Toscanini - LIVE 1948 NBC Television performance RESTORED IN STEREO - Beethoven Symphony No. 9

Considering a 12" TV set was over $3400 in today's money back in 1948, only the well-off - and TV engineers and people in the corner bar or shoppers in Macy's - would have had the opportunity to watch Arturo Toscanini conduct the NBC Symphony on this special performance performed live on Saturday, April 3, 1948, at 6:15pm ET. Therefore, aside from the chosen few television owners, this broadcast was primarily enjoyed by the radio audiences of NBC.
This performance was heavily advertised and was also used as incentive for people to rush out and buy the new RCA Victor Eye Witness Television set! Of course, since maybe only 200,000 people could have watched this on television, millions more listened live on the NBC Radio network, on both AM and FM.
NBC (RCA Television) used their still-new kinephoto (kinescope) process to make a film of the television screen. RCA Victor would make a simultaneous recording of the performance as well as NBC making Orthacoustic Transcriptions of the broadcast.
This video features the video of the original 1948 NBC kinescope which has been color-corrected and stylized from a poor source. The synchronized sourced audio comes from the RCA Victor magnetic recording of the performance - which has been restored using the Dyna-Stereo process.
The video begins with Act One with one of Toscanini's famous rants, which will be transcribed at the end of this comment section.
Then we move on to the Second Act - the actual broadcast from NBC Radio City Studio 8-H in Rockefeller Plaza in the old RCA Building (now the Comcast Building) - yes, the same studio where today's Saturday Night Live is televised from (after many re-modifications, of course).
Tying in the advertising of the day, we begin with a short retrospective of the period - and you even get watch Toscanini like people had to in 1948 - complete with period WNBT Channel 4 artwork and station ID cards and original announcements - made to appear like it may have to viewers at the time.
However, instead of the boring monaural audio that had accompanied this kinescope in the past, only now will you get to hear the NBC Symphony, under the direction of Arturo Toscanini, in bright, restored Dyna-Stereo!
Also of note: Toscanini hated microphones. They were suspended from the ceiling - and they were notoriously difficult to mix properly (monaurally, of course).
The performance is of Ludwig van Beethoven's Symphony No. 9, Opus 125 - including the familiar "Ode To Joy' chorus at the end of the Symphony.
OPENING SEQUENCE GOOGLE TRANSLATION of the TOSCANINI RANT:
Arturo: "(Italian): Body of Christ! - Contra-Basses! - You are always late! Always late!!! You have no ears, no eyes! - (Italian): Body of the most sacred God! - You! You! You! You! You! - The first bass - you are always late! - You have no ears, no eyes, nothing at all! - (Italian): Body of the most sacred God! - But, what are you to me? You! - God?, No! - (Italian): Body of the most sacred God! - You are not a musician, you have no ears, you, you, you, you, no eyes. Look at me! And follow me!
((((( FINAL NOTE TO YOU WHINERS ))))))
Look, this production was an experiment, OK? NOT an archival piece. Get over the fact that I reduced the hiss, re-EQ'd a mono track into six tracks and notch filtered each to create stereo - in addition to using lots of plug-ins which created what you hear - instead of a AM-radio sounding crappy film optical track which would not have been what you heard on TV... Even then, TV had FM sound - but kinnies don't. So forget the 'mono' and the slight reverb effect as I attempted to recreate the quality of what was actually heard on TV - with the bonus of 'presence'. Now go have an orgasm with your Victrola.

[@John-nt2ej]

I'm here looking for my oboe professor from the Cincinnati Conservatory, who might be in this video. He used to tell me great Toscanini tales. Said he "had a better command of time than a metronome". The Vince Lombardi of conductors.

[@musicom67]

But what about "Leopold" [a la Bugs Bunny]?

[@Perrosiutico]

Toscanini looks so much like Verdi did in his 70s. Toscanini knew Verdi well, played cello in the opening night of OTELLO and presided over Verdi's memorial concert in 1901. But Toscanini was equally adept at Beethoven. I am very grateful to those who worked on restoring this historical recording and posted it here. I appreciate it because I am the same age as this recording.

[@musicom67]

"Those people" was just me Thanks, and so happy you enjoyed the presentation.

