1929 ARTURO TOSCANINI MOZART HAFFNER Sym in D MAJOR K 385 NY Philharmonic Symp78

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WEEK 3 of 3 weeks of great auctions,  THE FINAL WEEK ending Dec 18.

Some great collectible HOLIDAY GIFTS for yourself your friends and family.

IMPORTANT:

Per US Postal Service, the following dates for Christmas shipping have been posted:

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A series of great  classical orchestral and instrumental performances by major conductors, composers and instrumentalists.

Italian Star Conductor Arturo Toscanini was notoriously reticent with the microphone. He famously claimed that the recording process did not do justice to his music.

His pre-NBC (1941) recordings, are limited to very few works and sessions:

At a visit of La Scala to the US, Toscanini recorded a few acoustic sides for Victor in 1920.

With the advent of electric recording, he again recorded a few works for Brunswick and Victor between 1926 - 29, but being very dissatisfied with the results.

Between 1936 and 1938 he recorded some sides for Victor, but his HMV recordings with the BBC orchestra mark the beginning of his extensive recorded legacy, which he then would continue after 1941 with the NBC orchestra.

Wolfgang Amadeus Mozart (1756-1791):

Symphony No.35 in D major, K.385 (Haffner)

Philharmonic Symphony Orchestra of New York

Toscanini’s performance of the Haffner Symphony is very much of its period. Particularly noticeable, however, is the treatment of seemingly insignificant inner parts, the singing tone of the first violin melody of the slow movement, and the fine balance of the bassoon accompaniment to what follows. The Minuet might seem more portentously monumental than now would be expected, but any undue weight here is counterbalanced by the brilliance of the Finale.

Original Issue  Orthophonic Set M-65 w patterned sleeves. Pouch contains Toscanini portrait and some old newspaper clippings.  3x12" Victor  Scroll records 78 rpm w original album and booklet

Condition:

EXCELLENT MINUS, unworn and quiet, rare short faintest scratches. Side 4 has some mostly shallow fine scratching in the middle. Plays E quiet with 5 swishy clicks in the middle of 4. Album complete, but spine frayed and split.  Writing on first sleeve

Wolfgang Amadeus Mozart (1756-1791):

Symphony No.35 in D major, K.385 (Haffner)

Arturo Toscanini won himself an unassailable reputation as a conductor, respected and feared by musicians and revered by his public. Born in Parma in 1867, the son of a tailor, he studied the cello, piano and composition at the Parma Conservatory, which he entered at the age of nine. Completing his studies in 1885, he embarked on a career as a cellist and in the following year, during a visit to Brazil, he was able to take charge of a performance of Verdi’s Aida, conducting from memory, as he was always to do and achieving a success that ensured a future career as a conductor, at first pursued in various theatres in Italy. In 1895 he took charge as conductor of the Teatro Regio in Turin, following this with appointment to La Scala, Milan, in 1898. Here his continuing meticulous attention to every detail of performance, against existing traditions, won him praise and hostility.

Toscanini’s period at La Scala was interrupted by tours abroad and work at other houses in Italy. In 1908 he was appointed artistic director at the Metropolitan Opera in New York, where he had a liaison with the singer Geraldine Farrar, before resigning in 1915 to return to war-time Italy. It was only in 1920 that he returned to La Scala, where changes had been made and earlier causes of dissatisfaction removed. There were foreign tours with the orchestra and as great a degree of success as might be achieved in concert repertoire with an opera-house orchestra. It was a realisation of the limitations of such an ensemble and hostility to the régime of Mussolini that led to his resignation once more, in 1929, the year of tours to Berlin and Vienna. He conducted at Bayreuth for two seasons, but his objection to Hitler’s policies of antisemitism in Germany led him to refuse further work in Germany and undertake concerts in Tel Aviv and Jerusalem, with the newly formed Palestine Symphony, strengthened by the presence of refugees from Germany.

In 1928 Toscanini had been appointed conductor of the amalgamated New York Symphony and Philharmonic Orchestra, a position he held until 1936 and one that found him, now in his fifties, at the height of his powers. The mid-1930s, among other engagements, brought concerts with the BBC Orchestra in London, the rehearsals for which were vividly described by the principal viola of the orchestra, Bernard Shore (The Orchestra Speaks, London, 1938). Shore writes of Toscanini’s careful attention to detail, his phenomenal memory, his organized and economical use of rehearsal time, his sudden flashes of anger, quickly dissipated, and the respect he inspired among players. He also remarks on Toscanini’s short-sightedness, his use of a mixture of languages, reverting to pure Italian in moments of extreme stress, and, above all, his respect for the music itself, as written.

From 1937 until 1954 Toscanini worked principally with an orchestra created for him in New York, the NBC Orchestra. Many recordings are preserved from this period. He died in New York at the age of 89 in 1957.

The New York Philharmonic Orchestra gave its first concert in 1842, although during the nineteenth century it did not always occupy the place it now holds. It was in the 1920s that the New York Philharmonic Society began to absorb other orchestras, culminating in 1928 in a merger with the New York Symphony, founded in 1878 by Leopold Damrosch. After the merger, the orchestra became known as the Philharmonic-Symphony Society Orchestra, later to assume its present identity as the New York Philharmonic.

Mozart was busy in the summer of 1782 with his first significant stage work for Vienna, the Singspiel Die Entführung aus dem Serail. He had broken with his and his father’s patron, the Archbishop of Salzburg, in the previous year, and now marriage, for which he had not sought his father’s previous consent, was imminent. Back in Salzburg music was demanded for the celebration of the ennoblement of his contemporary Sigmund Haffner. In reply Mozart pleaded the pressure of work, as he sought to make use of the success of his opera by issuing an arrangement for wind-band, before others seized the opportunity and took the consequent profit. He was only able to provide the necessary celebratory symphony movement by movement, sending the first Allegro on 27th July, as he asked his father to agree to his marriage. This took place on 4th August, before a reply to his request could be received.

Toscanini’s performance of the Haffner Symphony is very much of its period. Particularly noticeable, however, is the treatment of seemingly insignificant inner parts, the singing tone of the first violin melody of the slow movement, and the fine balance of the bassoon accompaniment to what follows. The Minuet might seem more portentously monumental than now would be expected, but any undue weight here is counterbalanced by the brilliance of the Finale.

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This is The Final WEEK 3 of THREE consecutive weeks of auctions.

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