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Great Conductors of the 20th Century, Vol. 35: Arturo Toscanini - Helen Traubel (soprano); Nicola Moscona (bass); Peter Wilhovsky Chorus (choir, chorus);...
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  1. Grande Ouverture des Francs-Juges, for orchestra, H. 23d
  2. Symphony No. 4 in E minor, Op. 98
  3. Symphonic Variations for orchestra (on "I am a Fiddler" B. 66/3), B. 70 (Op. 78)
  4. Manon Lescaut, opera: Act III. Intermezzo
  5. Rienzi, der Letzte der Tribunen, opera, WWV 49: Ouvertüre
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  1. Grande Ouverture des Francs-Juges, for orchestra, H. 23d
  2. Symphony No. 4 in E minor, Op. 98
  3. Symphonic Variations for orchestra (on "I am a Fiddler" B. 66/3), B. 70 (Op. 78)
  4. Manon Lescaut, opera: Act III. Intermezzo
  5. Rienzi, der Letzte der Tribunen, opera, WWV 49: Ouvertüre
  6. Symphony No. 6 in F major ("Pastoral"), Op. 68
  7. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d: Brünnhildes Opfer und Erlösung
  8. Norma, opera: Introduction Chorus and Cavatina. Ite sul colle, o Druidi
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Of course Arturo Toscanini changes tempos. Listen to the last pages of his Brahms Fourth from November 1948 with the NBC Symphony: is that not a monumental rallentando in the finale? Listen to his Dvoràk Symphonic Variations from December 1948 with the NBC: are those not massive tempo rubatos from variation to variation? Listen to his Beethoven "Pastoral" from 1937 with the BBC Symphony: is that not a gradual accelerando from the development through the recapitulation and on into the coda in the opening movement? Listen to ...

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