{"product_id":"the-music-of-harl-mcdonald-complete-set-1935-56-pabx015","title":"The Music of Harl McDonald - Complete Set (1935-56) - PABX015","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMcDONALD \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1 etc.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMcDONALD \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcerto for Two Pianos and Orchestra etc.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eMcDONALD\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e Violin Concerto\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eMcDONALD\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e Elegy and Battle Hymn\u003c\/span\u003e\u003c\/span\u003e\u003cb style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMcDONALD\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3, “A Tragic Cycle”\u003c\/span\u003e\u003c\/span\u003e\u003cb style=\"mso-bidi-font-weight:normal\"\u003e\u003cspan lang=\"EN-US\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMcDONALD\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan lang=\"EN-US\"\u003e\u003cspan style=\"font-size: 18px;\"\u003e Builders of America\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1935-56\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eJeanne Behrend, Alexander Kelberine\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e - piano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eEugene Ormandy · Leopold Stokowski · Harl McDonald\u003c\/span\u003e\u003c\/b\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003e ∙\u003c\/span\u003e\u003c\/strong\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArthur Fiedler • \u003c\/span\u003e\u003c\/b\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI can think of no living American composer who surpasses McDonald at his best578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003eREVIEW OF VOLUME 2\u003c\/b\u003e\u003c\/p\u003e\u003cdiv class=\"review-bod\"\u003e\n\u003cp\u003eThis is Pristine’s second CD devoted to the music of Harl McDonald.\nThe first was an absolute triumph, and this one is nearly as good.\nMcDonald grew up in the American West during the early years of the last\ncentury, and his musical personality exhibits the warmth and\nopenheartedness one associates with such an upbringing. That is not to\nsay McDonald lacked technique; he possessed all the compositional\napparatus one expects from a student at the Leipzig Conservatory. In\nparticular, he was an exceptionally resourceful orchestrator, and gets a\nsound that seems as natural to him as breathing. Although he spent most\nof his career at the University of Pennsylvania, McDonald was no mere\nacademic composer. He absorbed influences from many cultures and\ndifferent strata of music, from the arcane to the popular. His\ncompositions are affecting without ever being sentimental. I listen to\nMcDonald’s music the way I listen to Alexander Glazunov’s symphonies,\nrelishing his ease of expression, his good nature, and a mastery of form\nthat picks you up in one place and drops you off comfortably in\nanother. As with Glazunov’s symphonies, McDonald’s tunes are not\nespecially memorable in themselves, yet they are of a piece with the\nartfulness of his total concept. McDonald is a composer who convinces\nyou that you are better off for having known him and his oeuvre. \u003cbr\u003e\u003cbr\u003eIn\nthe opening movement of the concerto for two pianos and orchestra,\nsoloists Jeanne Behrend and Alexander Kelberine play with rhythmic\nurgency, while Stokowski and the Philadelphians send waves of color\ndrifting over them. The next movement, a theme and variations, has a\ndeftness in orchestration underlying pianistic elegance that recalls\nSaint-Saëns’s piano concertos. The work concludes with a dance of\nnorthern Mexico called a juarezca, a real toe-tapper which subsides only\nfor a pianistic interlude that is pure Latin sensual reflectiveness.\nRecording two pianos with orchestra is difficult with the best\nequipment, so to do it ably in 1937 is a tribute to this recording’s\noriginal producer, who I would guess was Charles O’Connell. \u003cbr\u003e\u003cbr\u003eMcDonald’s\nsuite My Country at War seems to me as successful as a more celebrated\nwork of the Second World War, George Antheil’s Symphony No. 4, “1942.”