Great news from Immortal Performances

[chez_toscanini]

Three new volumes:

TOSCANINI
NBC SYMPHONY
TRANSCONTINENTAL TOUR
5 May 1950
Pasadena Civic Auditorium
ROSSINI - BEETHOVEN - SMETANA
WAGNER - TCHAIKOVSKY
Bonus
MEYERBEER: NORTH STAR OVERTURE
DRESS REHEARSAL

14 MARCH 1954
CONCERT
VIVALDI - VERDI - BOITO
and
REHEARSALS
11 March & 12 March
released in association with the Toscanini Estate.

VERDI
TE DEUM and REQUIEM
NELLI - McGRATH - MERRIMAN - SCOTT
Robert Shaw Collegiate Chorale
BENEFIT PERFORMANCE
for New York Infirmary
26 April 1948 

Bonus: All-Verdi Concert 29 January 1946

Ezio

[Luciano Crivello]

27 Jan.1946. The part of the concert with Mozart is missing.

LC

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[jfddoc]

The 1954 Concert was reviewed in Fanfare Magazine several months ago.  I've been waiting for it since.  Thanks for the update!

--John

[Ezio Maria Ferdeghini]

Yes, I was waiting since then,too

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[East Sider]

I have 27-Jan-1946 complete with full announcements and Ketterings talk.

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[chez_toscanini]

At last, today the Cds have arrived. I think he most interesting parts are the rehearsals, in particular those devoted to Boito's Mefistofele Prologue, with all the energy and irony of an 87 young boy.

The bonus to Verdi's Te Deum and Requiem (Jan 27, 1946) is presented as All-Verdi concert, but this is incorrect as in the first part there included Mozart's Don Giovanni ouverture and the Symphony 40. There are also two excerpts from Aida's Nile scene with McGrath and Leontyne Price in...historic sound. Te Deum has a good improvement with respect, for instance, to Music and Arts edition. Quite the same result for what concern the Requiem which I do not appreciate too much, especially for the final "short" end of the Libera me, and the general performance.

The wonderful Pasadena concert is presented from the assessment of the orchestra up to the final long enthusiastic applause. It is the world premiere release, derived from Toscanini's estate if we do not consider a recording by an Elmer W. I found somewhere on Internet (my memory starts to vanish), of similar quality, but probably derived from a same source, slightly shortened. Great sound. In the booklet, Caniell says there are more 11 concerts recorded (although not commercially) during the 1950 tour: who knows if there will be any chance to listen to them.
In the booklet devoted to the Mar 14 1954, the Italian Toscanini indications during Boito's rehearsals, have been translated by Harvey Sachs and "our" Luciano Crivello, who receives a biographic aknowledgement.

Ezio

[chez_toscanini]

A simple question: I am now listening to the Vivaldi, and it seems the concert was recorded in stereo. Is this possible? I remember that only the last two were recorded in stereo, or my Alzheimer is running fast?

Ezio

[B Bailey]

I was told by Seth Winner that the all Italian concert was to be recorded in stereo but someone forgot the necessary cables. "For want of a nail the war was lost" as the saying goes.

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[chez_toscanini]

I do not think that Caniell has been able to stereo-ize the recorded source, though.

Ezio

[epea_pt...@ybb.ne.jp]

I do not understand how stereo-ize is possible.

Toscanini is said to have said that first violins and second violins are like shoulder, therefore, first violins are to be placed on the lefthand side and the second on the righthand side.

Now,  think of the second movement of Beethoven’s 7^th. Symphony. (My score is published by Wiener Phil.Harmonischer Verlag.)

At third bar, viola, cello I and cello II start. At 27^th. bar Violin II joins. This must be heard from right speaker. At 51^st. bar Violin I joins and this must be heard from left speaker.

Is the re any method to realize that?

Cheers,

Ken

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[Rob Pennock]

Hi, just joined the group. I review for Classical Source and Audiophile Sound, Italy and have an extensive collection of AT LPs, CDs, including long deleted stuff and downloads. With regard to antiphonal violins in mono and stereo. The only difference between mono and stereo is the number of tracks and the number of channels they are mixed down to as opposed to mics. However RCA and most other labels recorded mono using one mic placed centrally. That mic was perfectly capable of recording antiphonal violins because that is the image it recorded. The mono image isn't as wide so the difference isn't as obvious but it is there. So I am listening to Beethoven 1 in the first Shaded Dog LM6901 box and I can hear the antiphonal violins.

With regard to stereoising you can use what Andrew Rose at Pristine uses, as do I, which is iZotope Ozone Imager which allows you to broaden the mono image and bring greater clarity and projection. He used this on his state-of-the-art remastering of the 1939 Beethoven cycle whch is interpretively superior to the RCA cycle and all of his later Toscanini remasterings. It isn't stereo but it does improve the sound. Having said that no doubt many would disagree, there's nothing so subjective as sound!!

[Ezio Maria Ferdeghini]

Hi Rob and welcome. Sorry to be late in my answering to your request, but Google mail decided to put It in the spam. I do not trust a lot into algorithms, so I give an eye before trashing to the spam folder.
I hope that your knowledge of Toscanini, as well as of music and musician, could give an important contribution to this group.

I agree with you that with one mic only (or just a few) it was possibile to have so detailed recordings. I have also to remark that some times sound engineers have also been able to give bad results, and people like Winner, Marston, Obert-Thorn, Rose, Caniell, have been so smart to correct.

Well, welcome again and I hope to read your further contributions as well as the ones of the other Toscaninifriends.

Ezio

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[Rob Rob]

Hi Ezio,

Thanks for getting back so quickly, hopefully other AT recordings will surface in decent sound!!

Rob