Loke wrote:

>Looks like my post has not generated too much interest (either positive or
>negative) from the group.  I wonder why? Is it because most people are not
>interested in Toscanini and his "voice" these days?

I'm surprised there is not more strong opinion on Toscanini.  I find him
an absolutely fascinating conductor - one who has the ability to remain
fresh and surprising without becoming contrived.  His battle to realise
his ideal of opera as a totally integrated dramatic art is incredible.
He revolutionised La Scala, bringing a level of concentration, energy
and detail that moved even his detractors to praise.  One performance
of Falstaff moved Verdi to cry 'Grazie!  grazie!  grazie!' to Toscanini.

Similarly, as an orchestral conductor Toscanini exerted a massive amount
of drive and conviction.  He demanded astonishing commitment from himself
and his players and constantly urged them to extremes.  His interpretations
of music from Beethoven and Brahms through Debussy to Richard Strauss were
electrifying.  His desire for viscerality is demonstrated by his demanding
that, in a recording he was making of the Pines of Rome, the climax should
be louder.  The sound engineer protested that if the level was increased
the speaker would explode.  'So explode it then!', yelled Toscanini.

I think that Toscanini, more than anyone, created the 'American' sound.
The sharp sheen and clear cut articulation that became the hallmark of
American orchestras.  He can be criticised for superficiality - for
bombast.  Most of all he can be criticised for lack of spirituality,
especially in comparison with Furtwangler.  But the constant re-appraisal
of himself and his approach to music - particularly his structural clarity,
his dedication to his own beliefs and his phenomenal achievements with
orchestras all over the world as a trainer, conductor and figure-head
surely make Toscanini one of the greatest conductors of the century.

Robin Newton
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