{"product_id":"stokowski-chicago-debut-concerts-1958-pasc242","title":"STOKOWSKI Chicago Debut Concerts (1958) - PASC242","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eChorale Preludes\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSZABELSKI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eToccata\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSHOSTAKOVICH \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude in E flat minor\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003ePROKOFIEV \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eRomeo and Juliet Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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;\"\u003eSwan Lake Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\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;\"\u003eSymphony No. 2 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLIERE \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 3 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1958\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 37:58\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eChicago 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;\"\u003eLeopold Stokowski\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eUnfortunately, I was on Christmas vacation from\ncollege when Leopold Stokowski, at age 75, made his first appearance\nwith the Chicago Symphony Orchestra (he remarked that they must have\nbeen waiting for him to reach maturity). By the following week, I was\nback in town and did hear the Friday matinee concert on January 10. The\nconcerts must have been considered a success because Stokowski kept\nreturning in subsequent seasons and even made some studio recordings\nwith the orchestra. Sadly, only one season of the Fritz Reiner era was\ntaped, that of 1957–58, and it was done by a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew York \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eradio\nstation (WBAI) that was operating on a very limited budget. WBAI’s\nengineer\/producer would fly to Chicago, tape the Thursday evening\nconcert, and then head back to New York the next day. I would guess that\nthe concerts were broadcast on Saturday night in New York, but it’s\nbeen a long time. One night, Reiner, who must have been pleased that \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003esomeone \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewas\nbroadcasting his concerts, offered WBAI’s man a lift back to his hotel.\nNot wanting to reveal what a low-budget enterprise he was involved in,\nthe WBAI producer asked Reiner to drop him at the posh Palmer House. He\nentered the lobby, waited about five minutes, and when the coast was\nclear, exited and headed for the local YMCA where he was actually\nstaying! Fortunately, the orchestra and now Pristine Audio have been\nable to use copies of the WBAI tapes to, at least, preserve one Reiner\nseason in respectable sound (the CSO also did regular TV appearances,\nbut those kinescope recordings are sonically compromised). \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eBut back to Stokowski. No one’s Bach\ntranscriptions throb quite like Stokowski’s, especially if he was\nconducting them. These four are Stokowski standards and he and the\norchestra deliver the goods. They are effective even though they are a\nhalf-tone flat and, while I’m on the subject, the Shostakovich Prelude\nin E♭-Minor, orchestrated in a very Shostakovich-like way, plays back in\nD Minor. As far as I can tell, nothing else on either CD is below\npitch. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Polish composer Boleslaw Szabelski lived from\n1896 to 1979. After late-Romantic beginnings, he began to compose atonal\nmusic during the 1950s. He was a student of Karol Szymanowski and was a\nteacher of the late Henryk Górecki. The Toccata, a busy 1938 showpiece\nfor orchestra, predates his switch to atonality. Did Stokowski ever\nconduct it again? \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe sheer warmth of the Prokofiev excerpts inspire\nwishes that he had recorded the complete score (but please, no cuts!).\nHe recorded some selections with the NBC Symphony Orchestra in 1954.\nUnfortunately, all he did was “Romeo and Juliet,” “Romeo at the Tomb of\nJuliet,” which are included here, and three others. He recorded excerpts\nfrom acts II and III of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eSwan Lake \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith\n“his” symphony orchestra, brilliantly played but somewhat streamlined\nprobably to squeeze as much music onto the LP as possible. As for the\nChicago performance, I wish I could hear the entire ballet performed\nwith such suppleness and warmth, and the playing is as good as you might\nimagine. For some reason, the Hungarian Dance is labeled “Danse Russe.”\n\u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe two symphonies take up the second CD. With\nrespect to the Brahms, I haven’t heard Stokowski’s late-career recording\nwith the National Philharmonic but I do have the early Philadelphia\nOrchestra version on hand. Aside from Chicago’s being a shade faster and\nlittle more “punctuated” for emphasis, the Chicago and Philadelphia\nperformances are similar. They are pretty much mainstream readings. As\nexpected, the Chicago taping is more detailed and has louder brass\nplaying. Compared with the Philadelphia recording, there’s little use of\n\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eportamento\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. The CSO really digs into the last movement. