{"product_id":"schnabel-beethoven-complete-piano-sonatas-vol-1-193334-pakm037","title":"SCHNABEL Beethoven: Complete Piano Sonatas, Vol. 1 (1933\/34) - PAKM037","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePiano Sonatas 1-3\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1933\/34\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-size: 12px;\"\u003e, Abbey Road Studio 3, London\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\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 67:23\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArtur Schnabel, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003c\/span\u003e\u003cem\u003e\u003c\/em\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fHis performances underscore why he was absolutely the right choice as the pioneering first pianist to record all of Beethoven’s 32 piano masterpieces578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eArtur Schnabel’s cycle of the 32 Beethoven sonatas has long been\navailable on CD. Although the fine transfers made by Mark Obert-Thorn\nfor Naxos cannot be sold in the U.S. (and may now be out of print), two\nothers can be had, both in eight-disc sets: one from EMI selling for\nabout $95 and one issued in 2010 from Musical Concepts (which I have not\nheard) available from ArkivMusic for a mere $31.49. In two key areas,\nthese Pristine releases differ from those sets—they are the first two of\nwhat will probably total eight discs, each to be available\nindividually. Moreover they embody what may well prove to be the\nsonically finest transfer that these recordings from the 1930s have\nreceived. Pristine offers transfers boasting many passages that feature\ngreater presence and quieter background than what EMI and Naxos\nachieved. To be sure, Pristine’s sound is variable. Its best occurs in\nthe Sonata No. 4 that opens the second disc. Indeed, the sound there is\nso fine, one might be tricked into thinking the source was a quiet LP\nfrom the late 1940s. Other sonatas are not always so sonically\nimpressive. Nonetheless, Andrew Rose’s engineering never requires any\nmodification with the flexible 10-band equalizer that I have often used\nin reissues of this kind. Side joins are seamless, presence often\nastonishing, and dynamic range surprisingly wide. And of equal\nimportance, when these transfers of the 32 sonatas are complete,\ncollectors who do not wish to acquire all of them will be able to\npurchase those they find most appealing. A final word: Hearing these\nreleases has reminded me of how Schnabel was not always technically\nperfect. But of far greater significance, his performances underscore\nwhy he was absolutely the right choice as the pioneering first pianist\nto record all of Beethoven’s 32 piano masterpieces.\u003cbr\u003e\u003cbr\u003eMortimer H. Frank\u003cbr\u003e This article originally appeared in Issue 35:2 (Nov\/Dec 2011) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PAKM037.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eThe legendary Schnabel Beethoven series starts here\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"They embody what may well prove to be the sonically finest transfer\u003cbr\u003ethat these recordings from the 1930s have received\" Fanfare\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eArtur Schnabel's 1930s Beethoven Sonata recordings are\nnot a remastering project to be undertaken lightly. There are of course\nmany other transfers already available, and I have held off beginning\nthis series for a number of years, until I could be confident not just\nof repeating the previous efforts of my colleagues, but of achieving\nsomething dramatically new and substantial to the recordings through\nPristine's 32-bit XR remastering process.\u003c\/p\u003e\u003cp class=\"body\"\u003eThis is a project which has been started and abandoned\nseveral times before in my efforts to produce the very finest, most\nauthentic piano tone, with as clean and quiet a background as possible.\nThis I believe I have finally achieved here, and it is only in the\noccasional side or short section that one is reminded that these\nrecordings were made nearly 80 years ago. My hope is that the much\nincreased clarity, fidelity and realism of these Pristine releases will\nallow the listener a far greater appreciation of Schnabel's genius than\never before - and that you will forget the vintage of the recording and\nmatters of sound quality and enjoy these legendary recordings as if\nhearing them for the very first time.\u003c\/p\u003e\u003cp\u003e\n\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cul\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 1 in F minor, Op. 2 No. 1\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 23 April 1934, issued as HMV DB 2463-64\u003cbr\u003e Matrix Numbers 2B 6147, 2149-51. All 1st takes except side 2: take 3\u003cbr\u003e \u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 2 in A major, Op. 2 No. 2\u003c\/span\u003e\u003cbr\u003e \u003cspan class=\"bodymidarial\"\u003eRecorded 9 April 1933, issued as HMV DB 2086-89\u003cbr\u003e Matrix Numbers 2B 6390-96, all take 2\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eBEETHOVEN \u003c\/b\u003ePiano Sonata No. 3 in C major, Op. 2 No. 3 \u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e Recorded 26 April 1934, issued as HMV DB 2646-48\u003cbr\u003e Matrix Numbers 2B 6172-77. Sides 1\u0026amp; 2: 1st takes, sides 3-6: take 2\u003c\/span\u003e\u003cb\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e \u003cbr\u003e Artur Schnabel \u003c\/span\u003e\u003c\/b\u003e \u003cspan class=\"body\"\u003epiano\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f\u003cbr\u003e578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PAKM037.