Toscanini Quotes

Toscanini once recorded a piece sixty five times. You know what he said when he finished? "It could be better." Think about it.

There are blondes and blondes and it is almost a joke word nowadays. All blondes have their points, except perhaps the metallic ones who are as blond as a Zulu under the bleach and as to disposition as soft as a sidewalk. There is the small cute blonde who cheeps and twitters, and the big statuesque blonde who straight-arms you with an ice-blue glare. There is the blonde who gives you the up-from-under look and smells lovely and shimmers and hangs on your arm and is always very tired when you take her home. She makes that helpless gesture and has that goddamned headache and you would like to slug her except that you are glad you found out about the headache before you invested too much time and money and hope in her. Because the headache will always be there, a weapon that never wears out and is as deadly as the bravo’s rapier or Lucrezia’s poison vial. There is the soft and willing and alcoholic blonde who doesn’t care what she wears as long as it is mink or where she goes as long as it is the Starlight Roof and there is plenty of dry champagne. There is the small perky blonde who is a little pal and wants to pay her own way and is full of sunshine and common sense and knows judo from the ground up and can toss a truck driver over her shoulder without missing more than one sentence out of the editorial in the Saturday Review. There is the pale, pale blonde with anemia of some non-fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you can’t lay a finger on her because in the first place you don’t want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying Provençal. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them. And lastly there is the gorgeous show piece who will outlast three kingpin racketeers and then marry a couple of millionaires at a million a head and end up with a pale rose villa at Cap Antibes, an Alfa-Romeo town car complete with pilot and co-pilot, and a stable of shopworn aristocrats, all of whom she will treat with the affectionate absent-mindedness of an elderly duke saying goodnight to his butler.

What galls me is that these sadists always have fans and followers-- and sincere ones at that. The typical example of this is Toscanini.

Did anyone tell Toscanini, or Bach, that he had to choose between music and family, between art and a normal life?

I hate Toscanini. I've never heard him in a concert hall, but I've heard enough of his recordings. What he does to music is terrible in my opinion. He chops it up into a hash and then pours a disgusting sauce over it. Toscanin 'honoured' me by conducting my symphonies. I heard those recordings, too, and they're worthless.

This is my Italy, she thought. The power and beauty of the antiquities, the detailed frescos, the imposing statuaries carved of milk white granite, Don Martinelli's hammered gold chalice, the glorious tones of the music, the Italy of Puccini and Verdi, Caruso and Toscanini, not the Italy of the shattered spirits in Hoboken and the drunken, desperate Anna Buffa. This was the Italy that fed her soul, where hope was restored and broken hearts were mended in the hands of great artists.

What kind of opera was The Thieving Magpie? I wondered. All I knew about it was the monotonous melody of its overture and its mysterious title. We had had a recording of the overture in the house when I was a boy. It had been conducted by Toscanini.

To a nation of grandparents nostalgic for a time when everyone listened to Toscanini on the radio, tired of having to watch people on TV win money for bungee jumping and eating goat rectums, Jeopardy! is sweetly cerebral relief piped in straight from the Eisenhower era, a time capsule from ana age before America dumbed down.

To Strauss the composer I take off my hat; to Strauss the man I put it back on again.

I hate Toscanini. I’ve never heard him in a concert hall, but I’ve heard enough of his recordings. What he does to music is terrible in my opinion. He chops it up into a hash and then pours a disgusting sauce over it. Toscanini ‘honoured’ me by conducting my symphonies. I heard those records, too, and they’re worthless. I’ve read about Toscanini’s conducting style and his manner of conducting a rehearsal. The people who describe this disgraceful behaviour are for some reason delighted by it. I simply can’t understand what they find delightful. I think it’s outrageous, not delightful. He screams and curses the musicians and makes scenes in the most shameless manner. The poor musicians have to put up with all this nonsense or be sacked. And they even begin to see ‘something in it’. (…) Toscanini sent me his recording of m Seventh Symphony and hearing it made me very angry. Everything is wrong. The spirit and the character and the tempi. It’s a sloppy, hack job. I wrote him a letter expressing my views. I don’t know if he ever got it; maybe he did and pretended not to – that would be completely in keeping with his vain and egoistic style. Why do I think that Toscanini didn’t let it be known that I wrote to him? Because much later I received a letter from America: I was elected to the Toscanini Society! They must have thought that I was a great fan of the maestro’s. I began receiving records on a regular basis: all new recordings by Toscanini. My only comfort is that at least I always have a birthday present handy. Naturally, I wouldn’t give something like that to a friend. But to an acquaintance-why not? It pleases them and it’s less trouble for me. That’s one of life’s most difficult problems- what to give for a birthday or anniversary to a person you don’t particularly like, don’t know very well, and don’t respect. Conductors are too often rude and conceited tyrants. And in my youth I often had to fight fierce battles with them, battles for my music and my dignity.

