{"product_id":"horenstein-r-strauss-metamorphosen-sinfonia-domestica-195361-pasc428","title":"HORENSTEIN R. Strauss: Metamorphosen, Sinfonia Domestica (1953\/61) - PASC428","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\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\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMetamorphosen\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSinfonica Domestica\u003c\/span\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;\"\u003eStudio and live recordings · 1953 and 1961\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 71:20\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;\"\u003eOrchestre National de la Radiodiffusion Française\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBBC Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fPristine Audio continues to add to the Horenstein discography with this very important release.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePristine Audio continues to add to the Horenstein discography with this very important release. \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\nrecorded for LP by EMI in 1953, and issued on the Pathé and Angel\nlabels at the time, but has never been reissued in any form, so this is\nits CD debut. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonia domestica \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\na BBC broadcast that has never been available, and even more\nimportantly it is the only performance of this work by Horenstein to be\nissued. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThere is a live \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003efrom 1964 with the same orchestra, issued by Music \u0026amp; Arts as part of a nine-disc set that I reviewed in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e28:3,\nbut frankly this studio recording is the more successful reading.\nHorenstein and the engineers managed a perfect balance between the 23\nsolo string parts, and Pristine’s XR (ambient stereo) transfer brings\nout a depth and richness to the sound that was lacking in the original.\nHorenstein captures perfectly the bittersweet nostalgia and sense of\nregret, even desolation, that is inherent in this music. With his sparse\ntextures and sensitive phrasing, Horenstein’s performance makes a\nstrong impact. \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\"\u003eDomestic Symphony \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\nnot one of Strauss’s most tautly constructed symphonic poems, and it\ncan easily sound disjointed and wander aimlessly. But when well\nperformed it can be one of the composer’s most effective and powerful\nscores. The source for this release is an off-the-air taping of a BBC\nbroadcast, which suffers from a bit of dropout at the outset but gets\nbetter as it goes along, and in the end it makes for acceptable\nlistening for any collector used to the limitations of “historic”\nrecordings. What makes it worth getting used to is that usual\ncombination of Horenstein strengths: rhythmic tautness, careful\nattention to balance and color, and tempo relationships that seem\nunerringly right. This latter is not only a matter of actual tempo\nchoices, but also a matter of smooth and perfectly judged transitions.\nHorenstein projects true and touching sentiment in the love music\nwithout turning mawkish, \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eThere is plenty of competition for the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestica\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nfrom historically important recordings by Strauss himself and\nFurtwängler to fine modern versions by Mehta, Karajan, Reiner, Szell,\nand Maazel. I will not try to make the case that Horenstein’s is\nsuperior to all of them, but I will maintain that anyone interested in\nthe work should hear this recording. Horenstein finds the perfect\nbalance between maintaining structural integrity and giving the\nappearance of spontaneity, and the BBC Symphony plays as if possessed\nthroughout. At 44:33, this is one of the slower performances in the\ncatalog, but it never feels slow because of the strong rhythmic pulse\nthat underlies even the lyrical sections. Horenstein maintains tension\nover long spans of generous phrases, and ties everything into a unified\nwhole because he never loses sight of the overall shape. Much gratitude\nis due Pristine Audio for this immensely gratifying release. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"Br\"\u003e\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eHenry Fogel\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eJascha Horenstein’s name has been one I\nhave known, and he a conductor to conjure with, since autumn 1954. I\nwas 17, entering college, and my world of classical music was expanding\nrapidly, in multitudes. Through contact with classmates, instructors, in\nclasses, and through a suddenly available expanded base of recordings, I\nand my peers were inundated; it was a thrilling time. We learned new\nmusic, and discovered performers new to us. We were exposed to a broader\nbase of LP recordings, and more easily afforded lower cost labels.\nWestminster Records sold LPs for $2.99 and so we acquired the recordings\nof conductor Hermann Scherchen, pianist Paul Badura-Skoda, and many\nothers. From Vox Records came its own stable of soloists, and a\nconductor named Horenstein. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIn those years we were discovering\nMahler and Bruckner, and Horenstein recorded both composers (by that\ntime he had three decades’ experience) as well as dynamic Beethoven (the\nThird and Ninth symphonies stand in memory; I still own the former),\nand a positively clairvoyant Brahms Third. The orchestras could be\nragged—one suspected rehearsals were short and retakes few—but clearly,\neven to our youthful ears, a master was at work. Comparing Scherchen and\nHorenstein in Mahler and Beethoven caused many a late-night dormitory\ndiscussion, as did analysis of Horenstein’s Bruckner as against the\nbetter-recorded, better-played (and more costly) Bruckner recordings of\nvan Beinum and Knappertsbusch on Decca and Philips. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eIt must have been at the end of 1954 or\nvery early 1955 that I entered our local record shop and saw a new\nAngel release, with Horenstein conducting two works which, in that day,\nqualified as exotica: Stravinsky’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphony of Psalms\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and the Strauss \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nboth recorded by EMI in Paris in 1953. Angel offered a “thrift pack”\nfor a mere $3.75, so I settled for the new release without notes or the\nhandsome album cover. I have not regretted the purchase these six\ndecades. But I am incredibly grateful for Andrew Rose’s efforts in his\nremastering of this never first-rate EMI taping. (The Stravinsky has\nbeen previously reissued and reviewed in these pages [PASC 418].) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThis \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nutilizing 23 strings Horenstein selected from the Orchestra de la\nRadiodifussion Francaise, was not, as Irving Kolodin somewhat waspishly\nnoted in his 1954 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eOrchestral Music: The Guide to Long Playing Records\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n“the first (that was contained in a 78 rpm version by Karajan) nor the\nlast word on this subject, but an intermediate one that will pay close\nattention.” Indeed, not the last, but this listener has been paying\nclose attention for these many years, and can hear the recorded\nperformance now in very decent sonics thanks to Pristine Audio’s issue.\nThe performance is deliberate but does not seem slow except in the\nconcluding section of the work. The opening is gripping and the\nconductor seems sure of purpose in leading the small band of\ninstrumentalists. Despite having been individually chosen, they are not,\ntruth to tell, the equal in virtuosity to others who have recorded this\nmusic, but they are good enough and the performance as a whole has\ngreat emotional thrust. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI know I heard the 78-rpm recording to\nwhich Kolodin referred in his comments, but all that I recall is how\nmuch the side breaks disturbed me in this composition. That, from a\nteenage ingrate who had reached physical maturity hearing only shellac\ndiscs. The greatest impact of this Horenstein recording, 60 years ago,\nwas to be able to hear the composition uninterrupted. In years that\nfollowed, I acquired the incredible Furtwängler performance from 1947,\nalmost three and a half minutes faster than Horenstein. Then came\nKarajan’s remake from the early 1970s, with string playing from his BPO\nwhich puts Furtwängler’s violins to shame—or maybe not, since the older\nperformance totally wins points on expression. Add to that another\nfavorite recording, the EMI release by Kempe and the Dresden\nStaatskapelle, recorded December 1972. Kempe, at a hair over 25 minutes,\nis two minutes slower than Furtwängler, and about 90 seconds faster\nthan Horenstein. Karajan is yet another minute slower than Horenstein.\nIn this work, tempo relationships are key. It’s not the duration of the\nperformance, but what it tells us. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe same may be said of the massive \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSymphonia domestica\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, along with \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eEin Heldenleben\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ethe Alpine Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\none of Strauss’s three longest orchestral works. This all-knowing\ncollege student dismissed the work out of hand, early on. Our college\nlibrary had a copy of a Vox LP (PL 7220) which purported to be a 1944\nVienna concert performance with the composer leading the Philharmonic.\nPerhaps; it also may have been a misattributed 1944 performance by\nFurtwängler. It was a dull-sounding record, and I’m not sure if we ever\nsearched out Decca’s 1952 commercial release with Clemens Krauss leading\nthe VPO in studio conditions (a much praised monaural record, not known\nto me). In November 1956 Reiner recorded the piece in Chicago and RCA\nreleased a dull-sounding monaural LP early the next year. A stereo\npressing followed in due course. This was and remains one of the few\nReiner discs to which I do not owe life-long devotion. I can’t give a\ngood reason. As was once said to me: Apathy is apathy. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eMy love affair with the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestic Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nbegan with my discovery of George Szell’s studio recording with his\nCleveland Orchestra, recorded on a single day in January 1964, in a\nCleveland venue not otherwise identified by Sony. At 41:25, this is\nprobably the fastest performance of the work ever recorded, and to my\near the most persuasive. To hear the first chair players of the great\norchestra of that day—Adelstein (trumpet), Sharp (flute), Marcellus\n(clarinet), Bloom (horn), and Druian still in the concertmaster’s\nchair—in a work such as this with so many expressive solo “licks,” is an\nexperience to be treasured. At the other timing extreme is Maazel with\nthe VPO in a live performance recording (DG) which takes 44:26. In his\ncomments on the Furtwängler performance of this work the late John\nArdoin observes that “the work overstays its welcome and offers several\nendings, rather than one.” He also comments on the lavishness of the\nscore, and that it at many points reminds one of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nTrue, and both of those characteristics come to mind in hearing the\nMaazel disc. The inflections the VPO brings to the score are unique and\nmay be almost beyond the control or influence of a conductor. I can’t\nresist. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eWhat of the Horenstein performance? It\nleans more to the deliberation and lushness of Maazel’s recording than\nto the clarity and tautness of Szell. What it has in common with Szell\n(who makes you unaware of the several endings which turn out to be not\nsuch), is that Horenstein sees the work straight through. One has the\nfeeling that he knows precisely where this is heading and where it will\nend. There is control from the podium but not domination. The reins are\nnot taut, but they are never dropped. And, amazingly, this is the most\ndeliberate performance yet, another half minute beyond Maazel. But, it\nis not slow at all. