L L PASC245 GUIDO CANTELLI PASC245 ANTELLI NBC CONCERT NO.39 CANTELLI

1 ROSSINI Overture Overture from from La Cenerentola La Cenerentola (8:09) (8:09) 2 TCHAIKOVSKY 4 - 1st mvt. - Andante sostenuto - Moderato con anima (17:12)

3 TCHAIKOVSKY Symphony 4 - 2nd mvt. - Andantino in modo di canzona (9:05) TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 4 TCHAIKOVSKY Symphony 4 - 3rd mvt. - Scherzo - Pizzicato ostinato (5:45) 2 1st mvt. - Andante sostenuto - Moderato con anima (17:12) 5 TCHAIKOVSKY Symphony 4 - 4th mvt. - Finale - Allegro con fuoco (8:53 3 2nd mvt. - Andantino in modo di canzona (9:05)

4 3rd mvt. - Scherzo - Pizzicato ostinato (5:45)

5 4th mvt. - Finale - Allegro con fuoco (8:53)

NBC Symphony Orchestra conductor Guido Cantelli

Live broadcast from , 14th February 1954 Transfer from later rebroadcast by BBC Radio THE COMPLETE CONCERT OF CANTELLI'S 39TH APPEARANCE WITH THE Transfer tape from the collection of Keith Bennett NBC SYMPHONY ORCHESTRA Transfer and XR remastering by Andrew Rose at Pristine Audio, September 2010 ROSSINI Overture from La Cenerentola Cover artwork based on a photograph of Guido Cantelli TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36 Total duration: 49:04 ©2009 Pristine Audio. CARNEGIE HALL,, 1414TH FEBRUARY,, 19541954 SARL Pristine Audio, Le Bourg, 24610 St. Méard de Gurçon, - Tel. +33 (0)5 53 82 18 57 - Internet: www.pristineclassical.com CANTELLI'S NBC CONCERT 39 - ROSSINI, TCHAIKOSVKY PASC 245 CANTELLI, NBC SYMPHONY ORCHESTRA Cantelli had just four of Tchaikovsky’s of fourjustcomposition had Cantelli Tchaikovsky:Symphony minor,No.4,Op.36 F in preserved. onl his this, five but orchestras with performances the time of his concert-giving – the last three sym three last the concert-givinghis– of time the This overture only came into Cantelli’s repertoire Cantelli’s into came onlyovertureThis Rossini:CenerentolaOverture La Tchaikovsky was usually interpreted in an emotional Tchaikovskyan ininterpretedwasusually that rubato was banished entirely, merely that it w it merelythat entirely, banished was rubato that o semblance any of them purge to was way Cantelli’s hisrepertoire. in genera was he collectors)recordand today’s of many fa find wouldstylewhose not but conductors, great performances. But what is accepted as the norm tod norm the as isaccepted what But performances. with many of the superiorrecordingssounding the curre of many with liste but spectacular stereo latest the in heard be recordings1950s.early Cantelli’s the in air fresh that probably around 100Symphoniesrecordingsaround 4 of probably that particular this performance – made on its listenerits on made – performance this particular ye 50 than more after appreciate is difficult to It record-buyinsymphonies the these of with popularity who have insisted on recomposing it for him. for it recomposing on insisted have who Tch of repetition the for grateful especially was I published article in Tchaikovsky set down in his score, and one that show that one and score, his in down set Tchaikovsky T HESE

ARE The Nation The

EXCERPTS NBC C on 20 March 1954 March 20 on

FROM

NOTES ONCERT aikovsky’s No.4 – the first in my forty years exper years forty myin first the No.4– aikovsky’s G

BY ed him to be a better composer of his music than St than music his of composer better a be himto ed UIDO as recordings are not, of course, the equal of the of equal the course, of recordingsnot, as are n to the young conductor’s musicianship and it is r isyoung it musicianshipconductor’s the and to n K ars just how strong an impression Cantelli’s way wit way impression Cantelli’s an strongjust how ars phonies. At about the time that Cantelli appeared on appeared Cantelli that time the about Atphonies. in 1953 and received his last performance in 1954.1953 in performance in received last andhis s. This is what the very experienced American critic,Americanexperiencedvery the s.Thiswhat is as less in evidence than can be found in many of th of many in found be lesscan as evidenceinthan y performance with the NBC Symphony Orchestra, ist Orchestra, Symphony NBC the withperformance y EITH vour today. That manner of interpretation was anathe was interpretation of manner That vourtoday. s in his repertoire, the the ins repertoire, his N manner typified by the likesKoussevitsky, typified of the by manner Meng ntly to be found in the present catalogue and reade and catalogue present the in found be to ntly f sentimentality by keeping a relatively firm grip grip firmrelatively keepinga by sentimentalityf ay, ie a closer approximation of the indications inindications the of closer approximation a ie ay, lly more straightforward in his performances of the of performanceshisinstraightforward more lly g public. g and 5 have been available and even more (130?)moreeven of and available been 5have and B O ENNETT .39 - R C - F - ULL ANTELLI OSSINI

NOTES Fantasy Overture Romeo and Juliet Romeoand Overture Fantasy

ARE , , T

ience that gave me an accurate realization in sound in realization accurate an me gave that ience ONLINE CHAIKOVSKY okowski, Koussevitsky, Mengelberg and all the other the all and Mengelberg Koussevitsky, okowski,

AT

WWW vastly improved vastly to sonics are which emarkable to hear how they equate they how hear to emarkable During that time he gave eight gave he time that During h this symphony – and in symphonythis–and h on rhythm but this is not to say to this not is but rhythm on e more overt emotional overt more e . Bernard Haggin, had to say in an in say to had Haggin, Bernard PRISTINECLASSICAL the score, was like a breath of breath waslikea score, the the international stage international the rs would do well to remember welldowouldrsto elberg and Stokowski–and all elberg four of Tchaikovsky’s of four works and – as was customary at customary was –as and ma to Cantelli (as it is to is it (as Cantelli to ma he only one that has been has that one only he Symphony No.6, such issuchthe No.6, Symphony . COM L PASC PASC 245 what

s

O S NBC , C RCHESTRA YMPHONY ANTELLI

PASC 245 PASC

, T , R - 39 C NBC ' C CHAIKOSVKY OSSINI ONCERT S ANTELLI