{"product_id":"cantelli-nbc-concert-no-19-brahms-roussel-berlioz-1951-pasc173","title":"CANTELLI NBC Concert No. 19: Brahms, Roussel, Berlioz (1951) - PASC173","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eROUSSEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSinfonietta for String Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMarche Hongroise\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1951\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 51:33 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\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 Guido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHere is yet another treasure trove of Cantelli material578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e[\u003ci\u003eexcerpt from review round-up of Pristine's Cantelli\u003c\/i\u003e]\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe remaining three discs are each devoted to\ncomplete Cantelli broadcasts—his 19th, 30th, and 31st appearances with\nthe NBC Symphony Orchestra. The symphonies therein represented—the\nBrahms Third, Schubert “Unfinished” (a typographical error on the cover\ngives the key as A Minor rather than B Minor), and Tchaikovsky\n“Pathétique”—were all recorded commercially by Cantelli with the\nPhilharmonia Orchestra in 1953, 1955, and 1952, respectively. The\nwonderfully textured live concert performance of the Brahms is, well,\nmore \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ealive\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e than\nthe still beautiful studio recording; the live Schubert is likewise\npreferable to the studio account, particularly in the broadcast\nperformance’s more forward-pressing second movement; and the\nTchaikovsky, given the live context, ultimately, and perhaps\nnecessarily, feels more exciting, deeply probing, and better integrated\nthan the very fine studio account, which was recorded over the course of\nfive days. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe performances of the Wagner and Rossini\novertures are both gripping and exciting; each of these works also\nexists in other Cantelli-led accounts, including a 1949 commercial\nrecording of the Rossini with the Santa Cecilia Orchestra, and a 1949\nNBC broadcast of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRienzi\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthat is less well controlled and integrated than the present 1953\nbroadcast. Roussel’s Sinfonietta for string orchestra and Britten’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSinfonia da Requiem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nrepresent works that received hardly any performances under Cantelli’s\nbaton; each is the conductor’s sole preserved account. His only other\nperformance of the Roussel was in 1946, with the Orchestra da Camera in\nMilan. Besides this 1953 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSinfonia da Requiem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nbroadcast—an intensely dramatic and probing account that makes one wish\nhe’d had time to lead more of Britten’s music—he also led the work in\n1952 with the La Scala Orchestra and in 1956 with the New York\nPhilharmonic. (An aside: though seemingly unavailable as I write,\nanother 20th-century work particularly worth seeking in its sole\nCantelli recording—in fact his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eonly\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e performance of it, from a 1953 NBC broadcast—is Barber’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchool for Scandal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nOverture, a non-traditionally spacious, individual rendition that\nnevertheless proves convincing, meaningful, and important.) Berlioz’s\n“Rákóczi March” figured in Cantelli’s repertoire mainly as an encore\npiece; this, his only preserved performance, actually comes across\nbetter in its cleaner, less congested Music \u0026amp; Arts transfer (perhaps\na function of the source material)—the only instance where I found\nPristine’s version not at least equal to, or better than, earlier\nreleases. For instance, I heard no meaningful difference when comparing\nthe Brahms Symphony No. 3 on Pristine to the same performance as heard\nin the aforementioned 12-disc Music \u0026amp; Arts set. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eSo, in sum, here is yet another treasure trove of\nCantelli material that should surely be of interest to those already\ninitiated, as well as (one can always hope) to anyone not yet familiar\nwith the conductor’s work. All of Pristine’s releases are available\neither as downloads or CDs via Pristine’s Web site,\nwww.pristineclassical.com. Finally, let me again mention Keith Bennett’s\n\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGuido Cantelli: Just Eight Years of Fame\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwhich is now the prime source for detailed information on Cantelli’s\nconcerts and recordings, with much else about his life besides. (For\nfurther info on that, e-mail gcpublishers@keithbennett.waitrose.com.) It\ndoesn’t come cheap, but its value to collectors is not to be\nquestioned. And drawing upon his work for that book, Bennett is now\nproviding the notes for Pristine’s latest Cantelli releases, including,\nof those discussed here, the conductor’s 19th, 30th, and 31st NBC\nconcerts and Mozart Requiem. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMarc Mandel \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:3 (Jan\/Feb 2010) 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\/PASC173.