{"product_id":"reiner-conducts-bach-1949-53-pasc425","title":"REINER conducts Bach (1949-53) - PASC425","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Six Brandenberg Concertos, BWV.1046-1051\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e The Four Orchestral Suites, BWV.1066-1069\u003c\/span\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\u003cbr\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 recordings · 1949-53\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eProducer and Audio Transfer Engineer: Mark Obert-Thorn\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eCover artwork based on a photograph of Fritz Reiner and an engraving of J. S. Bach\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 3hr 9:54\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eSoloists and Chamber Group\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eRCA Victor Orchestra\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Reiner, \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"body\"\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003c\/span\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReiner’s Bach is awash in delicious orchestral colors and subtle nuances of phrasing578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eI first came in contact with Fritz\nReiner’s Bach in 1979, when my Harvard roommate—Leonard Bernstein’s\ngodson—showed up with one of the LPs of the 1949 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburgs\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. Now we have the complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburgs \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eplus\nthe 1952–53 orchestral suites on CD, and I have to say they are an\nessential part of the Reiner discography. As Reiner was born in 1888,\none might expect him to partake of the German Romantic tradition in\nBach, perhaps best exemplified by Willem Mengelberg. Actually, Reiner’s\nBach is unusually forward-looking for its period, especially the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es.\nThe one notable Romantic touch throughout all these recordings is a\ntendency to end movements with a sizable ritard. The absence of a\nRomantic outlook is not to say that Reiner’s Bach lacks warmth. In fact,\nthese are some of the most emotional performances of the concertos and\nsuites I’ve ever heard. Pablo Casals said that Bach should be played\nlike Chopin, in other words, passionately. Reiner agreed. If you find\nthis surprising from the stern-faced martinet who dominated orchestras,\nit’s well to recall that Reiner married three times and fathered a child\nout of wedlock. As with Sergei Rachmaninoff, an icy exterior masked a\ntinderbox of emotions. Reiner’s Bach is awash in delicious orchestral\ncolors and subtle nuances of phrasing. He was in his 60s when he made\nthese recordings, and they are the fruit of a lifelong search by a\nmaster conductor for the sound and meaning of Bach. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eReiner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\nare played by a small chamber group of strings joined by wind and brass\nsoloists, plus a barely audible harpsichord continuo performed by the\ngreat Fernando Valenti. About another decade would pass before Max\nGoberman made the first recording of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es\nfeaturing one player per part (Pristine should consider reissuing the\nvast trove of great stereo recordings by Goberman). You might question\nwhy a titan of the orchestra like Reiner should consider directing these\nconcertos with an ensemble that clearly could have performed them\nwithout a conductor. I think Reiner particularly enjoyed the challenge\nof taking a small group of instrumentalists and getting them to play\nwith the maximum of expressivity. For example, we have his wonderful\n1956 Chicago recording of Richard Strauss’s music for \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe bourgeois gentilhomme\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nfeaturing less than 40 players. At the time of his death, Reiner was\nscheduled to record Mozart’s Serenade No. 10 for 13 winds. This was a\ntype of music-making Reiner excelled at. My high school music teacher\nused to say there is nothing to conducting Bach; you just start and it\ngoes. Reiner’s Bach, like Leopold Stokowski’s very different take on the\ncomposer, belongs to a wholly different level of sentiment. For\ninstance, Oscar Levant in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nwrites of Reiner’s pursuit of the smallest audible string sounds,\nplayed with a bowing Levant calls “Reiner-paralysis.” It’s there in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eReiner’s First \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis a majestic conception, with beautifully integrated, relaxed tempos. