Toscanini Conducts Brahms

Editorial Reviews
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Music & Arts baits Toscanini conducts Brahms with the best-sounding transfer to date of the 1948 broadcast of the Maestro's collaboration with Vladimir Horowitz in the Piano Concerto No. 2. This is not the famous 1940 studio recording, which the pianist later disavowed because--or so Horowitz said--of Toscanini's strict tempos. In this 1948 version, many Horowitz aficionados claim they hear, as Christopher Dyment writes in his liner note, "more freedom," "heightened drama," and "a more inflected approach throughout, all betokening [Horowitz's] greater confidence in his own powers." Truth to tell, the performances are virtually identical, with the laurel going to the earlier one because of its better sonics and more lifelike balances, and because pianist and conductor achieve a level of supple execution and sublime expression in the Andante that they failed to match eight years later.

The disc is completed by the conductor's 1946 broadcast of Brahms's Symphony No. 3--the symphony that tormented Toscanini more than any other. In his 1952 commercial recordings of the four Brahms symphonies, the Third stands out as the only failure. The interpretive crux of the Brahms Third is making it flow--sometimes placidly, sometimes turbulently--naturally and inevitably toward the finale. Toscanini's live performances suggest that he jinxed himself--in the recording studio, at any rate--by worrying too much about the symphony's architectonic complexity. Like his five other surviving broadcasts of the Third Symphony--from New York in 1938, 1941, 1942, 1948, and from London in 1952--the one from 1946 possesses a singing line, enormous tensile strength, and luscious phrasing at every turn, never failing to illuminate this most labyrinthine of Brahms's orchestral works. --Stephen Wigler

Tracks:

I. Allegro Non Troppo - Vladimir Horowitz
II. Allegro Appassionate - Vladimir Horowitz
III. Andante - Vladimir Horowitz
IV. Allegretto Grazioso - Vladimir Horowitz
I. Allegro Con Brio - NBC Symphony Orchestra
II. Andante - NBC Symphony Orchestra
III. Poco Allegretto - NBC Symphony Orchestra
IV. Allegro - NBC Symphony Orchestra

Amazon.com

Music & Arts baits Toscanini conducts Brahms with the best-sounding transfer to date of the 1948 broadcast of the Maestro's collaboration with Vladimir Horowitz in the Piano Concerto No. 2. This is not the famous 1940 studio recording, which the pianist later disavowed because--or so Horowitz said--of Toscanini's strict tempos. In this 1948 version, many Horowitz aficionados claim they hear, as Christopher Dyment writes in his liner note, "more freedom," "heightened drama," and "a more inflected approach throughout, all betokening [Horowitz's] greater confidence in his own powers." Truth to tell, the performances are virtually identical, with the laurel going to the earlier one because of its better sonics and more lifelike balances, and because pianist and conductor achieve a level of supple execution and sublime expression in the Andante that they failed to match eight years later.

Customer Reviews:

Top Drawer Brahms from Toscanini & Horowitz.......2001-04-09

It's heartening to see the considerable number of historical recordings surfacing during this digital age.

Horowitz and Toscanini had many divergent views on music and performance. Truth be told, if Horowitz hadn't been Toscanini's son-in-law, they probalby would not have performed together as often as they did. The Italian Maestro was a notoriously inflexible accompanist, which probably accounts for the small amount of repeat business he received from top solists. However, for all their musical disagreements, Horowitz and Toscanini were united in their desire to strip from Brahms the flabby, muddy performance style which has been fashinable in some circles. Both the Concerto and Symphony on the CD feature dazzling clarity of execution, where harmonic strands are transparent.

