{"product_id":"stokowski-in-philadelphia-17-december-1962-pasc379","title":"STOKOWSKI in Philadelphia, 17 December 1962 - PASC379","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eWAGNER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude to Act 3 of Lohengrin\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eAlborada del Gracioso\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePetrushka Suite\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eVARIOUS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo in 1962\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:20 \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philadelphia Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI wonder if anyone uses Morse Code anymore. When I\nwas very young I, at least, knew the signals for the letters S, O, and\nV. The V signal was “dot-dot-dot-dash,” coincidentally the same pattern\nas the opening notes of Beethoven’s Fifth Symphony. Bruno Walter\nrecorded the symphony with the New York Philharmonic a week after the\nU.S. entered World War II and Columbia Records issued the album with a\nbright red cover displaying a large white “V” with the\n“dot-dot-dot-dash” symbols under it. I guess anyone who saw the cover\ngot the message—Beethoven had been enlisted in the fight against fascism\nand the Fifth had become the “Victory Symphony.” That was the recording\non which I learned the piece. Years ago, many conductors used to\nemphasize the “fate knocking at the door” image of the introduction by\ntaking it \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMolto pesante\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e instead of the straight \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAllegro con brio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthat the score calls for. I’ve never been able to make up my mind which\nway I prefer to hear it performed. I like hearing the opening done\nemphatically but when it’s done at a slower tempo than the exposition,\nit can sound like it starts on a downbeat and distorts the rhythmic\npattern instead of emphasizing it. Stokowski, not surprisingly, was one\nof the conductors who really dramatized the opening, both on his 1931\nrecording with the Philadelphia Orchestra and, nearly a decade later,\nwith the All-American Youth Orchestra. I happen to be very fond of both\nof those recordings so, in this live performance, recorded at\nPhiladelphia’s Academy of Music in 1962, one with the same virtues as\nthe previous ones, he could be said, at least in my case, to be\npreaching to the choir, although I’ve never heard his 1969 recording. It\nhas been the recent fashion for conductors to stick closely (or try to)\nto Beethoven’s metronome markings, observe all the repeats in the\nscore, and sometimes, even use instruments based on those of Beethoven’s\ntime. Unfortunately, many of these conductors are neither individually,\nnor collectively, Stokowskis. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe opening radio announcement by the orchestra’s associate conductor, William R. Smith, includes Revueltas’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Given the CD’s 79-minute length, something had to give, but \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSensemayá\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ncan be downloaded free from Pristine’s website. What’s included on the\nCD is interesting enough. I wonder if those in attendance could even\nimagine the circumstances surrounding the symphony’s first performance\nback in 1808. Beginning with the premiere of the Sixth Symphony, the\nprogram continued with “Ah, perfido,” The Gloria from the Mass in C, the\nPiano Concerto No. 4, the Symphony No. 5, the Sanctus and Benedictus\nfrom the Mass in C, and the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eChoral Fantasy\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e! They don’t make audiences like they used to. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis concert begins with a lively performance of the Prelude to act III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLohengrin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNie sollst Du mich befragen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ntheme added to the ending. Since so many conductors add this, I assume\nit was Wagner’s decision to use it as a concert ending since, in the\nopera itself, the Prelude fades down directly into the opening music of\nthe act. Next, comes the principal (or certainly, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003elongest\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\nwork on the program, Beethoven’s Fifth Symphony. Stokowski offers an\nunhurried view of the music but the playing has plenty of rhythmic\nspring and textual clarity in addition to the juicy tone the orchestra\ncould produce 50 years ago. I think this is the first time I could\ndescribe a performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante con moto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nas “sensuous.” Fate doesn’t knock at the door quite as deliberately\nthis time around and the performance, unless you are offended by some\nstretched cadences, is hardly eccentric. The string playing has plenty\nof bite to it, too. His tempos, at least in the first three movements\nare quite similar to Otto Klemperer’s though of course, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nperformance, austere and weighty, inhabits a different sound world.