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eCantelli's only NBC Brahms Third in superb sound quality\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003ePlus a taut, vibrant Roussel Sinfonietta, and one of his favourite 'encore' pieces\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eKeith Bennett, whose new book \u003cem\u003eGuido Cantelli - Just Eight Years Of Fame\u003c\/em\u003e is published to co-incide with this series, was my introduction to the short-lived musical world of Guido Cantelli. His ceaseless championing of Cantelli has resulted in a number of releases on various record labels including Pristine, and it's now an immense pleasure to be able to delve into Keith's extensive and meticulously- maintained collection of rare taped recordings for this new series of issues.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eEach one will take the music from a complete concert broadcast by NBC from Carnegie Hall in the early-to-mid 1950s, with the NBC Symphony Orchestra conducted by Cantelli. Sonically these are a huge improvement over the many concerts the orchestra gave in NBC Studio 8H under Toscanini, Cantelli and others - the Hall's acoustics are of course excellent, and as listeners we also benefit from ever-improving microphone and recording technologies.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eIn remastering I've dealt with the inevitable tape hiss, and also some mild tonal imbalances characteristic of older recordings - XR remastering identifies and remedies many of the imperfections of older microphones.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis particular recording - unlike others in this series - is unusually dry for a Carnegie Hall concert. Indeed, it resembles far more the tight, close, dry acoustic associated with NBC's Studio 8H, where all Cantelli's NBC concerts were given prior to January 1951. Whilst this can sound a little unusual or even uncomfortable to the modern listener more used to recordings often drenched in concert hall reverberation, it does allow one to hear very precisely what each musician is doing, and allows the listener to pay real attention to fine detail.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis difference was really brought to my attention when comparing the taut and energetic Roussel \u003cem\u003eSinfonietta\u003c\/em\u003e on this release with the reference recording used to help in the XR remastering process. In this particular case, I took Neeme Jarvi's Chandos recording with the Detroit Symphony Orchestra - a perfectly fine recording in its own right, but after a day of listening to Cantelli in close-up focus, it resembles a recording made in a particularly large, reverberant cave, with none of the driving impact of the Cantelli. In both sound and interpretation, the two recordings could not be further apart!\u003c\/p\u003e\n\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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\u003cul\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Symphony 3 in F, Op. 90\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eROUSSEL\u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003e Sinfonietta for String Orchestra, Op. 52\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-size: 16px;\"\u003eMarche Hongroise (from The Damnation of Faust)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eNBC Symphony Orchestra \u003cbr\u003e conducted by Guido Cantelli\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eCarnegie Hall, New York, \u003cbr\u003e Saturday 15th December, 1951\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eTransfer tape from the collection of Keith Bennett\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003e Transfer and XR remastering by Andrew Rose at Pristine Audio, June 2009\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"bodysmallarial\"\u003eTotal duration: 51:33 \u003c\/span\u003e\u003c\/p\u003e\u003cp\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\/PASC173.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC173.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eCantell's NBC Concert No. 19 - 15th December, 1951\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003enotes by Keith Bennett\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003e The first opportunity the writer had of\nattending a concert conducted by Cantelli was on Sunday, 7 October 1951\nin the Royal Festival Hall: this was his third appearance with the\nPhilharmonia Orchestra and the programme (which had already been\nperformed on the previous Wednesday) opened with Brahms’s \u003cstrong\u003eSymphony No.3\u003c\/strong\u003e, followed – after the interval – by Wagner’s \u003cstrong\u003eSiegfried Idyll\u003c\/strong\u003e and concluded with Hindemith’s \u003cstrong\u003eSymphonie: Mathis der Maler\u003c\/strong\u003e. The critics were ecstatic. Scott Goddard, critic of the long-defunct \u003cem\u003e\u003cstrong\u003eNews Chronicle\u003c\/strong\u003e\u003c\/em\u003e, headed his review “The Perfect Concert” and continued:\u003c\/p\u003e\u003cp class=\"body\" style=\"margin-left: 25px;\" align=\"JUSTIFY\"\u003e\u003ci\u003eIt is not often that a whole concert can be given unadulterated praise. But this was one of those rare instances. Mr Cantelli brought exquisite and refined musicianship to the interpretation of this programme.\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eTen years later the writer recorded two\nperformances of the Shostkovich Violin Concerto which had been broadcast\nand had been performed by Manoug Parikian. He had been leader of the\nPhilharmonia Orchestra for that Cantelli concert and had come to hear\nthe tapes. After the listening session the question of Cantelli’s\nconducting was brought up and he immediately asked (without any\nprompting) if I had been present at the performances of the Brahms.