{"product_id":"the-columbia-beethoven-centennial-symphony-series-complete-192627-pabx013","title":"The Columbia Beethoven Centennial Symphony Series complete (1926\/27) - PABX013","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe 9 Symphonies - and more\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir George Henschel\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Thomas Beecham\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Henry J Wood\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Hamilton Harty\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Weingartner\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1926 \u0026amp; 1927\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI thought it exhilarating578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW OF VOLUME 5\u003c\/b\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis concludes Pristine’s CD issue of\nthe first complete cycle of the Beethoven symphonies to be recorded\nelectrically. The series coincided with the centennial of Beethoven’s\n1827 death. Actually, the Ninth was the first to be recorded and\nreplaced an acoustic recording of the piece by Weingartner that was\nabandoned when electrical recording arrived. According to Mark\nObert-Thorn, who did the fine transfer and added just a touch of\nresonance to enliven the original’s dry sound, the centennial series was\nconceived after Weingartner’s recording was made and it became a part\nof the cycle by default. At the time, Weingartner, who went on to record\nBeethoven’s four previous symphonies as part of the cycle, was regarded\nas something of a Beethoven expert, though he was erratic about\nobserving cuts, reorchestrated if he thought it necessary, and pretty\nmuch ignored the composer’s metronome markings. This is an observation,\nnot a criticism. What gives his two recordings of the Ninth a certain \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ecachet\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nat least for me, is that, when he was a young man he was introduced to\nan elderly women who had sung in the chorus at the 1824 Vienna premiere,\nwhich was conducted by Beethoven himself. Imagine how thrilling \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethat\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e must have been—two degrees of separation from Beethoven! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eHe recorded the symphony a second time\nin 1935 with the Vienna Philharmonic, and it was those 78s that I\nlearned the piece on. The performances are quite similar with two\nexceptions: The 1927 one, like two other early Ninths (Coates and\nStokowski) is sung in English, and he takes the finale faster on the\nearlier recording. The faster tempo bothered me not a bit; in fact, I\nthought it exhilarating and, while the English text, often\nincomprehensible, is no asset, the soloists are quite good—Harold\nWilliams still sounds like himself 20 years later. It seems to me that,\nperhaps due to the use of a slightly smaller string section and\/or\n“tighter” acoustics, more inner detail is heard on the 1927 recording\nthan on the later one. These two Weingartners, needless to say, have\nbeen surpassed sonically through the years, but in their\nstraightforward, no-nonsense directness, they still hold up very nicely\nas performances, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eper se. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand I’m delighted to have them both.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC366.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1 (1926\/27) - PASC366\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eGroundbreaking Symphonic series first issued in 1927 begins here in new Obert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThis volume is the first of five which will reissue, for the first time in one series, the complete symphony cycle which English Columbia commissioned to commemorate the centennial of Beethoven’s death in 1927.  It was a bold move for the label, perennially in the shadow of its larger competitor, HMV, to embark on such a project at a time when no other company had recorded all nine symphonies using the relatively new electrical process.  Indeed, HMV and Polydor would not complete their cycles until several years after the centennial had passed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first four symphonies were assigned to British conductors (Henschel, Beecham, Wood and the Northern Irish Harty) while the remainder were given to Weingartner, already generally acknowledged as a Beethoven specialist.  The German-born Sir George Henschel (1850–1934) was equally noted for his appearances as a baritone recitalist as he was for his conducting.  He was the first music director of the Boston Symphony Orchestra, and this Beethoven First Symphony is his only recording as a conductor.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eBeecham’s recording of the Second Symphony was the first of three he would make (the others were in 1936 with the LPO and 1956\/7 with “his” RPO).  While all share an exuberant approach to the main theme of the first movement, the present performance threatens to go off the rails with tempi that are just short of humanly impossible to play.  