{"product_id":"busch-quartet-beethoven-the-late-quartets-1933-42-pacm093","title":"BUSCH QUARTET Beethoven: The Late Quartets (1933-42) - PACM093","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eString Quartets Nos. 7, 12-16\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cdiv\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cspan style=\"font-family: Geneva,Arial,Helvetica,san-serif\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1933-42\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 46:42\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Busch Quartet\u003c\/span\u003e\u003c\/b\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003cbr\u003e\u003cem data_liveedit_tagid=\"000000001BABB630\"\u003e\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAs exemplars of mid-1930s performance practices, the Busch’s Beethoven is unmatched578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eReviewing this set of Beethoven’s late quartets\nperformed by one of yesteryear’s pre-eminent string quartet ensembles\nrequires me to make an exception to my longstanding, and by now\ntiresome, pledge not to review recordings of these works wherein the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nfrom the op. 130 Quartet is shifted to after the alternate finale or\nworse, placed on another disc altogether. Neither is the case here,\nsince the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is nowhere to be found on these three discs. Whether the Busch String Quartet ever recorded the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin its original form, I don’t know, but the ensemble did record it in\nan arrangement by Felix Weingartner, which was included in a three-disc\nEMI set of the complete late quartets, reviewed by Mortimer Frank in\n31:6. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs Frank and other \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nreviewers have noted, these Busch Beethoven studio recordings, made\nbetween 1933 and 1942, have long circulated in various configurations on\nvarious labels—Biddulph, Dutton, CBS\/Sony, EMI, and Preiser. These are\nthe same recordings at hand, cleaned up, of course, and remastered by\nAndrew Rose for these Pristine discs. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIf you’re already familiar with the performances\non one or another of the above-named labels, your only question is\nlikely to be about the sound of these Pristine restorations; and on that\ncount I can tell you that what Rose has achieved is quite remarkable. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eNo, you won’t think you’re listening to the latest\nSACD to come off the press, but comparing Pristine’s “XR” processing to\nthe Dutton transfers I’ve heard, Pristine’s sound is definitely more\nopen (i.e., not as damped sounding), lending greater separation to the\nvoices, and providing an extended sense, perhaps perceived rather than\nactual, of high and low frequency response. Purely on the merits of\nrecorded sound, these Pristine versions are superior and preferable to\nthe Dutton versions I’ve heard. I can’t speak to the Biddulph transfers\nbecause I haven’t heard them. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIf you’re not already familiar with the\nperformances, I can tell you that the Busch Quartet was in its prime and\nrecording these Beethoven quartets at virtually the same time that its\napproximately contemporaneous rival, the Budapest String Quartet, was\nrecording some of its earliest Beethoven, also in the mid-1930s. Those\nperformances, recorded in London by HMV, can be heard in transfers on\nBiddulph, and comparison to the Busch Quartet in terms of aesthetic\nstyle and approach is instructive. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eOne already hears in the Budapest’s playing\nreadings that are transitioning to a more modern interpretive stance and\nunderstanding of the music. Tempos are a bit swifter, there’s less\nportamento, and vibrato is more modulated in accordance with dynamic and\nexpressive markings. The Busch’s readings, in contrast, project a\nwarmth that’s somewhat downplayed in the Budapest’s readings, and it’s\nthat warmth that gives the Busch’s performances a wonderful inner glow\nand feeling of devout concentration. But by today’s standards, the\nunalleviated vibrato and especially the profusion of portamento—too few\nposition shifts and intervals of greater than a third are navigated\nwithout a slide—really do become cloying in fairly short order. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs exemplars of mid-1930s performance practices,\nthe Busch’s Beethoven is unmatched. Accepted on their own terms, these\nreadings represent the very best in string quartet playing of their\ntime, and these magnificent Pristine refurbishments enhance our\nunderstanding of why this ensemble was—and for many still is—so highly\nregarded. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM093.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003ePioneering Busch String Quartet brilliant with Brahms\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The Busch Quartet are at the top of their form ... exceedingly good\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eThese recordings of the late quartets of Beethoven were recorded in\nHMV at Abbey Road Studios between 1935 and 1937, supplemented by\nColumbia's recordings of 1941\/42 at the Liederkranz Hall in New York\nCity. As with some previous Pristine restorations I've found the best\nresults have come from LP transcriptions of the original 78s,\ntransferred and issued in the days before digital remastering. With\nlimited options for improving sound quality, the onus on engineers was\nto get the very best from the original masters, often by either playing\nthe metal plates directly or by pressing quiet vinyl copies from them in\norder to make their transfers. Although it's unclear here which methods\nwere used, both the CBS and EMI vinyl reissues of later decades proved\nexcellent starting points for the present set.\u003c\/p\u003e\u003cp\u003eIn each case XR remastering has made significant improvements in\nsound quality, with the higher frequencies now far clearer than before,\nespecially in the otherwise better-recorded Columbia takes. The slightly\nboxy sound of the HMV studio recordings has also opened out\nconsiderably, and overall the impression is of a much fuller, richer and\nmore dynamic sound than might be anticipated from recordings of this\nera.\u003c\/p\u003e\u003cp\u003eThe pitching of the original transfers varied considerably. There was\nalso some pitch variance within individual recordings. Here I've chosen\nto pitch all of the recordings to standard concert pitch. The use of\npitch stabilisation software has also enabled the elimination of wow\nfrom the original discs, as well as other pitch anomalies.\u003c\/p\u003e\u003cp\u003eThe Late Quartets don't normally include the 7th Quartet; with the\nfive quartets, 12-16, complete there was a perfect Quartet No. 7-sized\ngap in CD1, hence its inclusion here.