{"product_id":"mengelberg-in-new-york-overtures-and-short-works-1928-30-pasc378","title":"MENGELBERG in New York: Overtures and Short Works (1928-30) - PASC378","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\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, 1928-1930\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:54 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWillem Mengelberg, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe Magic Flute Overture is brilliantly played, the Egmont Overture, likewise...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn March 1928, Walter Damrosch’s New York City\nSymphony Orchestra, plagued by financial problems, was absorbed by the\nrival New York Philharmonic. Several of its players were auditioned by\nthe Philharmonic and among the ones who made the cut was a violinist\nnamed Winthrop Sargeant, who went on to be a music critic for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe New Yorker\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nWillem Mengelberg had been conducting the Philharmonic for several\nyears, recently as co-conductor with Arturo Toscanini. Years later, in\nhis book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGeniuses, Goddesses, and People\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n(New York, 1949), Sargeant, presumably with his tongue in his cheek,\ndescribed Mengelberg’s rehearsal technique: “For about a decade he had\nbeen the Philharmonic’s supreme master. And he had been proud of his\norchestra. With an apoplectic temperament that matched his red hair, and\na meticulous Teutonic regard for system and technical detail, he had\nwhipped the orchestra into a state of efficiency that had made it a\nworthy rival of Stokowski’s Philadelphia Orchestra and Koussevitsky’s\nBoston Symphony. Mengelberg was by nature an academician—a man of rules\nand regulations. He had an endless fund of very sound and very pedantic\ntheories on how to train a symphony orchestra. He measured every breath\nand bowstroke with finicky precision. With the help of long lectures\ndelivered in a unique dialect of Holland English, he explained the\nvarious systems of bowing and blowing by which he reduced the orchestra\nto a well-oiled machine. ‘Vy do you make ‘doo-doo’ ven I tell you to\nmake ‘too-too?’ he would admonish a careless trumpet player. When the\ntrumpet player obligingly made ‘too-too,’ he would grunt with\nsatisfaction. ‘Now you make more like the Concertgebouw in Amsterdam,’\nhe would remark proudly. ‘The too-too system iss werry important.’” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003e“Mengelberg talked interminably. He often took up\nso much time orating about fascinating details that he had to call extra\nrehearsals in order to get a symphony thoroughly polished. He could\nhardly conduct two successive measures of music without stopping the\nwhole orchestra to deliver a lecture. Many of his lectures were very\nelementary, and they were incessantly repeated. ‘Chentlemen,’ he would\nsay at the beginning of a rehearsal, while the orchestra listened\ndutifully, ‘Chentlemen, goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’ (this was the polar opposite in the Mengelbergian philosophy from ‘badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e’) ‘goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, dat vill say you must not somewhiles look auf der balcony, und sometimes auf der ladies in der owdience. No! Goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\ndat vill say you vill look always auf der condooctor.’ And with a smart\nslap on his own chest and a slight rush of blood to his head, he would\nconclude, ‘und I am der condooctor.” With this emphatic statement, he\nwould raise his baton and the Philharmonic would prepare to play. The\nviolinists would place their bows on the strings in readiness; the wind\nplayers would inhale for the coming blast. Mengelberg would seem about\nto give the signal—and then he would suddenly think of something else to\nsay. The baton would fall again, the violinists would place their\nfiddles in their laps, the wind players would exhale their wasted\nbreath, and everybody would settle back in his chair. ‘I do not like \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eschimpfen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\n(scolding),’ he would continue. ‘I am not like odder condooctors. I do\nnot make so’—here he would imitate the gestures of what he imagined to\nbe the gestures of some of his famous colleagues—‘und so, und so. No! I\nmake chust so!’—and here he would illustrate his typically Mengelbergian\nbeat. A dissertation on the superiority of the Mengelbergian system\nwould follow. It would sometimes be half an hour before the Philharmonic\nstarted to rehearse and then it would rehearse in driblets interspersed\nwith similar lectures on ‘goot’ and ‘badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,’ and how ‘goot \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e must can play loudt’ and also ‘must can play soft,’ and so on.” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003e“…By the time Mengelberg had thoroughly rehearsed a\nmaneuver, the Philharmonic could carry it out automatically by itself.\nAt concerts, the well-oiled machine ran faultlessly under its own power.