{"product_id":"rostropovich-chamber-music-vol-2-1948-56-pacm092","title":"ROSTROPOVICH Chamber Music, Vol. 2 (1948-56) - PACM092","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\" type=\"_moz\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e String Trio No. 1\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHANDEL\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Larghetto from Sonata in D\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Stücke in Volkston Nos. 1 \u0026amp; 4\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Stimmungsbilder No. 2\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSINDING\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Presto from Suite im alten Stil \u003c\/span\u003e\u003cbr\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-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio Recordings · 1948-56\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 60:09 \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eMstislav Rostropovich, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonid Kogan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eRudolf Barshai, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eVladimir Yampolsky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano \u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-family: Arial,Helvetica,sans-serif\"\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThis is great stuff! Strongly recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis is great stuff! I’ll admit that for the first\nminute or so of the Beethoven Trio, recorded in Moscow in 1956 and\ntransferred from Melodiya ND 03458-03459, it sounds like the original\nrecording engineer was twiddling the knobs to try optimize the balance\nand aural perspective, because first the players sound distant, then\nclose up, then soft, and then loud. But once the sonic image settles\ninto a stable and comfortable place, the performance one is treated to\nis simply magnificent. Put three of the 20th century’s top Russian\nstring players—Leonid Kogan, Rudolf Barshai, and Mstislav\nRostropovich—together, and you were bound to have a surefire success.\nThe sharp definition and unanimity of articulation one hears in the\nplaying are simply amazing; and the up-tempo, intensely focused, and\nlyrical largesse of this reading—where the music calls for it—lend this\nearly work by Beethoven a stature it doesn’t always achieve in lesser\nhands. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis is not the same performance of the trio by\nthese three players that was recorded live in 1960 at the Prague Spring\nFestival, and which can be heard on a Supraphon CD. It is, however, the\nsame performance that was reviewed by William Zagorski in 16:3, when it\nwas released on Melodiya 10-00552. That review may be a bit confusing\nbecause it covers two separate CDs (the other being Melodiya 00550),\nwhich parses the material differently across the two discs than how it’s\nprogrammed on this Pristine release. But if you search out Pristine’s\ncompanion to this album, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRostropovich Chamber Music Volume 1\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nyou’ll find some (not all) of the works included on the two Melodiya\nCDs. Unfortunately, I haven’t heard either of those discs, so I can’t\ntell attest to how they compare to this “XR” Pristine remastering, but I\ncan attest to the phenomenal results Andrew Rose has achieved for this\nrelease. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe remainder of the program is given over to\nRostropovich and Vladimir Yampolsky in a sequence of excerpts from\nlarger works, recorded between 1948 and 1953. Three of them, of\ncourse—the Handel, Strauss, and Sinding—are arrangements for cello from\ntheir original instrumentation. The first movement of the Sinding Suite,\na perpetual motion piece, originally for violin, is very effective on\ncello, and an excellent virtuoso vehicle for displaying Rostropovich’s\nimpressive technique. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis is a most enjoyable album, and another credit to Andrew Rose and his Pristine label. Strongly recommended. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eJerry Dubins \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM092.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eMore brilliant and rare Soviet chamber music recordings by Rostropovich\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\u003cem class=\"bodymid\"\u003eBeethoven String Trio with Kogan \u0026amp; Barshai, plus short pieces by Handel, Schumann, R. Strauss \u0026amp; Sinding \u003c\/em\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThe original records containing these recordings\nprovide an excellent example of the rapid progress made in recording\ntechnology with the advent of tape and the LP, with the \u003cem\u003eTrio\u003c\/em\u003e\nrecording a significant step forward from the sound of the earlier short\npieces. The sound quality buried in those 1956 grooves in particular\nturned out to be astonishingly good when released by an XR remastering.\nCertainly it is only the mono source that now gives away the age of the\nrecording - though for most listeners I heartily recommend the Ambient\nStereo edition and the sense of space around the instruments this\ncreates.