This performance of the concerto, recorded in 1948, has been issued several times on CD, starting in the late 1980s. The sonics in this new remastering are far superior to the earlier issue on Stadivarious, which had many distracting skips, bumps and was poorly balanced. The sound here is smoother, with deeper bass and less shrill treble. As for the performance, I do not agree with the Amazon reviewer's comments that the 1940 studio recording is to be preferred over this one. The sound in the 1948 version has greater dynamic impact, although the piano is overbalanced. Perhaps the sound increases the impression that Horowitz seems more assertive here than in the earlier version, where he was largely content to march to the beat of Toscanini's drum. Tempos are mostly the same here, except in the Andante, which seems somewhat rushed. Horowitz was no great fan of this concerto, but many of the best aspects of his playing are heard here--the clarity, the rhythmic drive, the powerful left hand--all these make this a Brahms Second to be reckoned with. Only one regret here: by 1948, NBC had begun showing a few of Toscanini's concerts on television. How sad they never saw fit to televise this one--it would have been priceless.

The Third Symphony is also a glorious performance. Again, the clarity, both harmonic and structural are the antithesis of the German approach to Brahms. Toscanini takes the repeat in the first movement, but for once is doesn't seem redundant. The flowing Andante is followed by a yearning third movement. Toscanini articulates the tricky syncopation of the Finale in a way few other conductors could. The 1946 recording is understandably restricted dynamically, but reasonably warm and naturally balanced.

Tracks:

Sym No.35 in D, K.385 'Haffner': Allegro Con Spirito
Sym No.35 in D, K.385 'Haffner': Andante
Sym No.35 in D, K.385 'Haffner': Menuetto-Trio
Sym No.35 in D, K.385 'Haffner': Finale: Presto
A Midsummer Night's Dream, Op.21: Scherzo - John Amans
A Midsummer Night's Dream, Op.21: Nocturne - Bruno Jaenicke
Vars On A Theme By Haydn: Chorale St. Antoni: Andante
Vars On A Theme By Haydn: Var I: Poco Piu Animato
Vars On A Theme By Haydn: Var II: Piu Vivace
Vars On A Theme By Haydn: Var III: Con Moto
Vars On A Theme By Haydn: Var IV: Andante Con Moto
Vars On A Theme By Haydn: Var V: Vivace
Vars On A Theme By Haydn: Var VI: Vivace
Vars On A Theme By Haydn: Var VII: Grazioso
Vars On A Theme By Haydn: Var VIII: Presto Non Troppo
Vars On A Theme By Haydn: Finale: Andante
Siegfried Idyll
The Sorcerer's Apprentice

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Toscanini Conducts Light Classics

Manufacturer: RCA Red Seal
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000E6BB
Release Date: 1987-01-01

Toscanini Conducts Vaughan Williams, Brahms, Martucci, Tchaikovsky

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Toscanini Conducts Vaughan Williams, Brahms, Martucci, Tchaikovsky
Johannes Brahms , Franz Joseph Haydn , Giuseppe Martucci , Pyotr Il'yich Tchaikovsky , Ralph Vaughan Williams , Arturo Toscanini , and NBC Symphony Orchestra
Manufacturer: Guild
ProductGroup: Music
Binding: Audio CD

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Toscanini conducts BBC Symphony

Manufacturer: Aura Classics
ProductGroup: Music
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Arturo Toscanini Conducts Brahms - The Four Symphonies (1942/43)

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Indelible architectural integrity!

Arturo Toscanini Conducts Brahms - The Four Symphonies (1942/43)

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Tracks:

Sym No.1 in c, Op.68: I. Un Poco Sostenuto-Allegro
Sym No.1 in c, Op.68: II. Andante Sostenuto
Sym No.1 in c, Op.68: III. Un Poco Allegretto E Grazioso
Sym No.1 in c, Op.68: IV. Adagio/Piu Andante/Allegro Non Troppo/Ma Con Brio
Sym No.2 in D, Op.73: I. Allegro Non Troppo
Sym No.2 in D, Op.73: II. Adagio Non Troppo
Sym No.2 in D, Op.73: III. Allegretto Grazioso (Quasi Andantino)
Sym No.2 in D, Op.73: IV. Allegro Con Spirito

Tracks:

Sym No.3 in F, Op.90: I. Allegro Con Brio
Sym No.3 in F, Op.90: II. Andante
Sym No.3 in F, Op.90: III. Poco Allegretto
Sym No.3 in F, Op.90: IV. Allegro
Sym No.4 in e, Op.98: I. Allegro Non Troppo
Sym No.4 in e, Op.90: II. Andante Moderato
Sym No.4 in e, Op.90: III. Allegro Giocoso
Sym No.4 in e, Op.90: IV. Allegro Energico E Passionato

