Cherubini, Haydn & Others: Orchestral Works (Toscanini Live at The Hague, Netherlands, 3-23-1938) [Remastered 2022] The Hague Philharmonic Orchestra & Arturo Toscanini

• Luigi Cherubini (1760 - 1842): Anacréon Overture (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]:
• 1Cherubini: Anacréon Overture (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]10:31
• Joseph Haydn (1732 - 1809): Symphony No. 101 in D Major, Hob. I:101 "The Clock":
• 2Haydn: Symphony No. 101 in D Major, Hob. I:101 "The Clock": I. Adagio - Presto (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]08:55
• 3Haydn: Symphony No. 101 in D Major, Hob. I:101 "The Clock": II. Andante (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]09:06
• 4Haydn: Symphony No. 101 in D Major, Hob. I:101 "The Clock": III. Minuet - Trio. Allegretto (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]06:55
• 5Haydn: Symphony No. 101 in D Major, Hob. I:101 "The Clock": IV. Finale. Vivace (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]04:34
• Claude Debussy (1862 - 1918): Prélude à l'après-midi d'un faune, L. 86 (Rehearsal Excerpt) [Live at The Hague, Netherlands, 3/23/1938] [Remastered 2022]:
• 6Debussy: Prélude à l'après-midi d'un faune, L. 86 (Rehearsal Excerpt) [Live at The Hague, Netherlands, 3/23/1938] [Remastered 2022]05:51
• Prélude à l'après-midi d'un faune, L. 86 (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]:
• 7Debussy: Prélude à l'après-midi d'un faune, L. 86 (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]08:51
• Paul Dukas (1865 - 1935): L'apprenti sorcier (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]:
• 8Dukas: L'apprenti sorcier (Live at The Hague, Netherlands, 3/23/1938) [Remastered 2022]10:40
• Richard Strauss (1864 - 1949): Tod und Verklärung, Op. 24, TrV 158 (Rehearsal Excerpt) [Live at The Hague, Netherlands, 3/23/1938] [Remastered 2022]:
• 9Strauss: Tod und Verklärung, Op. 24, TrV 158 (Rehearsal Excerpt) [Live at The Hague, Netherlands, 3/23/1938] [Remastered 2022]03:32
• Total Runtime01:08:55

Info zu Cherubini, Haydn & Others: Orchestral Works (Toscanini Live at The Hague, Netherlands, 3-23-1938) [Remastered 2022]

Italian conductor Arturo Toscanini (1867-1957) is regarded as the most influential orchestral conductor of his time.

In 1937 and 1938, Toscanini often conducted in the Netherlands. His only concert that was recorded on glass acetates was the second concert that took place in The Hague in March 1938. The Dutch radio corporation recorded Arturo Toscanini's concert with the Hague Philharmonic, the Residentie Orkest. It was a splendid and electrifying performance and one of the greatest highlights in Dutch musical history. It is witness to the extraordinary quality of Dutch musical life. The Resientie Orkest was one of the best European orchestras even before 1937, which attracted Toscanini to conduct it, who was worldwide in great demand as a guest conductor.

Every possible care was taken to obtain the best possible sound during restoration, a sound as close as possible to the hearing experience of the auditorium and Maestro Toscanini himself.

The Hague Philharmonic Orchestra
Arturo Toscanini, conductor

Digitally remastered

Arturo Toscanini
The Italian conductor Arturo Toscanini (1867-1957) was the most famous and influential conductor of the first half of the 20th century.

Arturo Toscanini was born on March 25, 1867, in Parma, Italy, the son of a tailor. When Arturo showed musical tendencies, he was sent to the local conservatory, where he spent the next 9 years, devoting himself entirely to music. He graduated in 1885 with a first prize in cello and was immediately engaged to play in the orchestra at the Reggia, Parma's famous opera house. During the following summer he joined an orchestra that went to Brazil to play a season of Italian opera. At one performance the regular conductor was unable to appear. The 19-year-old cellist took over and, without a rehearsal, conducted Aida from memory, thus beginning one of the musical world's most illustrious careers.

On returning to Italy, Toscanini was in great demand as an opera conductor. He conducted the first performances of Leoncavallo's I Pagliacci and Puccini's La Bohème. By the time he was 30, he was acknowledged to be the best opera conductor in Italy, and he was appointed principal conductor at La Scala in Milan, Italy's leading opera house. There, with his notorious temper and keen musicianship, he imposed a high performance standard on both singers and orchestra. He also disciplined the audience by refusing to allow the traditional encores that destroyed the musical continuity of the operas. He conducted at La Scala from 1898 to 1903 and again from 1906 to 1908, when he resigned to become a conductor with the Metropolitan Opera Company in New York City.

Toscanini returned to Italy in 1915 and to La Scala when it reopened after World War I. The growth of fascism and Mussolini's dictatorship made it impossible for Toscanini to remain; in 1928 he became conductor of the New York Philharmonic Symphony Orchestra, a post he held until 1936. His harsh discipline and uncompromising musical standards made the Philharmonic one of the world's greatest orchestras.

During these years Toscanini also conducted opera at the famous European music festivals at Salzburg and Bayreuth. In 1937 he became conductor of the National Broadcasting Company Orchestra. This orchestra's broadcast concerts and recordings brought his performances to millions of listeners. He died in New York City on Jan. 16, 1957.

At the time Toscanini started to conduct, late-19th-century performance ideals were prevalent and conductors and performers thought it was their right and duty to "express themselves" in the music they played. Great liberties in tempi and dynamics were taken, and the score indications were often ignored. Toscanini vigorously opposed this approach, believing that performers should meticulously follow the scores and play every note exactly as written at the precise degree of loudness called for by the composer. He expected his musicians to show as much devotion toward the score and energy in carrying out its directions as he did. If they failed, he was merciless in his criticism.

Toscanini was one of the first to conduct without a score. His visual memory was phenomenal, and he could make minute corrections, referring to exact measures, without looking at the score. This skill was developed partly as a matter of necessity, because he was so nearsighted that he could not read a score at normal distance. He also had a marvelously acute ear, and there are many instances of his hearing a false note in a single instrument, even with the full orchestra playing.

Booklet für Cherubini, Haydn & Others: Orchestral Works (Toscanini Live at The Hague, Netherlands, 3-23-1938) [Remastered 2022]