Composer: Franz Schubert
Works: Symphony No 8 “Unfinished”, Richard Strauss: Don Juan, Joseph Haydn: Symphony Concertante Op 84, J.S. Bach: Passacaglia and Fugue in C minor – Orch. Ottorino Respighi
Performers: Mischa Mischakoff (violin), Frank Miller (cello), Robert Bloom (oboe), William Polesi (bassoon), NBC Symphony Orchestra
Recording: Conducted by Arturo Toscanini, recorded 14 October 1939
Label: Guild GHCD 2202
Franz Schubert’s Symphony No. 8, often referred to as the “Unfinished,” stands as a testament to the composer’s ability to evoke profound emotional landscapes within the confines of a mere two movements. The symphony, conceived in 1822, remains an enigmatic work of art, embodying both the lyricism and dramatic potential that characterize Schubert’s oeuvre. The juxtaposition of this symphonic fragment with Richard Strauss’s early tone poem Don Juan and other classical staples provides a rich tapestry through which to explore the interpretive prowess of Arturo Toscanini and the NBC Symphony Orchestra in this 1939 recording.
Toscanini’s approach to Schubert’s “Unfinished” is particularly striking for its clarity and precision. The conductor’s attention to the delicate interplay of orchestral voices allows the melodic lines to emerge vividly, each phrase articulated with a purposeful weight that underscores Schubert’s inherent drama. The string sections are especially commendable, exhibiting a sense of cohesiveness that enlivens the melodic contours of the first movement. The second movement, imbued with a distinctly melancholic quality, is delivered with a sense of inevitability, as if Toscanini is keenly aware of the work’s unfinished state, allowing moments of silence to resonate with poignant significance. This performance affirms Toscanini’s stature as a Schubertian who eschews sentimentality in favor of rigorous musicality.
In stark contrast, the interpretation of Strauss’s Don Juan, while undeniably passionate, presents a more fragmented narrative. Toscanini’s reading is marked by an intensity that, although compelling, tends to overshadow the intricacies of the score. The driving force of the music occasionally overwhelms the lyrical subtleties that define Strauss’s character. While some listeners may revel in this leonine approach, it risks losing the nuanced interplay that a conductor such as Clemens Krauss might reveal, where the thematic material breathes more freely amidst the orchestral tapestry. The result is a performance that, while exhilarating, lacks the cohesive flow that is essential to convey the work’s narrative arc effectively.
Haydn’s Symphony Concertante Op. 84 benefits from a more congenial interpretation under Toscanini’s baton. The ensemble boasts a stellar cast, with Mischa Mischakoff’s violin soaring with a sweet, singing tone, complemented by Frank Miller’s robust cello lines. The balance among the soloists is expertly maintained, allowing each instrument to shine without overshadowing the others. The performance exudes warmth and affection, qualities that are particularly resonant in Haydn’s music. Although it does not eclipse the classic Fritz Busch recording from 1951, this rendition adds a valuable perspective to the conductor’s discography, highlighting his affinity for Haydn’s intricate textures.
The final work in this collection, Bach’s Passacaglia and Fugue in C minor, orchestrated by Respighi, offers a thrilling conclusion. The orchestration is lush, yet Toscanini retains a sense of clarity and structure that allows the complex counterpoint to emerge distinctly. This thrilling orchestration, commissioned by Toscanini after hearing Reiner’s interpretation, is executed with a vigor that elevates Bach’s baroque intricacies into the orchestral realm, invoking the spirit of Stokowski while maintaining its own identity.
The restoration efforts by Richard Caniell from the Immortal Performance Recorded Music Society are commendable, though the presence of some minor ticks and scratches remains. These imperfections, while not intrusive, serve as a reminder of the historical context of the recording. The decision to avoid equalization and compression may preserve the authenticity of the sound, yet it invites scrutiny regarding the balance between historical fidelity and modern listening preferences.
The breadth of this recording encapsulates an essential moment in classical music history, showcasing the interpretive depth of Toscanini and the NBC Orchestra. While some performances shine more brightly than others, each work adds to the rich narrative of this recording, affirming the enduring relevance of these timeless compositions. The collection stands as a significant entry into the Toscanini legacy, offering insights into the conductor’s interpretative philosophy and the artistic landscape of the late 1930s.