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe conductor’s cousin, Misha, in a\ncomment reprinted in the notes for this release, observes that it is\nalmost unimaginable what Rose and Pristine Audio have accomplished with\nthe sonics here. The first 10 or so minutes seem a trifle less forward,\nbut otherwise, and ignoring a few instances of drop-out (only one really\nsignificant), you forget for long stretches of time you are listening\nto an off-line broadcast from 1961. The climax of the work comes through\nwith particular brilliance. In an email exchange with the writer, Misha\nHorenstein also commented that what impresses him is the incredible\ncommitment of the BBC orchestral players. I agree. They are giving their\nall here, and the edge of the seat concentration is thrilling. How\noften can they have played this music? Some of them may have been around\nwhen Strauss conducted it in London in 1947, a year before his death,\nbut not many, and performances of the piece were not (are not) frequent.\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eA historical issue need not be\n“ranked” or evaluated in competition with the currently available crop\nof commercial issues, but this disc can be placed in context. I continue\nmy loyalty to the Szell and Maazel stereophonic releases of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestic Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, and to the Furtwängler and Kempe recordings of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eMetamorphosen\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nas well as to the second of Karajan’s three recordings (DG). But I can\nnow hear an old favorite of this threnody for strings in better sonics\nthan I ever imagined possible, and can hear a unique view of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDomestic Symphony\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwith a great conductor working at white heat and an orchestra inspired\nto play at the very best—all for the cost of a single disc. Once again,\nPristine Audio and Andrew Rose have moved from strength to strength, and\ndeserve our thanks. \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\n\u003cb\u003e\u003c\/b\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Forrest\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 38:4 (Mar\/Apr 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC428.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eRare Horenstein Strauss: first ever release for Sinfonia Domestica\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"Much gratitude is due Pristine Audio for this immensely gratifying release\" \u003cbr\u003e- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cbr\u003e\u003cp\u003eJascha Horenstein made three records for EMI and its affiliates; his\n1953 Metamorphosen, coupled with Stravinsky's Symphony of Psalms (PASC\n418) was one. This is its first reissue in any format - despite it\nwinning a prestigious Grand Prix du Disque in 1954. That original\nrecording was reasonably well-made but a lack of depth meant the lower\ninstruments tended to get somewhat lost amidst the denser textures of\nthe piece. XR remastering has helped here in clarifying the multiple\nvoices of the 23 strings, adding body to the recording as well as a\nsense of dimension.\u003c\/p\u003e\n\u003cp\u003eThe 1961 BBC broadcast of Sinfonia Domestica originated in an off-air\ntape recording of a BBC Home Service broadcast. It is the first time a\nrecording of Horenstein conducting this work has been made available,\nand once more we are grateful to the conductor's cousin, Misha\nHorenstein, for access to his extensive archives. The fidelity of the\nrecording is lower than that of the earlier EMI LP, and in addition\nthere was a degree of tape dropout to battle against during the first\nten minutes or so of this 45-minute performance.\u003c\/p\u003e\n\u003cp\u003eThe sound quality throughout is, in this remastered version, a\nsignificant step up from the original source, as Mr. Horenstein\nacknowledged on first hearing it: \"I agree that the first section is\nsonically more subdued than the later parts, but taken as a whole what\nyou've managed to do with it is pretty impressive, bravo!\" \u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\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\u003eR. STRAUSS  \u003c\/b\u003eMetamorphosen\u003c\/span\u003e\n\u003cp\u003eOrchestre National de la Radiodiffusion Française\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded 30 June, 1953\u003cbr\u003eThéâtre des Champs-Elysées, Paris\u003cbr\u003eIssued as Pathé DTX.138 and Angel 35101\u003cbr\u003eSpecial thanks to Donald Clarke for the loan of source recording\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFirst reissue since original release\u003c\/b\u003e\u003c\/p\u003e\n\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eR. STRAUSS  \u003c\/b\u003eSinfonia Domestica\u003cspan style=\"font-size: small;\"\u003e, Op. 53\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e\n\u003cp\u003eBBC Symphony Orchestra\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJascha Horenstein\u003c\/b\u003e, conductor\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eLive broadcast recording, 19th February 1961\u003cbr\u003e\"Sunday Symphony Concert\", BBC Home Service\u003cbr\u003eBBC Maida Vale Studio 1, London\u003cbr\u003eFrom the Misha Horenstein collection\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eFirst ever release of Horenstein conducting this work\u003c\/b\u003e\u003c\/p\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\/PASC428.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC428.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064780845146,"sku":"kgq1789304863558","price":11.69,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064780877914,"sku":"zgk1789304863559","price":10.21,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064780910682,"sku":"uyo1789304863560","price":8.55,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064780943450,"sku":"uvb1789304863561","price":7.1,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/horenstein-r-strauss-metamorphosen-sinfonia-domestica-195361---pasc428_1.jpg?v=1789304870","url":"https:\/\/vestorawear.shop\/products\/horenstein-r-strauss-metamorphosen-sinfonia-domestica-195361-pasc428","provider":"My Store","version":"1.0","type":"link"}