Leonard Bernstein bestrode the musical scene in the second half of the 20th century like few others. For the last decade of his life he recorded exclusively for Deutsche Grammophon, having also made several recordings for the label in the 1970s, starting with his celebrated Carmen in 1973.
VOLUME ONE comprises Bernstein's complete recordings of composers from Beethoven to Liszt, and includes all of Bernstein's recordings of his own works, those of Brahms and Haydn, and individual CDs of Bruckner, Debussy, Dvorak, Elgar, Franck, Hindemith and many American composers.
The definitive look at the outstanding life and career of Leonard Bernstein, world-renowned composer, conductor, pianist and educator. This film and moving celebration conveys a fully rounded portrait of Bernstein's complex life–from his debut conducting performance for the New York Philharmonic in 1943 to his historic and electrifying performance at the fall of the Berlin Wall; from his Broadway experiences to his finale at Tanglewood. Filled with archival footage including concert films, home movies and clips from Broadway hits West Side Story and On the Town, the film showcases the many talents of Bernstein.
Here are three 20th-century violin concertos written within a 30-year period in three totally different styles, played by a soloist equally at home in all of them. Bernstein's Serenade, the earliest and most accessible work, takes its inspiration from Plato's Symposium; its five movements, musical portraits of the banquet's guests, represent different aspects of love as well as running the gamut of Bernstein's contrasting compositional styles. Rorem's concerto sounds wonderful. Its six movements have titles corresponding to their forms or moods; their character ranges from fast, brilliant, explosive to slow, passionate, melodious. Philip Glass's concerto, despite its conventional three movements and tonal, consonant harmonies, is the most elusive. Written in the "minimalist" style, which for most ordinary listeners is an acquired taste, it is based on repetition of small running figures both for orchestra and soloist, occasionally interrupted by long, high, singing lines in the violin against or above the orchestra's pulsation.
"By the end of 1949, when the recordings issued here were made, Leonard Bernstein was beyond the point where he could be regarded a "new" figure on the American musical scene. In six short years - from the dramatic moment of his debut with the New York Philharmonic on nationwide radio, filling in at the last moment for an ailing Bruno Walter - he had shown remarkable gifts first as a conductor, then as a composer in the symphonic world and ballet and then on Broadway . All that in the 13 months between November 14, 1943, and the end of 1944! When World War II ended, Bernstein was able to take up his role as the assistant to Serge Koussevitzky at Tanglewood. He had promoted the music of his fellow Americans in live performances…. had produced significant recordings of works by two of them. He had appeared as conductor and soloist in a recording of Ravel's Concerto in G. And, naturally, he had recorded a number of his own works."Steven Ledbetter
"From his first meeting with Copland, Bernstein regarded November 14 as a lucky date: and so it proved to be again in 1943… In August 1943 Artur Rodzinsky, the new music director of the New York Philharmonic, named Bernstein assistant conductor. On Sunday, November 14, 1943, guest conductor Bruno Walter fell ill. Bernstein was awakened that morning with the news that he would have to conduct the concert - on a national radio broadcast - without benefit of a rehearsal. As they say, the rest is history. Bu Monday, Leonard Bernstein was the heir apparent, the American most likely to success as a conductor in his own country, where the field was still dominated by foreign-born musicians"Steven Ledbetter
"…If you want this performance on SACD, you can't really go wrong since it at least sounds as good as the RBCD, and it's cheaper anyway than the RBCD-only version. I'm torn because I love this performance, but I can not rightfully give it high marks for sound. At least it's not as awful as the SACD job that was done on Karajan's second recording of the 9th." ~sa-cd.net