{"product_id":"cantelli-tchaikovsky-symphony-no-5-romeo-juliet-1952-pasc457","title":"CANTELLI Tchaikovsky: Symphony No. 5, Romeo \u0026 Juliet (1952) - PASC457","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomeo and Juliet\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHULMAN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Laurentian Overture\u003c\/span\u003e\u003cb\u003e \u003c\/b\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive concert recordings, 1952\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:08 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGuido Cantelli, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\u003cbr\u003e\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fMusicWeb International Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThe performance is full of passion yet control is consistently maintained578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe death of Guido Cantelli (1920-1956) in a plane crash was a grievous\nloss to music. Fortunately we have a good legacy of recordings, both\nstudio-made and live, which show us how great was his talent. The\nTestament and Music \u0026amp; Arts labels have issued a good number of\nCantelli recordings but Pristine Audio have been no less assiduous and I\nwas delighted to read on their website the following statement: “These\ntransfers come from a newly-acquired archive of the complete NBC\nbroadcast recordings of Guido Cantelli, very gratefully received here at\nPristine, which promises many further treasures to come.” The prospect\nof further Cantelli releases is an enticing one, especially if they\nmatch this present one in terms of artistic and sonic quality.\u003cbr\u003e \u003cbr\u003e\nThe unfamiliar name on the programme may be that of Alan Shulman. An\nAmerican, he was a cellist in the NBC Symphony Orchestra between 1937\nand 1954, though his time with the orchestra was disrupted by wartime\nservice. I understand that his compositions enjoyed some early success,\nnotably his \u003cem\u003eTheme and Variations for Viola and Orchestra\u003c\/em\u003e (1940) and his \u003cem\u003eCello Concerto\u003c\/em\u003e. However, his music has now largely faded from view though a CD of some of his pieces was issued a few years ago (review). That disc includes the present performance of \u003cem\u003eA Laurentian Overture\u003c\/em\u003e.\nShulman had sent the score to Cantelli in 1951 and the conductor\nresponded favourably, giving the work its first performance with the New\nYork Philharmonic in January 1952. The performance preserved here was\nthe second outing for the score\u003cbr\u003e \u003cbr\u003e Shulman’s score is very\nAmerican in accent, especially in its lively outer sections. Between\n4:04 and 6:10 there’s a quieter, more reflective episode in which\nwoodwind solos predominate. It’s an uncomplicated piece that sounds to\nbe well written for the orchestra. It may not be great music but it’s\nthoroughly engaging and deserves to be more widely heard.\u003cbr\u003e \u003cbr\u003e\nInevitably, the main interest here lies in the Tchaikovsky performances.\nI’m familiar with both – and with the Shulman – because they were\nincluded in a 12-CD set from Music \u0026amp; Arts, \u003cem\u003eThe Art of Guido Cantelli. New York Concerts and Broadcasts (1949-1952)\u003c\/em\u003e\n(CD-1056). That set is indispensable for Cantelli admirers though I\nthink there are good reasons to invest in this Pristine disc, even if\nyou have that box. It should also be said that Pristine already have two\nCantelli recordings of the Fifth Symphony in their catalogue: a live\nBoston performance, which I’ve not heard (review) and his 1951 studio recording (review). In terms of playing quality and sheer electricity the NBC performance outshines the studio version.\u003cbr\u003e \u003cbr\u003e In the first movement I like Cantelli’s sprightly approach after the \u003cem\u003eAndante\u003c\/em\u003e introduction. There’s lots of electricity and drive in his handling of the \u003cem\u003eAllegro con anima\u003c\/em\u003e\nbut we also find that the lyrical passages are sympathetically handled.\nThe performance is full of passion yet control is consistently\nmaintained. The NBC principal horn gets the slow movement off to a\ndistinguished start. The movement as a whole is full of feeling and I’m\ntempted to say that there’s evidence of an ardent Italian temperament\nyet, as in the preceding movement, the ardour is never allowed to\novercome the discipline of the conducting. Cantelli’s way with the \u003cem\u003eValse\u003c\/em\u003e is winning. He makes a powerful start to the finale. When the \u003cem\u003eAllegro vivace\u003c\/em\u003e\nis reached the performance is very exciting though the pace that\nCantelli adopts will seem sober to those who have heard the electrifying\nMravinsky.\nI rather prefer Cantelli’s slightly more measured approach, which\nallows for good definition. At times the timpani are quite prominent but\nit all adds to the sense of excitement. When the motto theme returns in\nthe major key (9:57) the music sounds to be full of optimism. In the\nclosing pages (from 11:58) Cantelli whips up the speed, though I don’t\nthink that’s marked in the score. Unsurprisingly there’s a rapturous\novation.