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Memorial Tribute To Toscanini

Bach / Vivaldi / Rossini
Release Date: 04/09/2013 
Label:  Guild   Catalog #: 2364   Spars Code: ADD 
Composer:  Antonio VivaldiGioachino RossiniGiuseppe VerdiSpoken Word,   ... 
Performer:  Robert BloomJohn WummerMischa MisschakoffBernard Baker
Conductor:  Arturo Toscanini
Number of Discs: 2 
Recorded in: Stereo 
Length: 1 Hours 51 Mins. 

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Notes and Editorial Reviews



MEMORIAL TRIBUTE TO TOSCANINI Arturo Toscanini, cond; NBC SO GUILD 2364/65, mono (2 CDs: 151:30)


BACH Brandenburg Concerto No. 2. Passacaglia and Fugue in c. ROSSINI String Sonata No. 3. VIVALDI Concerto Grosso in d.


& Rehearsals: Read more class="COMPOSER12">MOZART Magic Flute: Overture. BEETHOVEN Symphony No. 9: Finale. VERDI La Traviata: act II


This release features live performances on the first of these two CDs, the second being devoted exclusively to rehearsals in studio 8H in 1946 and ’47. The two works by Bach also took place there, the Brandenburg Concerto in 1938, the Passacaglia and Fugue in 1947. With one major exception this is a remarkably fine transfer of the Second Brandenburg Concerto : clean, accurate in timbre, and refreshingly transparent. Unfortunately, it has one major flaw, pitched as it is a half-tone flat. I do not have “absolute” pitch, but it was clear from the very first measures that the pitch was low—a flaw that also imposes an audible distortion of tempo, making things sound a bit slower than they actually were. This is all the more unfortunate as the small ensemble (with harpsichord played by Erich Leinsdorf) suggests how Toscanini’s approach to Bach anticipated “period” practices. But it must be admitted that the solo trumpeter is having difficulty with his instrument’s higher registers. Still it is fascinating to hear how Toscanini had good instincts about Baroque style The Passacaglia is another matter, Respighi’s lush orchestration being a far cry from that of the organ for which it was intended. Still, one can admire the steady unity of Toscanini’s performance, which benefits from some of the best recorded sound to have been produced in studio 8H. The two remaining concert items took place in Carnegie Hall, the Rossini in November 1952 from the conductor’s penultimate season, the Vivaldi (which also occurred on his very first NBC concert) in March of 1954, near the close of his last season. Oddly, that earlier account included a harpsichord, which, in this later one, if indeed there, is inaudible. The Rossini—light and charming—offers a prime example of how, when appropriate, Toscanini could be refreshingly relaxed and graceful. The sound in both instances is fine.


The second disc offers the rehearsals, with informative commentary from Marcia Davenport. Although some of these segments have appeared in the pre-CD era on LP, they make for fascinating listening as a group. For one thing, Toscanini’s infamous eruptions are not present. This is not surprising, their occurrence (if sometimes volcanic) comprising but a small percentage of the many hours he spent in rehearsal. Indeed, what one hears throughout all of these excerpts is a meticulous conductor, fully clear about what he wants and utterly patient in achieving his desired ends. Particularly amusing is his difficulty in getting the desired tempo in the main section of The Magic Flute Overture. In frustration, he tells the musicians that they are adhering to their tempo not his. “My tempo may be wrong” he says, “but is my tempo , and I want it.” The excerpts from the Beethoven Ninth are drawn from the opening measures for the double basses in the finale. Here one encounters his insistence on precision and willingness to work at achieving it. It is a display of the patience that typified his rehearsals. The same is true for the segments drawn from the 1946 rehearsal of the second act of La traviata . As Marcia Davenport points out, the singers are in the studio, but Toscanini wants them to save their voices and remain silent in his initial preparation of the orchestra; so he sings each part (sometimes with croaking difficulty) while conducting. His energy and clarity of thought are astonishing, especially from a man in his 80th year. In short, for anyone interested in Toscanini, this release should be required listening.


FANFARE: Mortimer H. Frank
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Works on This Recording

1.
Concerto for 2 Violins and Cello in D minor, Op. 3 no 11/RV 565 by Antonio Vivaldi
Conductor:  Arturo Toscanini
Period: Baroque 
Written: 1711; Venice, Italy 
Length: 14 Minutes 0 Secs. 
2.
Sonata a quattro no 3 in C major by Gioachino Rossini
Conductor:  Arturo Toscanini
Period: Romantic 
Written: circa 1804; Italy 
Length: 13 Minutes 15 Secs. 
3.
La traviata: Excerpt(s) by Giuseppe Verdi
Conductor:  Arturo Toscanini
Period: Romantic 
Written: 1853; Italy 
Date of Recording: 11/28/1946 
Length: 16 Minutes 54 Secs. 
4.
Commentary by Marcia Davenport on Arturo Toscanini by Spoken Word
Period: Modern 
Length: 4 Minutes 25 Secs. 
5.
Brandenburg Concerto no 2 in F major, BWV 1047 by Johann Sebastian Bach
Performer:  Robert Bloom (Oboe), John Wummer (Flute), Mischa Misschakoff (Violin),
Bernard Baker (Trumpet)
Conductor:  Arturo Toscanini
Period: Baroque 
Written: 1717-1718; ?Cöthen, Germany 
Length: 12 Minutes 13 Secs. 
6.
Passacaglia in C minor, BWV 582 by Johann Sebastian Bach
Conductor:  Arturo Toscanini
Period: Baroque 
Written: circa 1708-1712; Arnstadt, Germany 
Length: 11 Minutes 51 Secs. 
7.
Die Zauberflöte, K 620: Overture - Excerpt(s) by Wolfgang Amadeus Mozart
Conductor:  Arturo Toscanini
Period: Classical 
Written: 1791; Austria 
Date of Recording: 11/05/1947 
Length: 2 Minutes 48 Secs. 
8.
Symphony no 9 in D minor, Op. 125 "Choral": 4th movement, Finale - Excerpt(s) by Ludwig van Beethoven
Conductor:  Arturo Toscanini
Period: Romantic 
Date of Recording: 03/27/1952 
Length: 6 Minutes 9 Secs. 

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