The DUCE diverted funds intended for the Fiume adventure, and used them for His own election campaign. He was arrested for the illegal possession of arms, sent parcel bombs to the Archbishop of Milan and its mayor, and after election was, as is well-known, responsible for the assassination of Di Vagno and Matteoti. Since then He has been responsible for the murders of Don Mizzoni Amendola, the Rosselli brothers, and the journalist Piero Gobetti, quite apart from the hundreds who have been the victims of His squadistri in Ferrara, Ravenna and Trieste, and the thousands who have perished in foreign places whose conquest was useless and pointless. We Italians remain eternally grateful for this, and consider that so much violence has made us a superior race, just as the introduction of revolvers into Parliament and the complete destruction of constitutional democracy have raised our institutions to the greatest possible heights of civilisation. Since the illegal seizure of power, Italy has known an average of five acts of political violence per diem, the DUCE has decreed that 1922 is the new Annus Domini, and He was pretended to be a Catholic in order to dupe the Holy Father into supporting Him against the Communists, even though He really is one Himself. He has completely suborned the press by wrecking the premises of dissident newspapers and journals. In 1923 he invaded Corfu for no apparent reason, and was forced to withdraw by the League of Nations. In 1924 He gerrymandered the elections, and He has oppressed minorities in the Tyrol and the North-East. He sent our soldiers to take part in the rape of Somalia and Libya, drenching their hands in the blood of innocents, He has doubled the number of the bureaucracy in order to tame the bourgeoisie, He has abolished local government, interfered with the judiciary, and purportedly has divinely stopped the flow of lava on Mt Etna by a mere act of will. He has struck Napoleonic attitudes whilst permitting Himself to be used to advertise Perugina chocolates, He has shaved his head because He is ashamed to be seen to be going bald, He has been obliged to hire a tutor to teach Him table manners, He has introduced the Roman salute as a more hygienic alternative to the handshake, He pretends not to need spectacles, He has a repertoire of only two facial expression, He stands on a concealed podium whilst making speeches because He is so short, He pretends to have studied economics with Pareto, and He has assumed infallibility and encouraged the people to carry His image in marches, as though He were a saint. He is a saint, of course. He has (and who are we to disagree?) declared Himself greater than Aristotle, Kant, Aquinas, Dante, Michelangelo, Washington, Lincoln, and Bonaparte, and He has appointed ministers to serve Him who are all sycophants, renegades, racketeers, placemen, and shorter than He is. He is afraid of the Evil Eye and has abolished the second person singular as a form of address. He has caused Toscanini to be beaten up for refusing to play 'Giovinezza', and He has appointed academicians to prove that all great inventions were originally Italian and that Shakespeare was the pseudonym of an Italian poet. He has built a road through the site of the forum, demolishing fifteen ancient churches, and has ordered a statue of Hercules, eighty metres high, which will have His own visage, and which so far consists of a part of the face and one gigantic foot, and which cannot be completed because it has already used up one hundred tons of metal.

