{"product_id":"coates-conducts-20th-century-music-1920-32-pasc768","title":"COATES conducts 20th Century Music (1920-32) - PASC768","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCRIABIN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Poem of Ecstasy, Op. 54\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Firebird (1910) - \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eexcerpts\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSTRAVINSKY\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Song of the Nightingale - \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eexcerpts\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Love for Three Oranges - \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eexcerpts\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Le pas d’acier - \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eexcerpts\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHOLST\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Planets - \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 18px;\"\u003eexcerpts\u003c\/span\u003e\u003c\/i\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHOLST\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Perfect Fool - Ballet Music\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBAX\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Mater ora Filium\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRESPIGHI\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Fountains of Rome\u003c\/span\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e La valse\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1920–1932\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nTotal duration: 2hr 1:42\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLondon Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\nSymphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003e\nLeeds Festival Choir\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eAlbert Coates\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, conductor\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fGramophone Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fWhichever way you look at it you won’t find a more vivid introduction to Coates’s art anywhere.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eThe second CD includes an expressive account of Ravel’s \u003cem\u003ePavane pour une infante défunte\u003c\/em\u003e and vivid performances of Debussy’s first two \u003cem\u003eNocturnes\u003c\/em\u003e, ‘Fêtes’ taken at one hell of a lick - faster than I can remember hearing from anyone else in fact, with pin-sharp woodwind articulation and a lightning account of the central march-past, which wafts in from the near distance. Prior to Ravel, Debussy and an idiomatic-sounding account of Richard Strauss’s lilting \u003cem\u003eRosenkavalier\u003c\/em\u003e Waltzes (the first sequence), we’re offered an electrifying rendition of Scriabin’s Third Symphony (\u003cem\u003eLe divin poème\u003c\/em\u003e), which sounds like the kind of music Tchaikovsky might have written had he lived long enough to do so.\u003c\/p\u003e\u003cp\u003eMaybe that’s not true of Scriabin’s Fourth Symphony, \u003cem\u003eThe Poem of Ecstasy\u003c\/em\u003e, a huge stylistic leap forwards after the Third, grounded as it is in the mystical sound world of the composer’s late maturity. Albert Coates’s 1920 recording (timing 19'11\"), which for whatever reason isn’t quite complete, has a peculiar charm, the acoustical process bringing a unique intimacy to music that usually relies on a huge welter of sound to make its impact, especially at its close. Coates’s LSO recording, superbly transferred by Mark Obert-Thorn, pinpoints individual instruments, the lead violin promoting a degree of portamento that dates its provenance beyond reasonable doubt. The performance itself certainly pushes forwards, and if the final ecstatic surge lacks sonic substance, its enthusiastic interpretative thrust is beyond doubt.