(Amadeus). Lauded by Verdi, Debussy, and other music legends, the celebrated conductor Arturo Toscanini raised the standards of orchestral and operatic performance over an astonishing 69 years on the podium. But as he did so, he acquired a reputation as something of a tyrant, who unleashed an explosive temper at musicians if rehearsals did not meet his expectations. In The Real Toscanini , Cesare Civetta presents an intriguing collection of vivid, one-of-a-kind interviews with artists who performed with Toscanini. A portrait of the inner workings of the maestro emerges through these extensive conversations, conducted by the author over a period of 20 years, together with other firsthand recollections. These accounts clarify Toscanini's philosophy, musical style, and techniques. They depict a man tormented by inner demons of anger and depression, which were easily triggered by his frustration at being unable to produce the musical ideal in his mind's ear. Toscanini is also revealed as a vehement anti-Fascist and an unequivocal opponent of totalitarianism and racism he defied Mussolini and publically opposed Hitler. The book includes a comprehensive account of his 1936 inauguration of what is now known as the Israel Philharmonic, in solidarity with Jewish refugee musicians. Toscanini comes through in this book as a tortured but deeply humane individual who strove to constantly improve a sincere and humble musician who was nevertheless the preeminent maestro of the 20th century.

On the 150th anniversary of his birth comes this monumental biography of Arturo Toscanini, whose dramatic life is unparalleled among twentieth-century musicians. It may be difficult to imagine today, but Arturo Toscanini—recognized widely as the most celebrated conductor of the twentieth century—was once one of the most famous people in the world. Like Einstein in science or Picasso in art, Toscanini (1867–1957) transcended his own field, becoming a figure of such renown that it was often impossible not to see some mention of the maestro in the daily headlines. Acclaimed music historian Harvey Sachs has long been fascinated with Toscanini’s extraordinary story. Drawn not only to his illustrious sixty-eight-year career but also to his countless expressions of political courage in an age of tyrants, and to a private existence torn between love of family and erotic restlessness, Sachs produced a biography of Toscanini in 1978. Yet as archives continued to open and Sachs was able to interview an ever-expanding list of relatives and associates, he came to realize that this remarkable life demanded a completely new work, and the result is Toscanini—an utterly absorbing story of a man who was incapable of separating his spectacular career from the call of his conscience. Famed for his fierce dedication but also for his explosive temper, Toscanini conducted the world premieres of many Italian operas, including Pagliacci, La Boheme, and Turandot, as well as the Italian premieres of works by Wagner, Brahms, Tchaikovsky, and Debussy. In time, as Sachs chronicles, he would dominate not only La Scala in his native Italy but also the Metropolitan Opera, the New York Philharmonic, and the NBC Symphony Orchestra. He also collaborated with dozens of star singers, among them Enrico Caruso and Feodor Chaliapin, as well as the great sopranos Rosina Storchio, Geraldine Farrar, and Lotte Lehmann, with whom he had affairs. While this consuming passion constantly blurred the distinction between professional and personal, it did forge within him a steadfast opposition to totalitarianism and a personal bravery that would make him a model for artists of conscience. As early as 1922, Toscanini refused to allow his La Scala orchestra to play the Fascist anthem, "Giovinezza," even when threatened by Mussolini’s goons. And when tens of thousands of desperate Jewish refugees poured into Palestine in the late 1930s, he journeyed there at his own expense to establish an orchestra comprised of refugee musicians, and his travels were followed like that of a king. Thanks to unprecedented access to family archives, Toscanini becomes not only the definitive biography of the conductor, but a work that soars in its exploration of musical genius and moral conscience, taking its place among the great musical biographies of our time.

(Meredith Music Resource). This book is a must-read for anyone interested in acquiring a "back-stage" tour of symphony life, not included in the price of a box-office ticket! Gain a behind-the-scenes look at the orchestra as a family; its discipline, artistry, and devotion, the overwhelming audition process, and the good and bad about the orchestra musicians' profession. Learn about the love-hate relationship between musicians and conductors as the author shares his experiences performing under conductors Josef Krips, Seiji Ozawa, Edo DeWaart, Herbert Blomsted, Michael Tilson Thomas, Eugene Ormandy, Igor Stravinsky, Arron Copland, and Arthur Fiedler. Discover conductors' dictatorial control, interpretative powers, and technical skills, as revealed through quotes from James Levine, John Barbariolli, Gustav Mahler, Daniel Barenboim, and Herbert von Karajan. Examine comments from Leonard Bernstein, Arturo Toscanini, Carl Nielsen, and Lou Harrison that bring a unique awareness to avante-garde music in the chapter titled Cruel and Unmusical. Understand the difference between conducting talent and composing talent and how rare it is to possess both.

