{"product_id":"coppola-conducts-schumann-wagner-r-strauss-1933-46-pasc335","title":"COPPOLA conducts Schumann, Wagner \u0026 R. Strauss (1933-46) - PASC335","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \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;\"\u003eSCHUMANN \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;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eParsifal - Orchestral excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSalome - Orchestral excerpts\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1933-46\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:32\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNational Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eParis Conservatoire Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePasdeloup Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePiero Coppola, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fUltimately, you forget this is all a window on the past and are only sorry that the music has ended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003ePiero Coppola is a name less familiar to historic\nCD collectors than many. As a conductor Coppola was not one of the great\niconic figures between the wars, but achieved a certain fame as the\nhead of His Master’s Voice in France. In this capacity he led and\nrecorded some of the great early French discs of Debussy and Ravel,\nincluding the first recording of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBoléro. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Schumann performances featured here begin with\nthe most recent, the 1946 “Spring” Symphony Coppola recorded with Decca\nin Kingsway Hall. To its credit, one is struck by the modernity of the\nacoustic. (Would that Toscanini had been exposed to FFRR and recorded\nhere!) This is a normal-sounding orchestra in a normal symphonic space,\nthough \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003enoted\nthe timpani weak when it was first reviewed, and I concur. That is a\nfairly serious flaw in Schumann. French ensembles of the era have not\noften been admired, and indeed are at times subject to caricature as\n“wheezing accordions,” but the French National Orchestra here, except\nfor a pinched oboe, sounds perfectly modern to me. As an interpretation,\nthis “Spring” comes across as neither Szellish nor Furtwanglerian, but\noccupies a relaxed and natural middle ground, though a bit on the slow\nside as the movements proceed. When a conductor can expand nicely in the\nbig fanfare climax of the first movement, you know you are on safe\nground, and Coppola does. The transfer is very good, with only the\ntiniest bit of refined hiss now and then to remind anyone of its 78-rpm\npast. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe 1933 “Rhenish” that follows does show its age,\nyet is somehow quite listenable. It is a mainstream interpretation\nrendered quite thrusting by up-close miking, but there is enough bass\nand acoustic space to feel the music float on its own tremoli, which is\nessential in Schumann. One notes in early recordings a tendency to play\nsolemn music quickly, probably to avoid boring people over the racket of\nthe mechanics, and that is the case here with the “cathedral” movement.\nA rather French-sounding trumpet gives an unusually jaunty quality to\nthe finale. It is notable, though, how judicious and modern the use of\nportamento is throughout and how decently accurate the playing. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThere is a nice sense of fullness and drama to the\nWagner excerpts that follow, though once again we are speeding along\nlike a movie score of the time. The pendulum-like solemnity of the\nTransformation Music is normally such that one feels clobbered by\nanvils. Here it is more like a stage villain trying to mesmerize a\nmaiden with a pocket watch. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eEven so, both the Wagner and the Strauss excerpts\nare effective, the latter somehow fuller and more evocative sonically.\nIndeed, the Pasdeloup horns sound very up-to-date, atmospheric, and\nevocative, as befits an orchestra named “Wolf-Step”! Ultimately, you\nforget this is all a window on the past and are only sorry that the\nmusic has ended. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eSteven Kruger \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003eThis article originally appeared in Issue 36:2 (Nov\/Dec 2012) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC335.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eCoppola turns his talents to German composers, with superb results\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"he brings to this performance an altogether outstanding sympathy and a close understanding \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eof Schumann's essential warm-heartedness and naïveté\" - The Gramophone\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe sources for the transfers were French Deccas for the Schumann ‘Spring’ Symphony; Disque Gramophone pressings for the ‘Rhenish’ and the \u003cem\u003eParsifal\u003c\/em\u003e excerpts; and a first edition late Orthophonic American Victor pressing for the \u003cem\u003eSalome\u003c\/em\u003e disc.