{"product_id":"cantelli-nbc-concert-no-26-vivaldi-and-brahms-1952-pasc237","title":"CANTELLI NBC Concert No. 26: Vivaldi and Brahms (1952) - PASC237","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. 1 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVIVALDI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto Grosso Op.3, No. 8\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live in 1952, New York City\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 57:48 \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;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fCertainly for the Brahms this is a release that should be heard578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe prize of this release is the Brahms, which,\nfor a number of reasons, is the finest of three Cantelli performances of\nthe work that I have heard. Probably, the most familiar is his 1953\nstudio account with the Philharmonia Orchestra reissued by Testament in\n1993 (SBT 1012). It is a strong, unmannered reading, but without the\nintensity and seeming commitment of two live performances: one from 1954\nwith the Boston Symphony (Pristine PASC O83), and this new one,\nwhich—from beginning to end—is riveting. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThough the Boston performance certainly proved\nrefreshing with a greater rhythmic elasticity than the Philharmonia\naccount featured, it does not match the controlled intensity of this NBC\nversion. Here the line is tauter, the bite stronger, and the cumulative\nimpact of the whole more overwhelming. Then, too, it reveals\nToscanini’s orchestra in a more natural perspective than that projected\nin many of his Carnegie Hall broadcasts. Evidently the microphone was\nplaced at a slightly greater distance than had been customary for him.\nAs a result the ample resonance of the hall was captured more fully. \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 many Cantelli performances I have heard,\nthis one, perhaps, comes closest to those of Toscanini in its rhythmic\nrectitude, concern for detail, and freedom from mannerism. At the same\ntime, it is not a mimic of his mentor. For one thing, he does not\nincorporate some significant Toscanini emendations: the addition of\ntrumpets in parts of the first movement, the imposition of accents in\nthe horn call of the introduction to the finale, or the modifications of\nthe timpani part in the coda of that movement. But Cantelli’s treatment\nof the Andante, like Toscanini’s, is never unduly sustained and utterly\nfree of sentimentality. And the overall sound of the orchestra is less\nastringent than it often was under Toscanini. At the same time, it is\nleaner than what one heard from Bruno Walter or Wilhelm Furtwängler. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs for the Vivaldi that opened the concert, the\nbest that can be said for it is that it illustrates how far we have\nadvanced as a result of the impact made by the period-instrument\napproach. Today, for example, the weighty sonority and plodding tempo of\nthe first movement seem utterly misplaced. But as an example of what\nnow seems anachronistic, the performance tells us something of our\nrecent past. As such it has historical value. And certainly for the\nBrahms this is a release that should be heard. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eMortimer H. Frank \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:3 (Jan\/Feb 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC237.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eSuperb concert recording from Toscanini's 'anointed' successor\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eCrowned by a marvellous Brahms 1st - in superb sound quality throughout\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cspan class=\"body\"\u003eThese transfers were taken from a high quality open-reel tape copy preserved by Cantelli specialist and author Keith Bennett, whose comprehensive notes on this concert can be found below, a condensed version of which is also available on the CD cover. The tape\u003c\/span\u003e preserved a BBC rebroadcast of the concert, which omitted the opening and closing announcements of the original but included Ben Grauer's commentary between the Vivaldi and Brahms. Additional BBC announcements have been removed from this reissue, but Grauer's words have been preserved.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eOverall sound quality of the originals was generally excellent for its era, and the recordings have responded very well indeed to XR remastering, producing a fuller and more vivid sound where it had perhaps been just a little flat and overly strident in the upper registers.\u003c\/p\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e 578a9379d1e540bd96d26f03a79628d9tab1_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 class=\"bodybigblue\"\u003e\u003cb\u003eVIVALDI \u003c\/b\u003eConcerto Grosso in A minor, Op.3, No. 8 (from L'Estro Armonico) \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cb\u003eDaniel Guilet, Remo Bolognini, \u003c\/b\u003esolo violins \u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBRAHMS \u003c\/b\u003eSymphony No. 1 in C minor, Op. 68 \u003c\/span\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003cbr\u003e \u003c\/b\u003econductor \u003cb\u003eGuido Cantelli\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cbr\u003eLive NBC broadcast from Carnegie Hall, 6th December, 1952\u003cbr\u003e Transfer tape from the collection of Keith Bennett\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, August 2010\u003cbr\u003e Cover artwork based on a photograph of Guido Cantelli\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 57:48 \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\/PASC237.