The \u003cem\u003eLuftpausen\u003c\/em\u003e just before and after the Trio in the Scherzo were an interpretive indulgence Beecham did not repeat in his later versions.  It has never been reissued on CD before, perhaps in part due to the unusually high playback speed required (84.4 rpm at A4 = 440Hz, quite the fastest speed I’ve ever encountered for an electrical recording).  Henry Wood’s contemporaneously-recorded \u003cem\u003eLeonore\u003c\/em\u003e Overture, although not part of the Centennial Symphonies series, has been included to fill out the short program, as a sort of preview for his \u003cem\u003eEroica\u003c\/em\u003e on Volume 2.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were first edition American Columbia “Viva-Tonal” pressings.  Multiple copies of each were assembled, and the best sides were chosen for transfer, although it must be kept in mind that these early electrics are inherently rather noisy.  The Henschel set was plagued by pitch fluctuation throughout each side, which has been corrected in this transfer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 2 (1926) - PASC386\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 2\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eContinuing this groundbreaking Symphonic series, first issued in 1927, in new \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eMark \u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eObert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eThis volume is the second of five which will reissue, for the first time in one series, the complete symphony cycle which English Columbia commissioned to commemorate the centennial of Beethoven’s death in 1927. It was a bold move for the label, perennially in the shadow of its larger competitor, HMV, to embark on such a project at a time when no other company had recorded all nine symphonies using the relatively new electrical process. Indeed, HMV and Polydor would not complete their cycles until several years after the centennial had passed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first four symphonies were assigned to British conductors (Henschel, Beecham, Wood and the Northern Irish Harty) while the remainder were given to Weingartner, already generally acknowledged as a Beethoven specialist.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHenry Wood had already set down an abridged acoustic version of the \u003cem\u003eEroica\u003c\/em\u003e for Columbia on six sides in 1922 when he was approached to record it complete for the microphone. The recording locale is not precisely known; I have seen references to both the Scala Theatre and Columbia’s Large Studio in Petty France. We do know, however, that the New Queen’s Hall Orchestra did not record it in Queen’s Hall, which was under exclusive contract to HMV at the time.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eWood’s approach is surprisingly modern for its time – fleet, unmannered, and with hardly any string portamenti to be heard. Apparently, Wood was originally intended to play a greater role in Columbia’s Beethoven Centennial series. In March of 1927, he recorded two concerti, the \u003cem\u003eEmperor\u003c\/em\u003e with Ignaz Friedman and the Violin Concerto with Albert Sammons; but neither was ever released, and the original matrices were destroyed.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe Fourth would turn out to be the only Beethoven symphony Harty recorded. His approach here is similar to Wood’s, albeit with a bit more portamenti on display, and he benefitted from the almost-too-ample acoustics of Manchester’s Free Trade Hall. For the final side (the last half of the fourth movement), the engineers must have told Harty that he was running perilously close to the four-minute maximum Columbia was apparently enforcing at the time for twelve-inch matrices, as he speeds up his already energetic reading to an exhilarating conclusion, the Hallé following him with great precision and virtuosity.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe sources for the transfers were American Columbia “Viva-Tonal” pressings for the \u003cem\u003eEroica\u003c\/em\u003e and laminated English Columbias for the Fourth. Pitch fluctuations throughout each side, which were particularly severe in the Fourth Symphony, have been corrected in this transfer.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 3 (1927) - PASC399\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 3\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eContinuing this groundbreaking Symphonic series, first issued in 1927, in new Mark Obert-Thorn transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThis volume is the third of five which will reissue,\nfor the first time in one series, the complete symphony cycle which\nEnglish Columbia commissioned to commemorate the centennial of\nBeethoven’s death in 1927. The first four symphonies were assigned to\nBritish conductors (Henschel, Beecham, Wood and the Northern Irish\nHarty) while the remainder were given to Weingartner, already generally\nacknowledged as a Beethoven specialist.