\nThe opening movement, “1941,” is a song of foreboding over the events\nprior to Pearl Harbor. In the next movement, Ormandy draws haunting\nplaying from the Philadelphia first chairs in a beautifully subdued\nstudy of American heroism in the failed defense of Bataan. An “Elegy”\nfollows, with a reflective cello solo, and the work ends with a “Hymn of\nthe People,” which is a sturdy confection of marches and chorales\nleading to a populist gesture, McDonald’s introduction of “The Battle\nHymn of the Republic.” \u003cbr\u003e\u003cbr\u003eSongs of Conquest is a choral work set to\npoems by Phelps Putnum (texts are not given). It basically is a\ncelebration of the pioneer spirit, with a sound recalling William\nBillings. The composer draws stirring, even rousing singing from his\nuniversity’s choral society. The second song, “A complaint against the\nbitterness of solitude,” is a rare moment of angst in McDonald. John\nChristopher Smith: Miniature Suite is a selection of works by a protégé\nof Handel, “freely transcribed” by McDonald. The piece has at least as\nmuch charm as Hamilton Harty’s arrangements of Handel. Arthur Fiedler’s\nSinfonietta play it with style and panache. The composer conducts the\nPhiladelphians in an alert and enthusiastic performance of his\nChildren’s Symphony, a largely pedagogical work. It uses children’s\nsongs to introduce kids to the orchestra and symphonic form. It has\ntender moments and raucous ones, like the noisy treatment of Jingle\nBells. I doubt kids today, in the era of Radio Disney, would be drawn to\nthe Victorian world of innocent melodies McDonald draws upon. Still, it\nis an exuberant composition and worth hearing, though it lacks the\nstaying power of McDonald’s From Childhood—Suite for Harp and Orchestra,\nwhich appears on volume one of Pristine’s series. \u003cbr\u003e\u003cbr\u003eRestoration\nengineer Mark Obert-Thorn appears to have done a sane and conscientious\njob of transferring the various source materials. It is well to ponder\nthe role of fashion in taking a composer like Harl McDonald out of the\nrepertoire. Even the revival in the recording studio of American\nRomantic music from the middle of the last century largely has passed\nhim by. Surely American conductors such as Gerard Schwarz and Leonard\nSlatkin would have something valuable to say about his music. In the\nmeantime, we are fortunate to have Pristine’s reissues of the historic\nrecordings of McDonald’s work. I am not an expert on contemporary music,\nbut I can think of no living American composer who surpasses McDonald\nat his best. It’s time he was rediscovered.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDave Saemann \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC491.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 Music of Harl McDonald, Volume 1 (1935-41) - PASC402\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\u003eHarl McDonald: one of America's great forgotten tonal C20 composers\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I\nhugely enjoyed this voyage through the music of Harl McDonald. He is a\ncomposer of great gifts marvelously realized\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003eHarl McDonald was born on a cattle ranch near\nBoulder, Colorado on July 27, 1899 and grew up in southern California.\nMusically talented from an early age, he studied piano and French horn,\nbecoming proficient enough in the latter to join the Los Angeles\nPhilharmonic while still in his teens. He received his Bachelor’s degree\nin music from the University of California at Berkeley in 1921. An\norchestral suite he composed won a national prize, allowing him to\ncomplete his compositional studies at the Leipzig Conservatory the\nfollowing year.\u003cp class=\"western\"\u003eReturning to the United States, he began a career as a\npiano soloist, accompanist, and lecturer on composition, also working\nas a church choirmaster and, occasionally, a boxer. He received an\nappointment to teach piano at the Philadelphia Musical Academy in 1924.\nWithin three years, he joined the faculty of the University of\nPennsylvania, leading several of its choral groups and eventually\nbecoming the head of its music department.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eIt was probably while preparing some of the\nuniversity choruses that appeared with the Philadelphia Orchestra that\nMcDonald first met Leopold Stokowski, who encouraged his compositional\nactivities by premièring his \u003cem\u003eSanta Fé Trail\u003c\/em\u003e Symphony in 1934,\nthe first of several McDonald premières the conductor would undertake.\nThat same year, McDonald was appointed to the board of directors of the\norchestra, eventually becoming its manager in 1939, a post he would hold\nfor the next sixteen years.