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.

Chopin, Scherzo in B flat minor, op.31

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.

Tchaikovsky, Symphony No.4 in F minor, op.36

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. 4 was recorded live at the Berlin Philharmonie in 1973.

Tchaikovsky, Symphony No.6 in B minor, op.74 “Pathétique”

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 “Pathétique” was recorded live at the Berlin Philharmonie in 1973.

Rachmaninov, Piano Concerto No.2 in C minor, op.18

One of the great concert pianists of his time, Sergey Rachmaninov (1873- 1943) is also one of the great late-romantic Russian composers. Only the second and third piano concertos, along with the “Rhapsody on a Theme of Paganini”, have gained a foothold in the repertoire and are frequently performed. Concerto No. 3 achieved unexpected popularity when it played a central role in the film “Shine”, whose star Geoffrey Rush was awarded an Oscar as Best Actor in 1997. In all three works a characteristic combination of surging melody, rhythmic excitement and brilliant pianistic display carries the composer’s unmistakable and personal stamp. Alexis Weissenberg, born in Sofia, Bulgaria, in 1929, gave his first triumphal recital in New York’s Carnegie Hall in 1947. He secured his international reputation especially with his interpretations of the works of Chopin, Tchaikovsky and Rachmaninov. This concert with the Berlin Philharmonic conducted by Herbert von Karajan was recorded live at the Berlin Philharmonie in 1973.