\nTake away Klemperer’s observation of the outer movement repeats (neither\ntaken by Stokowski) and you get these timings: I—Klemperer 7:12,\nStokowski 6:53; II—Klemperer 11:08, Stokowski 11:15; III—Klemperer 6:13,\nStokowski 6:07. I do think that Klemperer’s finale could use more\nanimation because, even \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eomitting\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthe repeat, his performance times out at 10:53 to Stokowski’s 9:00. The\nlatter’s has a more triumphant surge than Klemperer’s sober, monumental\napproach. If your tastes lie with even slower tempos, try to find\nFerenc Fricsay’s Berlin Philharmonic recording; I might as well provide \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ehis\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ntimings (omitting the first movement repeat, which he observes—like\nmost conductors, he ignores the one in the last movement): 7:29, 13:15\n(!), 6:23, 9:30. I like the performance quite a bit but it may be a bit\nmuch for most listeners. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eStravinsky eventually made a suite from his complete score for\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Petrouchka\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nconsisting of music from the First, Second, and Fourth Tableaux with a\nconcert ending replacing the final few minutes. It runs a bit under 25\nminutes. I don’t know if that is an “official” edition of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePetrouchka Suite\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nsince Stravinsky made two recordings of it, one of which (1940) uses\nless music from the First Tableau and starts about a minute into the\nFourth Tableau. I suspect that, on that occasion, Stravinsky was hemmed\nin by the limited length of 78 RPM sides. Stokowski, using a similarly\nabbreviated edition, starts his excerpt from Tableau No. 1 at a more\nlogical spot and starts the Fourth Tableau at the beginning. Granted,\nwhether in suite or complete form, the colorful, characterful music\nvirtually plays itself and it’s difficult to do a bad performance.\nConductors like Stokowski and Dimitri Mitropoulos relish the score’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003egrotesquerie\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nmore than most of their colleagues, to considerable effect. Since the\ncomplete score runs only about 10 minutes longer than the (official?)\nsuite, I wonder why conductors don’t just perform the whole thing. After\nhearing him conduct a performance of the suite, I asked Stravinsky why\nhe didn’t just conduct the entire piece and, for what it’s worth, he\ncomplained about a lack of rehearsal time. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eStokowski and the orchestra polish off the virtuoso theatrics of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlborada del gracioso\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the playful, tricky rhythms of Morton Gould’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGuarancha\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, the third movement of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLatin-American Symphonette.\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e The Jeremiah Clarke \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Prelude \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(formerly known as Purcell’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTrumpet Voluntary\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e)\nis presented with stately dignity and Stokowski somehow turns\nRachmaninoff’s very pianistic Prelude in C♯-Minor into an effective\norchestral piece. The concert comes to a decisive conclusion as the\nplayers gradually stroll off stage during the finale of Haydn’s\n“Farewell” Symphony to occasional chuckles from the audience. Basing his\ndecision, in part, on Stokowski’s personal preferences, the producer\nhas enriched the normally dry sound of the Academy of Music with some\ndiscreet resonance. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\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\/PASC379.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStokowski in Philadelphia, December 1962 - one of his finest Beethoven 5ths and more!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e \u003cspan style=\"font-size: 18px;\"\u003eAnother 24-96 ultra high-resolution transfer and download direct from Stokowski's own master tapes\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eStokowski's long association with The Philadelphia Orchestra began in 1912 when, at the age of 30, he gave his first concert in the city with the orchestra. He stayed in Philadelphia for almost thiry years, handing over to Eugene Ormandy at the end of the 1940-41 season. However, Stokowski returned in 1960 as a guest conductor and continued a series of occasional concerts with the orchestra in the years which followed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe present concert, which took place on 17 December 1962, is taken from broadcast master tapes originally held in the conductor's own archives, and supplied for transfer for this release by Edward Johnson, who for many years put great efforts into the running of the Stokowski Society, and who obtained a number of recordings from Stokowski's assistant, Jack Baumgarten. This is its first public issue.