\u003c\/p\u003e\u003cp\u003eCoates was the opposite of the disciplinarian Rodziński, more along the lines of his impulsive Russian conductor\/composer contemporary Nikolay Golovanov (there’s an online mugshot of the two men sitting together), less concerned with fine detail than with the overall thrill and sweep of a work. The remainder of this double-pack devoted to Coates conducting 20th-century music includes a generous Suite from Prokofiev’s ballet \u003cem\u003eLe pas d’acier\u003c\/em\u003e, excerpts from \u003cem\u003eThe Love for Three Oranges\u003c\/em\u003e (including a fiery ‘Infernal Scene’), extracts from Stravinsky’s \u003cem\u003eFirebird\u003c\/em\u003e and \u003cem\u003eSong of the Nightingale\u003c\/em\u003e, all electrically recorded, as are movements from Holst’s \u003cem\u003eThe Planets\u003c\/em\u003e and \u003cem\u003eThe Perfect Fool\u003c\/em\u003e. ‘Mars’ flies past with the speed of lightning. By contrast, Bax’s rather beautiful \u003cem\u003ea cappella\u003c\/em\u003e piece \u003cem\u003eMater ora filium\u003c\/em\u003e comes off well and there are full-on performances of Respighi’s \u003cem\u003eFountains of Rome\u003c\/em\u003e and Ravel’s \u003cem\u003eLa valse\u003c\/em\u003e (the latter is a real stunner, exciting and some!). Various of these recordings have been reissued before, others not, but whichever way you look at it you won’t find a more vivid introduction to Coates’s art anywhere.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRob Cowan\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eGramophone\u003c\/i\u003e, July 2026\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC768.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003eWhile Albert Coates has long been associated with Wagner and Russian music of the Romantic era, his championing of contemporary music has been less recognized, particularly in the area of recording reissues. The current release addresses this by presenting all of his recordings of Stravinsky and Ravel which have not already appeared on Pristine along with his complete recordings of works by Scriabin, Prokofiev, Holst, Bax and Respighi. Some of the works were last reissued nearly half a century ago on LP, while others are being revived here for the first time.\u003c\/p\u003e\n\n\u003cp\u003eAt a time when Columbia did not have a single Beethoven symphony in its catalog, it is remarkable that the label brought out a complete recording on three discs of a then-challenging contemporary work by Scriabin, \u003ci\u003eThe Poem of Ecstasy\u003c\/i\u003e. In the event, it was not quite complete. At the break between Sides 4 and 5 (15:44 in the track), 19 bars totaling around a minute of music from Figure 30 to 32 in the score are missing. It was less likely an intentional cut than an oversight, as the music could have fit on either side. Sides 3 and 4 were first recorded a week after the others, and it is likely that Coates and the session producer forgot where Side 5 had begun and inadvertently left the bars out. Although one gets a general idea of Coates’ approach, the acoustic process could not really do justice to this colorful score, and it is a shame that he never got to re-record it electrically.\u003c\/p\u003e\n\n\u003cp\u003eCoates had previously recorded the 1911 version of Stravinsky’s \u003ci\u003eFirebird Suite\u003c\/i\u003e acoustically in 1924 (reissued on Pristine PASC 303). This electric remake of two of the numbers generates a great deal of excitement, although the orchestral choirs in the “Infernal Dance” are noticeably out-of-sync at some points. Coates’ single disc of \u003ci\u003eThe Song of the Nightingale\u003c\/i\u003e is labeled “Chinese March”, although here this section appears between the opening “Celebration” music and the last minute or so of the final segment, the “Funeral March”. Those following the score will note that Coates takes a repeat starting around 2:20 in the first section, incorporating music which does not appear elsewhere; and in the last section, the flute phrase two bars before Figure 96 is transposed upward by a full tone.\u003c\/p\u003e\n\n\u003cp\u003eCoates’ disc of music from \u003ci\u003eThe Love for Three Oranges\u003c\/i\u003e was the first recording of any Prokofiev orchestral music ever made, predating Koussevitzky’s more famous first Boston version by two years. The composer’s \u003ci\u003eLe pas d’acier\u003c\/i\u003e (most helpfully translated as \u003ci\u003eThe Dance of Steel\u003c\/i\u003e) was a ballet containing descriptive scenes in a Soviet foundry. One of Coates’ last recordings for HMV, it was taken down complete; but the two sides containing numbers 7 through 9 of the score were never released.