\nReaders should be aware that Parikian also led the orchestra when\nToscanini conducted this same work with this orchestra just over twelve\nmonths after the Cantelli performance. Nevertheless, Cantelli’s\ninterpretation – even though the view of a young musician – clearly made\na deep impression on Parikian and it should be remembered that\norchestral musicians (sensitive artists though they may be and Parikian\ncertainly was) are seldom overawed by the baton waving fraternity!\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBrahms: Symphony in F major, No.3, Op.90\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eCantelli’s Commercial Recording and Recorded Broadcasts and Selected Comparisons:\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003ctable style=\"width: 600px; height: 332px;\" cellspacing=\"0\" cellpadding=\"7\" align=\"center\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"202\"\u003e \u003ccol width=\"100\"\u003e \u003ccol width=\"40\"\u003e \u003ccol width=\"28\"\u003e \u003ccol width=\"28\"\u003e \u003ccol width=\"28\"\u003e \u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"230\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"145\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e15 December 1951\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"35\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e12:26\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"29\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e7:57\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"30\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e5:35\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"33\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e8:06\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"230\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/Boston Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"145\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e24 December 1954\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"35\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e12.28\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"29\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e7:58\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"30\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e5:45\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"33\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e8:02\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"230\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eCantelli\/Philharmonic - Symphony Orchestra of New York\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"145\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e20 January 1955\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"35\"\u003e\n\n\u003c\/td\u003e\n\u003ctd width=\"29\"\u003e\n\n\u003c\/td\u003e\n\u003ctd width=\"30\"\u003e\n\n\u003c\/td\u003e\n\u003ctd width=\"33\"\u003e\n\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"230\"\u003e\n\u003cp class=\"body\"\u003eCantelli\/Philharmonia Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"145\"\u003e\n\u003cp class=\"body\"\u003e8, 9, 12, 16 \u0026amp; 18 August 1955\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"35\"\u003e\n\u003cp class=\"body\"\u003e9:55nr\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"29\"\u003e\n\u003cp class=\"body\"\u003e8:41\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"30\"\u003e\n\u003cp class=\"body\"\u003e6:15\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"33\"\u003e\n\u003cp class=\"body\"\u003e8:24\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"230\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eToscanini\/Philharmonia Orchestra\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"145\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e1 October 1952\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"35\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e12:27\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"29\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e8:31\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"30\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e6:17\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"33\"\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003e8:34\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd height=\"34\" width=\"230\"\u003e\n\u003cp class=\"body\"\u003eToscanini\/NBC Symphony Orchestra\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"145\"\u003e\n\u003cp class=\"body\"\u003e4 November 1952\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"35\"\u003e\n\u003cp class=\"body\"\u003e13:36\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"29\"\u003e\n\u003cp class=\"body\"\u003e9:28\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"30\"\u003e\n\u003cp class=\"body\"\u003e6:47\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"33\"\u003e\n\u003cp class=\"body\"\u003e8:46\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eCantelli gave 18 performances of this\nsymphony with eleven orchestras between 23 August 1946 and 3 November\n1955. His first performances in the USA were two concerts with his only\nappearances with Philadelphia Orchestra on 25 and 26 February 1949\n(substituting for an indisposed Charles Munch). In 1951 there were two\nperformances with both the Pittsburgh Symphony Orchestra and\nPhilharmonia Orchestra prior to his only performance with the NBC\nSymphony Orchestra (which is on this CD). The consensus of opinion is\nthat this is the most difficult symphony for the interpreter of the\nBrahms canon. Certainly Toscanini found it so and despite having asked\nto hear his earlier performances to get a concept firmly in his mind\nbefore making his commercial recording: he was singuarly unsuccessful\nand if ever there was a Toscanini commercial recording which could be\ndescribed as an abject failure it may be found here which is somewhat\nsurprising because, just over a month earlier, he had performed this\nsame work with the Philharmonia Orchestra in the Royal Festival Hall\nwhich Walter Legge hailed as the finest performance of any work that he\nhad ever heard. Even the bare timings from a stopwatch reveal just how\nslack the commercial recording turned out to be.