{"product_id":"coates-conducts-mozart-and-beethoven-1921-24-pasc298","title":"COATES conducts Mozart and Beethoven (1921-24) - PASC298","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Symphony No. 41, 'Jupiter'\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e- Der Schauspieldirektor - Overture\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;\"\u003e- Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eAcoustic HMV recordings 1921-1924\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:41\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates,\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e conductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC298.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eAlbert Coates - complete Mozart 'Jupiter' and Beethoven 7th\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eRare acoustic recordings in excellent new transfers by Ward Marston\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cp class=\"bodybigblue\"\u003e\u003cbr\u003eUntangling the Beethoven Symphony No. 7 issues\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eFor this reissue, I transferred the six sides of 1921 from the Victor issue, and the 1922 remakes of movements 3 and 4 from the French W series issue:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eMovement I\u003c\/strong\u003e: 25 October 1921; (Cc589-1, Cc590-2) \u003cem\u003eassigned HMV catalogue number D604 but only published on Victor 55165 and later on French HMV W437.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement II\u003c\/strong\u003e: 25 October 1921; (Cc591-2, Cc592-2) \u003cem\u003eassigned HMV catalogue number D605 but only published on Victor 55166 and later on French HMV W438.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement III (abridged)\u003c\/strong\u003e: 25 October 1921; (Cc593-1);\u003cem\u003e assigned HMV catalogue number D606 but only published on Victor 55173.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV (abridged)\u003c\/strong\u003e: 28 October 1921; (Cc605-3) \u003cem\u003eassigned HMV catalogue number D606 but only published on Victor 55173. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003eRemakes of 3rd and 4th movements\u003c\/strong\u003e, each complete on 2 sides:\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eMovement III\u003c\/strong\u003e: 17 November 1922; (Cc2166-2, Cc2167-2) \u003cem\u003eassigned HMV catalogue number D927 but only published on French HMV W480.\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eMovement IV\u003c\/strong\u003e: 17 November 1922; (Cc2168-2, Cc2169-2) \u003cem\u003eassigned HMV catalogue number D928 but only published on French HMV W481.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe HMV files give assigned D series numbers to both recordings as I have indicated, but I don't think they were ever issued. The 1921 six sided version of the symphony was issued on blue label Victor 55165 55166 and 55174. In 1924, HMV planned to issue the first 2 movements from 1921, along with the remakes of the 3rd and 4th movements. It was never issued in England, but years ago, I discovered quite by accident having found a copy, that French HMV had issued it on W 437, 438, 480, and 481.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eWard Marston\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\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\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART\u003c\/strong\u003e - Symphony No. 41 in C, K.551 \"JUPITER\" \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003eRecorded 27 August and 16 October 1923\u003cbr\u003eIssued on HMV D942-45\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eMOZART \u003c\/strong\u003e- Der Schauspieldirektor, K486 - Overture\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 22 \u0026amp; 24 October 1924\u003cbr\u003eIssued on HMV D951-952\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e - Symphony No. 7 in A, Op. 92 \u003cem class=\"body\"\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 \u0026amp; 28 October 1921\u003cbr\u003eIssued on Victor 55165, 55166, 55173\u003cbr\u003e3 \u0026amp; 4 re-recorded 17 November 1922\u003cbr\u003eIssued on French HMV W480, W481\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eThe Symphony Orchestra \u003cbr\u003eAlbert Coates\u003c\/strong\u003e, conductor\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e(Credited to The Symphony Orchestra, probably members of London Symphony Orchestra)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers by Ward Marston\u003cbr\u003eCover artwork based on a photograph of Albert Coates\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 70:41\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\/PASC298.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC298.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eReview of Mozart discs, 1925:\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\"A\ncorrespondent has reproved me for my temerity in attributing great\nvirtues to symphonies of Mozart and Brahrns in a recent review. He\napproves my remarks on the Mozart work, but suggests I have taken leave\nof my senses in allowing that there is any beauty in the Brahms. When\nhis musical education has passed beyond the elementary stage he will\ndiscover that one does notexalt one composer at the expense of another :\nthat one must cultivate the historical sense and understand a\ncomposer's relation to his time, the effect of environment upon him, and\nso forth finally that the whole art of music is one's kingdom and not\nany one state in it. My correspondent may be surprised to learn that\nthere are people who regard Moz,art's music as fussy and superficial.\nHere, in addition to a lack of perception, is also a lack of the\nhistorical sense. Mozart was no revolutionary ; he adopted many of the\nconventions of his time, as a study, for instance, of his piano sonatas\nwill prove. Even in his greatest works passages sometimes occur which\nare merely eighteenth century platitudes ; but it would be ridiculous to\ndecry his music on that account. Appreciation, as has often been said,\nis criticism ; criticism is not faultfinding, but an estimate based on a\nknowledge of all the facts. \u003cbr\u003e\u003cbr\u003eA long preamble to Mozart's\nso-called Jupiter Symphony in C major—the last of the \" big three \" ! It\nis a graceful tribute to Mozart that the premier companies have\ncontributed each one apiece. Let us recall the substance of what Jahn\nsays of these three masterpieces : \" The first is a triumph of beauty in\nsound, the second a work of art exhausting its topic, and the third is\nin more than one respect the greatest and noblest of the symphonies.