Jean Sibelius was 34 years old when he undertook the composition of his First Symphony, which was actually his second: in 1892 he had written “Kullervo” for solo voices, male chorus and orchestra, but was dissatisfied with it and forbade its performance during his lifetime. In his Symphony No. 1, there are already flashes of his later style in the impetuous rhythms, romantic outbursts and abrupt changes of tone. The conductor led the premiere in Helsinki on 26 April 1899. In the mid 1980s, Unitel began recording a complete cycle of Sibelius symphonies with Leonard Bernstein and the Vienna Philharmonic. Bernstein’s death in 1990 unfortunately cut short this project after the release of Symphonies Nos. 1, 2, 5 and 7. They were recorded live at Vienna’s Musikvereinssaal and were the object of stellar reviews. Bernstein, in the words of a leading Austrian daily, “painted a canvas of late-romantic splendor with the Philharmonic’s sound – the incomparable brilliancy of the strings, the glowing intensity of the brass – in a way that only the greatest conductors can.” (Symphony No. 1) And in its review of the Second Symphony, a major Viennese newspaper wrote: “For the sake of Jean Sibelius, Leonard Bernstein leaps with fanatical zeal into the heaving waves of late romantic emotions.” It is not surprising that Leonard Bernstein felt so passionately about Sibelius’s music. In many respects, it strikingly parallels that of Gustav Mahler. In fact, Sibelius’s oeuvre is seen along with Gustav Mahler’s as the most important symphonic legacy between late romanticism and modernity. And as Mahler’s glowing advocate, Bernstein was suited like none other to disseminate the music of his great colleague Jean Sibelius.
Mahler, Lieder eines fahrenden Gesellen
Just a few months before his final illness and death, Leonard Bernstein conducted three masterworks by Gustav Mahler in a concert at Vienna’s Musikvereinssaal with the Vienna Philharmonic. The program consisted of the “Lieder eines fahrenden Gesellen”, the “Rückertlieder” and the “Kindertotenlieder”. The soloist was the American baritone Thomas Hampson. The trade publication “Musik & Theater” wrote: “I know of no other baritone today who can profess a similar mastery of these three Mahler song cycles on a vocal, emotional and textually sensitive level. […] a singular vocal accomplishment and a worthy conclusion of Bernstein’s extensive Mahler discography.”
Mahler, Rückertlieder
Just a few months before his final illness and death, Leonard Bernstein conducted three masterworks by Gustav Mahler in a concert at Vienna’s Musikvereinssaal with the Vienna Philharmonic. The program consisted of the “Lieder eines fahrenden Gesellen”, the “Rückertlieder” and the “Kindertotenlieder”. The soloist was the American baritone Thomas Hampson. The trade publication “Musik & Theater” wrote: “I know of no other baritone today who can profess a similar mastery of these three Mahler song cycles on a vocal, emotional and textually sensitive level. […] a singular vocal accomplishment and a worthy conclusion of Bernstein’s extensive Mahler discography.”
Mozart, Exsultate Jubilate, K. 165
Mozart’s motet “Exsultate, jubilate” K. 165 is the most famous of Mozart’s early sacred works. Written in Milan in 1773 for the castrato Venanzio Rauzzini, it is sung here by the soprano Arleen Auger, whose flawless intonation and consummate musicality” (Süddeutsche Zeitung, Munich) underscore the virtuosity of the solo part. Though few people would spontaneously associate Leonard Bernstein with 18th-century sacred music, this production stunningly confirms the words of a major Munich daily: “After a few bars, one is conquered by Bernstein’s mastery in creating atmosphere and communicating moods.” This live concert was filmed at the ornate Basilica of Waldsassen in Franconia (Germany), one of the first architectural adaptations of the Italian Baroque style to German taste. Significantly, this work also represents a melding of Italian vocal writing and German contrapuntal art.
Mozart, Mass in C minor, K. 427
Together with the “Ave, verum corpus” and the Requiem, the Mass in C minor K. 427 is one of Mozart’s last sacred works. And, like the Requiem, it too is incomplete: the Kyrie and Gloria were performed in Salzburg in 1783, but only part of the Credo was written, and none of the Agnus Dei. The work is marked by an archaic flavor reminiscent of Handel’s music, which Mozart had developed a taste for in his later years. Though few people would spontaneously associate Leonard Bernstein with 18th-century sacred music, this production stunningly confirms the words of a major Munich daily: “After a few bars, one is conquered by Bernstein’s mastery in creating atmosphere and communicating moods.” This live concert with the Chorus and Orchestra of the Bavarian Radio was filmed at the ornate Basilica of Waldsassen in Franconia (Germany), one of the first architectural adaptations of the Italian Baroque style to German taste. Significantly, this work also represents a melding of Italian vocal writing and German contrapuntal art.