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eOddly, even though he had already recorded a complete\nacoustic version of the Fifth Symphony three years earlier, Weingartner\nwas not Columbia’s first choice for their Centennial series. On\nNovember 19th and 22nd of 1926, Bruno Walter led the (old, pre-Beecham)\nRoyal Philharmonic in their first electrical version. Copies of the\nshells were even shipped to Columbia’s American affiliate before the\nrecording was cancelled on January 24th of the following year and the\nmatrices destroyed. Four days later, Weingartner began recording the\nversion heard here.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eAs he did in his 1932 set with the British Symphony\nOrchestra (but not in his recordings of 1924 and 1933), Weingartner here\nomits the first movement repeat. But the most anomalous feature of the\npresent version is the incredibly swift tempo of the second movement,\nwhich starts at ♪ = 96, faster even than Beethoven’s metronome marking\nof ♪ = 92. This movement beats his final recording by nearly two and a\nhalf minutes – 7:30 vs. 9:55 (not counting the pauses after the tracks).\nAlmost certainly, this was due to Columbia’s enforcement of a\nfour-minute limit on the duration of the sides of their early electrical\nrecordings.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThat same reason would account for the \u003cem\u003ePastoral\u003c\/em\u003e’s\n33 minutes being lavishly spread over ten 12-inch sides. The brief\nduration of the symphony is due not only to similarly fast tempi, but\nalso to the omission of all repeats. Although Weingartner had begun an\nacoustic recording of the symphony in 1924, it was never completed; and,\nalone among his 1926\/27 series of the Fifth through the Ninth, this one\nwas not re-recorded by him in the 1930s. Of particular note is his\nhandling of the brass in the last movement, bringing it to the fore in\npassages where most conductors keep it as accompaniment.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eThe sources for the present transfers were American\nColumbia “Viva-Tonal” pressings. While these are usually the quietest\nversions available, a higher-than-average amount of surface noise will\nbe noticeable, particularly in the Fifth Symphony. The best portions of\nmultiple copies of the recordings were used for transfer, so it is\npossible the noise may be inherent in the masters. The severe speed\nfluctuations of the originals have been corrected through the\napplication of Celemony Capstan, allowing the performances to be heard\nwith rock-solid pitch for the first time since the original recording\nsessions.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 4 (1926\/27) - PASC414\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 4\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePenultimate issue in this groundbreaking Symphonic series, first issued in 1927, in new Mark Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThis volume is the fourth of five which will reissue, for the first\ntime in one series, the complete symphony cycle which English Columbia\ncommissioned to commemorate the centennial of Beethoven’s death in 1927.\nThe first four symphonies were assigned to British conductors\n(Henschel, Beecham, Wood and the Northern Irish Harty) while the\nremainder were given to Weingartner, already generally acknowledged as a\nBeethoven specialist.\u003c\/p\u003e\n\u003cp\u003eFor the Seventh and Eighth Symphonies, Weingartner was returning to\nscores he had only relatively recently recorded for Columbia using the\nold acoustical process. In the Seventh, he restored a cut he had made in\nthe Scherzo in the previous nine-sided version, while the remade Eighth\ntook one side less due to the elimination of a large overlap of\nrepeated music in the third movement. Both of the present versions are\nswifter than their 1936 remakes, but the differences are not as marked\nas those between his 1927 and 1933 versions of the Fifth Symphony\n(detailed in the notes to Volume 3).\u003c\/p\u003e\n\u003cp\u003eThe two overtures date from the Concertgebouw Orchestra’s first\nrecording sessions in May, 1926. The early electrical sound is\nnoticeably more primitive than that of the symphonies, showing the great\nadvances Columbia had made over the intervening months. The single\nmovement from the Eighth Symphony was included as the filler side to\nMengelberg’s recording of Cherubini’s Anacreon Overture. While not part\nof the Centennial Symphonies series per se, these sides have been\nincluded not only to fill out an otherwise short program, but also\nbecause, along with Henry Wood’s Leonore Overture No. 3 in Volume 1 and\nthe symphonies, they comprise the complete electrical orchestral\nrecordings of Beethoven which Columbia had in print by the end of the\nCentennial year of 1927, (excluding Louis Zimmermann’s recording of the\nViolin Concerto, released only in Holland).\u003c\/p\u003e\n\u003cp\u003eThe sources for the present transfers were American Columbia\n“Viva-Tonal” pressings. While these are usually the quietest versions\navailable, a higher-than-average amount of surface noise will be\nnoticeable in the Mengelberg items. When played using the typical\nrecording curve for the early electric era, these sides sound dull and\nbass-heavy; however, by playing them with a “flat” equalization and then\nsignificantly boosting the upper frequencies, the balance and detail of\nthe original recordings comes into focus, albeit at the expense of\nsignificantly increased hiss. The severe speed fluctuations of the\noriginals have been corrected through the application of Celemony\nCapstan, allowing the performances to be heard with rock-solid pitch for\nthe first time since the original recording sessions.