{"product_id":"henry-wood-conducts-bach-and-handel-1925-35-pasc732","title":"HENRY WOOD conducts Bach and Handel (1925-35) - PASC732","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Brandenburg Concerto No. 3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Brandenburg Concerto No. 6\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. S. BACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e (arr. Wood) Orchestral Suite No. 6\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Messiah - Choruses\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings, 1925-35\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:20\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 16px;\"\u003eVarious Orchestras\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSir Henry Wood\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReview578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHe is punchy and direct ... the playing is athletic, full of brio and without tempo manipulation under the very final cadence578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eIf the conjunction of Henry Wood and baroque music means anything to modern listeners it’s going to be our old friends ‘gargantuan’, ‘stylistically inappropriate’ and ‘decidedly not how we do things today’. That certainly applies to the Messiah choruses that he recorded at the Handel Festival at the Crystal Palace in 1926 but it’s not true of his Bach. And since each generation believes itself to be unique in its capacity to interpret Bach with ever greater ‘fidelity’, it might be worth listening to Wood for a little while and to reflect on his interpretative strengths.\u003c\/p\u003e\u003cp\u003eWhen he began to record for Decca in the mid-30s, Wood had wanted to record a complete set of the Brandenburg Concertos but this never happened. Fortunately, he had earlier recorded Nos. 3 and 6 for Columbia. No.3 was recorded in the newly opened Abbey Road studios in 1932 with the British Symphony Orchestra and is the fastest pre-war recording of the Concerto that exists. He is punchy and direct, maintains tempi, even at cadences, resists the temptation to extrapolate the problematic second movement – avoiding, for example, Furtwängler’s bizarre ploy of parachuting Bach’s famous ‘Air’ in his recording – and whilst the full orchestral response in the finale can blur lines a little, the playing is athletic, full of brio and without tempo manipulation under the very final cadence.\u003c\/p\u003e\u003cp\u003eNo.6 was recorded two years earlier with an unnamed Symphony Orchestra, a Columbia freelance unit that probably contained a cadre drawn from Wood’s New Queen’s Hall Orchestra. Once again his conception is forward-looking and mobile, though there are some signs of expressive relaxation from time to time. Wood’s own arrangement of the Suite No 6, with its six movements drawn from diverse source material, was a late acoustic recording made in 1925 with the NQHO. This is, in effect, a study in expressive colouration and orchestral sonority, notwithstanding the limitations of the acoustic system, that exploits the orchestra’s full range. Wood makes use of trombones to buttress top-to-bottom sonority – I’d thought there was a tuba there too, as there often was in recordings at the time, but perhaps not – and two of the movements, in particular, are representative of his sonorous way with the music. The Lament , the second movement, is richly done and the Andante mistico , the fifth movement, is notable for Wood’s colourful employment of winds.\u003c\/p\u003e\u003cp\u003eWhilst he’s certainly not as well-known as Stokowski for his Bach refashioning, both men shared a similar background. They were both London ex-organists who saw the potential for using the full capacity of the virtuoso symphony orchestra to project Bach to the widest audiences. Thus, Wood’s arrangement of the Toccata and Fugue in D minor, recorded in 1935 for Decca owes its existence to the conductor earlier having heard Stokowski’s 1927 Philadelphia recording. Stokowski remains the master of romanticised grandeur in Bach whereas Wood offers a sonorous but more regularised pulse. The smaller Wood arrangements are pert and dapper, notably in the use of pizzicati, and in the Wilhelmj-Wood ‘Air’ one hears a natural dignity of expression shorn of bloating or bombast. ‘Paul Klenovsky’ was Wood’s nom de plume for some of his arrangements and as you may remember from Wood’s recording of Brahms’ Haydn Variations, mistakenly reissued under Toscanini’s name, Klenovsky and Toscanini received the plaudits, and Wood only grudging credit.