Bernstein Has Never Sounded Better

This is a fantastic CD, featuring film and theater music composed by the American legend, Leonard Bernstein. The recordings were made with the New York Philharmonic Orchestra, under the direction of the composer, from 1960 to 1963. It opens with the "Overture to Candide" (and what an opening!). The sound is so good that you cannot tell it was recorded almost fifty years ago. The brass instruments are blaring, the percussion knocks your socks off, and the strings and woodwinds have a most realistic presence. Bernstein's account of the Symphonic Suite from "West Side Story" has never sounded better. The NYPO truly captures the excitement and rhythm of these short, and unforgettable pieces.

Bernstein's only film score was for Elia Kazan's Academy Award winning, 1954 blockbuster, "On the Waterfront." This soundtrack, however, is quite different from others. It can stand independent from film and be a concert piece - this is truly marvelous music. The CD closes with Bernstein's ballet, "Fancy Free", and three bonus tracks from "On the Town." All in all, the music is classically American, and pure Bernstein. Sonically, the recording is one of the best in my collection - highly recommendable.--T. Schmalz See more

Bernstein's Final Word on his Beloved Musical

This is the historic concert performance of the final operatic version of Bernstein's Candide. It was recorded on December 13, 1989 at the Barbican Centre, with Leonard Bernstein conducting the London Symphony Orchestra and Chorus, with a stellar cast of operatic stars gracing the solo parts. The programme lasts a full 2hrs 27 mins. It marks the end of a long and tortured journey for the musical/operetta that spent much of its first 35 years as an orphan in the musical wilderness.

Famously Bernstein had never conducted a performance of Candide in all its 30-odd years of existence. This would be his first and final statement on what many look upon as his problem-child. Bernstein is brimming with energy here. And joy. One can see how happy he is; like a proud father showing off his first-born. Just days after this concert, Bernstein would re-record this work in the studio for posterity. That studio recording with the exact same forces would be greeted with great critical acclaim. Despite the polish of the studio version, this live concert recording is for me the preferred choice. Here we can both see and hear the electric intensity that only comes with a live performance. Jerry Hadley with his wide-eyed innocence evokes the quintessential Candide. June Anderson (Cunegonde) also performs far better here than on the studio recording although she and most of the crew including Bernstein were down with the flu epidemic then sweeping London. Christa Ludwig is charming and delightful as the Old Lady. And you even get to see her twirling around with the castanets during her solo. The great Nicolai Gedda, makes a distinguished appearance as the Governor. I felt that Adolph Greene (Dr. Pangloss/Martin) was a little miscast here in this operatic Candide but he brings great showmanship and panache to his part. The LSO and Chorus are splendid throughout. This is late Bernstein and tempi are generally broad though you'd not notice it, such is the intensity the maestro conveys. As several reviewers have noted, the finale, "Make Our Garden Grow," unlike in most productions where it is simply a pleasing number meant to send the audience home humming, is here under Bernstein, glowingly transcendent; almost a spiritual experience, approaching the level of a Wagnerian Opera or a Mahlerian Symphony.

The concert includes all the linking narratives that were omitted from the studio recording. Also missing from the studio recording are the frequent interjections Bernstein himself makes throughout the concert. Act I is preceded by a 5-minute mini-lecture on the history and philosophy behind Voltaire's Candide with Bernstein warning of the danger of religious sectarianism and intolerance. Bernstein begins his short talk with an impish, "Surprise my dear friends... here comes the old Professor to lecture us again..." He continues the lecture in the prelude to Act II where he talks about the relevance of Voltaire's work to the present world, the musical's genesis in the anti-communist hysteria of the 1950s and reiterates the dangers of intolerance. In Act I's "I Am Easily Assimilated," he gleefully jumps in to explain that Rovno Gubernya is not found in Voltaire but is a tribute to his own father's birthplace in the Ukraine. The finale brings thunderous applause and whether it is that or, as Bernstein says, the "Royal Flu," one can see that his cheek is streaked with tears as he struggles to thank the cast, the crew and the audience. One would like to think that they were tears of joy that his wayward child had finally found acceptance with his beloved public.

Deutsche Grammophon has finally released this concert on DVD in a fine transfer that preserves the original 1.33:1 aspect (Full screen). Picture quality is good considering that this was recorded on video. The image is acceptably sharp. Colours are strong and natural. Audio is available in the original PCM 2.0 Stereo, or newer DTS and DD 5.0 remixes. Not sure why DG chose the 5.0 (No subwoofer) format but it sounds just fine with the deep bass redirected to the main speakers as in a standard stereo setup. Optional subtitles in English, German and French are also provided. Aside from a few DG trailers, there are no Extras. The DVD comes with a 12-page booklet with a short essay by John Wells who co-authored the Candide narrative with Bernstein, as well as a brief synopsis and track-listing enumerating the 67 individual chapter-stops. The DVD is Region 0 (Playable Worldwide).--dooby See more

Overture "Candide"

Wit was Voltaire’s weapon—a flashing, deadly weapon. It was a rapier point to puncture and deflate Establishment notions, fatuous philosophers, pompous asses, the complacent ones of his time—and ours. Wit is Bernstein’s weapon too, in the glittering musical he based on Voltaire’s satirical Candide. The misadventures of Voltaire’s satirical Candide. The misadventures of Voltaire’s bewildered non-hero Candide and his non-heroine Cunegonde seem made for music , especially the Offenbachish irreverence of Bernstein’s score, which is as full of irony as belly laughs, of double entendre as guffaws.

