Brahms, Violin Concerto in D major, op. 77

Between 1981 and 1984, Leonard Bernstein recorded nearly all of Brahms’s orchestral works with the Vienna Philharmonic Orchestra to honor the 150th anniversary of the composer’s birth in 1983. Today, the cycle is considered as a landmark in the interpretation of Brahms’ music. For Bernstein, Brahms was “a true Romantic, containing his passions in classical garb”, but also a “North-German classicist swept away to Vienna, and fired by Danubian, Carpathian and gypsy passions”. Bearing this dualism in mind, Bernstein and the Vienna Philharmonic have underscored both the classicism and romanticism, the dramatic intensity and the sober restraint of Brahms’s music. The venue was Vienna’s Musikvereinssaal, where two of Brahms’s symphonies were premiered and where Brahms himself conducted. For the concertos, Bernstein enlisted the services of some of the finest Brahms interpreters of the time: the violinist Gidon Kremer, the cellist Misha Maisky and the pianist Krystian Zimerman.

Wendung

“Schubert saw himself as a wanderer, as a guest on this earth. Many of his works mark the stations of his wanderings – phases of his roaming about in the darkness. For the immediate goal is death, but the later goal the immeasurable heaven he has carried with him in his mind’s eye since his childhood. The composer has varied and glorified this idea of death as the gentle friend of youth. And it comes through again in many of his movements, not only the slow ones, where this glorification and gracious melancholy are no less clear, even when it is only implied and seems secret. It is Schubert’s most profound acknowledgement of this life and the life to come.” (John Neumeier) The ballet was recorded at the Hamburg State Opera in the fall of 1979.

Vivaldi, Le Quattro Stagioni (The Four Seasons)

In a career now spanning more than a quarter of a century, Gidon Kremer has confirmed his reputation as an artist of international stature and as a markedly individual personality. Kremer was born in Riga, Latvia, in 1947. At the age of 18, he auditioned for David Oistrach and was one of the few pupils chosen by the maestro to study under him at the Moscow Conservatory. In 1967 Kremer won his first international prize at the Reine Elisabeth Competition in Brussels. This was followed by further awards in Montreal and Genoa, and culminated in the first prize at the Tchaikovsky Competition in Moscow in 1970. In 1981 Kremer founded the Lockenhaus Chamber Music Festival, where he gathers around him a varying, but always dynamic group of chiefly young musicians to discover new pieces and rediscover the standard works through new interpretations. Kremer is also actively committed to contemporary composers from Russia and Eastern Europe, such as Schnittke, Denisov, Gubaidulina and Pärt. In this recording, Kremer not only plays the solo part, but also leads the renowned English Chamber Orchestra. The recording was made in April 1981 in the splendid Baroque library of the monastery in Polling near Munich.

Mozart, Piano Concerto No.17 in G major, K. 453

Throughout his life, Leonard Bernstein had held the music of W.A. Mozart in the highest esteem and particularly enjoyed conducting the piano concertos from the keyboard, playing the solo part himself, as in this recording. In a televised lecture-concert with the New York Philharmonic from Venice’s La Fenice Opera House in 1959, Bernstein played the second and third movements of the Piano Concerto in G major K. 453, which he prefaced with the words: “If I absolutely had to name my all-time favorite piece of music, I think I would vote for the Andante we are to hear now. It is Mozart at the peak of his lyrical powers, combining serenity, melancholy, and tragic intensity in one great lyric improvisation. You will hear the tranquillity of a Schubert Lied, the filigree of a Chopin, the brooding of a Mahler. And I would like you to be aware, particularly, of the beauty of its orchestration. This concerto is orchestrally rather modest, even within the already limited frame of the 18th-century orchestra. For instance, it employs neither trumpets nor drums nor clarinets; and yet, wait till you hear the wonders Mozart produces with three solo woodwinds, blending like three glorious voices in an operatic trio, or the rich pathos he can create with a little inner melody played by the violas. Again, even in his orchestration Mozart has transcended his time. […] And now we emerge from the contemplation and mystery of that almost sacred Andante, into the brilliant light of the Finale. Brilliant – that is the word for this marvelous rococo set of variations. The whole movement is bathed in a glitter that could have come only from the 18th century, from that age of light, lightness, and enlightenment. It is a perfect product of the age of reason – witty, objective, graceful, delicious. And yet, over it all hovers the greater spirit that is Mozart’s – the spirit of compassion, of universal love, even of suffering – spirit that knows no age, that belongs to all the ages.”

