A prime example of Toscanini's approach to, and even kinship with, Beethoven: overwhelming dramatic intensity and structural integrity, under the control of an iron will. The tempi here "feel" right, without distortion. The forward momentum never seems rushed, and the lyricism is intact. The spectral transition to the fourth movement, culminating in a measured marcia trionfale, is chilling and finally exhilarating. Of the many Toscanini Fifths out there, this one, to my mind and heart, is the greatest. I've been listening to it for over 65 years, and the effect never goes stale.
Great ensemble playing! The elasticity of phrasing and timing are wonderful. All those who've said that Toscanini conducted fast, rigid tempi all the time don't know what they are talking about. Proud to say that my teacher, Oscar Zimmerman, was principal bass during this early period at NBC.
Truly unique. I am grateful to have a chance to listen this old masterpiece with fresh approach. How ironic to say about more than 70 years old recording!
Damn! This is so convincing! All other versions I've heard treat this like some sort of stuffed and mounted "Don't-Touch-The-Museum-Piece" dead animal. Not only does Toscanini bring it alive, he lets it move. It moves like life itself!
This recording was made in NBC's Studio 8H in Rockefeller Center. It was heavily treated to eliminate reverberation, which is why the sound is acoustically dead. Toscanini added the horns in the recapitulation of the first movement when the second theme is announced. Some conductors do this while others do not. I personally prefer having the horns play there.
Furtwangler, Toscanini, Klemplerer...Hoy, nadie interpreta Beethoven así. ¡Qué inmensa 5ª esta de Toscanini en Nueva York!. Pensar que hace 50 y 60 años se discutía entre las versiones de Toscanini y Furtwängler. Los dos, por favor. Los dos. ¡Quién los pillara hoy! Javier Elzo
I like both. but the 1939 cycle is legendary. Especcially the 5th i like the 1953 version more, there is not so much difference and the sound is much better. Above all, like so many conductors, there are only 10-15 years beetween these cycles, Toscanini was all the times a vivid rythmically exploding conductor. But the sound of this vid is even better than on my discs.
Well, after more than a biblical lifetime. it's actually sounding like music. How come the BBC managed to make his London performances of the late 1930s sound pretty much as good down a telephone line from Queen's Hall at the time?
My brother and I used to listen to Tuscanini's performance of the 5th on 78 rpm record, using a victrola, up in our top floor apartment on Bank Street in Greenwich Village (1951 or so). I must have been 4 or 5 at the time. Ever since, I have not been able to listen comfortably to other conductors' slow and drawn out phrasing. I guess it's what you are used to and what you hear first that sticks in your head as a standard. Noticed also the all-white male orchestra in the NBC 1948 recording. Times have changed, progress is made, but more is needed.
A prime example of Toscanini's approach to, and even kinship with, Beethoven: overwhelming dramatic intensity and structural integrity, under the control of an iron will. The tempi here "feel" right, without distortion. The forward momentum never seems rushed, and the lyricism is intact. The spectral transition to the fourth movement, culminating in a measured marcia trionfale, is chilling and finally exhilarating.
Of the many Toscanini Fifths out there, this one, to my mind and heart, is the greatest. I've been listening to it for over 65 years, and the effect never goes stale.
Beautifully said. Thank you.
Great ensemble playing! The elasticity of phrasing and timing are wonderful. All those who've said that Toscanini conducted fast, rigid tempi all the time don't know what they are talking about. Proud to say that my teacher, Oscar Zimmerman, was principal bass during this early period at NBC.
Truly unique. I am grateful to have a chance to listen this old masterpiece with fresh approach. How ironic to say about more than 70 years old recording!
Damn! This is so convincing! All other versions I've heard treat this like some sort of stuffed and mounted "Don't-Touch-The-Museum-Piece" dead animal. Not only does Toscanini bring it alive, he lets it move. It moves like life itself!
this is what I listened when i was young good tempo and the spirit of beethoven style symphony ,
This recording was made in NBC's Studio 8H in Rockefeller Center. It was heavily treated to eliminate reverberation, which is why the sound is acoustically dead. Toscanini added the horns in the recapitulation of the first movement when the second theme is announced. Some conductors do this while others do not. I personally prefer having the horns play there.
Furtwangler, Toscanini, Klemplerer...Hoy, nadie interpreta Beethoven así. ¡Qué inmensa 5ª esta de Toscanini en Nueva York!. Pensar que hace 50 y 60 años se discutía entre las versiones de Toscanini y Furtwängler. Los dos, por favor. Los dos. ¡Quién los pillara hoy!
Javier Elzo
Zinman?
I have always preferred this recording over the 1952 version.
Me too.
I like both. but the 1939 cycle is legendary. Especcially the 5th i like the 1953 version more, there is not so much difference and the sound is much better. Above all, like so many conductors, there are only 10-15 years beetween these cycles, Toscanini was all the times a vivid rythmically exploding conductor. But the sound of this vid is even better than on my discs.
He was PERFECT as a conductor!!!!
Soy admirador de furtwangler pero esta interpretacion es buenisima
こんなに運命を運命として表現してる演奏を始めて聞きました。途切れない緊張感オケが運命共同体となり歯切れよく逃れられない追い立てられるのか？やってくるのか？怖さを感じられる運命は初めてです。未だ尚生きている音楽！！トスカニーニは心底素晴らしい！！！
Well, after more than a biblical lifetime. it's actually sounding like music. How come the BBC managed to make his London performances of the late 1930s sound pretty much as good down a telephone line from Queen's Hall at the time?
この演奏を聴くと他の演奏は聴けない
My brother and I used to listen to Tuscanini's performance of the 5th on 78 rpm record, using a victrola, up in our top floor apartment on Bank Street in Greenwich Village (1951 or so). I must have been 4 or 5 at the time. Ever since, I have not been able to listen comfortably to other conductors' slow and drawn out phrasing. I guess it's what you are used to and what you hear first that sticks in your head as a standard. Noticed also the all-white male orchestra in the NBC 1948 recording. Times have changed, progress is made, but more is needed.
Would you prefer an all-black orchestra?
Because as we all know, blacks make any orchestra so much better -- automatically.
The point is having people who can play and who follow the conductor. The rest does not matter.
最高です！！
le plus grand chef de tous les temps !