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\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\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 7 in F, Op. 59, No. 1 \"Rasumovsky\"\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 15\/25 May 1942, Liederkranz Hall, New York\u003cbr\u003eCat. Nos. Columbia 71474-D - 71479-D \u003cbr\u003eMatrices XCO.32832-37; 32869-73\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 12 in E flat, Op.127\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 2\/16\/17 November 1936, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.3044-48 \u003cbr\u003eMatrices 2EA.4401-07\u003cbr\u003e \u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 13 in B flat, Op.130\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 13\/16 June 1941, Liederkranz Hall, New York\u003cbr\u003eCat. Nos. Columbia 71220-D - 71224-D \u003cbr\u003eMatrices XCO.30695-704\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 14 in C sharp minor, Op.131\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 2 March 1936, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.2810-14 \u003cbr\u003eMatrices 2EA.3120-29\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 15 in A minor, Op.132\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 7 October 1937, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.3375-3380s \u003cbr\u003eMatrices 2EA.5464-68\/71-76\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli class=\"bodybigblue\"\u003e\n\u003cb\u003eBEETHOVEN\u003c\/b\u003e Quartet No. 16 in F major, Op.135\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003eRecorded 13 November 1933, Abbey Road Studio 3\u003cbr\u003eCat. Nos. HMV DB.2113-16 \u003cbr\u003eMatrices 2B.5436-43\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cblockquote\u003e\n\u003cp class=\"body\"\u003e\u003cb\u003eThe Busch String Quartet:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAdolf Busch\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eGösta Andreasson\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eKarl Doktor\u003c\/b\u003e viola\u003cbr\u003e\u003cb\u003eHermann Busch\u003c\/b\u003e cello\u003c\/p\u003e\n\u003c\/blockquote\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\/PACM093.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM093.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Reviews578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eARTICLE: \"The Busch Quartet\" (excerpt)\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eOnly the Busch ensemble, in my experience, have\npresented the Beethoven quartets on record in their full majesty - and\ndaring. Among the qualities that made Adolf Busch a great violinist were\nhis uniquely long bow strokes, controlled with profound intensity and\ninvested with a strong spiritual charge. Believing that the late\nquartets had to be taken to extremes, he played fast movements very fast\n- often up to Beethoven’s controversial markings - and slow movements\nvery slowly. With a rhythmic sense as rigorous in broad tempi as it was\nexhilarating in quick tempi, he inspired his colleagues to match him in\nexceptional feats of concentration. Acting as his own producer, with a\ntrusted HMV engineer such as ‘Chick’ Fowler, he generally made just one\ntake of each side in a slow movement, so as to keep the intensity going\nfrom take to take. The luminous beauty of the Busch Quartet’s playing\ncan snatch your breath away in any of their repertoire, but the\nuninitiated should start with late Beethoven.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eTully Potter, Gramophone\u003c\/b\u003e, November 2013\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodymidarial\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eREVIEW \u003c\/b\u003e1976 LP reissue\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eBefore the war the Busch Quartet played Beethoven better than any\nother ensemble, and they still sound marvellous. They were always at\ntheir best in the late quartets and with the arrival of these two discs\ntheir newly transferred performances of all but the Grosse Fuge are now\navailable. The playing seems more spacious than that of the best modern\nensembles; they uncover the musical thought at their leisure. This\nimpression results in part from the very slow tempo in the stow\nmovements, but they can also sound almost leisured even when, according\nto my watch, the tempo is normal, as in the Scherzo of the F major. I\nthink this is because they seem less prone than modern ensembles to push\ntheir own technical accomplishments. Everything is subservient to the\nmusic. The slow movement of the E flat is most beautifully done; quaver\nlengths hardly vary in spite of all Beethoven's changes of tempo, but if\nthe tempo is slow enough at the start they don't need to. The slow\nmovement of the C sharp minor is so thoughtfully played that the Quartet\nas a whole takes three or four minutes longer than usual, and very\nmoving it sounds. In the very difficult Scherzo that follows the rhythm\nis uneven in places; here alone complete success eludes the players.\u003c\/p\u003e\u003cp\u003eThough the Busch Quartet scooped much less than most ensembles of the\n1930s the 1976 listener will certainly notice such scoops as there are.\nThe trick is applied with curious inconsistency. For instance in the\nfirst allegro theme of the E flat Busch himself sometimes slides up from\nthe first crotchet to the second (as in the first bar) and sometimes\ndoesn't (as when the same phrase is repeated four bars later); when this\nphrase is developed by all four players there is similar inconsistency.\nIt must follow that during rehearsals there was never any discussion\nbetween the players as to whether they should scoop or not; it was just\nleft to chance like a touch of eighteenth-century improvisation. I do\nnot myself find the trick in any way worrying. Indeed in the first\nmovement of the E flat one can even persuade oneself that it adds a\ntouch of emotion to the sound. The illusion of leisured thinking is here\nat its very best; the last page seems to me the very perfection of\nplaying. Here and elsewhere pianissimos are a constant wonder.\u003c\/p\u003e\u003cp\u003eBearing in mind that all this music was recorded forty years ago and\nmore, the quality is splendid; furthermore these excellent performances\nof superb music are very reasonably priced. Strongly recommended.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cb\u003eR.F., Gramophone\u003c\/b\u003e, November 1976, review of LP reissue on World Records\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_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":44064778616922,"sku":"xst1789304777882","price":33.97,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064778649690,"sku":"kqt1789304777883","price":29.1,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064778682458,"sku":"czx1789304777884","price":24.89,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064778715226,"sku":"qwi1789304777885","price":24.12,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/busch-quartet-beethoven-the-late-quartets-1933-42---pacm093_1.jpg?v=1789304784","url":"https:\/\/vestorawear.shop\/products\/busch-quartet-beethoven-the-late-quartets-1933-42-pacm093","provider":"My Store","version":"1.0","type":"link"}