{"product_id":"salmond-plays-beethoven-cello-sonatas-1-4-5-1926-48-pacm099","title":"SALMOND plays Beethoven Cello Sonatas 1, 4 \u0026 5 (1926-48) - PACM099","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eCello Sonatas 1, 4 and 5\u003c\/span\u003e\u003cbr\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e7 Variations on “Bei Männern” from Die Zauberflöte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eEncores by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBizet\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eChopin\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFauré\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e, \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePianelli \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eand \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003ePierné\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cbr data_liveedit_tagid=\"000000000D7722F0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\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\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1926-48\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:09\u003c\/span\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-family: Arial,Helvetica,sans-serif\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp data_liveedit_tagid=\"000000000D775340\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFelix Salmond, \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 Hambro, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eSimeon Rumschisky, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIt seems greedy (but not churlish) to ask for more ... bring them on578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs a successor disc to its first Felix Salmond release, PACM 095 (see reviews in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFanfare \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e38:4),\nPristine Audio releases legendary private recordings of Beethoven’s\nfirst cello-piano sonata and his last two in this genre. Various sources\nhad told me these were made just prior to World War II, but that turns\nout to be in error—off by a decade. Salmond, who played the five works\noften in recital, gave a concert at Julliard in January of 1947 at which\nhe performed the canon with American pianist Leonid Hambro to celebrate\nthe 25th anniversary of Salmond’s U.S. debut. Mark Obert-Thorn informs\nus in Pristine’s notes for this release that a year later, the two\nJulliard faculty members returned to the school’s concert hall to record\nthe works. The three presented here appeared on a private LP in 1960 as\npart of varied efforts promoting the school. No mention, thus far, of\nthe 1948 recordings of the Second and Third Sonatas. Pristine’s\nexcellent transfer of the cellist’s 1926 recording of the Third leads\noff the earlier release. Thus we have 80 percent and now a delightful\n1928 recording of the “Bei Mannern” Variations, with the same empathetic\npiano partner as in the Third Sonata. We are making progress, but must\nstill hope that the other two 1948 recordings will surface. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eLeonid Hambro (1920–2006) was a notable pianist\nand a rigorous scholar, in the traditions of such figures as Schnabel,\nShure, Serkin, but was utterly unlike those artists in his personal\nmanner and in the range of his performing interests. He recorded\nGershwin with the Moog Synthesizer, and performed with Victor Borge. His\nscholarly bent was more evident in his performances of Beethoven and in\nhis writings with Jascha Zayde. As can be heard in these performances,\nhe was not wedded to the vertical bar lines in which some of the German\nmasters find themselves entangled (Hambro was Chicago-born of\nLithuanian-Jewish parents). At age 28, he does not to my ear quite have\nhis older colleague’s innate lyricism. However, my taste runs to\nperformances of these works in which the performers vary a bit in\nperforming styles, and I find Hambro’s Beethoven a distinguished\ncounterpoise to Salmond’s playing. The pianist died less than a decade\nago, having served on the Aspen Faculty as well as that of Julliard, and\nfinally as head of the Piano Department at California Institute of\nArts. These recordings are as much a tribute to Hambro as to Salmond. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eA tribute to Salmond this release is indeed, and\nto Beethoven as well. In 1948 the cellist’s technique and interpretive\nconcentration were fully intact. The microphone placement of these\nprivately made recordings, in Obert-Thorn’s splendid remastering for\nPristine, captures the cello tone superbly. The piano, while ample, does\nnot quite have all the overtones of a current recording, but it will\nserve. Balance is remarkably good. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe First Sonata lacks nothing in fluency and\nflow. It may not quite have the charm of the old Janigro-Zecchi\nrecording, or the first Casals set (older still), but it is charming\nenough, and less serious than Fournier-Schnabel or Casals-Serkin. The\nzest with which the duo plunges in to the final reprise of the first\nmovement’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eallegro\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\ntheme to conclude the movement is infectious. That zest continues right\ninto the second movement and here the remarkable sound is particularly\ngood at conveying Salmond’s lower partials. The piano seems a bit\nclearer. Maybe someone moved a mike. