PASC096: Toscanini - The 'Manfred' Concert, 1946

NB. This experimental release pre-dated our use of Ambient Stereo technology and used what might be termed "traditional" methods to gain a kind of stereo spread. We have decided to retain this Processed Stereo recording as an MP3 or FLAC download for this recording. As with our other Ambient Stereo issues we have also re-encoded the original mono issue using Ambient Stereo technology and offer this version as well, in both CD and FLAC formats.

Notes on the restoration: As with our well-received Symphony of the Air concerts, this recording was taken from a very good open-reel tape source, and required relatively minimal restoration to bring it up to an excellent sound quality.

At the risk of plunging headlong into the fire of opprobrium such suggestions often elicit, I decided upon a little experiment, taking the completed restoration of this recording, and doing just that - simulating theatre ambience and a modest degree of stereo spread, using the latest digital technologies.

For many this is certainly anathema. But I felt that the results were sufficiently successful to merit sharing this experiment vis this website, and offering you the choice of both, in download form.

NB. The CD-R of this recording is the original mono version - this is a download experiment only.

If this sort of thing holds no interest to you, then we are happy to offer my original transfer as the 'Original Mono' download or on CD-R. But if you're interested to see what the new processing has done, we invite you to download both samples above and compare them on your normal listening equipment.

Personally, I'm content to remain agnostic on this - in public at least! But if you have an opinion, feel free to express it in our online forum here. It will, I hope, be interesting to see both the written reactions to this experiment and the choices made by those who decide to purchase a download.

From Wikipedia, the free encyclopedia

Manfred is a dramatic poem written in 1816–1817 by Lord Byron. It contains supernatural elements, in keeping with the popularity of the ghost story in England at the time. It is a typical example of a Romantic closet drama. Manfred was adapted musically by Robert Schumann in 1852, in a composition entitled Manfred: Dramatic Poem with music in Three Parts, and later by Pyotr Tchaikovsky in his Manfred Symphony, Op. 58, as well as by Carl Reinecke. Friedrich Nietzsche was impressed by the poem's depiction of a super-human being, and wrote some music for it.

Plot

Manfred is a Faustian noble living in the Bernese Alps. Internally tortured by some mysterious guilt, which has to do with the death of his most beloved, Astarte, he uses his mastery of language and spell-casting to summon seven spirits, from whom he seeks forgetfulness. (Some speculate that the relationship between him and Astarte is incestuous, and/or that Manfred had murdered Astarte, but this is not made explicit in the play, though the implicit suggestions are quite strong). The spirits, who rule the various components of the corporeal world, are unable to control past events and thus cannot grant Manfred's plea. For some time, fate prevents him from escaping his guilt through suicide. At the end, Manfred dies defying religious temptations of redemption from sin. Throughout the play, he succeeds in challenging all authoritative powers he comes across, and chooses death over submitting to spirits of higher powers. Manfred directs his final words to the Abbot, remarking, "Old man! 't is not so difficult to die."

Biographic relevance

Manfred was written shortly after the failure of Byron's marriage to Annabelle Milbanke, who most likely accused him of an incestuous relationship with his half-sister Augusta Leigh. At the time, he had exiled himself permanently from England and was living at the Villa Diodati in Switzerland. Most of Manfred was written on a tour through the Bernese Alps in September 1816. The third act was rewritten in February 1817 since Byron was not happy with its first version. Manfred shows some influence by Goethe's Faust, which Byron only read or heard in translation, but it is by no means a simple copy.

In performance

Manfred has received much more attention on stage for its musical treatments by Tchaikovsky and Schumann than it has on its own dramatic terms, even though it seems likely that Byron wrote the title role for Edmund Kean. There are no recorded full stagings in Britain in the twentieth century, but readings are more popular, partly because of the difficulty of staging a play set in the Alps. The exceptional size of the role of Manfred also makes the play difficult to cast. There was a production on BBC Radio 3 in 1988, however, which starred Ronald Pickup as Manfred.