Amazon.com essential recording

Issued for the first time, Arturo Toscanini's 1942-1943 Brahms cycle broadcasts provide a fascinating gloss on his NBC studio versions. While the orchestra is not the uniform ensemble it became in later years, the playing is more variegated, even more old-fashioned in style (i.e., the string portamentos). The Third and Fourth Symphonies fare best, with lyrical, taut playing that sings with luscious flexibility. Toscanini's broad yet tensile First suffers from cramped, overmodulated miking, and strings are backwardly balanced in the Second. Transfers are honestly effected, warts and all, from inside sources. --Jed Distler

Customer Reviews:

Indelible architectural integrity!.......2006-10-02

This set of invaluable performances range from December 29, 1942 (The Third) until January 17, 1943 (The First) . So, I will comment each one of them according this tandem.

Toscanini `s problems with the 3rd Symphony are well known. This is by far, the most introspective Op. of this set, hovered by a visible homesickness utterance. On the other hand the score is in F Major, curiously the same key hat Beethoven's Pastoral. Toscanini `s epic approach and his visible aversion for the Adagios (Remember how he overlooked the and demolished the charm air of New World `s Adagio) is widely known. His mercurial character was totally incompatible with this lyrical work. He looked uncomfortable and he was not the best example of a man who cultivated free praises respect pages he disliked. And this was not precisely the rule' s exception. It' s passionately epic but never warmth or romantic.

The raising of a new year -1943- was a perfect pretext to initiate with the 2nd Symphony, the most optimistic and spring of Brahms Symphonies. The youth's strength and the visible ode to life surrounds the work from the first bars. And additionally, it has been said this was the favorite Symphony of the master conductor. So, it is not a mere casualty he obtained gratifying results at the moment to perform it. But I'd like to state my favorite version of this lovable Symphony belongs to Bruno Walter in a famous performance with the New York Philharmonic in the early fifties. The 4th Symphony Op. 98 is one of the most difficult Symphonies to conduct, it' s so filled of obstacles, due its intrinsic autumnal profile that ranges a huge vastness of encountered feelings, livings and dark meditations about the sense of life and the imminent death; on the other hand it's visibly much closer to the XX Century than the rest of its predecessors, that would seem to explain the reason why so many directors tarnish an just a handful have been able to win with this Op. To my mind the assertive character through the third movement of the Symphony must be remarked; this may be the result final of an approach in front of the life, but in last instance you may find many reasons to debate this question in case you are a Mahler's hard fan, for instance, because of the fact of the somber and deadly feature of this final The First symphony's performance is one of his most propulsive readings I have ever heard; filled with heroic utterance, ferrous vigor and bulletproof solidity.

Absolutely recommended for all sort of listeners, but specially for all those newcomers, because of the fact Brahms has been specially in these last decades visibly "Mahlerized", and that's by itself is not only a serious prejudice but a indelible evidence of mental reductionism that has deformed the lavish Hamburg' s son.

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Conducts Schubert Brahms & Schumann
Toscanini , Schubert , Brahms , and Schumann
ProductGroup: Music
Binding: Audio CD
ASIN: B00008EZLY
Release Date: 1995-12-12

Toscanini Conducts the BBC Symphony Orchestra, Vol. 2

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Toscanini Conducts the BBC Symphony Orchestra, Vol. 2

Manufacturer: Aura Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000092Q5K
Release Date: 2003-04-29

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Toscanini's BBC recordings

Toscanini Conducts the BBC Symphony

Manufacturer: Biddulph Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000009K92
Release Date: 1994-07-08

Customer Reviews:

Toscanini's BBC recordings.......2006-03-18

Arturo Toscanini made a series of commercial recordings for His Master's Voice in Great Britain from 1937 to 1939. He conducted a number of concerts with the BBC Symphony Orchestra (now known as the BBC Philharmonic orchestra) in the 1930's and reportedly enjoyed working with the British musicians. Some of the musicians later recalled the warm relationship they had with the Maestro, who clearly admired their abundant musical talents.

