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Harold Bloom Othello Essay - Lumen Mec
The CD of the concert (DG 431 768) remains only a grim deathbed memory, best forgottenin favor of more vital souvenirs of a fabulous career. Bernstein's true final legacy liesin the valediction of his late recordings, which exemplify all he had lived for as anartist and as a human being. Ever the egoist, Bernstein tried to thwart death through afinal concert and to defy mortality through the permanence of recordings. Ever theexplorer, Bernstein's final records transcended tradition to blaze musical paths that noprevious conductor had dared to attempt. Ever the teacher, Bernstein imparted a greatfinal lesson through his deeply inspired and passionate interpretations of power,conviction and truth. Ever the visionary, Bernstein devoted himself to a musical ecstasythat would inspire the artistic outlook of future generations. And ever the humanitarian,Bernstein poured every last drop of his life into the redemptive power of music for thesake of all mankind.
How strange, he adds, that Whitman and Melville, exact contemporaries in the ambience of 19th Century New York, never acknowledged each other. “I don’t know what to call them. They’re not ships. Whales maybe, leviathans — passing in the night and never taking note of the other. And yet I can no longer read one without reading the other.”
Harold bloom hamlet essay - Essay on lord byron
Nearly all conductors tend to slow down as they age. Perhaps this is a function ofphysiology, reflecting the slower reflexes and more deliberate tempo of an aging life. Orperhaps the change is psychological, reflecting the more contemplative, ruminative natureof a mature artist. Whatever the cause, the effect is apparent in nearly every greatconductor whose mid- and late-career activity has been documented on record. ButBernstein's change would be the most dramatic of all.
Bernstein's earlier experiences in Vienna had been discouraging. In an openheartedgesture of reconciliation during his 1947 European tour, Bernstein had won over theBavarian State Orchestra and its audience, but his attempt to repeat the gesture in Viennawas met with hostility. Even in the mid-'60s, the Vienna musicians disparaged his new as an unworthy "Jüdishe werk." Quite possibly, asa matter of ego and revenge for Nazi atrocities, Bernstein could not resist the thought ofbending this recalcitrant body to his will. But amazingly enough, the principal reason mayhave been nothing less than love.
Joseph Smith: America's Hermetic Prophet - Gnosis
Young staunchly defended the teachings and rituals presented by Smith in Nauvoo, including the temple ceremonies and the doctrines relating to polygamy. Isolated in the Rocky Mountain wilderness, he hoped to realize Joseph's millennial dreams and establish Zion unhampered by a hostile, misunderstanding world. But it was not to be. With the full force of the United States government and a Victorian public morality marshaled against the Mormon church, in 1890 the practice of polygamy had to be publicly abandoned. After its defeat in that epochal battle, Mormonism slowly found accommodation with the world it had fled. In the process, many elements of Joseph's mystery religion were necessarily veil or attenuated – and by the late twentieth century, perhaps largely forgotten.
As the result of his instant celebrity, doors of opportunity flew open. Bernstein wasbesieged with guest conducting offers. He became a regular guest on the "InformationPlease" radio quiz show. He was the darling of high society. Orchestras soughtperformances of his compositions. He was even offered a screen test for the lead in abiopic on Tchaikovsky. And on a more personal level, Sam Bernstein finally reconciledhimself to his son's musical career, gushing to the press over his "contribution toan America that has done everything for me" and attempting to recast his formerreluctance with humor: "How could I know my son was going to grow up to be LeonardBernstein?"
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Allan Bloom - New World Encyclopedia
Tchaikovsky: (New York Philharmonic, 1986-89) (DG 419 604, 429 234 and 429 778). Norwere Bernstein's final interpretations of Tchaikovsky traditional, in the sense of theextreme dynamism and tightly coiled tension of celebrated "Russian-style"readings of the past by Coates, Rodzinsky, Koussevitzky and, most recently, Mravinsky. Aswith Sibelius, Bernstein's extreme expansion of the tempo creates an atmosphere ofprofound mystery that shines a unique and fascinating light on these overly familiarpieces.
Repressive Tolerance, by Herbert Marcuse (1965)
With only slight exaggeration, Bernstein once stated that his criterion for conductinga work was: "Will it give me an orgasm?" It's easy to see why he loved theMahler so very deeply. The work runs the full gamut of human emotion,progressing from obsessive tension in the first movement, through lilting grace in thesecond, wicked sarcasm in the third, deep introspection in the fourth, and heaven-stormingdrama in the forty-minute finale. The symphony is subtitled and ends in a cathartic blaze of glory unmatched in any other work(although Ravel's and Mahler's own come veryclose). Under Bernstein's inspired baton, the tempo slows and then nearly ceases, subsumedby waves of power chords, all underlined by the deep rumble of the concert organ. Theconsiderable energy of the Columbia recording is now prolonged and magnified to anunprecedented degree (and seems even more impressive without the inner-groove distortionand lapse of fidelity that weakened the end of the 1961 LP).
Finding both inspiration and provocation in the poetry of T
Mozart: and (Bavarian RadioOrchestra, 1988 and 1990) (DG 427 353 and 431 791). The current trend in Mozartinterpretation is to use period instruments and light, unemotional textures in an effortto replicate the performance practices of 200 years ago. Bernstein's richly romantictemperament was as far removed from this approach as possible. His readings of Mozart'stwo greatest religious works are awash in deep reverence. Whether or not Mozart would haveplayed them this way, the sheer magnitude of profound feeling is overwhelminglypersuasive.
Get a Life, Holden Caulfield - The New York Times
Bernstein had recorded exclusively for Columbia since 1950. RCA tried to tempt him awayin 1959 with a promise of his own recording orchestra and a huge salary (the deal withwhich they had lured Toscanini in 1937), but Columbia successfully countered withguaranteed royalties and the unprecedented right to choose his own repertoire.
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