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Eight succeeding shows covered the gamut of music, from Bach to jazz andfrom grand opera to musical comedy. In January 1958, was followed by , broadcast on Sunday nights for fifteen years, dubbed into a dozenlanguages and syndicated to forty countries. All were written by Bernstein and wereinfused with his knowing, dynamic personality and his genuine love of all music. They wonEdison, Emmy, Peabody and Sylvania awards for excellence in television. But perhaps theirgreatest achievement emerges from a 1960 incident in a Denver park, when a little boy wentup to Bernstein and hit him. The reason, it turned out, was that the previous program hadbegun to run over and Bernstein had to omit his usual closing. The boy resented that,"You didn't say goodnight to me." But Bernstein was thrilled at what else theboy remembered: "You were talking about Mahler." And that, of course, was theultimate vindication of all of Bernstein's efforts: he harnessed the boob tube to turn anentire generation on to classical music.
This article, of course, consists only of words. As with all great musicians, languagecannot possibly suffice to suggest their full measure of greatness. Listen to the 1958 or the 1963 or 1987 and you will discover more aboutBernstein than words could ever convey.
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Bernstein's vigor, broad repertoire and enthusiasm had often been attributed to sheerirrepressible youthful energy. But Bernstein's later style proved that these qualitiesarose from something far deeper: a zest for discovery. In his DG releases, Bernstein notonly slowed things down, but he probed ever deeper to discover yet-untapped profunditiesin the works he loved best. He did this in the only way he knew how: by letting hisemotions run free. And perhaps he had finally reached the stage in life where he no longercared about criticism to the effect that his bloated ego had overwhelmed a proper artisticaesthetic.
Although Walter, Klemperer, Horenstein and others had advocated Mahler's work, it wasBernstein's impassioned concerts and pioneering recorded cycle that finally launched theMahler revolution. The first installment was the pastoral , a vibrantperformance in which the orchestra plays its very heart out. For his soloist in the finalvocal movement, Bernstein made the inspired choice of Reri Grist, fresh from the cast of . Equally impressive is a staggeringly intense , whichfollowed in 1963 (previously on M2S-695 and unavailable on CD [.]). Any doubts as to the authenticity of Bernstein's free-wheelinginterpretations are dispelled by Mahler's only recordings: 1905 Welte-Mignon discs of hispianism (collected on Golden Legacy CD 101) which exhibit the same sort of highlyindividual, impetuous approach.
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One of the most significant benefits of Bernstein's celebrity, and ultimately the mostlasting, was the start of his recording career as a freelance but exclusive RCA Victorartist. Largely forgotten nowadays and eclipsed by his massive Columbia and DeutscheGrammophon catalogues, the RCA performances are impressive both for their fine artisticquality and for their surprisingly broad repertoire.
Upon its premiere with the Pittsburgh Symphony Orchestra in January 1944, the work madean enormous impact, and Bernstein proudly toured the country introducing it to localaudiences. Following the New York performances, it won the coveted Music Critics CirclePrize for the best new composition of the year. His 1945 recording with Nan Merriman and the St. Louis Symphony (on RCA 61581) retains its historical import as Bernstein's first with a full orchestra, but his 1961 remake with Jennie Tourel and the New York Philharmonic (SonySM3K 47162) is far more vital and probing. (A 1977 version with the Israel Philharmonic (DG 415-962) is less inspired, and Christa Ludwig's operatic treatment of the finale misses the liturgical depth of the others.) Of Bernstein's subsequent serious works,the most significant were the 1949 ,the 1954 , the 1965 and the 1986-89 . But noneachieved much celebrity, and now that Bernstein is no longer around to program them himselfor to have them played at festivals in his honor, they are likely to be forgotten.
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Essay On Mysore Palace Free Essays - Free Essay …
And so it was that until the age of ten, when most musical prodigies already havedazzled the world with precocious talent, Leonard Bernstein wiled away his time absorbingreligious and pop tunes and preparing to fulfill his father's goal of a practical careerin business. The messenger of change arrived in the form of a massive, carved uprightpiano which his Aunt Clara stored at the Bernstein house during her divorce. At first,Lenny played the piano instinctively by imitating the music he had heard. Although hecould well afford it, Sam refused to pay for piano lessons. Exhibiting some of hisfather's resolve and resourcefulness, Lenny raised money to pay for his own lessons byteaching younger kids and recruited his talented sister Shirley to share his enthusiasms.
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After receiving a strict, classical education at the prestigious 300-year old BostonLatin School, Bernstein attended Harvard. His pianism excelled and he became known as aprodigiously talented sight-reader. Bored with the highly theoretical music courses, heinstead studied language and philosophy, while immersing himself in a wide variety ofextracurricular musical experiences: playing silent film accompaniment, writing scathingcriticism, and even staging Gilbert & Sullivan operettas. Bernstein's first year and ahalf at Harvard was uneventful, and he appeared headed for a career as a concert pianist,if only he would settle down. But then 1937 brought a dizzying succession of threeinfluences that would shape Bernstein's personality and career.
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Beethoven had poured into his final symphony a sprawling summation of life's passion,profundity, humor, despair and triumph. Bernstein added to the occasion his ownoverwhelming vision of humanity. To underline the message, Bernstein changed the word"Freude" ("joy") to "Freiheit" ("freedom") in thefinal chorus, a gesture for which he invoked the composer's blessing. The united forcesEast and West are palpably gripped with a spiritual conviction that transcends even theglory of the music itself. Captured on DG 429 861, every moment of the sublime 78 minutesvindicates all that Bernstein lived for as an artist and as a human being.
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