Bernstein leads the New York Philharmonic Orchestra and the Mormon Tabernacle Choir in this entertaining, sophisticated, and merry collection.

– All Music Guide

These large-scale performances make some of the movements sound as though they had been written twenty years later by Beethoven. The New York Philharmonic seems to be present in full strength, and many will think Dorati's versions, SDD482-4, 8/76) more in keeping with the period. And yet Haydn was commissioned to write these six symphonies for an unusually large orchestra; there were said to be forty violins available, and even if the writer meant forty string players that's still a large number even by today's standards. I have no doubt that it was with decibels in mind that Haydn planned the rather empty-looking passages near the start and right at the end of No. 86, and why not? Sheer volume can be very exciting, a thought that must have occurred to Beethoven when rounding off his Fifth Symphony.

Thus there are good arguments for Bernstein's approach, especially as the orchestra is so superbly competent. The strings play the quick finales with astonishing precision, and the woodwind (sometimes aided by the balance engineer) come through with unfailing clarity, their phrasing always polished, their staccato notes always slaccalissimo. Tunes on the lower strings are never drowned by the violins as they so often are in live performance, and one's admiration for such a balance is only slightly dimmed by one's awareness than others besides the conductor are giving it their attention (though no one gives much attention to the horns in Nos. 82 and 83).

Symphony No. 82, Bear, sounds the most Beethoven-like of the six, and in spite of its number it may have been written last. I think myself that the pounding accents and almost military exactitude are rather oppressive, but there is certainly excitement here. Bernstein has taken great care over details, and the first movement of No. 85 is mesmerically gripping (and the second surely too fast). Many movements are played with a sensitive expertise to which one cannot fail to respond. But there are some during which I lose sight of Haydn and see only the 'Great Conductor'. In No. 84 he suddenly slows down the tempo for the last six bars of the slow movement, which is the sort of trick conductors used to indulge in before the war but have grown out of since. In No. 86 the slow movement is much slower than usual and too much in the grand style, too much of an interpretation; nearly marvellous but just overdone. And strange things can happen in the trios of the minuets, over which Bernstein takes great trouble, as indeed did Haydn. Those in Nos. 82 and 83 are most delicately managed. But what is one to think of those in Nos. 85 and 86? He plays them slower than the minuets and with the extremes of rubato he would rightly bring to Ländler-type music in a Mahler symphony. It's beautifully done, but it's not Haydn.

I've mentioned the movements in which Bernstein's exaggerations worried me, but I must add that many will like these movements very much indeed; also that elsewhere there is very little exaggeration, just good playing. A resonant acoustic adds to the grandeur of these interpretations which are of their kind first-rate.

-- Gramophone [9/1976]

Vivaldi: The Four Seasons & Other Concertos

Bernstein's lecture "What is Jazz?" was recorded in New York City in July 1956. (Timing: 42:49)
Originally broadcast on October 15, 1955 as part of CBS's "Omnibus" series, Leonard Bernstein's eloquent deconstruction of jazz attains the near impossible: it achieves an understanding and appreciation of the essence of jazz that is attractive and informative to both lay persons and more experienced listeners. Using interesting musical examples, Bernstein abandons the usual historical approach and gets inside the elements of jazz. The most delightful aspects of the first half of this CD are the terrific performances by Louis Armstrong, Teo Macero, Coleman Hawkins, Buster Bailey, Buck Clayton, and Bessie Smith, among others. And where else could you here a modernist rendition of "Sweet Sue" by Miles Davis and John Coltrane?
The disc is rounded out by a live recording of Alfredo Antonini's concerto grosso setting of W. C. Handy's "St. Louis Blues" featuring Louis Armstrong's Sextet backed by Bernstein and the Lewisohn Stadium Symphony Orchestra (the New York Philharmonic in its summer setting) and Howard Brubeck's "Dialogues for Jazz Combo and Orchestra." The former features Armstrong at the height of his powers in 1956, while the latter is a delightful piece of "third stream" jazz featuring the delicately swinging Brubeck Quartet.

These are glamorous, big-city readings, far removed from the granite-faced objectivity proffered by most recorded Sibelians. But it’s all tremendously exciting – and if Bernstein nears emotional saturation more than once, particularly in Symphonies Nos. 1 [and] 2..., the coursing adrenalin in these accounts is irresistible. The New Yorkers are on top form throughout... Despite remastering, some of the fizz and glare that goaded pre-digital CBS LP pressings still survives.