[@CamhiRichard]

@@musicom67 Thanks, "people"! Interesting attempt at a stereo rendition. Particularly difficult because of Toscanini's seating arrangement, with the basses and celli on the left, the same side as the first violins, and the seconds and violas on the right. The only time I ever heard artificial stereo achieve a credible result was when Deutsche Grammophon took a couple of mono recordings of Karl Böhm conducting Richard Strauss and painstakingly separated the instruments and placed them convincingly in a wide stereo ambience. They sold the LPs on their budget label "Heliodor," and I still have one of them.

[@user-zs7eb5uc9r]

81세의 나이에 저 대곡을 저렇게 힘차게 지휘하다니 그저 경이롭다. 불의 전차같애.

[@joepalooka2145]

Has there ever been anyone to compare to Toscanini? He's 81 years old in this video, still demonstrating great physical stamina and power. On top of that, he is conducting without a score, as was his custom, because he had such a phenomenal photographic memory that he had memorized most of the classical/operatic repertoire. He knew every minute detail for every instrument and voice. He was a force of nature and there has never been anyone like him since.

[@mattiasdanieldamsgaardwood1315]

Joe Palooka Herbert Von Karajan!

[@user-zs7eb5uc9r]

Nobody can do like Maestro Toscanini...

[@peterheiman8621]

Not to belittle Toscanini's musicianship, but I think the main reason he conducted without a score was his nearsightedness. A recent KZbin upload I saw shows a photo of him reading something, holding the paper a few inches from his nose. Necessity was the mother of invention, no matter how prodigious the invention.

[@Wkkbooks]

@@peterheiman8621 A good part of musicianship is memorization. The Ninth is one of the most important works in the repertory; few conductors would use a score, it would be amateurish, or pedantic. Much was made of Toscanini's 'phenomenal' memory; in fact feats of memory, like feats of dexterity and endurance, are expected of major musicians.

[@dmitridmitriyevichshostako2548]

I hate Toscanini

[@Fernwald84]

Right up to the end of his career, Toscanini was plagued to the extreme with doubts of his artistic ability which would send him into despair. His numerous letters to his mistress Ada Mainardi attest to this sad fact. This partly explains his violent outbursts at musicians. But, as Toscanini himself admitted, he was a "nasty" (his term) person. He was also kind, solicitous of his musicians, a loving father and a brave champion of freedom over fascism. He was even beaten by Italian fascists for his refusal to play the national anthem. Mussolini had his phone tapped because of his anti-fascist stance. In 1936, Toscanini traveled at his own expense to Israel to conduct (without fee) the Palestine Symphony Orchestra, later to become the Israel Philharmonic. He did this to support the many Jewish musicians thrown out of work in Germany by Hitler.

[@Allanfearn]

Not the national anthem - the Fascist supplement, the Giovinezza. He gave advance notice, and a local band braved his disapproval and played it in the hall, with Toscanini and the orchestra silent on the platform as they did so. Not bella figura.

[@Fernwald84]

@@Allanfearn Yes it was the Giovinezza. I misspoke.

[@philzmusic8098]

And they played some Wagner!

[@unxnxjxyhudufi9814]

He knows what he is doing. Every gesture is reflected in the sound

[@silvanametri5724]

Toscanini è semplicemente un genio. Ho ascoltato questa 9a sinfonia condotta da altri grandi direttori, ma nessuno la interpreta come lui. La sua forza interpretativa la rende "fisica". Avrà anche avuto un brutto carattere, forse determinato dai dubbi che si creava, ma ciò lo stimolata a dare sempre il massimo e i professori d'orchestra, anche se maltrattati, sapevano lui riusciva a tirare fuori il meglio. Grande impareggiabile. Siamo fortunati ad avere queste testimonianze

[@luigicontini4167]

Non aveva un brutto carattere ma cercava la perfezione e quando non lo capivano si arrabbiava di brutto. Io ho avuto una delle sue prime trombe (Antonino Guidoboni) come primo insegnante di musica (Fu anche maestro di Giorgio Zagnoni flautista di fama mondiale). Di toscanini raccontava che in privato era amabilissimo con gli orchestrali e con la famiglia, durante le prove esigeva la perfezione assoluta.

[@NP4Mayans]

I really liked the retro intro to the program that featured the TV station, logos, announcer, and a typical TV set of the era! Well done!