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe two sonatas of Beethoven’s op. 102 are among\nhis more enigmatic works, particularly the first (Sonata No. 4) and also\npossessed of considerable profundity (the Fifth, especially, I would\nsay). Salmond and Hambro take the Fourth Sonata very seriously and play\nthe first movement with great concentration and a consistently steady\ntempo and drive. I find this the most individualistic interpretation of\nthe three and one of the most persuasive performances of the work I\nknow. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eWithout making comparisons (odious or otherwise!)\nHambro’s opening flourish in the last sonata put me more in mind of\nSchnabel’s address and command than any I have recently heard. He and\nSalmond are extremely clear and firm in their articulation of the main\nlines of this first movement. The depth of lyric feeling in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAdagio\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis also notable. As I listen, I continually remind myself that Salmond,\nalthough not old, has a full career behind him, whereas Hambro is still\nin the first third of his own long life. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThroughout these recordings, one is totally\nunaware of them as recording studio products. They sound as\nperformances, and never more so than in the Fifth Sonata. Again,\nSalmond’s plangent lower string tone is well captured, and in this first\nmovement the piano sound is at its best. One is eager to hear the other\ntwo sonatas. I suspect, as much as I love the earlier recording of op.\n69 (one of my favorites), the performance with Hambro will be a quite\ndifferent matter—remembering, too, that over two decades had passed. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eStill, Obert-Thorn is unduly harsh on himself and\non Columbia (God knows, as one who lived through Columbia 78s and early\nLPs, it is easy to be hard on them!). His transfer of the June 1928\nrecording of the lovely variations on Mozart’s aria, while clearly of an\nearlier vintage than the sonatas, does not fall unattractively on my\near. It is, not unexpectedly, similar to the performance of the third\nsonata recorded 30 months earlier with the same pianist. I love the\npiece and this is a charming rendition. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe five remaining encore pieces, also with\nRumschisky at the keyboard, include one selection which is rather more\nthan that: the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLargo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nfrom Chopin’s op. 65 Cello Sonata. This lovely bit leaves me wanting\nthe entire work (recalling the terrific Grieg Sonata included in PACM\n095) but we take this, recorded the day after the Beethoven Variations,\nas all we are going to get. An arrangement of Pianelli’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eVillanelle\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e from 1926, Faure’s op. 16 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eBerceuse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e(recorded same day as the Variations), and an excerpt from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eL’Arlesienne\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, are followed by Piernè’s op. 7 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSerenade\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nboth products of an April 1927 session to complete. Despite\nObert-Thorn’s criticisms, his sonic resuscitations here are amazing;\nbetter to my ear than some on the earlier disc. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eIt seems greedy (but not churlish) to ask for\nmore, yet if Andrew Rose and\/or Mark Obert-Thorn have any further\nSalmond items, bring them on; specially the other two Beethoven sonatas\nfrom 1948. Julliard must have those 78-rpm acetates stored somewhere, or\nwere they done on tape? From the quality of this issue, it might have\nbeen possible. \u003c\/span\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Forrest \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PACM099.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabulous hi-fi recordings of Beethoven sonatas from 1948 - first general release\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003ePlus more rare 1920s tracks in their first ever reissue from cello virtuoso Salmond\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\nOn March 29, 1947, Felix Salmond gave a recital at the Juilliard School\ncommemorating the twenty-fifth anniversary of his American debut. The\nprogram was one he had played on more than one occasion over the years:\nthe five Beethoven Cello Sonatas. The following year, Salmond and his\nperforming partner, fellow Juilliard faculty member Leonid Hambro,\nreturned to the school’s Concert Hall to make a private recording of the\nsonatas, three of which were issued in 1960 on a private LP as a\nfund-raiser to help establish a scholarship in his name.\u003cbr\u003e\u003cbr\u003eThese\nrecordings are revelations in several ways. First, they show that\nSalmond maintained his technique even in his sixtieth year. His last\ncommercial recordings were made in 1930, when he was forty-two; and\nalthough he continued to concertize and appear on broadcasts, these\nBeethoven sonatas are the only published documents of his playing after\nthat.