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUMANN \u003c\/strong\u003eSymphony No. 1 in B flat major, Op. 38, \"Spring\" \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 11-12 July 1946, Kingsway Hall, London \u003cbr\u003eMatrix nos.: AR 10462-2, 10463-2, 10464-2, 10465-2, 10466-1, 10467-1, 10468-2 and 10469-2 \u003cbr\u003eFirst issued on Decca AK 2151 through 2154\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eNational Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eSCHUMANN \u003c\/strong\u003eSymphony No. 3 in E flat major, Op. 97, \"Rhenish\"\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 7-8 November 1933, Salle Rameau, Paris \u003cbr\u003eMatrix nos.: 2PG 1195-97 and 1203-05 (all Take 1A) \u003cbr\u003eFirst issued on Disque Gramophone DB 4926-28 \u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eWAGNER \u003c\/strong\u003eParsifal - Orchestral excerpts\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 6 November 1933, Salle Rameau, Paris \u003cbr\u003eMatrix nos.: 2PG 1191-94 (all Take 1A) \u003cbr\u003eFirst issued on Disque Gramophone DB 4918-19\u003cbr\u003e\u003cbr\u003e\u003cstrong class=\"body\"\u003eOrchestre de la Société des Concerts du Conservatoire\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS\u003c\/strong\u003e Salome - Orchestral excerpts\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 20 March 1934, Paris \u003cbr\u003eMatrix nos.: 0PG 1426-1 and 1427-1 \u003cbr\u003eFirst issued on Disque Gramophone DA 4854\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003eOrchestre des Concerts Pasdeloup\u003cbr\u003e\u003cbr\u003e\u003cbr\u003ePiero Coppola\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Piero Coppola\u003cbr\u003e\u003cbr\u003eTotal duration: 79:32\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\/PASC335.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC335.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW - SCHUMANN Symphony No. 1\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThat Coppola had a particular affection for Schumann we already more than suspected; now he brings to this performance an altogether outstanding sympathy and a close understanding of Schumann's essential warm-heartedness and naïveté, at the same time securing a cleanness of texture which is by no means common. He allows the music to be sentimental without becoming mawkish, and naif without being gauche.\u003cbr\u003e\u003cbr\u003eThe performance, as I have indicated, is a most satisfactory one. Coppola takes the fairylike finale at a very steady speed, producing a grazioso and slightly square effect totally different from that produced by Koussevitzky, who took it, I seem to remember (I speak without having the discs at hand) a good deal faster. At the same time, I do not agree with taking the coda of the scherzo so slowly: the tempo does not change to un poco più lento till 16 bars later. The balance of the orchestra is reasonably good, though the timpani are generally weak, and the cantabile tone of the first violins a little pallid. But it is a relief to hear a flute solo at the right level without it being boosted into the foreground. Once again, to my annoyance, Decca have managed to arrange these compulsorily auto-coupled sides so that the turn-over comes slap in the middle of the Larghetto.\u003cbr\u003e\u003cbr\u003eL. S., The Gramophone, June 1949, excerpt (link)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eREVIEW - RICHARD STRAUSS Salome Orchestral Excerpts\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eI don't suppose we shall hear the Strauss-Wilde Salome again, but it is mighty clever, in its erotic way: and yet a curiously bugaboo way, that perhaps would pall now that we are thrilled every day or supposed to be. Yet there is no other music really like this, that tackles so horrible a subject with such earnestness and vim. We have to remember that it is nearly thirty years old. The scene on this disc is that in which John (Jochanaan, as he is here called) is brought before Salome, repulses her attempt to vamp him, and descends again into his cistern-cell. There are numerous motives, which are very clearly set forth in Mr. Lawrence Gilman's guide to the opera (John Lane). Two leading ones of the prophet are that on the horns, about 1 in. on side 1, and the one which Mr. Gilman calls \"Prophecy,\" which is best heard at the start of side 2. There is also Salome's theme of \"Ecstasy,\" as Mr. Gilman calls it—the descending first-quarter-chime theme. It is worth one's while to hear this beautifully recorded playing of music that some may find powerful and others ugly, though not in the cacophonic sense in which, alas, we have been \"larned\" to use it in these post-war years.\u003cbr\u003e\u003cbr\u003eThe Gramophone, June 1934, excerpt\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":55010046968174,"sku":"tmo1789305471693","price":9.19,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010047000942,"sku":"pak1789305471694","price":6.26,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/coppola-conducts-schumann-wagner-r-strauss-1933-46---pasc335_1.jpg?v=1789305481","url":"https:\/\/www.harborviewgoods.shop\/products\/coppola-conducts-schumann-wagner-r-strauss-1933-46-pasc335","provider":"My Store","version":"1.0","type":"link"}