Often the comparison was made to Sir Thomas Beecham, who actually had a much different style than Toscanini (and was critical of the Maestro), because both were said to have "an inner vision" that came across in the ways they shaped performances of the great classics they conducted. Both men weren't afraid to conduct "light classics," which Beecham called "bon bons," and treat them with great respect and imagination.

Toscanini's BBC recordings were made in Queen's Hall, a wonderfully warm, resonant concert hall that was unfortunately destroyed in 1941 during the Battle of Britian. The recordings were released in America by RCA Victor. They give us a good idea of Queen's Hall's fine acoustics.

Knowing that Toscanini hated making 78-rpm discs because of their limited playing time (and the need to stop to the change a master every four to five minutes), HMV engineers set up two recording machines and recorded continuous performances. They simply faded or cut off one master when it reached its capacity and started a new one on the other machine.

Toscanini appreciated the ability to conduct such continuous performances and he was quite pleased with the results. He was so "relaxed" during the recordings that he occasionally hummed, as he sometimes did during his concerts. The discs had remarkably good sound, too, and still sound quite impressive on CDs.

Seraphim reissued the recordings in a boxed set in 1967, to commemorate the 100th anniversary of Toscanini's birth (March 25, 1867). Having heard the original 78-rpm discs, this writer was quite impressed with the transfers to LPs. Now the historic recordings are available on compact discs and the listener can appreciate these wonderful performances.

The first, four, and the sixth symphonies of Beethoven are given "definitive" performances with great warmth and beauty. The exquisitive playing of the British musicians, handpicked by Sir Adrian Boult for this fine orchestra (formed in 1930 to make broadcasts and recordings), is a wonderful contrast to the same pieces that Toscanini recorded with the NBC Symphony, especially the famous RCA Victor boxed set of all nine Beethoven symphonies (recorded 1949 to 1952).

The 1938 recording of the overture to Mozart's last opera, "The Magic Flute" is especially enjoyable. It has great drama and power. There is clearly a triumphant and jubilant interpetation of this memorable music, which was among the final scores Mozart wrote in 1791. The original recording fit neatly on two sides of a 12-inch 78-rpm disc and, fortunately, the engineers were able to make a suitable split just before the famous "Masonic" chords that begin the final half of the overture.

The first overture to Beethoven's only opera, "Fidelio," is a surprising treat. Beethoven originally called the opera "Leonore," after its heroine and, never satisfied, ended up writing four overtures for the opera. Those more familiar with the "Leonore No. 3" will really enjoy the differences and similarities between the two scores. This is a very fine performance.

The overture to Rossini's "La scala di seta" is a rare treat because Toscanini apparently did not make a commercial recording of it with the NBC Symphony. It has incredible energy and really showcases the BBC Symphony's string section.

Brahms' "Tragic Overture" was written about the same time as the "Academic Festival Overture," when the composer received an honorary doctorate. There are considerable contrasts in the two works, both played and recorded by Toscanini with the NBC Symphony. "Tragic" is a very dramatic, powerful work and, quite frankly, this writer has NEVER a more spectacular recording of the overture than this one. Even the later NBC recording is not quite as dramatic.

Toscanini returned to Great Britain in the fall of 1952, for what proved to be the last time, to conduct two concerts with the Philharmonia Orchestra in the brand-new Royal Festival Hall. He played only the music of Johannes Brahms, one of the composers he greatly admired. On hand for the BBC's Home Service radio broadcasts was none other than Sir Adrian Boult, who still remembered the incredible performances the Maestro gave with the BBC Symphony in the late 1930's. Boult's on-the-air tribute to Toscanini (preserved by the BBC) is yet another example of one conductor who greatly admired the Maestro.

Only World War II and the travel restrictions it imposed (as well as limitations on concerts) prevented Toscanini from returning to England until well after the war. Once again Toscanini's association with British musicians proved very rewarding for all concerned.

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