{"product_id":"toscanini-beethoven-missa-solemnis-1940-milanov-castagna-bjorling-kipnis-paco159","title":"TOSCANINI Beethoven: Missa Solemnis (1940 - Milanov, Castagna, Björling, Kipnis) - PACO159","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;\"\u003eMissa Solemnis\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast performance, 1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:56\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eZinka Milanov, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003esoprano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBruna Castagna, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econtralto\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJussi Björling, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003etenor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlexander Kipnis, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ebass\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWestminster Choir\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC 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;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare magazine review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fJussi Björling is simply beyond miraculous578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eI will open by confessing to a bit of heresy.\nDespite the immense fame of this performance, I heretofore had not been\nparticularly taken by it. I found the sound quality disagreeably harsh,\neven in the best previous remasterings (Guild 2004 and Music \u0026amp; Arts\n2011); I’m not the huge fan of Zinka Milanov that some folks are (though\nI certainly don’t discount her merits); and contrary to many critics I\npreferred Toscanini’s interpretive approach in his two earlier surviving\nperformances from 1935 and 1939 (the latter also with Milanov, who is\ngood but not at her very best there). But hearing a sample sound clip of\nthis new remastering from Andrew Rose at Pristine Audio swept away all\nreservations and led me to plead for a review copy. Much of the\nharshness has been removed or mitigated, and there is a slight extra\ntouch of clarity to instrumental and vocal lines as well. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe praises of this rendition have been sung so\noften before by so many others that I will keep my own remarks brief.\nThis is Toscanini at his very greatest: dramatically incisive and\ncompelling, exercising iron discipline in service of the score without\nany seeking for superfluous effects. The overall approach is large-scale\nand operatic, and yet it remains devotional in spirit as well. Unlike\nin some of his performances, there is never any sense of anything being\npushed or rushed; many passages are allowed to breathe expansively, and\nattention is particularly drawn to how often he makes an impact through\nquiet understatement rather than blazing histrionics. (Much of the\nBenedictus illustrates this.) Except for a brief flubbed trumpet\nentrance at the beginning of the Credo (one wishes that this had been\nquietly corrected), the chorus and orchestra sing and play with\nrazor-sharp discipline; Mischa Mischakoff excels in his extended solos\nin the Benedictus. For many collectors, it is the stellar quartet that\nmakes this truly special. Milanov is in radiant form, with her trademark\neasily floated high notes. It speaks volumes of the quality of singers\navailable to Toscanini that the great Bruna Castagna could step in for\nan indisposed Kerstin Thorborg on short notice; unlike in the Ninth\nSymphony, where the alto gets the short end of the vocal stick and is\nall but anonymous, here she has many of the plum lines, and Castagna is\nmagnificent in every way. But the real amazement comes with the two male\nvocalists. No other basso has the sepulchral tones and vocal heft here\nof Alexander Kipnis, and his intoning of the opening of the Agnus Dei is\nthe very epitome of fearful despair. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eBut, saving the best for last, Jussi Björling is\nsimply beyond miraculous. If asked to select a test spot for judging a\nperformance of this work, I suspect that most hearers would go for one\nof the big climaxes—the fugal close of the Gloria, the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePleni sunt coeli\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e of the Benedictus, the desperately imploring reiterations of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAgnus Dei!\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nat the martial irruption halfway through the eponymous movement. For\nme, however, possibly the most critical point in the score is in the\nCredo, with the tenor solo entry at the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eet incarnatus est\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nAll time and nature stand still in rapt silence at this juncture,\nbeholding and contemplating the mystery of the Incarnation, God made\nman, climaxing in the tenor’s emphatic declaration \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eet homo factus est\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nHeretofore my benchmark for this moment has been the little-known but\nexcellent William Hain, in the 1948 New York Philharmonic broadcast\nunder Bruno Walter; but Björling obliterates every memory of any rival\nhere, with singing of utterly heart-rending beauty and expressiveness.\nHe alone—indeed, this section of the performance alone—makes acquisition\nof this recording indispensible. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThere are a few minor shortcomings. Toscanini’s\nusual fault in this work of having the trumpets play far too loudly is\npresent in spades. (Contrary to the claims of some critics, I do not\nthink this is due to faulty microphone placement, as it occurs in all of\nhis performances.) The closing fugal section of the Gloria is\nmetrically a bit stiff; the closing measures of the Agnus Dei are too\nclipped and abrupt (though exceedingly few conductors have made that\nending fully convincing). But would that so many more performances had\nso little about which to quibble. Without question, this is a\nperformance that, in his standard-setting new remastering, amply\ndeserves its niche in the Classical Hall of Fame. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n\n\n\n\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 43:1 (Sept\/Oct 2019) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACO159.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eJust over a year after completing his ground-breaking 1939 Beethoven symphony cycle of six concerts (PASC551-557, PABX023), which concluded with a live broadcast from Carnegie Hall of the Ninth Symphony and Choral Fantasy (PASC557), Toscanini returned to Carnegie Hall for another special broadcast concert three days after Christmas 1940. The concert in 1939 had been a benefit for the Junior League Welfare Fund; this 1940 concert was given in aid of the National Conference of Christians and Jews.\u003c\/p\u003e\u003cp\u003eToscanini's handling of the Missa Solemnis garnered great praise from Olin Downes in the following day's New York Times:\u003c\/p\u003e\u003cp\u003e\"\u003ci\u003eIf the performance of the mass surpassed that of the requiem in intensity and in grandeur, it is because, after all, there are few compositions in all music that stand shoulder to shoulder with Beethoven’s. It does compass the sublime, in a spirit that is Michelangelesque. But it is seldom delivered in this fashion, because of difficulties almost insurmountable for the singers, and other difficulties, inherent in the nature of the music, which conductors seldom completely solve. Last night the fierce heat of Toscanini's inspiration and integrity of purpose pierced every problem and fused together the creative elements of a masterpiece so gigantic that it is seldom comprehended by either listener or performer.\u003cbr\u003e\u003cbr\u003eIt is only by a special exercise of the creative will and the prescience of an heroic spirit that such a height is reached. And we believe that only the tragedy of the world today, felt as profoundly as Toscanini feels it, could have moved him to such a deed. We can be certain that he is not unmindful of what Beethoven put in the score that interrupts the tender concluding Agnus Dei with the sounds of war and the supplications for peace.\u003cbr\u003e\u003cbr\u003eThe Mass was given with a loftiness and almost a grim intensity of purpose which forbade anything but the greatest utterance. When the end came the audience remained for a long time, some respectfully refraining from demonstration, others applauding loud and long.\u003c\/i\u003e \"\u003c\/p\u003e\u003cp\u003eAs was the case with the 1939 Symphony Cycle I've had access once again to previously unheard and unused source recording which have yielded significant improved results over previous issues of this historic concert recording. I noted here, as with the 1939 concerts, that the Carnegie Hall sound quality was not on a par with that of the Studio 8H concerts. I can only speculate as to the reasons for this: difficulties in microphone placement for tricky works such as this to record and the quality of transmission lines would be the key components. (I am assuming that NBC cut their archive discs at their own studios using the feed from Carnegie Hall.)\u003c\/p\u003e\u003cp\u003eRestoring and remastering this recording has proved trickier than the earlier Beethoven series. I \"finished\" the remastering several times before in each event returning to earlier incarnations of my work to try and find a more optimal solution that tries to avoids midrange congestion in the choir, retains clarity of voices without suffering too much from the blasting of the exceptionally bright brass, whilst retaining the full sound of the orchestra. \u003c\/p\u003e\u003cp\u003eAlas one cannot remix a recording some eight decades after the event but work only with the mix made on the night. Under the circumstances I feel that, one or two overloaded sections excepted, this recording has come out remarkably well. The frequency range approaches full high fidelity at times, especially at the loudest trumpet moments, and for the most part there's very little background hiss or noise. The sample I've chosen here is the \u003ci\u003eCredo \u003c\/i\u003e- more than 18 minutes of music which encompasses pretty much all of the extremes of the work, from full choral and orchestral peaks to quieter introspective moments with the soloists - to give you a full idea of the sound quality you can expect across the entirety of this remarkable recording.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\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\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003eMissa Solemnis  in D major, Op. 123\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e1. Kyrie. Assai sostenuto  (10:49)\u003cbr\u003e2. Gloria. Allegro vivace  (16:56)\u003cbr\u003e3. Credo. Allegro ma non troppo  (18:20)\u003cbr\u003e4. Sanctus. Adagio  (18:02)5. Agnus Dei. Adagio  (15:49)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eZinka Milanov, \u003c\/b\u003esoprano\u003cb\u003e\u003cbr\u003eBruna Castagna, \u003c\/b\u003econtralto\u003cb\u003e\u003cbr\u003eJussi Björling, \u003c\/b\u003etenor\u003cb\u003e\u003cbr\u003eAlexander Kipnis, \u003c\/b\u003ebass\u003cb\u003e\u003cbr\u003e\u003cbr\u003eThe Westminster Choir\u003c\/b\u003e\u003cbr\u003edirected by \u003cb\u003eJohn Finley Williamson\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eNBC Symphony Orchestra \u003c\/b\u003e  \u003cbr\u003econducted by \u003cb\u003eArturo Toscanini\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eXR remastering by Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Toscanini\u003cbr\u003e\u003cbr\u003eBroadcast of 28 December, 1940 - Carnegie Hall, New York\u003cbr\u003e\u003cbr\u003eTotal duration:  79:56    \u003cbr\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\/PACO159.