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eSometime during the first season of Philadelphia’s\nKimmel Center, I decided to test the acoustics of Verizon Hall, the\nPhiladelphia Orchestra’s new home. I thought that Glière’s “Ilya\nMurometz” Symphony would be a decent test piece and Neeme Järvi was\nscheduled to conduct it. I had already heard Stokowski conduct it twice,\nonce in Chicago and once in New York, but for some people, including\nme, the “Ilya Murometz” is one of life’s guilty pleasures so I decided\nto take in a Friday matinee so I could return home after the concert.\nThe concert was to open with Thomas Zehetmeier playing Mozart’s Violin\nConcerto No. 4. As two o’clock approached, there was a lot if milling\naround on stage, with players coming and going and the audience getting\nrestless. Finally, after about 15 minutes, someone came out on stage and\ngave one of those “due to circumstances beyond our control”\nannouncements to the effect that the Mozart would not be performed and,\nsince the Glière symphony required a much larger orchestra, some of the\nplayers had not arrived yet. I assured a woman sitting next to me that,\nsince the uncut Glière Third is longer than some Bruckner and Mahler\nsymphonies, we would still come close to getting our money’s worth.\nFinally, all the players showed up and Neeme Järvi came on stage and led\nwhat I thought was a restrained performance of the symphony (he was\nrecovering from a heart attack), and I thought the sound of the hall too\ndry for my taste, if not as dry as that of the Academy of Music. At the\ntime, the place was still a work in progress and I don’t know what it\nsounds like nowadays. As for Zehetmeier, he later explained that he\ndidn’t realize that the Friday concert was a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ematinee\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e until it was too late! \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eStokowski said that, early in his Philadelphia\ncareer, he had the opportunity to discuss the symphony with Glière and\nthe composer (supposedly) agreed that his symphony could be performed\nwith certain cuts. He also met Glière when he visited the Soviet Union\nin 1931. In 1940 he recorded the symphony with the Philadelphia\nOrchestra. A complete, uncut “Ilya Murometz” runs between, say, 75 and\n78 minutes. Stokowski’s 1940 recording runs 46 minutes. It’s hard to\nbelieve that the cuts were all Glière’s idea. In later years, Stokowski\nfavored a more heavily cut edition that runs 38 minutes on his recording\nwith the Houston Symphony Orchestra and about a minute longer on this\nChicago broadcast. One addition to the shorter edition is that, whereas\nthe Philadelphia recording fades out quietly, on the Houston and Chicago\nrecordings, he uses Glière’s solemn, louder ending, which applies a\nmore decisive period to the piece. Each conductor who has cut the piece\nfor a recording has done his own cuts. In ascending order of\ncompleteness, the ones I’ve heard are the two later Stokowskis, the\nRachmilovich, Stokowski\/Philadelphia, Fricsay, the two Ormandys, Talmi,\nRakhlin, and the uncut ones of Botstein, Downes, Johanos, Scherchen, and\nFarberman—that last one, thanks to some sight-reading tempos,\nstretching out beyond 90 minutes; he conducts as if he relishes every\nnote in the score. Now there’s a spread: 38 minutes to 92 minutes! What\nyou won’t get on Stokowski’s Chicago performance are the high\nfrequencies; what you won’t get on the Houston performance is the sheer\nmassive power of the Chicago brasses and some interesting wind details.\nOn the Houston recording, you can hear Stokowski’s eccentric placement\nof the orchestra, with all the winds and brass on stage left and the\nviolins, violas, and cellos taking up most of what space remains, with\nthe basses lining the back of the stage. You won’t hear that on the CSO\nperformance, which is a mono recording. Both, like his 1940 effort in\nPhiladelphia, are animated, intense performances. I suppose an uncut\nStokowski “Ilya Murometz” was too much to hope for. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eObviously, this pair of CDs preserves two\nimportant concerts in the CSO’s history—the first guest appearances by\none of the 20th century’s most import maestros. Stokowski recorded most\nof this music earlier and\/or later, but there seems to have been good\nchemistry between him and the CSO—several of the players were alumni of\nhis All-American Orchestra. \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames Miller \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 34:4 (Mar\/Apr 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC242.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: 24px;\"\u003e\u003cem\u003eStoki's Chicago debut - just 53 years into his professional career!\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eFirst release of two packed CDs-worth of quintissential Stokowski\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eLeopold Stokowski had for several decades been one of the world's most well-known and respected conductors when, on 2nd January 1958, he stepped onto the podium at Chicago's Orchestra Hall to conduct the Chicago Symphony Orchestra for the first time as its guest conductor. Between 1958 and 1968 he was to appear with the orchestra in six seasons of concerts; this release brings out for the first time what has been preserved from his debut concerts at the beginning of 1958.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe recordings presented here are not, it would appear, actual live broadcasts from Chicago, but were taken from rebroadcasts shortly later from a New York radio station - despite the announcer's assertions that they are live in Orchestra Hall, these were probably voice-overs from the New York radio studio. The rebroadcasts omitted music by Wagner which had formed the bulk of the second part of the first concert, following the \u003cem\u003eToccata\u003c\/em\u003e of the little-known Polish composer, Boleslaw Szabelski.