-- Michael Jameson, BBC Music Magazine
reviewing these performances previously reissued as part of Sony 87329

THE ROYAL EDITION - SCHUMANN:

Nocturne

BEETHOVEN, MOZART: CONCERTOS

THE ROYAL EDITION - NIELSEN: S

THE ROYAL EDITION - OPERA OVER

THE ROYAL EDITION - R. STRAUSS

THE ROYAL EDITION - BRUCKNER:

ROSSINI, SUPPE: OVERTURES BER

In that same year - the last before the opening of the new "Great" Festspielhaus - Leonard Bernstein came as a guest with the New York Philharmonic, of which he was chief conductor. Thus one of the most impressive musical personalities of the age arrived together with one of the American orchestras richest in tradition. Bernstein's own work The Age of Anxiety, his Second Symphony for Piano and Orchestra (with Seymour Lipkin as piano soloist, negotiating agilely a musical language that ranged from Romanticism to jazz), impressed the public as much as did Dmitri Shostakovich's Fifth Symphony, in which Bernstein realized brilliantly its grandiose climaxes and plumbed its musical depths.

In the year of Leonard Bernstein’s centenary, Sony Classical is pleased to present the perfect introduction to this legendary American musician. Many of the conductor-composer’s most celebrated interpretations and works are sampled on two CDs, every track chosen to display a facet of his unparalleled dynamism and versatility.

There is music by Mozart, Beethoven, Mendelssohn, Brahms, Mahler, Shostakovich and Copland on the first disc, with great soloists like clarinettist Benny Goodman and mezzo Frederica von Stade, violinists Joshua Bell and Zino Francescatti, pianists Glenn Gould and Philippe Entremont, not to mention Bernstein himself playing and conducting Gershwin’s Rhapsody in Blue. Writing about these benchmark 1960s and 1970s New York interpretations, The Guardian’s reviewer declared: “There’s a raw ebullience to the performances that is typical of Bernstein at his best … They are all historic performances.”

Bernstein the composer is represented by a generously filled second disc. “Few composers capture their time and become the iconic voice of their age,” wrote conductor John Mauceri, in a tribute to his late mentor, one of a handful of figures in the 20th century who truly changed the face of music. In addition to highlights from concert works such as the Age of Anxiety, Serenade and Mass, there are selections from Bernstein’s ballets and musicals, including excerpts from the original Broadway cast recording of West Side Story from 1957 as well as his later New York Philharmonic recording of the “Symphonic Dances”.

Bernstein’s friend and colleague, composer Ned Rorem, summed up Leonard Bernstein’s achievement admirably when he said in 1987: “If he were not a composer he would not be the world’s best conductor. Alone among conductors he knows that the essence of music is not what it sounds like, but what the sounds are intended to communicate. Since he too is a composer, he knows that the magic lies not in the communication of sound, but in the sound of communication."

Leonard Shure (1910-1995), an Artur Schnabel student, was one of the most respected American pianist and pedagogs of the 20th century. This new release presents live performances, including his 1960 collaboration with Leonard Bernstein and the New York Philharmonic on the Brahms' first piano concerto. "Shure played with a thrilling blend of insight, breadth, authority and daring,” wrote The New York Times. Also included is his Carnegie Hall Recital from February 1956, which features his Encores, and his Symphony Hall Boston concert from February 1936. This is the first release of each of these recordings.

ORCHESTRAL WORKS

Classical Music

BELLINI, V.: Operas (Complete)

Beethoven: Missa Solemnis, Choral Fantasy & Symphony No. 5 (

Classical Music

Includes work(s) by various composers. Ensemble: Juilliard String Quartet. Soloist: Leonard Bernstein.

Also available on Blu-ray

LEONARD BERNSTEIN CONDUCTS BEETHOVEN AND HAYDN

Released for the first time on DVD and BluRay, Leonard Bernstein’s interpretations of Beethoven’s String Quartet No. 16 and Haydn’s Missa in tempore belli are quite superb. Only the strings of the Vienna Philharmonic could carry off the orchestral rendition of Beethoven’s opus 135 with bravura, since each player is a true soloist. Bernstein and the orchestra wanted to play a difficult Beethoven Quartet in a monster setting, achieving a truly exciting performance unlike anything anyone has ever heard.

