{"product_id":"toscanini-lira-panamericana-beethoven-series-symphony-no-5-1944-pasc170","title":"TOSCANINI Lira Panamericana Beethoven Series: Symphony No 5 (1944) - PASC170","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded 1944\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 28:13 \u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eNBC Symphony Orchestra \u003c\/span\u003e\u003cbr\u003e \u003c\/b\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\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fFor Toscanini admirers, it is a must acquisition578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan class=\"TIMES\"\u003eThe 1944 performance of the Fifth Symphony has, so\nfar as I know, never appeared anywhere before. It was the last of three\nworks on a gargantuan Carnegie Hall gala that raised $6,500,000 in War\nBond sales. Preceded on the program by the Brahms First Symphony and the\nTchaikovsky “Pathétique,” this Beethoven Fifth should be heard by\nanyone interested in either Toscanini or the work itself. In some\nrespects, it is unlike any of his surviving accounts of the score,\nfleeter than in his live 1933 New York Philharmonic concert (available\noutside the U.S. from Naxos), yet more expansive than in his last 1952\nNBC telecast (available on both an RCA CD and Testament DVD). Moreover,\nit boasts slightly greater flexibility in its occasional rhetorical\nemphases absent from his other accounts, distensions that in no way\nviolate the music’s line or structure. One might object to the omission\nof a first-movement repeat and to a single CD containing only 28\nminutes. But these are white-hot minutes infusing the work with a life\nit is rarely granted. The sound, of course, is an issue. It is, to be\nsure, a bit grainy, scratchy, and occasionally distorted in the loudest\npassages. But it benefits from a surprisingly wide dynamic range and a\nwelcome Carnegie Hall ambiance that is free of the boxy deadness that\nafflicted Toscanini’s 1939 studio recording of the score. In short, this\nis a fascinating release that adds dimension to the Maestro’s profile.\nFor Toscanini admirers, it is a must acquisition. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\n\n\n\n\n\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eMortimer H. Frank \u003c\/span\u003e\u003c\/b\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 33:2 (Nov\/Dec 2009) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC170.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eConsidered Toscanini's finest recorded performance of the Fifth\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e \u003cspan style=\"font-size: 18px;\"\u003eThe 1944 Carnegie Hall performance restored and released for the first time\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cp class=\"body\"\u003eToscanini's relationship with Beethoven's\u003cem\u003e Fifth Symphony\u003c\/em\u003e during World War Two was very interesting. He had conducted it at an all-Beethoven concert with the NBC Symphony Orchestra on the symbolic date of 11th November, 1939, exactly 21 years after the signing of the Armistice which ended the fighting of World War I. Although during a South American tour he twice programmed the work - in Rio de Janeiro in July, 1940 (1st and 8th) - once the United States of America entered the Second World War, Toscanini stated an intention not to broadcast the work again in full until the war was over (a 1942 New York Phil. performance was not transmitted).\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThus, during a special, unscheduled NBC concert of 9th September, 1943, Toscanini marked the downfall of Mussolini with a performance beginning with the first movement only from Beethoven's \u003cem\u003eFifth\u003c\/em\u003e. This was doubly symbolic - marking an especially significant event during the war for the avowed anti-Fascist maestro, while also indicating that victory was as yet still incomplete.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe \u003cem\u003eFifth Symphony\u003c\/em\u003e was probably not heard again under Toscanini's baton on US radio until a special half-hour concert, entitled \u003cem\u003eVictory Part II\u003c\/em\u003e, on 8th May 1945, when he marked the final defeat of Germany and the end of World War II in Europe with a full performance of this work alone. (\u003cem\u003eVictory Part III\u003c\/em\u003e, VJ day, featured the \u003cem\u003e'Eroica'\u003c\/em\u003e Symphony.)