{"product_id":"toscanini-philharmonic-symphony-orchestra-of-new-york-complete-recordings-volume-2-1926-36-pasc5-3","title":"TOSCANINI Philharmonic-Symphony Orchestra of New York Complete Recordings ∙ Volume 2 (1926-36) - PASC588","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003c\/span\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eDUKAS \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’apprenti sorcier\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eOvertures and excerpts:\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eGLUCK \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrfeo ed Eurydice\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eMENDELSSOHN \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eA Midsummer Night’s Dream\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eIl barbiere di Siviglia\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eL’Italiana in Algeri\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eROSSINI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eSemiramide\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eVERDI \u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e\u003cspan style=\"font-size: 18px;\"\u003eLa traviata\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and Live recordings, 1926-36\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  2hr 24:19\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eNew York Philharmonic Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eArturo Toscanini\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC588.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\nThe present release completes Pristine’s survey of Arturo Toscanini’s\nrecordings with the Philharmonic-Symphony Orchestra of New York begun with\nPASC 575, featuring every take published on 78 rpm as well as several items\nnever released in that format. This volume presents a take of the Prelude\nto Act 3 of Verdi’s \u003cem\u003eLa Traviata\u003c\/em\u003e which has not been available since\nthe shellac era, as well as the first release of the finale of the\nBeethoven Fifth Symphony from an otherwise unissued live performance.\n\u003c\/p\u003e\n\u003cp\u003e\nToscanini’s first recordings with the ensemble then known as the New York\nPhilharmonic were made during his earliest appearances as guest conductor\nin 1926. The Brunswick label assembled 74 players from the orchestra in a\nsmall venue (unidentified on the ledgers, but said to be the fifth-floor\nChapter Room within Carnegie Hall) to record two excerpts from\nMendelssohn’s incidental music for \u003cem\u003eA Midsummer Night’s Dream\u003c\/em\u003e using\ntheir proprietary “Light-Ray” electrical process. The resulting sound was\nclear (even preserving a player’s cough during the Scherzo), if a bit\noverloaded at climaxes.\n\u003c\/p\u003e\n\u003cp\u003e\nThree years later, Toscanini, who was now co-conductor of the orchestra\nwhich had in the interim been merged with Damrosch’s New York Symphony,\nrevisited the Mendelssohn Scherzo to produce a supercharged reading which\nshaved a half-minute off his earlier running time for this short piece, a\nclear demonstration of the virtuoso ensemble he had honed. A \u003cem\u003eSorceror’s Apprentice\u003c\/em\u003e recorded during these later sessions had a\nsimilar breathless excitement; yet the broader tempi and more elastic\nphrasing that characterized the Maestro’s conducting style during this\nperiod was well documented in his recordings of the \u003cem\u003eOrfeo\u003c\/em\u003e Dance,\nthe two \u003cem\u003eTraviata\u003c\/em\u003e Preludes, and the \u003cem\u003eBarber of Seville\u003c\/em\u003e\nOverture.\n\u003c\/p\u003e\n\u003cp\u003e\nA word is in order at this point about the alternate takes. In the early\ndays of electrical recording, it was common for the Victor label to make at\nleast three takes of each side. One would be chosen as the master, with the\nothers marked to be held or destroyed. During the early 1940s, Victor\nreplaced the originally-issued takes on many of its best-selling recordings\ndue to wear on the metal mothers which were used to grow new stampers.\nSeveral Toscanini recordings experienced substitutions of this nature, some\n(as seen in this volume) having more than one alternate take published.\nWhile the alternates are usually fairly similar to the originally-published\nversions, some noticeable differences occasionally appear.\n\u003c\/p\u003e\n\u003cp\u003e\nAfter frustrating experiences in 1929 with the frequent stops and starts of\nrecording on limited-duration 78s, Toscanini vowed never again to make\nrecords. Victor, however, was keen on preserving his interpretation of the\nBeethoven Fifth Symphony. In March of 1931, two live performances were each\nrecorded directly onto nine 78 rpm matrices. The first attempt was deemed\nunusable, and the second was subjected to sonically-compromising dubbings\nfor all but the last two sides. The end of the first matrix was further\ndegraded with a muffled-sounding insert from the first performance. Not\nsurprisingly, it was rejected by Toscanini. Modern restoration tools have\nallowed this performance finally to be heard without special pleading for\nthe sound, while the concluding side from the earlier performance is\npresented here for the first time.\n\u003c\/p\u003e\n\u003cp\u003e\nToward the end of his final season as music director of the Philharmonic in\n1936, RCA was able to reach a compromise with the Maestro. Recordings would\nbe made during studio sessions, which would allow for retakes; but they\nwould be taken down without fully stopping after each side. Instead, at\npre-arranged points in the score, the conductor would pause momentarily\nwhile the next side was begun on a second cutter. The overtures to \u003cem\u003eL’Italiana in Algeri\u003c\/em\u003e and \u003cem\u003eSemiramide\u003c\/em\u003e were done in this\nmanner, preserving the forward momentum of a live performance in vivid,\nalmost high fidelity sound. \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMark Obert-Thorn\u003c\/strong\u003e\n\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cstrong\u003e\n\u003cspan style=\"font-size: 24px;\"\u003eArturo Toscanini and the Philharmonic-Symphony Orchestra of New York\n\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"font-size: 24px;\"\u003eComplete Recordings ∙ Volume 2\u003c\/span\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\u003cbr\u003e\u003cdiv\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\n\u003cstrong\u003eCD 