Track Listing

Disc 1:

1. Symphony No. 1 in C major, Op. 21: 1. Adagio molto - Allegro con brio
2. Symphony No. 1 in C major, Op. 21: 2. Andante cantabile con moto
3. Symphony No. 1 in C major, Op. 21: 3. Menuetto: Allegro molto e vivace
4. Symphony No. 1 in C major, Op. 21: 4. Adagio - Allegro molto e vivace
5. Symphony No. 2 in D major, Op. 36: 1. Adagio molto - Allegro con brio
6. Symphony No. 2 in D major, Op. 36: 2. Larghetto
7. Symphony No. 2 in D major, Op. 36: 3. Scherzo - Trio
8. Symphony No. 2 in D major, Op. 36: 4. Allegro molto

Disc 2:

1. Symphony No. 3 in E flat major ('Eroica'), Op. 55: 1. Allegro con brio
2. Symphony No. 3 in E flat major ('Eroica'), Op. 55: 2. Marcia funebre: Adagio assai
3. Symphony No. 3 in E flat major ('Eroica'), Op. 55: 3. Scherzo: Allegro vivace - Trio
4. Symphony No. 3 in E flat major ('Eroica'), Op. 55: 4. Finale: Allegro molto - Poco andante - Presto
5. Symphony No. 4 in B flat major, Op. 60: 1. Adagio - Allegro vivace
6. Symphony No. 4 in B flat major, Op. 60: 2. Adagio
7. Symphony No. 4 in B flat major, Op. 60: 3. Menuetto: Allegro vivace
8. Symphony No. 4 in B flat major, Op. 60: 4. Allegro ma non troppo

Disc 3:

1. Symphony No. 5 in C minor ('Fate'), Op. 67: 1. Allegro con brio
2. Symphony No. 5 in C minor ('Fate'), Op. 67: 2. Andante con moto
3. Symphony No. 5 in C minor ('Fate'), Op. 67: 3. Allegro
4. Symphony No. 5 in C minor ('Fate'), Op. 67: 4. Allegro
5. Symphony No. 6 in F major ('Pastoral'), Op. 68: 1. Happy feelings aroused on arriving in the country
6. Symphony No. 6 in F major ('Pastoral'), Op. 68: 2. Scene by the brook
7. Symphony No. 6 in F major ('Pastoral'), Op. 68: 3. Peasant's merry-making
8. Symphony No. 6 in F major ('Pastoral'), Op. 68: 4. Thunderstorm
9. Symphony No. 6 in F major ('Pastoral'), Op. 68: 5. Shepherd's Song: Joyous thanksgiving after the storm

Disc 4:

1. Symphony No. 7 in A major, Op. 92: 1. Poco sostenuto - Vivace
2. Symphony No. 7 in A major, Op. 92: 2. Allegretto
3. Symphony No. 7 in A major, Op. 92: 3. Presto - Assai meno presto - Presto
4. Symphony No. 7 in A major, Op. 92: 4. Allegro con brio
5. Symphony No. 8 in F major, Op. 93: 1. Allegro vivace e con brio
6. Symphony No. 8 in F major, Op. 93: 2. Allegretto scherzando
7. Symphony No. 8 in F major, Op. 93: 3. Tempo di Menuetto
8. Symphony No. 8 in F major, Op. 93: 4. Allegro vivace

Disc 5:

1. Symphony No. 9 in D minor ('Choral'), Op. 125: 1. Allegro ma non troppo, un poco maestoso
2. Symphony No. 9 in D minor ('Choral'), Op. 125: 2. Molto vivace
3. Symphony No. 9 in D minor ('Choral'), Op. 125: 3. Adagio molto e cantabile; Andante moderato
4. Symphony No. 9 in D minor ('Choral'), Op. 125: 4. Presto; Allegro assai

Product Details

• Amazon Sales Rank: #1758 in Music
• Brand: RCA
• Released on: 2003-12-09
• Number of discs: 5
• Format: Box set
• Dimensions: .48 pounds

Customer Reviews

Fidelity and Power
RCA/BMG have reissued these performances numerous times since their initial LP release. To the best of my knowledge, they've never been out of print. The sound on various incarnations has varied, from the clean but compressed mono originals, fake stereo reissues in the 1960s, to at least four CD issues. In 1997, RCA totally reorganized and inventoried its massive vaults, which had been in disarray for decades. As a result, many original sources which had been declared "lost" were now "found." This new remastering is strikingly improved sonically over all earlier issues. Utilizing the best technology now available, RCA has also done the right thing by hiring a musician--conductor Ed Houser--rather than whiz-bang technicians to supervise the remastering. The NBC Symphony Orchestra now sounds better than ever before, with smoother strings, fuller winds, and less blotting out during fortissimos.

