{"product_id":"koussevitzky-conducts-tchaikovsky-1949-pasc247","title":"KOUSSEVITZKY conducts Tchaikovsky (1949) - PASC247","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4 \u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1949\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 78:37 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eBoston 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;\"\u003eSerge Koussevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fObert-Thorn’s transfers are as expert as it gets. Another mandatory purchase from Pristine578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThese RCA sessions from 1949, near the end of\nKoussevitsky’s career, enshrine two of the greatest Tchaikovsky\nperformances in the history of recording. Their neglect by RCA in the CD\nera is inexplicable (or rather an all-too-predictable reflection of the\nphilistine cluelessness of the latter-day corporate descendants of such\nonce-great record companies), and we are in Pristine’s debt for making\nthem available again. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis is simply astounding music-making, in its\ncombination of disciplined precision with extreme spontaneity and\nemotional generosity. That famous Koussevitsky Boston sonority—burnished\nmahogany, weighty and concentrated—was ideal for Tchaikovsky. The first\nmovement of the symphony covers a huge range of tempo: a continuous\ncontrolled acceleration through the long main theme (bars 27–52—compare\nFurtwängler [VPO\/EMI, 1951] and Mengelberg [Concertgebouw\/Columbia,\n1929] here, the former doggedly slow until an impulsive last-moment\nsurge; the latter light and precise before a heavy rhetorical\nunderlining of the cadence); later, an abrupt gearshift in the move to B\nMajor (bar 134, in blatant disregard of the score’s injunction \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBen sostenuto il tempo precedente\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—and\nlisten to his extraordinarily vocal shaping of the violin phrases\nhere); on the other hand, he maintains a fanatically strict tempo\nthroughout the development section. Moments of extreme interpretive\nlicense are handled with such conviction as to completely disarm\ncriticism, as in his hair-raising injection of a few seconds’ silence\nright before the climactic statement of the main theme in the coda (bar\n402). The slow movement is measured and brooding, with dark velvet\nstrings and pungent wind chording. The faster middle section is somber\nand anxious, quite a contrast with Monteux’s elegant cut and thrust\nhere, in his RCA recording with the same orchestra 10 years later.\nKoussevitsky’s Scherzo is quite amazing in the vibrant fullness of sound\nand crackling intensity he draws from the massed pizzicato strings. The\nfinale is measured, weighty, very Russian. A live version from the same\nyear is faster and more excitable, but with the drawback of dim sound\nand an over-filtered transfer (Music \u0026amp; Arts). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Serenade is every bit as compelling in its\nincredible panache and throwaway bravura, delivered with an iron\nrhythmic grip (outer movements); and in the Elegy, a sonorous vibrancy,\ntonal luster, and authentically Russian declamation, rising to rare\nheights of eloquence in the reprise of the main theme, with the tune in\nthe violas against two independent countermelodies in the violins. This\nreally is in a class of its own, other historic classics\nnotwithstanding—Mengelberg’s radically detached, highly articulated\nneoclassicism (Concertgebouw, Telefunken, 1938\/Biddulph); Mravinsky’s\nintimate, lyrical refinement (Leningrad Philharmonic, Melodiya, 1949;\nunfortunately laboring under an unattractively dried-out transfer on\nBMG); and Dobrowen’s propulsive dash and élan with the Philharmonia\n(HMV, 1947; recently issued in an excellent transfer by the small\nBritish label Historic Recordings, coupled with his equally engaging\nFourth Symphony). The alternative version of the waltz was RCA’s filler\nfor the original issue of the symphony; not surprisingly, the\nperformance is nearly identical to the one in the complete recording of a\nfew months later. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe original recording suffers from compression in\nparts of the first movement of the symphony, though this seems to\nimprove in the course of the performance. But whatever the inherent\nshortcomings of the source, it pretty much goes without saying that Mark\nObert-Thorn’s transfers are as expert as it gets. Another mandatory\npurchase from Pristine. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eBoyd Pomeroy \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:5 (May\/June 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC247.