Alexander Baron | Vestal, NY United States | 06/16/2002
(5 out of 5 stars)
"These discs are among the definitive editions of Beethoven's symphonies. Technically, there is no stressing of harmony over melody. The listener can hear every note that is played by any instrument. As Toscanini is not a romantic, there are few gradual tempo changes (Crescendo, diminuendo, etc.). Instead,Toscanini essentially uses block dynamics most of the time. The symphonies are played in classical style, with somewhat taut phrasing and sound. However, this is not to say that these recordings are devoid of lyricism and emotion. Szell's Beethoven is technically perfect, in classical style, unlyric, and unemotional. Toscanini's Beethoven is (nearly) technically perfect, in classical style, lyric, and emotional. In these recordings, themes are masterfully connected one to the next, and the music flows. The First, Second, and Fourth symphonies represent Beethoven in his happy moods. Toscanini makes them sound joyful without being overly happy or cute. The Third symphony has drama, and its Funeral March is magnificent by any standards. The Egmont Overture is less weighty than it is on some other recordings. The remastering was good, but not perfect. If you own only one edition of symphonies 1-4, this should be it."
Toscanini - Beethoven: The magic reveiled.....
Ytzan | Athens, GR | 04/20/2003
(5 out of 5 stars)
"I was very reluctant to buy this set. First because of the mono sound and then because of Toscanini's fast tempos that in my mind would harm the music. Well, I was wrong. The sound is not bad at all for its' age and the fast tempos bring a new vitality to the music. A winner!!!!"
Back to the bad old sonics--what happened?
Santa Fe Listener | Santa Fe, NM USA | 12/13/2005
(2 out of 5 stars)
"After the glorious remastering of Toscanini's Verdi Requiem and Falstaff, I assumed we were out of the woods. But these early Beethoven symphonies (#1-4) are in snarly, gnarly sound. A great deal depends on what the engineers have to work with, of course. Even so, each performance is a trial sonically, with the best being the Fourth and Second, while the Eroica comes out worst. These readings are from 1949-53, yet the Egmont Over., which sounds thin and screechy, is the latest. All were done in Carnegie Hall, not the notorious Studio 8-H, but on these discs there's not much hint of warm hall acoustics.
For those who can withstand the glaring trumpets, crunchy climaxes, and wiry violins, I'm not sure there are great performances to be heard here. Toscanini basically performs each piece the same, with strong attacks, over-emphasis on sforzandos, rushed tempos as a rule (though not always), and a tensile line. His admirers will like these features; I found them nerve-wracking. The NBC Sym. is surprisingly scrappy in the finales of Sym. 2 and 4, and much of the Eroica lacks eloquence. The slow movements show up well, however, thanks to Toscanini's feeling for how to shape a melodic line. Overall, this is the most disappointing of the "Immortal" series so far."
1953 Toscanini Eroica (2)
a music fan | Okayama, Okayama Japan | 07/18/2001
(3 out of 5 stars)
"To my ears, the last 3 minutes of the fourth movement of the Beethoven 7th( from 03:26 to 6:42 elapsed time in tr. 4 ) are the only sonic improvement in the Toscanini Beethoven Red Seal CD set over the earlier Gold Seal CD release, and, judging by the tympani playing at 04:52 and others, come from a different performance(the November 9, 1951 dress rehearsal?)."