{"product_id":"sevitzky-and-the-indianapolis-symphony-complete-volumes-1-6-1941-53-pabx040","title":"SEVITZKY and the Indianapolis Symphony, Complete: Volumes 1-6 (1941-53) - PABX040","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY, GLINKA, RIMSKY-KORSAKOV, LIADOV\u003c\/span\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLAZUNOV \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFrom the Middle Ages\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUBENSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eStephen Foster – Theme, Variations and Finale \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUBENSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eFugue for 18\nViolins\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCESANA \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eNegro Heaven\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGERSHWIN-BENNETT\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e Porgy and Bess: A Symphonic Picture\n\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHATCHATURIAN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGayaneh – Ballet Suite \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eENESCU \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e2 Romanian Rhapsodies\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDVOŘÁK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e4 Slavonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBRAHMS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003e3 Hungarian Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eTCHAIKOVSKY \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1, 'Winter Dreams'\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKALINNIKOV \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 1\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’Isola Disabitata – Overture\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eHAYDN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 73, “La Chasse”\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSigurd Jorsalfar – Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePeer Gynt – Suite No. 2\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGRIEG \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphonic Dances\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eCoppélia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSylvia - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMasquerade - Suite\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003emusic by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eKreisler, Sgambati, Weber, J. Strauss II\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio recordings, 1941-53\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eIndianapolis Symphony Orchestra\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC680.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand note:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eFabien Sevitzky conducts the Indianapolis Symphony\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"An excellent conductor, eminently deserving of renewed attention\" - Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\u003cbr\u003e\u003c\/em\u003eFabien Sevitzky was born in Vishny Volochyok, Russia on 29\nSeptember 1891 (not 1893, as other sources list).  A nephew of Serge\nKoussevitzky’s, his original last name was the same, but later shortened\nat his uncle’s request to avoid confusion.  Like him, Sevitzky took up\nthe double bass in order to win a conservatory scholarship.  After\nplaying in orchestras in Russia and Poland, Sevitzky joined Stokowski’s\nPhiladelphia Orchestra in 1923.  Two years later, he organized members\nof the ensemble’s string section into the Philadelphia Chamber String\nSimfonietta.  (Their complete recordings have been reissued on Pristine\nPASC 375.)  He left the Philadelphia Orchestra in 1930, although he\ncontinued to conduct the chamber ensemble until 1941.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky was appointed conductor of the Indianapolis Symphony\nOrchestra in 1937, a post he held until 1955.  He retired to Florida,\nwhere he became a faculty member at the University of Miami, leading the\nschool’s orchestra and continuing to guest conduct internationally.  It\nwas during one such appearance in Athens that Sevitzky died on 3\nFebruary 1967.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBetween 1941 and 1946, Sevitzky and the Indianapolis Symphony\nmade a series of 78 rpm recordings for RCA Victor.  His final recordings\nwere made for Capitol LPs in 1953.  The present program is the first in\na series which aims to reissue them all, some for the first time since\ntheir initial release.  None of them have ever received an “official” CD\nreissue.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe first two selections come from Sevitzky’s earliest Indianapolis sessions.  The \u003cem\u003eRusslan\u003c\/em\u003e\nOverture comes on like gangbusters, showing off the exuberance and\nvirtuosity of the ensemble and conductor in sound that was\nstate-of-the-art for its time; and its discmate, Rimsky’s setting of the\nrevolutionary folksong “Dubinushka”, builds to a tremendous climax.  