Beethoven, Piano Concerto No.5 in E flat major, op.73 “Emperor”

Beethoven’s Fifth Piano Concerto, his longest and most forceful, was composed in 1809. The opening movement immediately proclaims the concerto’s air of command, with its unexpected beginning by the soloist alone. This very long first movement is followed by a compressed, intense second movement. Over a sustained, expectant low note held by the horns at the very end of the movement, the piano begins to build a theme which turns out to be the choppy, powerful rondo theme of the third movement. This work represents a synthesis of all the contrary forces at work in Beethoven’s oeuvre. Though it is often called the “Emperor” in English-language music literature, Beethoven did not call it thus. The work was premiered in Leipzig on 28 November 1811. Soloist Maurizio Pollini is one of the most distinguished pianists of our time, who has performed with the world’s leading orchestras. A committed advocate of contemporary music, Pollini frequently performs works by Schoenberg, Berg, Webern, Nono, Boulez and Stockhausen. However, he has also given complete cycles of the Beethoven sonatas in Berlin, Milan, New York, Munich and other cities. On the occasion of a performance of the Beethoven concertos at New York’s Carnegie Hall, the Vienna Philharmonic Orchestra presented him with its “golden ring”, a rare distinction awarded to only few musicians.

Beethoven, String Quartet No.14 in C sharp minor, op.123

The introverted and personal quality of Beethoven’s late style is evident in this string quartet, written the year before the composer’s death. At this stage in Beethoven’s life, he was composing more for himself than for an audience, for he no longer felt it necessary to prove himself to his public. Despite the popular belief that Beethoven (at that time) was indifferent to the sound of his music because of his deafness, his sketchbooks show that he rewrote the last four bars of the variations of the quartet 12 times. It is the music of a man who has experienced life. The composer thought that this was his greatest string quartet. A traditional string quartet consists of two violins, one viola and one cello, and is usually in four movements; the String Quartet in C sharp minor contains seven movements, played without a pause. Leonard Bernstein said: “The C sharp minor Quartet seems to cry out for the whole string section.” In this performance, the work is played by an orchestra of 60 strings. This recording is part of Leonard Bernstein’s Beethoven cycle, recorded primarily with the Vienna Philharmonic Orchestra in the early 1980s. Writing in The New York Times, critic John J. O’Connor stated: “As Mr. Bernstein says, there is ‘no single body of work in the universe of orchestral music that is in any way comparable to this one.’ Conducted with intense dedication and soaring spirits by Mr. Bernstein, these recordings are superb, both visually and aurally.”

Mendelssohn, Symphony No.3 in A minor, op.56 “Scottish”

One of the leading conductors of our time, Christoph von Dohnanyi was born in Berlin in 1929 and studied law in Munich after the war, later deciding to devote himself exclusively to music. His most important teacher was his grandfather, the composer Ernst von Dohnanyi, with whom he studied at the University of Florida. Dohnanyi also took conducting courses in Tanglewood. His career began when Georg Solti called him to the Frankfurt Opera in 1953, where he was choral conductor and later orchestral conductor. He then took posts in various German cities before serving as principal conductor and general manager of the Hamburg State Opera from 1978 to 1984. In 1984 he succeeded Lorin Maazel as permanent conductor of the Cleveland Orchestra. It is rare to find a conductor of Dohnanyi’s eminence who devotes such a great deal of time and energy to contemporary music. He has led the world premieres of Hans Werner Henze’s operas “Der junge Lord” and “Die Bassariden,” Gottfried von Einem’s “Kabale und Liebe” and Friedrich Cerha’s “Baal,” along with a number of orchestral works. One of the highlights of Unitel’s recordings of 20th-century works is Gustav Rudolf Sellner’s Berlin production of Henze’s “Der junge Lord” with several members of the world premiere, including Edith Mathis, Donald Grobe and Loren Driscoll. Also available are recordings of Richard Strauss’s “Burleske,” Béla Bartók’s “The Miraculous Mandarin” and Mendelssohn’s “Symphony No. 3,” the “Scottish” – all three of which were recorded with the Vienna Philharmonic in 1977 at Vienna’s Musikvereinssaal.

Bruckner, Te Deum

Anton Bruckner (1824-1896) completed his Te Deum in 1883. It is perhaps his most “modern” work, with its ostinato technique, sharply delineated sound groups and primeval rhythmic power pointing ahead to the 20th century. In this 1978 production with the Vienna Philharmonic and chorus of the Wiener Singverein under Herbert von Karajan (1908-1989), the work unfolds its full majesty particularly thanks to the great soloists Anna Tomowa- Sintow, Agnes Baltsa, David Rendall and José van Dam. And, of course, to Herbert von Karajan, one of Bruckner’s most congenial interpreters. Karajan embodied classical music in the general consciousness as an epoch- making conductor, media star, opera producer, festival director and festival founder. But in spite of his Promethean and widely varied activities, he remained a superb conductor, with a grasp of the standard orchestral and operatic repertory from Mozart to Schoenberg that was unsurpassed among his peers.