[@musicom67]

When someone like yourself notices the 'extras', it makes the time spent all the more worth it. Thank u! ;-)

[@TheSason666]

Thank you for sharing this historical TV masterpiece with us all here! I'm from Ukraine.

[@musicom67]

@@TheSason666 Thank you!!! The time spent on this to make people like you happy makes me happy. BTW, As an American, my apologies for our fake president's nasty involvement in Ukraine.

[@TheSason666]

@@musicom67 never mind! )) Ukraine also needs to be popular time after time in our world! I'm pleased to learn Ukraine is known in the USA! ))

[@albertofavero3250]

Il direttore più grande della storia sempre senza lo spartito tutto a memoria oltre a essere stato grande nella sua semplicità.

[@annalatter7098]

I Was In A TB Sanitorium When I Heard This On My Radio1948.

[@philzmusic8098]

Notice how Toscanini doesn't take a bow. He really didn't care for applause--he only thought of the music.

[@annalatter7098]

TOSCANINI The Best Conductor For BEETHOVEN.

[@philipelwell4214]

I would give anything to have a recording of the first performance of this work no matter what it sounded like!

[@Jimyblues]

Thank you Uploader- Toscanini conducts this better than anyone- many conductors drop the tempo of the double fugue in the last mvt - T keeps it movin. The performance is spectacular- the orch is giving it their all- just listen to another version- tempi perfect! Thanks for the mix- it takes a sec to get used to but it's definitely better- despite some intonation and balance issues, the drive, the intensity make this the best - absolutely the best !

[@coleplaninzful]

Wonderful, thanks!

[@MrJoeybabe25]

THIS is an incredible find! Thanks so much for allowing us to see it!

[@yolainesene8691]

Great ! Thank you !

[@jorge-yl9vp]

Gracias por restaurar esta hermosa sinfonía por el gran director de orquestas que respeta lo escrito por el autor y la cantaron en alemán a pesar que es un idioma que los productores no querían !!!

[@annalatter7098]

TOSCANINI sang in the ODE TO JOY If You Listen You Can Hear Him.

[@musicom67]

You are right! I caught that too...👏👏

[@luigicontini4167]

Quando dirigeva era il padrone assoluto dell'orchestra in ogni situazione, era sempre avanti e i suoi gesti erano di un'eloquenza incredibile. Teneva tutto in pugno ...... lui dirigeva l'orchestra senza teatralità, i suoi gesti erano precisi e inequivocabili e, sopratutto, solo per i suoi professori.....niente per il pubblico. Al pubblico era destinata la musica e non il guizzo ballerino che danza sul podio con un topo nelle mutande.

[@80Mrmirko]

Bel commento. Hai perfettamente ragione, se paragonato ai “danzatori” Moderni a cui siamo abituati i movimenti di Toscanini appaiono grezzi, monotoni e ripetitivi. Il risultato è strabiliante perché tutto quello che doveva insegnare lo aveva fatto durante le prove. Sul podio dritto al risultato senza scena

[@charlestimberlake5522]

Although the kinescope is a bit fuzzy, thanks to the limitations of early television camera work, we get to see a lot of shots of Toscaninis' conducting. And such a wonderful face, too!

[@gigli110110]

Bravo 👏

[@timothymacdonnell9079]

Imagine seeing something like this today on NBC?

[@VinylToVideo]

The best and brightest always fall the hardest.

[@allenjones3130]

Classical music and commercial television aren't meant for each other.

[@timothymacdonnell9079]

@@allenjones3130 too bad. That says a lot about our modern society.

[@shawnchristopherwhite3271]

Superb!

[@MrPrincetrumpet]

I played the 9th last week and the conductor's tempi by today's standards were quite brisk. Many players were complaining of the fast tempi and I, who know this recording very well, just smiled to myself.... My favorite moment in this performance is the moment the timpanist plays too loudly and disrupts Toscanini's dynamic pacing and gets a look that must have felt like a thousand daggers. It's in the second movement at about 27:30. Toscanini wanted the figure in the timpani to gradually increase in volume and the timpanist made a mistake and played loudly too soon. Corpo di Dio, what a look! It is an indication of the kind of mistake that would set Toscanini off. You could crack a note on the trumpet or squeak a clarinet note and he would forgive it but to play something and "destroy" a musical moment was a sin in his eyes. Such was his commitment to the composer, as he saw it, to play a piece well.