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eMcDonald was a prolific composer; by 1944, it was\nestimated that he had written over 150 works. Several of them were\ninfluenced by his upbringing in the American southwest with its Spanish\nlegacy, which can be heard in \u003cem\u003eThe Santa Fé Trail\u003c\/em\u003e and \u003cem\u003eSan Juan Capistrano\u003c\/em\u003e. Other compositions were suggested by folk themes, such as those in \u003cem\u003eThe Legend of the Arkansas Traveler\u003c\/em\u003e and the \u003cem\u003eHebraic Poems\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cem\u003eFrom Childhood\u003c\/em\u003e came about as a result of\nMcDonald’s visit to Philadelphia Orchestra harpist Edna Phillips’ home.\nShe was singing old English nursery rhymes to her children while\nimprovising accompaniments on the harp. McDonald suggested that a suite\nbased on the songs would make a good piece, which led Phillips and her\nhusband to commission him to write one. The first movement quotes \u003cem\u003eI saw three ships\u003c\/em\u003e and \u003cem\u003eLavender’s blue\u003c\/em\u003e; the second features \u003cem\u003eThe jolly miller\u003c\/em\u003e and \u003cem\u003eThree blind mice\u003c\/em\u003e; while the third combines references to \u003cem\u003eThere was a lady loved a swine, Oranges and lemons\u003c\/em\u003e and \u003cem\u003eSt. Paul’s steeple\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp class=\"western\"\u003eInterest in performing and recording McDonald’s works\nwaned after his death on March 30, 1955 in Princeton, New Jersey.\nAlthough Ormandy conducted \u003cem\u003eThe\u003c\/em\u003e \u003cem\u003eSanta Fé Trail\u003c\/em\u003e as late\nas 1971, no new recordings of McDonald’s compositions have appeared in\nnearly 60 years, and reissues of earlier ones have been sparse. The\nStokowski and Koussevitzky sides were released on CD in the early 1990s,\nbut Ormandy’s recordings of \u003cem\u003eThe Santa Fé Trail\u003c\/em\u003e and \u003cem\u003eCakewalk\u003c\/em\u003e have not been seen since the LP era, while the \u003cem\u003eHebraic Poems\u003c\/em\u003e and \u003cem\u003eFrom Childhood\u003c\/em\u003e have never previously been reissued. It is hoped that the current release will spark a new interest in this neglected composer.\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\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 Music of Harl McDonald, Volume 2 (1937-50) - PASC430\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\u003eHarl McDonald - Second volume celebrating the music of a forgotten American composer\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"I can think of no living American composer who surpasses McDonald at his best. It’s time he was rediscovered\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis second release devoted to the works of Harl McDonald (1899 -\n1955) begins with a Concerto for Two Pianos whose eclecticism reflects\nthe wide-ranging influences of the American composer.  The second\nmovement variations start with a Bach-like original theme, while the\nthird is inspired by a dance of northern Mexico called the \u003cem\u003eJuarezca\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMy Country at War\u003c\/em\u003e gathers together three of McDonald’s prior works into a suite.  The first movement, originally titled \u003cem\u003eOverture 1941\u003c\/em\u003e,\npremièred two days before the Pearl Harbor attack that drew America\ninto the war that was already raging in the rest of the world.  The\nsecond was inspired by the unsuccessful attempt by American forces to\nwithstand a long siege at Bataan.  The final two movements were\noriginally set for baritone and orchestra, but revamped without soloist\nfor the suite.\u003c\/p\u003e\n\u003cp\u003eThe cycle \u003cem\u003eSongs of Conquest\u003c\/em\u003e, based on poems by Phelps\nPutnam, looks back with pride at the achievements of the American\npioneers while looking forward with unease at the then-current world\nsituation.  The first song celebrates humankind’s triumphs (“Man has\nprevailed ... over insect and beast\/He has forgotten the variable\nseas”).  The second depicts man as alone and terrified (“I am one who am\nsolitary ... I have hurled my questions into the universe\/I have\npressed them into the earth and into my flesh”).  The third makes a\nstatement about nations being able to resolve their differences\nrationally, a sentiment which must have already seemed like a lost cause\nby the time this was recorded (“Let us declare ... That the weight of\nseeing is upon us”).  