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PAKM037.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fAdditional Notes578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cb\u003eRemastering Schnabel's Beethoven cycle\u003c\/b\u003e \u003cbr\u003e (A Pristine Classical newsletter editorial by Andrew Rose)\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eWhen Fred Gaisberg of HMV finally came to an agreement\nwith the pianist Artur Schnabel in 1932 to begin what was to become a\nlegendary series of recordings - the first complete cycle of Beethoven's\npiano sonatas on disc - Schnabel had been resisting and refusing all\noffers from gramophone companies for a good number of years. When asked\nwhether he felt the gramophone machine wasn't good enough for him he\nreplied \"It is I who am not good enough for the machine\". His meaning\nwas simple - that no single performance could or should be good enough\nto exist as a single record for all eternity, however good it was; no\ntwo of his performances were ever exactly alike, and in Schnabel's view\nno one performance could ever capture the multiple possibilities and\nfacets of these compositions.\u003cbr\u003e \u003cbr\u003e Perhaps it was a combination of\nthe need for financial security during the depressed and politically\nturbulent 1930s (as an Austrian Jew), coupled with the thrill of playing\nthe complete 32 sonatas in London, and the promise of recording the\nfull series of Beethoven sonatas and concertos rather than just a few\nfavourites which finally sealed the deal. Certainly Schnabel didn't\nenjoy the work much - he referred to the Abbey Road studios as his\n\"torture chamber\" and the recording process he once called the most\npainful experience of his life, though you'd never guess this by\nlistening to the results he achieved.\u003cbr\u003e \u003cbr\u003e Schnabel's aversion to\nand philosophical difficulties with the recording process certainly\nwasn't helped by the rise to power in 1933 of Hitler in Germany and\nSchnabel's swift exit from a country he had regarded as home for most of\nhis life, and where he was never to play another note during his\nlifetime. Thereafter he effectively lived in London and New York, though\nhis performing and teaching work took him on many travels; recording\nsessions for the Beethoven sonatas were slotted in between other\nengagements on both sides of the Atlantic between 1932 and 1935.\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e\nNearly eighty years later, Schnabel's Beethoven sonatas are still held\nby many as perhaps the supreme interpretations, a benchmark against\nwhich all newcomers are still compared. As such it's no great surprise\nthat they are still in the EMI catalogue (though the reviewers of\nAmazon.com seem to give EMI's current CD remastering a firm thumbs\ndown), nor that there are any number of alternative reissues and\nremasterings past and present to choose from on a wide variety of\nlabels. A quick search on Amazon reveals some 79 results - an assortment\nof single discs, box sets, compilations and the like - and so we really\nmust as the obvious question: is there any real need to produce yet\nanother issue?\u003cbr\u003e \u003cbr\u003e Schnabel's Beethoven is a project I've been\ntoying with for quite a while now. It took me quite a long time before I\nfelt I was getting truly worthwhile results with XR remasters of piano\nmusic of this era. This is, amongst other things, down to the very exact\nprecision of pitching required for the process to work on this kind of\nmaterial. Put simply, if my source material and my reference recording\naren't perfectly matched in pitch the re-equalisation of the source\nrecording just doesn't work. The life is sucked out of the piano tone\nand the instrument ends up sounding hollow or dead. This has always been\nless of a problem with an orchestral recording, where pitch, although\nnominally equal throughout the instruments, is actually something of a\nfuzzy blur when you come to measure it - pick any orchestral chord and\ncheck the frequencies being played and some will be fractionally sharper\nor flatter than others; it's what helps round the sound out, and is of\ncourse also helped by the use of vibrato.\u003cbr\u003e \u003cbr\u003e By contrast there's\nno vibrato on the piano, and only one person playing a sonata on one\npiano. Assuming the piano is properly in tune there's little pitch\nvariation up or down the keyboard, hence the need for very precise\nreadings to be taken in order to match up the pitches of the two\nrecordings required to make an XR remastering. (In this case I'm using\nAshkenazy's sonata recordings for reference purposes in order to\nre-equalise Schnabel's piano tone.)