The Lillian Hellman-Richard Wilbur-Leonard Bernstein version of Voltaire’s Candide opened on Broadway in December 1956. On January 26, 1957, Mr.Bernstein conducted the Philharmonic in the first concert performance of the Overture to Candide. The Overture opens with a brassy fanfare, a sort of musical motto which recurs throughout the musical. The principal themes of the Overture are drawn from a battle scene and the lyrical duet “Oh Hayy We.” The end of the Overture incorporates the end of the song “Glitter and Be Gay.”--Edward Downes

Bernstein plays Gershwin

We all know that Leonard Bernstein was a great conductor, possibly the greatest of the American born conductors of the twentieth century. It was wonderful to learn that Bernstein was always an excellent pianist. On occasion, Bernstein would conduct the orchestra AND play the piano, too. In the early days of stereo LPs, Columbia Records released Bernstein's recording of two masterpieces by George Gershwin: "An American in Paris" and "Rhapsody in Blue." For some reason, the album featured two DIFFERENT orchestra: the New York Philharmonic in "An American in Paris" and the Columbia Symphony in "Rhapsody in Blue."

While it is obvious that the New York Philharmonic was an established orchestra, actually the oldest symphonic orchestra in the country (founded in 1842, the same year that the Vienna Philharmonic was started), many people have wondered what was the Columbia Symphony Orchestra. There is a simple answer. Columbia Records, the oldest recording company in America, sometimes wanted to make recordings with a "house" orchestra and it was apparently cheaper and easier to simply contract New York musicians and put together an ensemble of musicians. They usually recorded in Columbia's 30th Street Studios. This practice went back to at least 1949, when Sir Thomas Beecham visited New York and made a series of high fidelity recordings in Columbia's studios, which were released on both 78-rpm and 33-1/3 rpm discs. Sometimes, however, the Columbia Symphony Orchestra was also drawn from Los Angeles musicians, as was the case with some of the late recordings made for Columbia by Bruno Walter, who lived in Beverly Hills. Igor Stravinsky made a number of recordings with the Columbia Symphony as well; it isn't always clear as to where the recordings were made since Stravinsky also lived in Beverly Hills for many years.

Anyway, Bernstein recorded the "Rhapsody" with the Columbia Symphony's New York musicians, possibly including some members of his own New York Philharmonic, in 1959. The sessions took place in the 30th Street Studios. For some reason, Bernstein made some minor cuts in the music, most likely in the slow solo section. It was still better than Gershwin's own abridged recordings in 1924 (acoustical) and 1927 (electric) for Victor with the Paul Whiteman Orchestra. If you compare what we have of Gershwin playing and with Bernstein's own performance, the results are quite similar. Bernstein was a very gifted pianist, who had classical training as well as an appreciation and affinity for jazz and blues. Although Bernstein both played and conducted, he was able to keep the orchestra together and they worked extremely well with him. Musicians generally admired Bernstein and enjoyed working with him, as is clearly apparent from this performance. This is, of course, Ferde Grofe's orchestral version since Gershwin did not orchestrate the score. (Gershwin did not begin orchestrating his music until the following year when he wrote his "Concerto in F.") Grofe may have taken suggestions from Gershwin about the instrumentation, especially the famous opening clarinet solo, which is exceptionally well played here. There is an excitement and emotion throughout the performance, making it still one of the best recorded versions.

In "An American in Paris," Gershwin functioned strictly as conductor with the New York Philharmonic. He was able to achieve a performance that captured all of the different moods in this piece, which was inspired by Gershwin's visit to Paris in 1928, where he met Maurice Ravel and Igor Stravinsky, among others. He was able to utilize the French atmosphere of the city and add jazz and blues elements since it was basically an American's impressions of an exciting cultural city. It was the epitome of the appreciation Americans felt for Paris between the two world wars. It was a major achievement and Bernstein's performance has always been cited as one of the best versions of the music because he succeeded in balancing the jazz and symphonic elements of the work. Few conductors had been so successful in doing this. In many ways, Bernstein's recording has set the standard. It benefited, too, from excellent recording technology and was an early example of the virtues of stereophonic sound.

These recordings have been continually available in various versions, first released by Columbia Records and then by Sony, which acquired Columbia some years ago. They are well worth having in any collection, especially for those who love Gershwin and Bernstein.--Robert E. Nylund Shop here

Gershwin Greatest Hits

What a shame that George Gershwin died at such a young age. In his twenties, he wrote RHAPSODY IN BLUE, a perfect blend of jazz and classical music. In his thirties, who wrote PORGY AND BESS, something between an opera and a musical. If he had lived into his forties, who knows? He may have further helped Western Music to reconcile the differences between popular music and "art" music!

