Long considered as a particularly demanding and difficult work, the 6th Symphony was begun in 1903, completed the following year and premiered in Essen on 27 May 1906. Superficially, it is the most conventional in that it follows the traditional four-movement form and ends in the key in which it begins. Although this key, A minor, is a tragic one in Mahler’s oeuvre, the work itself is not a song of despair, but a dense and forceful testimony of furious inner battles whose outcome remains unclear until the very end. Leonard Bernstein was the first conductor ever to record all of Mahler’s symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler’s symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler’s works.
Mahler, Symphony No.3 in D minor
This production with Christa Ludwig, alto, the “Konzertvereinigung Wiener Staatsopernchor”, the Vienna Boys’ Choir and the Vienna Philharmonic was recorded at Vienna’s “Musikvereinssaal” in 1972. Leonard Bernstein was the first conductor ever to record all of Mahler’s symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler’s symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, roducing a unique musical document and triggering a major reappreciation of Mahler’s works. “All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it’s extremely bare, when it is thick and rich, it’s thicker and richer than anything in ‘Götterdämmerung’, and when it is suffering it suffers to a point that no music has ever suffered before.” (Leonard Bernstein)
Mahler, Symphony No.4 in G major
Leonard Bernstein was the first conductor ever to record all of Mahler’s symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler’s symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler’s works. ‘All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it’s extremely bare, when it is thick and rich, it’s thicker and richer than anything in ‘Götterdämmerung’, and when it is suffering it suffers to a point that no music has ever suffered before.’ (Leonard Bernstein)
Mahler, Symphony No.5 in C sharp major
Leonard Bernstein was the first conductor ever to record all of Mahler’s symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler’s symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler’s works. ‘All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it’s extremely bare, when it is thick and rich, it’s thicker and richer than anything in ‘Götterdämmerung’, and when it is suffering it suffers to a point that no music has ever suffered before.’ (Leonard Bernstein)
Mahler, Symphony No.2 in C minor “Resurrection”
Gustav Mahler’s Symphony No. 2 is the first of Mahler’s symphonies to introduce voices – soprano, alto and chorus – into the orchestral texture, and the first to refer explicitly to his songs based on “Des Knaben Wunderhorn.” This it shares with the symphonies Nos. 3 and 4 as well, which stamps it as the first part of a trilogy. Mahler worked on it from 1888 to 1894 and conducted the first performance in Berlin on 13 December 1895. Leonard Bernstein was the first conductor ever to record all of Mahler’s symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler’s symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major re-appreciation of Mahler’s works.
Mahler, Das Lied von der Erde
“Das Lied von der Erde” (The Song of the Earth) was one of Mahler’s later symphonic works, written in 1908. Mahler often used the human voice as an adjunct to the orchestra in his symphonic writing. “Das Lied von der Erde” borrowed as a framework Hans Bethge’s German translation of six poems by the 18th-century Chinese poet Li-Tai-Po. The songs have been described as “the valedictory of a man who loved life and nature and who knew the bittersweet nostalgia of passing youth and beauty.” The work was recorded at the Frederick Mann Auditorium in Tel Aviv with the Israel Philharmonic Orchestra under Leonard Bernstein.
Mahler, Symphony No.9 in D major
Leonard Bernstein was the first conductor ever to record all of Mahler’s symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler’s symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler’s works. “All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it’s extremely bare, when it is thick and rich, it’s thicker and richer than anything in ‘Götterdämmerung’, and when it is suffering it suffers to a point that no music has ever suffered before.” (Leonard Bernstein)
Mahler, Rehearsal Symphony No.9
“Four Ways to Say Farewell” is a personal introduction to Mahler and his Ninth Symphony, during which Leonard Bernstein is seen and heard rehearsing the Vienna Philharmonic Orchestra. Filmed in 1971, this rehearsal was directed by Humphrey Burton – one of the most prolific directors of Bernstein’s video oeuvre – and Tony Palmer. Leonard Bernstein was the first conductor ever to record all of Mahler’s symphonies not only on disk, but also on video. The Mahler cycle was the first project in the more than 20-year-long association between Leonard Bernstein and Unitel. The leading Mahler interpreter of our time, Bernstein recorded all of Mahler’s symphonies between 1971 and 1985, chiefly with the Vienna Philharmonic, producing a unique musical document and triggering a major reappreciation of Mahler’s works. “All Mahler symphonies, all Mahler works for that matter, deal in extremes, extremes of dynamic, of tempo, of emotional meaning. When it is bare, it’s extremely bare, when it is thick and rich, it’s thicker and richer than anything in ‘Götterdämmerung’, and when it is suffering it suffers to a point that no music has ever suffered before.” (Leonard Bernstein).
Young People’s Concerts: A Copland celebration
Awarded three Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting,” Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired on CBS from 1958 to 1972, these 52 onehour programs were written and hosted by Leonard Bernstein. With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers. “Lectures accompanying music might not sound like the formula of a hit kids’ TV program, but Bernstein was the secret ingredient who made it work” (Variety). Balancing scholarship and showmanship, Maestro Bernstein brings the full range of his magnetic personality to play in these programs. And he succeeds in infecting viewers young and old, connoisseurs and the uninitiated, with his overwhelming love of music.
Young People’s Concerts: Thus spoke Richard Strauss
Awarded three Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting,” Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired on CBS from 1958 to 1972, these 52 onehour programs were written and hosted by Leonard Bernstein. With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers. “Lectures accompanying music might not sound like the formula of a hit kids’ TV program, but Bernstein was the secret ingredient who made it work” (Variety). Balancing scholarship and showmanship, Maestro Bernstein brings the full range of his magnetic personality to play in these programs. And he succeeds in infecting viewers young and old, connoisseurs and the uninitiated, with his overwhelming love of music.