Toscanini: Brahms 4 Symphonies - RCA 6108-1/2/3 (3 LP leather-bound deluxe set)

$

115

redgarnett Store ITEM DESCRIPTION:

This deluxe limited edition 3 LP leather-bound set – a fine collector’s copy – from RCA Victor (6108-1/2/3, US pressing, plum shaded dog label, stereo, inbound booklet included) features Arturo Toscanini and the NBC Symphony Orchestra’s magisterial Brahms Symphony cycle.

The entire cycle was recorded in the rich acoustics of New York’s Carnegie Hall and sounds truly splendid here. This copy is numbered B 44.

The exact contents are as follows:

Brahms: Symphony No. 1 in C minor Op. 68

(rec. 6 November 1951)

Brahms: Symphony No. 2 in D Major Op. 73

(rec. 11 February 1952)

Brahms: Symphony No. 3 in F Major Op. 90

(rec. 4 November 1951)

Brahms: Symphony No. 4 in E minor Op. 98

(rec. 3 December 1951)

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In reviewing Toscanini’s recordings of Brahms’s Symphonies Nos. 1 and 2, the wonderful critic Lionel Salter wrote in his review for the October 1952 issue of The Gramophone:

“As a second-best for those unable to hear Toscanini's "live" performances of the Brahms symphonies in the Royal Festival Hall, which will have taken place by the time these words appear—and as a permanent reminder for the fortunate others—these records should have a considerable appeal. When they were made I do not know, but despite the great man's advancing years they are as full of fire and finesse as ever. (I am irresistibly reminded of Widor, at the age of nearly ninety, ripping his way through the finale of his Fifth Symphony for H.M.V.). The meticulous care over every detail, the beautiful phrasing and the breadth of line, the rhythmic bite, are hallmarks of the master. It has been claimed that, as an Italian, Toscanini is not the ideal interpreter of Brahms' typically Teutonic genius; but the Second Symphony elicits from him a perfectly appropriate lyricism, and there is not the smallest suggestion of stylistic impropriety in the more virile First. Besides, remembering Furtwängler's wilful exaggerations, is the German spirit necessarily more en rapport? There are, needless to say, none of these distortions here, but instead a choice of tempi which is made to seem inevitable: I would draw attention to the perfect tempo-transitions in the third movement of No. 2. The "bell-chime" horn tune and the trombones' chorale-like passage in the finale of No. 1 are taken slower than usual, and later in the movement the speeds do vary somewhat, but there is the evidence of Brahms' markings to justify this. In the orchestra's playing there is much of great beauty—I instance the glowing 'cello tone in the Adagio of No. 2 and the truly sotto voce quality of the start of the finale; and indeed the only real flaw I can find anywhere is the out-of-tune held A on trumpet and horn at the close of the first movement of the same symphony. Students of Brahms' scores will notice with interest that in No. 1 Toscanini suppresses the viola-and-timpani triplets at the two breakoffs a couple of dozen bars before the end.

“On the technical side these issues are less satisfactory, though never enough seriously to detract from appreciation of the music. The worst fault for me is the extremely sharp pitch at which both works are recorded—I cannot get used to a Brahms' symphony in D sharp—but others without perfect pitch may not be worried by this. I suspect, however, that the consequent increase in speed may be partly responsible for the metallic tone of the strings (the wood-wind suffer less). The quality in general is rather coarse and thick, particularly in forte sections (e.g., in the Allegretto of No. 1 and the finale of No. 2); and the engineers seem to have been reluctant to allow a true p or pp level: the solo violin in the Andante of the First Symphony has been unduly amplified. In the SP version of No. 2 there is an overlap of four bars on the change-over from side 1 to side 2, and of three bars from side 7 to side 8; and in the first movement of No. 1 the gap between sides 2 and 3 comes just at that dramatic change of harmony between the chords of G7 and the 6-4 of B minor, so that Brahms' effect is lost. In these regards, at any rate, the LP issue which is promised is bound to be an improvement.”

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And of Toscanini’s complete RCA Brahms Symphony cycle, the erudite critic T.H. wrote in his review for the May 1959 issue of The Gramophone:

“The reappearance of Toscanini's recordings of all the Brahms symphonies on the R.C.A. label is a most welcome event, for they should never be unavailable. As commercial ramifications are the only reason for their ever being off the market I had intended to give them what I believe is called in book circles a "reviewer's reading", a skim through. But, started on the first, I could not leave these ardent, blazing performances alone. They are wonderful and it is certain that, whatever the claims of other conductors, no Brahms lover should be without these. On their new label they sound very well and one need not fear the unpleasant sound associated with many Toscanini recordings, only the 3rd being less good....”

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Bound inside the heavy, leather-boudn gatefold set is an 18-page booklet printed in fine art paper wth the following essays:

            Biography of Arturo Toscanini

            Brahms, Toscanini and History by Irving Kolodin

            Program Notes on Four Brahms Symphonies by Irving Kolodin

There are also several striking photos of Toscanini dating from his childhood  to his mature years. All texts are printed in English only.

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the leather-bound gatefold jacket is EXCELLENT. There is corner wear at the top and bottom of the spine, as well as discoloration to the spine itself. However, there are no tears, owners’ markings, or other defects, and the interior sleeves are perfectly solid. Overall, this rates as an excellent collector's copy.

The condition of the 18-page inbound booklet is near-MINT. Really, there are no flaws to speak – a superb collector’s copy.

The condition of the 3 LPs is EXCELLENT throughout. Though surfaces are not absolutely silent, really these are fine copies and playback is superb. Those requiring flawless or near-MINT copies are advised to look elsewhere. Overall, these are excellent collector's copies.

PLEASE NOTE:
This LP has been carefully cleaned using a VPI cleaning machine. All LPs are provided with a new Nagaoka (or Nagaoka-style) inner sleeve. The images I've provided are of the actual item you are potentially bidding on - these are not stock images or images I've taken from other sites. Bid with confidence!

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