\nMengelberg merely stood at the controls, pressing an occasional button.\nThe result was that the Philharmonic had become, if not the most\ninspired, at least the most spectacularly well-trained orchestra in\nAmerica. And though they had occasionally wearied of his incessant\nharping on theoretical platitudes, the Philharmonikers had developed a\ndeep respect for Mengelberg. He was the man who had made them what they\nwere.” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eIf the lectures on “gut” and “badt \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eorchesterspielen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e”\nare, in part, responsible for the parade of delights that is this CD,\nit was worth the Philharmonic’s suffering. The performances of\n18th-century music are unburdened by musicological considerations but no\nless charming for that; nowadays, no one would be likely to milk the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAir for the G String\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e the way Mengelberg does. Aside from some oddly unbalanced wind chords, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Magic Flute\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e Overture is brilliantly played, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEgmont\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nOverture, likewise. When my class graduated from grade school, we\nmarched up and down the aisle to the “War March of the Priests.” Like\nevery other performance I’ve heard, Mengelberg’s is more sprightly than\nsolemn. If you had taken a poll of opera-goers in 1880, the year of\nOffenbach’s death, and asked them whose music would hold the stage in\n130 years, Meyerbeer’s or Offenbach’s, I am sure that Meyerbeer would\nhave been the overwhelming choice. Well, here we are in 2013 and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales of Hoffmann, Orpheus in Hades, La belle Hélène\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa Périchole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, among others, are still performed; in fact, there are probably more performances per year of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTales of Hoffmann\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e alone than there are of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eL’Africaine, Les Huguenots\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Prophète \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eput together. What survives of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe Prophète\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis its majestic “Coronation March” (Mengelberg’s can swagger with the\nbest of them) and some of the pieces from the opera’s ice-skating scene,\nthanks to Frederick Ashton’s ballet, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLes Patineurs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nThe excellent sound of “Forest Murmurs” won’t surprise anyone who knows\nit was recorded at the same session that produced Mengelberg’s amazing\n1928 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which still sounds good today. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSiegfried\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nexcerpt receives a performance that’s as good as anybody’s, and\nfeatures particularly sensitive wood wind playing. I’d prefer a slower\ntempo in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHänsel und Gretel \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOverture\nbut it’s certainly a well-polished performance. Like the Beethoven and\nMozart overtures, it was recorded in Liederkranz Hall, a smaller,\ndrier-sounding auditorium than Carnegie Hall. The producer, Mark\nObert-Thorn, has added a discreet touch of resonance to mask this. The\nexcellent collection concludes with a lively but refined \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOmphale’s Spinning Wheel\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nMengelberg made previous and later recordings of a few of these pieces\nbut, as the producer notes, “the bulk of these selections are unique to\nhis discography.” \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 37:1 (Sept\/Oct 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC378.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eMengelberg in New York: an arresting pot-pourri collection of recordings\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eMark Obert-Thorn compiles a diverse collection of superb studio performances from 1928-30\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe present volume offers a wide range of Mengelberg’s repertoire, from the Baroque, Classical and Romantic eras in the one- or two-disc releases of overtures and short works that were a staple of the 78 rpm era. Some of them Mengelberg had previously recorded acoustically with the New York Philharmonic (Mendelssohn and Saint-Saëns), while others had already received electrical recordings with his other orchestra, the Concertgebouw in Amsterdam (the Beethoven and the first two movements only of the J. C. Bach). However, aside from re-recording the Beethoven and J. S. Bach items (the latter in a different arrangement), Mengelberg never returned to the other works in the studio, making the bulk of these selections unique to his discography.