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 5 (1926) - PASC427\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 5\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003eThe\nfinal instalment in this groundbreaking Symphonic series, Weingartner's\nbrilliant 1926 Ninth, in new Mark Obert-Thorn transfers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp\u003eThis volume is the last of five which have reissued, for the first\ntime in one series, the complete symphony cycle which English Columbia\ncommissioned to commemorate the centennial of Beethoven’s death in\n1927.  The first four symphonies were assigned to British conductors\n(Henschel, Beecham, Wood and the Northern Irish Harty) while the\nremainder were given to Weingartner, already generally acknowledged as a\nBeethoven specialist.\u003c\/p\u003e\n\u003cp\u003eThis final symphony of Beethoven’s was actually the first in the\nseries to be recorded.  In fact, the Centennial Symphony Series had not\nyet been envisioned when it was taken down, and it became a part of it\nlater by default.  Columbia had only been making electrical recordings\nfor five months when the ambitious project of recording the Beethoven\nNinth was undertaken.  By that time, Weingartner had already made\nacoustic recordings of the Fifth, Seventh and Eighth Symphonies, and had\nbegun an acoustic Sixth that was abandoned when the microphone came\nin.  It was natural that Columbia would turn to him for the electrical\nrecording première of the Ninth.\u003c\/p\u003e\n\u003cp\u003eWeingartner’s reading is, overall, faster than his 1935 remake with\nthe Vienna Philharmonic, although most of the difference is in the final\nmovement, which is swifter by nearly a minute and a half here, and\nadmittedly sounds rushed in places.  Part of this may have been due to\nColumbia’s enforcement of a four-minute limit for twelve-inch sides at\nthis early stage of electrical recording.  Like a couple other early\nrecordings of the symphony – Albert Coates’ version from seven months\nlater with much the same orchestral forces (Pristine PASC 296) and\nStokowski’s 1934 Philadelphia version – the “Ode to Joy” was sung in\nEnglish.\u003c\/p\u003e\n\u003cp\u003eThe sources for the present transfer were American Columbia\n“Viva-Tonal” and large label, post-“Royal Blue” shellac pressings. \nWhile these are usually the quietest versions available, a\nhigher-than-average amount of surface noise will be noticeable due to\nthe early date of the recording.  The downward pitch drift on each side\nthe originals has been corrected through the application of Celemony\nCapstan, allowing the performance to be heard with rock-solid pitch for\nthe first time since the original recording sessions.  I have added a\nsmall amount of digital reverberation to bring some warmth to the rather\ndry studio which Columbia had previously used for acoustic recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 1 (1926\/27) - PASC366\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 1 in C, Op. 21\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 14 and 21 December 1926 and 4 February 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2284-1, 2285-1, 2286-2, 2287-6, 2303-6, 2304-2, 2305-1 and 2306-2\u003cbr\u003eFirst issued on Columbia L 1889 through 1892\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eRoyal Philharmonic Orchestra\u003cbr\u003eSir George Henschel\u003c\/strong\u003e conductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 2 in D, Op. 36\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 9 - 10 November 1926 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2142-2, 2143-2, 2144-2, 2145-2, 2149-3, 2150-2, 2151-2 and 2152-2\u003cbr\u003eFirst issued on Columbia L 1864 through 1867\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eLondon Symphony Orchestra\u003cbr\u003eSir Thomas Beecham \u003c\/strong\u003econductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Leonore Overture No. 3, Op. 72b\u003cbr\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded 28 February 1927 in London\u003cbr\u003eMatrix nos.: WRAX 2467-2, 2468-1, 2469-1 and 2470-1\u003cbr\u003eFirst issued on Columbia L 1978 and 1979\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNew Queen's Hall Orchestra\u003cbr\u003eSir Henry Wood\u003c\/strong\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Sir Thomas Beecham\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eTotal duration: 66:56\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 2 (1926) - PASC386\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e Symphony No. 3 in E flat, Op. 55 \"Eroica\"\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded 18 November and 2 and 5 December, 1926 in London\u003cbr\u003e Matrix nos.: WRAX 2212\/16, 2249\/54, and 2262\/64 (all Take 1)\u003cbr\u003e First issued on Columbia L 1868 through 1874 \u003cbr\u003e \u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003eNew Queen's Hall Orchestra\u003cbr\u003e Sir Henry J. Wood\u003c\/strong\u003e conductor\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 4 in B flat, Op. 60\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eRecorded 