{"product_id":"horenstein-brahms-symphony-no-3-haydn-variations-tragic-overture-195657-pasc449","title":"HORENSTEIN Brahms: Symphony No. 3, Haydn Variations, Tragic Overture (1956\/57) - PASC449","description":"overviewfb55cd020f0643f08418183279e63a5f\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\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 3\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Variations on a Theme by Haydn\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTragic Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings, 1957 (Stereo) and 1956 (Ambient Stereo)\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 68:53 \u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJascha Horenstein, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestra of the Southwest German Radio (SWDR)\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre National de la Radiodiffusion Française\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fI can say without reservation that this is a stunning Brahms Third\n... the recording has outstanding dynamic and frequency response, realistic-sounding channel separation, and, in a word, sounds like it could have been recorded yesterday...578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eA minor discrepancy regarding the\ndates of these recordings is immediately apparent. Michael Jameson, who\nreviewed the Brahms No. 3 and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ndisc on Vox in 24:1 when it was originally released on CD in 2000,\ngives a recording date of 1958. Pristine’s program note quotes Jameson’s\nreview verbatim and in full. Yet, with absolute specificity, Pristine’s\nown documentation gives the dates of this studio recording as October\n20–30, 1957. I suspect that 1958 was the year that Vox released the\nrecording on LP, which is the date Jameson cites in his review, and\nwhich Pristine simply reproduces without anyone noting the inconsistency\nbetween the quoted review and its own documentation. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ncomes from a different source, a live radio broadcast by the Orchestre\nNational de la Radiodiffusion Française from November 19, 1956. The\nperformance was included in a nine-disc Music \u0026amp; Arts set that was\nthrice reviewed, by Henry Fogel and Peter Rabinowitz in 28:3 and by\nWilliam Zagorski two issues later in 28:5. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine’s recording details indicate that the Brahms Third and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e are in stereo, while the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis in ambient stereo, a term I believe is used to describe a mono\nrecording electronically enhanced to simulate a stereophonic effect. The\nsound of the two works that were recorded in true stereo is quite\nphenomenal. Undoubtedly, Andrew Rose’s XR Remastering played a\nsignificant role, but to be honest, the recording has outstanding\ndynamic and frequency response, realistic-sounding channel separation,\nand, in a word, sounds like it could have been recorded yesterday. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eAs for Horenstein’s participation, I\ncan say without reservation that this is a stunning Brahms Third. Having\njust finished reviewing a reissued, uninspiring Brahms symphony cycle\nby Mariss Jansons leading the Bavarian Radio Symphony Orchestra, I\nmarvel at the contrast between Jansons’s Brahms Third and Horenstein’s.\nThe latter’s tempos are faster and the performance potent with gripping\ndrama. Listen to Horenstein’s accelerando in the coda to the first\nmovement; he goes for the jugular. Listen, too, to the spooky,\nhaunted-house sound Horenstein draws from the orchestra at the beginning\nof the last movement. I never really made the connection before, but\nit’s a very similar effect to the one Brahms achieves in the eighth\nvariation of his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwhich follows the symphony on the disc. Horenstein’s Brahms Third is\nnot only one of the most exciting Brahms performances I’ve heard since\nreviewing Felix Weingartner’s reading of the symphony, also on Pristine,\nin 36:2; it’s also a reading that penetrates to the heart of the score\nand brings this difficult work into focus in a way that many present-day\nperformances don’t. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis equally perfectly paced and beautifully shaped. For some reason,\nhowever—exactly why I can’t explain, since both works were recorded in\nthe same studio over a 10-day period—the sound quality of the Variations\nisn’t quite as good as it is in the symphony. There’s a stridency to\nthe violins’ high notes and a bit of overload distortion in loud\npassages. But the minor sonic shortcomings fade into insignificance in\nthe face of a performance this good. Especially notable are the\nSouthwest German Radio Orchestra’s woodwinds, which are really fantastic\nin the tricky writing Brahms throws at them. My one major annoyance\nwith this \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHaydn Variations\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e—though\nI can’t fault Pristine, since it would have been that way on the\noriginal LP—is that the work is afforded a single track, so that the\nvariations are not accessible individually. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor a 1956 air check, the recorded sound of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eTragic Overture\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis reasonably good, but I can’t say it’s great. The orchestra sounds\nrecessed and flattened out across the stage, with little or no depth of\nfield to the sonic image. Moreover (what else is new?), the French\nplayers are not as disciplined as their German counterparts in the\nsymphony and Variations. There are moments here and there of intonation\ndisagreements in all sections—strings, woodwinds, and brass—though not\nall at the same time, and other moments of un-togetherness in the\nensemble as a whole. Horenstein nonetheless perseveres and rises above\nthe orchestra’s limitations to deliver a reading of urgent intensity. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eIf you can get past the less than\nideal sound in the Variations and the Overture, and the less than ideal\norchestral playing in the Overture—which shouldn’t be hard to do, given\nHorenstein’s commanding and inspired readings of these works—you have on\nthis Pristine release documents of a very great conductor who, due to\ncircumstances beyond his control, was never offered a permanent post,\nand who did not achieve the fame and glory accorded to other conductors\nof his time. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJerry Dubins\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:4 (Mar\/Apr 2016) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC449.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eJascha Horenstein conducts Brahms' Third Symphony\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e \"I can say without reservation that this is a stunning Brahms Third\" - Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eAs I suggested in the notes to Horenstein's 1957 Vox recordings of\nmusic by Berg and Schoenberg (PASC 445), these earliest of Vox's stereo\nrecordings indicate a degree of experimentation with the new concept of\nsoundstage and twin-channel recording. Both the Symphony and the\nVariations demonstrated an exceptionally wide image with a distinct\n\"hole in the middle\" as a result. A combination of digital phase\nalignment and a slight stereo narrowing (to about 85% of the original\nwidth) has done much to produce a far more satisfying and coherent sound\npicture in the two German recordings.\u003cli\u003e\n\u003cp\u003eXR remastering has, once again, done wonders for the tonal balance of\nthe orchestras in all three of these recordings, though at times it\nproved tricky to find an acceptable balance between full clarity in the\nupper woodwinds and a tendency in the violins to a somewhat wiry tone,\nalmost certainly as a result of microphone placement during recording\nthe Vox sessions. The Paris orchestra was considerably more \"forward\" in\ntone and this has been somewhat ameliorated. This mono broadcast\nrecording has been presented here in Ambient Stereo, preserving the mono\nimage whilst allowing a degree of ambient \"air\" around it. Once again\nI'm grateful to Misha Horenstein for source recordings and help and\nadvice on repertoire and background information.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cem\u003e\u003c\/em\u003e\u003cem\u003eAndrew Rose\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\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Symphony No. 3 in F major, Op. 90\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\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Variations on a Theme by Haydn, Op.56\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;\"\u003eOrchestra of the Southwest German Radio (SWDR)\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eStereo studio recordings, 20-30 October 1957\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cspan class=\"bodybigblue\" style=\"font-size: small;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cspan\u003e\u003cb\u003eBRAHMS\u003c\/b\u003e  Tragic Overture, Op.81\u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cspan\u003eOrchestre National de la Radiodiffusion Française\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive broadcast, 19 November 1956\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\n\u003c\/li\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\/PASC449.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC449.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":44064781205594,"sku":"vkp1789304873784","price":11.14,"currency_code":"USD","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":44064781238362,"sku":"dhk1789304873785","price":9.19,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":44064781271130,"sku":"myp1789304873786","price":7.62,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/horenstein-brahms-symphony-no-3-haydn-variations-tragic-overture-195657---pasc44_1.jpg?v=1789304880","url":"https:\/\/vestorawear.shop\/products\/horenstein-brahms-symphony-no-3-haydn-variations-tragic-overture-195657-pasc449","provider":"My Store","version":"1.0","type":"link"}