Ludwig van Beethoven: String Quartet No. 16 in F major, Op. 135 (arr. for string orchestra)

Vienna Philharmonic Orchestra
Leonard Bernstein, conductor

Joseph Haydn: Missa in tempore belli, Hob. XXII:9, “Paukenmesse”

Judith Blegen, soprano
Brigitte Fassbaender, contralto
Claes-Hakan Ahnsjö, tenor
Hans Sotin, bass

Bavarian Radio Symphony Chorus and Orchestra
Leonard Bernstein, conductor

Recorded live in 1984 (Haydn) and 1989 (Beethoven)

Picture format: NTSC 4:3
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles (Haydn): Latin, English, German, French, Spanish, Korean, Chinese
Running time: 93 mins
No. of DVDs: 1 (DVD 9)

R E V I E W


BEETHOVEN String Quartet No. 16. 1 HAYDN Missa in tempore belli 2 • Leonard Bernstein, cond; 1 Vienna PO; 2 Judith Blegen (sop); 2 Brigitte Fassbaender (mez); 2 Claes Ahnsjö (ten); 2 Hans Sotin (bs); 2 Bavarian Radio Ch & O • C MAJOR 711604 (Blu-ray: 93:00); C MAJOR 711508 (DVD: 93: 00) Live: 1 Vienna 09/13-19/1989, 2 Ottobeuren 09/30/1984


This arrangement for string orchestra of Beethoven’s final quartet, the op. 135, was previously reviewed by Mortimer H. Frank in 16:4 on a DVD that paired it with a similar arrangement of the Quartet No. 14, op. 131. While his assessment was positive overall, he had reservations about “a Mahlerian malaise” that he thought infected some portions of the performance and “indulgent adjustments” to some of the rhythms, comparing them unfavorably to Toscanini’s more taut account of the second and third movements with the NBC Symphony. As someone inclined to romantic readings of the Beethoven symphonies (favoring Bruno Walter and Wilhelm Furtwängler as opposed to Toscanini), I have no such reservations. The conductor here is actually far less self-indulgent than he was wont to be at this twilight stage of his career, and leads a performance of rapt intensity, with the incomparable advantage of the string section of the Vienna Philharmonic at his command. The arrangement, originally published by Eulenburg and retouched by Bernstein, was first heard by the latter when he attended a performance of it with Dmitri Mitropoulos and the Boston Symphony at Harvard in 1936, when he was only 18 years old. He immediately sought out the conductor, borrowed his copy of the score, and added it to his repertoire early on, so this performance represents the culmination of over five decades of commitment to the work in this guise. For those who want a string orchestra version of the quartet, but in a less romantic interpretation, there is also a recording with the smaller forces of the Amsterdam Sinfonietta on Channel Classics.


The Haydn Mass has also been released before, though it has not previously been reviewed in these pages. Bernstein was a noted Haydn conductor, and many critics (including several who write for Fanfare ) still consider him the reference standard for the “Paris” and “London” symphonies. I do not have the same degree of enthusiasm for those recordings, being partial instead to Georg Solti on modern instruments and Sigiswald Kuijken on period ones, but I have found Bernstein’s recordings of the late Haydn masses to be both effective and affecting. Bernstein made a previous recording of this work at the Washington Cathedral in January 1973, as part of a peace protest against the Vietnam War. It featured a pickup orchestra, the Norman Scribner Choir (an ad hoc ensemble put together for the occasion by the now longtime director of the Choral Arts Society of Washington), and an uneven quartet of soloists (Patricia Wells, Gwendolyn Killebrew, Michael Devlin, and Alan Titus). James H. North reviewed it in 16:4, commending its spirit but noting problems with the recorded sound. I would add that the obviously heartfelt commitment of the performers to the occasion does not overcome a lot of rather scrappy orchestral and choral work. Here, with digital recorded sound, a stellar solo vocal quartet, and a world-class orchestra and chorus, with everyone in fine fettle, there are no such reservations. The performance—more relaxed than the Washington version—is also a feast for the eyes as well as the ears, as it was given in the massive, ornate, soaring Baroque basilica of the Ottobeuren Abbey in the far southwestern corner of Bavaria. It’s a visual knockout, like having a free museum tour thrown in with the concert, and certainly gives one a great deal more to watch than does the typical concert video. There are no other versions of this Mass presently available on DVD; there are of course several excellent performances on CD, conducted by such notables as Nikolaus Harnoncourt, Richard Hickox, and Helmuth Rilling. Since (including Bernstein) these run the interpretive gamut from period instruments to modern full orchestra and choir, there is something out there to please every taste.