Tribute to Alvin Ailey
Alvin Ailey played a key role in the growth of modern dance in America and his company, founded in 1958, is one of the United States’ oldest dance troupes as well as one of the most youthful and vital on the dance scene. In this two-part program, members of Ailey’s dance company perform three works choreographed by Ailey himself “For Bird with Love”, “Witness,” and “Memoria”, as well as a special ballet tribute choreographed by Ulysses Dove “Episodes.” Each piece is introduced by Judith Jamison, the dancer and choreographer whose career was nurtured to stardom by Ailey, and who is now Artistic Director of the company. The Alvin Ailey Dance Theater is uniquely eclectic in range, repertory, and style. As a choreographer, Ailey explored the black experience and went beyond, finding universal human truths in all his work.
Bruckner, Symphony No.9 in D minor
When Leonard Bernstein died in 1990 at the age of 72, music lovers the world over mourned the loss of one of the 20th century’s artistic giants. In addition to his role as conductor, composer, educator and performing artist, Bernstein was one of the early pioneers in bringing the arts to television. As such, he became one of the most internationally recognized musical personalities in the world. He was a man who not only needed music in order to live, but who saw in artistic communication the means to touch the mind, the heart and the spirit all at once. His need to generate this communication dictated his life from the day he discovered music to the day he died. Recorded in March 1990, this performance is Leonard Bernstein’s last concert with the Vienna Philharmonic, an orchestra he deeply loved.
I vespri siciliani
Verdi’s opera “I vespri siciliani” was written after “Rigoletto,” “Il Trovatore” and “La Traviata,” this triumvirate of immortal stage works. It was commissioned by the Paris Opéra and was designed to respect the French taste for large choral scenes and lengthy ballets. The libretto of the “Vêpres siciliennes” was written in verse form by Eugène Scribe and was based on a historical event from the 13th century, when Sicily rose up against the French occupiers. Verdi achieved great success with this work in 1855, and the Opéra continued its collaboration with him twelve years later by commissioning “Don Carlos.” The Italian version of the work was premiered that same year and became known throughout the world. La Scala of Milan brought out several major productions of this work, including the one recorded here in 1990. The aristocrat of conductors, the autocrat of the baton, Riccardo Muti cuts a noble figure at the head of any orchestra, and ennobles every ensemble through his charismatic personality and red-blooded musicality. In many respects, including his unwillingness to compromise over artistic matters, he is reminiscent of Arturo Toscanini, who was also a demanding ruler at the podium. His rise to international fame set in with his guest conductorships at the Salzburg Festival in 1971 and at the head of the Berlin Philharmonic and the Philadelphia Orchestra in 1972. Muti became principal guest conductor of the Philadelphia Orchestra a few years later, and was named its music director in 1980. Always a conductor of both the symphonic and operatic repertoire, Muti advanced to the post of music director of La Scala in Milan in 1986. The 1990s saw Muti consolidating his reputation at the head of this venerable institution, as well as in countless other high-caliber venues around the world. Today he is one of the undisputed giants among the leading conductors of the world.
Abbado in Berlin – The First Year
The vote was over, and a decision had been made: Claudio Abbado was the new chief conductor of the Berliner Philharmoniker. So it was in 1989, when – for the first time – the orchestra itself decided who was to be its leader. The result was a surprise for the music world – and also for Abbado himself. This documentary from 1990 traces the first year of the new chief conductor in Berlin, the special atmosphere of new beginnings and the diverse expectations the musicians had of Herbert von Karajan’s successor. Other than this, many insights are provided into the first artistic projects of the new man at the helm, starting with the rehearsals for Mahler’s First Symphony with which he ushered in his tenure in December 1989. We are also taken behind the scenes to see among other things Abbado’s first visit to Karajan’s room – which was now to be his – and to a first birthday party with the musicians of the Berliner Philharmoniker. Of course, the members of the orchestra have their say, and tell of their hopes and what they expected of their new boss. Even today, these impressions convey the special magic that was in the air at that time.
The Impossible Dream
On the evening of July 7, 1990 an ‘impossible dream’ came true. Against the majetic backdrop of the Baths of Caracalla in Rome, superstar tenors José Carreras, Placído Domingo and Luciano Pavarotti were joined by conductor Zubin Mehta and more than two hundred musicians for a spectacular event that was to make musical history. ‘The Impossible Dream’ is telling the extraordinary story of this massive musical mega-hit. Featuring interviews with the three star tenors, this documentary offers a unique glimpse behind the scenes, documenting the creation and impact of this unparalleled musical phenomenon.