Mozart, Piano Concerto No.19 in F major, K. 459

The soloist in this concerto conducted by Karl Böhm and played by the Vienna Philharmonic Orchestra is Maurizio Pollini, one of the most enigmatic figures in today’s musical world. Although he approaches the repertoire in a profoundly spiritual manner, Pollini does not ban brilliance and dazzling virtuosity from his playing. His lyrical and intense art makes him predestined for Mozart, whose works he has been interpreting in a completely new light for many years now. Mozart wrote his concerto K. 459 in 1784 as one of the six concertos written in that year for a series of subscription concerts in which he regularly played a new work of his own creation. Its first movement begins with a jaunty rhythm reminiscent of that used in the Symphonies K. 550 and 551. The orchestra claims equal partnership right away, the masterful interplay of the winds, strings and solo instrument revealing the full extent of Mozart’s innovative treatment of the concerto form. Maurizio Pollini first drew widespread attention when he won the first prize at the Chopin Competition in Warsaw in 1960 and was expressly praised by Arthur Rubinstein, the president of the jury. Surprisingly, he turned down the many offers of performances he then received in order to “listen” and meditate. It was only after working with Michelangeli that he launched his international career. A socially committed artist, he rejected all forms of elitism. He has played for workers in factories and given concerts to support political causes. In addition to the romantic repertoire, which he masters superbly, he has always shown a predilection for contemporary works, especially those of Stockhausen and Nono. He recorded this concerto at Vienna’s Musikvereinssaal in April 1976. Karl Böhm conducts the Vienna Philharmonic.

Brahms, Piano Concerto No.2 in B flat major, op.83

Brahms himself played the solo part at the world premiere of his Piano Concerto No. 2 in Budapest’s Redoutensaal on 9 November 1881. The work opens with a beautiful horn call which is like a magical summons to the other instruments. The Scherzo is of symphonic proportions and richness. The nocturne-like mood of the slow movement is based on the song of a solo cello, a simple eight-measure phrase. The finale has a bright, skipping figure for the piano as the principal rondo refrain. Maurizio Pollini was born in Milan to a family of artists in 1942. In 1960 he won the first prize at the Chopin Competition in Warsaw. Since then, he has been a leading protagonist at all major concert venues in Europe, as well as in America and Japan.

Copland, Symphony No.3

Aaron Copland (1900-1990), one of the most “American” of American composers, developed his unmistakable style by assimilating influences from popular and folk music of North and South America, as well as from European art music. He became friends with Bernstein in 1937 and, as his composition teacher, exercised perhaps the strongest influence on Bernstein, the composer. Copland’s Third Symphony is a very special work for Leonard Bernstein, since he conducted it several times with the Israel Philharmonic during his triumphal tour of Israel in 1948.

Beethoven, String Quartet in F major, op.59/1 “Rasumovsky Quartet”

Since its founding in 1946 in New York, the Juilliard Quartet has been synonymous with the genre of the string quartet. The repertoire of the ensemble comprises around 500 works – from J. S. Bach’s “Art of Fugue” to contemporary works which were written for the Juilliards. The four musicians have also trained generations of string quartets as teachers at the Juilliard School of Music in New York – from the Emerson Quartet to the Tokyo String Quartet. Robert Mann, the first violin, belonged to the founding members and retired in 1997 at the age of 77. Earl Carlyss was second violinist from 1966-1986 and was followed by Joel Smirnoff, who changed from the second to the first violin in 1997. Samuel Rhodes joined the ensemble as violist in 1969 and Joel Krosnick as cellist in 1974.

Beethoven, String Quartet in C sharp minor, op.131

Since its founding in 1946 in New York, the Juilliard Quartet has been synonymous with the genre of the string quartet. The repertoire of the ensemble comprises around 500 works – from J. S. Bach’s “Art of Fugue” to contemporary works which were written for the Juilliards. The four musicians have also trained generations of string quartets as teachers at the Juilliard School of Music in New York – from the Emerson Quartet to the Tokyo String Quartet. Robert Mann, the first violin, belonged to the founding members and retired in 1997 at the age of 77. Earl Carlyss was second violinist from 1966-1986 and was followed by Joel Smirnoff, who changed from the second to the first violin in 1997. Samuel Rhodes joined the ensemble as violist in 1969 and Joel Krosnick as cellist in 1974.

Mahler, Symphony No.1 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)

Strauss, Don Quixote, op.35

Commanding the podium with his slender figure, theatrical shock of hair and penetrating blue eyes, Herbert von Karajan projected the hieratic image of the conductor as officiant of some quasi-mystic rite. And anyone who ever saw him conduct live or on his many audiovisual recordings will agree that in his performances, music did indeed become a religion and Karajan its high-priest. Karajan (1908-1989) 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. This recording was made in Berlin in 1975 with the Berlin Philharmonic. The soloists were Ulrich Koch (viola solo) and Mstislav Rostropovich, arguably the most outstanding cellist in the world today.