Arthur Fiedler, the Boston Pops, and the piano soloists are a perfect match for this music, some of Gershwin's finest. They all infuse an energy, a grace, and a playfulness that give the music such exuberance. In my opinion, the best tracks are RHAPSODY IN BLUE, which rhythmically rocks and sonorously sparkles under Fiedler's baton, and "The Man I Love," which shows that a tune can be a torch song even without a singer.

All the other tracks are fabulous as well, although it is disappointing that the first movement of the CONCERTO IN F is missing. Some people find the honking horns in AN AMERICAN IN PARIS a little bit annoying.

When I'm feeling tired or sad, playing this CD is a sure-fire way to lift my spirits!--burghtenor Shop here

An American in Paris

George Gershwin (1898-1937)

Gershwin’s An American in Paris was commissioned by Walter Damrosch, who also conducted the world premiere in Carnegie Hall. The date was December 13, 1928, and the orchestra was the newly amalgamated Philharmonic-Symphony Society of New York, to use its full, official title.

For this premiere, George Gershwin’s friend Deems Taylor wrote, in collaboration with Gershwin, a description which reads, in part, as follows:

While Mr.Gershwin has been heard to hope-and probably not in vain-that his new work can be absorbed and enjoyed as a piece of orchestral music, he admits that An American in Paris (which, oddly enough, was largely written in Paris) follows a fairly explicit story. What follows is based upon Mr.Gershwin’s own version of the succession of events, augmented by a few details supplied by the helpful commentator and—as yet—unrepudiated by the composer.

You are to imagine, then, an American visiting Paris, swinging down the Champs Elysees on a mild, sunny morning in May or June…Our American’s ears being open, as well as his eyes, he notes with pleasure the sounds of the city. French taxicabs seem to amuse him particularly, a fact that the orchestra points out in brief episodes introducing four real Paris taxi horns (imported at great expense for the occasion). Thes have a special theme allotted to them (the driver, possibly), which is announced by the strings whenever they appear in the score.

Having safely eluded the taxis, our American apparently passes the open door of a café where, if one is to believe the trombones, “La Maxixe” is still popular….. The American’s itinerary becomes somewhat obscured. It may be that he continues down the Champs Elysees; it may be that he has turned off—the composer retains an open mind on the subject…. Indeed, the end of this section of the work is couched in terms so unmistakably, albeit pleasantly, blurred, as to suggest that the American is one the Terrasee of a café exploring the mysteries of an Anise de Lozo

An now the orchestra introduces an unhallowed episode. Suffice it to say that a solo violin approaches our hero (in the soprano register) and addresses him in the most charming broken English, and his response being inaudible—or at least unintelligible—repeats the remark. This one-side conversation continues for some little time.

Of course, one hastens to add, it is possible that a grave injustice is being done to both author and protagonist, and that the whole episode is simply a musical transition. The latter interpretation may well be true, for otherwise it is difficult to believe what ensues: our hero becomes homesick. He has the blues; and if the behavior of the orchestra be any criterion, he has them very thoroughly.

However, nostalgia is not a fatal disease nor, in this instance, of overlong duration. Just in the nick of time the compassionate orchestra rushes another theme to the rescue, two trumpets performing the ceremony of introduction. It is apparent that our hero must have met a compatriot; for this last theme is a noisy, cheerful, self-confident Charleston, without a drop of Gallic blood in its veins.

For the moment, Paris is no more; and a voluble, gusty, wise-cracking orchestra proceeds to demonstrate at some length that it’s always fair weather when two American get together, no matter where….Paris isn’t such a bad place after all; as a matter of fact, it’s a grand place…and the orchestra, in a riotous finale, decides to make a night of it. It will be great to get home; but meanwhile, this is Paris!..Edward Downes (From Program Note “New York Philharmoni Charity Concert in Bangkok)

"Summertime" from PORGY AND BESS

George Gershwin (1898 - 1937)

Gershwin's large scale compositions may be thought of as an extension of the many hundreds of popular songs that he wrote. His strength as a composer lies in melody rather than structure or development. As a young man he studied music of Chopin, Liszt and Debussy, but in later life he only performed his own pieces in public.

Having successfully tackled the forms of the rhapsody, concerto, and overture, Gershwin began thinking of writing an opera. Gershwin chose for the basis of his opera a play he had seen, entitled "Porgy" by DuBose Heyward. The American flavour of this play, and the poignant story of the love of Bess for the crippled Porgy, was the ideal subject for a "native" American folk opera.

In oder to write "Porgy and Bess", Gershwin lived for several weeks with the Gullah Negroes on the waterfront in Charleston, South Carolina, the locale of the story.

It then took him eleven months to put his opera down on paper, and an additional nine months to orchestrate the work. The premiere of the opera took place in Boston on September 30, 1935.

That "Porgy and Bess" should have wonderful melodies, of which "Summertime" is the most famous is to be expected from a born song writer. But the opera is much more than just a collection of choice songs. It has wit, genuine poignancy, and telling dramatic effect which serves as a testament to the power and the intrinsically vital qualities of Gershwin's creative genius.