Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Schumann, Manfred-Overture, op.115
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Schumann, Cello Concerto in A minor, op.129
Robert Schumann wrote his Violoncello Concerto in Düsseldorf in only two weeks. He himself did not play the cello, a fact which is immediately apparent from his treatment of the solo part. Passages of sweeping lyricism contrast sharply with excruciatingly difficult technical passages quite unsuited to the instrument. They make the concerto one of the most fearsome in all of cello literature. Schumann never heard the concerto played in public: the first performance did not take place until four years after his death. Recorded in 1985/86 at the “Grosser Musikvereinssaal” in Vienna, this recording features world-renowned cellist Mischa Maisky as the soloist accompanied by the Vienna Philharmonic Orchestra under the direction of Leonard Bernstein.
Beethoven, Choral Fantasy for Piano, Chorus and Orchestra in C minor, op.80
The Choral Fantasy is generally held to be a preliminary study for the 9th Symphony, even though it was composed as early as 1808, namely 16 years earlier. In the Choral Fantasy, Beethoven overcame confines and conventions of both form and orchestration to show the pleasure he derived from tonal experimentation. In contrast to the 9th Symphony, where his composition was stimulated by Schiller’s verse, Beethoven was not particularly enthusiastic about the flowery kitsch of Christoph Kuffner’s poem. After the first four lines, we already well understand Beethoven’s express request for a different text. The piano solo with which the work commences was probably extemporized by the composer at the premiere on 22 December 1808 in Vienna – the art of improvisation was expected of any virtuoso musician of Beethoven’s time. Leonard Bernstein conducts the Vienna Philharmonic Orchestra, the Wiener Jeunesse-Chor and pianist Homero Francesch. The recording was produced in 1986.
Haydn, Symphony No.94 in G major “Surprise”
Haydn’s Symphony No. 94 in G major, which was first performed on 23 March 1792, testifies to the composer’s marked sense of musical fun. In a parody of the conventional practice of the time, the second movement proceeds at a slow, measured pace which sends the listener almost to sleep, only to be rudely awakened by a sudden loud stroke of the timpani. This touch of mockery is typical of the composer’s roguish sense of humor. Haydn told his biographer Gieringer that his principle motive for writing the symphony was the wish to put his pupil and rival Ignaz Pleyel firmly in his place – an aim in which he undoubtedly succeeded. Leonard Bernstein began conducting Haydn’s orchestral works when he was still Music Director of the New York Philharmonic Orchestra. Since then, his interpretations of the symphonies have consistently met with unreserved critical acclaim. He, of all conductors, possessed precisely the qualities which Haydn’s music requires: grace, charm and a generous measure of wit. This production with the Vienna Philharmonic Orchestra was recorded in 1986.
Shostakovich, Symphony No.9 in E flat major, op.70 with an introductory essay by Leonard Bernstein
Recorded live at the Musikverein in Vienna in 1985, this concert features not only Shostakovich’s Ninth Symphony performed by the Vienna Philharmonic, but also an introductory essay by Leonard Bernstein. With respect to Shostakovich’s position as one of the few composers after Beethoven to reach a “ninth” symphony, Bernstein says: “The mystique of the number nine exerted itself in an odd way, so typical of Shostakovich: he didn’t avoid writing one out of either humility or superstition; he simply wrote the least predictable and most surprising Ninth there is – short, hilarious, circusy – an all-out fiesta, gleefully proclaiming ‘Hurray: the war is over!’ In short, Shostakovich thumbed his nose at the great tradition of Ninths – although he was perfectly capable of writing colossal symphonies, as we know from the 7th and 8th that had preceded them. But he was a great nose-thumber; it has even been suggested that he was thumbing it at Stalin himself.”
Haydn, Symphony No.88 in G major
Haydn is generally seen as one of the main originators of the “Viennese sound”, the inimitable style of playing which is still very much alive today and is particularly cultivated by the Vienna Philharmonic Orchestra. This orchestra has Haydn’s music in its blood, and its interpretation of his symphonies demonstrates a supreme confidence, musical sophistication and lightness of touch. As a noted American music critic remarked following a performance of the Oxford Symphony conducted by Leonard Bernstein: “Let’s have no further argument: the Vienna Philharmonic is the world’s greatest orchestra.” Leonard Bernstein began conducting Haydn’s orchestral works when he was still Music Director of the New York Philharmonic Orchestra. Since then, his interpretations of the symphonies have consistently met with unreserved critical acclaim. He, of all conductors, possesses precisely the qualities which Haydn’s music requires: grace, charm and a generous measure of wit.
Leonard Bernstein: Teachers and Teaching – An Autobiographic Essay by Leonard Bernstein
This 60-minute program honors the great American conductor, pianist and composer Leonard Bernstein as a teacher. It assesses his importance, his credo and his sense of obligation to pass on to following generations what he himself learned and experienced. Leonard Bernstein saw himself as a link in a long chain of musical tradition leading from Koussevitzky, Mitropoulos, Reiner and Copland to himself and on to a younger generation represented by Seiji Ozawa and Michael Tilson Thomas, and to the youngest musicians he particularly enjoyed teaching, those who were still dreaming of a career. The film shows Leonard Bernstein as the great “roaming rabbi” of music and love, two concepts which were synonyms for him, just like learning and teaching. We see the great musician who offered his knowledge without reservation and was still developing himself in his last years, eager to learn from other artists. The film also shows Bernstein during rehearsals with orchestras, with famous soloists (e.g. Krystian Zimerman), in conversation with friends and pupils and at work in Vienna, New York, Tanglewood and Salzau.
Bruckner, Symphony No.9 in D minor
When Leonard Bernstein died in 1990 at the age of 72, music lovers the world over mourned the loss of one of the 20th century’s artistic giants. In addition to his role as conductor, composer, educator and performing artist, Bernstein was one of the early pioneers in bringing the arts to television. As such, he became one of the most internationally recognized musical personalities in the world. He was a man who not only needed music in order to live, but who saw in artistic communication the means to touch the mind, the heart and the spirit all at once. His need to generate this communication dictated his life from the day he discovered music to the day he died. Recorded in March 1990, this performance is Leonard Bernstein’s last concert with the Vienna Philharmonic, an orchestra he deeply loved.
Liszt, A Faust Symphony
Liszt had discovered Goethe’s Faust in a French translation just before the premiere of Berlioz’s Symphonie fantastique, and it was Berlioz who drew his attention to it. Though he initially contemplated writing an opera on this topic, he ultimately decided on a symphonic work which he called “A Faust Symphony in Three Character Pictures” which evoke Faust, Marguerite and Mephistopheles. His goal was to create psychological portraits that capture the character from within and, through recurring motifs and melodies, show that the three figures are interconnected. The work was premiered in Weimar on 5 September 1857 under the direction of the composer. In this performance, Leonard Bernstein conducts the Boston Symphony Orchestra and tenor Kenneth Riegel at Boston’s Symphony Hall.