\u003c\/p\u003e\u003cp\u003eDignity and buoyancy are typical of Wood’s Bach. As for the Handel, the five choruses have been transferred in full for what’s believed to be the first time. Recorded in situ , they’ve always been problematic. The orchestra and chorus numbered 3,500 as Columbia boasted on the record labels, and the discs start and stop abruptly. Audience applause was retained the better to reinforce the live nature of proceedings. This really does represent the gargantuan tail-end of this particular oratorio performance tradition, and a conductor would need sets of traffic lights, not a baton, to keep any kind of discipline.\u003c\/p\u003e\u003cp\u003eNevertheless, Bach is the main focus of this disc, with Handel rounding out the baroque theme and serving as a valuable though fallible appendix. Mark Obert-Thorn’s transfers are first class and he’s done the best he can for the Crystal Palace sides. He’s also provided a one-page note.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJonathan Woolf\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC732.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThis release spotlights Sir Henry Wood (1869-1944) in the works of two\nBaroque composers with whom he was particularly associated, Bach and\nHandel. Wood was known as a popularizer of Classical music in his\ntime, creating and leading the Proms for many years; and to that end,\nhe was also an inveterate orchestrator of works written for other\ninstruments. We hear some of those here (at least one version of all\nof his Bach transcription recordings), although our program starts with\n\u003cem\u003eecht\u003c\/em\u003e-Bach in the form of two Brandenburg Concertos in which\nWood’s tempi are faster than the norm for the time, anticipating later\nperformance practice.\n\n\u003c\/p\u003e\n\n\u003cp\u003e\nDuring an era in which Bach’s orchestral music was so little known that\nGustav Mahler could assemble and re-orchestrate a suite with movements\ncherry-picked from Bach’s Second and Third Orchestral Suites, it was not\nsurprising that Wood would seek to extend Bach’s four suites by two more,\narranging a fifth drawn from three movements of Bach’s Trio Sonatas for\nOrgan, and a sixth comprised of works originally written for solo violin or\nkeyboard. Wood only inscribed one version of the latter during the final\ndays of acoustic recording, a set which did not last long in the catalog\nand has not previously been reissued. Also presented here is an electrical\nre-recording of the final movement (the \u003cem\u003ePreludio\u003c\/em\u003e from the Third\nViolin Partita) made four years later, which vividly demonstrates the\ndifference the microphone made to recordings.\n\u003c\/p\u003e\n\u003cp\u003e\nListeners to the Bach-Wood Suite might notice that some of the original\nkeys have been changed in order to better link the movements. What seems\nstranger at first glance is Wood’s decision to pitch the famous Air from\nthe Third Orchestral Suite in C rather than the original D. The answer is\nfound on the original record label, where the credit is given as\n‘Bach-Wilhelmj’, showing that Wood used Wilhelmj’s famous violin-piano\narrangement of the ‘Air on the G String’, written in C, as the basis for his\norchestration.\n\u003c\/p\u003e\n\u003cp\u003e\nWood, who began his career as an organist, wrote his transcription of\nBach’s \u003cem\u003eToccata and Fugue in D minor\u003c\/em\u003e in 1929 (perhaps not\ncoincidentally two years after Stokowski’s first recording of his own\ntranscription appeared) as a rebuke to critics and musicologists who took a\ndim view of his reworkings of Bach’s originals. Initially, he published\nit as the work of ‘Paul Klenovsky’, a non-existent Russian composer, as a\njoke on his detractors. As Wood expected, the arrangement received more\nenthusiastic reviews than those which had been credited to himself. In\n1934, he revealed his authorship, which was taken in good stride by some of\nthe reviewers who had been tricked, but reassessed downward by others.