Reviews for CD 2211/12 Toscanini Brahms, Vaughan-Williams
BBC Music Magazine – January 2003
COLLECTION: TOSCANINI Works by Vaughan Williams, Brahms, Martucci, Tchaikovsky, Bach and Haydn
Broadcast performance on October 15th, 1938
Also:
War Bond Concert on April 4th, 1942
NBC SO/ArturoToscanini
Guild GHCD 2211-12 AAD
mono (1938, 1942) 112:50 (2 discs)
This album provides excerpts from a 1942 War Bond Concert and a full programme
of the Vaughan Williams Tallis Fantasia, Tchaikovsky’s Romeo and
Juliet Overture and Brahms's Third from 1938. The Brahms is particularly
strong - a far more expansive and fluid performance than the better- known RCA
recording of 1952.
Classics Today – July 2002
JOHANNES BRAHMS
Symphony No. 3
RALPH VAUGHAN WILLIAMS
Tallis Fantasia
PETER ILYICH TCHAIKOVSKY
Romeo and Juliet
GIUSEPPI MARTUCCI
Notturno; Novelletta
JOSEPH HAYDN
Symphony No. 101 "Clock"
J.S. BACH
Air (from Suite No. 3)
NBC Symphony Orchestra
Arturo Toscanini
This two-disc set derives from two
concerts, one given on October 15, 1938, and the other, featuring the Bach and
Haydn items, from a War Bond fund-raiser that took place on April 4, 1942. The
Bach "Air on a G String" sounds, well, like the Air on a G String: that is,
warmly Romantic and distractingly sensuous. Haydn's "Clock" Symphony was of
course a Toscanini specialty, and several recordings exist, all of them
excellent--and this one is no exception. The conductor's slashing attacks and
take-no-prisoners excitement in the outer movements prefigures the
period-instrument movement of today, and anyone who likes this music needs to
hear Toscanini's way with it.
However it's the other items that offer
the most interest. On the whole, this Brahms Third Symphony probably is
Toscanini's best. Tempos flow naturally and the finale lacks those hideous
timpani additions at the outset of the recapitulation; but there's no lack of
excitement and the sound is surprisingly clear and full for its provenance. The
Vaughan Williams Tallis Fantasia certainly is a Toscanini rarity, and he plays
it with complete conviction: it's a warm, broad reading that gets straight to
the heart of the music and rises to an impressively sonorous climax.
The two Martucci items sound rather pale
and uninteresting today despite all the conductor does to shape them lovingly,
while Tchaikovsky's Romeo and Juliet is typically exciting and passionate--but
also typically precise. As noted above, the sound quality is perfectly
acceptable for its era, and the remastering has been carried out with some care.
All told, an excellent collection that Toscanini fans who don't own it already
will certainly enjoy
David Hurwitz
International Record Review – July 2002
NBC Symphony Orchestra / Arturo Toscanini
Guild mono GHCD2211/2 (super-budget price, two discs, 1 hour 53 minutes, ADD).
Remastering Engineer Richard Caniell.
Date: Broadcast performance on October 15th, 1938
War Bond Concert on April 4th 1942.
This is the second in a new series
of Toscanini-broadcast performances issued by Guild (the first was reviewed last
month). Apparently it is a continuation of a similar project begun in 1999 by
Naxos. As in that earlier endeavour, the insert notes here suggest that the
sources for this material, having come from the collection of Toscanini's
'favourite engineer', Richard Gardner, comprise prime NBC acetates. But this
broadcast from October 15th, 1938, sounds as if it derives from a re-airing of
that concert by WRVR, the radio station of the famous Riverside Church in New
York City, which in 1963 (in co-operation with the maestro's son, Walter)
reproduced the first two years of Toscanini's NBC concerts.
As was the case with many of those
re-broadcasts, the sound for this one is variable - compressed by monitored
dynamics and the acoustic boxiness of Studio 8H, and further compromised by
occasionally noisy surfaces. It is at its best in the Vaughan Williams. This
was the first of Toscanini's two NBC presentations of the work. Stamped with
admirably transparent textures, a lean sonority and a string tone never
excessively sweetened with too much vibrato, it conveys the music's eerie modal
harmonies and pointed colorations with gorgeously sustained intensity. As this
is a work Toscanini never recorded in the studio, the performance has prime
documentary value, especially as the sound here is marginally superior to that
in a Relief CD derived from the same source.
Equally valuable, if for different
reasons, are the Brahms and Tchaikovsky works, both played in this concert with
greater conviction and concentration than in Toscanini's sole NBC studio
accounts. The Brahms Third received more NBC performances from Toscanini than
any other of the composer's symphonies, doubtless because it was the one he was
least sure about how to play. Among all of the conductor's preserved
performances, his 1952 studio account is one of the least convincing in its
excessive breadth, flagging tension and peculiar acoustic that makes the NBC
Symphony sound almost like a small toy orchestra. Conversely, this 1938
broadcast reading is one of his most commanding: taut yet expansively grand, it
presses forward without being rushed, with all of the music's rhythmic and
harmonic ambiguities fully clarified. Along with Toscanini's 1952 London
performance with the Philharmonia Orchestra, it exemplifes his mastery of what
is probably the most difficult Brahms symphony to perform convincingly. The
Tchaikovsky, as in the 1946 NBC recording, is fierce and purged of even a hint
of sentimentality. But it is executed with greater control. lf one can tolerate
the cramped sound, which is a bit cleaner and less monitored than in the Brahms,
the performance should prove compelling.
The two Martucci pieces are
charming trifle and reflect Toscanini's - often overlooked - capacity for
projecting graceful lyric delicacy. Perhaps part of the success of this - the
first concert of Toscanini's second NBC season - was rooted in the orchestra's
delight in having their maestro return from Italy after narrowly escaping
Mussolini's withholding of his passport and the Fascist press having branded him
'an honorary Jew who should be shot'. Clearly, on this late-evening Saturday
concert in October, they were playing their guts out for him.
A little more than two years after
that concert, Toscanini would resign from NBC. It was, however, a Resignation
that left a door open for return. What prompted that return was the world mess.
Asked by the Department of the Treasury to conduct the NBC Symphony in
broadcasts designed to promote the sale of Defence (and later War) Bonds,
Toscanini agreed. The items featured here come from the last of those five
concerts (which concluded with the Prelude and 'Good Friday Music' from
Parsifal). They are more attractive sonically than those from the October
1938 broadcast - still cramped, to be sure, occasionally a bit gritty, and not
the equal of the best NBC acetates, but having fairly wide frequency and dynamic
range and reasonable musicality. It is ironic that Haydn's Clock
Symphony, which had been at the core of Toscanini's repertory and is the only
Haydn symphony that he recorded twice, should have gained but a single NBC
performance from him, the one featured here. It is a fine reading, mainly
duplicating the many virtues of his late NBC studio effort, save for this
broadcast account omitting a first-movement repeat. The brief Bach excerpt is
remarkably stylish for its time - unsentimental, with its reiterated bass fully
clarified yet never exaggerated. All in all, then, despite limitations, this is
a historical release of major significance that all those interested in
performance practice in general, or Toscanini in particular, should certainly
hear.
Mortimer H. Frank
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