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC237.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: 18px;\"\u003eCantelli’s Twenty-sixth Concert with the\n\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nNBC Symphony Orchestra - 6 December 1952\n\u003c\/span\u003e\u003cem\u003e\n\u003c\/em\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cem\u003e\u003cbr\u003e\n\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eVivaldi: \u003c\/strong\u003e\nConcerto Grosso for Two Violins, Op.3, No.8\n\u003c\/p\u003e\n\u003cp\u003e\nThe majority of readers seeing the name of Vivaldi in the programme will\nnot see anyting remarkable in that. However, the first time the writer\nheard any of this composer’s music was as a 22 year-old: it was in a\nconcert given by Cantelli in the Royal Festival Hall in October 1951 and it\nwas the first time that any Vivaldi had been played in the hall which had\nbeen inaugurated the previous May. The NBC Symphony Orchestra came into\nbeing at the end of 1937 but, despite the fact that Toscanini included\nVivaldi’s \u003cstrong\u003eConcerto Grosso Op.3, No.11\u003c\/strong\u003e in his very first\nconcert, the conductor who included the works of Vivaldi in his programmes\nwith this orchestra more often than any other was Guido Cantelli. Although\nCantelli gave more concerts with this orchestra (40) than any other\nconductor apart from Toscanini, he still only gave three of the four works\nin his repertoire with the orchestra and Vivaldi was only played in six\nconcerts.\n\u003c\/p\u003e\n\u003cp\u003e\nCantelli had conducted this concerto for the first time while still a\nstudent in 1942 and his only other performances were both with the NBC\nSymphony Orchestra: on 15 January 1951 the first-desk soloists were Mischa\nMischakoff and Max Hollander but for the performance on this CD (which was\nhis last) the violinists were Daniel Guilet (who had become leader after\nMischakoff’s departure) and Remo Bolognini.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cstrong\u003eBrahms: \u003c\/strong\u003e\nSymphony in C minor, No.1, Op.68\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\nToscanini’s last appearances in London were when he conducted two\nall-Brahms concerts with the Philharmonia Orchestra on 29 September and 1\nOctober 1952 which included all four symphonies and Cantelli was present at\nrehearsals and the concerts.\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\nPrior to Toscanini’s concerts Cantelli had conducted the \u003cstrong\u003eSymphony No.1\u003c\/strong\u003e less than a week earlier just twice (with\nthe Orchestra della Scala on 23 and 24 September). In the following\nDecember Cantelli gave his only performance with the NBC Symphony Orchestra\nand after the concert he and his wife Iris went as usual back to Riverdale\n(Toscanini’s home) for a meal. The Maestro had enjoyed the performance and\non the arrival of his young colleague came forward to congratulate him but\nwas dumbfounded when Cantelli announced that his interpretation ‘was one of\nthe best around’. The meal took place in silence. Cantelli’s outburst was\narrogant – after all, this was only his third performance – but to make\nsuch a comment to the Maestro who had performed this same symphony in the\nyoung conductor’s presence just a few weeks earlier showed a total lack of\nsensitivity. Ignoring Cantelli’s shortcoming in this particular instance,\nthe irony is that his performances of this symphony \u003cem\u003ewere \u003c\/em\u003esome of\nthe best around and as a record collector the writer prefers not only his\ncommercial performance of 1953 to the two that Toscanini recorded in 1941\nand 1951, but also the majority of the live performances by the Maestro\nthat he has heard, preferences being given to those given on 6 May 1940 and\n29 September 1952. The Maestro inserted additional work for the timpanist\nin the fourth movement which Cantelli followed (in toto for this\nperformances with the NBC Symphony Orchetra but only partially for his\ncommercial recording).The outstanding feature of that commercial recording\nis that he does nothing which detracts from the music – as the critic (MM)\nin \u003cem\u003e\u003cstrong\u003eThe Gramophone \u003c\/strong\u003e\u003c\/em\u003eput it (July 1954) there is\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003e\na studied avoidance of abnormality. The music is presented, both phrase\nby phrase and in the build-up of the phrases into the shape of a\nmovement, in exactly the way one feels that Brahms wanted, and indeed\nspecified within the limitations that any score has of being specific.\n\u003c\/em\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\nWhen Karajan recorded the symphony with the Philharmonia Orchestra (the\nsecond of his six commercial recordings) in 1952 it was once described as a \u003cem\u003egemütlich \u003c\/em\u003eview of the work: it certainly does not possess the\ndrive and passion of a Toscanini performance (does any?) and the\nintroduction of \u003cem\u003erallentandi \u003c\/em\u003edeprives some of the symphony’s\nstrength. The author attended the 1954 Edinburgh Festival with the main\npurpose of hearing the three concerts to be conducted by Cantelli and he\nalso heard Karajan conduct this symphony. Between the author’s seat in the\nUsher Hall and the conductor was a young person who was continually shaking\nhis head during the Brahms (his presence had not been noticed earlier in\nthe programme) – whether from approval or displeasure was difficult to\nascertain – that individual turned out to be Guido Cantelli.