26 – 27 November, 1926 in the Free Trade Hall, Manchester\u003cbr\u003e Matrix nos.: WRAX 2233-1, 2234-1, 2235-1, 2236-2, 2237-2, 2238-2, 2239-2, 2240-2, 2241-1 and 2242-2\u003cbr\u003e First issued on Columbia L 1875 through 1879 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eThe Hallé Orchestra\u003cbr\u003e Sir Hamilton Harty \u003c\/strong\u003e conductor\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Additional pitch stabilisation: Andrew Rose\u003cbr\u003e Special thanks to Richard Kaplan for providing source material\u003cbr\u003e Cover artwork based on a photograph of Sir Henry Wood\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\nTotal duration: 73:45 \u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 3 (1927) - PASC399\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 28 – 29 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2414-2, 2415-2, 2417-2, 2418-2, 2419-2, 2420-2, 2421-2 \u0026amp; 2422-3\u003cbr\u003eFirst issued on Columbia L 1880 through 1883\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 6 in F major, Op. 68 \"Pastoral\"\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 18 – 19 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2363-1, 2364-2, 2365-1, 2366-2, 2377-3, 2378-1, 2379-2, 2380-2, 2381-2 \u0026amp; 2382-1\u003cbr\u003eFirst issued on Columbia 1893 through 1897\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eFelix Weingartner \u003c\/strong\u003e conductor\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eAdditional pitch stabilisation: Andrew Rose\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003cbr\u003eCover artwork based on a photograph of Felix Weingartner\u003cbr\u003e\u003cbr\u003eTotal duration: 60:52 \u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 4 (1926\/27) - PASC414\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 7 in A major, Op. 92\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 20, 25 – 26 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2383-2, 2390-2, 2391-2, 2392-1, 2393-1, 2394-2, 2397-2, 2398-2, 2399-2 \u0026amp; 2400-2\u003cbr\u003eFirst issued on Columbia L 1898 through 1902\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 27 – 28 January 1927 in the Scala Theatre, London\u003cbr\u003eMatrix nos.: WRAX 2412-2, 2413-2, 2404-2, 2405-2 2406-2 \u0026amp; 2407-2\u003cbr\u003eFirst issued on Columbia 1903 through 1905\u003cbr\u003e \u003cbr\u003e\u003cb\u003eRoyal Philharmonic Orchestra\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eFelix Weingartner \u003c\/b\u003e conductor\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Coriolan, Op. 62 – Overture\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 1546-2 \u0026amp; 1547-2\u003cbr\u003eFirst issued on Columbia L 1848\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Egmont, Op. 84 – Overture\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded May, 1926 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix nos.: WAX 1544-3 \u0026amp; 1545-1\u003cbr\u003eFirst issued on Columbia L 1799\u003cbr\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 8 in F major, Op. 93 - \u003cem\u003e2nd Mvt.: Andante molto moto\u003c\/em\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003eRecorded 10 June 1927 in the Concertgebouw, Amsterdam\u003cbr\u003eMatrix no.: WAX 2844-1\u003cbr\u003eFirst issued on Columbia L1973\u003cbr\u003e\n\u003cp\u003e\u003cb\u003e\u003cbr\u003eConcertgebouw Orchestra\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWillem Mengelberg\u003c\/b\u003e conductor\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eThe Columbia Beethoven Centennial Symphony Series, Volume 5 (1926) - PASC427\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cul\u003e\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Symphony No. 9 in D minor, Op. 125, \"Choral\"\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 16–17 March 1926 in the Columbia Studios, Petty France, London\u003cbr\u003eMatrix\nnos.: WAX 1350-2, 1351-2, 1352-2, 1353-2, 1354-2, 1355-3, 1356-2,\n1357-1, 1358-2, 1359-2, 1360-2, 1361-1, 1362-2, 1363-2, 1364-2 \u0026amp;\n1365-2\u003cbr\u003e First issued on Columbia L 1775 through 1782\u003c\/p\u003e\n\u003c\/li\u003e\u003c\/ul\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003eMiriam Licette (soprano)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eMuriel Brunskill (contralto)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eHubert Eisdell (tenor)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eHarold Williams (bass-baritone)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: small;\"\u003eChorus and London Symphony Orchestra\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Weingartner \u003c\/b\u003e conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_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":55010069905774,"sku":"fej1789306092109","price":42.12,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":55010069938542,"sku":"mnt1789306092110","price":34.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/the-columbia-beethoven-centennial-symphony-series-complete-192627---pabx013_1.jpg?v=1789306099","url":"https:\/\/www.harborviewgoods.shop\/products\/the-columbia-beethoven-centennial-symphony-series-complete-192627-pabx013","provider":"My Store","version":"1.0","type":"link"}