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eKoussevitzky magnificent in late-career Tchaikovsky\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eBoston Symphony's first taped recordings - new transfers by Mark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eKoussevitzky’s 1949 recording of the Tchaikovsky Fourth was the first made by the Boston Symphony using the new medium of magnetic tape. It was initially released on 78 and 45 rpm discs, the two formats favored by RCA Victor during the “speed wars”. After succumbing to the long playing format developed by Columbia, the performance was reissued on 33 1\/3 rpm discs. However, as was the label’s custom at the time, its original “filler” side, the \u003cem\u003eSerenade for Strings \u003c\/em\u003eWaltz, was dropped from the LP release and not subsequently reissued.\u003ccite\u003e\u003c\/cite\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFour months later, Koussevitzky and the BSO reassembled at Tanglewood to record the entire \u003cem\u003eSerenade\u003c\/em\u003e. Unlike the Symphony and the Waltz, which had previously been recorded by the conductor and ensemble in 1936, the \u003cem\u003eSerenade\u003c\/em\u003e was Koussevitzky’s first and only complete recording of the work. It is interesting to compare the drier, more detailed, but somewhat harsher sound RCA achieved here in comparison to the earlier Waltz recorded in Symphony Hall.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfer of the Symphony were the best portions of two late 1950s red “shaded dog” label pressings. The Waltz filler came from the 45 rpm set, and the \u003cem\u003eSerenade\u003c\/em\u003e was sourced from an early ‘50s plum “plain dog” LP. Longtime collectors may be familiar with several flaws in the original LP appearance of the Symphony, including a very noticeable join between the original Sides 1 and 2 in the first movement (RCA was still recording in four- to five-minute segments at this time), as well as sudden volume fluctuations in the first two movements. While I have been able to ameliorate these problems using digital editing techniques not available to the original engineers, I have been unable to undo the inherent compression that afflicts the louder passages of the performance.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eDespite a \u003cem\u003eHiFi\/Stereo Review\u003c\/em\u003e survey at the end of the 1950s that placed this recording of the Fourth Symphony at the top of an already-crowded field, RCA deleted the disc sometime around 1960, and has never reissued it in the subsequent half century. I am very pleased to be able to present it now for new generations to discover.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cstrong\u003e\u003cem\u003eMark Obert-Thorn, reissue producer\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003c\/em\u003e NB. An unpublished alternate take of the Waltz from this session was issued by BMG in 2001 on a compilation CD set.\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\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY: \u003c\/strong\u003eSymphony No. 4 in F minor, Op. 36\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 26th April, 1949 in Symphony Hall, Boston\u003cbr\u003e Matrix nos.: D9-RC-1708-2A, 1709-2, 1710-2, 1711-1, 1712-1, 1713-1, 1714-1, 1715-1B, 1716-1\u003cbr\u003e First issued on RCA Victor 12-0972 through 12-0976 in album DM-1318 (LP: LM-1008; 45 rpm: WDM-1318)\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY: \u003c\/strong\u003eSerenade for Strings in C - 2nd mvt. - Waltz: Moderato\u003c\/span\u003e\u003cspan class=\"body\"\u003e \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 27th April, 1949 in Symphony Hall, Boston\u003cbr\u003e Matrix no.: D9-RC-1717-1B\u003cbr\u003e First issued on RCA Victor 12-0972 in album DM-1318 (45 rpm: 49-0510 in album WDM-1318) \u003cbr\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eTCHAIKOVSKY: \u003c\/strong\u003eSerenade for Strings in C Major, Op. 48\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded 16th August, 1949 in the Theatre-Concert Hall, Tanglewood\u003cbr\u003e Matrix nos.: D9-RC-1870-2, 1871-1, 1872-2D, 1873-1A, 1874-2, 1889-1 and 1890-1\u003cbr\u003e First issued on RCA Victor 12-1070 through 12-1073 in album DM-1346 (LP: LM-1056; 45 rpm: WDM-1346)\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eBoston Symphony Orchestra\u003cbr\u003e Serge Koussevitzky,\u003c\/b\u003e conductor\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"body\"\u003eProducer and Audio Restoration Engineer:  Mark Obert-Thorn\u003c\/span\u003e\u003cbr\u003e Special thanks to Don Tait for providing source material\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eCover artwork based on a photograph of Serge Koussevitzky\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 78:37 \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\/PASC247.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC247.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010057126254,"sku":"wie1789305694054","price":9.95,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":55010057159022,"sku":"fyr1789305694055","price":8.93,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010057191790,"sku":"ydw1789305694056","price":6.79,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/koussevitzky-conducts-tchaikovsky-1949---pasc247_1.jpg?v=1789305701","url":"https:\/\/www.harborviewgoods.shop\/products\/koussevitzky-conducts-tchaikovsky-1949-pasc247","provider":"My Store","version":"1.0","type":"link"}