\u003cbr\u003e\u003cbr\u003eBut more importantly, they present Salmond in the finest\nrecorded sound he ever received. Except for some occasional surface\nnoise from the original acetate discs, they have the presence, and\nnearly the frequency range, of high fidelity mono tape recordings. The\ndifference is most striking going from the last sonata to the 1928\nrecording of the “Magic Flute” Variations which follow it. Here is the\nSalmond with which most listeners are familiar – a figure from a shadowy\npast, heard dimly through a haze of surface hiss on even the best of\nAmerican Columbia’s “Viva-Tonal” pressings.\u003cbr\u003e\u003cbr\u003eAll of which raises\nthe question: Why did the record companies ignore Salmond after 1930,\nwhen he continued to play at such a high level? The Depression surely\nhad something to do with it. For much of the 1930s, Classical\ninstrumentalists either recorded in Europe or not at all. (Casals, for\nexample, cut his last disc for Victor in 1928; but HMV was happy to keep\nhim busy after that.) Due to his teaching positions both at Juilliard\nand the Curtis Institute, Salmond’s career by this time was largely\nbased in the U.S. By the time American labels began recording cellists\nagain, a new generation had appeared, including Feuermann and\nPiatigorsky. Though still active, Salmond was largely forgotten.\u003cbr\u003e\u003cbr\u003eIt\nis posterity’s loss. As critics noted when the first volume of this\nseries came out (Pristine PACM 095), Salmond’s playing has a decidedly\nmodern feel, in contrast to the sentimental, portamento-laden\nperformances of his elder British countryman W. H. Squire. It was an\napproach he passed on to his many pupils, including Leonard Rose,\nBernard Greenhouse and Frank Miller, and it can be heard even on the\nearliest of the recordings presented here. We are fortunate to be able\nto hear him at last not “through a glass darkly” but, in these late\nrecordings, nearly “face to face”.\u003cbr\u003e\n\u003cbr\u003e\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\u003cbr\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Cello Sonata No. 1 in F major, Op. 5, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Cello Sonata No. 4 in C major, Op. 102, No. 1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e Cello Sonata No. 5 in D major, Op. 102, No. 2\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Salmond \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eLeonid Hambro\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e piano\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded in 1948 in the Juilliard Concert Hall, New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst released in 1960 on an unnumbered private LP issued by Juilliard\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBEETHOVEN\u003c\/b\u003e 7 Variations on “Bei Männern” from Die Zauberflöte\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 4 June 1928 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.: W 14386-1, 14387-4, 14388-4 \u0026amp; 14389-4 (Columbia 179-M\/180-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePIANELLI\u003c\/b\u003e (arr. Joseph Salmon) - Villanelle\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 19 April 1926 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 98241-2 (Columbia 7117-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eCHOPIN\u003c\/b\u003e Largo from Cello Sonata in G minor, Op. 65\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 5 June 1928 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 146391-3 (Columbia 169-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFAURÉ\u003c\/b\u003e Berceuse (Cradle Song), Op. 16\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 4 June 1928 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 146390-4 (Columbia 169-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBIZET\u003c\/b\u003e Adagietto from L’Arlesienne\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 April 1927 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 143184-7 (Columbia 2054-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003ePIERNÉ\u003c\/b\u003e Serenade, Op. 7\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 29 April 1927 in New York City\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: W 144032-6 (Columbia 2054-M)\u003c\/span\u003e\u003c\/p\u003e\u003cp style=\"padding-left: 30px;\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eFelix Salmond \u003c\/b\u003ecello\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: small;\"\u003eSimeon Rumschisky\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: small;\"\u003e piano\u003c\/span\u003e\u003c\/span\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\/PACM099.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PACM099.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 16-bit FLAC","offer_id":44064787300442,"sku":"tcb1789305000510","price":9.57,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064787333210,"sku":"ovl1789305000511","price":8.35,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/salmond-plays-beethoven-cello-sonatas-1-4-5-1926-48---pacm099_1.jpg?v=1789305008","url":"https:\/\/vestorawear.shop\/products\/salmond-plays-beethoven-cello-sonatas-1-4-5-1926-48-pacm099","provider":"My Store","version":"1.0","type":"link"}