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eReaders may be puzzled to see the entry\nfor Cantelli’s performance on 20 January 1955 devoid of timings: the\nreason is that although Cantelli completed the performance he was taken\nill at the intermission and took no further part in the concert which\nwas then conducted by the associate conductor, Franco Autori and the\nauthor considered that – in the circumstances – it would unjust to have\nthis even considered. Three facts should be brought to the reader’s\nattention concerning Cantelli’s commercial recording: (1) the exposition\nrepeat in the first movement was not taken; (2) the number of sessions\nrequired before Cantelli was satisfied was the highest ever (supporting\nthe view that interpreters found this symphony the most difficult of the\nfour); and (3) this was one of his six commercial recordings\n(eventually) issued in stereo.\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThere is a common misconception that\nCantelli’s repertoire was very limited although it is easy to understand\nhow this view arose in the UK where, from his debut in 1950, he only\ngave 36 concerts with three orchestras (Orchestra della Scala 6;\nPhilharmonia Orchestra 28 and Philharmonic-Symphony Orchestra of New\nYork 2). During that time he performed both the Beethoven \u003cstrong\u003eSymphony No.5\u003c\/strong\u003e and the Musorgsky\/Ravel\u003cstrong\u003e Pictures at an Exhibition \u003c\/strong\u003eon three occasions; the Tchaikovsky \u003cstrong\u003eSymphony No.5 \u003c\/strong\u003efour times and the Beethoven \u003cstrong\u003eSymphony No.7\u003c\/strong\u003e\nfive. Such repetitive programming gives the impression of a small\nrepertoire. The fact is that he conducted 198 works of 83 composers\n(this includes his own \u003cstrong\u003eTema con variazioni\u003c\/strong\u003e). However,\nthose bare statistics could be construed as misleading. (1) Fifteen\ncomposers were represented by a single composition which was only\nperformed once; (2) 29 composers were represented by one work in\nCantelli’s repertoire which usually received seven performances or less;\n(3) finally, there were another 24 instances where composers were\nrepresented by more than one work but he conducted just a solitary\nperformance of a particular composition. Thus well over 50% of the\ncomposers in his repertoire were represented by just one work and\npractically 20% of the works he conducted received a single performance.\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003e\u003cb\u003eRoussel: Sinfonietta à cordes, Op.52\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eThis Roussel comes into the second\ncategory above and Cantelli conducted the Sinfonietta on just two\noccasions, the first being with a chamber orchestra in 1946. It is easy\nto understand why he returned to the piece when he had the superb\nstrings of the NBC Symphony Orchestra at his disposal. This short work\nin three movements was composed in 1934 and is lively and certainly\nCantelli’s performance is neat and precise.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003e\u003cb\u003eBerlioz: Le Damnation de Faust – Marche Hongroise\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eLittle need to be said about this ‘end\nof term’ piece. Cantelli only included it twice as part of an actual\nconcert programme (this was one of those) but gave it on 18 occasions as\nan encore. One of the most puzzling features of Cantelli’s repertoire\nwas the absence of this composer’s works: one would have thought that\nthe music would have been ideally suited to his temperament. There was\njust one overture – \u003cstrong\u003eLe carnaval romain \u003c\/strong\u003e– which again comes into category three mentioned above by receiving a solitary performance.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodybigblue\" align=\"JUSTIFY\"\u003e© Keith Bennett 2009\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\" align=\"JUSTIFY\"\u003eKeith Bennett is the author of \u003cstrong\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/strong\u003e(published\n2009) which is only available from GC Publishers. For further details\neither write to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge,\nSuffolk IP12 4UL, UK or e-mail gcpublishers@keithbennett.waitrose.com\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_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":"Mono 24-bit FLAC","offer_id":55010065449326,"sku":"ylc1789305856367","price":14.48,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010065482094,"sku":"pkb1789305856368","price":8.17,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55010065514862,"sku":"vad1789305856369","price":10.08,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010065547630,"sku":"mgo1789305856370","price":6.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/cantelli-nbc-concert-no-19-brahms-roussel-berlioz-1951---pasc173_1.jpg?v=1789305863","url":"https:\/\/www.harborviewgoods.shop\/products\/cantelli-nbc-concert-no-19-brahms-roussel-berlioz-1951-pasc173","provider":"My Store","version":"1.0","type":"link"}