[@jsbrules]

i think you are over interpreting his “look” which was not momentary but clearly continued as he directed intense attention to another section of the orchestra

[@MrPrincetrumpet]

@jsbrules , wrong. I'm interpreting it exactly as it happened. I've been playing in professional orchestras for 47 years. I knew several musicians who played for the man. I also know that "look."

[@b1i2l336]

Corpo di Dio, since nobody here bothered to identify the singers, here they are: ANN McKNIGHT, Soprano; JANE HOBSON, mezzo-soprano; IRWIN DILLION, Tenor; and NORMAN SCOTT, Bass. Oh yes, and it's THE COLLEGIATE CHORALE, prepared by ROBERT SHAW.

[@b1i2l336]

Of the half dozen or so Toscanini Ninths, the prize for me is the 1936 New York Philharmonic performance. There he takes far more liberties, is less rigid, and really has that great orchestra playing like great singers.

[@philzmusic8098]

This is true of most of his pre-1945 performances.

[@silvanosalvucci]

BRAVO

[@silverkitty2503]

DIVO. MASTER. GENIUS. TERRIFYING. FEROCIOUS. YOU DID NOT DISOBEY HIM YOU HAD TO TRUST HIM.

[@SymphonyBrahms]

The restored sound is great. The picture is very blurry, but I suppose there is nothing to be done about that, since it is probably on a kinescope of the program.

[@fromthesidelines]

Simulcast on the NBC Radio Network [6:15-7:30pm(et)]

[@tjkrein]

NBC Symphony Orchestra, Collegiate Chorale Anne McKnight, Soprano; Jane Hobson, Mezzo-soprano; Irwin Dillon,Tenor; Norman Scott, Bass

[@Perrosiutico]

The names of these soloists are all but forgotten today but they were part of this magnificent performance lead by Toscanini and clearly gave of their best.

[@jeffreymiller4814]

Anne McKnight made her professional debut singing Musetta in the 1946 NBC La Boheme with Albanese and Peerce. She had a very successful career in Italy as Anna de Cavalieri. Her Valentina in Gli Ugonotti with Lauri-Volpi is truly spectacular. This Beethoven 9th, alas, does not show off her best singing.

[@mattiasdanieldamsgaardwood1315]

46:12 IS WHERE THE ACTION STARTS!

[@renedassonville7311]

Comme beaucoup d'interprétation de Toscanini, celle-ci reste insurpassée. Quelle version ensoleillée, dynamique quand il le faut. On est loin du brouillard des interprétations à la Furtwängler. Et que dite du sublime adagio, des minutes de douceur et de recueillement!

[@WoFfan13]

That look at 27:38 can kill a person.

[@luigicontini4167]

That look is for the eardrum professor coming in too loud ..... ahahaha it seemed like he really wanted to kill him

[@WoFfan13]

@@luigicontini4167 Exactly, at a Toscanini concert, you better play RIGHT!

[@luigicontini4167]

@@WoFfan13 Surely after the concert he will have scolded him, I did not like this eardrum player at all. I had as my first music teacher a professor who had been "Prima tromba" with Toscanini at the Scala in Milan until WW1, his name was Antonino Guidoboni and he told about adventures on the great genius.

[@WoFfan13]

@@luigicontini4167 Wow! You were surely one of the lucky ones!

[@luigicontini4167]

@@WoFfan13 of course, I made a clarinet and I had Maestro Giorgio Zagnoni as a fellow student who became famous in flute and piccolo and first flute at the Scala in Milan. We started studying in 1955, I was 10 years old and Giorgio 9 years old. I have some photos of Toscanini with my teacher Antonino Guidoboni.

[@cherubim4452]

Gardiner praised the way in which Toscanini articulated the string sextuplets at the beginning of Beethoven’s Symphony No. 9 precisely as sextuplets.

[@vincentcastagnacci4414]

I never thought it was wrong to play the notes as they appear in the score. What I do think unnecessary and stupid is to play a tantrum as if it was something signifiant in relation to the music about to be presented. It diminishes the artist and is an aspect of the person best left alone.

[@Allanfearn]

Furtwangler, at a Toscanini rehearsal of the Ninth in Salzburg heard him insisting on the sextuplets. "Miserable timebeater", he said.

