I find it hard to believe that I’ve lived some 58 years and I don’t recall ever hearing anything conducted by Leonard Bernstein (1918-1990).
Which is a shame because his interpretation of Beethoven’s Symphony No. 1 in C Major is energetic, vivid, and dynamic.
In the liner notes to this Deutsche Grammophon set, Bernstein wrote,
I sincerely and humbly hope that some of those particularly Viennese insights, stimuli and provocations to fresh ideas of Beethoven’s meaning are to be heard in this set of the symphonies. I offer it all to music-loving ears as a testament of faith, and of my most profound reactions to this greatest of all composers.
The “Viennese insights, stimuli and provocations” to which he referred are regarding his trip to Vienna to record with the Viennese Orchestra. The experience of being in Beethoven’s home town apparently impacted him greatly.
Let’s let Maestro Bernstein introduce Beethoven’s First Symphony.
Brilliant.
This a fresh performance, infused with a kind of energy that I had not heard in Abbado’s or Barenboim’s recordings – not in any way to suggest Abbado and Barenboim were somehow lacking or lesser. Not at all. But what they brought to the table was a solid, perhaps exquisite performance.
But Bernstein brings something different.
Or maybe it’s the combination of Bernstein, the Viennese Orchestra, and Vienna that infuses this recording with a life of its own.
Or maybe it’s how it was recorded and mastered.
Something about this sounds – and, more importantly, feels – different from what I heard from the previous two conductors.
Given Bernstein’s verve on this performance, I’m curious to know what Beethoven’s other eight symphonies sound like in his hands.
Also, I’m interested to know what other Bernstein recordings sound like.
This year is the centenary of the birth of Maestro Bernstein. To mark the occasion, the LA Times (January 11, 2018) wrote this about him:
Aug. 25 is the 100th anniversary of Bernstein’s birth in Lawrence, Mass., 30 miles north of Boston. He was the son of Jewish émigrés from Ukraine. His father ran a beauty supply business that Leonard was expected to take over. Instead, he became the most celebrated, most multitalented and most American musician of his time, and he managed to change pretty much everything he touched.
He was the first great American conductor. He became the first classical music television star. He proved an inspired educator and first-rate pianist. He was the first internationally esteemed conductor everyone, whether you knew him or not, called by the familiar, Lenny. For better and worse, Lenny was bigger than life — a shaman, even.
Maybe the Bible’s Mark 6:4 is true:
A prophet is not without honor, except in his hometown and among his relatives and in his own household.
Maybe that’s why in all of my musical explorations I’ve never even thought about Leonard Bernstein, let alone hear something he conducted, or composed. Maybe I thought all the really good conductors were European.
I don’t know.
But I’m regretting my ignorance now.
I’ll have to make amends.
Beethoven wrote his symphonies in four parts (except for the Sixth, which is in five). The time breakdown of this one (Symphony No. 1 in C Major), from this particular conductor (Bernstein, at age 60) and this particular orchestra (Weiner Philharmonker), at this particular time in history (November 1978) on this particular record label (Deutsche Grammophon) is as follows:
I. Adagio molto………………………………………………………………………………..9:25
II. Andante cantabile con moto………………………………………………………8:14
III. Menuetto. Allegro molto e vivace……………………………………………….3:19
IV. Adagio – Allegro molto e vivace…………………………………………………5:42
Total running time: 26:40
My Rating:
Recording quality: 4 (typically high DG quality, with just a little more tape hiss and ambient sounds than usual)
Overall musicianship: 5
CD liner notes: 4 (intro by Bernstein, only one English essay – but a darn good one)
How does this make me feel: 5 (“Huzzah!”)
This is a remarkably fun, energetic, and powerful recording, one to which I will refer often. It is, without question, worthy of a “Huzzah!” rating.
It’s interesting that three of Bernstein’s interpretations (2nd, 3rd, 4th) are somewhat brisker than those offered by Barenboim and Abbado.
But Bernstein stretches the opening (Adagio Molto) by nearly 30 seconds, which isn’t often the case. If one is going to stretch, it’s often the Second Movement, or even the Finale, that gets the stretching. But Bernstein chose to lengthen the opening.
Interesting.
And, oh by the way, I agree with Bernstein’s regard for Beethoven: “…greatest of all composers.” Indeed he was.
I’m going to leave this morning’s listening experience with the Master, and the Maestro.
Thanks to some guy on YouTube with good taste, we can enjoy Leonard Bernstein conducting the Wiener Philharmoniker playing Beethoven’s Symphony No. 1. This is the first movement. And doesn’t “Lenny” look like he’s having a lot of fun?
Enjoy!