\nInterestingly, the labels of the Decca recording Wood made the following\nyear still credit Klenovsky.\n\u003c\/p\u003e\n\u003cp\u003e\nThe final selections on this release document a lost era of Handel choral\nperformance. During the 19th Century, a tradition of employing huge\nchoruses of to perform Handel’s oratorios had arisen in Britain, centered\non the Triennial Handel Festival performances held in the Crystal Palace,\nthe huge, glass-covered hall originally erected for the Great Exhibition of\n1851 and ultimately destroyed by fire in 1936. The festivals began in\n1862, with the final one held in 1926.\n\u003c\/p\u003e\n\u003cp\u003e\nBy coincidence, the adoption of electrical recording the previous year had\nenabled ‘live’ recordings to be made in large venues. For the 1926\nfestival, Columbia recorded nine sides of choruses from the\n\u003cem\u003e\nMessiah\u003c\/em\u003e, of which six were released. The balances are not ideal, and the\nrecordings start and stop abruptly at times. Moreover, it seems that even\nWood’s trademark long baton could not keep all of the sections of the\nchorus synchronized at all times (particularly apparent during ‘He trusted\nin God’ and ‘Let us break their bonds asunder’). Noteworthy too are the\nslow tempi (compared to contemporary, HIP-influenced practice) that were\nneeded in order to avoid utter chaos with such a large assemblage.\n\u003c\/p\u003e\n\u003cp\u003e\nSome individual choruses have been reissued on previous LPs and CDs; but as\nfar as could be determined, not all have previously been re-released. They\nare being presented together for the first time, with the progressively\ndropping pitch of the original records corrected through computerized pitch\nstabilization.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003eHENRY WOOD\u003c\/b\u003e conducts Bach and Handel\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Brandenburg Concerto No. 3 in G, BWV 1048\u003c\/span\u003e\u003cbr\u003e1. 1st Mvt. – [Allegro] (5:56)\u003cbr\u003e2. 2nd Mvt. – Adagio (0:11)\u003cbr\u003e3. 3rd Mvt. – Allegro (2:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 June 1932 in Abbey Road Studio No. 1, London ∙ Matrices: CAX\n6439-2 \u0026amp; 6440-1 ∙ First issued on Columbia LX 173\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e Brandenburg Concerto No. 6 in B flat, BWV 1051\u003c\/span\u003e\u003cbr\u003e4. 1st Mvt. – [Allegro] (5:25)\u003cbr\u003e5. 2nd Mvt. – Adagio ma non tanto (3:58)\u003cbr\u003e6. 3rd Mvt. – Allegro (5:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 June 1930 in Central Hall, Westminster ∙ Matrices: WAX 5617-2,\n5618-2, 5619-1 \u0026amp; 5620-1 ∙ First issued on Columbia LX 41\/2\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eJ. S. BACH\u003c\/b\u003e \u003cspan style=\"font-size: 14px;\"\u003e(\u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 14px;\"\u003earr. Wood\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 14px;\"\u003e)\u003c\/span\u003e Suite No. 6 for Orchestra\n\n\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\n7. 1st Mvt. – Prelude \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Prelude No. 3 in C sharp from Well-Tempered\nClavier Book I, BWV 848)\u003c\/span\u003e\u003c\/i\u003e (1:18)\u003cbr\u003e8. 2nd Mvt. – Lament \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Capriccio on the departure of a beloved brother,\nBWV 992)\u003c\/span\u003e\u003c\/i\u003e (2:49)\u003cbr\u003e9. 3rd Mvt. – Scherzo \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Scherzo from Partita No. 3 in A minor, BWV 827)\u003c\/span\u003e\u003c\/i\u003e\n(1:00)\u003cbr\u003e10. 4th Mvt. – Gavotte \u0026amp; Musette \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Gavottes I \u0026amp; II from English\nSuite No. 6 in D minor, BWV 811)\u003c\/span\u003e\u003c\/i\u003e (2:58)\u003cbr\u003e11. 5th Mvt. – Andante mistico \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Prelude No. 22 in B flat minor, BWV 867)\u003c\/span\u003e\u003c\/i\u003e\n(3:31)\u003cbr\u003e12. 