{"product_id":"fabien-sevitzky-conducts-the-philadelphia-chamber-string-simfonietta-1927-40-pasc375","title":"FABIEN SEVITZKY conducts the Philadelphia Chamber String Simfonietta (1927-40) - PASC375","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVARIOUS COMPOSERS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA selection of shorter works\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1927-1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 77:17\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhiladelphia Chamber String Simfonietta \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAnyone who loves the chamber orchestra will want to hear the Philadelphia Chamber String Simfonietta. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Philadelphia Chamber String Simfonietta was\nformed in 1925 by 17 string players from Stokowski’s Philadelphia\nOrchestra. Its conductor, Fabien Sevitzky, was a double bass player in\nthe orchestra. He was a nephew of conductor Serge Koussevitzky, a\nvirtuoso on the double bass. Within two years, the Simfonietta was\nrecording for Victor. It was the first permanent string orchestra in the\nworld, and as such its recordings were influential in their time.\nSevitzky would go on to a full time conducting career, winning\nconsiderable acclaim for his 18 seasons with the Indianapolis Symphony.\nThat activity by Sevitzky would eventually bring the Simfonietta’s\ncareer to a close in the 1940s. Much of the Simfonietta’s charm comes\nfrom Sevitzky’s conducting. While its players were accustomed to making a\ncalorically rich, heavy string sound for Stokowski and Ormandy, their\nsound for Sevitzky in the Simfonietta is clear, refined, and elegant,\nalthough with all the technical finish and panache one expects from the\nPhiladelphia Orchestra. Sevitzky’s performances have a clarity, balance,\nand insight all their own. Indeed, the Simfonietta’s playing is at\nleast the equal of any chamber orchestra’s that succeeded it. The\nbreadth and occasional novelty of its repertoire guaranteed it a good\ncritical response in its time. What Mark Obert-Thorn gives us on this CD\nare the complete officially issued recordings of the Simfonietta.\nListening to them is no antiquarian exercise. The recordings are as\nvital and persuasive today as when they were made. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Simfonietta’s first recording session included Marco Enrico Bossi’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIntermezzi goldoniani\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, a frisky, entertaining work that shows off the ensemble’s virtuosity to great advantage. Also set down then were Grieg’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTwo Elegiac Melodies\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nin as moving a performance as I’ve ever heard. The Simfonietta returned\nto the studio two years later, in 1929. The elegance of Sam Franko’s\narrangement of a Bach Sinfonia is a far cry from the heavy breathing\nBach-Stokowski creations these artists were playing at that time. Arcady\nDubensky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGossips\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis a delightful pizzicato study, premiered in Philadelphia only five\nmonths prior to the recording. The Elegy from Tchaikovsky’s Serenade for\nStrings sounds stately, intimate, and unaffected. Percy Grainger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLondonderry Air\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e (“Danny Boy”) gives the Simfonietta the opportunity to display its warmth without being cloying, while they play Grainger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolly on the Shore \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\nrare finesse and wit. Also in 1929, the Simfonietta made the premiere\nrecording of Ernest Bloch’s Concerto Grosso No. 1, introduced four years\nearlier in Cleveland. If you are familiar with Howard Hanson’s great\nrecording of this with the Eastman-Rochester Orchestra, you will be\nstruck by how much more crisp and incisive Sevitzky’s interpretation is.\nSevitzky’s tempos at times are faster, and where Hanson can count on a\nlarger, more lush string section, Sevitzky’s strings are nimbler and\neven somewhat astringent. Both accounts are persuasive, and I cannot say\nwhich one I prefer. The work’s baroque origins, however, are more\nclearly evident from Sevitzky. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Simfonietta’s final recording session was in\n1940. They played three charming and atmospheric orchestral selections\nfrom André Grétry’s operas, with consummate elegance. The main work at\nthis session was Anton Arensky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVariations on a Theme of Tchaikovsky\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nThis recording unfortunately was not released until after the attack on\nPearl Harbor; the recycled shellac it was pressed on compromised the\nsound quality. Nevertheless, Sevitzky leads a great performance. The\ntouchstone for me in this work always has been John Barbirolli’s version\nwith the London Symphony. Sevitzky is more classical than Barbirolli in\nhis phrasing, in tune with the type of conducting prevalent in Russia\nduring Arensky’s lifetime. The vibrato rich, heart on sleeve conducting\nof Russian music is a later creation. What’s more, Sevitzky’s players\nare more technically assured than Barbirolli’s. They are sensitive to\nevery nuance of Sevitzky’s interpretation, always producing a full yet\nwell-defined sound. I cannot imagine Arensky’s masterpiece being better\nserved than by the Simfonietta. Mark Obert-Thorn, in addition to giving\nus listenable and usually appealing transfers of these recordings, also\nhas furnished an excellent program note. Perhaps interest in this CD\nwill spur Pristine into reissuing Sevitzky’s Indianapolis recordings.\nAnyone who loves the chamber orchestra will want to hear the\nPhiladelphia Chamber String Simfonietta. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC375.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eSevitzky's Philadelphia Chamber String Simfonietta - complete 78rpm recordings\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eA fabulous array of recordings by this ground-breaking American ensemble collected together for the first time\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThis release presents for the first time in any extended-play format the complete issued 78 rpm recordings of a pioneering ensemble under its enterprising founder and conductor.