The final song returns to the pioneer theme (“We\nhave cut ourselves from our home as with an axe\/The sea could not stop\nus, being our simple road”) before ending with a reprise of “Man has\nprevailed”.\u003c\/p\u003e\n\u003cp\u003eThe \u003cem\u003eMiniature Suite\u003c\/em\u003e presents McDonald in the rôle of\narranger.  John Christopher Smith was a protégé of Handel, who later\nbecame an amanuensis to his patron when the older composer became\nblind.  The three movements were drawn from Smith’s \u003cem\u003eMy Hand and Musicke Book\u003c\/em\u003e, published in London in 1784. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLike his suite \u003cem\u003eFrom Childhood\u003c\/em\u003e on Volume One (PASC 402), McDonald drew upon nursery rhymes for his \u003cem\u003eChildren’s Symphony\u003c\/em\u003e. \nHere, he introduces young people to symphonic structure by using\nfamiliar tunes in a four-movement framework, each of which has a\nprincipal and a secondary theme.  The songs used are “London Bridge is\nFalling Down” and “Baa, Baa, Black Sheep” in the first movement; “Little\nBo Peep” and “Oh, Dear, What Can the Matter Be” in the second; “The\nFarmer in the Dell” and “Jingle Bells” in the third; and “Honey Bee” and\n“Snow is Falling On My Garden” in the final movement, with a reprise of\n“London Bridge” to close.\u003c\/p\u003e\n\u003cp\u003e\n\u003cem\u003eMark Obert-Thorn\u003c\/em\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 Music of Harl McDonald, Volume 3 (1943-56) - PASC491\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp align=\"center\"\u003e\n\u003cem\u003e\n\u003cspan style=\"font-size: 24px;\"\u003eHarl McDonald - Symphony No. 3, Violin Concerto \u0026amp; more!\n\u003c\/span\u003e\u003cbr\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003e\"\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 18px;\"\u003e\nI can think of no living American composer who surpasses McDonald at his\nbest\" -Fanfare\n\u003c\/span\u003e\u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\n\u003cspan style=\"font-size: 14px;\"\u003eFor this third and final volume in Pristine’s series devoted to the music\nof Harl McDonald, we turn primarily to live performances of works which\nwere never recorded commercially. His hauntingly melodic Violin Concerto,\nwhich had its première the day before the broadcast heard here, shows the\ninfluences of several late Romantic composers (Elgar, Sibelius and\nRachmaninov among them). The soloist is the Philadelphia Orchestra’s\nconcertmaster, Alexander Hilsberg.\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nThe next selection offers an opportunity to hear a McDonald work in\nprogress. Before he included the “Elegy and Battle Hymn” in his symphonic\nsuite \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eMy Country at War \u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e(reissued on Pristine PASC 430), it was a\nstand-alone work with a baritone soloist. The text (“Tall youth, with all\nof life and living stretched before you\/Destroyed, destroyed by treachery”)\nwas based on an essay by Edward Gilson, and deals with the surprise attack\non America by the Japanese at Pearl Harbor and the promise of retribution\nto come. The broadcast heard here was the world première performance\nconducted by Fabien Sevitzky, who had previously introduced the “1941”\nmovement of \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eMy Country\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e.\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nThe next work suggests an unexpected connection. A cycle of sorrowful songs\nbased on the works of a Chinese poet, translated in the composer’s\nvernacular – could his Third Symphony be Harl McDonald’s \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eDas Lied von der Erde\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e? Unlike the Mahler work, however, there is\nno pentatonic \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eChinoiserie\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e here; McDonald was not out to stress the\ncultural origins of his text. “My object,” he wrote in a program note for\nthe work’s première, “was to uncover in the poems four phases of tragedy\nthat were unlimited by racial conventions or literary styles and to\nconcentrate on the subject matter which seemed universal.” Leopold\nStokowski introduced the piece with the Philadelphia Orchestra in January,\n1936, and the Ormandy performance heard here was given the year after\nMcDonald’s death as a tribute by the orchestra to its longtime former\nmanager.