\u003c\/p\u003e\n\n\u003cp\u003eSir Adrian Boult’s long association with Holst’s \u003ci\u003eThe Planets\u003c\/i\u003e has obscured the work’s connection to Coates; but while Boult conducted the first (incomplete) performance to a privately-invited audience in 1918, Coates presented the first public performance with the LSO in 1920. Six years later, he recorded the four movements presented here with essentially the same ensemble. Coates’ “Mars” is taken at a much faster clip than most performances, while the central section of his “Jupiter” is, by contrast, broadly paced, with an affectionate nobility that Elgar might have envied.\u003c\/p\u003e\n\n\u003cp\u003eWhile Coates made several discs of operatic choruses by Wagner, Mussorgsky and others, Bax’s \u003ci\u003eMater ora Filium\u003c\/i\u003e was his only recording as director of an a cappella choir. It was one of the earliest electrical recordings HMV made outside their studios. \u003ci\u003eThe Fountains of Rome\u003c\/i\u003e was the first recording of any of Respighi’s “Roman Trilogy”, besting Molajoli’s version by nine months.\u003c\/p\u003e\n\n\u003cp\u003eCoates had previously recorded Ravel’s \u003ci\u003eMa mère l’Oye Suite\u003c\/i\u003e acoustically (PASC 303) before making the première recording of his \u003ci\u003eLa valse\u003c\/i\u003e (which, oddly, was not released in the UK). It showcases a brilliant performance of great energy and detail, in sound that utterly belies its one hundred years.\u003c\/p\u003e\n\n\u003cp\u003e\u003ci\u003e\u003cb\u003eMark Obert-Thorn\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: 24px;\"\u003e\u003cb\u003eCOATES \u003c\/b\u003econducts 20th Century Music\u003c\/span\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eCD 1\u003c\/b\u003e (57:21)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e1. \u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eSCRIABIN\u003c\/b\u003e The Poem of Ecstasy, Op. 54 \u003cspan style=\"font-size:14px;\"\u003e(1905–08)\u003c\/span\u003e (19:10)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 27 April \u0026amp; 7 May 1920, Columbia Clerkenwell Road Studio, London · Matrices: 74060-2, 74061-2, 74081-1, 74082-2 \u0026amp; 74062-1 · First issued on Columbia L 1380\/2\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e The Firebird \u003cspan style=\"font-size:14px;\"\u003e(1910)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n2. The Princesses’ Game with the Golden Apples (2:38)\u003cbr\u003e\n3. Infernal Dance of All Kashchei’s Subjects (4:15)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 15 February 1928, Kingsway Hall, London · Matrices: CR 1693-1 \u0026amp; 1692-2A · First issued on HMV D 1510\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eSTRAVINSKY\u003c\/b\u003e Song of the Nightingale (\u003ci\u003eexcerpts\u003c\/i\u003e) \u003cspan style=\"font-size:14px;\"\u003e(1914–21)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n4. Celebration at the Palace of the Emperor of China (3:41)\u003cbr\u003e\n5. Chinese March (3:16)\u003cbr\u003e\n6. Funeral March (\u003ci\u003econclusion\u003c\/i\u003e) (1:21)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 14 October 1930, Kingsway Hall, London · Matrices: Cc 20615-2 \u0026amp; 20614-2 · First issued on HMV D 1932\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e The Love for Three Oranges, Op. 33 \u003cspan style=\"font-size:14px;\"\u003e(1921)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n7. Infernal Scene (2:47)\u003cbr\u003e\n8. March (1:42)\u003cbr\u003e\n9. Scherzo (1:20)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 6 January 1927, Kingsway Hall, London · Matrices: CR 904-2 \u0026amp; 905-2A · First issued on HMV D 1259\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003ePROKOFIEV\u003c\/b\u003e Le pas d’acier, Op. 41 \u003cspan style=\"font-size:14px;\"\u003e(1926)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n10. Entrance of the characters (2:08)\u003cbr\u003e\n11. The train of trading peasants (2:12)\u003cbr\u003e\n12. The commissars (1:52)\u003cbr\u003e\n13. The little street vendors (1:54)\u003cbr\u003e\n14. The orator (1:54)\u003cbr\u003e\n15. The sailor with bracelets and the working girl (2:19)\u003cbr\u003e\n16. The hammers (1:34)\u003cbr\u003e\n17. Finale (3:08)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 18 February 1932, Abbey