“Guillaume Tell” (William Tell or, in German, “Wilhelm Tell”) was Rossini’s last opera, a grand and dazzling farewell to the stage that had built the composer’s undying reputation. The overture is structured in four clearly distinct parts which make no borrowings from the themes of the work. It is, in effect, a symphonic poem that begins with a tranquil Andante preceding an Allegro which depicts, perhaps, a storm in the Swiss Alps, the setting of the opera. The third section is devoted to the celebrated “ranz des vaches”, a Swiss cattlemen’s call to the flocks which is played here on the English horn. The final section, Allegro vivace, begins with a trumpet fanfare that introduces the rousing march of the Swiss soldiers. This recording of the “William Tell” Overture dates from 1975 and is part of a special “overture” special directed by Herbert von Karajan and produced with the Berlin Philharmonic for Unitel.
Wagner, Overture to “Tannhäuser”
Wagner’s overture to “Tannhäuser” is as beloved as his “Flying Dutchman” overture and also structured primarily around two themes. The first, which later becomes the motif of the Pilgrims’ Chorus, glows with all the solemnity of a chorale and unfolds with majesty, presented first by the clarinet, bassoon and horns. The second theme evokes the realm of love and is dominated by the chromatic theme of the Venusberg before the entire orchestra joins forces to intone Tannhäuser’s dazzling hymn. This recording of the “Tannhäuser” Overture dates from 1975 and is part of a special “overture” special directed by Herbert von Karajan and produced with the Berlin Philharmonic for Unitel.
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.
Brahms, Intermezzo in B flat minor, op.117
One of this century’s great pianists, Artur Rubinstein (1887-1982) began playing the piano at the age of three and concertized tirelessly until nearly ninety. He made his official debut in Berlin in 1900 playing, among other works, Saint-Saëns’ G minor Concerto Op. 22, which remained a vehicle for Rubinstein’s virtuosity throughout his career. He was often heard in concertos by Brahms and Beethoven. Indeed, Brahms was the composer who initially aroused the pianist’s strongest and deepest artistic instincts. This place was later taken by Chopin. In his later years, Rubinstein was noted for his Chopin interpretations, which were marked by impeccable style, warm lyricism and passionate eloquence. The Brahms piano pieces were recorded in August 1973 at Amsterdam’s Concertgebouw.
Brahms, Capriccio No.2 in B minor, op.76
One of this century’s great pianists, Artur Rubinstein (1887-1982) began playing the piano at the age of three and concertized tirelessly until nearly ninety. He made his official debut in Berlin in 1900 playing, among other works, Saint-Saëns’ G minor Concerto Op. 22, which remained a vehicle for Rubinstein’s virtuosity throughout his career. He was often heard in concertos by Brahms and Beethoven. Indeed, Brahms was the composer who initially aroused the pianist’s strongest and deepest artistic instincts. This place was later taken by Chopin. In his later years, Rubinstein was noted for his Chopin interpretations, which were marked by impeccable style, warm lyricism and passionate eloquence. The Brahms piano pieces were recorded in August 1973 at Amsterdam’s Concertgebouw.
Schubert, Impromptu in A flat major, op.90 No.4
Artur Rubinstein was one of the greatest pianists of the 20th century. Born in Lodz in 1887, he took piano lessons in his native city and at the Warsaw Conservatory. In Berlin he continued his training and debuted there in 1900 under the musical direction of Joseph Joachim. This was followed by appearances in America and many European countries. At the beginning of the First World War, he vowed never to play again in Germany. As a Pole and Jew, he renewed this vow and maintained it till the end of his life. After three decades of active concert activity, the bon-vivant Rubinstein made an artistic pause in 1932 and returned to public performance in 1937, at the age of 50. Rubinstein, the blessed virtuoso, as Thomas Mann once called him, worked with the most famous musicians of his time, made recordings and was celebrated all over the world as the “Pianist of the century.” Rubinstein’s interpretations are considered to this day as exemplary, and often unsurpassed. His multi-faceted repertoire, impeccable technique and irresistibly beautiful tone turned every performance into an event. Rubinstein played works from the German classic and romantic eras as well as Russian, Spanish and French piano works. He devoted himself particularly intensively to the works of his fellow countryman Chopin and set standards in Chopin interpretation with his unsentimental playing . Rubinstein dominated the concert halls of the world for three quarters of a century. In 1976 he withdrew from the concert stage in London with a farewell concert, and in December 1982 he died in Geneva at the age of 95.
Chopin, Scherzo in B flat minor, op.31
Artur Rubinstein was one of the greatest pianists of the 20th century. Born in Lodz in 1887, he took piano lessons in his native city and at the Warsaw Conservatory. In Berlin he continued his training and debuted there in 1900 under the musical direction of Joseph Joachim. This was followed by appearances in America and many European countries. At the beginning of the First World War, he vowed never to play again in Germany. As a Pole and Jew, he renewed this vow and maintained it till the end of his life. After three decades of active concert activity, the bon-vivant Rubinstein made an artistic pause in 1932 and returned to public performance in 1937, at the age of 50. Rubinstein, the blessed virtuoso, as Thomas Mann once called him, worked with the most famous musicians of his time, made recordings and was celebrated all over the world as the “Pianist of the century.” Rubinstein’s interpretations are considered to this day as exemplary, and often unsurpassed. His multi-faceted repertoire, impeccable technique and irresistibly beautiful tone turned every performance into an event. Rubinstein played works from the German classic and romantic eras as well as Russian, Spanish and French piano works. He devoted himself particularly intensively to the works of his fellow countryman Chopin and set standards in Chopin interpretation with his unsentimental playing . Rubinstein dominated the concert halls of the world for three quarters of a century. In 1976 he withdrew from the concert stage in London with a farewell concert, and in December 1982 he died in Geneva at the age of 95.
Brahms, Variations on a theme by Haydn, op.56
Brahms, Gipsy-Songs, op.103
In April 1972, the mezzo-soprano Christa Ludwig, accompanied by Leonard Bernstein, gave a recital with lieder by Johannes Brahms in Vienna’s Musikvereinssaal. They performed the same program in New York’s Town Hall, and, while on a concert tour of Israel, recorded it for television at the Tel Aviv Museum in May 1972. Christa Ludwig, a highly expressive and intelligent artist, has been hailed as the best Mozart and Strauss mezzo of her generation. In addition, she has always shown a great predilection for the lied, and is known for her soulful interpretations of lieder by Brahms, Mahler and Schubert.
Brahms, Two Songs with Viola, op.91
In April 1972, the mezzo-soprano Christa Ludwig, accompanied by Leonard Bernstein, gave a recital with lieder by Johannes Brahms in Vienna’s Musikvereinssaal. They performed the same program in New York’s Town Hall, and, while on a concert tour of Israel, recorded it for television at the Tel Aviv Museum in May 1972. Christa Ludwig, a highly expressive and zzo intelligent artist, has been hailed as the best Mozart and Strauss mezzo of her generation. In addition, she has always shown a great predilection for the lied, and is known for her soulful interpretations of lieder by Brahms, Mahler and Schubert.