OVERALL, THE GREATEST SET OF BEETHOVEN SYMPHONIES EVERby RichAG

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June 20, 2009: 1939 was an amazing year for the arts and a turning point politically for the world as the Nazis seemed to be taking over everything. Toscanini was beginning his third season with the NBC Symphony and the orchestra was sensitized to his ways. He had already conducted several Beethoven symphonies with the NBC and wanted to give a complete cycle with the addition of overtures, the Choral Fantasy, and a couple of other works. World conditions and his own personal angst had him at a fever pitch and these performances show it. From the first symphony through the ninth there is a cohesive force that pushes from beginning to end. The tempi are not rushed in any way, but just flow forward. The dynamics and attacks are right on. Symphonies 1 and 2, although early Beethoven do not sound like late Maydn or Mozart, but are given the stature of a mature Beethoven. Everything is razor sharp. The later NBC performances are good, but these are better. Number 3 has been out in various incarnations for almost 70 years. At least in the 1992 complete Toscanini discography the sound was very listenable. This a a great great performance. To me one needs both this and the 1953 broadcast as both views are valid. I have always enjoyed Szell's "Eroica", and found the ending tremendously exciting as he takes it very quickly, but the coda on this 1939 "Eroica" is just as fast, and you hear everything which makes it even more exciting. The 4th is all grace and beauty with great strength. It stands on its own, not just a nice little symphony squeezed inbetween the two titans of the 3rd and 5th. It is better than the BBC performance of the same time. I have listened to the 5th for 50 years, under numerous conductors, and to me it is the "perfect" symphony--especially in structure. This is the finest realization I have heard. Some have considered Erich Kleiber's 1953 performance the finest. It has a propulsive first movement, but does not come close to the rest of the movements. Toscanini's will sweep you along from first note to last. The picturesque "Pastoral" is like looking at Rembrandt. The later studio one has better sound, but this has better definition. The 1938 is beautiful, but this is moreso. The Seventh is on a par with the 1936 N. Y. Philharmonic, and edges out the BBC Symphony from the same period. The eighth was recorded in the studio before this broadcast, and may have seemed rushed in order to fit on 4 minute sides. Since Toscanini didn't have to stop after 4 minute takes there were no artificial time restrictions, thus giving you one of the most unhurried but powerful performances you will hear. You need both this and the 1952 studio recording because of the orchestration at the end of the first movement: in this earlier performance Toscanini follows Weingartener's advice and adds tympani; the later one he went along with Beethoven's original orchestration and did not add them. In every way, this is one of the finest Ninths ever. It is also one of the most ferocious, which seems to fit. Although the first movement is faster than his others, it does not seem that much so, and the other movements, tempo-wise, move along just right. And a fantastic last movement in every way. One note: the 1941 Buenos Aires performance does match this one. Get both. As to the sound: M & A has done a great job. Yes, it is 1939, but you can hear everything. Sit back, listen, and be transported!

I Also Recommend: Brahms: The Four Symphonies.