Bach, Weihnachtsoratorium (Christmas Oratorio) BWV 248

Considered one of the world’s leading specialists of Baroque music, Nikolaus Harnoncourt founded the “Concentus Musicus Wien” in 1953. It has since become one of the world’s most respected ensembles specializing in the performance of early music on original instruments or faithful reproductions. With its opulent decor and gilt ornamentation, the Austrian Baroque church of Waldhausen provides a setting evocative of Bach’s times. An added highlight of the program is the retelling of the Nativity story with the magnificent carved figures of two master wood-carvers of the Baroque period from Upper Austria. Also heard on the recording are the distinguished tenor Peter Schreier, bass Robert Holl and the Tölzer Boys’ Choir.

Bloch, Schelomo – Hebrew Rhapsody for Violoncello and Orchestra

Born in Geneva on July 24, 1880, Ernest Bloch left his native Switzerland in 1917 and emigrated to the United States. He left an impressive amount of high-quality works. Among his many symphonic pieces, however, only the cello rhapsody Schelomo (1915/16) has acquired a permanent place in the concert repertoire. He had apparently been inspired to write it when he saw a statue of King Solomon made by the wife of a fellow cellist in Switzerland. He wrote that “it is the Jewish soul that interests me, the complex, glowing, agitated soul that I feel vibrating throughout the Bible; the freshness and naiveté of the Patriarchs; the violence that is evident in the prophetic books; the Jew’s savage love of justice; the despair of the preacher of Jerusalem; the sorrow and the immensity of the Book of Job; the sensuality of the Song of Songs.” Although Bloch did not use any authentic Hebrew material in his “Hebrew Rhapsody”, the listener is immediately ushered into an exotic, archaic world in which the ancient prophets, the Scriptures and the construction of the Temple are virtually palpable. There is a sense of timelessness that is the expression of true art. The recording of Bloch’s Schelomo features the great Mstislav Rostropovich as the soloist, with the Orchestre National de France led by Leonard Bernstein.

Brahms, Symphony No.3 in F major, op.90

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. The Symphony No. 3 was recorded live at the Berlin Philharmonie in 1973.

Brahms, Symphony No.1 in C minor, op.68

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. The Symphony No. 1 was recorded live at the Berlin Philharmonie in 1973.

Gershwin, Rhapsody in Blue

Leonard Bernstein (1918-1990) and George Gershwin (1898-1937), 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. This performance with the New York Philharmonic and Leonard Bernstein as soloist and conductor was

recorded at the Jahrhunderthalle in Hoechst, Germany, in 1976.

Beethoven, Symphony No.5 in C minor, op.67

“A rhapsody of genius” are the words the noted German poet, composer and painter E.T.A. Hoffmann used to describe the Fifth Symphony. One of the best known and most beloved in music literature, it was composed in the years 1804-1807, although sketches for the first three movements date back to 1800. The first performance took place on 22 December 1808 in Vienna with Beethoven conducting. Perhaps the most famous phrase in symphonic music opens the work and dominates the first movement, which then gives way to a set of variations on one long, extended theme in the second movement. The four-note introduction reemerges in the third movement, a Scherzo, with the double bass taking on a tremendous role. Finally, the fourth movement is a magnificent, joyous explosion of music, almost a triumphant march. Leonard Bernstein recorded this work in an all-Beethoven concert with the Orchestra of the Bavarian Radio at Munich’s Deutsches Museum in 1976.