Wagner’s overture to “Tannhäuser” is as beloved as his “Flying Dutchman” overture and also structured primarily around two themes. The first, which later becomes the motif of the Pilgrims’ Chorus, glows with all the solemnity of a chorale and unfolds with majesty, presented first by the clarinet, bassoon and horns. The second theme evokes the realm of love and is dominated by the chromatic theme of the Venusberg before the entire orchestra joins forces to intone Tannhäuser’s dazzling hymn. This recording of the “Tannhäuser” Overture dates from 1975 and is part of a special “overture” special directed by Herbert von Karajan and produced with the Berlin Philharmonic for Unitel.
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.
Chopin, Piano Concerto No.2 in F minor, op.21
Grieg, Piano Concerto in A minor, op.16
At 88, Artur Rubinstein showed no trace of losing that quality of “joie de vivre” that had so fascinated audiences for almost three quarters of a century. The true Rubinstein sound, full and sonorous at every pitch, was always one of the distinctive marks of his playing ever since he began appearing in public. Rubinstein’s performance of Grieg’s ever-popular piano concerto, accompanied by the London Symphony Orchestra under André Previn, is a perfect testimony of his notion of a “singing tone”. With playing that is by turns vital and poetic, extrovert and reflective, rhapsodic and poised, this performance, filmed in April 1975 at London’s Fairfield Hall, is Rubinstein at his warm-hearted, lyrical best.
Brahms, Piano Concerto No.1 in D minor, op.15
Beethoven, Piano Concerto No.3 in C minor, op.37
Concerto Barocco
Born in St. Petersburg in 1904, George Balanchine – his name was actually Georgi Melitonovich Balantchivadse – studied at the Imperial ballet academy. In 1924 he did not return to Russia from a European tour of Soviet star dancers. He worked as a choreograph for the Ballets Russes, founded by his fellow countryman Diaghilev, and, along with Igor Stravinsky, left his unmistakable mark on the evolution of the modern ballet. The world premiere of “Apollon musagète” in 1928 was considered as the beginning of the modern era in the ballet world. In 1934 Balanchine went to the U.S., where he first led the American School of Ballet and, in 1948, founded the New York City Ballet, which achieved international fame as “his” troupe. Of Balanchine’s more than 400 works, including the choreographies for musicals and operas, pieces such as “Serenade” (1934), “Concerto barocco” (1941), “The Four Temperaments” (1946), “Agon” (1957), “Violin concerto” (1972) and “Davidsbündlertänze” (1980) are regarded as masterworks of the dance in the 20th century. George Balanchine died in New York on 30 April 1983.
Brahms, Intermezzo in B flat minor, op.117
One of this century’s great pianists, Artur Rubinstein (1887-1982) began playing the piano at the age of three and concertized tirelessly until nearly ninety. He made his official debut in Berlin in 1900 playing, among other works, Saint-Saëns’ G minor Concerto Op. 22, which remained a vehicle for Rubinstein’s virtuosity throughout his career. He was often heard in concertos by Brahms and Beethoven. Indeed, Brahms was the composer who initially aroused the pianist’s strongest and deepest artistic instincts. This place was later taken by Chopin. In his later years, Rubinstein was noted for his Chopin interpretations, which were marked by impeccable style, warm lyricism and passionate eloquence. The Brahms piano pieces were recorded in August 1973 at Amsterdam’s Concertgebouw.
Brahms, Capriccio No.2 in B minor, op.76
One of this century’s great pianists, Artur Rubinstein (1887-1982) began playing the piano at the age of three and concertized tirelessly until nearly ninety. He made his official debut in Berlin in 1900 playing, among other works, Saint-Saëns’ G minor Concerto Op. 22, which remained a vehicle for Rubinstein’s virtuosity throughout his career. He was often heard in concertos by Brahms and Beethoven. Indeed, Brahms was the composer who initially aroused the pianist’s strongest and deepest artistic instincts. This place was later taken by Chopin. In his later years, Rubinstein was noted for his Chopin interpretations, which were marked by impeccable style, warm lyricism and passionate eloquence. The Brahms piano pieces were recorded in August 1973 at Amsterdam’s Concertgebouw.
Schubert, Impromptu in A flat major, op.90 No.4
Artur Rubinstein was one of the greatest pianists of the 20th century. Born in Lodz in 1887, he took piano lessons in his native city and at the Warsaw Conservatory. In Berlin he continued his training and debuted there in 1900 under the musical direction of Joseph Joachim. This was followed by appearances in America and many European countries. At the beginning of the First World War, he vowed never to play again in Germany. As a Pole and Jew, he renewed this vow and maintained it till the end of his life. After three decades of active concert activity, the bon-vivant Rubinstein made an artistic pause in 1932 and returned to public performance in 1937, at the age of 50. Rubinstein, the blessed virtuoso, as Thomas Mann once called him, worked with the most famous musicians of his time, made recordings and was celebrated all over the world as the “Pianist of the century.” Rubinstein’s interpretations are considered to this day as exemplary, and often unsurpassed. His multi-faceted repertoire, impeccable technique and irresistibly beautiful tone turned every performance into an event. Rubinstein played works from the German classic and romantic eras as well as Russian, Spanish and French piano works. He devoted himself particularly intensively to the works of his fellow countryman Chopin and set standards in Chopin interpretation with his unsentimental playing . Rubinstein dominated the concert halls of the world for three quarters of a century. In 1976 he withdrew from the concert stage in London with a farewell concert, and in December 1982 he died in Geneva at the age of 95.