Tag Archives: Leonard Bernstein

Symphony No. 6 (Beethoven) – Wikipedia


https://en.m.wikipedia.org/wiki/Symphony_No.6%28Beethoven%29

Symphony No. 6 (Beethoven)

The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: Pastorale[1]), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content,[2] the symphony was first performed in the Theater an der Wien on 22 December 1808[3] in a four-hour concert.[4]

Symphony No. 6
by Ludwig van Beethoven
Beethoven sym 6 script.PNG

Part of a sketch by Beethoven for the symphony

Other namePastoral SymphonyKeyF majorOpusOp. 68PeriodClassical periodFormSymphonyBased onNatureComposed1802–1808DedicationPrince Lobkowitz
Count RazumovskyDurationAbout 40 minutesMovementsFiveScoringOrchestraPremiereDateDecember 22, 1808LocationTheater an der Wien, ViennaConductorLudwig van Beethoven

Background

Instrumentation

Form

In film

Notes

References

External links

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MUSIC
Beethoven’s Symphony No. 6 in F Major, Op. 68
June 12, 200610:39 AM ET
Audio will be available later today.
Hear an Interview with Conductor Christoph Eschenbach
“Pastoral”

Composed in 1808

Premiered December 1808

Published 1809 in Leipzig

Many of Beethoven’s works are titled, yet many of these names came from friends or from those to whom the pieces were dedicated. The Sixth Symphony, however, is one of only two symphonies Beethoven intentionally named. Beethoven’s full title was “Pastoral Symphony, or Recollections of Country Life.” Although it was composed in the same time period and dedicated to the same people as the Fifth, the works have many differences. The “Pastoral” is known as a “characteristic” symphony and closely resembles “Le musical de la nature” by Rheinish composer Justin Heinrich Knecht. Beethoven publicly declared the piece’s “extramusical” purpose: an expression of nature. His affinity for nature and his love for walks through the country outside Vienna were captured in the Sixth, as well as in the notes scribbled on sketches of the symphony.

Notes on Beethoven’s Sixth Symphony
CHRISTOPHER H. GIBBS

Most of the familiar titles attached to Beethoven’s works were put there by someone other than the composer. Critics, friends, and publishers invented the labels “Moonlight,” “Tempest,” and “Appassionata” for popular piano sonatas. Prominent patrons’ names—Archduke Rudolph, Count Razumovsky, Count Waldstein—became wedded to compositions they either commissioned or that are dedicated to them, thereby winning a sort of immortality for those who supported the composer.

Beethoven himself crossed out the heading “Bonaparte” from the title page of the Third Symphony, but later wrote in “Sinfonia eroica” (Heroic Symphony), and it is his only symphony besides the Sixth to bear an authentic title. To be sure, stories about “fate knocking at the door” in the Fifth and the choral finale of the Ninth have encouraged programmatic associations for those works, beginning in Beethoven’s own time. But, in the end, it is the Sixth Symphony, the “Pastoral,” that stands most apart from his others, and indeed from nearly all of Beethoven’s instrumental and keyboard music, in its intentional, publicly declared, and often quite audible extramusical content. Beethoven’s full title is: “Pastoral Symphony, or Recollections of Country Life.”

“More an Expression of Feeling Than Painting”

And yet the Sixth Symphony does not aspire to the level of musical realism found in a work like Berlioz’s Symphonie fantastique or in Richard Strauss’s later tone poems. In the program for its premiere, Beethoven famously noted that the “Pastoral” contained “more an expression of feeling than painting.” He had earlier objected to some of the musical illustration in Haydn’s oratorios The Creation (1798) and The Seasons (1801), with their imitations of storms, frogs, and other phenomena. He probably would not have cared much for what the “New German School” of Berlioz, Liszt, and Wagner would later advocate and create.

Beethoven’s “Pastoral” Symphony belongs to a tradition, going back to the previous century, of “characteristic” symphonies. Indeed, the titles for the movements that Beethoven provided closely resemble those of “Le Portrait musical de la nature,” written nearly 25 years earlier by the Rheinish composer Justin Heinrich Knecht. (It is doubtful Beethoven knew the music of the piece, but he did know the titles.) Scattered comments that Beethoven made in his sketches for the Symphony are revealing: “The hearers should be allowed to discover the situations / Sinfonia caracteristica—or recollection of country life / All painting in instrumental music is lost if it is pushed too far / Sinfonia pastorella. Anyone who has an idea of country life can make out for himself the intentions of the composer without many titles / Also without titles the whole will be recognized as a matter more of feeling than of painting in sounds.”

Regardless of the musical and aesthetic implications that the “Pastoral” Symphony raises with respect to the program music—a key issue for debate over the rest of the century—it unquestionably offers eloquent testimony to the importance and power of nature in Beethoven’s life. The composer reveled in walking in the environs of Vienna and spent nearly every summer in the country. When Napoleon’s second occupation of the city in 1809 meant that he could not leave, he wrote to his publisher: “I still cannot enjoy life in the country, which is so indispensable to me.” Indeed, Beethoven’s letters are filled with declarations of the importance of nature in his life, such as one from 1810: “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.”

Companion Symphonies

Beethoven wrote the “Pastoral” primarily during the spring and fall of 1808, although some sketches date back years earlier. Its composition overlapped in part with that of the Fifth Symphony, which might be considered its non-identical twin. Not only did both have the same period of genesis and the same dedicatees (Count Razumovsky and Prince Lobkowitz), but they were also published within weeks of one another in the spring of 1809 and premiered together (in reverse order and with their numbers switched).

