Beethoven: Symphonies 5 & 7
Philharmonic-Symphony Orchestra of New York/Arturo Toscanini
NAXOS Historical – Great Conductors 8.110840
Recorded April 1933 (5th Symphony) and April 1936 (7th Symphony)
In the annals of recorded music, few pairings resonate with the same historical gravitas as Beethoven’s Fifth and Seventh Symphonies under the direction of Arturo Toscanini. This NAXOS Historical release not only offers a window into the artistry of a conductor at the zenith of his powers but also encapsulates the vibrancy and dynamism of the early 20th-century orchestral soundscape.
The Fifth Symphony, with its iconic four-note motif, has been the subject of countless interpretations, yet Toscanini’s rendition stands out for its incisive clarity and urgency. From the very outset, the famous “da-da-da-daah” is delivered with a briskness that is characteristic of Toscanini but is rendered with an acute awareness of the symphonic architecture. Here, the conductor’s insistence on precision in ensemble playing is palpably evident; the Philharmonic-Symphony Orchestra of New York executes the emphatic rhythms with an enthusiasm that elevates the music beyond mere execution into a realm of exhilarating vigor.
A striking feature of Toscanini’s interpretation is his treatment of tempo. In the first movement, at the arrival of the second subject, he introduces a slight deceleration that allows for a beautifully lyrical phrasing, reminiscent of the more expansive interpretations of his contemporary, Wilhelm Furtwängler. While Furtwängler maintains a relentless forward momentum, Toscanini’s approach here reveals a contrasting sensitivity, underscoring the thematic material’s emotive potential without sacrificing the structural integrity of the movement.
The transition into the final movement of the Fifth is a moment of monumental significance, a “delayed gratification” as described in the accompanying notes. Toscanini’s brisk handling of the “throbbings” leading to the triumphant re-entrance of the main theme is particularly noteworthy, where he imbues the climax with a majestic emphatic quality that resonates with Beethoven’s own sense of triumph over adversity. The recording captures the orchestral texture with clarity, allowing for a vivid sonic representation of this exhilarating moment in the repertoire.
Turning to the Seventh Symphony, Toscanini again showcases his interpretative prowess, particularly in the second movement’s Allegretto. Here, the opening chord—a seemingly simple gesture—serves as a portal into a world of profound introspection. Toscanini’s meticulous balance among the orchestral sections creates a nuanced tapestry of sound, where each instrument contributes to a layered complexity. His insistence that “it’s a melody” resonates through the strings’ entrance, affirming the conductor’s belief that every note must sing. This approach contrasts sharply with more staid interpretations that linger too long in the shadows of the music’s inherent pulse.
The ensuing Vivace is propelled forward with a rhythmic buoyancy that captures the essence of dance, aligning with Wagner’s description of the movement as the “apotheosis of the dance.” Toscanini’s quick tempi here may initially seem jarring, but the buoyancy he instills prevents any sense of haste; rather, it feels as though the music is propelled by an irresistible energy. The Scherzo maintains this momentum, with a clarity of articulation that emphasizes the playful character of Beethoven’s writing.
In comparing these performances to those of contemporaries, such as Klemperer and Kleiber, one finds a dichotomy of approaches. Klemperer often favored a more ponderous interpretation, which, while architecturally sound, lacks the zest and dynamism that Toscanini imbues in these performances. Conversely, Carlos Kleiber’s interpretations, while equally esteemed, are imbued with a certain spontaneity that contrasts with Toscanini’s disciplined rigor.
The recording quality, a product of its time, bears the hallmarks of early 20th-century engineering, yet the clarity and presence of the orchestral sound remain commendable. The integration of two takes of the first movement of the Seventh Symphony allows for a fascinating juxtaposition of Toscanini’s artistic vision, revealing his desire for a tauter, more immediate interpretation. The decision to include both takes enhances the listener’s appreciation for the conductor’s meticulous nature—a hallmark of his legacy.
In conclusion, this NAXOS Historical release embodies not merely the artistry of Beethoven’s symphonic oeuvre but also the unparalleled interpretative genius of Arturo Toscanini at a pivotal moment in recording history. Each movement unfolds with a richness of texture and a clarity of purpose that continues to resonate, ensuring Toscanini’s place among the pantheon of great conductors. The vibrancy, integrity, and sheer exuberance of these performances render them essential listening for connoisseurs and neophytes alike, offering insights into the eternal relevance of Beethoven’s symphonic vision as interpreted by one of the most meticulous conductors of the 20th century.