1 (67:06)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eGLUCK: Orfeo ed Eurydice\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. Dance of the Blessed Spirits (\u003ci\u003eoriginally issued\nTake 4\u003c\/i\u003e) (5:01)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrix: CVE 48956-4. First issued on Victor\n7138 in album M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n2. Dance of the Blessed Spirits (\u003ci\u003efirst substitute Take 1\u003c\/i\u003e) (4:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 April 1929 ∙ Matrix: CVE 48956-1. First issued on Victor 7138 in\nalbum M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n3. Dance of the Blessed Spirits (\u003ci\u003esecond substitute Take 3\u003c\/i\u003e) (4:53)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 5 April 1929 ∙ Matrix: CVE 48956-3. First issued on Victor 7138 in\nalbum M-65\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eBEETHOVEN: Symphony No. 5 in C minor, Op. 67\u003c\/strong\u003e\u003cbr\u003e4. 1st Mvt.: Allegro con brio (6:16)\u003cbr\u003e5. 2nd Mvt.: Andante con moto (9:59)\u003cbr\u003e6. 3rd Mvt.: Allegro (4:58)\u003cbr\u003e7. 4th Mvt.: Allegro (9:00)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live 6 March 1931 ∙ Matrices: CVE 67520-1R, 67521-2R, 67522-1R,\n67523-1R, 67524-2R, 67525-2R, 67526-1R, 67527-2 and 67528-2 ∙ Unissued on\n78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n8. 4th Mvt.: Allegro - conclusion (3:04)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded live 4 March 1931 ∙ Matrix: CVE 67528-1 ∙ \u003cb\u003ePreviously unpublished\n\n\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMENDELSSOHN: A Midsummer Night’s Dream (Incidental Music), Op. 61\n\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n9. No. 1 - Scherzo (4:49)\u003cbr\u003e10. No. 7 - Nocturne (5:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 4 February 1926 ∙ Matrices: XE 17797 and between 17798 and 17801 ∙\nFirst issued on Brunswick 50074\n\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\n11. No. 1 - Scherzo (\u003ci\u003eoriginally issued\nTake 3\u003c\/i\u003e) (4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 March 1929 ∙ Matrix: CVE 48948-3 ∙ First issued on Victor 7080\nin album M-57\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n12. No. 1 - Scherzo (\u003ci\u003esubstitute Take 1\u003c\/i\u003e)\n(4:19)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 30 March 1929 ∙ Matrix: CVE 48948-1 ∙ First issued on Victor 7080\nin album M-57\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCD 2 (77:14)\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cstrong\u003eROSSINI: Il barbiere di Siviglia\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n1. Overture (\u003ci\u003eoriginally issued Take 3 for first side\u003c\/i\u003e) (7:30)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-3 and 56803-3 ∙ First\nissued on Victor 7255\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n2. Overture (\u003ci\u003efirst substitute Take 4 for first side\u003c\/i\u003e) (7:29)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-4 and 56803-3 ∙ First\nissued on Victor 7255\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n3. Overture (\u003ci\u003esecond substitute Take 2 for first side\u003c\/i\u003e) (7:34)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 21 November 1929 ∙ Matrices: CVE 56802-2 and 56803-3 ∙ First\nissued on RCA Victor 11-9229 in album M-1063\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eROSSINI: L’Italiana in Algeri\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n4. Overture (7:36)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 April 1936 ∙ Matrices: CS 101218-1 and 101219-1 ∙ First issued\non Victor 14161\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eROSSINI: Semiramide\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n5. Overture (12:32)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 10 April 1936 ∙ Matrices: CS 101214-1, 101215-1, 101216-1 and\n101217-1 ∙ First issued on Victor 14632\/3 in album M-408\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eVERDI: La traviata\u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\n6. Prelude to Act 1 (3:48)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrix: CVE 48936-3 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n7. Prelude to Act 3 (\u003ci\u003eoriginally issued Take 4\u003c\/i\u003e) (4:07)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 March 1929 ∙ Matrix: CVE 48942-4 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n8. Prelude to Act 3 (\u003ci\u003esubstitute Take 3\u003c\/i\u003e) (4:06)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 29 March 1929 ∙ Matrix: CVE 48942-3 ∙ First issued on Victor 6994\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n9. Prelude to Act 3 (\u003ci\u003ealternate unpublished take\u003c\/i\u003e) (3:59)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrix: CVE 48937-3 ∙ Unpublished on 78 rpm\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e10. \u003cstrong\u003eDUKAS: L’apprenti sorcier \u003c\/strong\u003e\n(\u003ci\u003eoriginally issued Take 2 for second side\u003c\/i\u003e) (9:18)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrices: CVE 48938-3 and 48939-2 ∙ First issued\non Victor 7021\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e11. \u003cstrong\u003eDUKAS: L’apprenti sorcier \u003c\/strong\u003e(\u003ci\u003esubstitute Take 1 for\nsecond side\u003c\/i\u003e) (9:13)\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 18 March 1929 ∙ Matrices: CVE 48938-3 and 48939-1 ∙ First issued\non Victor 7021\n\n\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e\n\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eArturo Toscanini ∙ Philharmonic-Symphony Orchestra of New York\u003c\/strong\u003e\u003cstrong\u003e\u003cbr\u003eNew York Philharmonic Orchestra (CD 1, Tracks 9 and 10)\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBruno Jaenicke\u003c\/b\u003e, solo horn (CD 1, Track 10)\u003cbr\u003e\u003cb\u003eJohn Amans\u003c\/b\u003e, solo flute (CD 1, Tracks 1 - 3, 9, 11 \u0026amp; 12)\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cstrong\u003e \u003c\/strong\u003e\n\u003c\/p\u003e\n\u003cp\u003e\nProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003ePitch stabilisation and equalisation matching (Beethoven): Andrew Rose\n\n\u003c\/p\u003e\u003cp\u003e\nRecorded in Carnegie Hall, New York City. 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