It\nis worth noting that Sevitzky studied under both Rimsky and Liadov at\nthe St. Petersburg Conservatory; and in the latter’s \u003cem\u003eBaba Yaga\u003c\/em\u003e,\nhe paints a vivid tonal characterization of the same mythical witch who\ninspired “The Hut on Fowl’s Legs” section of Mussorgky’s \u003cem\u003ePictures\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSevitzky’s recording of the Tchaikovsky \u003cem\u003eManfred\u003c\/em\u003e\nSymphony was the first complete version made of the work (Albert Coates\nhad previously recorded the second movement alone), and would remain the\nonly one until Toscanini’s 1949 recording, with a cut of some 100 bars\nin the finale, appeared on LP.  It is dramatically paced, with much\nexcitement in the faster sections.  However, some parts are played much\nmore slowly than we are used to.  The third movement’s “Andante con\nmoto” is here more of an “Adagio molto”; and the second movement’s trio\nis not “l’istesso tempo” as marked by Tchaikovsky, but something\nconsiderably slower.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEven more curious is Sevitzky’s substitution of a snare drum\n(side drum) for the tambourine in the bacchanal which opens the fourth\nmovement.  The conductor could have interpreted the “tamb.” marked in\nthe score as referring to a “tamburo piccolo” or snare drum.  However,\nthe first page of the score spells out “tambourine”, so there should\nhave been no confusion.  Its presence here remains a mysterious\nprecedent that no other known conductor has followed.  (I am indebted to\nwriter Edward Johnson for pointing this out.)\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe sources for the transfers were American Victor 78 rpm\nshellacs:  late pre-war “Gold” label pressings for the Glinka and Rimsky\nitems; postwar copies for the Liadov and \u003cem\u003eOnegin\u003c\/em\u003e Waltz; and “Silver” label wartime pressings for the \u003cem\u003eManfred\u003c\/em\u003e.  Multiple copies of the records were sourced, with the best sides from each used.  Some portions of the \u003cem\u003eManfred\u003c\/em\u003e were problematic, owing to suboptimal wartime shellac and processing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nThis second volume of Pristine’s survey of Fabien Sevitzky’s complete\nIndianapolis Symphony recordings couples a late Romantic Russian work with\nthe works of several American composers of (mainly) Russian extraction.\nSevitzky studied under Glazunov at the St. Petersburg Conservatory, and his\nset of the suite \u003cem\u003eFrom the Middle Ages\u003c\/em\u003e was the first and only\ncomplete recording of the work during the 78 rpm era. Oddly, when RCA\nreissued the album on LP on their Bluebird label in the 1950s, the Scherzo\nwas omitted, even though the entire work could have easily fit on one side.\nIt receives its first reissue here.\n\u003c\/p\u003e\n\u003cp\u003e\nSevitzky’s commitment to the music of his adopted land was second to none\namong prominent conductors in the USA at the time, and he tried to include\na composition by an American composer in each of his concerts. His Victor\ndiscography lists works by Roy Harris, Harl McDonald, Leo Sowerby, David\nVan Vactor and Robert L. Sanders which remain unreleased. All of his issued\nrecordings of works by American composers are included in the present\nprogram.\n\u003c\/p\u003e\n\u003cp\u003e\nArcady Dubensky (1890 – 1966) was a Russian-born American composer,\narranger and violinist, who played in the New York Symphony and New York\nPhilharmonic from 1922 to 1953. During that time, he was a prolific\ncomposer whose works were recorded by Leopold Stokowski as well as\nSevitzky. His \u003cem\u003eFugue for 18 Violins\u003c\/em\u003e was played in Philadelphia\nduring Sevitzky’s tenure as leader of that city’s Chamber String\nSimfonietta, and his \u003cem\u003eStephen Foster\u003c\/em\u003e was premièred by Sevitzky in\n1941. The theme is taken from “Old Folks at Home (Swanee River)”, which in\nthe finale is joined by “Oh, Susanna” and “Beautiful Dreamer”. Like\nDohnanyi’s \u003cem\u003eVariations on a Nursery Tune\u003c\/em\u003e, some of the variations\nare done in the style of other composers (Richard Strauss, Tchaikovsky, et\nal.)\n\u003c\/p\u003e\n\u003cp\u003e\nOtto Cesana (1899 – 1980) was a composer, conductor, jazz musician and\narranger who emigrated from Italy to the United States as a child, and was\nlater to lead a series of “easy listening” LPs in the 1950s. The\nunfortunate title of his tone poem has guaranteed that it will never be\nrevived, which is a pity, given that the work itself is tuneful and\nexuberant. Cesana wrote that his intent in the work was to illustrate the\nchanging moods of the African-American man, “now gay, now sad, always\nhowever migrating toward carefreeness and abandon.”