{"product_id":"heifetz-piatigorsky-the-chamber-concerts-1961-pacm108","title":"HEIFETZ, PIATIGORSKY The Chamber Concerts (1961) - PACM108","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMOZART \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quintet No. 4\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFRANCK \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Quintet\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Sextet No. 2\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Octet\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStereo studio recordings, 1961\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 1hr 59:05\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonard Pennario\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  piano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Heifetz - Israel Baker  \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolins\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArnold Belnick - Joseph Stepansky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  violins\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilliam Primrose - Virginia Majewski\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  violas\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGregor Piatigorsky - Gabor Rejto\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e  cellos\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM108.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\"\u003cb\u003eThere has never been anything like this before in\nrecorded chamber music...\u003c\/b\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003eThe prospect of great virtuosi playing chamber music together, either for relaxation or for gainful employment, is by no means new; but the Kreisler-Rachmaninov duo never expanded to include piano quartets and quintets, nor did the Thibaud-Casals-Cortot Trio. Both these ensembles gave a great deal of pleasure, but they were somewhat inflexible. The advantage of the Pilgrimage Concerts is that every single item chosen for recording differs in scoring from its fellows; the octet and sextet are for strings alone, and the three quintets are for different combinations of instruments: Franck's is for piano and string quartet, Mozart's is for two violins, two violas, and 'cello. Heifetz and Piatigorsky, the ultra-violet and infra-red of this brilliant musical spectrum, have gathered around them a magnificent group of players some of whose names are already well known to connoisseurs. Neither William Primrose nor Leonard Pennario need introduction, but a brief word about the remaining five may not be out of place.\u003cbr\u003e\u003cbr\u003eIsrael Baker, a native of Chicago, played under Toscanini in the NBC Symphony and now leads the Paramount Studio orchestra besides leading an active life as soloist and conductor. He has played chamber music informally with Heifetz, Primrose and Piatigorsky for the last five or six years, and carries out his difficult task in this album with great distinction. Arnold Belnick is a New Yorker who has taught violin and chamber music at the Peabody Conservatory of Music at Baltimore, and now lives in Los Angeles. Joseph Stepansky (who, like Belnick, appears only in the Octet) is a former member of the Fine Arts Quartet and the Hollywood String Quartet. Playing second viola to Primrose is Virginia Majewski, a graduate of the Eastman School and Curtis Institute, now principal viola in the MGM Studio Orchestra. Gabor Rejto, Hungarian-born 'cellist, was a member of the Lener and Gordon String Quartets before settling in Southern California, at whose University he heads the string department.\u003cbr\u003e\u003cbr\u003ePlaying through these discs is an awe-inspiring experience. After years of making do with ensembles with a weak member here or there, waiting for exposed passages in octaves that never sound quite in tune, it is sheer relief to listen to and enjoy performances that are technically as perfect as possible, musically as sincere as one could wish for. Inevitably, the tonal personalities of Heifetz and Piatigorsky dominate the scene, but anyone who thinks the other players are passengers should try the Scherzo from Mendelssohn's Octet, surely one of the trickiest pieces of music to synchronise and balance in the entire chamber music repertory. But the entire work is a joy to hear from the first notes to the last. Mendelssohn wrote it with his violin teacher Eduard Rietz in mind, and the concerto-like first violin part in Heifetz's hands loses no time in getting into orbit. For sheer breath-taking brilliance, utter ease and naturalness of phrasing, and magical control of timbre, this performance is unique and unrivalled. I guarantee that when you have played it once, you will not believe your ears and will want to start right again at the beginning - that is, if you can resist the Mozart on the other side...