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.
Beethoven, Symphony No.1 in C major, op.21
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the “Fifth” and asked the famous French movie director Henri-Georges Clouzot (Quai des Orfèvres) to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan’s first efforts, he asked six directors to “stage” one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan’s most controversial production was Hugo Niebeling’s highly personal interpretation of the “Pastorale”, with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors. s.
Mozart, Requiem K. 626
The Requiem is not only Mozart’s last composition, but also the one most shrouded in mystery. The purportedly enigmatic patron who ordered the work and the fatal illness that befell Mozart while he was working on it long nurtured the macabre legend of Mozart composing his own Requiem mass commissioned by Death himself. The Requiem was completed by Mozart’s friend and pupil Franz Saver Süssmayr on the basis of Mozart’s sketches and instructions. The somber woodwinds and brass, the artless melodies and the stirring shifts from intricate contrapuntal writing to mighty homophonic blocks convey an otherworldly, apocalyptic feeling seldom encountered in Mozart’s works. Despite its almost operatic solo passages and large orchestra, the Requiem was intended for the church, and is indeed an ideal work for the theatrically sumptuous and brilliant Baroque churches of Austria and southern Germany. Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events. Filmed in Vienna’s resplendent “Piaristenkirche”, this recording of Mozart’s Requiem features the illustrious Mozart singers Gundula Janowitz, Christa Ludwig, Peter Schreier and Walter Berry.
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.
Bach, Matthäuspassion (St. Matthew’s Passion) BWV 244
Karl Richter, the world-renowned Bach specialist who died in 1981, recorded the St. Matthew Passion at the splendid Benedictine abbey of Ottobeuren with two choruses, his Munich Bach Orchestra and the outstanding soloists Peter Schreier (Evangelist), Ernst Gerold Schramm (Jesus), Siegmund Nismgern (Judas) as well as Helen Donath, Julia Hamari, Walter Berry and Horst Laubenthal. Director Hugo Käch took the cross as his main motif for his stage setting by using a gigantic cross above the performers to suggest menace and oppression as well as protection. Richter’s style blends the solid craftsmanship of a Leipzig “cantor” and a profound need for the freedom of improvisation. “I cannot gauge the tempo from the metronome; I have to take to it from my pulse, since the pulse is linked to the center of man, the heart.” (Karl Richter)
Bruckner, Symphony No.4 in E flat major “Romantic”
Rafael Kubelik (1914-1996) was the son of the well-known Bohemian violinist Jan Kubelik. He studied music in Prague and made his conducting debut at 20 at the head of the Czech Philharmonic Orchestra. Later he became the principal conductor of this famous orchestra and founded the “Prague Spring” Festival. After the Communist takeover of the government, Kubelik emigrated to the West and returned to his native land only after the end of the Communist regime. From 1950 to 1953 he headed the Chicago Symphony, from 1955 to 1958 he was music director of the Covent Garden Opera in London. A period of great artistic successes began in 1961, when he was appointed principal conductor of the Bavarian Radio Symphony Orchestra. Many recordings document Kubelik’s mastery and sense of artistry, his enjoyment of music and his temperament. His connection with the Munich orchestra lasted 18 years; in between, he also briefly served as music director of New York’s Metropolitan Opera. Kubelik retired from the concert staged in 1985. But on the occasion of the first Prague Spring Festival after the fall of Communism in 1990, he returned to the podium of the Czech Philharmonic after more than 40 years in exile and conducted Smetana’s “My Fatherland” cycle. His profound bonds with his native land and its composers were always clearly visible. Rafael Kubelik was a full-blooded musician. Every performance of his radiated a feeling of spontaneity, impulsiveness and joy. Kubelik died in Lucerne in August 1996 at the age of 82 after a long illness. Bruckner’s Fourth had a tortuous history, beginning with a first version in 1874 and leading to a number of revisions, both major and minor, culminating in a heavily cut first publication of the score in 1889. This first edition, however, violated Bruckner’s express wishes that the score be printed in its entirety. After World War II, a new scholarly edition was published and is generally used for performances to this day. Rafael Kubelik leads the Vienna Philharmonic Orchestra in this recording.
Mozart, Symphony No.38 in D major, K. 504 “Prague”
Rafael Kubelik (1914-1996) was the son of the well-known Bohemian violinist Jan Kubelik. He studied music in Prague and made his conducting debut at 20 at the head of the Czech Philharmonic Orchestra. Later he became the principal conductor of this famous orchestra and founded the “Prague Spring” Festival. After the Communist takeover of the government, Kubelik emigrated to the West and returned to his native land only after the end of the Communist regime. From 1950 to 1953 he headed the Chicago Symphony, from 1955 to 1958 he was music director of the Covent Garden Opera in London. A period of great artistic successes began in 1961, when he was appointed principal conductor of the Bavarian Radio Symphony Orchestra. Many recordings document Kubelik’s mastery and sense of artistry, his enjoyment of music and his temperament. His connection with the Munich orchestra lasted 18 years; in between, he also briefly served as music director of New York’s Metropolitan Opera. Kubelik retired from the concert staged in 1985. But on the occasion of the first Prague Spring Festival after the fall of Communism in 1990, he returned to the podium of the Czech Philharmonic after more than 40 years in exile and conducted Smetana’s “My Fatherland” cycle. His profound bonds with his native land and its composers were always clearly visible. Rafael Kubelik was a full-blooded musician. Every performance of his radiated a feeling of spontaneity, impulsiveness and joy. Kubelik died in Lucerne in August 1996 at the age of 82 after a long illness. A symphony for connoisseurs, K. 504 reflects the taste and discernment of the audience it was intended for: the musical public of Prague. Since his “Marriage of Figaro” was the hit of the town in late 1786, Mozart decided to travel to Prague; in his luggage was the D major symphony, premiered on 19 January 1787. Written between “Figaro” and “The Magic Flute,” it shares unmistakable affinities with these two works and even quotes a theme from “Figaro” in the finale. And it is also a work in which Mozart could be completely himself. He thus indulged in a dramatic slow introduction, and in some austere contrapuntal writing in the first movement. Since the wind players in the Bohemian capital were rightly praised for their excellence, Mozart also rewarded them with some truly beautiful pages.
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)
Bach, h-Moll Messe (Mass in B minor) BWV 232
Karl Richter (1926-1981), founder of the Munich Bach Choir and Munich Bach Orchestra, was a noted conductor, organist and harpsichordist. The B minor Mass was one of his “warhorses”, which he often performed on concert tours. One of the most perceptive assessments of Richter’s reading of the B minor Mass appeared in a Munich daily following his last performance of the work in November 1980: “One of the reasons why Richter’s account of the B minor Mass is so compelling is that, in contrast to the historicizing Bach readings of today, it takes into account both the present and the 250-year-old history of Bach interpretation.” The work was filmed in the splendid Baroque abbey church of Diessen in Bavaria, which dates from Bach’s time.