\n\u003c\/p\u003e\n\u003cp\u003e\nGeorge Gershwin had arranged his own suite from his opera, \u003cem\u003ePorgy and Bess\u003c\/em\u003e, but it was little-performed when conductor Fritz\nReiner commissioned American arranger Robert Russell Bennett to produce the\n“symphonic picture” heard here. Reiner chose the excerpts, suggested their\norder and even some of the key transpositions. Although Alfred Wallenstein\nrecorded a cut version in 1944, Sevitzky became the first conductor to\nrecord it complete, beating Reiner’s Pittsburgh set by seven weeks.\n\u003c\/p\u003e\n\u003cp\u003e\nLike Sevitzky’s substitution of the snare drum for the tambourine in the\nlast movement of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (on Pristine PASC 479), there is another odd-sounding replacement here, as a bassoon “sings”\nPorgy’s part in “I got plenty o’ nuttin”, rather than the customary banjo.\n(Where was the banjoist from the Dubensky \u003cem\u003eStephen Foster\u003c\/em\u003e finale?)\nNonetheless, Sevitzky gives a highly idiomatic performance, as he did with\nthe other American music presented here.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nThe present release brings together several works inspired by folk dances\nof various European and Asian peoples, in some of the earliest and latest\nrecordings made by the Indianapolis Symphony under Fabien Sevitzky. The\nBrahms disc has not been reissued since its original 78 rpm release, while\nthe remaining recordings, first released on LP, have not been available for\nover half a century.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Brahms Hungarian Dances date from 1942, a year after Sevitzky began\nrecording in Indianapolis for the Victor label. No orchestrator credits\nwere given on the original disc, but comparisons reveal them to be Brahms’\nown transcriptions for Nos. 1 and 3 and Martin Schmeling’s transposed\narrangement for No. 7, with some emendations, most likely by the conductor\nhimself (\u003cem\u003ee.g.\u003c\/em\u003e the solo celesta ending for No. 3). The performances\nhave a tremendous verve and swagger which seems to leap off the grooves.\n\u003c\/p\u003e\n\u003cp\u003e\nSevitzky made his final recordings for Victor in 1946, although some were\nnot first released until 1949. In 1953, the fledgling Capitol label signed\nSevitzky and the orchestra to record the Dvořák, Enescu and Khatchaturian\nworks on our program, along with the latter’s \u003cem\u003eMasquerade\u003c\/em\u003e Suite\n(which will be included on a future volume in this series). Capitol’s\nengineering philosophy was markedly different from that which Sevitzky had\nbeen given by Victor, with the new label favoring a brilliant sound\nemphasizing the wider frequency range now allowed by tape-based recording,\nbut with less depth to the bass and what sounds like the addition of\nartificial reverberation.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Dvořák dances are in the same fiery vein as the Brahms from a decade\nearlier; while in the First Romanian Rhapsody, Sevitzky holds back the\nfaster tempos until later than some other conductors in order to maximize\ntheir impact toward the end. For the Khatchaturian, whose score includes\nArmenian folk melodies and Kurdish, Georgian and Ukrainian dances, Sevitzky\nrearranged the order of the eight movements of the first ballet suite,\nwhich at the time had placed the ubiquitous “Sabre Dance” at the beginning.\n\u003c\/p\u003e\n\u003cp\u003e\nThe Capitol recordings were to be the last Sevitzky made, as he left the\norchestra in 1955. He continued to teach and guest conduct until his death\nin 1967.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nWith this fourth volume in our series of the complete recordings of Fabien\nSevitzky and the Indianapolis Symphony Orchestra, we return to the Romantic\nRussian repertoire for which he was particularly esteemed. Our focus here\nis on two First Symphonies, both in G minor, separated in composition by\nnearly three decades. For one composer, it was the start of a brilliant\ncareer as a symphonist; while for the other, it was a success not to be\nduplicated during the remainder of his short life.\n\u003c\/p\u003e\n\u003cp\u003e\nTchaikovsky began work on his first symphony in March of 1866, shortly\nbefore his twenty-sixth birthday. It quickly became a trial for him due to\nhis desire to earn the approval of two of his teachers, Anton Rubinstein\nand Nikolai Zaremba, musical conservatives whose ideals were centered on\nClassical and early Romantic-era German models. They insisted on changes\nbefore they would agree to a performance. The composer obliged, and the two\nmiddle movements were presented in St. Petersburg in February of the\nfollowing year to little acclaim.\n\u003c\/p\u003e\n\u003cp\u003e\nTchaikovsky then went back, for the most part, to his original version,\nwhich his friend Nikolai Rubinstein (Anton’s brother) was eager to perform.\nThe Scherzo alone was played at a Moscow concert in December of 1867, again\nwithout much success. It was not until a complete performance the following\nFebruary that audiences finally warmed to the work. Tchaikovsky would go on\nto revise the score in 1874, and would ultimately look back on this early\ncomposition with great pride. (In this recording, Sevitzky performs the\nlast two movements without a pause.)