Search - Pyotr Il'yich Tchaikovsky, Arturo Toscanini, NBC Symphony Orchestra :: Tchaikovsky: Manfred Symphony/Romeo and Juliet (Arturo Toscanini Collection, Volume 19)

Two Of Toscanini's Favorite Tchaikovsky Works; Good Audio

09/17/1998

(4 out of 5 stars)

"Here are resplendent, honest monaural transfers of two of the favorite Tchaikovsky pieces which the Maestro often investigated during his career. Not since the issue of the original 1947 shellac set has "Romeo and Juliet" sounded as splendid and full- bodied; "Manfred" makes a better technical impression than the old "Vault Treasures" Victor long play, which was dim, muddy, and indistinct, and failed to convey the somewhat Technicolor hyperpresence of the original tapes. Tchaikovsky purists should be notified that Toscanini's commercial recording of the symphony (as typical of his several NBC broadcasts during the forties and fifties) has a duration of less than 49 minutes, while an absolutely uncut performance might run to 60 or even 62 minutes at similar tempi. The details of the Maestro's many prunings are recounted in the valuable Harris Goldsmith annotations; yet, the changes are seamless and may not be immediately perceived, save by an expert.While the stupefying power of the Dec. 1940 NBC broadcast (on Music & Arts CD-956) is not sustained as well in this 1949 commercial recording session, the dramatic moments are given no short shrift, though they are damaged by the "ceiling" imposed by an aggressive- sounding electronic peak limiter. However, the recording is immeasurably more brilliant than the broadcast of nine years earlier, and many listeners thus may prefer this particular RCA / BMG edition (as judged solely by sonic values, the Music & Arts CD transfer of the 1953 broadcast is sadly dim and weak, inferior to the 1940!)During the sixties, the old NBC Radio Network show "Toscanini: the Man Behind the Legend" (written by Don Gillis, the original producer of the NBC concerts) presented a fascinating hour- long study of the 1947 recording of "Romeo and Juliet", analyzing the work and Toscanini's approach to it in rehearsal and performance. Having heard that revealing portrayal of the "behind the scenes" events of this recording session, I can doubly appreciate the qualities of this exceptional reading. I suggest that listeners play the doom-laden opening passages and follow the plastic Toscanini phrasing and shaping; then audit any modern stereo CD and note the falling off of concentration, detail, and sustained attention to musical line. Even Toscanini's student Guido Cantelli cannot measure up to the magnificent control of the 80-year old Maestro. Another notable 1947 recording of the work, that of the young Herbert von Karajan (on EMI CD with the VPO) , is almost faceless in its lack of emotional depth by comparison.The live broadcast of 21 March 1953 (Music & Arts) may have a bit more realism in the timbre of the percussion instruments, but there is an astonishing amount of clumsiness and shakiness in the ensemble, and a more episodic quality to the overall architecture in contrast to the shellacs of the late forties, heard here on this admirable CD in the "official" RCA / BMG canon."

No one did it better.

Larry Neal Poole | Matthews, NC United States | 11/07/2006

(5 out of 5 stars)

"I bought the original LP version of this recording shortly after it's release. It was part of the series of recordings commemorating the 1950 tour of the USA by The Maestro and the NBC Symphony. The series consisted of recordings of the works performed on that tour.



As I played it for the first time, I was overwhelmed by it. I had not heard Manfred before, and was immediately attracted to it's drama, it's lyric beauty and the force of Toscanini's conception of it. I had read Byron's poem and was familiar with it's glories. Tchaikovsky's adaptation had all the thematic, harmonic and orchestral mastery that we have come to expect of this composer. In Toscanini's hands, it became what Maestro said it was, an opera without words.



Only later did I learn that Toscanini, despite his dictum, "play as written" had made a huge 6-minute cut in the last movement. Specifically, the fugue between the "Orgy of the Brigands(Scene IV)" and Manfred's death. I had not seen the score and was unaware that I wasn't hearing all of it until I read about it. In his defense, he could and did make alterations to scores, as did all of his contemporaries, when he felt it clarified aspects of orchestration or realized other elements more effectively. He did this with Debussy's La Mer, with the composer's full knowledge and assent. Even the extreme example in Manfred is utterly convincing musically with little sense of thematic or dramatic detachment. In fact, several critics believe it actually improves the structure of the work and tightens the drama. Indeed, James Levine said that he would like to record it with Toscanini's changes. To date he has not done so, but I wish he would. No doubt this greatly disturbs some, but, unlike Mengelberg and Stokowski, the infrequent alterations of Toscanini were always in the spirit of the work and with respect for the composer's intent, and never for cheap effect.



The dramatic thrust of Scene I(Manfred wandering in the Alps)is compelling, and is built into a climax of overwhelming force as only the Maestro could achieve. Scene III(Pastorale) has string playing of glowing beauty and shows the NBC strings to wonderful effect. In Scene IV(Arimanes' subterranean palace) Manfred appears in the midst of a baccanale which displays Toscanini's mastery of his orchestra. It is a tour de force of phrasing, dynamics and virtuosity that leaves one limp.

I have three other stereo recordings of this work, but none of them move me as does this one.



Manfred is seldom performed today, or ever, for that matter. One source said it is because of the extreme difficulty of some of the instrumental parts. Having seen the score, I can testify that some of the parts are indeed, quite difficult. It is, however, hard for me to accept this as the reason, given that orchestras perform more technically difficult music every day. I would like to see this unjustly neglected work enter the repertory on a consistant basis. In nearly 55 years of concert hall listening, I have never heard it performed. If it were a piece of junk, I could understand it. It isn't perfect, but we seldom hear works that are.









"

A Toscanini lover's dream come true

Larry Neal Poole | 12/24/1998

(5 out of 5 stars)

"This recording of the Manfred Symphony and the Romeo & Kuliet Fantasy-Overture has to be one of the most honest representations of these works. The Manfred has power, continuity of line and precision of attack so rarely heard in modern recordings. Nobody today can even touch the contrast and power eveoked in the last few minutes of the first movement. This is truely one of the most emotionally fulfilling readings of this very powerful work.Though I initially bought this CD for the Romeo & Juliet, I have quickly fallen in love with Toscanini's performance of the long-negelcted Manfred. One day I hope I could recreate that electric thrill in the music that condutors now seem to have forgetten, placing interesting girations over remaining true to their musical and emotional self."