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. Yet in spite of the existence of vast quantities of visual material, the two-hour film “The Infinite Variety of Leonard Bernstein” is the first full-scale biographical film portrait of the musician. The spine of the film is Bernstein’s own narrative. Supplementing this are recollections from friends, family, artistic collaborators and others who provide a historically critical perspective on his work and career. An equally important element is the integration of Bernstein’s compositions throughout the film. Through his television specials as an educator, as well as through the orchestral works he conducted for television, the film also provides a rich, varied and insightful reflection on Bernstein’s music-making.
Journey
Born in Bolzano (Bozen, Italy) in 1934, Herbert Rosendorfer is a lawyer who introduced himself as an author in 1966 with his short story “Die Glasglocke.” This was followed by many novels, stage works, scripts and short stories, which revealed him to be an imaginative and multi-faceted author. A socio-critical satirist, he writes with a well-balanced mixture of wit, thought-provoking ideas and absurd-grotesque elements. All this is also found in his novel “Briefe in die chinesische Vergangenheit” (Letters to China’s Past) of 1983, which ranks among his most well-known books. Here the Chinese Kao-Tai travels from the 10th century to the Munich of the 20th century. In addition to his legal activities, Rosendorfer is honorary professor for contemporary Bavarian literature at the University of Munich and obtained the Bavarian Literature Prize in 1999.
Sharing – Leonard Bernstein’s last video recording
After his unforgettable work with young musicians in Tanglewood and Salzau, Leonard Bernstein was invited to conduct a similar summer academy in Asia. His enthusiastic acceptance led to the founding of the Pacific Music Festival in Sapporo, Japan. Rigorous auditions were held, and young musicians brought together to form an orchestra. They were chosen from all the nations bordering on the Pacific: the U.S., Canada, the South American countries, China, Japan ,Taiwan, Korea, etc. Just before the Pacific Music Festival was inaugurated in June 1990, Leonard Bernstein fell ill. But despite his doctors’ warnings, and marked by his serious illness, he refused to let his “kids” down and flew to Japan. With unbelievable intensity, passion, wit and charm, Bernstein worked with the youths on Schumann’s Symphony No. 2, one of the Maestro’s favorite orchestral pieces. This production is the last visual record of the Maestro at work.
Beethoven, Piano Concerto No.5 in E flat major, op. 73 “Emperor”
It was to have been the culmination of Leonard Bernstein’s Beethoven cycle: the recording of all five piano concertos with a leading pianist of the younger generation. What it became is an example of enlightened music- making, the document of an incredible empathy between conductor, soloist and orchestra – an empathy so strong that it overrode even the maestro’s death. In Krystian Zimerman, Bernstein had found a congenial partner. But the full extent of Zimerman’s congeniality emerged only after the maestro’s death on 14 October 1990. Concertos Nos. 3, 4 and 5 had been recorded. A decision had to be taken with regard to concertos Nos. 1 and 2: either a new conductor had to be found or, following the practice of the 18th and early 19th centuries, the orchestra would be entrusted to the soloist. The latter alternative was chosen – a decision applauded throughout the music world. Born in Zabrze, Poland, on 7 December 1956, Krystian Zimerman won the first prize in the Chopin Competition in Warsaw in 1975. After expanding his repertoire and studying in London in 1980, he made a name for himself in numerous concerts and recordings as one of the most talented pianists of his generation.
Beethoven, String Quartet No.16 in F major, op. 135 (Transcription for String Orchestra)
A light and transparent work, Beethoven’s opus 135 is particularly well suited to a performance with a full string orchestra. Bernstein’s interpretation can be seen as an homage to his revered mentor Dimitri Mitropoulos, who was the first to conduct a string orchestra version of Beethoven string quartet (op. 131). Composed in 1826, about half a year before Beethoven’s death, opus 135 is the last work Beethoven completed. Following the profundity of the preceding Quartet op. 131, the buoyancy and humor of this piece are surprising. The work seems to long for the ideals of Classicism, which were now irretrievably lost, and aims for an accessibility which is often missing in Beethoven’s late works. Leonard Bernstein said that only the strings of the Vienna Philharmonic could carry off the orchestral rendition of this work with bravura, since each player is a true soloist. The public performance of opus 135 was acclaimed by the press. “Since Leonard Bernstein is the number one conductor today, the only one who can let the Vienna Philharmonic play the way they would love to sound all the time, he and the orchestra wanted to play a difficult Beethoven Quartet in a monster setting. They succeeded, and it was ¿ an exciting work, unlike anything one ever hears.”