\n\u003c\/p\u003e\n\u003cp\u003e\nVasily Kalinnikov was born in 1866, the same year that Tchaikovsky’s First\nSymphony was written. He had worked as a choral conductor and an\ninstrumentalist in theater orchestras when Tchaikovsky himself recommended\nhim for two opera house conducting posts in 1892. Kalinnikov’s worsening\ntuberculosis caused him to resign after a short while in order to move to\nthe more hospitable climate of Yalta on the Baltic Sea. He spent the rest\nof his life there composing before his death in 1901, shortly before his\nthirty-fifth birthday. His First Symphony, which dates from this period,\nwas premièred in Kiev in 1897 and quickly traveled to the musical capitals\nof the world. It remains the work by which he is best known.\n\u003c\/p\u003e\n\u003cp\u003e\nLike his recording of Tchaikovsky’s \u003cem\u003eManfred\u003c\/em\u003e Symphony (reissued on\nVolume 1 of this series, Pristine PASC 479), the present works were\nphonographic premières, and Sevitzky presents both colorful scores with\ngreat enthusiasm and obvious affection. The sources for the transfers were\nfirst edition American Victor pressings – postwar discs for the\nTchaikovsky, and wartime “silver” label copies for the Kalinnikov.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nFor this fifth and penultimate volume in our series of Fabien Sevitzky’s\ncomplete recordings with the Indianapolis Symphony, we present all the\nrepertoire by Haydn and Grieg the conductor set down on disc with this\nensemble.\n\u003c\/p\u003e\n\u003cp\u003e\nHaydn’s opera, \u003cem\u003eL’isola disabitata\u003c\/em\u003e (The Uninhabited Island) was\nlong known only by its overture, as the complete opera did not see print\nuntil 1976. Sevitzky’s performance emphasizes the extremes of uneasy repose\nand violent agitation in the music, in an intense performance that calls to\nmind the final movement of “Winter” in Vivaldi’s \u003cem\u003eFour Seasons\u003c\/em\u003e.\n\u003c\/p\u003e\n\u003cp\u003e\nHaydn had previously used the final movement of his Symphony No. 73 as the\noverture to his opera, \u003cem\u003eLa fedeltà premiata\u003c\/em\u003e (Fidelity Rewarded).\nThis in turn utilized a hunting theme that had figured in earlier works by\nother composers, and thus the symphony gained the appellation “La chasse”\n(the hunt). Sevitzky brings an energy and momentum to his reading that\nbelies the big orchestra approach of the time.\n\u003c\/p\u003e\n\u003cp\u003e\nLike the better-known \u003cem\u003ePeer Gynt\u003c\/em\u003e, Grieg’s \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e\nwas written as incidental music to accompany a play, this one by Bjørnson\nconcerning King Sigurd I of Norway. Of the nine numbers he wrote, Grieg\nchose three to organize into a concert suite. Sevitzky’s recording on a\nsingle disc pairs only the first two excerpts, with the last (the “Homage\nMarch”) left unrecorded.\n\u003c\/p\u003e\n\u003cp\u003e\nThe second suite of music Grieg had written to accompany Ibsen’s \u003cem\u003ePeer Gynt\u003c\/em\u003e is the lesser-performed of the two the composer\narranged, even though it contains the lovely and popular “Solvejg’s Song”.\nWhen this was recorded in the 1940s, the Victor label sometimes divided\nworks which would seem to go together naturally between two orchestras and\nconductors. For example, Ormandy and the Philadelphia got to record\nEnescu’s Romanian Rhapsody No. 1 while Hans Kindler and the National\nSymphony did the honors for No. 2. Similarly, Eugene Goossens and the\nCincinnati Symphony set down on disc the first \u003cem\u003ePeer Gynt\u003c\/em\u003e suite,\nwith Sevitzky allotted the second. Sevitzky makes the most of the varied\nmoods of the four movements, aided by what was superb engineering for its\nday, with the “Arabian Dance” a particular standout.\n\u003c\/p\u003e\n\u003cp\u003e\nRecording activities largely halted during the Petrillo Ban (a musician’s\nunion action) from 1942 through 1944. When sessions resumed, Victor began\nrecording with a noticeable amount of compression, giving the sense (to\nparaphrase critic Rob Cowan’s description) of a sound so massive the\ngrooves could scarcely contain it. While this approach gives a great deal\nof presence to Grieg’s four \u003cem\u003eSymphonic Dances\u003c\/em\u003e, it also makes the\nsound a bit unrealistic, as well as relentlessly aggressive. Still,\nSevitzky’s winning way with colorful, dance-based compositions carries the\nday in these works inspired by Ludvig Mathias Lindeman’s collections of\nNorwegian folk tunes.\n\u003c\/p\u003e\n\u003cp\u003e\nThe sources for these transfers were wartime 78 rpm shellac discs for\u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e and \u003cem\u003ePeer Gynt\u003c\/em\u003e; postwar shellacs for \u003cem\u003eL’isola disabitata\u003c\/em\u003e and the \u003cem\u003eSymphonic Dances\u003c\/em\u003e; and 45 rpm\nvinyls dubbed from Victor lacquer backup masters for the Haydn 73rd. None\nof the works have ever seen an “official” CD reissue, and the Haydn\noverture and \u003cem\u003eSigurd Jorsalfar\u003c\/em\u003e excerpts have not even previously\nappeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\nFor this final volume in our series of Fabien Sevitzky’s complete\nrecordings with the Indianapolis Symphony, we present a program largely\ndevoted to dance music (three ballet suites, a minuet and two waltzes).