\"\nThe work we are considering is of an epic character compared to the\nothers ; there is an Olympian stride in the very first bars, followed by\na quietly tender passage. Here is a formula - -fortepiano—which marks\nmusic of this century, but Mozart infuses rich life into the convention ;\non the other hand, the quickly reached dominant cadence seems as\nplatitudinous as Handel's descending scales ; but wait awhile. After the\npause it is a delight to follow Mozart's treatment of his theme and\nrecognise with joy the delicate wood-wind elaborations he contrives. The\nsecond tune gives an opportunity for the bassoon to join in with the\nfirst violins. A sudden outburst on a chord of C minor, after a silent\nbar, is unexpected and doubtless agitated the conservatives of the\nperiod. The music derives from the opening bars and the stress is\nmaintained up to the double bar, after which a repeat is made. When this\nis passed Mozart gently lifts us out of the key of G into that of E\nflat, extending the ideas recently heard through some enchanting\nmodulations and wood-wind colours. The striding figure of the opening\nbars dominates the music, firmly leading it back to the recapitulation.\nThis time the oboe joins the bassoon and first violins in the\ndelineation of the second tune. The tonic and dominant end justifies\nwhat appeared to be padding at the start, but is now heard to fit\nperfectly into the scheme. \u003cbr\u003e\u003cbr\u003eThe slow movement is dramatic rather\nthan lyrical as the first bars suggest. In the Sturm und Drang of the\nmusic following the flute is lost on the record, and elsewhere the same\nfault occurs ; could this not be remedied 1 What Gounod called the \"\ndivine lyricism of Mozart \" appears in the second tune ; it is in thirds\non strings, bassoon, and oboe. A delicious string repartee pops up\npresently and is then imitated by the flute—audible this time. The horns\nare touched in with unerring instinct just before the repeat. The\nweakness of the flute is apparent in the development section, where,\nbeing occasionally overpowered by the oboe, the outline of the melody is\nchanged. This section has a lot of rapid string passages very well\nrecorded, even when the 'cellos and double basses are playing ; the\nbassoons come out splendidly also.\u003cbr\u003e\u003cbr\u003eThe Minuet is well known in\narrangements, but perhaps one may draw attention to the bigness of\nconception maintained here, as in the other movements of the symphony,\nthe exquisite shifting harmonies at the end of the Minuet, the cunning\nof the trio with its oft-repeated \" Amen \" cadence. It was a daring\nstroke to begin a section with a full close. \u003cbr\u003e\u003cbr\u003eThe finale, allegro\nmotto, is tremendous. Having regard to the small orchestra at Mozart's\ndisposal, it is amazing what a volume of sound lie must have contrived\nfor his musical thoughts, expressed on the largest scale. The\nsignificance of the label \"Jupiter \" is best perceived here. The\nmovement ends with a great fugue into which are woven all the little\nfragments of tunes heard before. Notice especially the one at the start,\nand the assertive scalearpeggio one a little later. After a pause the\ncomposer begins to treat his first idea semi-fugally, beginning with the\nsecond violins. Unfortunately the 'cellos and double basses entries are\ninaudible on the record. Other little bits of tunes bob up including a\njolly extension of the second idea—a flute and bassoon duet over rapid\nstring passages. The whole section is repeated after this. The two chief\nmelodies are worked in opposition, preparing the way for the fugued\nfinale. This, a quintuple fugue, occupies the last pages of the score\nand is a reg-ular whirl of sound, an extraordinary contrapuntal feat in\nwhich, gradually, the great Jupiter theme—the scale-arpeggio one—assumes\ndominance, drives all the rest from the field, and so, ends Mozart's\nfarewell to the symphony. It is a magnificent gesture and we may,\nlistening to it, recall the composer's words in a letter to his father :\n\"As death, strictly speaking, is the true end and aim of our lives, I\nhave for the last two years made myself well acquainted with this true,\nbest friend of mankind, that his image no longer terrifies, but calms\nand consoles me . . . I never lie down to rest without thinking that,\nyoung as I am, before the dawn of another day I may be no more ; and yet\nnobody who knows me would call me morose or discontented. For this\nblessing I thank my Creator every day and wish from my heart that I\ncould share it with all my fellow-men.\" Noble, prophetic words. A man\nwho could write thus was already great in spirit had he never created a\nnote of music. But the spiritual heights revealed in this letter, allied\nto such exquisite musical genius, gives us the full stature of him whom\nthe French composer truly called divine. \u003cbr\u003e\u003cbr\u003eThe last side is taken\nup with the sparkling little overture to the Impresario. This one-act\nopera was written between the Seraglio and the Marriage of Figaro. It is\nan enchanting jeu d'esprit. \u003cbr\u003e\u003cbr\u003eThe recording is very good with the\nexceptions alluded to above. Mr. Coates, as might be expected, stresses\nthe epic quality of the music ; this sometimes gives an impression of\nroughness, but altogether it is a fine, vital interpretation. \u003c\/span\u003e\"\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003eThe Gramophone, January 1925\u003c\/span\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 16-bit FLAC","offer_id":55010063843694,"sku":"lbf1789305816965","price":7.78,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010063876462,"sku":"gbk1789305816966","price":6.26,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/coates-conducts-mozart-and-beethoven-1921-24---pasc298_1.jpg?v=1789305824","url":"https:\/\/www.harborviewgoods.shop\/products\/coates-conducts-mozart-and-beethoven-1921-24-pasc298","provider":"My Store","version":"1.0","type":"link"}