As usual, the Blu-ray release creates a crisper visual picture than appears on a regular DVD, though the difference here between the two is marginal. A brief (4:32) talk by Bernstein about the Haydn Mass is included as a bonus. The soundtracks of both of these performances were also released on separate CDs by Deutsche Grammophon, so if you don’t see the need to duplicate them on DVD, or if you’re one of those people who doesn’t care to watch videos of concert performances, you have that alternative as well. As someone who does watch concert videos with pleasure, I thoroughly enjoyed this, and recommend it unhesitatingly.


FANFARE: James A. Altena

BERNSTEIN CONDUCTS DEBUSSY

Claude Debussy: Images, Prélude à l'apres-midi d'un faune, La Mer

Orchestra dell'Accademia Nazionale di Santa Cecilia
Leonard Bernstein, conductor

Recorded live from the Accademia Nazionale di Santa Cecilia, Rome, 1989.

Picture format: NTSC 4:3
Sound format: PCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Booklet notes: English, German, French
Running time: 86 mins
No. of DVDs: 1 (DVD 9)

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DEBUSSY Images pour orchestre. Prélude à l’près-midi d’un faune. La Mer • Leonard Bernstein, cond; Santa Cecila Natl Academy O • UNITEL 701608 (DVD: 86: 00)


Although Debussy did not figure largely in Bernstein’s repertoire, the conductor had an innate affinity for the composer’s music. We are therefore fortunate to have this concert, from scarcely a year before Bernstein’s death, preserving his interpretations of this repertoire in digital sound. Bernstein’s older Columbia recordings with the New York Philharmonic from 1960–63 are also still in print, although to duplicate this particular program one must acquire two different CDs (one from Sony, the other an ArkivMusic reissue). Those performances, however, are completely superseded by the present ones, both sonically and interpretively. In his later years Bernstein became decidedly self-indulgent, and his performances sometimes assumed bloated dimensions, as in the famous (or notorious) 1989 Christmas Day Berlin performance of the Beethoven Ninth. (I was blessed to attend that concert in person, being resident in East Berlin for my doctoral dissertation research at the time. As an interpretation it verged on the preposterous, but I still wouldn’t have missed it for all the world.) Here, however, he is in top form, eliciting performances with superb clarity of line, pellucid orchestral color and instrumental balance, and moderate tempi that are convincingly right at every point. Debussy is not the first thing I, as someone partial to Romantic German and Slavic orchestral repertoire, think to take off the shelf for personal listening pleasure, but Bernstein leaves me marveling at the sheer genius of these masterworks, providing a joy of rediscovery.


There are of course many performances of these works available on CD; most readers will already have their favorites, so I will not assay a broader discussion that in any case would exceed the bounds of this review. Regarding performances on DVD, this is the only complete performance of Images available. (For whatever reason, Bernstein altered the order of its three movements and placed Iberia in third position.) The Naxos issue with Alexander Rahbari and the Belgian Radio Symphony, which also has the Prélude and La Mer , omits Iberia in favor of the Nocturnes ; those are solid performances but not in the same class as these. The only other DVD to feature both the Prélude and La Mer is with Herbert von Karajan and the Berlin Philharmonic, reviewed negatively by Christopher Abbot in Fanfare 26:2 and positively by Colin Clarke in 32:3. I do not intend to enter the lists of the debates between champions and detractors of the German and American maestros; suffice it to say that in these works I prefer Bernstein’s clarity and sense of motion to Karajan’s lushness and perfumed languor. His DVD has more interesting camerawork to boot, with better lighting and more varied and better close-ups of the instrumentalists. The sound quality is excellent, the recordings having been made for commercial issue at the time. For those with more slender wallets, or who are uninterested in the visual aspects of an orchestral concert, these same performances were issued on CD by DG and are still in print as an ArkivMusic reissue. Strongly recommended.


FANFARE: James A. Altena

A box set celebrating Leonard Bernstein's upcoming 100th birthday including concerts with the Wiener Philharmoniker and the Orchestra dell'Accademia Nazionale Di Santa Cecilia as well as the prizewinning Documentary ''Leonard Bernstein - Larger than Life.'' Works by Sibelius, Beethoven, Haydn, Debussy and some of Bernstein's own compositions.