\nNone of the works have ever received an “official” CD release, and the\nKreisler, Sgambati, Weber and Strauss pieces never even appeared on LP.\n\u003c\/p\u003e\n\u003cp\u003e\nOur program begins with two works featuring Romantic era composers dabbling\nin the forms of earlier times. Fritz Kreisler wrote a number of pieces for\nviolin in Baroque and early Classical styles, ascribing them to then\nlittle-known composers such as Gaetano Pugnani. When his hoax was revealed\nin 1935, some critics who had been taken in were apoplectic. Nonetheless,\nsome of the pieces have stayed in the repertoire, including his 1905 \u003cem\u003ePraeludium and Allegro\u003c\/em\u003e, which Sevitzky transcribed for full\norchestra in much the same “big band” manner that his conducting\ncontemporaries like Stokowski, Henry Wood and Barbirolli were then using to\norchestrate Bach, Handel and Purcell.\n\u003c\/p\u003e\n\u003cp\u003e\nGiovanni Sgambati wrote his \u003cem\u003eVecchio Minuetto\u003c\/em\u003e in 1885 for solo\npiano, looking back to the 18th Century dance that Haydn and Mozart\nincorporated into many of their orchestral works. Appropriately, Sevitzky’s\nperformance was originally issued as the filler side to his recording of\nHaydn’s Symphony No. 73 (reissued on Pristine \u003ci\u003ePASC 650\u003c\/i\u003e). Both this and the\nnext work, a Weber waltz, were orchestrated by Russian-American composer\nArcady Dubensky, who in the latter case took Weber’s original piano solo in\nB-flat and transcribed it in D. Sevitzky recorded several of Dubensky’s\ncompositions, both with the Indianapolis Symphony (\u003ci\u003ePASC 509\u003c\/i\u003e) and earlier\nwith his Philadelphia Chamber String Simfonietta (\u003ci\u003ePASC 375\u003c\/i\u003e).\n\u003c\/p\u003e\n\u003cp\u003e\nCould it be a coincidence that the only Johann Strauss waltz that Sevitzky\never recorded, \u003cem\u003eFr\u003c\/em\u003e\u003cem\u003eü\u003c\/em\u003e\u003cem\u003ehlingsstimmen\u003c\/em\u003e, was also one of\nonly two that his more famous uncle Serge Koussevitzky had set down 13\nyears earlier for the same label? In the event, Sevitzky proves himself to\nbe an entirely idiomatic interpreter, even though he had to drop a repeated\nphrase and speed up a bit toward the end to get his reading to fit onto one\n78 rpm side. It is a performance to make one wish he had recorded more of\nthis repertoire.\n\u003c\/p\u003e\n\u003cp\u003e\nThe two Delibes ballet suites were recorded at Sevitzky’s last session for\nVictor in 1946, although they were kept “in the can” for three years before\nbeing issued. In transferring these from their original LP issue (LM-1032,\nreleased in 1950), I was surprised to find that the “Czardas” from\u003cem\u003e Copp\u003c\/em\u003e\u003cem\u003eé\u003c\/em\u003e\u003cem\u003elia\u003c\/em\u003e had been moved to the beginning of the \u003cem\u003eSylvia\u003c\/em\u003e Suite. Evidently, no one noticed the mistake, and it was\nnever corrected during the disc’s relatively brief life in the catalog\nbefore it was replaced by a Monteux\/Boston LP featuring the same suites in\na somewhat different selection and ordering of excerpts. (Its position has\nbeen corrected here.)\n\u003c\/p\u003e\n\u003cp\u003e\nThe Khachaturian was one of only two LPs Sevitzky taped for Capitol at his\nfinal recording sessions in 1953. Two years later, he left the Indianapolis\nSymphony to teach at the University of Miami and guest conduct\ninternationally. During one such appearance, he died in Athens in 1967.\n\u003c\/p\u003e\n\u003cp\u003e\nAccording to the Sevitzky\/Indianapolis discography compiled by Frederick P.\nFellers, of the 43 titles which Sevitzky recorded with the Indianapolis\nSymphony, no fewer than 12 were never issued. Most of these works were by\nAmerican composers, whom Sevitzky particularly championed by including one\non every program he conducted; but there were others by Bach, Berlioz,\nMozart and Verdi which were bypassed for release, as well. It is hoped that\nsomeday, these will join the works on the six CDs of the present series,\nand expand the known performances of this dynamic conductor.