\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 14px;\"\u003e\nWhile Mahler may not have been the antecedent for the Third Symphony,\nCopland was the likely inspiration for the final work on our program, the\nonly studio recording here, and the last one made by the composer. The\ncantata \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eBuilders of America\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e expands on the model of \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eLincoln Portrait\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e by adding a chorus and focusing on two\nPresidents. The sung text was based on a poem by Edward Shenton, expanded\nto include a narration authoritatively declaimed here by actor Claude\nRains. The recording was made less than a week after the work’s première\nduring a session otherwise devoted to the Philadelphia Orchestra, and the\n“Columbia Chamber Orchestra” may well include members of that ensemble.\n(The solo flautist certainly seems to have William Kincaid’s trademark\nvibrato.) With the exception of two additional recordings of works which\nhad previously been set down on disc (a 1953 taping of \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eFrom Childhood\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e conducted by Felix Slatkin, and a 1996 version of\n“Fiesta” from \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eSan Juan Capistrano\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e with Keith Lockhart and the\nBoston Pops), \u003c\/span\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eBuilders of America\u003c\/span\u003e\u003c\/em\u003e\u003cspan style=\"font-size: 14px;\"\u003e would bring to a close the\ndiscography of the works of Harl McDonald.\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cspan style=\"font-size: 14px;\"\u003eMark Obert-Thorn\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\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 Music of Harl McDonald, Volume 1 (1935-41) - PASC402\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFull Track Listing\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eSymphony No. 1, “The Santa Fé Trail” (1932)\u003cbr\u003e\u003c\/b\u003eRecorded 20 October 1940 in the Academy of Music, Philadelphia\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eMatrix nos.: CS 056567-1, 056568-1, 056569-2, 056570-1, 056571-1 \u0026amp; 056572-1\u003cbr\u003eFirst issued on Victor 17765\/7 in album M-754\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eTwo Hebraic Poems (from Three Poems on Aramaic Themes) (1935)\u003cbr\u003e\u003cspan style=\"font-weight: normal;\"\u003eRecorded 5 April 1937 in the Academy of Music, Philadelphia\u003c\/span\u003e\u003cbr style=\"font-weight: normal;\"\u003e\u003cspan style=\"font-weight: normal;\"\u003eMatrix nos.: CS 07572-2 \u0026amp; 04003-1\u003c\/span\u003e\u003cbr style=\"font-weight: normal;\"\u003e\u003cspan style=\"font-weight: normal;\"\u003eFirst issued on Victor 14903\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eCakewalk (Scherzo from Symphony No. 4) (1937)\u003cbr\u003e\u003c\/b\u003eRecorded 9 May 1938 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 022376-1\u003cbr\u003eFirst issued on Victor 15377\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Philadelphia Orchestra · Eugene Ormandy\u003c\/b\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eSan Juan Capistrano – Two Evening Pictures (1938)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"western\"\u003e1. The Mission\u003cbr\u003e2. Fiesta\u003c\/p\u003e\n\u003cp class=\"western\"\u003eRecorded 8 November 1939 in Symphony Hall, Boston\u003cbr\u003eMatrix nos.: CS 043582-2A \u0026amp; 043583-2A\u003cbr\u003eFirst issued on Victor 17229\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eBoston Symphony Orchestra · Serge Koussevitzky\u003c\/b\u003e\u003c\/p\u003e\n\n\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cdiv\u003e\n\u003cb\u003eRhumba (Scherzo from Symphony No. 2, “The Rhumba”) (1934)\u003c\/b\u003e \u003cbr\u003eRecorded 25 November 1935 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 94619-2A\u003cbr\u003eFirst issued on Victor 8919\u003c\/div\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eDance of the Workers (from Festival of the Workers) (1932)\u003cbr\u003e\u003c\/b\u003eRecorded 25 November 1935 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 94620-1\u003cbr\u003eFirst issued on Victor 