as a single collection. Dohnanyi's \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eVariations on a Nursery Theme\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e is sheer brilliance from start to finish, and the performance here captures brilliantly the multi-faceted nature of this remarkable work, based on the tune\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003e Twinkle, twinkle little star\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e (or, if you prefer, \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eAh, vous dirai-je, Maman\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e).\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eIn some ways the piece sets the tone for the rest of this album as it moves from one musical style to another, with Dohnanyi encompassing (as the notes state) the musical styles of \"nearly every composer his audience of 1914 would have been familiar with\". Victor Aller's performance sparkles and, yes, twinkles throughout, and is really not to be missed.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe Khachaturian is altogether a weightier work - a proper piano concerto to Dohnanyi's piece labeled \"for orchestra and piano concertante\" - and Pennario delivers it well. He had taken it into his repertoire in the mid-50s following the death of his great friend William Kapell, who had given the US premiere in 1943 and later recorded the work with Koussevitzky. Pennario's performances at the time work huge critical acclaim.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eBritten's much-loved \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eYoung Person's Guide to the Orchestra\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e brings us back, in a sense, to the world of the Dohnanyi - a set of variations on a theme, in this case by Purcell, which takes the listener on a rich and varied musical journey, with humour and grandeur. Slatkin's brilliant orchestra rises to the challenge, and the recording captures the fine brilliance of the performance with astonishing clarity, thanks in no small measure to the early use of stereo to steer us around the orchestra's instrumental sections.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eDisc two brings greater variations, if you like. Taken from two LPs, the first entitled \"The Cello Galaxy\", the second simply \"Percussion!\", we find two often-neglected sections of Slatkin's orchestra brought to centre stage. Villa-Lobos' \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eBachianas Brasileiras \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003eare scored for eight celli and are among his most popular and successful works. The addition of a solo soprano to the fifth adds a further dimension to these brilliantly scored works. Meanwhile the Bach arrangement calls for a cello 'orchestra' - in this recording no less than 26 cellists were arranged in what the sleevenotes described as \"a shallow semi-circular row... in four groups with eight players in the first and six players in each of the others\". It makes for a quite uniquely rich and sonorous interpretation of one of Bach's great works.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eIn the works for percussion we slip back to the mono era - which is something of a shame as this music is perhaps particularly suited to a stereophonic treatment. Nevertheless again the performances and recordings are more than worthwhile. A newcomer to Carlos Chavez's \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eToccata\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e might baulk at a three movement work for percussion alone, but fear not - it's a captivating piece of music brilliantly played. Despite the apparent absence of melody and harmony (though of course these are present in instruments such as the glockenspiel, xylophone, chimes and - to a lesser extent - tuned drums), somehow the composer manages to weave together a convincing and expressive musical narrative.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eMilhaud, on the other hand, presents the percussionist with an orchestral backdrop, which provides the main musical ideas of the piece and allows the soloist the scope for exotic coloration. Both of these 1954 recordings have had Ambient Stereo treatment to add a sense of space around the instruments whilst maintaining the central, mono imagery of the originals. It's a testament to the excellence of performers and recordings that both capture and hold the imagination of the listener throughout.\u003c\/span\u003e\u003c\/p\u003e\u003cdiv id=\"technotes\"\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eWorking from LPs in generally immaculate condition I was able to produce some quite excellent remastered recordings using Pristine's acclaimed XR processing. However, something remained to be addressed. Reviews of the first release tended to dwell, momentarily at least, on the exceptionally dry acoustic of the sound - writing at MusicWeb International, Jonathan Woolf complained that despite my efforts with XR remastering, \"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eit seems not to have been able to ameliorate the chilly acoustic\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e\", whilst Lewis Foreman, writing for the Delius Society Review, also noted: \"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe actual orchestral playing is very good, but the enterprise is compromised to some degree by the acoustic which has no natural resonance to it; it’s just flat.\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e\" (It's perhaps worth being reminded at this point that these are both highly experienced and esteemed critics, well-used to the drier acoustics of many older recordings.