Perhaps no conductor of the 20th Century has been as misunderstood as Arturo Toscanini, as evidenced by the critical backlash with which he was assailed in the years after his death. That criticism was partly in reaction to the equally unbalanced adulation heaped upon him during his lifetime. I remember once mentioning to an acquaintance my admiration for Toscanini's Beethoven and Brahms, and he shot back, "He conducts everything too fast!" In fact, in comparison with other recordings and broadcasts of his era, Toscanini's conducting was not generally faster than average. In relation to TODAY'S phlegmatic tempos, however, Toscanini's pacing is definitely brisk. But what most people are hearing as fast is, in fact, Toscanini's characteristic rhythmic vitality and, occasionally, drive, which brings the faster movements to sparkling life. (The finale to Beethoven's Seventh Symphony is an example: the tempo is not unusually fast, but it SEEMS faster than normal because of the precise articulation and clarity.) Likewise, the slow movements are never dragged, and glow with Italianate warmth.

It is worth noting that RCA has made one major change in this reissue of Beethoven Symphonies: the 1949 studio recording of the "Eroica," heard in previous complete sets has been replaced by the 1953 live Carnegie Hall version. RCA does not credit the liner notes, but they are reprints of Mortimer H. Frank's excellent notes originally written for the early 1990s CD release.

RCA has so far only released Toscanini's core repertoire with the NBC Symphony--but they are more than welcome additions to the catalogue. The Maestro's recordings with the New Your Philharmonic, and The Philadelphia Orchestra should also be remastered, post-haste.

THE Maestro's Beethoven
The controversey about Toscanini just will not go away, nor is it likely to abate anytime soon. Contemporary music critics ran out of superlatives in their reviews of Toscanini's performances, and found his style so convincing and powerful they soon referred to him as THE Maestro, as if there were no others. Indeed, Toscanini had few peers during his long, outstanding career. This is somewhat harder to discern for modern listeners, who have been brought up listening to two generations of conductors who have mostly all been heavily influenced by Toscanini and the revolution in interpretation and performance he wrought.
Two myths about Toscaninini persist: the first, by his supporters, that he was a literally faithful interpreter; the second, by his critics, that he conducted everything too fast.
Neither of these myths is exactly true, but there is little point in refuting them in detail here.
The current take on Toscanini is that his recorded legacy does not support his reputation, since it consists mostly of recordings from when the maestro was already well into his 70's and 80's and had lost his creative spark. Peter Guttmann notes that by this time, Toscanini tended to regard all music as an abstraction and tended to seek maximum efficiency in performance, rather than inspired interpretaion. Very well, if that is so, it works remarkable WONDERS on Beethoven.
The first remarkable quality of any Toscanini performance is its rythymic DRIVE. This led his critics to charge that Toscanini took things too fast. What he really did was to seek what he considered to be a CORRECT tempo in every movement, one which he could inflect or adjust subtly as needed, rather than alter radically, as many other conductors did, and do to this day. This gives the music an unmatched sense of flow, and forward propulsion which serves the purpose of Beethoven remarkably well.
These performances are always going somewhere, and getting there with a purpose you can feel. One suspects that Beethoven would approve.
The other quality that sets Toscanini apart is his remarkable clarity of line, both horizontal (melody) and vertical (harmony).
This again sets up a flow to the music, a sense that every phrase flows inevitably from the one preceeding it and inevitably into the next one, that few other conductors can sustain for an entire performance. Toscanini's painstaking adjustments of orchestral balances and colors are legendary. Nowhere is that more evident than in the recording of the 7th Symphony in this set. Although the sound is only hi-fi mono, you hear the separation and definition of the orchestral sections BETTER than you do on most subsequent stereo recordings by other conductors. Nothing gets lost or assimilated in the tuttis, you hear EVERYTHING.
Finally, these are among the most DURABLE performances of these symphonies you are likely to hear. Others may contain more romance, poetry or passion, but these shine as well as they did when they were recorded half a century ago, and repeated listenings do not dim their lustre or bore you with familiarity.
Toscanini's genius was to have faith in the genius of Beethoven.
He knew that if you played these scores judiciously, with taste and absolute commitment, that the genius of Beethoven would emerge in full radiance, and dazzle the listener all by itself.

Can I give it nine stars?
I grew up on these performances, and it's difficult for me to hear other attempts without the cold wind of criticism blowing. Nevertheless, as an adult, I've listened to them again and again in the context of other recordings and have come to something more reasonable than pure adulation. First, the sound is definitely not as good as even the most ordinary recordings of today. That's a technical matter solely. If, and it's a mighty big if, you are capable of listening beyond the sound to the music, then there simply aren't other Beethoven symphony performances that are in the same league as these. The NBC Symphony Orchestra was the most astonishing virtuoso orchestra ever assembled. If you doubt that at all, just listen to them release a sound. Many orchestras these days (though not then) can make a unified attack, but a unified release is something you just don't hear. Balances are a constant miracle as the music progresses. Toscanini was NOT a slave to the score (compare score and recording of the 9th, for example, where Toscanini reorchestrated whole sections of the last movement in order to get a greater clarity of sound (he did the same in his performances of Debussy's La Mer), and his much touted speed is many times actually a little slower than that of other conductors--it just sounds faster because it has such astonishing clarity. One can easily disagree with Toscanini's late-in-life, slam-bang approach to most music (his Brahms leaves me cold, for example) but in these overplayed and over-recorded Beethoven symphonies, there are few conductors that approach Toscanini, and none that match him. If you are serious about these compositions, this is a set that bears up under repeated scrutiny. Oh heck, I'll give it ten stars.