\u003cbr\u003e \u003cbr\u003e As I mentioned, this performance is included in a\nlarge Cantelli box from Music \u0026amp; Arts, issued in 2003, in which the\ntransfers were done by Maggi Payne. Her transfer of this performance is\ngood but Andrew Rose has achieved better results. On my equipment the\nPristine transfer has much more warmth, especially in the treble (the\noboes, for example) while there’s greater depth in the bass than Music\n\u0026amp; Arts provide.\u003cbr\u003e \u003cbr\u003e \u003cem\u003eRomeo and Juliet\u003c\/em\u003e was performed a\nmonth earlier. It’s a very intense, dramatic reading and the NBC\nSymphony plays very well indeed. The fight music is very exciting while\nCantelli keeps the love music moving forward with no little urgency.\nIt’s a terrific performance. Incidentally, you may notice that at the\nvery end the timpanist sustains his roll right the way through the final\nchord. This piece was given by Cantelli as part of his London debut\nconcert with the Philharmonia in 1951. He and the orchestra made a\nstudio recording for HMV shortly afterwards. That performance has been\nissued by Pristine (review)\nand also by Testament (SBT 1316). Unsurprisingly, the HMV sound is\nbetter but this NBC performance has the edge in terms of attack and\nelectricity. The NBC performance is similarly available in the Music\n\u0026amp; Arts box but the Pristine transfer is finer.\u003cbr\u003e \u003cbr\u003e If, like me,\nyou have that Music \u0026amp; Arts set you may feel disinclined to invest\nin this Pristine release. However, there’s a significant gain in the\nquality of recorded sound and that, I think, would justify the\nduplication. Other collectors will find this Pristine disc a most\ntempting proposition, especially as the transfers are so good. The\nperformances are fantastic and show why the loss of Guido Cantelli at\nthe age of just 36 was such a crippling blow to the world of music.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eJohn Quinn\u003cbr\u003e\u003c\/em\u003e\u003c\/b\u003eMusicWeb International\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC457.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eCantelli shines in Tchaikovsky - and Shulman\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"The\nperformances are fantastic and show why the loss of Guido Cantelli at\nthe age of just 36 was such a crippling blow to the world of music\" - MusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cli\u003e\n\u003cp\u003eThese transfers come from a newly-acquired archive of the complete\nNBC broadcast recordings of Guido Cantelli, very gratefully received\nhere at Pristine, which promises many further treasures to come. The two\nconcerts form which the recordings were drawn took place a month apart\nat the start of 1952, and our source material was, by and large,\nexcellent. If there is a slight difference in quality it is to be heard\nin the Shulman, where the upper treble is less well captured than in the\ntwo Tchaikovsky pieces.\u003c\/p\u003e\n\u003cp\u003eThe latter, by contrast, were excellent. Happily both concerts took\nplace in Carnegie Hall, rather than the NBC studio from where Toscanini\nbroadcast the majority of his NBC SO concerts. Thus we get the benefit\nof a much more sympathetic acoustic - something that really adds to\nthese superb performances - rather than the dry and claustrophobic sound\nassociated with the orchestra as heard in Studio 8H. \u003c\/p\u003e\n\u003cp\u003eThe audiences were exceptionally quiet, especially so in the second\nof the two concerts; occaisonal coughing and other unwanted noises have\nbeen removed from the \u003cem\u003eRomeo and Juliet\u003c\/em\u003e recording. I'm grateful once more to Keith Bennett for his insight and excellent notes to what is a fabulous Cantelli release.\u003c\/p\u003e\n\u003cem\u003eAndrew Rose\u003cbr\u003e\u003c\/em\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e  Symphony No. 5 in E minor, Op. 64\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eTCHAIKOVSKY\u003c\/b\u003e  *Romeo and Juliet (overture-fantasia)\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eSHULMAN\u003c\/b\u003e  A Laurentian Overture\u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eNBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive performances, Carnegie Hall, New York City\u003cbr\u003e1 March, 1952 and *2 February 1952 \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp style=\"padding-left: 30px;\"\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eGuido Cantelli\u003c\/b\u003e, conductor\u003c\/span\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\/PASC457.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC457.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eLet\nus start at the beginning. Guido Cantelli graduated as a professional\nmusician on 3 February 1943 and his first engagement was in his home\ntown of Novara when he conducted \u003cb\u003eLa Traviata\u003c\/b\u003e eighteen days later.\nHis meteoric rise to fame came after an unseen Arturo Toscanini\nwitnessed Cantelli’s rehearsal during May 1948 with the Orchestra della\nScala for a concert which was to be his first appearance in the Teatro\nalla Scala. The rest is well-known and it is an unequivocal fact that\nCantelli’s international career was launched from that informal\nencounter.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eUp until the end of 1948 only one Tchaikovsky symphony (the \u003cb\u003e\u003cem\u003ePathétique\u003c\/em\u003e\u003c\/b\u003e)\nhad been performed (twice) by the young conductor and the only other\nperformances of Tchaikovsky were the violin and the piano concerto which\nwere conducted just once.