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eThe reason for this is almost certainly the same thing which dogged a number of the present recordings - the recording location, Samuel Goldwyn Studios Stage Seven in Hollywood, CA. This is in every sense not a concert hall, and from all the evidence here it sounds as if it was designed to be particularly acoustically dead. This is not flattering to a musical performance, though it certainly has its uses in the realm of film sound production, even more so now that it would have done in the 1950s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eA dead, dry sound can be processed in such a way as to appear to \"be\" somewhere else. Traditionally this would have been done using various echo chambers, reverberation plates and equalisation, much as I learned when first working on radio drama productions at the BBC, where it's highly desireable to have a single studio space which can be made to sound like almost any generic venue a dramatist wants it to be - outdoors, in a small or large room, a cavern or, indeed, some alien world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eWhat we can also do now, however, is effectively \"relocate\" an acoustically dry recording \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eto a specific venue\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e, using a process called \"convolution reverberation\". An impulse recording, made in a particular place, can be used as a precise multi-dimensional acoustic model to recreate the echoes and reverberant acoustic of that location in another recording - and if it's a bone-dry echo-free recording, it can relocate that recording in an astoundingly-convincing manner. If we input the dry sound of the Concert Arts Orchestra to this system, it is possible to hear that Orchestra as if one was sitting hearing that same performance from the concert stage, whilst of course sitting in the best seat in the house, at any number of the world's finest concert halls and auditoriums.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eIt's a tremendously powerful and sonically seductive tool - and one of classical recordings dirty secrets is that digital reverberation gets used far more than is ever admitted on modern recordings - but should one really consider applying it to these 1950s recordings? I have to admit I was exceptionally wary - until I heard the result for myself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eI discussed these thoughts in an e-mail exchange with Felix Slatkin's son, the cellist Frederick Zlotkin, during the preparation of this release, explaining my aims, hopes and intentions. He commented thus, and I took his words very much into account:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003e\"\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eRe. the \"dry\" acoustic, I would only ask that any reverb be added quite \"gently.\" As a big fan of 78s and early LPs I enjoy the simple fact that these recordings really tell you what the musicians actually sounded like, without \"hiding\" in the echo. In the case of the Hollywood crew, you had some of the greatest musicians of all time, and their playing stands up to this kind of scrutiny magnificently. I know you will be careful.\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eMy aim therefore was clear - to retain the finest details of the dry recording whlst give it just enough acoustic \"air\" to allow it to breathe. I cycled through literally dozens of combinations of concert venues and possible microphone placements until I found the locations I felt were most sympathetic to the recordings, and then used their acoustics as sparingly and sympathetically as possible. Curiously, although all three \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eStage Seven\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e recordings seemed most \"at home\" in the concert halls of Santa Cecllia, Rome, the Dohnanyi and Britten seemed immediately best-suited to the medium-sized \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eSala Sinopoli\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e, whilst a different microphone placement used for the Khachaturian recording made it more comfortable in the larger (and thus slightly longer in its reverberance) \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eSala Santa Cecilia\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eLearning about this kind of manipulation can be emotive for many listeners. Many do not like the sound of any artificial reverberation or echo, and for very good reason. Even the very best synthetically-generated acoustic tends to have an artificial sound to it., and outside of the popular music sphere can often sound very inappropriate. This, however, is my first foray into this relatively new technique, and it's only recently that we have acquired the raw computing power to be able to use this kind of processing in everyday applications.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eAs with our use of Ambient Stereo and XR remastering techniques, a great deal of careful and critical listening has taken place before the decision was made to go ahead with its use here. These are particular recordings in case, and it's not a technique which needs regular use with historic recordings. But I do believe it will both address the acoustic shortcomings picked up on by reviewers of our earlier release and find a sympathetic response in listeners more generally.