6th Mvt. – Finale \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(Preludio from Partita for Violin solo No. 3 in E,\nBWV 1006)\u003c\/span\u003e\u003c\/i\u003e (3:22)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 February 1925 in the Clerkenwell Road Studios, London ∙ Matrices:\nAX 909-2, 910-2, 911-1 \u0026amp; 912-1 ∙ First issued on Columbia L 1684\/5\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e13. \u003cb\u003e J. S. BACH\u003c\/b\u003e \u003ci\u003e(arr. Wood\u003c\/i\u003e) Gavotte \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(from Partita No. 3 in E, BWV 1006)\u003c\/span\u003e\u003c\/i\u003e\n(4:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 June 1932 in Abbey Road Studio No. 1, London ∙ Matrix: CAX\n6442-2 ∙ First issued on Columbia LX 173\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e14. \u003cb\u003eJ. S. BACH\u003c\/b\u003e (\u003ci\u003earr. Wilhelmj-Wood\u003c\/i\u003e) Air \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(from Suite No. 3 in D, BWV\n1068)\u003c\/span\u003e\u003c\/i\u003e (4:21)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 16 June 1932 in Abbey Road Studio No. 1, London ∙ Matrix: CAX\n6441-1 ∙ First issued on Columbia LX 173\n\n\u003c\/span\u003e\u003c\/p\u003e\n15. \u003cb\u003eJ. S. BACH\u003c\/b\u003e (\u003ci\u003earr. Wood\u003c\/i\u003e) Preludio \u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003e(from Partita No. 3 in E, BWV 1006)\u003c\/span\u003e\u003c\/i\u003e\n(3:27)\n\n\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nRecorded 19 June 1929 in Central Hall, Westminster ∙ Matrix: WAX 5031-4 ∙\nFirst issued on Columbia L 2335\n\u003c\/span\u003e\u003c\/p\u003e\n16. \u003cb\u003eJ. S. BACH\u003c\/b\u003e (\u003ci\u003earr. Wood\u003c\/i\u003e) Toccata and Fugue in D minor, BWV 565 (8:30)\n\n\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\nRecorded 2 May 1935 in the Thames Street Studio, London ∙ Matrices: TA\n1781-2 \u0026amp; 1782-3 ∙ First issued on Decca K 768\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eHANDEL\u003c\/b\u003e Messiah, HWV 56\u003c\/span\u003e\u003cbr\u003e17. No. 4, “And the glory of the Lord” (3:46)\u003cbr\u003e18. No. 22, “Behold the Lamb of God” (3:37)\u003cbr\u003e19. No. 28, “He trusted in God that he would deliver him” (2:59)\u003cbr\u003e20. No. 33, “Lift up your heads, O ye gates” (4:11)\u003cbr\u003e21. No. 41, “Let us break their bonds asunder” (2:54)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 12 June 1926 in the Crystal Palace, London ∙ Matrices: WAX 1595\n(Track 17), 1597 (18), 1599 (19); WA 3413\/4 (20); and WAX 1600 (21), all\nTake 1 ∙ First issued on Columbia L 1768\/9 (17-19, 21) \u0026amp; D 1550 (20)\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eSir Henry J. Wood\u003c\/b\u003e, conductor\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e1-3, 13-14: \u003cb\u003eBritish Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e4-6: \u003cb\u003e Symphony Orchestra\u003c\/b\u003e\u003cbr\u003e7-12, 15: \u003cb\u003eNew Queen’s Hall Orchestra\u003c\/b\u003e\u003cbr\u003e16: \u003cb\u003e Queen’s Hall Orchestra\u003c\/b\u003e\u003cbr\u003e17-21: \u003cb\u003eHandel Festival Choir and Orchestra\n\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: \u003cb\u003eMark Obert-Thorn\u003cbr\u003e\u003c\/b\u003eSpecial thanks to the British Library (Jonathan Summers, Curator of\nClassical Music\/Karl Jenkins, engineer), Nathan Brown, Charles Niss and the\ncollection of the late Don Tait for providing source material\n\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eTotal timing: 76:20\n\u003c\/b\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cbr\u003e\n578a9379d1e540bd96d26f03a79628d9tab2_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\/PASC732.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC732.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":44064729170010,"sku":"wzs1789304031148","price":8.55,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064729202778,"sku":"czc1789304031149","price":8.35,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/henry-wood-conducts-bach-and-handel-1925-35---pasc732_1.jpg?v=1789304083","url":"https:\/\/vestorawear.shop\/products\/henry-wood-conducts-bach-and-handel-1925-35-pasc732","provider":"My Store","version":"1.0","type":"link"}