\"\u003cbr\u003e\u003cbr\u003eExcerpts from review in \u003cb\u003eThe Gramophone\u003c\/b\u003e by D.S., November 1962 - reproduced in full online\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003cbr\u003eI can add little to the above review except to say that I'm sure the reviewer would appreciate the quite remarkable improvements in sound quality that have been possible with these XR remasters, lifting a distinct sonic veil from these near-60-year-old recordings and holding them up to a fabulous new light.\u003cbr\u003e\u003cbr\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\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;\"\u003eHEIFETZ \u0026amp; PIATIGORSKY - The Chamber Concerts\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDisc One\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMOZART  \u003c\/b\u003eString Quintet No. 4 in G minor, K.516\u003cbr\u003e1. 1st mvt. - Allegro  (9:04)\u003cbr\u003e2. 2nd mvt. - Menuetto and Trio. Allegretto  (4:29)\u003cbr\u003e3. 3rd mvt. - Adagio ma non troppo  (8:20)\u003cbr\u003e4. 4th mvt. - Adagio - Allegro  (8:39)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJascha Heifetz - Israel Baker  \u003c\/b\u003eviolins\u003cbr\u003e\u003cb\u003eWilliam Primrose - Virginia Majewski \u003c\/b\u003e violas\u003cbr\u003e\u003cb\u003eGregor Piatigorsky\u003c\/b\u003e  cello\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29\/30 August 1961\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eFRANCK  \u003c\/b\u003ePiano Quintet in F minor\u003cbr\u003e5. 1st mvt. - Molto moderato quasi lento  (14:23)\u003cbr\u003e6. 2nd mvt. - Lento, con molto sentimento  (8:11)\u003cbr\u003e7. 3rd mvt. - Allegro non troppo, ma con fuoco  (8:15)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eLeonard Pennario \u003c\/b\u003e piano\u003cbr\u003e\u003cb\u003eJascha Heifetz - Israel Baker\u003c\/b\u003e  violins\u003cbr\u003e\u003cb\u003eWilliam Primrose\u003c\/b\u003e  viola\u003cbr\u003e\u003cb\u003eGregor Piatigorsky\u003c\/b\u003e  cello\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21\/22 August 1961\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eDisc Two\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBRAHMS  \u003c\/b\u003eString Sextet No. 2 in G major, Op. 36\u003cbr\u003e1. 1st mvt. - Allegro non troppo  (8:39)\u003cbr\u003e2. 2nd mvt. - Scherzo. Allegro non troppo - Presto giocoso  (6:36)\u003cbr\u003e3. 3rd mvt. - Poco Adagio  (7:03)\u003cbr\u003e4. 4th mvt. - Poco Allegro  (7:17)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJascha Heifetz - Israel Baker\u003c\/b\u003e  violins\u003cbr\u003e\u003cb\u003eWilliam Primrose - Virginia Majewski\u003c\/b\u003e  violas\u003cbr\u003e\u003cb\u003eGregor Piatigorsky - Gabor Rejto\u003c\/b\u003e  cellos\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28\/29 August 1961\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eMENDELSSOHN  \u003c\/b\u003eString Octet in E flat major, Op. 20\u003cbr\u003e5. 1st mvt. - Allegro moderato con fuoco  (12:46)\u003cbr\u003e6. 2nd mvt. - Andante  (5:35)\u003cbr\u003e7. 3rd mvt. - Scherzo. Allegro leggierissimo  (4:19)\u003cbr\u003e8. 4th mvt. - Presto  (5:26)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJascha Heifetz - Israel Baker \u003c\/b\u003e violins\u003cbr\u003e\u003cb\u003eArnold Belnick - Joseph Stepansky\u003c\/b\u003e  violins\u003cbr\u003e\u003cb\u003eWilliam Primrose - Virginia Majewski \u003c\/b\u003e violas\u003cbr\u003e\u003cb\u003eGregor Piatigorsky - Gabor Rejto \u003c\/b\u003e cellos\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 24\/25 August 1961\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by  \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eJascha Heifetz\u003c\/b\u003e and \u003cb\u003eGregor Piatigorsky\u003c\/b\u003e\u003cbr\u003eRecorded at RCA Studios, Hollywood, USA\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration: 1hr 59:05 \u003c\/b\u003e\u003cbr\u003eCD1: 61:23    CD2: 57:42\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\/PACM108.