Beethoven: Symphonies Nos. 5, 6, 7 and 8 (CD review)

Arturo Toscanini, NBC Symphony Orchestra. RCA 74321-55836-2 (2-disc set/mono).

It seemed like only a few years before this late-Nineties release that RCA had issued many of Toscanini's old NBC Symphony Orchestra recordings on CD in what they said were the definitive editions. I thought the sound was an improvement on the noisy, hard, high-pitched, sometimes pseudo-stereo qualities of the vinyl, but for me it was still not pleasant enough for easy listening. Then with these releases, RCA again remastered Toscanini's Beethoven symphonies, among others, on three two-disc sets, and using 20-bit technology the sound appeared further improved. In fact, except for its being in monaural, the sound is darned near close to modern standards. I suspect the new sound is either more faithful to the original source than the first CDs were, or the folks at RCA doctored it to sound better. In either case, the results are welcome. Still, it does make one wonder, doesn't it, I mean without recourse to hearing the master tapes, just how accurate the sonics are that we're getting on a CD.

Anyway, for listeners unfamiliar with Toscanini's later style (these recordings derive from the early Fifties), the great maestro seemed to become toward the end a little less expansive in his overall approach and a bit more rigid in his tempos. He was no less eloquent, but there emerged a marked consistency of beat throughout his conducting. Here it works best, I think, in the Fifth Symphony, which makes "Fate" sound more ominous than ever and the Finale more imposing.

Arturo Toscanini
In the lighter Sixth, Seventh, and Eighth Symphonies, it is the conductor's precision of attack and his clarification of textures that come to the fore, with the brisk, steady rhythms perhaps a minor liability. Toscanini fans will hate my having said that, but I had on hand for comparison his Sixth Symphony with the BBC Symphony Orchestra recorded well over a dozen years before, and I must say I have a marginal preference for that earlier, more relaxed interpretation.

Nevertheless, these are all performances to be reckoned with, and each symphony shows a mastery of technique that makes it stand out as authoritative. Except in the aforementioned comparison, the newer Sixth sounds just right, even as the other three symphonies sound correct in almost every way. The conductor's minutely accurate control of every aspect of his music-making tends to mitigate any arguments against his methods. Interestingly, I began liking the Seventh the more I listened to it, in spite of a note of coldness in Toscanini's manner; yet I liked the Eighth the less as it went along, probably hoping it would eventually lighten up.   

There is no question in my mind about the sonics. This is the best recorded sound we've probably ever heard from Toscanini, for which RCA used UV22 Super CD encoding. No longer do I discern much of the pinched nasality, the closed-in acoustics, or the bright, hard, steely mids and treble of the past. Nor is there any hiss to speak of. Naturally, RCA undoubtedly used some noise reduction, so highs do not exactly sparkle. That is one of its only drawbacks, along with a small degree of bass and dynamic limitation. It is remarkably smooth, room-filling sound.

I have not heard RCA's other two Toscanini Beethoven sets with the NBC Symphony Orchestra, but if are as good as this one, I would have no hesitation in recommending the whole cycle.

JJP

To listen to a brief excerpt from this album, click below:


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa