Holst, The Planets, op.32
The Philadelphia Orchestra was founded in 1900. Eugene Ormandy (1899-1985) stood at its head as principal conductor from 1936 to 1980. Continuing the work of his predecessor Leopold Stokowski, he turned the orchestra into one of the leading ensembles not only of the United States, but of the world. Under his direction, the orchestra became renowned in particular for its performances of late romantic and early 20th-century music.
Holst, The Planets – Visual impressions on a composition performed by Eugene Ormandy
Bach, Suite (Overture) No. 3 in D major, BWV 1068
In Bach’s time, the terms “suite” and “overture” were often used interchangeably. This was because the first movement of a suite was generally a French Overture and tended to dominate the entire work. Bach himself referred to his four orchestral suites as “overtures.” The four overtures which open each of Bach’s four orchestral suites are among his most majestic achievements. The custom of rounding off the grandiose Baroque overtures with a string of dances and other light pieces was perhaps suggested by popular Rococo suites of dances for chamber or keyboard instruments. A musician’s musician, an occasional firebrand and a constant paradox – Nikolaus Harnoncourt (born in 1929) is one of the most profound and intriguing conductors of our time. Considered one of the world’s leading specialists of Baroque music, he has long since turned his attention to Mozart, Beethoven, Schubert, and even to Jacques Offenbach and Johann Strauss. He spent many years as a cellist with the Wiener Symphoniker before founding the “Concentus Musicus Wien” with his wife Alice in 1953. It soon became one of the world’s most respected ensembles specializing in the performance of early music on original instruments. In the 1970s, Harnoncourt joined forces with Jean-Pierre Ponnelle to stage a series of Monteverdi operas at the Zurich Opera House. This universally acclaimed cycle contributed to a renaissance of Monteverdi’s music and set standards for early Baroque performance practice. He later began to turn his attention more and more to the music of Mozart, whom he considers “the most romantic of all composers”. Harnoncourt did not make his official debut at the Salzburg Festival until 1992. He has been conducting there regularly since then and is a sought-after guest conductor of such reputable ensembles as the Berlin and Vienna Philharmonics, the Concertgebouw Orchestra of Amsterdam and the Chamber Orchestra of Europe.
Bach, Concerto for Oboe, Violin and Orchestra in D minor, BWV 1060
In spite of its popularity, Johann Sebastian Bach’s Concerto for Oboe, Violin and String Orchestra in D minor BWV 1060 is actually a reconstruction, since the original version was lost. Our work was reconstructed by Max Schneider from Bach’s Concerto for two harpsichords in C minor. Besides the key change, the transcription primarily involved the transposition of both right-hand harpsichord parts to the violin and oboe respectively. The original work was possibly written in Köthen or in Bach’s early Leipzig years. Its virtuoso solo writing and three-movement fast-slow-fast structure reflect the influence of Antonio Vivaldi. In a typically Baroque manner, the tutti opening theme of the first movement provides the material out of which the episodes are spun. In the elegiac slow movement, the two solo instruments dialogue lovingly over a discreet pizzicato bass. The closing Allegro, with its aggressive jagged theme, is still more ebullient and energetic than the first movement. Nikolaus Harnoncourt was born in Berlin in 1929. His dissatisfaction with conventional interpretations of early music led him to found the Concentus Musicus with his wife Alice in 1953. The unusual, radically different musical style of the ensemble, combined with its insistence on using only historical instruments, quickly earned it a prominent reputation. Its international concert tours met with triumphal acclaim. In addition to leading his ensemble, Harnoncourt regularly conducts such prestigious orchestras as the Berlin and Vienna Philharmonics, the Concertgebouw Orkest Amsterdam, the Chamber Orchestra of Europe and others. Together with Jean-Pierre Ponnelle, he produced a universally acclaimed cycle of operas by Mozart and Monteverdi at the Zurich Opera House.
Haydn, Sinfonia Concertante in B flat major
In his Sinfonia Concertante for violin, violoncello, oboe, bassoon and orchestra, Haydn combined typical stylistic features of the solo concerto with elements of the classic symphony. As a conductor, he was keenly aware of the extent to which individual orchestral players hankered after recognition as solo performers. Consequently this work, which was first performed in London on 9 March 1792, offers an opportunity for four soloists to demonstrate their virtuosity in competition with the orchestra. By making the violin the most prominent of the solo instruments, Haydn expressed his gratitude to the violinist Johann Peter Salomon, who was also the organizer of the London concerts. 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.
Bernstein, Divertimento for Orchestra
Leonard Bernstein was one of the greatest and most universal musical personalities of our time. He secured an international reputation as a performing artist (conductor and pianist) and as a composer. With regard to his creative activity, it should be noted that he was just at home in the world of serious, “avant-garde” music as in that of sophisticated “light” music. His first works betrayed the distinct influence of Aaron Copland, Igor Stravinsky and Paul Hindemith. However, they already included stylistic traits derived from jazz. Bernstein’s music is stamped by exceptionally expressive melodies and striking rhythms. This and their primeval vitality helped them become popular all over the world.
Schumann, Symphony No.1 in B flat major, op.38
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Schumann, Symphony No.3 in E flat major, op.97
Following the cycles of orchestral works by Mahler, Beethoven and Brahms, Unitel chose to honor Robert Schumann in 1984/85 with this cycle performed by the Vienna Philharmonic under Leonard Bernstein. Schumann’s orchestral works are firmly established in the repertoire of the Vienna Philharmonic. The glowing, romantic sound of this orchestra and Leonard Bernstein’s expressive interpretation complement each other in an ideal way to produce a perfect rendering of Schumann’s symphonic oeuvre. Schumann’s four symphonies, his piano concerto, the violoncello concerto and the Manfred Overture have been filmed and recorded in the “Golden Hall” of the Vienna Musikverein, held to rank acoustically among the world’s best halls. The soloists are Justus Frantz, piano, and the cellist Misha Maisky.
Mozart, Violin Concerto No.2 in D major, K. 211
The violin concertos K. 211, 216, 218 and 219 were all composed within a few months, between June and December 1775, while Mozart was in the employ of the Archbishop of Salzburg. The violin concerto No. 2 radiates a distinctly galant atmosphere reminiscent of the French style of violin playing. Dazzling and elegant, it gives the soloist luminous passages such as the minor-key melody in the first movement and the main melody of the Andante. The concluding Rondo again recalls the brilliance of the French style. After having devoted himself to Baroque music for many years, Nikolaus Harnoncourt began turning increasingly to the orchestral works of Mozart in the 1980s. Here, too, Harnoncourt’s views differed radically from those of traditional Mozart reception. For him, Mozart is “the most romantic composer of all”, his music “dramatic, dynamic, often strikingly and exceedingly emotional”. In Gidon Kremer, Harnoncourt found a partner who shared his views. The German-Russian violin virtuoso has also sought his own path in his Mozart interpretations. In 1970 the then 23-year-old virtuoso attained the first peak of his career by winning the first prize at the International Tchaikovsky Competition in Moscow. He has since become one of the most sought-after violinists in the world. It should also be noted that the Vienna Philharmonic, celebrated for its natural and graceful Mozart style, initially opposed Harnoncourt’s unconventional concepts. However, the orchestra was soon won over by the unusual stylistic approach often concertizes with Harnoncourt today.