\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eCantelli’s Commercial Recording and Recorded Broadcasts\n\u003cbr\u003e\n\u003cbr\u003e\n1 Un poco sostenuto – Allegro\n\u003cbr\u003e\n2 Andante sostento\n\u003cbr\u003e\n3 Un poco allegretto e grazioso\n\u003cbr\u003e\n4 Adagio – Più andante – Allegro non troppo ma con brio – Più allegro\n\u003cbr\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n\u003c\/p\u003e\n\u003ctable cellspacing=\"0\" cellpadding=\"7\" align=\"center\" border=\"1\"\u003e\n\u003ccolgroup\u003e\n\u003ccol width=\"189\"\u003e\n\u003ccol width=\"106\"\u003e\n\u003ccol width=\"34\"\u003e\n\u003ccol width=\"34\"\u003e\n\u003ccol width=\"34\"\u003e\n\u003ccol width=\"46\"\u003e\n\u003c\/colgroup\u003e\n\u003ctbody\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd\u003e\n\u003c\/td\u003e\n\u003ctd\u003e\n\u003c\/td\u003e\n\u003ctd align=\"center\"\u003e\n\u003cstrong\u003e1\u003c\/strong\u003e\n\u003c\/td\u003e\n\u003ctd align=\"center\"\u003e\n\u003cstrong\u003e2\u003c\/strong\u003e\n\u003c\/td\u003e\n\u003ctd align=\"center\"\u003e\n\u003cstrong\u003e3\u003c\/strong\u003e\n\u003c\/td\u003e\n\u003ctd align=\"center\"\u003e\n\u003cstrong\u003e4\u003c\/strong\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"189\"\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cstrong\u003eCantelli\/NBC Symphony Orchestra\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"106\"\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cstrong\u003e6 December 1952\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cstrong\u003e12:17\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cstrong\u003e7:56\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cstrong\u003e4:27\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cstrong\u003e16:09\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"189\"\u003e\n\u003cp\u003e\nCantelli\/Philharmonia Orchestra\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"106\"\u003e\n\u003cp\u003e\n21 \u0026amp; 22 May 1953\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n13:00\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n8:44\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n4:31\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n16:34\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"189\"\u003e\n\u003cp\u003e\n\u003cem\u003e\u003cstrong\u003eCantelli\/Boston Symphony Orch\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"106\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e28 February 1954\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e12:42\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e7:44\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e4:15\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e15:40\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr valign=\"TOP\"\u003e\n\u003ctd width=\"189\"\u003e\n\u003cp\u003e\n\u003cem\u003e\n\u003cstrong\u003e\nCantelli\/Philharmonic-Symphony Orchestra of New\nYork\n\u003c\/strong\u003e\n\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"106\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e20 March 1955\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e12:48\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e7:58\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"34\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e4:31\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd width=\"46\"\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cem\u003e\u003cstrong\u003e15:37\u003c\/strong\u003e\u003c\/em\u003e\n\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp align=\"JUSTIFY\"\u003e\u003cbr\u003eCantelli gave more performances of this work – 43 – than any other and had\nhe survived that horrific aircrash on his way to New York four more\nperformances would have been added. As can be seen from the table above,\nmovements 1, 2 and 4 tended to be quicker than his commercial recording.\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\n\u003cbr\u003e© Keith Bennett 2009\n\u003c\/p\u003e\n\u003cp align=\"JUSTIFY\"\u003e\nKeith Bennett is the author of \u003cstrong\u003eGuido Cantelli – Just Eight Years of Fame \u003c\/strong\u003e(published 2009)\nwhich is only available from GC Publishers. For further details either\nwrite to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk IP12\n4UL, UK or e-mail\n\ngcpublishers@keithbennett.waitrose.com\n\n\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":"Mono 24-bit FLAC","offer_id":55010054373742,"sku":"uib1789305641316","price":12.99,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010054406510,"sku":"tkf1789305641317","price":10.08,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55010054439278,"sku":"fpv1789305641318","price":9.19,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010054472046,"sku":"piy1789305641319","price":7.52,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/cantelli-nbc-concert-no-26-vivaldi-and-brahms-1952---pasc237_1.jpg?v=1789305648","url":"https:\/\/www.harborviewgoods.shop\/products\/cantelli-nbc-concert-no-26-vivaldi-and-brahms-1952-pasc237","provider":"My Store","version":"1.0","type":"link"}