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe earliest recording featured here is the Wagner, done at the tail end of Mengelberg’s sessions for Ein Heldenleben in December, 1928. Much of the rest of the present release was done over two days’ worth of sessions the following month. The remaining items were recorded a year later, along with his recordings of the Beethoven First and Eroica Symphonies just before he left New York, never to return.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources used for the present transfers were vinyl test pressings for the Handel; American Victor “Z” pressings for the J. S. Bach, J. C. Bach, Mendelssohn and Meyerbeer items; and pre-war Victor “Gold” label pressings for the remainder. The discs have a comparatively high degree of hiss inherent in the original recordings, present even on the quietest sources. In addition, the 1930 recordings were made with reduced forces in Liederkranz Hall, a smaller and presumably cheaper-to-rent venue than Carnegie, which RCA used for the orchestra after the onset of the Depression late in 1929. I have added a small amount of digital reverberation to these acoustically dry sides in order to better integrate the sound with the remaining items.\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\u003eHANDEL \u003c\/strong\u003e(arr. Göhler) Alcina – Suite\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos.: BVE 48910-2, 48911-1, 48912-2 and 48913-4\u003cbr\u003e First issued on Victor 1435 and 1436\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. Mahler) Air (from Suite No. 3 in D major, BWV 1068) \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48914-3 \u003cbr\u003e First issued on Victor 7484\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. C. BACH \u003c\/strong\u003e(arr. Stein) Sinfonia in B-flat major, Op. 18, No. 2\u003c\/span\u003e\u003cbr\u003e \u003cstrong\u003e\u003cspan class=\"body\"\u003eBruno Labate\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\"\u003e solo oboe (II)\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e Recorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 48907-3, 48908-2 and 48909-1 · \u003cbr\u003e First issued on Victor 7483 and 7484\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\u003eMOZART \u003c\/strong\u003eDie Zauberflöte – \u003cem\u003eOvertur\u003c\/em\u003e\u003cem\u003ee\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. BVE 58189-2 and 58190-2\u003cbr\u003e First issued on Victor 1486\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\u003eBEETHOVEN\u003c\/strong\u003e Egmont – \u003cem\u003eOverture\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. CVE 58191-1 and 58192-1 \u003cbr\u003e First issued on Victor 7291\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\u003eMENDELSSOHN \u003c\/strong\u003eAthalie, Op. 74 – \u003cem\u003eWar March of the Priests\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 16 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48906-1 \u003cbr\u003e First issued on Victor 7104\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\u003eMEYERBEER \u003c\/strong\u003eLe Prophète – \u003cem\u003eCoronation March\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix no. CVE 48903-1 \u003cbr\u003e First issued on Victor 7104\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\u003eWAGNER \u003c\/strong\u003eSiegfried – \u003cem\u003eForest Murmurs\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 December 1928 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 47935-3 and 47936-2 \u003cbr\u003e First issued on Victor 7192\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\u003e\u003cstrong\u003eHUMPERDINCK\u003c\/strong\u003e \u003c\/strong\u003eHansel und Gretel – \u003cem\u003eOverture\u003c\/em\u003e \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 14 January 1930 in Liederkranz Hall, New York \u003cbr\u003e Matrix nos. CVE 58193-1 and 58194-2 \u003cbr\u003e First issued on Victor 7436 \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\u003eSAINT-SAËNS\u003c\/strong\u003e Le Rouet d’Omphale, Op. 31\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 15 January 1929 in Carnegie Hall, New York \u003cbr\u003e Matrix nos. CVE 48904-2 and 48905-1 \u003cbr\u003e First issued on Victor 7006\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e Philharmonic-Symphony Orchestra of New York\u003cbr\u003e Willem Mengelberg \u003c\/strong\u003econductor\u003c\/p\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\u003e Cover artwork based on a photograph of Willem Mengelberg\u003c\/p\u003e\u003cp\u003eTotal duration: 72:54 \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\/PASC378.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC378.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":55010047590766,"sku":"yrq1789305497848","price":8.29,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010047623534,"sku":"kum1789305497849","price":8.14,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/mengelberg-in-new-york-overtures-and-short-works-1928-30---pasc378_1.jpg?v=1789305505","url":"https:\/\/www.harborviewgoods.shop\/products\/mengelberg-in-new-york-overtures-and-short-works-1928-30-pasc378","provider":"My Store","version":"1.0","type":"link"}