This may be unexpected repertory for Toscanini, but his devotion to baroque music is winningly demonstrated at the very start of the Bach Suite, when in the Introduction he can be heard singing along enthusiastically. With the full orchestra used, this may be poles apart from modern ideas of Bach performance, influenced by period practice, but at least Toscanini, with his preference for brisk speeds, avoids the ponderous approach then favoured by so many of his conductor-colleagues. The speeds throughout the Suite are on the brisk side, most strikingly in the Gigue, with clean, crisp articulation, while the celebrated Air, too, at a flowing tempo, is cooler and more direct than most performances were at that time.
In the Vivaldi - one of the less well-known violin concertos, with a beautiful minor-key slow movement - Toscanini indulges rather more in big rallentandos. And the NBC radio sound - better than usual from this source, if characteristically dry - grows rather scratchy on top. The Handel also suffers, and the brisk Allegros imperil ensemble in places, as the four soloists hang on for grim death. What stands out is the noble account of the central Largo, deeply affectionate but with no false sentiment.
The Respighi arrangement of the C minor Passacaglia and Fugue finally restores Toscanini to his home territory, with massive contrasts of loud and soft in imitation of traditional organ sound, prompting wild applause at the end. Well worth hearing, particularly at the Naxos price, for its unusual perspective on the Maestro.
<Edward Greenfield<<