{"product_id":"dorati-galliera-respighi-orchestral-music-195455-pasc194","title":"DORÁTI \u0026 GALLIERA Respighi: Orchestral Music (1954\/55) - PASC194","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFeste romane (Roman Festivals)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eVetrate di chiesa (Church Windows)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eFontane di Roma (Roman Fountains)\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1954 and 1955 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 65:26 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMinneapolis 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;\"\u003eAntal Doráti\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e The Philharmonia 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;\"\u003eAlceo Galliera\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI recently visited Minneapolis. One of my longtime\nambitions was to see the Northrop Auditorium on the campus of the\nUniversity of Minnesota, where so many recordings by Eugene Ormandy,\nDimitri Mitropoulos, and Antal Dorati (and a few by Stanislaw\nSkrowaczewski) were made before the former Minneapolis Symphony\nOrchestra (now the Minnesota Orchestra) moved to its new downtown\nconcert hall. To make what could have been a long story short, the\nbuilding was locked the day I tried to get in, so I still haven’t seen\nanything but the outside of the place. Acoustically, it was an odd\nvenue. Ormandy’s Victor recordings sounded pretty good for their time;\nColumbia’s Mitropoulos recordings, produced by radiomen who preferred\nthe dead sound of the broadcasting studio, were dry and boxy, with lousy\npressings to match. Things improved a bit when RCA Victor returned for\nthe last Mitropoulos and first Dorati recordings, but the LPs that\nreally made a splash were Mercury’s, which were loved by some and\ndisliked by others because of their dry, almost desiccated sound. I\nthink it’s fair to say that, regardless of what he had accomplished with\nvarious ballet companies and the Dallas Symphony, Mercury’s recordings\nput Dorati “on the map,” so to speak. When the music was “right,” the\nresults could be sensational, but so much depended on the producer and\nwhat kind of sound (s)he wanted. I still think Dorati’s mono \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRite of Spring\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwith its audio X-Ray of the orchestration, is sensational, superior to\nits good, but mushier, stereo successor. Another very successful\nrecording was the pairing of Respighi’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the (at the time) unknown \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, another audio blockbuster; in fact, I assume that the Dorati\/Mercury disc of those two pieces introduced \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nto the general public. I’ll bet the big gong bash at the end of “St.\nMichael Archangel” served as a demo for showing off “hi-fi” systems. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe things we do for our avocation: I listened to nine \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003erecordings\nbefore tackling Dorati’s. It turned out to be, in a way, frustrating,\nbecause all of them were, at least, “good” performances: Bernstein,\nGatti, López-Cobos, Maazel Nos. 1 and 2, Marriner, Mata, Ormandy No. 2\n(I learned the piece on his No. 1), and Toscanini. I heard Toscanini’s,\nnot on a CD, but on LM-55, the original 10-inch RCA Victor LP, and it\nsounded so good that I found myself wondering if the CD could be any\nbetter. Perhaps I’ll eventually find out. If you must have stereo, I’d\nreluctantly go with Mata’s refined, colorful, and superbly recorded\nperformance. If you need a little more panache and don’t mind Lenny\nadding his own trickery to Respighi’s, I’d recommend Bernstein’s\nslightly overproduced one. Nobody attacks the music with the furious\nintensity of Toscanini and few match his delicacy when it’s called for.\nThe NBC Symphony outdoes itself—they and their conductor must have been\nexhausted after the session. Too bad it isn’t a two-channel recording. I\ncould make the same comment about Dorati’s, which almost matches\nToscanini’s in its energy and power. Mercury’s in-your-face sound yields\nnot only volume but also orchestral detail. Because their producers had\na proper horror of gain riding, some early Mercurys have a hint of\noverloading in loud passages. It’s hard to believe that the original LP\nof this didn’t have it but I can’t remember any more; in any case,\nPristine Audio seems to have expunged it. The LP, impressive as it was,\ndidn’t sound this good. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eContrary to what one might expect, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is not a postscript to the more famous\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Roman Trilogy. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eIt\nis based, in part, on three piano pieces Respighi wrote in 1919. During\nthe mid 1920s he orchestrated them and added an extra movement,\ncompleting the tone poem in 1925, before tackling \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nThe music is based on Gregorian chant, perhaps not surprising, given\nhis interest in early music and his other arrangements of it (\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Birds\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAncient Dances and Airs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcerto gregoriano\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e).\nFor all its colorful power, it certainly does contain more than a whiff\nof religious mysticism and is not at all like the more famous tone\npoems that salute Rome. Dorati’s performance holds up very well, even\nwith only one channel. However, I should mention some stereo\ncompetition. Assuming that most people already have recordings of the\nRoman pieces, I could cite Falletta (Naxos) and Ormandy (Sony), whose\ncouplings are, respectively, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrazilian Impressions\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRossiniana\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e in her case, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Birds\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and Louis Lane’s recording of the Scarlatti-Tomassini \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGood Humored Ladies Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (the only one that includes the so-called “Cat’s Fugue”) in his. There is also Keith Clark on Reference Recordings, where \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is coupled with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAutumn Poem\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e for violin and orchestra; I’ve never heard it. López-Cobos (Telarc) also recorded \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChurch Windows\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, but it is coupled with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFeste romane\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, as well as the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrazilian Impressions. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe inclusion of Alceo Galliera’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFountains of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nisn’t much of a bonus but, given its impressive discmates, it doesn’t\nmuch matter. As far as recordings go, he was a highly valued “house\nconductor” for EMI, accompanying many of the company’s most famous\nsoloists and making some recordings of his own. Perhaps EMI assumed\nthat, since he was Italian, he’d have a flair for Respighi. I found his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePines of Rome\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e to be rather tame, and had the same reaction to this 1955\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Fountains\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwhich strikes me as a straightforward, dignified reading, as if he’s\nuncomfortable with such flashy stuff and would rather be collaborating\nwith Artur Schnabel in some Beethoven concerto again. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller \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 33:4 (Mar\/Apr 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\/PASC194.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eDoráti and Galliera magnificent in Respighi\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eAll the bombast and spectacular orchestration brilliantly conveyed\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eAll three of these excellent recordings manages to capture the - at times over-the-top - exuberance of Respighi's orchestral writing well, and though the Doráti does appear to suffer a slight top end roll-off towards the end of each side this happens slowly enough and is mild enough that one is rarely aware of it when listening through.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWhat certainly cannot be missed here is perhaps the most dramatic hit on the tam-tam (or gong) I've ever heard on record. From the crash at the end of the second movement of \u003cem\u003eChurch Windows\u003c\/em\u003e until the decay finally falls under the opening bars of the third movement there's an incredible 18 seconds of reverberant sound.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eRobert Benson, writing in Classical CD Review in 2002, investigated this single note in Respighi's score. He found Ormandy's stereo Philadelphia to run to \"a paltry 7 seconds\" whilst on Chandos, Geoffrey Simon's 1984 recording manages a \"far better recorded\" 12 second. But ultimately, \"no other recording approaches the Doráti spectacular.\"\u003c\/p\u003e\n\u003cp class=\"body\"\u003eYou can hear for yourself this mighty crash in our sample here, though you'll have to listen to the full piece to get to grips with the deep 32 foot organ stops, and what Gramophone's reviewer somewhat sniffily refers to as \"pretty well everything in the kitchen but the sink\"!\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\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 class=\"body\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRESPIGHI\u003c\/strong\u003e Feste romane (Roman Festivals)\u003c\/span\u003e\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRESPIGHI\u003c\/strong\u003e Vetrate di chiesa (Church Windows)\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003cstrong\u003eMinneapolis Symphony Orchestra\u003cbr\u003e conducted by Antal Doráti\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e 20 November, 1954, Northrop Auditorium, Minneapolis\u003cbr\u003e First issued as Mercury MG 50046\u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli class=\"body\"\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eRESPIGHI\u003c\/strong\u003e Fontane di Roma (Roman Fountains)\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003eThe Philharmonia Orchestra\u003cbr\u003e conducted by Alceo Galliera\u003c\/strong\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e18-21 March, 1955, Kingsway Hall, London\u003cbr\u003e First issued as UK Columbia 33 CX 1339\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from the collection of Edward Johnson\u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, October 2009\u003cbr\u003e Cover artwork based on a photograph of Antal Doráti\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 65:26 \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\/PASC194.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC194.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    \"...The subjects illustrated in Stained-glass windows, written in 1926, are The flight into Egypt, with the little caravan moving slowly through the desert ; The archangel Michael in his battle with the dragon—which ends with a colossal tam-tam stroke as the latter falls from Heaven ; The matins of St. Clara—probably the best musically, in a vein of quiet melancholy ; and a majestic St. Gregory the Great. The orchestra is already a large one, with triple woodwind, four trumpets, piano, organ and three tam-tams among much else, but it pales into insignificance beside Roman festivals, which is in the super-colossal class and adds three buccine or Roman bugles, mandoline, clarinet in D, a whole range of different sorts of bells, and pretty well everything in the kitchen but the sink (and I wouldn't swear that it too wasn't called on somewhere). The movements depict the martyrs, the lions and the mob of the Circenses ; the Jubilation of pilgrims reaching Rome ; the October festival of hunting and romance (Respighi at his best) ; and the riotous clamour of the Epiphany celebrations in the Piazza Navona—a frenzied movement which recalls, and attempts to outdo, the Fair scene in Petrouchka. Antal Dorati has a real outing with his orchestra, which plays with the utmost abandon...\" \u003c\/p\u003e\u003cp\u003e- Gramophone, June 1956 - review of Doráti\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e    \"This music is dependent, more than most, on its recording and the Fountains of Rome has been lucky in all its issues, from the excellent Toscanini\/H.M.V. to the present one. On sampling the older ones again I thought the Nixa less good than I remembered and the Mercury, though perhaps the most clearly vivid of all, does lack warmth. Warmth is a quality in which this new Columbia excels and the quiet movements are particularly good to hear, especially as they are also played so exquisitely. The whole of the last section (the Villa Medici at Evening) is as beautiful as I ever remember hearing it. The brilliant movements are well reproduced too and since the playing throughout is by the Philharmonia at their best, this is a record of the work not to be overlooked.\" \u003c\/p\u003e\u003cp\u003e- Gramophone, April 1956 - review of Galliera\u003c\/p\u003e\u003cbr\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":55010066235758,"sku":"pgz1789305880965","price":12.25,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010066268526,"sku":"nmt1789305880966","price":10.08,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55010066301294,"sku":"qfa1789305880967","price":8.29,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010066334062,"sku":"crl1789305880968","price":8.35,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/dorati-galliera-respighi-orchestral-music-195455---pasc194_1.jpg?v=1789305888","url":"https:\/\/www.harborviewgoods.shop\/products\/dorati-galliera-respighi-orchestral-music-195455-pasc194","provider":"My Store","version":"1.0","type":"link"}