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe first half of that opening concert (which was repeated on 3rd January) consisted of traditional fare - Stokowski's orchestrations of Bach's \u003cem\u003eChorale Preludes\u003c\/em\u003e and the Brahms symphony. The second programme, again repeated over two concerts, was an all-Russian affair, beginning with the Shostakovich and Glière and continuing after the interval with the Prokofiev and Tchaikovsky suites.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eAs usual, the orchestra and audience got full value for money from Stokowski. In addition to his own orchestrations of the Bach, he was also responsible for the orchestration of Shostakovich's \u003cem\u003ePrelude in E flat minor\u003c\/em\u003e very shortly after its composition. The composer himself later orchestrated the piece for a 1944 film entitled \u003cem\u003eZoya\u003c\/em\u003e, a name which has stuck to a degree to the prelude - however it is, of course, the conductor's orchestration we hear in this concert.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe selections from Prokofiev's \u003cem\u003eRomeo and Juliet\u003c\/em\u003e are somewhat skirted over by the announcer, as in fact they derive not from a single suite but from both the first and second suites. Meanwhile Stokowski has again gone his own way with his \u003cem\u003eSwan Lake Suite\u003c\/em\u003e, which does not correspond to the published suite. Indeed it took a certain amount of musical detective work to identify precisely which parts of Tchaikovsky's music had been used for some of the sections presented here.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eFinally, it has been suggested that without Stokowski's efforts, Glière's mighty \u003cem\u003e3rd Symphony\u003c\/em\u003e may well have been entirely forgotten. The full work runs to a sprawling 75 minutes or longer - by skilful editing, Stokowski reduced it to something more manageable and digestible and was thus able to programme it on several occasions and thus keep it alive.\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"body\"\u003eTechnically the sound quality of the recordings here is generally quite good to excellent, although there are some uneven areas. I have had to play with the running orders in order to fit all of the surviving material onto two discs, and have corrected an error by the announcer, who mistakenly introduced Prokofiev's \u003cem\u003eRomeo and Juliet \u003c\/em\u003eas Tchaikovsky's \u003cem\u003eSwan Lake\u003c\/em\u003e - he himself had corrected this in the back-announcement to the piece. \u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBACH\u003c\/strong\u003e Chorale Preludes\u003cbr\u003e Nun komm, der Heiden Heiland, BWV 599 \u003cbr\u003e Komm, susser Tod, BWV 478 \u003cbr\u003e Mein Jesu! was vor Seelenweh, BWV 487 \u003cbr\u003e Wir glauben all' an einen Gott, BWV 437 \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e Boleslaw SZABELSKI \u003c\/strong\u003eToccata (1938)\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e SHOSTAKOVICH \u003c\/strong\u003ePrelude in E flat minor, 'Zoya', Op. 34, No. 14 (orch. Stokowski) \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e PROKOFIEV \u003c\/strong\u003eRomeo and Juliet Suite\u003cbr\u003e Suite No. 1, Op. 64bis: VI. Romeo and Juliet \u003cbr\u003e Suite No. 2, Op. 64ter: VI. Dance of the Antilles Girls \u003cbr\u003e Suite No. 2, Op. 64ter: VII. Romeo at the Grave of Juliet \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e TCHAIKOVSKY \u003c\/strong\u003eSwan Lake Suite \u003cbr\u003e 1. Act 1 Introduction - Moderato assai \u003cbr\u003e 2. Act 1 No. 5 - Pas de deux \u003cbr\u003e 3. Act 2, No. 10 - Scène \u003cbr\u003e 4. Act 2, No. 13 - Danse des Cynges \u003cbr\u003e 5. Act 3, No 20a - Danse Russe \u003cbr\u003e 6. Act 3 No. 21 - Danse Espagnole \u003cbr\u003e 7. Act 4, No. 27 - Danse des petits cygnes \u003cbr\u003e 8. Act 4, No. 29 - Finale \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBRAHMS \u003c\/strong\u003eSymphony No. 2 in D major, Op. 73 \u003cstrong\u003e\u003cbr\u003e \u003cbr\u003e \u003c\/strong\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eGLIERE \u003c\/strong\u003eSymphony No. 3 In B minor, Op. 42, “Il'ya Muromets” \u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Live concert recordings from Orchestra Hall, Chicago: \u003cbr\u003e \u003cstrong\u003e2nd January 1958\u003c\/strong\u003e - Bach,Brahms, Szabelski \u003cbr\u003e \u003cstrong\u003e9th January 1958\u003c\/strong\u003e - Shostakovich, Glière, Prokofiev, Tchaikovsky\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\n\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChicago Symphony Orchestra\u003c\/strong\u003e\u003cbr\u003e conductor \u003cstrong\u003eLeopold Stokowski\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTransfers from the collections of Edward Johnson and John Kelly \u003cbr\u003e XR remastering by Andrew Rose at Pristine Audio, August-September 2010 \u003cbr\u003e Cover artwork based on a photograph of Leopold Stokowski\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\nTotal duration: 2hr 37:58\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC242.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC242.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 24-bit FLAC","offer_id":47172293066951,"sku":"tln1789307249707","price":13.92,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":47172293099719,"sku":"eop1789307249708","price":8.42,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":47172293132487,"sku":"zzm1789307249709","price":8.8,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":47172293165255,"sku":"ddn1789307249710","price":6.89,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0702\/7923\/3735\/files\/stokowski-chicago-debut-concerts-1958---pasc242_1.jpg?v=1789307253","url":"https:\/\/nextstylefashion.shop\/products\/stokowski-chicago-debut-concerts-1958-pasc242","provider":"My Store","version":"1.0","type":"link"}