{"product_id":"hanson-conducts-american-music-volume-5-1952-54-pasc332","title":"HANSON conducts American Music Volume 5 (1952-54) - PASC332","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANSON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANSON \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Cherubic Hymn\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eGOULD \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonette No.4: Latin-American Symphonette\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOverture to \"The School for Scandal\", Op. 5\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAdagio for Strings\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBARBER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEssay for Orchestra No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded between 1952 and 1954\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 70:49\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eEastman-Rochester Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eHoward Hanson, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHoward Hanson was a national treasure. This disc is an important part of his legacy. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eJorge Luis Borges’s fictional author Pierre Menard\ndeclared that “censuring and praising were sentimental operations which\nhad nothing to do with criticism.” Faced with this Howard Hanson CD, I\nmust confess that I become a sentimental critic. Howard Hanson was not\njust a great advocate for American music; he also was a marvelous\nconductor. His approach to music is flexible—every bar means something.\nHis dynamics are always just so, never approximate. Hanson is as much a\nmaster of orchestral balance as George Szell. In fact, for sonic reasons\nI prefer to hear Hanson’s monaural recordings instead of his stereo\nones. Mercury’s single-microphone technique is more truthful to Hanson’s\nbalances than its later three-microphone stereo is. This CD is a\nmarriage of often great music, great performances, and truthful sound.\nOne never can have enough of Howard Hanson the conductor. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eNot that I intend to belittle Howard Hanson the\ncomposer. His Fifth Symphony, the “Sinfonia Sacra,” puts me in mind of\nthe mystical, later works of Einojuhani Rautavarra, although Hanson’s\npiece is more carefully constructed. The string writing is masterly, and\nthere is great beauty of sound throughout. As an expression of the\nself, the “Sinfonia Sacra” resembles a Shakespeare soliloquy. Though a\nromantic composer, Hanson here achieves a kind of mature Sibelian\nobjectivity. It’s a lovely work. In the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Cherubic Hymn\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nHanson’s choral writing is straightforward and declarative.\nUnfortunately, the online program notes omit the hymn’s text. Hanson’s\npiece possesses a slight oriental coloring, as in some of the choral\nworks of Ralph Vaughan Williams. Hanson’s hymn is reverential rather\nthan ecstatic, relying on massed choral sound for excitement. As usual,\nHanson’s performances of his own music can be considered authoritative.\n\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eOne of the lamentable facts about our current\nconcert life is the decline in performances of Morton Gould’s\ncompositions. His music always is direct and beautifully constructed. He\norchestrates in points of color, like Ravel, and his sound is\nsplendidly transparent. I first heard the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLatin-American Symphonette\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin Maurice Abravanel’s workmanlike recording, the flip side of the LP\ncontaining his classic version of Gottschalk’s First Symphony, “A Night\nin the Tropics.” Gould himself recorded the middle two movements, in\ndemonstration-quality sound. Hanson’s performance is outstanding. In the\nRhumba, Hanson displays great rhythmic subtlety, and elicits expressive\nsolo playing. The movement recalls Ravel’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRapsodie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nNext, the Tango seems less sexually overt than like a reverie. It is\nmelodically captivating, sort of an idealized tango rather than a\nphysical one. The Guaracho functions as a scherzo. Its winsomeness\nrecalls Leroy Anderson, although Gould’s music is far subtler. For the\nlast movement, one can envision a line of conga dancers, and Gould\nreally breaks out the percussion. In Hanson’s hands, this symphonette is\nan important piece of music. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eHanson always has a sure touch in Samuel Barber. His \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOverture to The School for Scandal\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nreminds me of a concert performance I heard by Joseph Silverstein\nconducting the Waterloo Festival Orchestra. With measured tempos, Hanson\ndwells lovingly on details, particularly the polyphony in the strings.\nThe solo oboe in the second section sounds especially beautiful. In the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio for Strings\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nHanson secures a full-toned rendition, with lots of body to the string\nsound. Hanson doesn’t go after angst, as Thomas Schippers does, but\nrather elegiac beauty. In the Essay No. 1, Hanson is passionate, but at\nall times the structure and harmony are clear. This is the best\nperformance I know of the piece. Throughout the disc, Andrew Rose\naccomplishes beautifully balanced transfers of these recordings. His\nremasterings possess a warmth rarely found on Wilma Cozart Fine’s\nMercury Living Presence CDs. I hope I have justified my sentimentality\nin approaching this collection. Howard Hanson was a national treasure,\nand his memory deserves a hallowed place in our musical life. This disc\nis an important part of his legacy. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eDave Saemann \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:1 (Sept\/Oct 2012) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC332.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eHanson conducts his own 5th Symphony, plus music by Morton Gould and Samuel Barber\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eMore American treasures from one of the finest interpreters of this music\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe Barber and Gould recordings, both made on the same day in the autumn of 1952, displayed a distinct loss of top-end treble. In the case of the Gould this was particularly acute with a very steep drop-off of around 15dB above 10kHz that suggests a quite severe filter was used in mastering the original LP. I've done what I can to try and restore what remains above these frequencies in both recording, more successfully perhaps in the Barber. The 1955 recordings of Hanson's own works show a more typical \"Living Presence\" lift of the lower treble, though happily not as severe as on some of their recordings of this era, and it's an anomaly which happily makes for lower hiss levels after XR remastering has corrected the tonal balance.