Sibelius, Symphony No.1 in E minor, op.39
Jean Sibelius was 34 years old when he undertook the composition of his First Symphony, which was actually his second: in 1892 he had written “Kullervo” for solo voices, male chorus and orchestra, but was dissatisfied with it and forbade its performance during his lifetime. In his Symphony No. 1, there are already flashes of his later style in the impetuous rhythms, romantic outbursts and abrupt changes of tone. The conductor led the premiere in Helsinki on 26 April 1899. In the mid 1980s, Unitel began recording a complete cycle of Sibelius symphonies with Leonard Bernstein and the Vienna Philharmonic. Bernstein’s death in 1990 unfortunately cut short this project after the release of Symphonies Nos. 1, 2, 5 and 7. They were recorded live at Vienna’s Musikvereinssaal and were the object of stellar reviews. Bernstein, in the words of a leading Austrian daily, “painted a canvas of late-romantic splendor with the Philharmonic’s sound – the incomparable brilliancy of the strings, the glowing intensity of the brass – in a way that only the greatest conductors can.” (Symphony No. 1) And in its review of the Second Symphony, a major Viennese newspaper wrote: “For the sake of Jean Sibelius, Leonard Bernstein leaps with fanatical zeal into the heaving waves of late romantic emotions.” It is not surprising that Leonard Bernstein felt so passionately about Sibelius’s music. In many respects, it strikingly parallels that of Gustav Mahler. In fact, Sibelius’s oeuvre is seen along with Gustav Mahler’s as the most important symphonic legacy between late romanticism and modernity. And as Mahler’s glowing advocate, Bernstein was suited like none other to disseminate the music of his great colleague Jean Sibelius.
Mahler, Lieder eines fahrenden Gesellen
Just a few months before his final illness and death, Leonard Bernstein conducted three masterworks by Gustav Mahler in a concert at Vienna’s Musikvereinssaal with the Vienna Philharmonic. The program consisted of the “Lieder eines fahrenden Gesellen”, the “Rückertlieder” and the “Kindertotenlieder”. The soloist was the American baritone Thomas Hampson. The trade publication “Musik & Theater” wrote: “I know of no other baritone today who can profess a similar mastery of these three Mahler song cycles on a vocal, emotional and textually sensitive level. […] a singular vocal accomplishment and a worthy conclusion of Bernstein’s extensive Mahler discography.”
Mahler, Rückertlieder
Just a few months before his final illness and death, Leonard Bernstein conducted three masterworks by Gustav Mahler in a concert at Vienna’s Musikvereinssaal with the Vienna Philharmonic. The program consisted of the “Lieder eines fahrenden Gesellen”, the “Rückertlieder” and the “Kindertotenlieder”. The soloist was the American baritone Thomas Hampson. The trade publication “Musik & Theater” wrote: “I know of no other baritone today who can profess a similar mastery of these three Mahler song cycles on a vocal, emotional and textually sensitive level. […] a singular vocal accomplishment and a worthy conclusion of Bernstein’s extensive Mahler discography.”
Mozart, Exsultate Jubilate, K. 165
Mozart’s motet “Exsultate, jubilate” K. 165 is the most famous of Mozart’s early sacred works. Written in Milan in 1773 for the castrato Venanzio Rauzzini, it is sung here by the soprano Arleen Auger, whose flawless intonation and consummate musicality” (Süddeutsche Zeitung, Munich) underscore the virtuosity of the solo part. Though few people would spontaneously associate Leonard Bernstein with 18th-century sacred music, this production stunningly confirms the words of a major Munich daily: “After a few bars, one is conquered by Bernstein’s mastery in creating atmosphere and communicating moods.” This live concert was filmed at the ornate Basilica of Waldsassen in Franconia (Germany), one of the first architectural adaptations of the Italian Baroque style to German taste. Significantly, this work also represents a melding of Italian vocal writing and German contrapuntal art.
Mozart, Ave Verum Corpus, K. 618
Mozart composed his “Ave, verum corpus” K. 618 in June 1791, just a few months before his death. Conceived for the feast of Corpus Christi, it is a work of touching directness and simplicity, and one of Mozart’s most moving choral works. Though few people would spontaneously associate Leonard Bernstein with 18th-century sacred music, this production stunningly confirms the words of a major Munich daily: “After a few bars, one is conquered by Bernstein’s mastery in creating atmosphere and communicating moods.” This live concert with the Chorus and Orchestra of the Bavarian Radio was filmed at the ornate Basilica of Waldsassen in Franconia (Germany), one of the first architectural adaptations of the Italian Baroque style to German taste. Significantly, this work also represents a melding of Italian vocal writing and German contrapuntal art.