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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\u003cdiv class=\"pristine-boxset-track-listing--heading\"\u003eClick below to expand track listing:\u003c\/div\u003e\u003cdiv class=\"pristine-boxset-track-listing\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 1 (1941-46) - PASC479\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eGLINKA:  \u003cem\u003eRusslan and Ludmilla\u003c\/em\u003e – Overture \u003cbr\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003eRecorded 8 January 1941 \u003cbr\u003eMatrix No. CS 057573-2 \u003cbr\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eRIMSKY-KORSAKOV:  \u003cem\u003eDubinushka\u003c\/em\u003e, Op. 69\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRecorded 7 January 1941\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eMatrix No. CS 057574-1\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eVictor 17731\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eLIADOV: \u003cem\u003eBaba Yaga\u003c\/em\u003e, Op. 56\u003c\/b\u003e \u003cbr\u003e Recorded 9 February 1945 \u003cbr\u003eMatrix No. D5-RC-827-1\u003cbr\u003eRCA Victor 11-9247 in album M-1066\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  Waltz from \u003cem\u003eEugene Onegin\u003c\/em\u003e\u003c\/b\u003e                                                    Recorded 19 March 1946\u003cbr\u003eMatrix No. D6-RC-5259-1A\u003cbr\u003eRCA Victor 12-0044 in album M-1189\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan\u003e\u003cb\u003eTCHAIKOVSKY:  \u003cem\u003eManfred\u003c\/em\u003e, Op. 58\u003c\/b\u003e\u003c\/span\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRecorded 27-28 January 1942\u003cbr\u003eMatrix Nos. CS 071331-1,\n071332-1A, 071333-2, 071334-2, 071335-1, 071336-1, 071337-1, 071338-1,\n071339-1A, 071340-1, 071341-1, 071342-1, 071343-1A \u0026amp; 071344-1\u003cbr\u003eVictor 11-8331\/7 in album M-940\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003eIndianapolis Symphony Orchestra  ∙  Fabien Sevitzky\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 2 (1941-45) - PASC509\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGLAZUNOV: From the Middle Ages – Suite, Op. 79\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. Prelude (7:18)\u003cbr\u003e2. Scherzo (4:02)\u003cbr\u003e3. Serenade of the Troubadour (4:18)\u003cbr\u003e4. The Crusaders (9:12)\n\n\u003c\/p\u003e\n\u003cp\u003e\nRecorded 8 and 9 February 1945\u003cbr\u003eMatrix nos.: D5-RC-800-2, 801-1, 802-1, 803-2A , 804-2 , 805-2\u003cbr\u003eFirst issued on RCA Victor 12-0328\/30 in album M-1222\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e5. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Fugue for 18 Violins\u003c\/span\u003e\u003c\/strong\u003e(4:25)\n\u003c\/p\u003e\n\u003cp\u003e\nRecorded 29 January 1942\u003cbr\u003eMatrix no.: CS 071362-1\u003cbr\u003eFirst issued on Victor 11-8366 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e6. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eDUBENSKY: Stephen Foster – Theme, Variations and Finale\u003c\/span\u003e\u003c\/strong\u003e\n(12:16)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eLeon Zawisza, \u003cem\u003esolo violin\u003c\/em\u003e\u003c\/strong\u003e\n\u003c\/p\u003eRecorded 28 and 29 January 1942\n\n\u003cp\u003e\nMatrix nos.: CS 071351-2, 071352-1 and 071353-1\u003cbr\u003eFirst issued on Victor 11-8365\/6 in album M-912\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e7. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eCESANA: Negro Heaven\u003c\/span\u003e\u003c\/strong\u003e (7:52)\n\u003c\/p\u003e\n\u003cp\u003e\nRecorded 8 January 1941\u003cbr\u003eMatrix nos.: CS 05786-1A and 05787-1A\u003cbr\u003eFirst issued on Victor 18070\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 17px;\"\u003e8. \u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 17px;\"\u003eGERSHWIN-BENNETT: Porgy and Bess: A Symphonic Picture\u003c\/span\u003e\u003c\/strong\u003e\n(19:46)\n\u003c\/p\u003e\n\u003cp\u003e\nRecorded 8 February 1945\u003cbr\u003eMatrix nos.: D5-RC-811-1A, 812-1A, 813-1, 814-1A, 815-1 and 816-1\u003cbr\u003eFirst issued on RCA Victor 11-8789\/91 in album M-999\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\nProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\nproviding source material\n\u003c\/p\u003e\n\u003cp\u003e\nAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\nTotal Timing: 69:11\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 3 (1942\/53) - PASC520\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003eBRAHMS Hungarian Dances, WoO 1\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1 No. 1 in G minor (3:41)\n\u003c\/p\u003e\n\u003cp\u003e\n2 No. 3 in F major (2:34)\n\u003c\/p\u003e\n\u003cp\u003e\n3 No. 7 in A major (F major for orchestral version) (1:26)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eDVOŘÁK Slavonic Dances, Op. 46\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n4 No. 8 in G minor (3:55)\n\u003c\/p\u003e\n\u003cp\u003e\n5 No. 2 in E minor (4:28)\n\u003c\/p\u003e\n\u003cp\u003e\n6 No. 4 in F major (7:11)\n\u003c\/p\u003e\n\u003cp\u003e\n7 No. 1 in C major (3:32)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eENESCU Romanian Rhapsodies, Op. 11\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n8 No. 1 in A major (11:44)\n\u003c\/p\u003e\n\u003cp\u003e\n9 No. 2 in D major (10:51)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eKHATCHATURIAN Gayaneh – Ballet Suite\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n10 Introduction and Dance of the Rose Maidens (4:44)\n\u003c\/p\u003e\n\u003cp\u003e\n11 Awakening and Dance of Aysha (6:57)\n\u003c\/p\u003e\n\u003cp\u003e\n12 Dance of the Mountaineers (1:39)\n\u003c\/p\u003e\n\u003cp\u003e\n13 Lullaby (5:17)\n\u003c\/p\u003e\n\u003cp\u003e\n14 Sabre Dance (2:28)\n\u003c\/p\u003e\n\u003cp\u003e\n15 Armen’s Variation (1:51)\n\u003c\/p\u003e\n\u003cp\u003e\n16 Dance of the Young Kurds (3:26)\n\u003c\/p\u003e\n\u003cp\u003e\n17 Lezghinka (3:12)\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eFabien Sevitzky ∙ Indianapolis Symphony Orchestra\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nProducer and Audio Restoration Engineer Mark Obert-Thorn\n\u003c\/p\u003e\n\u003cp\u003eArtwork based on a photograph of Fabien Sevitzky\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\nBrahms recorded 29 January 1942 on matrices CS 071357-1 and 071358-2. First\nissued on Victor 11-8223.