Leonard Bernstein and George Gershwin – two musicians inseparably linked with America – form an exuberant and stimulating combination in this program with the New York Philharmonic. Gershwin was one of the American composers Bernstein revered the most and one who, along with Mahler, Copland and Blitzstein, exerted a great influence on him as a composer. For his senior thesis at Harvard University, for example, Bernstein set out to show that Gershwin and Copland had created a national musical style by responding creatively to jazz and Latin-American influences. And when his musical “On the Town” was premiered in 1944, one critic described it as “an energetic blend of Stravinsky and Gershwin.” If anyone could do justice to Gershwin’s spirited, swinging style, it was unquestionably Leonard Bernstein.
Haydn, Symphony No.97 in C major
Haydn composed this lesser-known but nevertheless highly inventive and charming work during his first stay in London in 1791-92. Its inner symmetry and Mozartian delicacy easily place it on a par with Haydn’s more famous compositions. The prominence accorded to the two violin parts (a tribute to the violinist Salomon) in the slow movement lends the latter an almost concertante air. With its toe-tapping brightness, the minuet is especially attractive; the finale also typifies the sense of gaiety and sheer high spirits found in all of Haydn’s music. Leonard Bernstein began conducting Haydn’s orchestral works when he was still Music Director of the New York Philharmonic Orchestra. Since then, his interpretations of the symphonies have consistently met with unreserved critical acclaim. He, of all conductors, possessed precisely the qualities which Haydn’s music requires: grace, charm and a generous measure of wit. This production with the Vienna Philharmonic Orchestra was recorded in 1984.
Sousa, The Stars and Stripes Forever
Avowedly popular in style, spirit and feeling – and proud of it – was John Philip Sousa (1854-1932), whose march The Stars and Stripes Forever of 1897 not only brought him lasting fame among band lovers the world over, but also the handsome sum of $300,000 in royalties! Sousa, incidentally, wrote not only march music, but also successful operettas, books and poetry as well. Leonard Bernstein conducts the New York Philharmonic Orchestra. The concert was recorded at the Jahrhunderthalle in Hoechst, Germany, in 1976.
Gershwin, Rhapsody in Blue
Leonard Bernstein and George Gershwin – two musicians inseparably linked with America – form an exuberant and stimulating combination in this program with the New York Philharmonic. Gershwin was one of the American composers Bernstein revered the most and one who, along with Mahler, Copland and Blitzstein, exerted a great influence on him as a composer. For his senior thesis at Harvard University, for example, Bernstein set out to show that Gershwin and Copland had created a national musical style by responding creatively to jazz and Latin-American influences. And when his musical “On the Town” was premiered in 1944, one critic described it as “an energetic blend of Stravinsky and Gershwin.” If anyone could do justice to Gershwin’s spirited, swinging style, it was unquestionably Leonard Bernstein.
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.
The Love of Three Orchestra
Leonard Bernstein’s relationships with the orchestras he conducted were always intense. At their best, he felt that they were somewhere between a love affair and a family in which he played the role of the father. In more than 40 years on the podium, he enjoyed this special kind of relationship with a number of orchestras in the Old World and the New. “The Love of Three Orchestras” is an account of that experience, but concentrates on the three great orchestral families closest to his heart: the New York Philharmonic, the Israel Philharmonic, and the Vienna Philharmonic Orchestras. Bernstein begins by looking back to that moment in 1943 when he made his triumphant debut with the New York Philharmonic at age 25. Among the landmarks he recalls are the Young People’s Concerts and his twelve years as musical director. Bernstein’s association with the Israel Philharmonic Orchestra began in 1947. His reminiscences include stories of performances during the early battle-torn days of the foundation of the State of Israel. Bernstein’s relationship with the Vienna Philharmonic began in 1966. He tells how the relationship got off to a disastrous start and recounts some of the difficulties he found in playing the music of Gustav Mahler with them. The music sequences and examples which illustrate Bernstein’s reminiscences are taken from Unitel films and videotapes directed by Humphrey Burton.
Young People’s Concerts: Toast to Vienna in 3/4 Time
Awarded four Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting,” Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired on CBS from 1958 to 1972, these 53 one-hour programs were written and hosted by Leonard Bernstein. With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers. “Lectures accompanying music might not sound like the formula of a hit kids’ TV program, but Bernstein was the secret ingredient who made it work” (Variety). Balancing scholarship and showmanship, Maestro Bernstein brings the full range of his magnetic personality to play in these programs. And he succeeds in infecting viewers young and old, connoisseurs and the uninitiated, with his overwhelming love of music. Bernstein pays tribute to the New York Philharmonic’s “fraternal orchestra,” the Vienna Philharmonic, in celebration of the 125th anniversary of both orchestras. Works by Johann and Richard Strauss, Mozart, Beethoven, and Mahler are performed, preceded by brief discussions.
Young People’s Concerts: Fidelio: A celebration of life
Awarded four Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting,” Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired on CBS from 1958 to 1972, these 53 one-hour programs were written and hosted by Leonard Bernstein. With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers. “Lectures accompanying music might not sound like the formula of a hit kids’ TV program, but Bernstein was the secret ingredient who made it work” (Variety). Balancing scholarship and showmanship, Maestro Bernstein brings the full range of his magnetic personality to play in these programs. And he succeeds in infecting viewers young and old, connoisseurs and the uninitiated, with his overwhelming love of music. Bernstein takes a look at Beethoven’s so-called “flawed masterpiece” – his only opera, “Fidelio.” After discussing the story and its problems, excerpts are performed. Four vocal selections from Act II follow, each preceded by an analysis and plot summary.
Young People’s Concerts: Two Ballet Birds
Awarded four Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting,” Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired on CBS from 1958 to 1972, these 53 one-hour programs were written and hosted by Leonard Bernstein. With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers. “Lectures accompanying music might not sound like the formula of a hit kids’ TV program, but Bernstein was the secret ingredient who made it work” (Variety). Balancing scholarship and showmanship, Maestro Bernstein brings the full range of his magnetic personality to play in these programs. And he succeeds in infecting viewers young and old, connoisseurs and the uninitiated, with his overwhelming lov of music. Bernstein compares the main theme of Tchaikovsky’s “Swan Lake” with Stravinsky’s “Firebird.” A performance of the pas de deux from “Swan Lake” illustrates the concept of abstract ballet, followed by the “Firebird” Suite and other excerpts from the Stravinsky ballet.
Young People’s Concerts: Berlioz takes a trip
Awarded four Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting,” Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired on CBS from 1958 to 1972, these 53 one-hour programs were written and hosted by Leonard Bernstein. With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers. “Lectures accompanying music might not sound like the formula of a hit kids’ TV program, but Bernstein was the secret ingredient who made it work” (Variety). Balancing scholarship and showmanship, Maestro Bernstein brings the full range of his magnetic personality to play in these programs. And he succeeds in infecting viewers young and old, connoisseurs and the uninitiated, with his overwhelming love of music. Bernstein discusses what he describes as the “first psychedelic symphony,” Berlioz’s “Symphonie fantastique,” examining the concept of the “idée fixe” in music and illustrating this concept with excerpts from the first movement. Bernstein analyzes the music and discusses the storyline of the remaining movements, which are performed by the Philharmonic.