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAll of the recordings displayed degrees of pitch instability consistent with the tape recording equipment of the day, allowing the orchestral tuning to wander slowly between about A=440Hz and A=446Hz. Standard concert pitch seemed a reasonable point to re-tune the recordings to, something which appeared to be confirmed by the copious amounts of mains electrical hum (with multiple harmonics) I have removed. Each of these recordings was transferred from original, near-mint 1950s US Mercury pressings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANSON\u003c\/strong\u003e Symphony No. 5, Op. 43, \"Sinfonia Sacra\"\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eHANSON \u003c\/strong\u003eThe Cherubic Hymn \u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded May 1953 (Cherubic Hymn) and 1954\u003cbr\u003eNB. Some sources suggest 8 May 1955 - this is not supported by the original LP sleevenotes \u003cbr\u003eIssued as Mercury MG-40014\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eEastman School of Music Chorus\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOULD \u003c\/strong\u003eSymphonette No.4: Latin-American Symphonette\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER \u003c\/strong\u003eOverture to \"The School for Scandal\", Op. 5\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER \u003c\/strong\u003eAdagio for Strings \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBARBER \u003c\/strong\u003eEssay for Orchestra No. 1, Op. 12\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 20 October 1952\u003cbr\u003eIssued as Mercury MG-40002\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eEastman-Rochester Symphony\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eHoward Hanson \u003c\/strong\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose at Pristine Audio, April 2011\u003cbr\u003eCover artwork based on a photograph of Howard Hanson\u003cbr\u003e\u003cbr\u003eTotal duration: 70:49\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\/PASC332.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC332.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eReview (Barber \u0026amp; Gould - original LP issue)\u003cbr\u003e\u003cbr\u003eI'm not sure that the two sides of this record fit very well together; but each, considered separately, is certainly a winner. The recording is throughout clear and vital, though perhaps lacking something in warmth; a deficiency that does altogether less damage here than it would in the classics, and which is in any case set off by many virtues in other respects—the brass and percussion in particular coming off extremely well.\u003cbr\u003e\u003cbr\u003eSamuel Barber is the only contemporary American composer even reasonably well represented in the English catalogues but even so, the gaiety of the School for Scandal overture throws for us a new light on him. The quick-witted vein is an attractive one, and the piece is well presented by the orchestra.\u003cbr\u003e\u003cbr\u003eSo is the Adagio for Strings. This is more familiar; as well as some SPs there is a LP (Decca LX3042) called, I suppose unarguably correctly, Music of the Twentieth Century, which includes this piece in a hurried but rich-toned performance by the Boyd Neel Orchestra, along with an enveloping hum and some incongruous piano and 'cello pieces. Here there is no aggressive hum, though the string sound is not quite so rich as on the Decca ; but principally there is a considerably more intense performance, which reveals the moving elegy the better.\u003cbr\u003e\u003cbr\u003eThe Essay for Orchestra is not quite so convincing; it seems on the short side for what it has to say—the allegro molto section does not immediately declare itself capable of supporting the weight of the andante sostenuto which precedes it. But the three pieces taken together, and most admirably performed, give a most useful conspectus of Barber's achievement in the smaller forms.\u003cbr\u003e\u003cbr\u003eOne had always supposed that Morton Gould must have written something other than the Pavane, and here it is. A four-movement Sinfonietta is no novelty, but one based on four Latin-American dances is orchestral arrangements of a rumba, tango, guaracha, and conga by good musicians are no novelty, but ones done with musical rather than commercial ends in view seem, unfortunately, to be so.\u003cbr\u003e\u003cbr\u003eThose four dances form the four movements, taking on something like the classical balance. The rumba has a first-movement fullness; the tango, of the Argentinian variety, is developed into a singularly attractive slow movement, with wisps of sound that are so wholly appropriate, but which could never be written for the audiences to whom Gould, or any other first-class arranger, normally has to direct his music, tango-style or otherwise. A guaracha is less familiar, but it forms an effective scherzo; the finale is a conga that begins and ends in a blaze, but has sober expanses in the middle, and is not quite the irresistible \"orgiastic\" affair the sleevenote led my baser instincts to hope for.\u003cbr\u003e\u003cbr\u003eThe whole work is played in great style the Eastman-Rochester Symphony Orchestra seem completely at home with it. Few symphony orchestras can encompass this sort of music wholly satisfactorily - usually the brass section make it clear that the transition is too much of a strain. But here the style is changed with no apparent strain at all; and the brass and percussion are certainly beautifully caught by the fine recording.\u003cbr\u003e\u003cbr\u003eThe choice of coupling remains curious. But it has, arguably, one advantage; with two sides so diverse and each so good in its own way, it would be cantankerous indeed to dislike both of them at once.\u003cbr\u003e\u003cbr\u003eM.M. - The Gramophone, June 1954 \u003cbr\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":"Ambient Stereo 24-bit FLAC","offer_id":55010046574958,"sku":"sqi1789305449626","price":13.92,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010046607726,"sku":"uon1789305449627","price":9.95,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55010046640494,"sku":"yal1789305449628","price":9.7,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010046673262,"sku":"smt1789305449629","price":8.14,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/hanson-conducts-american-music-volume-5-1952-54---pasc332_1.jpg?v=1789305456","url":"https:\/\/www.harborviewgoods.shop\/products\/hanson-conducts-american-music-volume-5-1952-54-pasc332","provider":"My Store","version":"1.0","type":"link"}