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cspan style=\"font-size: 14px;\"\u003eMy own response to the technique, once fully optimised for these particular recordings, was one of utter astonishment and delight. For the first time in 25 years of listening to these kind of effects in studio environments I heard something which was truly convincing - and which in myriad subtle ways managed to enhance the recording without adding any sense of artificiality. To me it seemed to sit perfectly alongside my aims in XR remastering of overcoming genuine shortcomings in older recordings using the most highly advanced modern digital remastering methods in as sympathetic a way possible to the originals.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eAndrew Rose\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\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\u003cbr\u003e\u003cp class=\"bodymid\" align=\"left\"\u003e\u003cstrong\u003eDisc One\u003c\/strong\u003e\u003cspan class=\"bodybigblue\"\u003e - Stereo recordings\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eDOHNANYI \u003c\/strong\u003eVariations on a Nursery Theme, Op.25 \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003e Victor Aller\u003c\/strong\u003e, piano\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003erecorded 29th September 1956\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eKHACHATURIAN \u003c\/strong\u003ePiano Concerto in D flat \u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eLeonard Pennario\u003c\/strong\u003e, piano\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 5-6 October, 1956\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBRITTEN \u003c\/strong\u003eYoung Person's Guide to the Orchestra, Op. 34 \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 18 \u0026amp; 20 August 1956\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eThe Concert Arts Symphony Orchestra\u003cbr\u003e \u003c\/strong\u003econducted by \u003cstrong\u003eFelix Slatkin \u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded at Samuel Goldwyn Studios, Stage 7\u003cbr\u003e 1 \u0026amp; 3 issued as Capitol Stereo LP SP8373\u003cbr\u003e 2 issued as Capitol Stereo LP SP8349\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"left\"\u003e\u003cstrong\u003eDisc Two\u003c\/strong\u003e\u003cspan class=\"bodybigblue\"\u003e - Stereo \u0026amp; Mono recordings\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003col\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eVILLA-LOBOS \u003c\/strong\u003eBachianas Brasileiras No. 1, W.246\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e*VILLA-LOBOS \u003c\/strong\u003eBachianas Brasileiras No. 5, W.389-391\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eBACH\u003c\/strong\u003e Prelude \u0026amp; Fugue No. 8 in E flat minor (arr. Villa-Lobos)\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e *Marni Nixon, soprano\u003cbr\u003e Concert Arts Cello Ensemble\u003cbr\u003e \u003c\/strong\u003econducted by\u003cstrong\u003e \u003cstrong\u003eFelix Slatkin \u003c\/strong\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 10-11 January 1959, Capitol Tower, Studio B\u003cbr\u003e Issued as Capitol Stereo LP SP8484\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003eCHAVEZ\u003c\/strong\u003e Toccata for Percussion\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e*MILHAUD \u003c\/strong\u003eConcerto for Percussion and Small Orchestra \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e*\u003cstrong\u003eHal Reese\u003c\/strong\u003e, percussion\u003cbr\u003e \u003cstrong\u003eConcert Arts Orchestra \u0026amp; Percussionists\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003econducted by \u003cstrong\u003eFelix Slatkin \u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMono recordings presented in Ambient Stereo, made at Capitol Records, Melrose Studio\u003cbr\u003e 4: Recorded 17 October 1954 \u003cbr\u003e 5: Recorded 10 January 1955 \u003cbr\u003e Issued as Capitol Mono LP P-8299\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"bodybigblue\"\u003e\"Near the end of the month I was informed about a\nrelease of a CD, containing music by Delius that was conducted by my\nfather. In his fledgling days as a conductor, he recorded several albums\nwith a pick-up orchestra called the Concert Arts Orchestra. These\nperformances stem from the early fifties and back then had a devoted\nfollowing in the record-buying community. A company called Pristine\nClassics [\u003cem\u003esic\u003c\/em\u003e], based out of the UK [\u003cem\u003esic\u003c\/em\u003e], re-mastered\na couple of my Dad’s recordings and I have to say that they have done\nan incredible job. Hopefully, they will get around to issuing the\nremaining albums....\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eLeonard Slatkin\u003c\/strong\u003e, \"Notes\" blog, November 2009\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTransfers by Edward Johnson from his private collection\u003cbr\u003eXR remastering by Andrew Rose at Pristine Audio, March 2010\u003cbr\u003eCover artwork based on a photograph of Felix Slatkin, courtesy of Frederick Zlotkin\u003cbr\u003e\u003cbr\u003eTotal duration: 2hr 19:10 \u003cbr\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\/PASC218.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC218.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":55010055913838,"sku":"vqa1789305661657","price":29.7,"currency_code":"USD","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55010055946606,"sku":"pzs1789305661658","price":15.57,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55010055979374,"sku":"tus1789305661659","price":15.67,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/a-felix-slatkin-compendium-1954-59---pasc218_1.jpg?v=1789305674","url":"https:\/\/www.harborviewgoods.shop\/products\/a-felix-slatkin-compendium-1954-59-pasc218","provider":"My Store","version":"1.0","type":"link"}