Rehearsal for 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 in this recording.

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).

Rehearsal for Schubert, Symphony No.7 in C major, D.944

In the throes of his mortal illness, Franz Schubert (1797-1828) heroically succeeded in putting to paper his splendid last symphony, whose “divine lengths” are truly unique. Composed in 1825/26, Schubert’s largest symphonic work was first discovered after his death by Robert Schumann and first performed one year later, in 1839, by Felix Mendelssohn Bartholdy in the Leipzig Gewandhaus. In marked contrast to the equally beloved “Unfinished” Symphony, Schubert devises a labyrinth of harmonies in a piece full of artless directness and joyful dance-like rhythms. Echoes of the visionary secrets of Romanticism surface from the depths of the work, only to be washed away by the inexorable current of the melodies. Never did Schubert write with such a lavish and impetuous hand than in his Ninth Symphony: “…it bears the eternal seed of youth within it.” (Robert Schumann) Karl Böhm rehearses the Wiener Symphoniker in this recording made in the mid 1960s.

Rehearsal for Beethoven, Symphony No.7 in A major, op.92

After four years of symphonic silence, Beethoven presented Vienna with his Seventh Symphony in 1813. The first performance of this work was a spectacular event. The long awaited Seventh was completed in May 1812 when the Austrian capital was recovering from the French occupation. The defeat of Napoleon’s armies made the concert an occasion for celebration, and this historical event helped ensure the work’s enormous popularity and the composer’s lasting fame. The Seventh Symphony is essentially rhythmic, rather then thematic, to such a degree that Wagner called it “an apotheosis of the dance”. it is one of the best examples of how Beethoven used simple harmonies and filled them with energetic, repetitive rhythms, which never become monotonous because of the fresh harmonic progressions that accompany them. Karl Böhm rehearses the Wiener Symphoniker in this recording made in the mid 1960s.

Händels Auferstehung (Handel’s Resurrection)

Stefan Zweig (1881-1942), one of the most brilliant European writers, essayists and biographers, describes in his book “Sternstunden der Menschheit” decisive moments in the lives of great men and women of all times. “Handel’s Resurrection” is a story taken from this book. In freely adapted sequences, the film combines a great literary work and a classical musical composition. Based on motifs from Stefan Zweig’s story, the film describes a caesura in Handel’s creative life. It was a period in his life when he was almost on the brink of complete despair but finally regained new and unbounded creative power, which led to the composition of his “Messiah.” This work marks a turning point in the musical life of his time: a new form of musical composition, the oratorio, takes the place of the baroque opera of predominantly Italian influence, while at the same time competing with another operatic novelty, “The Beggar’s Opera,” an early forerunner of “The Three-Penny Opera.” Director Klaus Lindemann, who has developed a new dramatic approach for TV productions of musical works, resorts to the elements of drama to give emphasis to the ups and downs in the life of this great musician. Karl Richter conducts the Munich Bach Orchestra and Munich Bach Choir. Among the soloists is the celebrated Gundula Janowitz.