[@philzmusic8098]

@@Allanfearn Apparently he didn't care what Beethoven wrote down.

[@josephhapp9]

@@Allanfearn Furtwangler had big problems.

[@Allanfearn]

@@josephhapp9 Who hasn't? But he didn't think precise sextuplets were the only possible last word on this beginning. And since, at the only performance he attended, Beethoven himself can never have heard how they sounded, even if that is how they were played on the night, all anyone can actually say about this point is that Toscanini's solution is rational and honest. But his lower strings in that studio acoustic in 1948, can.t have sounded very like those of Vienna in 1824.

[@erick-gd7wo]

Just saw the video. I have 3 CDs form the maestro. As far as I know, RCA didn't experiment with stereophonic yet at the time Maestro Toscanini were making the recording, all the Torcanini reissues were all mono, but your video has a clearer sound which reminds me to Decca recording from 1950 - 1954-ish. I guess you might have equilized the material, which i find more clearer. I have RCA stereo cd from 1954, Fritz Reiner conducing BSO, while EMI started Stereo around 1957 {i do too have the cd}. I'm not yet informed that the sound engineers back then around 1945 - 1952 has started experimenting with 2 channel recording.

[@musicom67]

This was a 'useful' experiment on my part using certain ProTools plug-ins and yes, lots of EQ, to achieve what you hear. The hardest part was syncing the kinescope to the audio, which was mono, of course. I can't officially prove the source of the audio, however I was informed they were sourced from original "line" magnetic recordings of the FM simulcast. Because of the time limitation, I am doubtful the audio is from transcription discs, but it also could be Photophone optical, perhaps.

[@erick-gd7wo]

@@musicom67 i do believe that the producer could or should have had made a separate set of magnetic tape record alongside the optic one. None of them would ever have the gut to ask the Maestro to do the re recording for the sake of arcive material or they have to put up with *molto temperum tantrum dies irae* 😅😅😅. Your EQ sounds successful for my ears by keeping the original sound character and yet you enhance the clarity.

[@charlestimberlake5522]

The last 2 concerts he conducted with the orchestra in 1954 were recorded in stereo experimentally and were available on, I think, the Guild label. While it is very interesting to hear the NBC Symphony in real stereo, neither concert produced performances which RCA felt were worthy of issuing. Pity.

[@frankgarrett9500]

A bit of culture on network television. Something you’ll never see again.

[@elimaurer9491]

This wasn't culture then - it was entertainment

[@brkahn]

Around 6:08 he has accelerated and suddenly slows down before getting back to the previous tempo. Of course! He went so fast that this tempo was just impossible with the demisemiquavers for the strings. He does it again around 12:20, for the same reason probably.

[@gustee1000]

Imagínense el terror de verlo al DIRECTOR así de enojadísimo... Pero Toscanini era calentón pero justo, los retaba como un diablo pero porque los músicos hacían macanas imperdonables, y él exigía, obviamente, la excelencia que él mismo no tenía ningún problema para ofrecer siempre y constantemente. Pocos, muy pocos, dieron semejante talla.

[@richardroark9931]

I can't believe there is absolutely no mention of the soloists!

[@elimaurer9491]

The only soloist is Beethoven

[@silverkitty2503]

Toscanini believed in complete unity in the goal of the artists. He believed that a performance could not be artistically successful unless unity of intention was first established among all the components: singers, orchestra, chorus, staging, sets, and costumes. There were no soloists in his mind. The star was the music. And you called him 'Maestro.'

[@XX-121]

i want the closed captions for the italian parts. i only understand english. can someone translate the rehearsal speech? thx!

[@XX-121]

@@musicom67 thx! that's what i get, i suppose. my fault! will try harder next time, sir.