\u003cp class=\"western\"\u003eThe last-minute discovery of a 1993 Fanfare review\nanswers some questions regarding recording dates with Yampolsky, the\ninitial dullness of which has here been improved upon quite\nsuccessfully. Elsewhere the reviewer bemoans the incomplete nature of\nthese odd movements. I suspect the recordings were made to fit odd 78rpm\nsides and the works in question were never recorded in their complete\nforms. Regardless, they turn out to be older than I imagined, leaving me\neven more surprised at their inherent sound quality.\u003c\/p\u003e\u003cp class=\"western\"\u003eOne truly bizarre anomaly raised its head: in the\nfourth movement of the Beethoven a tape edit had been made where a few\nnotes had been spliced in backwards! Naturally this has now been\nremedied.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\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\u003cul\u003e\n\u003cli\u003e\n\u003cp class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN String Trio No. 1 in E flat, Op. 3\u003c\/b\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eLeonid Kogan\u003c\/b\u003e violin\u003cbr\u003e\u003cb\u003eRudolf Barshai\u003c\/b\u003e viola\u003cbr\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003c\/p\u003e\n\u003cp\u003eRecorded Moscow, 1956\u003cbr\u003eTransfer from Melodiya ND 03458-03459\u003c\/p\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cb\u003eHANDEL Violin Sonata in D, Op. 1, No. 13: 3rd mvt. - Largetto\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\n\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 1. Vanitas vanitatum: Mit Humor\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSCHUMANN 5 Stücke im Volkston, Op.102: 4. Nicht zu rasch\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eR. STRAUSS Stimmungsbilder, Op.9: 2. An einsamer Quelle\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cb\u003eSINDING Suite im alten Stil in A minor, Op. 10 - 1st mvt. - Presto\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eMstislav Rostropovich\u003c\/b\u003e cello\u003cbr\u003e\u003cb\u003eVladimir Yampolsky\u003c\/b\u003e piano\u003c\/p\u003e\n\u003cp\u003eRecorded 1948 - 1953\u003cbr\u003eTransfer from Melodiya 33D-027827\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\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\/PACM092.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM092.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Fanfare Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cem\u003eRostropovich Chamber Music (Melodiya CD issue, 1992)\u003c\/em\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eFrom a Western perspective, the political events of the last couple\nof years are enough to make one's head spin. From an Eastern\nperspective, they have to be a whole lot more than that. Gosh, how I\nmiss Winston Churchill's wondrous “Iron Curtain.“ It so clearly defined\nwho the enemy was, and gave us all such a compelling sense of purpose.\nAs a product of the postwar McCarthy era, I was duly indoctrinated\nagainst the evils of Soviet Communism. It produced a grim, joyless,\ndour, cultureless society that was best gotten rid of—especially in\nlight of the fact that it was hell-bent on getting rid of us. I\ndutifully persisted in this politically correct mind-set until I\ndiscovered a few ancient and extraordinarily crude LPs released under\nthe imprimaturs of Coliseum and Bruno. They contained standard (and\nnot-so-standard) repertoire stuff performed by then largely unknown\nSoviet artists. Thus it was that I first heard David Oistrakh, Leonid\nKogan, Mstislav Rostropovich, Vladimir Yampolsky, Sviatoslav\nKnushevitsky, and Kiril Kondrashin. Those recordings were all “produced“\nby one Bruno G. Ronty, who, apparently, gained access to a number of\nbootleg Soviet LPs and used them as sources for the production of his\nown record line, hence the dismal sound— similar to hearing an LP that\nhad been pressed on wretched vinyl through a bad telephone connection.\n“How lousy Soviet recording is—“ I concluded;—“Yet another example of\nWestern supremacy and Soviet backwardness.“ On a couple of releases\nRonty proudly stated that no moneys from the sale of these records would\never reach their [evil] sources.\u003c\/p\u003e\u003cp\u003eOne of my prize Coliseum releases of that era is CRLP 179, containing\na postwar recording of Lalo's Symphonie Espagnole (with the usually\nmissing Intermezzo) played by a then quite young David Oistrakh and\nseconded by Kiril Kondrashin—by all measures but sonic excellence, a\nfabulous recording.\u003c\/p\u003e\u003cp\u003eDuring the ensuing decades other Soviet releases reached the shores\nof New Jersey via more legitimate channels. A company called Connoisseur\nRecord Corp., in Kearny, NJ, began to release a series of mono LPs from\nboth the MK and Supraphon catalogs. Thus it was, as callow youth, that I\nfirst heard the Leningrad Philharmonic under Yevgeny Mravinsky in a\nperformance of Prokofiev's Sixth Symphony. I had never heard the piece\nbefore, and that performance (lovingly preserved in eminently decent\nsound on ALP-158) is, many years and many recordings later, still the\none by which I judge all others.