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM108.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fContemporary Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eThe Gramophone\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, November 1962\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eWhen stereo came in, chamber music all but went out. Progress in technical\nspheres spelt near disaster for the loftier, quieter, and more intimate\nkinds of music without which true musicians cannot really live. Cobbett\nknew this because of a subtle sixth sense, and it was he who both extolled\nand expounded \"the chamber music life\" in an absorbing article (so\nentitled) in his great cyclopaedic survey, now happily in print again.\nFortunately, musical fashions change as do most others, and a special\nrelease of this kind, comprising five masterpieces interpreted by an\nunrivalled team of musicians, may well contribute to a revival of interest\nin a field of friendly artistic endeavour that has too long been considered\nmerely esoteric . Chamber music is more than esoteric: it offers\nexperiences, even to the passive listener unable to play the one note in\nPurcell's five-part Fantasia, which are absolutely basic and indispensable.\n\u003c\/p\u003e\n\u003cp\u003e\nSo, if you are nauseated by yet another version of Mendelssohn's Italian\nSymphony or Brahms's No. 2, sample by way of a change, the Octet in E flat\nor the Sextet in G. If Franck's Symphony bores you, listen to this\nrecording of the Piano Quintet and get to know the real Cesar Auguste. You\nmay tire, in time, of Mozart's G minor Symphony and Schubert's Unfinished,\nbut the chances are that you will want to play these performances of the G\nminor Quintet and the two-'cello Quintet until the records are worn out.\n\u003c\/p\u003e\n\u003cp\u003e\nThe appeal lies in the works and in the performers, whose concerts at the\nPilgrimage Theatre, Hollywood, in August of last year were referred to by\nthe press as \"a string summit meeting\". The prospect of great virtuosi\nplaying chamber music together, either for relaxation or for gainful\nemployment, is by no means new; but the Kreisler-Rachmaninov duo never\nexpanded to include piano quartets and quintets, nor did the\nThibaud-Casals-Cortot Trio. Both these ensembles gave a great deal of\npleasure, but they were somewhat inflexible. The advantage of the\nPilgrimage Concerts is that every single item chosen for recording differs\nin scoring from its fellows; the octet and sextet are for strings alone,\nand the three quintets are for different combinations of instruments:\nFranck's is for piano and string quartet, Mozart's is for two violins, two\nviolas, and 'cello, while Schubert's calls for two violins, viola, and two\n'cellos. Five works, five textures. Heifetz and Piatigorsky, the\nultra-violet and infra-red of this brilliant musical spectrum, have\ngathered around them a magnificent group of players some of whose names are\nalready well known to connoisseurs. Neither William Primrose nor Leonard\nPennario need introduction, but a brief word about the remaining five may\nnot be out of place.\n\u003c\/p\u003e\n\u003cp\u003e\nIsrael Baker, a native of Chicago, played under Toscanini in the NBC\nSymphony and now leads the Paramount Studio orchestra besides leading an\nactive life as soloist and conductor. He has played chamber music\ninformally with Heifetz, Primrose and Piatigorsky for the last five or six\nyears, and carries out his difficult task in this album with great\ndistinction. Arnold Belnick is a New Yorker who has taught violin and\nchamber music at the Peabody Conservatory of Music at Baltimore, and now\nlives in Los Angeles. Joseph Stepansky (who, like Belnick, appears only in\nthe Octet) is a former member of the Fine Arts Quartet and the Hollywood\nString Quartet. Playing second viola to Primrose is Virginia Majewski, a\ngraduate of the Eastman School and Curtis Institute, now principal viola in\nthe MGM Studio Orchestra. Gabor Rejto, Hungarian-born 'cellist, was a\nmember of the Lener and Gordon String Quartets before settling in Southern\nCalifornia, at whose University he heads the string department.