[@musicom67]

@@XX-121 HEY, I DID THE TRANSLATION IN THE NOTES - DIOS SANTISSIMO! Read the damn notes I write for people like you. (a la Toscanini)

[@XX-121]

@@musicom67 👍🏻

[@vincenzoieracitano]

Walter Klemperer Schuricht Mengelberg and others they elevated Beethoven to much higher levels

[@slim531]

1:02:51

[@yummyyum36719]

It's amazing to me to see the exact kinds of "this is the greatest" comments posted here as on the best live Furtwangler Beethoven 9th examples. The both can't be 'the greatest". It really all depends upon what you are seeking from a conductor. I admit to being in the Furtwangler camp. This has a wonderful chorus, trained by Shaw, great soloists, a very able orchestra that is doing exactly what the conductor wants. And yet what I hear, despite the crisp rhythmic delivery, is so lacking in terms of the German innigkeit I want from what is a German masterpiece that I am deeply disappointed. There are, surprisingly enough, moments where Furtwangler or Knappertsbush actually take faster, more driven tempi. Certainly with the Furtwangler 1942 the tempi fluctuation is far more daring than this, and varied. I am also not a fan of the dry orchestral sound produced by Toscanini in these performances. Yes, there is detached rhythmic articulation but the sense of a large scale arc of the long phrases in this work is diced like an onion. Ultimately this will always be a matter of taste. I do give Toscanini credit for his vitality at 81 years of age. I appreciate that I am not looking at the imbecilic facial expression a of Roger Norrington defiling such a masterpiece. Toscanini was a genius. He is also, sadly, the father of an aesthetic that idiots such as Norrington have raped and made a travesty. That being said indeed there are imperfections to be noted. He does not, for example, let the soloists breathe well in their final solo section. The tenor goes sharp because he is audibly out of breath. That certainly is not perfect. The tempo of the final bars of the finale is slow and pedantic. In the first movement he pushes the tempo so hard that he literally robs beat values from the ends of measures....hardly "come scritto" when that happens. There are even some intonation problems in the first movement that are surprising. On the whole give me Furtwangler any day over this.

[@musicom67]

I will add my mother performed in a town "Symphony" (nothing special, really) that attracted 'stars' and 'guest composers' from big shot NYC orchestras. I've learned a great deal is pure talent - and the rest is pure public relations and marketing bullshit -AND having the attitude back it up. The word "Prima Donna" comes to mind. As for me, I'm slumming with the Jazz.

[@SymphonyBrahms]

Furtwangler. Klemperer. Bernstein.

[@dielotosblume1205]

55:55 ode to joy

[@DaviSilva-oc7iv]

29:45 -- Third movement

[@coleplaninzful]

Great conductor, deserved a better orchestra!

[@musicom67]

🤣🤣🤣Guess the "NBC Symphony of the Air" needed some airing out!😉

[@philzmusic8098]

Who are the singers? The soprano is excellent in this cruelly demanding part.

[@oleflogger6828]

Is this the famous Toscanini episode where he ordered his principal bassist to learn the Flight of the Bumblebee over the weekend. Purportedly, the guy did the work, showed up Monday and played it perfectly, after which Toscanini immediately fired him?

[@John-nt2ej]

Heard similar story involving "Death and Transfiguration". Don't recall if anyone was let go.

[@johndick7874]

toscanini never fired anyone from nbc symphony orchestra so idk where u got that from

[@classicalduck]

@@johndick7874 Probably Fritz Reiner.

[@philzmusic8098]

He once angered the harp player so much that he started to walk out of the rehearsal. Toscanini said "We can always get another harpist." The player said "Yes, and it will be one of my students!" Toscanini thought for a second and said "Come back."

[@josephhapp9]

@@philzmusic8098 check your details, the Harpist was asked back the next day etc etc ,,,,but then every story gets variations and improvisations. We weren’t there when it happened.🤣🤣

[@user-jy5wd6lc5f]

1:04:43 1:05:57 1:06:04

[@RS3DArchive]

Whew! Lots of EQ.

[@musicom67]

Gobs of it - especially from 3 kHz and up and 120 Hz and below - Crappy source I got it from was not so great. Kinnie audio was worse. LOTS of noise. This is a plug-in exercise - didn't want to spend too long on this one. If I had any desire to spend money I'd pony up for the HQ RCA recordings...If anyone has 'em, direct message me and I'll gladly replace the audio!

[@vinylhound43]

You can find the audio for this April 3 1948 concert on the private release album of The Arturo Toscanini Society box set ATS 1048--1054 I saw one on Ebay for about 20 bucks. I appreciate what you've done with the audio source material on the Kinescope!

[@arminemortimer2083]

Who are the four soloists?