8919\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Legend of the Arkansas Traveler (1939)\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eAlexander Hilsberg, solo violin\u003cbr\u003e\u003c\/b\u003eRecorded 27 March 1940 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix no.: CS 047815-1\u003cbr\u003eFirst issued on Victor 18069\u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Philadelphia Orchestra · Leopold Stokowski\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cli\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eFrom Childhood – Suite for Harp and Orchestra (1940)\u003cbr\u003e\u003c\/b\u003e\u003cb\u003eEdna Phillips, harp\u003cbr\u003e\u003c\/b\u003eRecorded 15 March 1941 in the Academy of Music, Philadelphia\u003cbr\u003eMatrix nos.: CS 062564-1, 062565-1A, 062566-1, 062567-1A, 062568-1 \u0026amp; 062569-1\u003cbr\u003eFirst issued on Victor 18256\/8 in album M-839 \u003c\/p\u003e\n\u003cp class=\"western\"\u003e\u003cb\u003eThe Philadelphia Orchestra · Harl McDonald\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp class=\"western\"\u003e\u003cb\u003e \u003c\/b\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003c\/p\u003e\n\u003cp class=\"western\"\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source material\u003c\/p\u003e\n\u003c\/li\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 Music of Harl McDonald, Volume 2 (1937-50) - PASC430\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eConcerto for Two Pianos and Orchestra (1936)\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cp\u003e1          1st Mvt.:  Molto Moderato\u003c\/p\u003e\n\u003cp\u003e2          2nd Mvt.:  Theme and Variations \u003c\/p\u003e\n\u003cp\u003e3          3rd Mvt.:  Juarezca – Allegro  \u003c\/p\u003e\n\u003cp\u003e            Recorded 19 April 1937 in the Academy of Music, Philadelphia \u003c\/p\u003e\n\u003cp\u003e            Matrix nos.:  CS 07596-1, 07597-1, 07598-1, 07599-1, 07600-1 \u0026amp; 07601-1\u003c\/p\u003e\n\u003cp\u003e            First issued on Victor 15410\/2 in album M-557\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eJeanne Behrend \u0026amp; Alexander Kelberine (Pianos)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e     \u003cb\u003e       The Philadelphia Orchestra ∙ Leopold Stokowski\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eMy Country at War – Symphonic Suite (1941-43)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e4          1st Mvt.:  1941 \u003c\/p\u003e\n\u003cp\u003e5          2nd Mvt.:  Bataan   \u003c\/p\u003e\n\u003cp\u003e6          3rd Mvt.:  Elegy \u003c\/p\u003e\n\u003cp\u003e7          4th Mvt.:  Hymn of the People \u003c\/p\u003e\n\u003cp\u003e            Recorded 20 December 1944 in the Academy of Music, Philadelphia\u003c\/p\u003e\n\u003cp\u003e            Matrix nos.:  XCO 34020-1, 34021-1, 34022-1, 34023-1, 34024-1 \u0026amp; 34025-1 \u003c\/p\u003e\n\u003cp\u003e            First issued on Columbia 12241-D through 12243-D in album M-592\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eThe Philadelphia Orchestra ∙ Eugene Ormandy\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eSongs of Conquest (1937; rev 1939) \u003c\/b\u003e\u003cem\u003e(Text: Phelps Putnam)\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e8          The breadth and extent of man’s empire  \u003c\/p\u003e\n\u003cp\u003e9          A complaint against the bitterness of solitude \u003c\/p\u003e\n\u003cp\u003e10        A declaration for increase of understanding among the peoples of the world \u003c\/p\u003e\n\u003cp\u003e11        The exaltation of man in his migrations and in surmounting of natural barriers\u003c\/p\u003e\n\u003cp\u003e        Recorded 20 October 1940 \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003eFirst issued as Victor 18164\/5 in album M-823\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e\u003cb\u003eUniversity of Pennsylvania Choral Society ∙ Harl McDonald\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJohn Christopher Smith \u003c\/b\u003e(freely transcribed by Harl McDonald): \u003cb\u003e Miniature Suite\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e12        1st Mvt.:  Prelude \u003c\/p\u003e\n\u003cp\u003e13        2nd Mvt.:  Air  \u003c\/p\u003e\n\u003cp\u003e14        3rd Mvt.:  Allemande  \u003c\/p\u003e\n\u003cp\u003e            Recorded 12 April 1939 in Symphony Hall, Boston\u003c\/p\u003e\n\u003cp\u003e            First issued on Victor 4443\/4 in album M-609\u003c\/p\u003e\n\u003cp\u003e            \u003cb\u003eArthur Fiedler’s Sinfonietta ∙ Arthur