Maestro Celibidache (1912-96) was one of the most uncompromising figures in the music world, demanding three times as much rehearsal time as other conductors and with an ardent dislike of making recordings because he feared they misrepresented his musical intentions. This concert from the Herkulessaal in Munich captures one of the rare occasions on which he consented to a recording being made. He conducts the Munich Philharmonic Orchestra.
Schumann’s Symphonies – A TV essay by Klaus Lindemann featuring Leonard Bernstein and the Vienna Philharmonic performing Robert Schumann’s symphonies
Produced in 1987, the one-hour television special “Schumann’s Symphonies – An Essay by Klaus Lindemann on the Schumann Cycle with Leonard Bernstein and the Vienna Philharmonic Orchestra” explores Schumann’s romanticism in the light of the literature and visual arts of the times. The paintings of Caspar David Friedrich – the epitome of German romanticism – provide revealing parallels with Schumann, as well as the works of William Turner, Delacroix, the Nazarene School, Constable, Géricault¿ “With Schumann,” says Lindemann, “we stand in the full flowering of Romanticism and gaze from one peak to another.” In addition to many new insights on Schumann and his relationship to the visual and literary arts of his day, the program also contains many excerpts from Schumann’s four symphonies.
Bach, Concerto for Oboe, Violin and Orchestra in D minor, BWV 1060
In spite of its popularity, Johann Sebastian Bach’s Concerto for Oboe, Violin and String Orchestra in D minor BWV 1060 is actually a reconstruction, since the original version was lost. Our work was reconstructed by Max Schneider from Bach’s Concerto for two harpsichords in C minor. Besides the key change, the transcription primarily involved the transposition of both right-hand harpsichord parts to the violin and oboe respectively. The original work was possibly written in Köthen or in Bach’s early Leipzig years. Its virtuoso solo writing and three-movement fast-slow-fast structure reflect the influence of Antonio Vivaldi. In a typically Baroque manner, the tutti opening theme of the first movement provides the material out of which the episodes are spun. In the elegiac slow movement, the two solo instruments dialogue lovingly over a discreet pizzicato bass. The closing Allegro, with its aggressive jagged theme, is still more ebullient and energetic than the first movement. Nikolaus Harnoncourt was born in Berlin in 1929. His dissatisfaction with conventional interpretations of early music led him to found the Concentus Musicus with his wife Alice in 1953. The unusual, radically different musical style of the ensemble, combined with its insistence on using only historical instruments, quickly earned it a prominent reputation. Its international concert tours met with triumphal acclaim. In addition to leading his ensemble, Harnoncourt regularly conducts such prestigious orchestras as the Berlin and Vienna Philharmonics, the Concertgebouw Orkest Amsterdam, the Chamber Orchestra of Europe and others. Together with Jean-Pierre Ponnelle, he produced a universally acclaimed cycle of operas by Mozart and Monteverdi at the Zurich Opera House.
Bach, Suite (Overture) No. 3 in D major, BWV 1068
In Bach’s time, the terms “suite” and “overture” were often used interchangeably. This was because the first movement of a suite was generally a French Overture and tended to dominate the entire work. Bach himself referred to his four orchestral suites as “overtures.” The four overtures which open each of Bach’s four orchestral suites are among his most majestic achievements. The custom of rounding off the grandiose Baroque overtures with a string of dances and other light pieces was perhaps suggested by popular Rococo suites of dances for chamber or keyboard instruments. A musician’s musician, an occasional firebrand and a constant paradox – Nikolaus Harnoncourt (born in 1929) is one of the most profound and intriguing conductors of our time. Considered one of the world’s leading specialists of Baroque music, he has long since turned his attention to Mozart, Beethoven, Schubert, and even to Jacques Offenbach and Johann Strauss. He spent many years as a cellist with the Wiener Symphoniker before founding the “Concentus Musicus Wien” with his wife Alice in 1953. It soon became one of the world’s most respected ensembles specializing in the performance of early music on original instruments. In the 1970s, Harnoncourt joined forces with Jean-Pierre Ponnelle to stage a series of Monteverdi operas at the Zurich Opera House. This universally acclaimed cycle contributed to a renaissance of Monteverdi’s music and set standards for early Baroque performance practice. He later began to turn his attention more and more to the music of Mozart, whom he considers “the most romantic of all composers”. Harnoncourt did not make his official debut at the Salzburg Festival until 1992. He has been conducting there regularly since then and is a sought-after guest conductor of such reputable ensembles as the Berlin and Vienna Philharmonics, the Concertgebouw Orchestra of Amsterdam and the Chamber Orchestra of Europe.