The fascist leaders were outsiders of a new type. New people had forced their way into national leadership before. There had long been hard-bitten soldiers who fought better than aristocratic officers and became indispensable to kings. A later form of political recruitment came from young men of modest background who made good when electoral politics broadened in the late nineteenth century. One thinks of the aforementioned French politician Léon Gambetta, the grocer’s son, or the beer wholesaler’s son Gustav Stresemann, who became the preeminent statesman of Weimar Germany. A third kind of successful outsider in modern times has been clever mechanics in new industries (consider those entrepreneurial bicycle makers Henry Ford, William Morris, and the Wrights). But many of the fascist leaders were marginal in a new way. They did not resemble the interlopers of earlier eras: the soldiers of fortune, the first upwardly mobile parliamentary politicians, or the clever mechanics. Some were bohemians, lumpen-intellectuals, dilettantes, experts in nothing except the manipulation of crowds and the fanning of resentments: Hitler, the failed art student; Mussolini, a schoolteacher by trade but mostly a restless revolutionary, expelled for subversion from Switzerland and the Trentino; Joseph Goebbels, the jobless college graduate with literary ambitions; Hermann Goering, the drifting World War I fighter ace; Heinrich Himmler, the agronomy student who failed at selling fertilizer and raising chickens. Yet the early fascist cadres were far too diverse in social origins and education to fit the common label of marginal outsiders. Alongside street-brawlers with criminal records like Amerigo Dumini or Martin Bormann one could find a professor of philosophy like Giovanni Gentile or even, briefly, a musician like Arturo Toscanini. What united them was, after all, values rather than a social profile: scorn for tired bourgeois politics, opposition to the Left, fervent nationalism, a tolerance for violence when needed.

There were two orchestras with two hundred musicians in all—one onstage and a larger one on the board track below conducted by Giorgio Polacca, who inherited the Metropolitan Opera’s baton from Arturo Toscanini. A battalion of 250 Boy Scout ushers arrived late to find a near riot in the grandstands, as patrons scrambled for oversold seats. The triumphal march scene at the end of the second act was the most spectacular ever staged—with five hundred soldiers from the New York State Militia, sixteen horses, four camels, a pair of oxen, and Hattie the elephant from

of some non-fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you can’t lay a finger on her because in the first place you don’t want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying Provençal. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them. And lastly there is the gorgeous show piece who will outlast three kingpin racketeers and then marry a couple of millionaires at a million a head and end up with a pale rose villa at Cap Antibes, an Alfa-Romeo town car complete with pilot and co-pilot, and a stable of shopworn aristocrats, all of whom she will treat with the affectionate absent-mindedness of an elderly duke saying goodnight to his butler. The dream across the way was none of these, not even of that kind of world.

Toscanini was one of the greatest orchestral conductors in the world. Once when he was talking to an orchestra when he was preparing to play one of Beethoven’s symphonies with them he said: “Gentlemen, I am nothing; you are nothing; Beethoven is everything.” He knew well that his duty was not to draw attention to himself or to his orchestra but to obliterate himself and his orchestra and let Beethoven flow through.” Live your life ful y for Jesus; you are but a tool for His service, a reflection in the mirror of Christ. YouTube “Chris Tomlin Jesus

But the maestro’s biggest project during the second half of the season was the first North American production of Paul Dukas’s Ariane et Barbe-bleue, on 29 March 1911. Ariane, a forward-looking, brilliantly orchestrated work, had had its premiere in Paris four years earlier, and had since been performed in Vienna, conducted by Alexander Zemlinsky and admired by Arnold Schoenberg, Alban Berg, and Anton Webern, among others. Toscanini,

Music is either good or it isn’t, it’s not someone’s opinion.

Did you know that Toscanini used to sing along with the singers when be conducted an opera?" Joe said. "That in his recording of Traviata you can hear him during the aria 'Sempre Libera'?

One version of the story has it that Furtwängler went to Toscanini’s dressing room after a concert in the large Festival Theater. Toscanini was curt. “Go away. I don’t want to have anything to do with you.” “Why?” asked Furtwängler. “Because you area Nazi.” “That is a lie!” “That is no lie. I am well aware that you do not belong to the Party. I also know you have helped your Jewish friends. You even meet them outside Germany. But all that is unimportant after the fact that you work for Hitler. Now get out.” 5

There is the pale, pale blonde with anemia of some non- fatal but incurable type. She is very languid and very shadowy and she speaks softly out of nowhere and you can’t lay a finger on her because in the first place you don’t want to and in the second place she is reading The Waste Land or Dante in the original, or Kafka or Kierkegaard or studying Provençal. She adores music and when the New York Philharmonic is playing Hindemith she can tell you which one of the six bass viols came in a quarter of a beat too late. I hear Toscanini can also. That makes two of them.