\u003c\/p\u003e\n\u003cp class=\"body\"\u003eHowever, Toscanini did conduct the NBC Orchestra in the \u003cem\u003eFifth Symphony\u003c\/em\u003e during 1944, at a special Tuesday-evening Carnegie Hall concert to promote the sale of War Bonds. Mortimer H. Frank notes of this concert:\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\"Six and a half million dollars were raised from this exceptionally long program, which the New York Times critic Olin Downes called \u003cem\u003e'gigantic'\u003c\/em\u003e. It is not clear how much, if any, of it was broadcast: NBC's records claim that Tchaikovsky and Beethoven were aired, but the New York Times does not confirm this in its listings of broadcasts for this date.\"\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003eIt is clear from the history described here that Beethoven's Fifth was especially symbolic for Toscanini during wartime, and it is therefore of little surprise that we find what some regard as perhaps his finest-ever performance in this hugely significant concert recording.\u003c\/p\u003e\n\n\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eThe Toscanini Beethoven Lira Panamericana Discs\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eToscanini began a \"Beethoven Festival\" series of NBC broadcasts later in the autumn of 1944, and these were also recorded for special distribution to South American radio by NBC - specially pressed on outsized 15.8\" vinyl discs, cut at 33rpm but using conventional wide-groove 78rpm cutters (i.e. not microgroove), each side could hold around 15-20 minutes of music with an extended frequency range significvantly higher than that expected of standard commercial 78rpm discs at the time.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eA near-full set of Beethoven's symphonies was assembled (excluding the \u003cem\u003e9th\u003c\/em\u003e) from this series (topped up with earlier recordings of the \u003cem\u003e4th\u003c\/em\u003e and \u003cem\u003e6th\u003c\/em\u003e), and it appears that a rather rough 78rpm acetate copy of this earlier \u003cem\u003e5th Symphony\u003c\/em\u003e was inserted to make up the set. No other transcription is known to survive - a rough transcription circulating on MP3 format of this recording exhibits clicks which indicate it is almost certainly an nth-generation copy of the same acetate master - possibly even sourced from the South American broadcasts themselves.\u003c\/p\u003e\n\u003cp class=\"body\"\u003ePristine Audio is now working on a transfer of the complete known collection of these Beethoven discs, owned by Christophe Pizzutti and kindly lent for this project. It is believed that the only other set of discs is held under lock and key at the New York Public Library.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003e\u003cb\u003e\u003cspan class=\"bodybigblue\"\u003eAbout This Transfer\u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThis transfer was taken from the only known source for this Symphony recording: NBC's\u003cem\u003e Lira Panamericana\u003c\/em\u003e 40cm vinyl radio transcription discs, Nos. 68B and 69B, Matrix Nos: ND5-MM4343-1 and ND5-MM4545-1 - a series of 33rpm wide-groove discs prepared for South American radio reproduction during 1944. Only two sets of these are thought to survive.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eSonic evidence suggests that our source recording was originally prepared from now-lost 78rpm acetate discs of the (probably) unbroadcast concert. Although vinyl noise levels were reasonably low on this disc, there was considerable surface noise from the acetates evident on the source, which at times has compromised aspects of the sound quality.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_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\u003cstrong\u003e\u003cspan class=\"body\" style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"body\" style=\"font-size: 18px;\"\u003e Symphony No.\u003c\/span\u003e\u003cspan style=\"font-size: 18px;\"\u003e 5 in C minor, Op. 67\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003eNBC Symphony Orchestra \u003cbr\u003e conducted by Arturo Toscanini \u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eRecorded live at Carnegie Hall, New York, 18th April 1944\u003cbr\u003e \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eSource disc from the collection of Christophe Pizzutti:\u003cbr\u003e Lira Panamericana 40cm vinyl radio transcription disc, sides 68B and 69B \u003cbr\u003e Matrix Nos: ND5-MM4343-1 and ND5-MM4545-1\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003eTransfer and XR remastering by Andrew Rose at Pristine Audio, June 2009\u003cbr\u003e Cover artwork based on a photograph of Arturo Toscanini\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e Total duration: 28:13 \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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