Word: toscanini
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Dates: during 1970-1979
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...Arturo Toscanini: Overtures (Seraphim). Between 1937 and 1939, Toscanini and the BBC Symphony Orchestra created a series of recordings that were like valentines to each other. Here are five of them: Brahms' Tragic Overture, Beethoven's Leonore Overture No. 1, the Weber-Berlioz Invitation to the Dance and, for the first time on American LP, Mozart's Magic Flute Overture and Rossini's La Scala di Seta Overture. As usual, the maestro's familiar musical gusto is the controlling factor, augmented by the expressive freedom he accorded the BBC first-desk men in their solo...
...partially indebted, have repeatedly claimed that they want to restore the theater to actors and actresses. Yet the results of this director-actor axis have ironically proved the opposite. Actors under Brook and Grotowski express Brook and Grotowski, rather in the manner of orchestras under the batons of Toscanini or Koussevitzky. Their group efforts are mesmerically disciplined, but their individuality seems submerged...
...ORCHESTRA is in many ways like a pet which grows so used to one master that it is unable to adapt to a new one. Any orchestra conducted by Toscanini was, by definition, an orchestra designed and molded by Toscanini, used to his style, his interpretations, his way of life. Barbirolli could never have hoped to succeed under such circumstances, and indeed...
...with a remarkable understanding. He was, in the final summing up, a conductor of vastly underrated talent, a man who never received the recognition that was due his talent as an interpreter of modern and Romantic composers. Certainly he lacked the breadth and far-ranging talent of his predecessor Toscanini, but few outranked him in that area of music which he knew and performed best...
EVERY obituary writer, and every music critic, in this country has by now observed that John Barbirolli and Goerge Szell were polar opposites. While Barbirolli was the actual successor of Toscanini in the New York post, Szell was, in a very real sense, his spiritual successor. Toscanini and Szell were cut from the same cloth: men of precision who held tight rein over their orchestras and insisted on perfection in their performers. Like Barbirolli, Szell was a distinguished soloist in his own right. To a far greater degree than Barbirolli, he pursued his career as an instrumentalist all his life...