Bach, Coffee Cantata BWV 211
In this concert, Nikolaus Harnoncourt reveals something of the mystery and fascination of Bach’s compositional art in the domain of non-sacred music. With his Concentus musicus Wien and the vocal soloists Janet Perry, Peter Schreier and Robert Holl, Harnoncourt interprets Bach’s delightful “Coffee Cantata”. “In my view, Bach is a total musician. No matter in what musical domain he lands, he immediately deploys his full resources and creates the greatest music that is imaginable in his time in this respective domain. […] I feel that sacred and secular music are of equal value in the lives of all significant composers, because an important composer of that time was a believer, and he didn’t make any distinction between the spiritual and the secular. In his secular life, he is just as pious as in his spiritual one, and when he eats and drinks, when he lives and loves, he is as much of a Christian as when he goes to church to pray on Sunday. He considers life as a whole, and he will write a symphony or a dance for the greater glory of God to the same extent that he would a Passion. […] German musicians… repeatedly attempted to combine the dance-like, short-winded style of French music with the eruptive, spontaneous and passionate, wild style of the Italians. The result was a well-pondered, ‘composed’ music – the Germans of that time called it ‘worked out’ – and when one hears these expressions, and knows who the greatest master of this music was, namely Bach, then one can say: this music is ‘worked out’ music. But in reality it is fulfilled music, music which comes from the innermost and the highest of man.” (Nikolaus Harnoncourt)
Mendelssohn, Piano Concerto No.2 in D minor, op.40
Recorded in 1982, this performance of Mendelssohn’s Piano Concerto No. 2 in D minor features the Uruguayan pianist Homero Francesch along with the Academy of St. Martin in the Fields under Sir Neville Marriner. Born in 1947, Francesch studied in Munich and won the Prix Italia in 1973. He achieved particular prominence the following year for his participation in the world premiere of Hans Werner Henze’s “Tristan” in London. Sir Neville Marriner founded the now internationally celebrated Academy of St. Martin in the Fields in 1959. Though the majority of his opera and concert performances and recordings are with the Academy, Marriner also works consistently with all major orchestras worldwide.
Mozart, Sinfonia Concertante for Violin, Viola and Orchestra in E flat major, K. 364
A musician’s musician, an occasional firebrand and a constant paradox – Nikolaus Harnoncourt (born in 1929) is one of the most profound and intriguing conductors of our time. Considered one of the world’s leading specialists of Baroque music, he has long since turned his attention to Mozart, Beethoven, Schubert, and even to Jacques Offenbach and Johann Strauss. He spent many years as a cellist with the Wiener Symphoniker before founding the “Concentus Musicus Wien” with his wife Alice in 1953. It soon became one of the world’s most respected ensembles specializing in the performance of early music on original instruments. In the 1970s, Harnoncourt joined forces with Jean-Pierre Ponnelle to stage a series of Monteverdi operas at the Zurich Opera House. This universally acclaimed cycle contributed to a renaissance of Monteverdi’s music and set standards for early Baroque performance practice. Harnoncourt later began to turn his attention more and more to the music of Mozart, whom he considers “the most romantic of all composers”. His concept of Mozart’s music ran counter to the prevailing 20th-century views, however. He sees Mozart’s music as “dramatic, dynamic, often directly and highly emotional.” The Vienna Philharmonic, known for its suave and gracious Mozartian interpretations, initially rebelled against Harnoncourt’s unconventional approach. Yet the compellingness of his vision soon came to be accepted and shared by all members of the orchestra.
Mozart, Violin Concerto No. 1 in B flat major, K. 207
Mozart was never taught to play the violin; he just seemed to know how. On his concerto tours throughout Europe, little Wolfgang would play not only the harpsichord, but also the violin, and developed quite a brilliant style in France. He lost interest in the instrument, however, perhaps because he was forced to play it in the orchestra of the Archbishop of Salzburg. Mozart composed his only five violin concertos all in Salzburg in 1775, most probably for his own use. They are a highly personal amalgam of all the styles he had absorbed during his travels. They are a musical reflection of early Classical and Rococo Europe: aristocratic, graceful, humorous and marvelously melodious. The last two concertos, K. 218 and 219, are characterized by finales in a variety of tempos and meters. Particularly notable is K. 219, in which a poetic Adagio episode introduces the soloist in the first movement and a Turkish episode infuses the minuet finale with a rousing spirit. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt’s views differed radically from those of traditional Mozart reception. For him, Mozart is “the most romantic composer of all”, his music “dramatic, dynamic, often strikingly and exceedingly emotional”. In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It should also be noted that the Vienna Philharmonic, celebrated for its natural and graceful Mozart style, initially opposed Harnoncourt’s unconventional concepts. However, the orchestra was soon won over by the unusual stylistic approach often concertizes with Harnoncourt today.
Haydn, Piano Concerto in D major, Hob.XVIII:11
Concerto Barocco
Born in St. Petersburg in 1904, George Balanchine – his name was actually Georgi Melitonovich Balantchivadse – studied at the Imperial ballet academy. In 1924 he did not return to Russia from a European tour of Soviet star dancers. He worked as a choreograph for the Ballets Russes, founded by his fellow countryman Diaghilev, and, along with Igor Stravinsky, left his unmistakable mark on the evolution of the modern ballet. The world premiere of “Apollon musagète” in 1928 was considered as the beginning of the modern era in the ballet world. In 1934 Balanchine went to the U.S., where he first led the American School of Ballet and, in 1948, founded the New York City Ballet, which achieved international fame as “his” troupe. Of Balanchine’s more than 400 works, including the choreographies for musicals and operas, pieces such as “Serenade” (1934), “Concerto barocco” (1941), “The Four Temperaments” (1946), “Agon” (1957), “Violin concerto” (1972) and “Davidsbündlertänze” (1980) are regarded as masterworks of the dance in the 20th century. George Balanchine died in New York on 30 April 1983.