\n\u003c\/p\u003e\n\u003cp\u003e\nDvořák, Enescu and Khatchaturian recorded on 22 – 23 January 1953 and first\nissued on Capitol H-8211 (Dvořák), H-8210 (Enescu) and P-8223\n(Khatchaturian).\n\u003c\/p\u003e\n\u003cp\u003e\nAll recordings made in the Murat Theatre, Indianapolis.\n\u003c\/p\u003e\n\u003cp\u003e\nTotal Timing 78:57\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 4 (1941\/46) - PASC560\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\n\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eFABIEN SEVITZKY and the INDIANAPOLIS SYMPHONY, Volume 4\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cstrong\u003eVictor Studio Recordings ∙ 1941 \u0026amp; 1946\u003c\/strong\u003e\n\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTCHAIKOVSKY Symphony No. 1 in G minor, Op. 13 “Winter Dreams” (1866)\u003c\/strong\u003e\u003cbr\u003e1. 1st Mvt.: Allegro tranquillo (“Dreams of a Winter Journey”) (11:13)\u003cbr\u003e2. 2nd Mvt.: Adagio cantabile ma non tanto (“Land of Desolation, Land of\nMists”) (10:29)\u003cbr\u003e3. 3rd Mvt.: Scherzo: Allegro scherzando giocoso (6:13)\u003cbr\u003e4. 4th Mvt.: Finale: Andante lugubre – Allegro maestoso (11:54)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 19 March 1946\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eMatrix nos.: D6-RC-5250-2A, 5251-2, 5252-1C, 5253-1, 5254-2, 5255-1C,\n5256-2A, 5257-2C \u0026amp; 5258-2\u003c\/span\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eFirst issued on RCA Victor 12-0040\/4 in album M-1189\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKALINNIKOV: Symphony No. 1 in G minor (1894-95)\u003c\/strong\u003e\u003cbr\u003e5. 1st Mvt.: Allegro moderato (9:40)\u003cbr\u003e6. 2nd Mvt.: Andante commodamente (8:52)\u003cbr\u003e7. 3rd Mvt.: Scherzo: Allegro non troppo – Moderato assai (7:32)\u003cbr\u003e8. 4th Mvt.: Finale: Allegro moderato (9:28)\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eRecorded 7 \u0026amp; 8 January 1941\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eMatrix nos.: CS 057576-1, 057577-1A, 057578-1, 057579-2, 057580-1,\n057581-2, 057582-1 \u0026amp; 057583-1\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eFirst issued on Victor 18187\/90 in album M-827\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\nmaterial\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\nTotal Timing: 75:20\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 5 - Haydn \u0026amp; Grieg (1941-45) - PASC650\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 5\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\n1. \u003cstrong\u003eHAYDN L’isola disabitata, Hob. XXVIII:9 – Overture \u003c\/strong\u003e\n(7:55)\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003eRecorded 29 January 1942 ∙ Matrices: CS 071360-1 \u0026amp; 071361-1 ∙ First\nissued on Victor 11-8487\n\u003c\/span\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eHAYDN Symphony No. 73 in D major, Hob. I:73 “La chasse”\u003c\/strong\u003e\u003cbr\u003e2. 1st Mvt.: Adagio – Allegro (5:13)\u003cbr\u003e3. 2nd Mvt.: Andante (6:18)\u003cbr\u003e4. 3rd Mvt.: Menuetto (3:01)\u003cbr\u003e5. 4th Mvt.: Presto (3:46)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 February 1945 ∙ Matrices: D5-RC-806-1B, 807-1A, 808-1, 809-1A\n\u0026amp; 810-2A ∙ First issued on RCA Victor 12-0952\/4 in album M-1312\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Sigurd Jorsalfar – Suite, Op. 56\u003c\/strong\u003e\u003cbr\u003e6. Prelude (In the King’s Hall) (4:04)\u003cbr\u003e7. Intermezzo (Borghild’s Dream) (4:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrices: CS 057584-3A \u0026amp; 057585-2A ∙ First\nissued on Victor 18291\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Peer Gynt – Suite No. 2 , Op. 55\u003c\/strong\u003e\u003cbr\u003e8. Ingrid’s Lament (4:11)\u003cbr\u003e9. Arabian Dance (4:50)\u003cbr\u003e10. Return of Peer Gynt (2:30)\u003cbr\u003e11. Solvejg’s Song (5:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 28 January 1942 ∙ Matrices: CS 071347-1, 071348-1, 071349-1 \u0026amp;\n071350-1 ∙ First issued on Victor 11-8163\/4 in album M-902\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGRIEG Symphonic Dances, Op. 64\u003c\/strong\u003e\u003cbr\u003e12. No. 1 in G major – Allegro moderato e marcato (4:51)\u003cbr\u003e13. No. 2 in A major – Allegretto grazioso (4:42)\u003cbr\u003e14. No. 3 in D major – Allegro giocoso (4:49)\u003cbr\u003e15. No. 4 in A minor – Andante – Allegro molto e risoluto (8:05)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrices: D5-RC-817-1, 818-1A, 819-1, 820-2\n\u0026amp; 821-1 ∙ First issued on RCA Victor 11-9245\/7 in album M-1066\n\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown and Charles Niss for providing source\nmaterial\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\nTotal Timing: 73:28\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item\"\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--heading\"\u003eSEVITZKY and the Indianapolis Symphony, Volume 6 - Delibes \u0026amp; Khachaturian (1941-53) - PASC680\u003c\/div\u003e\n\u003cdiv class=\"pristine-boxset-track-listing--item--content\"\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cb\u003eSEVITZKY \u003c\/b\u003eand the Indianapolis Symphony, Volume 6\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e1.\n\u003cstrong\u003e\n\u003cspan style=\"font-size: 18px;\"\u003eKREISLER (orch. Sevitzky) Praeludium and Allegro (in the Style of\nPugnani)\u003c\/span\u003e\n\u003c\/strong\u003e\n(6:39)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 27 January 1942 ∙ Matrices: CS 071328-1 \u0026amp; 071329-2 ∙ First\nissued on Victor 11-8439\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e2. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eSGAMBATI (orch. Dubensky) Vecchio Minuetto\u003c\/span\u003e \u003c\/strong\u003e(4:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 9 February 1945 ∙ Matrix: D5-RC-825-1 ∙ First issued on Victor\n12-0954 in album M-1312\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e3. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eWEBER (orch. Dubensky) Waltz (No. 5 from Favoritenwalzer)\u003c\/span\u003e \u003c\/strong\u003e\n(2:15)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057596-1 ∙ First issued on Victor\n11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e4. \u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eJ. STRAUSS II Voices of Spring (\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003eFr\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eü\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003ehlingsstimmen\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e) – Waltz, Op. 410\u003c\/span\u003e \u003c\/strong\u003e(5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 8 January 1941 ∙ Matrix: CS 057590-1 ∙ First issued on Victor\n11-8609\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Copp\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eélia – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e5. Thème slave varié (5:07)\u003cbr\u003e6. Danse fête (1:21)\u003cbr\u003e7. Valse des heures (3:33)\u003cbr\u003e8. Nocturne (3:09)\u003cbr\u003e9. Danse des automates et Valse (4:55)\u003cbr\u003e10. Czardas (3:28)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5260-2A, 5261-1, 5262-1A, 5263-1A,\n5264-2A \u0026amp; 5265-1 ∙ First issued on RCA Victor 12-0909\/11 in album\nM-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eDELIBES Sylvia\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003e – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e11. Prélude et Les Chasseresses (4:30)\u003cbr\u003e12. Intermezzo et Valse lente (2:53)\u003cbr\u003e13. Pizzicati (1:48)\u003cbr\u003e14. Cortège de Bacchus (5:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 20 March 1946 ∙ Matrices: D6-RC-5266-2, 5267-2A, 5268-1 \u0026amp;\n5269-1 ∙ First issued on RCA Victor 12-0912\/13 in album M-1305\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 18px;\"\u003eKHACHATURIAN Masquerade – Suite\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e15. Waltz (4:12)\u003cbr\u003e16. Nocturne (4:18)\u003cbr\u003e17. Mazurka (2:18)\u003cbr\u003e18. Romance (3:27)\u003cbr\u003e19. Galop (2:41)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 22-23 January 1953 ∙ First issued on Capitol P-8223\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 12px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 20px;\"\u003eIndianapolis Symphony Orchestra ∙ Fabien Sevitzky\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\n\u003c\/p\u003e\n\u003cp\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eSpecial thanks to Nathan Brown, Frederick P. Fellers and Charles Niss for\nproviding source material\u003cbr\u003eAll works recorded in the Murat Theatre, Indianapolis, Indiana\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003eTotal Timing: 71:43\n\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\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_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_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":44064698663002,"sku":"tql1789303577450","price":55.14,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":44064698695770,"sku":"jgo1789303577451","price":43.24,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/sevitzky-and-the-indianapolis-symphony-complete-volumes-1-6-1941-53---pabx040_1.jpg?v=1789303584","url":"https:\/\/vestorawear.shop\/products\/sevitzky-and-the-indianapolis-symphony-complete-volumes-1-6-1941-53-pabx040","provider":"My Store","version":"1.0","type":"link"}