Ciò che manca, ovunque si guardi, è un progetto di comunità, un’idea forte di cosa possa essere la Repubblica italiana del futuro, la capacità di render finalmente concreto l’attualissimo disegno contenuto nella Costituzione: quella vera. E questa idea manca perché oggi sembra impossibile avere un’idea dell’uomo che non sia ridotta alla sola dimensione monetaria. Far evadere il patrimonio culturale dalla prostrazione materiale e morale in cui è stato confinato dal totalitarismo neoliberista significa rimettere in circolo uno dei pochi antidoti a questo dogma. In rare occasioni è possibile sentire, quasi vedere ad occhio nudo, la forza morale, e profondamente politica, di ciò che chiamiamo «cultura». Il 27 gennaio 2014, alle sei di sera, l’Orchestra della Scala ha eseguito la Marcia funebre della Terza Sinfonia di Beethoven in onore di Claudio Abbado, scomparso sette giorni prima. Rispettando una tradizione iniziata nel 1957 –in occasione della traslazione del corpo di Arturo Toscanini, al Monumentale –l’orchestra ha celebrato il suo direttore suonando con la sala vuota, e con le porte del teatro spalancate. Ottomila cittadini milanesi riempivano la piazza, silenziosi e commossi. E il profondo impegno civile di Abbado ha conferito un tono particolare a questa struggente liturgia laica, ripetuta per la quinta volta in sessant’anni. La musica creava una comunità e la rendeva visibile: e non nello spazio separato del teatro, non per un pubblico pagante. In una piazza, invece, nel cuore della polis: dove alcuni cittadini suonavano per altri cittadini. Non per non pensare, per rimuovere le difficoltà della vita e l’esistenza della morte, ma per affrontarle tutti insieme, uniti da una musica scritta duecento anni fa, e per salutare un uomo che ha messo la sua arte straordinaria al servizio di un progetto di uguaglianza e giustizia. È da quello spirito che dobbiamo essere capaci di ripartire. Perché le nostre città, i nostri musei, il nostro paesaggio non contengono solo cose belle: contengono valori e prospettive che possono liberarci, innalzarci, renderci di nuovo umani, restituirci un’idea dell’uomo e un’idea di comunità che ci permettano di costruire un futuro diverso.

Jessie, a fifty-year-old woman with no skills, job opportunities were limited. She may have had a historic family background, but pedigree was of little use when it came to job skills. A few years later, Daisy ghost-wrote an article, “On the Fourteenth Floor,” a first-person account of a woman—a mother of two daughters—who has run out of money and moves to New York City in search of a job. Retail work is available, but she wisely decides that she would not be a good candidate to be a saleswoman. One day, she lunches with a friend at a large hotel in the city and notices that the hotel is bursting with business. Foot traffic in the lobby is thick and without letup. The woman realizes that this is a thriving operation and most likely has job positions available. On a whim, the woman applies for a job, not really knowing what position they would place her in. The manager says she can begin the next day as a chambermaid for thirty-six dollars a month, along with room and board. “On the Fourteenth Floor,” rich in detail as to the woman’s responsibilities and day-to-day activities, is sprinkled with descriptions of her interactions with the clientele. The author also writes of a friendly co-worker named Zayda with whom she becomes close friends. Daisy would give homage to Zayda later in her early career at Street & Smith. Forty years later, Esther would tell stories of the time when the three women lived at a hotel in Manhattan. They lived at the Hotel Astor, Esther said, and socialized with Arturo Toscanini’s wife Carla. Esther remembered Mrs. Toscanini cooking traditional Italian dinners for her and her sister in her suite, much to the consternation of the hotel management. Although there is no documentation proving this, and neither Jessie nor Daisy mention living at the Astor in their journals, Esther’s reminisces about socializing with the wife of the legendary conductor line up chronologically with the time that she lived at the hotel.

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«Debes elegir entre el arte y tu realización como mujer, entre la música y la vida familiar» le dijo el psicoanalista. «¿Por qué? ¿Por qué debo elegir? Nadie dijo a Toscanini, a Bach o a mi padre que debían elegir entre su arte y su vida personal y familiar, entre aquel y su realización como hombres

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