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis particularly flexible and searching, as emotional a miniature in its way as the Intermezzo from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eCavalleria rusticana\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nIn No. 2, trumpeter William Vacchiano, Gerard Schwarz’s teacher, makes a\nglorious sound. Reiner here weaves a tapestry of intricate rhythms and\npiquant colors. The first movement of No. 3 goes at a stately tempo,\nlike a courtly dance. Reiner gets the maximum variation in dynamics from\nhis strings. The last movement features a whirlwind of spiccato bowing\nfrom the violins. No. 4’s opening movement is wonderfully airy and\nbright, like a spring breeze. The string tone in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAndante \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis reminiscent of Vivaldi, whose \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFour Seasons \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eonly recently had been recorded for the first time. Reiner revels in the counterpoint of the concluding \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePresto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nSylvia Marlowe substitutes for Valenti in the Fifth Concerto, giving an\nexceptionally fluid performance in the first movement, including use of\na lute stop, on a beautiful harpsichord. One wonders how much Reiner\nwas involved in the slow movement, where the three soloists, heard by\nthemselves, play with gorgeous ensemble. I’ve always felt that the last\nmovement contains a quote of the aria “Bring Back My Acis,” from\nHandel’s opera \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAcis and Galatea\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nReiner gets an exceptionally rich string sound in the last concerto.\nWilliam Lincer and Nicholas Biro are listed as solo violinists, rather\nthan violists, on the album cover, when in fact there are no violins in\nthe piece. Lincer was principal viola of the New York Philharmonic,\nwhere he made a superb recording of Berlioz’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eHarold in Italy \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith Leonard Bernstein. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe RCA Victor Orchestra in the\norchestral suites is a fairly large ensemble, although not with as many\nstrings as a full symphony orchestra. Reiner adopts slow, stately tempos\nfor the introductory sections of the four overtures, but for the most\npart his speeds are fairly sprightly. Yehudi Menuhin said that the test\nof a performance of the suites is whether you feel like dancing to them.\nReiner certainly meets this requirement. The Overture of the First\nSuite has a glorious, burnished sound, with a more audible harpsichord\ncontinuo than in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es.\nIn the Forlane, Reiner secures an undulating feel like a flowing\nstream. Flutist Julius Baker is as much the star of the Second Suite as\nthe conductor is. Reiner revels in the suite’s autumnal colors. He\nalready had recorded it once, in Pittsburgh in 1946. The Sarabande\nevinces a depth of feeling drawn from the dance’s Renaissance roots. In\nthe second Bourée, the harpsichordist sensitively uses the lute stop to\naccompany Baker. If you wish to explore the art of Julius Baker further,\nI would recommend his recording of Mozart’s Second Flute Concerto with\nFelix Prohaska. In the middle of the Third Suite’s Overture, Reiner\nemploys a solo violin in place of the whole section, adding to the\nrhythmic verve. The continuo instrument changes to organ in the famous\nAir, helping, along with pizzicato basses, to make this an especially\ntender moment. Only the sailors of the H. M. S. Pinafore could have\ndanced the concluding Gigue at the breathless tempo Reiner sets for it.\nThe opening of the Fourth Suite’s Overture is especially slow, with a\nsonority reminiscent of a Renaissance wind band. Reiner’s tempo for the\nmain section is jaunty, conjuring up visions of Fred Astaire. The second\nBourée in Reiner’s treatment feels like the work of Lully or Marais.