As America's symbol of Great Music, Arturo Toscanini and the "masterpieces" he served were regarded with religious awe. As a celebrity personality, he was heralded for everything from his unwavering stance against Hitler and Mussolini and his cataclysmic tantrums, to his "democratic" penchants for television wrestling and soup for dinner. During his years with the Metropolitan Opera (1908-15) and the New York Philharmonic (1926-36) he was regularly proclaimed the "world's greatest conductor ." And with the NBC Symphony (1937-54), created for him by RCA's David Sarnoff, he became the beneficiary of a voracious multimedia promotional apparatus that spread Toscanini madness nationwide. According to Life, he was as well-known as Joe Dimaggio; Time twice put him on its cover; and the New York Herald Tribune attributed Toscanini's fame to simple recognition of his unique "greatness." In this boldly conceived and superbly realized study, Joseph Horowitz reveals how and why Toscanini became the object of unparalleled veneration in the United States. Combining biography, cultural history, and music criticism, Horowitz explores the cultural and commercial mechanisms that created America's Toscanini cult and fostered, in turn, a Eurocentric, anachronistic new audience for old music.

"Book is a biography of the classical music conductor and composer Héctor Panizza (1875-1967). He was born in Buenos Aires, Argentina, and spent his career there and in Italy and throughout Europe and the U.S. His name in Italian was Ettore Panizza. He conducted most famously at LaScala in Milan and at the Metropolitan Opera in New York (1934-1942). He worked closely with Arturo Toscanini and was considered his successor. He also composed operas and shorter works, including a patriotic song still sung by Argentine schoolchildren"--

“This unique, doubly moving memoir unites an outstanding musician with his invaluable impressions of the world-famous maestro.” —Sybil Steinberg, Contributing Editor and Former Book Review Editor for Publishers Weekly Arturo Toscanini is widely considered the greatest conductor of the modern age and remains a towering figure in the world of classical music. His explosive passions, dynamic music making, and legendary leadership continue to inspire and influence today’s musicians while still captivating new generations of enthusiastic fans as well. This Was Toscanini is an intimate, firsthand, behind-the-scenes musical portrait of the Maestro, told from the unique perspective of first violinist Samuel Antek, who was fortunate to play under Toscanini’s baton for seventeen years in the famed NBC Symphony Orchestra. In this expanded second edition of This Was Toscanini: The Maestro, My Father, and Me, Samuel Antek’s reflections on playing with the Maestro gain sparkling new facets of insight from his daughter, Lucy Antek Johnson, as she enlightens readers with vivid recollections about her father and his most memorable musical partnership. With a foreword from acclaimed author and music historian Harvey Sachs and featuring Robert Hupka’s iconic photographs throughout, this shining new edition will bring back the wonder of Toscanini’s powerful style and his singular pursuit to make beautiful music. “After the recordings, this book will probably remain the most enduring and endearing monument to the art of Arturo Toscanini.” —The New York Times “This book will fascinate everyone interested not only in Toscanini but in symphonic music and music making in general.” —Harvey Sachs, author and music historian

Anna and her family have only one hope left to escape certain doom. It’s 1936 and life is becoming dangerous for the Jews of Krakow. As incidents of violence and persecution increase day by day, Anna begs her father to leave Poland, but he insists it’s impossible. How could he give up his position as an acclaimed clarinetist in the Krakow Philharmonic Orchestra? When Anna and her father barely escape from a group of violent thugs, it becomes clear that the family must leave. But how? There seems to be only one possibility. Bronislaw Huberman, a world-renowned violinist, is auditioning Jewish musicians for a new orchestra in Palestine. If accepted, they and their families will receive exit visas. Anna and her grandmother boldly write to Huberman asking him to give Anna’s father an audition, but will that be enough to save them? This poignant story is based on real events in pre-war Poland and Palestine. After saving seven hundred Jews and their families, Huberman went on to establish what later became the Israel Philharmonic Orchestra. Against an ominous background of the impending Holocaust in Europe and the first Arab-Israeli war, The Sound of Freedom still manages to remind the reader of the goodness in the world.