\n\u003c\/p\u003e\n\u003cp\u003e\n\nPlaying through these discs is an awe-inspiring experience. After years\nof making do with ensembles with a weak member here or there, waiting\nfor exposed passages in octaves that never sound quite in tune, it is\nsheer relief to listen to and enjoy performances that are technically\nas perfect as possible, musically as sincere as one could wish for.\nInevitably, the tonal personalities of Heifetz and Piatigorsky dominate\nthe scene, but anyone who thinks the other players are passengers\nshould try the Scherzo from Mendelssohn's Octet, surely one of the\ntrickiest pieces of music to synchronise and balance in the entire\nchamber music repertory. But the entire work is a joy to hear from the\nfirst notes to the last. Mendelssohn wrote it with his violin teacher\nEduard Rietz in mind, and the concerto-like first violin part in\nHeifetz's hands loses no time in getting into orbit. For sheer\nbreath-taking brilliance, utter ease and naturalness of phrasing, and\nmagical control of timbre, this performance is unique and unrivalled. I\nguarantee that when you have played it once, you will not believe your\nears and will want to start right again at the beginning - that is, if\nyou can resist the Mozart on the other side. This G minor Quintet\ndemands a more equal display of talent than the Octet, and this it duly\nreceives under the guidance of Heifetz. If he adopts a tempo rather\nfaster than the one usually chosen for the first Allegro, there is a\ncorresponding intensity and urgency by which the flow of the music\nseems to benefit. The muted strings in the slow movement offer\nsonorities that are both rare and ravishing, besides being wonderfully\nwell balanced internally and from the microphone angle. Something of\nthe simplicity and gaiety of the finale is sacrificed in the interests\nof sheer bravura, though the speed may have been dictated by other than\nmusical factors. No less than 30' 03\" of music appear on this side of\nthe disc (the Mendelssohn runs for 28' 05') and the players may\npossibly have been warned not to waste too much time. Germain Prevost,\nviola player of the Pro Arte Quartet, once told me that their\nperformance of the Scherzo in the Franck Quartet was reduced from 5\nminutes to 41, or thereabouts, when they recorded it!\n\n\u003c\/p\u003e\n\u003cp\u003e\nThe Brahms G major Sextet, full of harmonic felicities characteristic of\nthe composer's younger days, needs exactly the kind of performance it gets\nhere: strength and suppleness, moments of tenderness and meditation, or (as\nBrahms's friend Billroth described it) \"resembling Roman skies\" -\nespecially in the warm, hazy, relaxed slow movement. Again there is a\nprofusion of fabulous teamwork, and a phenomenal accuracy of intonation\nwhich can only be marvelled at. In the Schubert Quintet, the two 'cellos of\nPiatigorsky and Rejto sing out their memorable themes in a manner that\nstresses the suave and rounded melodic phrases in all their beauty and\nemotional depths. Time and time again the precision of the playing and its\nmusical qualities reveal facets of the work almost unsuspected and unseen.\nPennario's fine playing of the Franck has something of this effect for he\nrightly penetrates below the surface of this much misunderstood\ncomposition. In it Franck's true feelings appear, if the player knows how\nto reveal them, and in this performance there is no doubt about the stature\nof the Quintet.\n\u003c\/p\u003e\n\u003cp\u003e\nThis is not an inexpensive album, but it is worth its musical weight in\ngold. Accompanying the records, elegantly packaged, is a magnificently\nillustrated 36-page book containing an account of the concerts, photographs\nof the rehearsals, concerts, and recording sessions, and historical and\nanalytical accounts of the five works. Mono or stereo, beg, borrow, or\nbetter still buy, for there has never been anything like this before in\nrecorded chamber music.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eD.S.\n\u003c\/b\u003e\u003c\/p\u003e\u003ci\u003eReview of Victor LDS 6159\/1-3\n\u003c\/i\u003e\u003cp\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eNB. 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