\u003c\/p\u003e\u003cp\u003eSoviet recordings eventually penetrated the American market via\nseveral other Western companies—Monitor, EMI, and later CBS. In our\ndigital era, MCA has issued a number of releases, as has Sheffield Labs\n(see Fanfare 11:1, “Sheffield Goes to Moscow,“ by Peter Rabinowitz). A\nfew other releases reached our shores on Olympia, and I have in my\nlibrary one recording on Melodiya Australia (distributed by Allegro\nImports). Now, finally, with the collapse of the Soviet Union (and under\nthe duress of having to raise hard currency), Melodiya is marketing its\nvast, varied, and often distinguished catalog on its own. As a fan of\ntheir work over the years, I wish them all the best.\u003c\/p\u003e\u003cp\u003eUpon examining these two offerings, I have a few minor, and I hope\nfairly innocuous, quibbles. Each box proudly states “Made in the USSR.“\nIn fact, though the recordings and jewel box design are Russian, the CDs\nthemselves were manufactured by American Helix. For a moment I thought\nthat Russia had a CD production facility, but no such luck. The\nmarketing strategy of Melodiya, as demonstrated here, is to exploit the\nWestern name recognition of the major artists involved—Rostropovich,\nGilels, Kogan, and (to aficionados of the art of accompaniment)\nYampolsky, are all, and have been, well-established figures for years.\nThis approach makes sense, but here it has been executed at the expense\nof repertoire considerations. On the first disc only two of Schumann's\nStücke im Volkston are given. Given performances of this quality, I\nwould have liked to hear the remaining three numbers. I feel it would\nhave been wiser to program the whole set at the expense of the\noverexposed Kinderscenen excerpt and the Sinding Presto. Likewise, on\nthe second disc, the Larghetto from Handel's Sonata in D, op. 1, No. 13,\nneeds its companion movements in order to be a viable musical\nexperience.\u003c\/p\u003e\u003cp\u003eThe “star“ of these two releases is Mstislav Rostropovich. The first\ndisc covers his career from 1948 (the Sinding Presto) through 1953 (the\ntwo excerpts from Stücke im Volkston)—long before he had become an\ninternationally known figure. The second CD contains performances from\n1949 (the Chopin Introduction and Polonaise Brilliante) through 1956\n(the Beethoven Trio for Violin, Viola, and Cello). Along the way one can\npartake of the outstanding work of a comparatively youthful Emil Gilels\n(forty years old in Beethoven's Trio, op. 97); Leonid Kogan (thirty-two\nyears old in both the Beethoven Trios, op. 3 and op. 97), and of\nviolist Rudolf Barshai before the founding of his Moscow Chamber\nOrchestra. In all cases, the sound is eminently decent for its vintage.\u003c\/p\u003e\u003cp\u003eBeethoven's Trio No. 1 for Violin, Viola, and Cello in E♭, op. 3, and\nhis “Archduke“ Trio, op. 97, are the two main events on these releases.\nAll six movements of op. 3 are given equally robust and sensitive\nperformances—pointed, beautifully intoned, and informed with both\nvitality and a particularly Russian brand of whimsy. For once this piece\nof youthful (ca. 1786) Beethoven is given its due.\u003c\/p\u003e\u003cp\u003eThe “Archduke“ Trio, in the hands of Gilels, Kogan, and Rostropovich,\nreceives an arching, ruminative, and noble reading. Phrases speak with\nan eloquence they seldom have in the hands of more modern, objective\nplayers. All elements—attack, dynamics, and tone color—are brought into\nplay and masterfully exploited in the making of an expansive, quietly\nheroic performance. This is the tradition that had already produced\nDavid Oistrakh and would eventually spawn Yuli Turovsky.\u003c\/p\u003e\u003cp\u003eThe other pieces, despite their modest dimensions, or overall worth,\nare all done as if they are the musical end of the world. Of special\nnote is the Villa-Lobos Prelude from Bachiana Brassileira No. 1—here\ngiven an intensely dark, brooding, and Russianly manic reading.\u003c\/p\u003e\u003cp\u003eAs I stated above, the sonics on these two releases are, by Western\nstandards, fine for their respective ages. To anyone familiar only with\nthose old Coliseum and Bruno releases, these samples of\nlate-1940s-through mid-1950s Soviet recording will prove, in this CD\nincarnation, astonishing. To those familiar with subsequent Soviet\nreleases distributed in the West, these offerings will be more than\nmerely technically competent—they will prove to be musically satisfying.\u003c\/p\u003e\u003cp\u003eI hungrily await future releases.\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eReview by William Zagorski\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 16:3 (Jan\/Feb 1993) of \u003cem\u003eFanfare\u003c\/em\u003e Magazine.\u003cbr\u003eThe recordings referred to include those on this release and those on PACM090\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":44064786907226,"sku":"dgt1789304993401","price":13.36,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":44064786939994,"sku":"tqo1789304993402","price":9.83,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":44064786972762,"sku":"wis1789304993403","price":9.7,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":44064787005530,"sku":"hqc1789304993404","price":6.68,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/rostropovich-chamber-music-vol-2-1948-56---pacm092_1.jpg?v=1789305000","url":"https:\/\/vestorawear.shop\/products\/rostropovich-chamber-music-vol-2-1948-56-pacm092","provider":"My Store","version":"1.0","type":"link"}