RCA continued in this vein with 7-inch tape reels until when long takes on inch reels were finally implemented for the recording of Beethoven's Missa Solemnis.
For Toscanini, later in March and in early April, the microphones were placed relatively close to the orchestra with limited separation, so the stereo effects were not as dramatic as the commercial "Living Stereo" recordings RCA Victor began to make in March with the Chicago Symphony, just a few weeks earlier.
Two days after the final concert, Guido Cantelli took the podium in a hastily organized session to record the Franck Symphony in D minor, for RCA Victor using the same microphone and equipment set-up put in place for the Maestro. Toscanini's June sessions were recorded monophonically to correct unsatisfactory portions of the broadcast recordings of Aida and Un Ballo in Maschera.
One more example of Toscanini and the NBC Symphony in stereo now also exists in a commercially available edition. This one is of the January 27, concert devoted to the Verdi Requiem , previously recorded and released in high-fidelity monophonic sound by RCA Victor. Recently a separate NBC tape of the same performance, using a different microphone in a different location, was acquired by Pristine Audio.
Using modern digital technology the company constructed a stereophonic version of the performance from the two recordings which it made available in The company calls this an example of "accidental stereo". Among his most critically acclaimed recordings are the following with the NBC Symphony unless otherwise shown :. There are many pieces which Toscanini never recorded in the studio; among these, some of the most-interesting-surviving recordings off-the-air include:.
Many hundreds of hours of Toscanini's rehearsals were recorded. Some of these have circulated in limited edition recordings.
Documents of Toscanini's guest appearances with the La Scala Orchestra from until include a live recording of Verdi's Requiem with the young Renata Tebaldi. Toscanini's ten NBC Symphony telecasts from until were preserved in kinescope films of the live broadcasts. These films, issued by RCA on VHS tape and laser disc and on DVD by Testament, provide unique video documentation of the passionate yet restrained podium technique for which he was well known. A guide to Toscanini's recording career can be found in Mortimer H.
Frank and Dyment also discuss Maestro Toscanini's performance history in the 50th anniversary issue of Classic Record Collector , 47 Frank with 'Toscanini — Myth and Reality' 10—14 and Dyment 'A Whirlwind in London' 15—21 This issue also contains interviews with people who performed with Toscanini — Jon Tolansky 'Licia Albanese — Maestro and Me' 22—6 and 'A Mesmerising Beat: John Tolansky talks to some of those who worked with Arturo Toscanini, to discover some of the secrets of his hold over singers, orchestras and audiences.
Nelson, 'First Among Equals Toscanini's interpretation of Brahms's First Symphony in the context of others' 28— In , Clyde J. Key acted on a dream he had of meeting Toscanini by starting the Arturo Toscanini Society to release a number of "unapproved" live performances by Toscanini. As the magazine Time reported, Key scoured the U. It included about 50 concerts that were never broadcast, but which were recorded surreptitiously by engineers supposedly testing their equipment.
In , the Society releases included Sibelius ' Symphony No. That same year it released a Beethoven bicentennial set that included the Missa Solemnis with the Philharmonic and LPs of the televised concert of the ninth symphony taken from an FM radio transcription, complete with Ben Grauer's comments.
In the early s, the kinescopes of these and the other televised concerts were released by RCA with soundtracks dubbed in from the NBC radio transcriptions; in , they were re-released by Testament on DVD. Additional releases included a number of Beethoven symphonies recorded with the New York Philharmonic during the s, a performance of Mozart 's Piano Concerto No.
Because the Arturo Toscanini Society was nonprofit, Key said he believed he had successfully bypassed both copyright restrictions and the maze of contractual ties between RCA and the Maestro's family. RCA's attorneys were soon looking into the matter to see if they agreed.
As long as it stayed small, the Society appeared to offer little real competition to RCA. Magazine and newspaper reports subsequently detailed legal action taken against Key and the Society, presumably after some of the LPs began to appear in retail stores. Toscanini fans and record collectors were dismayed because, although Toscanini had not approved the release of these performances in every case, many of them were found to be further proof of the greatness of the Maestro's musical talents.
There was speculation that the Toscanini family itself, prodded by his daughter Wanda, had sought to defend the Maestro's original decisions made mostly during his last years on what should be released. Walter Toscanini later admitted that his father likely rejected performances that were satisfactory.
Whatever the real reasons, the Arturo Toscanini Society was forced to disband and cease releasing any further recordings. Arturo Toscanini was one of the first conductors to make extended appearances on live television. Between and , he conducted ten concerts telecast on NBC, including a two-part concert performance of Verdi's complete opera Aida starring Herva Nelli and Richard Tucker , and the first complete telecast of Beethoven's Ninth Symphony.
All of these were simulcast on radio. These concerts were all shown only once during that four-year span, but they were preserved on kinescopes.
On the very same day that this concert was telecast live, conductor Eugene Ormandy also made his live television concert debut with the Philadelphia Orchestra.
Less than a month after the first Toscanini televised concert, a complete performance by the conductor of Beethoven's Ninth Symphony was telecast on April 3, There were two Toscanini telecasts in , both devoted to the concert performance of Verdi's Aida from studio 8H. Portions of the audio were rerecorded in June for the commercial release on LP records. As the video shows, the soloists were placed close to Toscanini, in front of the orchestra, while the robed members of the Robert Shaw Chorale were on risers behind the orchestra.
The NBC cameras were often left on Toscanini for extended periods, documenting not only his baton techniques but his deep involvement in the music. At the end of a piece, Toscanini generally nodded rather than bowed and exited the stage quickly. Although NBC continued to broadcast the orchestra on radio until April , telecasts were abandoned after March As part of a restoration project initiated by the Toscanini family in the late s, the kinescopes were fully restored and issued by RCA on VHS and laser disc beginning in The Maestro Myth.
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Arturo Toscanini Edition 2: Tchaikovsky. Arturo Toscanini Edition 3. Toscanini conducts Beethoven. Arturo Toscanini Edition I. Toscanini conducts Martucci. Iron Needle. Arturo Toscanini Live in Venice, Toscanini Conducts Tone Poems. Arturo Toscanini Rarities Myto Records. Toscanini: Maestro Furioso, Disc 5. Arturo Toscanini Stereo. The Radio Years. Arturo Toscanini: Anthology 1. Arturo Toscanini: French Music.
Arturo Toscanini: His Romantic Rarities. Rossini: Overtures; Sonata for Strings No. As Disc. Arturo Toscanini: Rare Recordings Tchaikovsky: Manfred; Romeo and Juliet. Toscanini Conducts "French" Music. Toscanini Conducts Beethoven, Mozart, Brahms. Atterberg: Symphony No. Toscanini conducts Music from Russia.
Beethoven: 9 Symphonies; Missa Solemniss. Toscanini Conducts Tchaikovsky. Beethoven: Concerto No. Toscanini Conducts Weber, Mendelssohn, Sibelius. Beethoven: Fidelio. Toscanini In London , Vol. Toscanini in London: The Legendary Recordings. West Hill Radio Archives. Toscanini Rarities On Radio Toscanini: Maestro Furioso, Disc 3.
Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Genre Classical.As with Toscanini’s last concert (Music & Arts CD) this was recorded in stereo and what a revelation it is. There are several problems, though: the sound is too close, the dynamic range limited, there is some wow and flutter, the bass is boomy, and there are minor overloading and small breaks in the right-hand channel signal.