"The old master conducts a performance of Elgar's Enigma Variations from 1982, in his first appearance with the BBC Symphony Orchestra, complete with especially entertaining rehearsal excerpts and a brief interview." – The New York Times

BERNSTEIN CONDUCTS ELGAR

Edward Elgar: Enigma Variations, Op. 36

BBC Symphony Orchestra
Leonard Bernstein, conductor

Recorded live at the Royal Festival Hall, 14 April 1982

Bonus:
- Rehearsal documentary including an interview with Leonard Bernstein

Picture format: NTSC 4:3
Sound format: Enhanced Stereo
Region code: 0 (worldwide)
Menu language: English
Subtitles: French, German, Japanese
Booklet notes: English, French, German
Running time: 65 mins
No. of DVDs: 1

Paavo Berglund, born in Helsinki in 1929, was, until his death in 2012, among the greatest of all contemporary interpreters of Sibelius’s music. His idiomatic and convincing recordings have done much to fire the revival of interest in the composer, with vivid performances that capture its unique qualities of grandeur and instrumental color. Furthermore, Berglund, who deplored some of the textural changes which had evolved over the years, made every effort to ensure that the editions of the scores used were correct. The Chamber Orchestra of Europe (COE) had for many years a special rapport with the conductor and it was the orchestra who suggested that they perform and record all the Sibelius Symphonies with him. This took place at the Edinburgh International Festival followed by studio recordings for Finlandia and finally, at the Helsinki Festival in August 1998.

This set is a testament to a remarkable collaboration between the conductor Nikolaus Harnoncourt (1929-2016) and the Chamber Orchestra of Europe (COE) and its release this year marks the Orchestra’s 40th anniversary. These recordings also trace the relationship between Harnoncourt and the Styriarte Festival which started in 1987 and lasted for over 30 years. The COE became Harnoncourt’s orchestra of choice for the classics played on modern instruments. He had been the pioneer of the exploration of period- appropriate style from the early 1950s with the Concentus Musicus Wien, and followed this by exploring how modern instruments could respond in the classics by adapting to the style without having to change the instruments they were playing. Harnoncourt wanted the players to take risks and perhaps fail rather than play safe. In rehearsal, he often told the performers that great music was always on the edge of catastrophe!