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• W279057662 abstract "in Britain. By Christopher Dyment. Woodbridge: Boydell, 2012. 372pp (hardcover). Discography, Bibliography, Index. ISBN 978-1-84383-789-3 At first glance, a monograph on the topic Toscanini in would seem to constitute overkill, since the eminent Italian conductor's performing career in that country can be briefly summarized: four concerts with the touring New York Philharmonic in 1930, twenty-six concerts with the BBC Symphony Orchestra in 1935-1939 (plus six recording sessions in 1937-1939), and finally a 1952 visit to conduct the Philharmonia Orchestra in a pair of all-Brahms concerts. However, Christopher Dyment's understanding of Toscanini's career and style commands so many dimensions, gleaned from both longstanding experience and ongoing research, that he can thoroughly document and explain the nature and artistic significance of those appearances, whether seen from the perspective of the organizations which sponsored them or from that of Toscanini's career and recordings. The book attains its length in part because the concerts that did materialize were only the success stories among many near misses, hopeful proposals, and vague plans, and Dyment documents the background against which those other possibilities emerged along with their reasons for falling through. (Notably, efforts to procure for Glyndebourne were ultimately thwarted by the outbreak of World War II, and his participation in the series of 1951 concerts marking the opening of the Royal Festival Hall--which would have featured him twice in Beethoven's Ninth and in a third program including Vaughan Williams's Sixth, which he was already far advanced in learning--had to be abandoned due to poor health and other personal reasons.) Some of the information will be gripping only for those who have specific interest in or who have prior background with the names involved; but one of the strengths of Dyment's book is his interest in bringing the personalities surrounding Toscanini's British career to life. In particular, Dyment identifies Owen Mase, Music Executive for the BBC during its period, as the person most responsible for providing the friendly attention and persistent efforts that made a regular visitor to Britain for a few years before World War II commenced. Mase consequently looms large in Dyment's tale, but Toscanini's warm relationships with many other members of the British musical scene are also documented and discussed. Since recordings constitute one of the most significant ways in which Toscanini's artistry can be recalled, Dyment fully examines the conditions under which they were made, their availability or current location, and the interpretive significance of each. Further, since HMV for which made his European recordings, was a British company, Dyment also includes the events surrounding Toscanini's recordings with the La Scala Orchestra (1946-1951) as part of his purview. There can be no question that Toscanini's concerts were epoch-making events in British musical life--the level of polish and transparency of texture the conductor obtained struck listeners as unprecedented, and other characteristics of Toscanini's style also contributed to the sense that one was hearing the music he performed in a fundamentally new and revelatory way. At the very least, his performances were heard with great attention and appreciation by audiences that came to his concerts with high expectations of being thrilled. Dyment painstakingly quotes and dissects the implications of the many reviews Toscanini's British concerts received, and consequently the reader too experiences a vicarious thrill in imagining the way these performances must have sounded in a concert setting (of course, a number of them have been preserved on recordings, most recently in the new EMI Icon release Arturo Toscanini: The HMV Recordings, EMI 7 23334 2, 6 CDs). …" @default.
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• W279057662 date "2013-09-22" @default.
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• W279057662 title "Toscanini in Britain" @default.
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