\nFor the second Menuet, Reiner chooses one instrument per part, along\nwith the harpsichord’s lute stop—decades before the Akademie fur Alte\nMusik, Berlin would make the first one instrument per part recording of\nall the suites. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003ePristine has provided me with a mono\nrelease of these recordings, although there are downloads available in\nambient stereo. Mark Obert-Thorn has secured agreeable sound throughout.\nI have one of the Harmony LPs Obert-Thorn used as source material for\nthe \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBrandenburg\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003es.\nThe LP sounds crisp and bright. Obert-Thorn has gotten a somewhat\nwarmer tone out of it than I would have expected, along with the\nexcellent balance typical of Columbia’s 30th Street Studio in New York.\nThe resonant, dark acoustic of the Manhattan Center contributes to the\nburnished sound quality of the suites. If you want these works on period\ninstruments, I would recommend Philip Pickett in the concertos and\nTrevor Pinnock in the suites. Should you require stereo versions on\nmodern instruments, my preference for the concertos is Alexander Titov\ndirecting Orchestra “Opera” on High Definition Classics. In the suites, I\nlike Yehudi Menuhin. There is nothing quite like Reiner, though.\nEverything about his performances bespeaks a technical expertise and\nemotional connection rarely found in this music. These are\ninterpretations to live with. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e\u003cbr\u003eThis article originally appeared in Issue 38:5 (May\/June 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC425.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFritz Reiner's brilliant Bach: The 6 Brandenburg Concertos and The 4 Orchestral Suites\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"A virtuoso reading, incisive, with sparkle and rhythmic pro­pulsion\" - The Gramophone\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eA casual observer looking over Fritz Reiner’s pre-Chicago discography\nmight well come to the conclusion that he was as much of a specialist\nin Bach as he was in the works of Richard Strauss, at least if measured\nby LP sides.  Besides the three discs devoted to the Brandenburg\nConcertos and the two featuring the Orchestral Suites, Reiner had\nrecorded an earlier version of the B minor suite in Pittsburgh,\noriginally coupled on 78s with Lucien Cailliet’s transcription of the\n“Little” Fugue in G minor (forthcoming on Pristine).  Yet, after\nbecoming music director of the Chicago Symphony, he made only one\nfurther Bach recording, the F minor piano concerto with André\nTchaikowsky, which was not released until years after Reiner’s death.\u003c\/p\u003e\u003cp\u003eNevertheless, as Philip Hart relates in his biography of the\nconductor, “Reiner experimented restlessly with the Baroque.”  From his\ndays in Dresden onward, he would include a harpsichord continuo in an\nera when it was not yet fashionable.  In his 1946 Pittsburgh Bach B\nminor suite, “he added a lower octave to the bass to secure a more\n‘symphonic’ nineteenth century sonority.”  But in the recordings from a\nfew years later presented here, he strove for lighter textures.  In\nthis, he was helped by the small forces employed for the Brandenburg\nConcerto recordings (four violins, two violi, two celli, two basses,\nwith other personnel as needed) and by the spare acoustics of Columbia’s\n30th Street Studio, which gave a close-up intimacy to the proceedings. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eHis soloists in the Brandenburgs included the cream of New York\ninstrumentalists.  Violinist Hugo Kolberg had been Reiner’s\nconcertmaster in Pittsburgh; trumpeter William Vacchiano and violinist\nWilliam Lincer were playing in the Philharmonic, while oboist Robert\nBloom and flutist Julius Baker were at the time teaching and\nfreelancing.  Landowska pupil Sylvia Marlowe was harpsichord soloist in\nthe Fifth Brandenburg and Fernando Valenti played continuo elsewhere.    \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe style, both here and in the later Orchestral Suite recordings,\nwas what Hart called “a modified ‘authentic’ approach to Bach”, played\nwith modern instruments but aiming at Baroque textures and tempi.  This\nwas a period of transition for Baroque performance in general, between\nthe monumental Romantic approach heard in, for example, Stokowski’s\nBrandenburg Second (1929) and Furtwängler’s Brandenburg Third (1930) and\nthe period instrument revival that would come to the fore in the\n1960s.  Seen in the context of their time, Reiner’s Bach recordings were\non the progressive side of Baroque interpretation.  Still, he could not\nresist allowing some string slides in the Third Suite’s famous Air; and\nthe Second Suite, while perhaps lighter in texture than the earlier\nPittsburgh version, is nonetheless markedly slower in tempo.\u003c\/p\u003e\u003cp\u003eWhile Columbia kept the Brandenburgs in the catalog throughout the\n1950s on three successive imprints (full-price Masterworks, then on\ntheir budget Entré and Harmony series), they have not seen an “official”\nreissue in over half a century.  French RCA re-released the Suites on\nLP in the early 1980s, but not subsequently on CD.  The present\ntransfers were made from Harmony LPs for the Brandenburgs and the French\npressings of the Suites.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\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\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eThe Six Brandenburg Concertos \u003c\/span\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003e\n\u003cp\u003eSoloists and Chamber Group\u003cbr\u003eConductor: \u003cb\u003eFritz Reiner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded in the Columbia 30th Street Studio, New York City\u003cbr\u003eFirst issued on Columbia ML 4281 through 4283\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 1 in F, BWV 1046\u003c\/b\u003e \u003cbr\u003eHugo Kolberg (solo violin); Weldon Wilbur (solo horn); Robert Bloom (solo oboe). \u003cbr\u003eRecorded 28 October 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 2 in F, BWV 1047 \u003c\/b\u003e \u003cbr\u003eWilliam Vacchiano (trumpet); Felix Eyle (solo violin); Julius Baker (flute); Robert Bloom (oboe). \u003cbr\u003eRecorded 2 December 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 3 in G, BWV 1048 \u003c\/b\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003eRecorded 26 October 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 4 in G, BWV 1049 \u003c\/b\u003e\u003cbr\u003eHugo Kolberg (solo violin); Julius Baker, Ralph Eichar (Tracks 10 \u0026amp; 12) and Frederick Wilkins (Track 11) (flutes). \u003cbr\u003eRecorded 21 October 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 5 in D, BWV 1050 \u003c\/b\u003e\u003cbr\u003eSylvia Marlowe (harpsichord); Hugo Kolberg (solo violin); Julius Baker (flute). \u003cbr\u003eRecorded 3 November 1949.\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eBrandenburg Concerto No. 6 in B flat, BWV 1051 \u003c\/b\u003e\u003cbr\u003eWilliam Lincer and Nicholas Biro (solo violins). \u003cbr\u003eRecorded 27 October 1949.\u003c\/p\u003e\n\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cli\u003e\n\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBACH  \u003c\/b\u003eThe Four Orchestral Suites\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eRCA Victor Orchestra\u003cbr\u003eConductor: \u003cb\u003eFritz Reiner\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded in Manhattan Center, New York City \u003cbr\u003eFirst issued on RCA Victor LM-6012\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite No. 1 in F, BWV 1066 \u003c\/b\u003e\u003cbr\u003eRecorded 14 October 1952\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite\u003c\/b\u003e\u003cb\u003e No. 2 in B minor, BWV 1067 \u003c\/b\u003e\u003cbr\u003eJulius Baker (flute)\u003cbr\u003eRecorded 30 April 1953\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite\u003c\/b\u003e\u003cb\u003e No. 3 in D, BWV 1068 \u003c\/b\u003e \u003cem\u003e \u003c\/em\u003e\u003cbr\u003eRecorded 8 October 1952\u003c\/p\u003e\n\u003cp style=\"padding-left: 30px;\"\u003e• \u003cb\u003eOrchestral Suite\u003c\/b\u003e\u003cb\u003e No. 4 in D, BWV 1069 \u003c\/b\u003e\u003cbr\u003eRecorded 23 October 1952\u003c\/p\u003e\n\u003c\/li\u003e\u003cp\u003e\n\u003cbr\u003e\n\u003cbr\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\/PASC425.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC425.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 16-bit FLAC","offer_id":44064788119642,"sku":"ftm1789305026911","price":26.04,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064788152410,"sku":"gjp1789305026912","price":23.74,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064788185178,"sku":"kha1789305026913","price":23.81,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/reiner-conducts-bach-1949-53---pasc425_1.jpg?v=1789305035","url":"https:\/\/vestorawear.shop\/products\/reiner-conducts-bach-1949-53-pasc425","provider":"My Store","version":"1.0","type":"link"}