[@jefolson6989]

I wish that tirade would stop being played. Its drama, but Maestro Toscanini was very ashamed of his behavior.

[@musicom67]

And I wish my 1980s junior high school band teacher didn't violently throw a metal collapsible chair across the band room and lodge into the acoustic tiles on the walls after one of HER many unbalanced tirades only the children witnessed.

[@jefolson6989]

@@musicom67 my band teacher did the same thing with a metal stand. Effectively illustrates my point. Its HS band teacher behavior. Does it come out of frustration that they will never be a real conductor, much less Toscanini, or do they think of the maestro threw tantrums, it must be what conductors do.?

[@musicom67]

@@jefolson6989 You from Long Island? LOLOL. Nah, in her case she was a power-hungry bipolar middle-aged woman in serious need of meds and a girlfriend ;-)

[@phillipecook3227]

Eye Witness Television must've been cutting edge consumer technology 70+ years ago. At $325 tho it wouldn't have been within everyone's reach.

[@josephhapp9]

This was 1948, early days in television. Before stereo,,,etc etc.

[@josephhapp9]

Television was primitive in 1948 , Australia first had television in 1956. Only for wealthy fanatics. Radio was the people.

[@SirCarloB]

15:54

[@musicom67]

'90's NBC Nightly News motif, eh?

[@clivepearsall6616]

I've heard, and watched, this several times now (on both Speakers & Headphone's) but have found the'stereo' effect minimal and the sound , per se, thin & dry, Also the vision is rather blurred & out of focus - though the full screen aspect is an improvement, in my view. Again, in my view the RCA (VHS) or the Testament (DVD & UK) versions (although both in Mono.) are superior. in sound and vision'

[@musicom67]

What a boor you are, Clive. OF COURSE they are superior - they hopefully sourced from the ORIGINAL kinnie and magnetic mono recordings. This production was not - and was only created to try out new ProTools plug-ins to add 'presence' to a dead mono recording - which apparently you dislike my use of or find them unsuitable (or maybe you are critiquing my mixing techniques, inferring that I suck). Either way, this was a fun production to make and was never meant to be of 'archival' quality.

[@clivepearsall6616]

Well,, well - I was literally astonished to read your reply. How very, very sensitive you are, 'touchy' in fact. I've never been called a 'boor' before ! As to 'suck'' that really is the limit. As you say it is 'fun', let's keep it that way shall we - please, please.

[@RohrDC]

You really need to stop it, Clive. You boor.

[@MisterUptempo]

To paraphrase Shaw - “He who can does; he who cannot, criticizes.” I'm not sure whether you believe gracing the video creator with your petty complaints constitutes a gift to them, but the true gift would have been keeping your words to yourself. The owner of this channel has produced dozens of videos for viewers to enjoy. Looking at your account, I see that you've contributed nothing, save your unnecessary whinging. This is an open forum. You have the RIGHT to say whatever you please. But you should have the DECENCY not to, when your words are intended solely to denigrate the efforts of others.

[@mabuo16]

I fully agree with Clive Pearsall. The fake Stereo with added reverberation is quite unnatural and un-Toscanini.

[@joedeegan3870]

Who are the singers?

[@mattiasdanieldamsgaardwood1315]

48:08 ALL HELL BREAKS LOOSE!

[@QED_]

Or 50:47 . . .

[@alexeyizmirliev64]

Testa d' asino!

[@danielesavorana2038]

Aprire e sentirsi un bestemmione non è proprio il top

[@photo161]

Sorry to have to say that I find the sound quite unsatisfactory: thin and insubstantial, overly bright, lacking in weight and intensity...very disappointing. Among the problems that I hear, I feel that I can assert with certainty that the midrange needs to be boosted.

[@hosseinomidi5244]

listen it by karajan

[@smudger671]

Sounds like mono to me.

[@musicom67]

Are you wearing headphones? Maybe you are wearing two left earbuds? Yeah, that's it.

[@smudger671]

@@musicom67 Maybe you need your ears tested.

[@unxnxjxyhudufi9814]

@@smudger671😂😂😂😂😂

[@unxnxjxyhudufi9814]

Is definitely mono

[@blackjackdavy2342]

All wrong tempi, listen to any version by Fürtwängler instead.

[@reispurs22]

BRAVO

[@GrandGuignolKame]

43:00