Road Studio No. 1, London · Matrices: 2B 2199-2, 2200-2, 2801-2 \u0026amp; 2804-1 · First issued on HMV DB 1680\/1\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eCD 2\u003c\/b\u003e (64:21)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eHOLST\u003c\/b\u003e The Planets, Op. 32 \u003cspan style=\"font-size:14px;\"\u003e(1914–17)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n1. Mars, the Bringer of War (6:02)\u003cbr\u003e\n2. Mercury, the Winged Messenger (3:34)\u003cbr\u003e\n3. Jupiter, the Bringer of Jollity (7:24)\u003cbr\u003e\n4. Uranus, the Magician (5:24)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 20 September 1926, Kingsway Hall, London · Matrices: CR 694-1 \u0026amp; 695-1 (Mars), 693-2 (Mercury), 689-1A \u0026amp; 690-1 (Jupiter), 691-2 \u0026amp; 692-1 (Uranus) · First issued on HMV D 2006 (Mars), D 1308 (Mercury), D 1129 (Jupiter), D 1384 (Uranus)\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eHOLST\u003c\/b\u003e The Perfect Fool – Ballet Music, Op. 39 \u003cspan style=\"font-size:14px;\"\u003e(1918–22)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n5. Introduction – Dance of Spirits of Earth (3:31)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 20 September 1926, Kingsway Hall, London · Matrix: CR 699-2\u003c\/span\u003e\u003cspan style=\"font-size:12px;\"\u003e · First issued on \u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003eHMV D 1308\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e6. \u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eBAX\u003c\/b\u003e Mater ora Filium \u003cspan style=\"font-size:14px;\"\u003e(1921)\u003c\/span\u003e (11:04)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 28 October 1925, St John’s Church, St John’s Wood, London · Matrices: CR 4-1, 5-2 \u0026amp; 6-1 · First issued on HMV D 1044\/5\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eRESPIGHI\u003c\/b\u003e The Fountains of Rome \u003cspan style=\"font-size:14px;\"\u003e(1916)\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n7. The Fountain of Valle Giulia at Dawn (4:07)\u003cbr\u003e\n8. The Triton Fountain in the Morning (2:30)\u003cbr\u003e\n9. The Trevi Fountain at Noon (3:24)\u003cbr\u003e\n10. The Villa Medici Fountain at Sunset (5:56)\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 4 January 1927 \u0026amp; 5 January 1928 · Matrices: CR 894-1, 895-1A, 896-2 \u0026amp; 897-2A · First issued on HMV D 1429\/30\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e11. \u003cspan style=\"font-size:18px;\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e La valse \u003cspan style=\"font-size:14px;\"\u003e(1919–20)\u003c\/span\u003e (11:20)\u003c\/span\u003e\u003cbr\u003e\n\u003cspan style=\"font-size:12px;\"\u003eRecorded 26 March 1926, Queen’s Hall, London · Matrices: CR 214-1, 215-1 \u0026amp; 216-1 · First issued on Victor 9130\/1\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eLondon Symphony Orchestra\u003c\/b\u003e (CD 1; CD 2, tracks 7–10)\u003cbr\u003e\n\u003cb\u003eSymphony Orchestra \u003c\/b\u003e(CD 2, tracks 1–5 \u0026amp; 11)\u003cb\u003e\u003cbr\u003e\nLeeds Festival Choir \u003c\/b\u003e(CD 2, track 6)\u003cbr\u003e\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003eAlbert Coates, \u003c\/b\u003econductor\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eProducer and Audio Restoration Engineer:  \u003cb\u003eMark Obert-Thorn\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eAlbert Coates\u003c\/b\u003e\u003cbr\u003eSpecial thanks to the late Don Tait for records from his collection\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTotal duration:  2hr 1:42\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size:16px;\"\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\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\/PASC768.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC768.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064763543642,"sku":"usx1789304405938","price":15.83,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064763576410,"sku":"fie1789304405939","price":16.71,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/coates-conducts-20th-century-music-1920-32---pasc768_1.jpg?v=1789304412","url":"https:\/\/vestorawear.shop\/products\/coates-conducts-20th-century-music-1920-32-pasc768","provider":"My Store","version":"1.0","type":"link"}