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs with the earlier concert from the same year (16 March 1962, issued as PASC372), we took the unusual step in preparing this release of making all transfers and restoration at a very high sampling rate of 96kHz in order to preserve the highest frequencies captured on tape. Although these exceptionally high frequencies cannot be reproduced on CD, they are available in a 24\/96 FLAC download from our website.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eRemastering took heed of Stokowski's frequent instruction to producers of his recordings. He liked a full and reverberant sound, as Edward Johnson explains: \"The thing to remember with Stokowski is that he started life as a church organist and in his recitals usually played orchestral works transcribed for the organ. So when he became a conductor he recalled the days when he had his feet on the deep 32' pedals and heard the final chord of the piece dying away down the nave for a couple of seconds. Consequently, his correction notes to record producers always asked for \"more lows\" and \"more reverberation,\" as in the example attached to the producer of his LP of the \"The Planets.\"\" [Letter reproduced here] I have been careful in my application of this, using a convolution reverb of one of the world's great symphony halls to give the recording the space and texture lacking in the original radio tapes.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe December concert has at its heart a stirring performance of Beethoven's Symphony No. 5, but elsewhere Stokowski conducted a considerable chunk of 20th Century music. One piece, Revueltas's Sensemaya, which was played between the Ravel and Stravinsky, proved too long to fit onto this CD. It is, however, available to download for free here on our website and is featured as a bonus track in our FLAC downloads.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe concert featured a number of encores, including a couple of arrangements by Stokowski himself. The finale to the concert brings a light-hearted close to a concert which was put on as a fundraiser for the orchestra's pension fund, and conveys a sense of real warmth between the musicians and their audience.\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\u003eWAGNER\u003c\/strong\u003e Prelude to Act 3 of Lohengrin\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRAVEL\u003c\/strong\u003e \u003c\/strong\u003e (\u003cem\u003earr. Ravel\u003c\/em\u003e) Alborada del Gracioso (from \u003cem\u003eMiroirs\u003c\/em\u003e) \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eSTRAVINSKY \u003c\/strong\u003e\u003c\/strong\u003ePetrushka Suite\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003eENCORES\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eCLARKE\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Trumpet Prelude (\u003cem\u003ePrince of Denmark's March\u003c\/em\u003e) \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGOULD\u003c\/strong\u003e Guaracha \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eRACHMANINOV\u003c\/strong\u003e\u003c\/strong\u003e (\u003cem\u003earr. Stokowski\u003c\/em\u003e) Prelude in C sharp minor \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eHAYDN \u003c\/strong\u003e\u003c\/strong\u003eSymphony No. 45 in F sharp minor, \"Farewell\": Finale from 4th mvt \u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cbr\u003e BONUS TRACK\u003c\/strong\u003e Included in all FLAC downloads\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eREVUELTAS\u003c\/strong\u003e Sensemaya\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Transfers from tapes compiled for Leopold Stokowski from the collection of Edward Johnson \u003cbr\u003e Recorded at the Academy of Music, Philadelphia, 17 December 1962, for broadcast by WFLN-FM\u003cbr\u003e Broadcast producer and announcer: William Smith\u003cbr\u003e Broadcast sound engineer: Fred Chassey \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eThe Philadelphia Orchestra\u003cbr\u003e Leopold Stokowski\u003c\/strong\u003e conductor\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, January-February 2013\u003cbr\u003e Cover artwork based on a photograph of Stokowski in Philadelphia, 1960\u003cbr\u003e \u003cbr\u003e Total duration: 79:20 \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\/PASC379.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC379.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":55010050310510,"sku":"miu1789305588769","price":11.51,"currency_code":"USD","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55010050343278,"sku":"mim1789305588770","price":8.17,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55010050376046,"sku":"sza1789305588771","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/stokowski-in-philadelphia-17-december-1962---pasc379_1.jpg?v=1789305597","url":"https:\/\/www.harborviewgoods.shop\/products\/stokowski-in-philadelphia-17-december-1962-pasc379","provider":"My Store","version":"1.0","type":"link"}