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.”
Offenbach, Excerpts from “Gaité Parisienne”
Strauss, Der Rosenkavalier, Waltzes
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.