\u003cbr\u003e \u003cbr\u003e An excellent tool came my\nway a few months ago which has greatly simplified and made more accurate\nmy measuring of frequencies, right down to an accuracy of a thousandth\nof a Hertz. I like to pick a single note from a piece and \"tune\" both\nrecordings (using a standard pitch where A=440Hz) using that note alone,\npicking a single harmonic from the range of frequencies which make up\neach note that's been played. Thus if, for example, the root frequency\nof a G above middle C in Schnabel comes out at 394.634, I can repitch\nhim to 392.000 Hz by lengthening the entire recording by 100.672 per\ncent, thus dropping the pitch very slightly. If Ashkenazy comes out at\n391.323Hz on the same G in the same bar of the same sonata, I'll reduce\nthe length to 99.827% of its original duration, thus lifting the pitch\nslightly, getting both recordings perfectly in tune with one another, as\nwell as properly in tune alone.\u003cbr\u003e \u003cbr\u003e This little technical\ndiversion may seem a bit esoteric for an article such as this (and the\nfigures used here are hypothetical), but I want to convey one of the\nmultiple difficulties which arise when I remaster piano recordings, and\nthus one of the reasons why I've kept putting off tackling such a series\nas this. Put simply, when you've committed to a Beethoven sonata cycle,\nthere's no going back, and there's no second go. I had to be confident\nin my own ability to do real justice to the recordings, and a handful of\ndiscarded tests over the last 2-3 years are testament to the difficulty\nin getting it right with material of this vintage.\u003cbr\u003e \u003cbr\u003e This time\nround it was different. I've stated before that I often have little real\nidea as to how a recording is going to sound after a full XR\nremastering. The process of re-equalising a recording using another\nreference can change so much in the sound quality of that source\nrecording that I really can't second guess what might be possible and\nwhat simply is not going to work.\u003cbr\u003e \u003cbr\u003e So when I received yet\nanother e-mail a few weeks ago asking once more for the Schnabel sonatas\nI thought I'd have nothing to lose if I just had one more quick try at\none of them - the first, being a short one, was an obvious place to\nstart!\u003cbr\u003e \u003cbr\u003e This time the magic was most definitely working. With\ngood transfers to begin with - an absolute essential when resurrecting\nsomething like this - I was able suddenly to hear a quite remarkable\ntransformation from a rather flat, clanky and dim original into\nsomething which sounded astonishingly alive and real. \u003cbr\u003e \u003cbr\u003e This\nsonic transformation has a wonderful side-effect for the listener which\neven I haven't truly appreciated until now, and is one of the reasons\nwhy I chose a slow movement for the sample from this first volume: with\nthe sound of the piano made hugely more realistic the sense of\nSchnabel's performance and touch seems to me to be magnified and\nclarified a hundredfold. Nuances which for decades have fallen victim to\nthe quality of recorded sound and thus rendered inaudible are suddenly\nrevealed; delicacies which the flatness of tone had obliterated can now\nbe heard and appreciated as perhaps never before.\u003cbr\u003e \u003cbr\u003e I've found\nmyself doing what I try never to do - sitting back and listening over\nand over again to the music and the performance, rather than trying to\nfilter this out so I can hear the flaws, clunks, clicks and bumps I need\nto fix. Even now I'm being distracted from writing this because the\nsound of Schnabel is drawing me into Beethoven's first sonata and I keep\nsitting back in amazement just to hear it - yet again!\u003cbr\u003e \u003cbr\u003e It's\nnot entirely perfect, I'll admit. Occasionally a rough patch of mild\npeak distortion or a slightly poorer section of disc surface reminds you\nthat you're listening to a piano recorded in 1934 rather than decades\nlater, but for the most part I forget this in a way I simply cannot when\nlistening to the original, or to the other transfers I've heard.\u003cbr\u003e \u003cbr\u003e\nThis is the start of what promises to be a lengthy journey. My aim is\nto produce a volume each week and build the series over the summer, a\nCD's worth at a time, in order of composition numbering. I'll have to\nkeep my fingers firmly crossed that the quality of the first volume can\nbe sustained throughout. \u003cbr\u003e \u003cbr\u003e Yet even if the sound quality does\nslip at any point (I hope it won't, but quite simply won't know until\nI've finished) I can think of few prospects less tempting than spending\nthe coming weeks and months working my way through Artur Schnabel's\ncomplete Beethoven sonata recordings. Could you? \u003cb\u003e\u003cbr\u003e \u003cbr\u003e\u003c\/b\u003e\u003cem\u003e\u003cb\u003eAndrew Rose, May 27, 2011\u003c\/b\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Mono 24-bit FLAC","offer_id":49572230529262,"sku":"spw1789306985554","price":12.62,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":49572230562030,"sku":"gxb1789306985555","price":7.78,"currency_code":"USD","in_stock":true},{"title":"Mono 16-bit FLAC","offer_id":49572230594798,"sku":"kud1789306985556","price":9.95,"currency_code":"USD","in_stock":true},{"title":"320kbps Mono MP3","offer_id":49572230627566,"sku":"mrl1789306985557","price":7.52,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0750\/5867\/5950\/files\/schnabel-beethoven-complete-piano-sonatas-vol-1-193334---pakm037_1.jpg?v=1789306990","url":"https:\/\/purewearstyle.shop\/products\/schnabel-beethoven-complete-piano-sonatas-vol-1-193334-pakm037","provider":"My Store","version":"1.0","type":"link"}