Composed by Johannes Brahms
Performed by NBC Symphony Orchestra Conducted by Arturo Toscanini
2. Symphony No. 2 in D major, Op. 73
Composed by Johannes Brahms
Performed by NBC Symphony Orchestra Conducted by Arturo Toscanini
3. Symphony No. 3 in F major, Op. 90
Composed by Johannes Brahms
Performed by NBC Symphony Orchestra Conducted by Arturo Toscanini
4. Symphony No. 4 in E minor, Op. 98
Composed by Johannes Brahms
Performed by NBC Symphony Orchestra Conducted by Arturo Toscanini
Product Description
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
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.
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
Arturo Toscanini Conducts Brahms - The Four Symphonies (1942/43),Johannes Brahms,Arturo Toscanini,NBC Symphony Orchestra,Music & Arts Program,Classical,Classical Music,Romantic Symphony,Symphonic
Average customer rating: 
|
Arturo Toscanini Conducts Brahms - The Four Symphonies (1942/43)
Manufacturer: Music & Arts Program ProductGroup: Music Binding: Audio CD  All Works by Brahms
| Brahms, Johannes
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Romantic
| Symphonies
| Forms & Genres
| Classical
| Styles
| Music
General
| Symphonies
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
Toscanini, Arturo
| ( T )
| Featured Performers, A-Z
| Classical
| Styles
| Music
ASIN: B000001OJ5 Release Date: 1997-09-16 |
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 DistlerCustomer Reviews:
Indelible architectural integrity!.......2006-10-02
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.
Track Listings:
- Bach is Cool
- Bach: The Six Motets, BWV 275-230
- Barber: Symphony No. 1; Essays for Orchestra Nos. 1 & 2; Night Flight
- Beveridge: Magic Flute Fantasy; Cheetam: A Brass Menagerie; Etc.
- Boito - Mefistofele / Ramey ˇ Marton ˇ Domingo ˇ Tedesco ˇ Takács ˇ Farkas ˇ Pataki ˇ Patané
- BORIS CHRISTOFF : The Great Russian Bass Roles
- Brahms: Piano Concerto No. 1/Ballades
- Brass Ring: Fragments From A Show
- Canciones, Lieder,and Peruvian Folk Songs
- Carl Neilsen Collection Vol.4
Track Listings
Who Would Have Thought [Import]
CONCERTO IN BRAZILIAN FORMS / Felicja Blumental
Best of Billie Holiday: 1935-1948 [Import]