Fiedler\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e            \u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eChildren’s Symphony (On Familiar Tunes)\u003c\/b\u003e          \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e15        1st Mvt.:  Allegro moderato   \u003c\/p\u003e\n\u003cp\u003e16        2nd Mvt.:  Andante patetico  \u003c\/p\u003e\n\u003cp\u003e17        3rd Mvt.:  Allegro scherzando \u003c\/p\u003e\n\u003cp\u003e18        4th Mvt.:  Allegro marziale  \u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e  Recorded 19 March 1950 in the Academy of Music, Philadelphia\u003c\/p\u003e\n\u003cp\u003e         First issued on Columbia ML-2141 (LP)\u003c\/p\u003e\n\u003cp\u003e         \u003cb\u003eThe Philadelphia Orchestra · Harl McDonald\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\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 Music of Harl McDonald, Volume 3 (1943-56) - PASC491\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e Violin Concerto (1943)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1 1st Mvt.: Allegro moderato (8:13)\u003cbr\u003e2 2nd Mvt.: Andante (6:41)\u003cbr\u003e3 3rd Mvt.: Allegro moderato (4:30)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eAlexander Hilsberg (violin)\u003cbr\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/strong\u003e\u003cbr\u003eLive recording, 17 March 1945 in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eElegy and Battle Hymn (1942)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n4 Elegy (7:23)\u003cbr\u003e5 Battle Hymn (5:10)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eGeorge Newton (bass-baritone)\u003cbr\u003eFabien Sevitzky ∙ Indianapolis Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003eLive recording, 28 January 1943 in the Murat Theatre, Indianapolis\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\nSymphony No. 3, “A Tragic Cycle” (Lamentations of Fu Hsuan) (1935)\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n6 1st Mvt.: Molto adagio – Molto agitato (13:03)\u003cem\u003e\u003cbr\u003e(“The night is calm and softly breathes the earth”)\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n7 2nd Mvt.: Adagio maestoso (6:41)\u003cem\u003e\u003cbr\u003e(“Once more may I gaze upon thy face, – once more”)\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n8 3rd Mvt.: Marziale con ismania (4:00)\u003cem\u003e\u003cbr\u003e(“Demons and shadows are charging through the night”)\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n9 4th Mvt.: Molto adagio – Molto agitato (8:09)\u003cem\u003e\u003cbr\u003e(“A cloud of darkness covers all the earth”)\u003c\/em\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eEmelina De Vita (soprano)\u003cbr\u003ePhiladelphia Orchestra Chorus ∙ William R. Smith (director)\u003cbr\u003eMusical Art Society of Camden ∙ Henry Smith (director)\u003cbr\u003eEugene Ormandy ∙ The Philadelphia Orchestra\u003c\/strong\u003e\u003cbr\u003eLive recording, 17 November 1956 in the Academy of Music, Philadelphia\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n10 \u003cstrong\u003eBuilders of America (Washington and Lincoln) (1953) \u003c\/strong\u003e\n(15:23)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eClaude Rains (narrator)\u003cbr\u003eHarl McDonald ∙ Columbia Chamber Orchestra and Chorus\u003c\/strong\u003e\u003cbr\u003eRecorded 26 April 1953 in the Academy of Music, Philadelphia\u003cbr\u003eFirst issued on Columbia ML-2220\n\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer:  \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003ePitch stabilisation (Tracks 1–3) and additional noise reduction (Track 10):  \u003cb\u003eAndrew Rose\u003c\/b\u003e\u003cbr\u003eSpecial thanks to \u003cb\u003ePeter Bay, David DeBoor Canfield, Frederick P. Fellers, Dr. Karl Miller\u003c\/b\u003e and \u003cb\u003eEdward Sargent\u003c\/b\u003e for providing source material\u003cbr\u003e\u003cbr\u003eTotal Timing:  \u003cb\u003e79:16\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\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":54932311605587,"sku":"xst1789302035625","price":28.83,"currency_code":"GBP","in_stock":true},{"title":"320kbps Mono MP3","offer_id":54932311638355,"sku":"zau1789302035626","price":20.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/1833\/9155\/files\/the-music-of-harl-mcdonald---complete-set-1935-56---pabx015_1.jpg?v=1789302042","url":"https:\/\/lovevividclad.shop\/products\/the-music-of-harl-mcdonald-complete-set-1935-56-pabx015","provider":"luckagni","version":"1.0","type":"link"}