{"product_id":"feuermann-in-philadelphia-bloch-strauss-1940-pasc168","title":"FEUERMANN in Philadelphia: Bloch \u0026 Strauss (1940) - PASC168","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBLOCH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Schelomo\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Don Quixote \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in 1940\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 58:08 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEmanuel Feuermann, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e The Philadelphia 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;\"\u003eLeopold Stokowski \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugene Ormandy\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance has a kind of sweep and continuity that I can easily see seducing modern listeners578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eWriting “It’s all over with Germany . . . all over\nwith Europe,” Emanuel Feuermann, who had been a professor at the Berlin\nConservatory, joined hundreds of refugees who were able to depart from\nNazi Germany, eventually ending up in Austria. He happened to be there\nat the time of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAnschluss, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eescaped\nto Palestine and then, in 1937, to the United States, where he soon\nfound himself making recordings with Jascha Heifetz, Eugene Ormandy,\nArtur Rubinstein, and Leopold Stokowski. Two of those recordings can be\nheard on this Pristine Audio CD. These two recordings had previously\nappeared together on a Biddulph CD during the early 1990s. I thought\nthose CD transfers were very good indeed. One barely noticed the soft\nhiss of the stylus on the 78s. It is possible that the Biddulph transfer\nis slightly brighter than this new one on Pristine Audio—here, the\nsurface noise all but vanishes, whether because of different\nequalization or even better 78-rpm originals, I can’t say. In any case,\nthe Biddulph is, at least temporarily, in limbo and there is now only a\n1938 Feuermann\/Toscanini live performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e that I have never heard as a possible alternative. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs part of my preparation for this review, I auditioned 11 recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and six \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es. Of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixotes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nthe four fastest (this one, Piatigorsky\/Reiner, Uhl\/Strauss,\nWallenstein\/Beecham) were all from the 78 era. Is there some\nconventional wisdom to be inferred from this? Are performances getting\nslower and, if so, does this have anything to do with the space\nrestrictions of 78-rpm discs? Is this why some repeats were skipped back\nthen, or was it also the concert-hall custom? The other recordings I\nlistened to were conducted by Munch, Karajan, Kempe (Dresden), Levine,\nReiner (Chicago), Slatkin, and Ormandy (his fourth one). As it happens, I\nfind much to admire in all the recordings, but—for what little it may\nbe worth—my favorites turned out to be the three slowest ones:\nFournier\/Karajan, Janigro\/Reiner, and Mayes\/Ormandy. Interestingly,\nFeuermann\/Ormandy and Uhl\/Strauss, the two fastest performances, both\ntimed out at 38:12, although the Feuermann\/Ormandy, perhaps because of\nits higher energy level, seemed faster than the more subdued Uhl\/Strauss\nrecording. Not only is the former a tribute to the kind of 78 transfers\nwe can hear nowadays (it’s the golden age of 78s!), it also testifies\nto Victor’s mastery of the Academy of Music as a recording venue. It\nisn’t just Stokowski’s recordings that sound good. Compare Ormandy’s\nVictor 78s with the dead sound of his early Columbias. There is hardly a\nsignificant detail on later recordings of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nthat one can’t hear on this one. The fast tempos do not compromise\ndetail and the performance has a kind of sweep and continuity that I can\neasily see seducing modern listeners. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThere is plenty of energy and animation in the performance of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\ntoo, even if it isn’t quite as fast as the Zara Nelsova\/Maurice\nAbravanel recording. Her recording with Ansermet is also pretty fast,\nand I wonder if her tempos were influenced by her first recording of the\npiece, which was with Bloch himself (which I haven’t heard). As it\nhappens, my favorite \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\nare the fastest ones, and to Nelsova\/Abravanel I would add the two\nFeuermanns (Leon Barzin and Stokowski). Unfortunately, the Barzin is\nplagued by some distortion in loud passages, and it’s no better than the\nimpassioned, surging Feuermann\/Stokowski performance. Once again, the\ntransfer is splendid. There is no need for the Biddulph, terrific as it\nis, to be reissued as long as we have this one. By the way, I liked all\nthe other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSchelomo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es,\ntoo. They were Neikrug\/Stokowski, Rostropovich\/Bernstein, and\nStarker\/Mehta (but why wasn’t it coupled on CD with its LP companion, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVoice in the Wilderness\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e? The ways of recording companies are truly mysterious). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eNot the least of Feuermann’s assets was his\ngorgeous tone, not necessarily big and fat, but still rich and well\nfocused. He was only 39 when he inexplicably died after an operation to\nremove hemorrhoids. Among his pallbearers were Mischa Elman, Bronislaw\nHuberman, Artur Schnabel, Rudolf Serkin, Eugene Ormandy, George Szell,\nand Arturo Toscanini, who, according to the annotations, broke down and\ncried, “This is murder.” \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\n\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\n\n\n\n\n\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:2 (Nov\/Dec 2009) 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\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC168.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eFeuermann - one of the greatest cellists ever to be recorded\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eTwo magnificant Philadephia recordings - superb transfers by Mark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\nThe sources for the transfers were vinyl 78 rpm test pressings for the Bloch (including an unpublished take of the fourth side), and first-edition pre-war U.S. Victor “Gold” label shellacs for the Strauss. These two recordings, along with Feuermann’s December, 1939 recording of the Brahms Double Concerto with Heifetz (Ormandy again conducting) comprise the cellist’s complete recordings with the Philadelphia Orchestra.\n\u003cp class=\"body\"\u003e\u003cem\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\u003c\/em\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\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBLOCH\u003c\/strong\u003e: Schelomo\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmanuel Feuermann, cello\u003c\/strong\u003e\u003cbr\u003e \u003cb\u003eLeopold Stokowski \/ The Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003e Recorded 27th March, 1940 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix nos.: CS 047816-2, 047817-1, 047818-1, 047819-2 and 047820-1\u003cbr\u003e First issued on Victor 17336 through 17338-S in album M-6\u003c\/span\u003e98\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eR. STRAUSS: \u003c\/strong\u003eDon Quixote (Fantastic Variations on a Theme of Knightly Character), Op. 35\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"body\"\u003e\u003cstrong\u003eEmanuel Feuermann, \u003cem\u003ecello\u003c\/em\u003e\u003c\/strong\u003e\u003cbr\u003e \u003cb\u003eSamuel Lifschey\u003c\/b\u003e,\u003cem\u003e solo viola\u003c\/em\u003e\u003cbr\u003e \u003cb\u003eAlexander Hilsberg\u003c\/b\u003e, \u003cem\u003esolo violin\u003c\/em\u003e\u003cbr\u003e \u003cb\u003eEugene Ormandy \/ The Philadelphia Orchestra\u003c\/b\u003e\u003cbr\u003e Recorded 24th February, 1940 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodysmallarial\"\u003eMatrix\nnos.: CS 048027-1, 048028-1, 048029-1, 048030-1, 048031-1, 048032-1,\n048033-2A, 048034-1, 048035-1 and 048036-1 - First issued on Victor\n17529 through 17533 in album M-720\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cbr\u003e\u003cp\u003e \u003cspan class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003e Cover artwork based on a photograph of Emanuel Feuermann\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 58:08 \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC168.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC168.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":54932179222867,"sku":"qke1789301100340","price":9.31,"currency_code":"GBP","in_stock":true},{"title":"320kbps Mono MP3","offer_id":54932179255635,"sku":"tdm1789301100341","price":6.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/feuermann-in-philadelphia-bloch-strauss-1940---pasc168_1.jpg?v=1789301109","url":"https:\/\/lovevividclad.shop\/products\/feuermann-in-philadelphia-bloch-strauss-1940-pasc168","provider":"luckagni","version":"1.0","type":"link"}