\u003cb\u003e \u003c\/b\u003eCantelli gave his first performance of the Tchaikovsky \u003cb\u003eSymphony No.5\u003c\/b\u003e\nwhen the Orchestra della Scala took part in the 1950 Edinburgh\nFestival: this was Cantelli’s first visit to the UK. Such was the\nacclaim of his performances on the 5\u003csup\u003eth\u003c\/sup\u003e and 9\u003csup\u003eth\u003c\/sup\u003e\nSeptember that he was persuaded to record the work later that same month\nwhen the orchestra was appearing in London. There followed another\nseven performances in Italy with the same orchestra. In 1951 there were\nonly five performances, all in the USA – two with the Pittsburgh\nSymphony Orchestra and three with the San Francisco Symphony Orchestra.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThus,\nby the time that Guido Cantelli mounted the podium on 1 March 1952 in\nCarnegie Hall, the late Harris Goldsmith made the very valid comment\nthat the conductor had already given a dozen performances of this\nsymphony since he made the commercial recording and that experience can\nbe heard for three reasons: first, as Harris Goldsmith pointed out,\nCantelli had considered his interpretation further in the light of these\nperformances; second, he had a fabulous orchestra at his disposal; and\nthird, this was his 22\u003csup\u003end\u003c\/sup\u003e appearance with the NBC Symphony\nOrchestra and the musicians were well aware of the young conductor’s way\nwith Tchaikovsky, since they had played the Fantasy Overture \u003cb\u003eRomeo and Juliet\u003c\/b\u003e twice and the \u003cb\u003eSymphony No.4\u003c\/b\u003e once. This was to be his only performance of \u003cb\u003eSymphony No.5 \u003c\/b\u003ewith\nthis orchestra and, understandably, Cantelli had already honed his\nvision of the work to a remarkable degree. That is not to say that he\nfollowed every instruction contained in Tchaikovsky’s score, but there\nis never the impression of manipulation or sentimentality and there are\nplenty of instances where Cantelli was meticulous in observing\nTchaikovsky’s wishes. Maybe there a wind of change in the air during the\n1950s and - for this listener - it was like a breath of fresh air.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe performance of Tchaikovsky’s \u003cb\u003eRomeo and Juliet \u003c\/b\u003efrom\na few weeks earlier (2 February) has all the ardour, passion and drama\ncontained in the score, and while Cantelli’s commercial recording with\nthe Philharmonia Orchestra (recorded 13 October 1951) is more subtle\nthere is considerable disappointment that James Bradshaw’s tympany is\nrecorded at too low a level, which is very obvious when one hears the\nNBCSO’s Karl Glassman ferocious attacks. Those who eyes are glued to the\nscore will note that that Karl Glassman continues his drum roll through\nthe very last note (apparently, Toscanini did this in a performance\nwith the NBC Symphony Orchestra in 1938, but never repeated it again).\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-family: georgia, palatino; font-size: small;\"\u003eThe concert on 1 March had opened with Alan Shulman’s \u003cb\u003eA Laurentian Overture. \u003c\/b\u003eHe\u003cb\u003e \u003c\/b\u003ewas\u003cb\u003e \u003c\/b\u003ea\ncellist in the NBC symphony orchestra from 1937 until its disbandment\nin 1954, although he enlisted for military service during 1942-1945. He\nwas also a composer (1915-2002). He had sent the score, which is\ndedicated to Tallulah Bankhead, to Cantelli on 6 June 1951 and Cantelli\nindicated in his reply dated 10 August that he had already decided to\ninclude the work in his concerts with the New York Philharmonic\nOrchestra (as it is known today) and possibly the NBC Symphony Orchestra\nas well: this he did. It may not be a great work, but it is one of\nthose compositions which can delight audiences (even some critics as\nwell) although, sadly, it did not find its way into the accepted\nrepertoire. The outer sections are rumbustious and the central part has a\nmeditative atmosphere. It has that sense of wide open spaces and a\nfeeling that life, although quirky, is very much worth living. Anyway,\nCantelli obviously liked it and the performances with both orchestras\nwere brilliant.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThese notes © 2015 Keith Bennett\u003cbr\u003e\u003cbr\u003eKeith Bennett \u003cem\u003eis the\nauthor of Guido Cantelli – Just Eight Years of Fame (published 2009)\nwhich is only available from GC Publishers. For further details either\nwrite to GC Publishers, 21 Nunn Close, Martlesham, Woodbridge, Suffolk\nIP12 4UL, UK or e-mail gcpublishers@keithbennett.waitrose.com\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\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":44064779632730,"sku":"tii1789304795380","price":14.66,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064779665498,"sku":"rjk1789304795381","price":10.08,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064779698266,"sku":"swz1789304795382","price":7.73,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/cantelli-tchaikovsky-symphony-no-5-romeo-juliet-1952---pasc457_1.jpg?v=1789304825","url":"https:\/\/vestorawear.shop\/products\/cantelli-tchaikovsky-symphony-no-5-romeo-juliet-1952-pasc457","provider":"My Store","version":"1.0","type":"link"}