* Fabien Sevitzky (1893–1967), a nephew of Serge Koussevitzky, was perhaps best known as the music director of the Indianapolis Symphony Orchestra from 1937 to 1955. Prior to that, however, he founded what was claimed to be the first permanent string orchestra ensemble in the world.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDrawing seventeen players from the ranks of Stokowski’s Philadelphia Orchestra (of which he himself was a bass player from 1923 to 1930), Sevitzky presented the first concert of his Philadelphia Chamber String Simfonietta in 1925. Within two years, they made their first recordings for Victor, following up with another series two years later. Eleven years were to pass before they stood before the microphone again for their last session. They disbanded as Sevitzky’s involvement in Indianapolis increased.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe novelty of the ensemble, a wide-ranging repertoire, and a high level of playing from what was then arguably the finest orchestral string section in the world, led to high praise from contemporary critics. Herbert Peyser of the New York\u003cem\u003e Telegram\u003c\/em\u003e wrote in 1929, “Orchestral or chamber music have brought few things outside Toscanini’s works of wonder to exceed them.”\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were American Victor editions: Orthophonic pressings for the Bossi \u003cem\u003eBurlesca\u003c\/em\u003e, the two Grieg pieces and the Tchaikovsky; wartime “Silver” label copies for the Arensky; and prewar “Gold” label pressings for the remainder. The earlier recordings were made in Victor’s Camden Church Studio, a small, unreverberant venue that tended to give an edge to violin tone and boominess to the lower strings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first two sides of the Bloch (the world-première recording of the work) were originally recorded on 10-inch matrices and then dubbed to 12-inch sides, with a resulting degradation in sound. For the last session, the ensemble recorded in the warmer, more expansive acoustic of the Academy of Music, but was hampered, in the case of the Arensky, by substandard wartime pressings made from recycled shellac.\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\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBOSSI \u003c\/strong\u003eIntermezzi goldoniani, Op. 127 \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 12 February 1927 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. CVE-37812-2 and BVE-37813-2. First issued on Victor 9129 and 4022\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRIEG \u003c\/strong\u003eTwo Elegiac Melodies, Op. 34\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 12 February 1927 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-37814-2 and CVE-37815-2. First issued on Victor 4022 and 9129\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eJ. S. BACH \u003c\/strong\u003e(arr. Sam Franko) Sinfonia from Cantata No. 156 (“Arioso”)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix no. CVE-51825-2. First issued on Victor 9598 in album M-66\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eDUBENSKY \u003c\/strong\u003eGossips \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix no. BVE-51826-1. First issued on Victor 4186\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY \u003c\/strong\u003eElegie from Serenade for Strings, Op. 48\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-51827-3 and 51828-3. First issued on Victor 4151\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRAINGER \u003c\/strong\u003eLondonderry Air \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eGRAINGER \u003c\/strong\u003eMolly on the Shore \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 25 April 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. BVE-51829-1 and CVE-51830-2. First issued on Victor 4186 and 11560\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBLOCH \u003c\/strong\u003eConcerto Grosso No. 1 \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eCharles Linton\u003c\/strong\u003e, \u003cem\u003epiano obbligato\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 9 May 1929 in Church Studio No. 1, Camden, New Jersey \u003cbr\u003eMatrix nos. CVE-48999-3R, 48992-2R, 48993-2, 48994-2 and 48995-2 \u003cbr\u003eFirst issued on Victor 9596 through 9598 in album M-66\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003ePantomime (from \u003cem\u003eZemire et Azor\u003c\/em\u003e) \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003eMarche (from \u003cem\u003eLa caravane du Caïre\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGRÉTRY \u003c\/strong\u003eTambourin (from \u003cem\u003eDenys le tyran\u003c\/em\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 October 1940 in the Academy of Music, Philadelphia \u003cbr\u003eMatrix nos. CS-056562 and 056563 (no take numbers listed) \u003cbr\u003eFirst issued on Victor 13590\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eARENSKY \u003c\/strong\u003e\u003c\/strong\u003eVariations on a Theme of Tchaikovsky, Op. 35a \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 19 October 1940 in the Academy of Music, Philadelphia \u003cbr\u003eMatrix nos. CS-056558-1, 056559-1, 056560-2 and 056561-1 \u003cbr\u003eFirst issued as Victor 11-8153 and 11-8154 in album M-896\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003ePhiladelphia Chamber String Simfonietta \u003cbr\u003eFabien Sevitzky \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSpecial thanks to Bill Anderson, Nathan Brown, Richard Kaplan, Charles Niss and Don Tait \u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation work by Andrew Rose \u003cbr\u003eCover artwork based on a photograph of Fabien Sevitzky\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 77:17\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\/PASC375.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC375.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":55010050441582,"sku":"ima1789305595285","price":8.93,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010050474350,"sku":"hvw1789305595286","price":8.35,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/fabien-sevitzky-conducts-the-philadelphia-chamber-string-simfonietta-1927-40---p_1_5b69a585-7e39-419c-8f97-9bd5d9775bd0.jpg?v=1789305602","url":"https:\/\/www.harborviewgoods.shop\/products\/fabien-sevitzky-conducts-the-philadelphia-chamber-string-simfonietta-1927-40-pasc375","provider":"My Store","version":"1.0","type":"link"}