"Explosively passionate, this story of forbidden love and unmet potential is ... for anyone who’s ever felt the ineffable power of music." —Aja Gabel, author of The Ensemble The Piano Student is a novel about regret, secrecy, and music, involving an affair between one of the 20th century’s most celebrated pianists, Vladimir Horowitz, and his young male student, Nico Kaufmann, in the late 1930s. As Europe hurtles toward political catastrophe and Horowitz ascends to the pinnacle of artistic achievement, the great pianist hides his illicit passion from his wife Wanda, daughter of the renowned conductor Arturo Toscanini. Based on unpublished letters by Horowitz to Kaufmann that author Lea Singer discovered in Switzerland, this is a riveting and sensitive tale of musical perfection, love, and longing denied, with multiple historical layers and insights into artistic creativity.

Kenneth A. Christensens THE TOSCANINI MYSTIQUE, is the first full length biography about the legendary Italian conductors life and career in almost thirty-five years. Maestro Toscanini had a frigid and extremely unhappy childhood, along with a severe musical education at the Parma Conservatory. This unglamorized account of a gifted teenagers professional conducting debut at Rio de Janerios Teatro Imperial, is told as it really happened. Toscanini was married to a ballerina, Carla De Martini, who bore him four children, but also had an illegitimate son with a gifted soprano, who was born retarded. Toscaninis vulgar mistreatment of nearly all the singers and musicians who performed under his direction was legendary, and is examined with unusual insight about his uncanny memory and talent for musical recreation. The recollection of many famous artists including Caruso, Debussy, Kreisler, Puccini, Stravinsky, Verdi, and Wagners descendants are quoted alongside his confrontations with Hitler, Mussolini and the Sicilian mafia. But the Maestro also was the most generous of all musicians, donating both his time and talents to many worthwhile charities, for which he received no financial compensation. The life of this great conductor is presented as the struggles of a musical and theatrical reformer, who was a major historical figure that just happened to be one of the greatest musicians who ever lived. Mr. Christensen has painstakingly wrote his narrative, using all the previous biographies and magazine articles on his life, the scripts of two video documentaries and the liner notes for the most widely available re-releases of his recordings. He rewrote and clarified the awkward original Italian translations for non-specialist readers and has supplied new English translations for the numerous operatic titles and other musical works as well as all the foreign language newspapers, magazines and theatres mentioned in the text. In addition, he has provided professional critiques on the most widely available Toscanini recordings from RCA Victors Arturo Toscanini Collection, and historic reissues of Toscaninis NBC radio broadcast concerts. Here was a man, who had the nerve to stand up to world dictators and fought hard to prevent the Western worlds supreme musical masterpieces from being abused and mistreated, but without taking any credit for laboriously recreating all these composers inspiration. He enjoyed to play practical jokes on his family and friends, but this humorous side is known only through letters, because Toscanini never published any autobiography or memoirs about his art. Toscanini gave the world premieres of 14 operas, including Leoncavallos Pagliacci, and three by Puccini, including La Boheme, La Fanciulla del West and Turandot. Toscanini served as musical director: the Teatro Regio in Turino (1895-98), La Scala in Milano (1898-1908), New Yorks Metropolitan Opera (1908-1915), barely missed dying upon the Lusitania, becoming musical director of La Scala again (1920-1929), the New York Philharmonic (1926-1936), and the NBC Symphony Orchestra (1937-1954). In between, he also guest conducted at the Bayreuth, Salzburg and Lucerne Festivals and conducted the inaugural concerts of the Palestine Symphony. Toscanini then recorded his most important repertory with the BBC Symphony and the Philadelphia Orchestra, the New York Philharmonic and NBC Symphony Orchestras, alongside the Robert Shaw Chorale and such esteemed soloists as Jascha Heifetz, Rudolf Serkin, plus, his own son-in-law Vladimir Horowitz. His seven operatic recordings featured Jan Peerce, Helen Traubel, Richard Tucker, Giuseppe di Stefano, Rose Bampton, Cesare Siepi, Herva Nelli, Licia Albanese, Robert Merrill, Jussi Bjoerling, Lauritz Melchior, and many other gifted singers and musicians of the past, whose names alone are too much to mention.