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACO159.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNew York Times Review, 1940578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cspan style=\"font-size: 24px;\"\u003eBEETHOVEN MASS LED BY TOSCANINI\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eConducts the NBC Orchestra in the Work in D Major at Carnegie Hall Concert\n\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-size: 16px;\"\u003eMilanov, Thorborg, Bjoerling and Kipnis Sing With the Westminster Choir\n\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cspan style=\"font-size: 16px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\nOutside of opera there have been, when all is said and done, two musical\nevents which tower over everything that has happened in concert halls of\nNew York this season. The first was the performance of Arturo Toscanini of\nthe Verdi Requiem, some weeks ago in Carnegie Hall. The second was the\nperformance that he directed in the same hall last night of Beethoven’s D\nmajor Mass, with the NBC Symphony Orchestra, the Westminster Choir, and an\nuncommonly well coordinated quartet of distinguished soloists.\n\u003c\/p\u003e\n\u003cp\u003e\nIf the performance of the mass surpassed that of the requiem in intensity\nand in grandeur, it is because, after all, there are few compositions in\nall music that stand shoulder to shoulder with Beethoven’s. It does compass\nthe sublime, in a spirit that is Michelangelesque. But it is seldom\ndelivered in this fashion, because of difficulties almost insurmountable\nfor the singers, and other difficulties, inherent in the nature of the\nmusic, which conductors seldom completely solve. Last night the fierce heat\nof Toscanini's inspiration and integrity of purpose pierced every problem\nand fused together the creative elements of a masterpiece so gigantic that\nit is seldom comprehended by either listener or performer.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eWorld Tragedy Mirrored\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nIt is only by a special exercise of the creative will and the prescience of\nan heroic spirit that such a height is reached. And we believe that only\nthe tragedy of the world today, felt as profoundly as Toscanini feels it,\ncould have moved him to such a deed. We can be certain that he is not\nunmindful of what Beethoven put in the score that interrupts the tender\nconcluding Agnus Dei with the sounds of war and the supplications for\npeace.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Mass was given with a loftiness and almost a grim intensity of purpose\nwhich forbade anything hut the greatest utterance. When the end came the\naudience remained for a long time, some respectfully refraining from\ndemonstration, others applauding loud and long. Very properly the conductor\ndid not return to the stage, from which he hurried when the last note had\nsounded.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMusical “Miracles” Performed\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nWe have heard choruses ere this perform miracles when driven to them by\nToscanini, and quartets, too. He has the qualities of the prophet and seer\naflame with his vision, and the clear thinking and firm unshakable hand of\nthe master. When he took the most complex passages at a rate apparently\nreckless of every purpose save the one of complete achievement, the young\nsingers followed him with unbounded faith and ardor.\n\u003c\/p\u003e\n\u003cp\u003e\nBut they and their trainers deserve credit for a rarely beautiful as well\nas virtuoso performance. The B-flats and Bs too came out high and clear.\nThere was a remarkably varied scale of dynamics. Pianissimos seemed to echo\nmysteriously from afar; fortissimos rang out like the trump of judgment\nday. But more remarkable was the treatment of the counterpoint, the\nexpressiveness of the inner voices, the interweaving of the choral and\norchestral parts, and, always, the white heat of the vision.\n\u003c\/p\u003e\n\u003cp\u003e\nWhat has been said of the chorus holds true in principle also of the solo\nquartet, consisting of Zinka Milanov, soprano; Bruna Castagna, contralto;\nJussi Bjoerling, tenor, and Alexander Kipnis, bass. These singers also had\ntasks of great difficulty, discharged with somewhat varying degrees of\nsuccess, but as a whole done so well that it would be invidious to make\ndetailed distinctions. Miss Milanov and Mr. Kipnis were particularly\neffective.\n\u003c\/p\u003e\n\u003cp\u003e\nThe performance was given for the benefit of the National Conference of\nChristians and Jews. The hall was packed. It is good to think that thanks\nto the radio the message of the Mass was made known to millions who\nlistened in other places. They, too, received the heritage of Beethoven.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003ci\u003e\u003cb\u003eOlin Downes\u003cbr\u003eThe New York Times, 29 December 1940\u003cbr\u003e\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":55010071871854,"sku":"fll1789306188635","price":11.51,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010071904622,"sku":"qea1789306188636","price":8.42,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010071937390,"sku":"rne1789306188637","price":8.04,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/toscanini-beethoven-missa-solemnis-1940---milanov-castagna-bjorling-kipnis---pac_1.jpg?v=1789306198","url":"https:\/\/www.harborviewgoods.shop\/products\/toscanini-beethoven-missa-solemnis-1940-milanov-castagna-bjorling-kipnis-paco159","provider":"My Store","version":"1.0","type":"link"}