The occasion was Beethoven’s famous marathon concert of December 22, 1808, at the Theater an der Wien, and was the only time he premiered two symphonies together. Moreover, the program also included the first public performance of the Fourth Piano Concerto, two movements from the Mass in C, the concert aria Ah! perfido, and the “Choral” Fantasy. Reports indicate that all did not go well, as musicians playing after limited rehearsal struggled their way through this demanding new music, and things fell apart during the “Choral” Fantasy. Although the Fifth and Sixth symphonies are extremely different from one another in overall mood, there are notable points of convergence, such as the innovations in instrumentation (the delayed and dramatic introduction of piccolo and trombones in the fourth movements) and the splicing together of the final movements.

A Closer Look

Beethoven’s descriptive movement titles for the “Pastoral” were made public to the audience before the premiere. The first movement, “Awakening of cheerful feelings upon arriving in the country,” engages with a long musical tradition of pastoral music. From the opening drone of an open fifth in the lower strings to the jovial coda, the leisurely and often repetitive pace of the movement is far from the intensity of the Fifth Symphony. The second movement, “Scene by the brook,” includes the famous birdcalls: flute for the nightingale, oboe for the quail, and two clarinets for the cuckoo (Berlioz copied the effect for two of the birds in the pastoral third movement of his Symphonie fantastique).

This is Beethoven’s only symphony with five movements and the last three lead one into the next. The third is entitled “Merry gathering of peasants” and suggests a town band of limited ability playing dance music. The dance is interrupted by a “Tempest, storm” that approaches from afar as ominous rumblings give way to the full fury of thunder and lightning. The storm is far more intense than other well-known storms—such as by Vivaldi and Haydn—and presages later ones by Berlioz and Wagner. Just as the storm had approached gradually, so it passes, leaving some scattered moments of disruption before the “Shepherds’ hymn—Happy and thankful feelings after the storm” brings the work to its close. Regardless of Beethoven’s declared intentions, this music seems to function on both descriptive and expressive levels, therein fueling arguments about the issue ever since his time.

Program note © 2006. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association.

Web Resources
The Philadelphia Orchestra’s Site
Philadelphia Orchestra
Ludwig van Beethoven
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historic musical bits: Franz Schubert Symphony No.8 “Unfinished” D 759, Leonard Bernstein


Franz Schubert Symphony No.8 “Unfinished” D 759, Leonard Bernstein

historic musical bits: Franz Schubert Symphony No.5 in B flat major D 485, Leonard Bernstein


Franz Schubert Symphony No.5 in B flat major D 485, Leonard Bernstein

historic musical bits: Beethoven Symphony No 7, A major, Leonard Bernstein, Wiener Philarmoniker


Beethoven Symphony No 7 A major Leonard Bernstein Wiener Philarmoniker

historic musical bits: Franz Schubert Symphony No.8 “Unfinished” D 759, Leonard Bernstein


Franz Schubert Symphony No.8 “Unfinished” D 759, Leonard Bernstein

Historic musical bits: Beethoven Symphony No 3 E flat major Eroica Leonard Bernstein


Beethoven Symphony No 3 E flat major Eroica Leonard Bernstein Wiener Philarmoniker

historic musical bits: Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 – Leonard Bernstein


Ludwig van Beethoven Symphony No. 5 in C minor, Op. 67 – Leonard Bernstein

movements:

  • First movement: Allegro con brio
  • Second movement: Andante con moto
  • Third movement: Scherzo. Allegro
  • Fourth movement: Allegro

From Wikipedia, the free encyclopedia

historic musical bits: Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981


Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981

historic musical bits: Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981


Johannes Brahms – Symphony No.1 – Wiener Philharmoniker – Bernstein – 1981

Historic Musical Bits: Wilhelm Kempff plays Robert Schumann – Piano Concerto in A minor, Op. 54 (Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik)


Robert Schumann – Piano Concerto in A minor, Op. 54

Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik

Movements:

Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27
*****************************************************************
From Wikipedia, the free encyclopedia

The Piano Concerto in A minor, Op. 54, is a Romantic concerto by Robert Schumann, completed in 1845. The work premiered in Leipzig on 1 January 1846 with Clara Schumann playing the solo part. Ferdinand Hiller, the work’s dedicatee, conducted.

History

Schumann had earlier worked on several piano concerti: he began one in E-flat major in 1828, from 1829–31 he worked on one in F major, and in 1839, he wrote one movement of a concerto in D minor. None of these works were completed.

In 1841, Schumann wrote a fantasy for piano and orchestra, his Phantasie. His pianist wife Clara urged him to expand this piece into a full piano concerto. In 1845 he added the intermezzo and finale to complete the work. It was the only piano concerto that Schumann completed.

The work may have been used as a model by Edvard Grieg in composing his own Piano Concerto, also in A minor. Grieg’s concerto, like Schumann’s, employs a single powerful orchestral chord at its introduction before the piano’s entrance with a similar descending flourish. Rachmaninov also used the work as a model for his first Piano Concerto.

After this concerto, Schumann wrote two other pieces for piano and orchestra: the Introduction and Allegro Appassionato in G major (Op. 92), and the Introduction and Allegro Concertante in D minor (Op. 134).

Instrumentation

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano.

Structure

The piece, as marked in the score, is in three movements:

  1. Allegro affettuoso (A minor)

  2. Intermezzo: Andantino grazioso (F major)

  3. Allegro vivace (A major)

There is no break between these last two movements (attacca subito).

Schumann preferred that the movements be listed in concert programs as only two movements:[citation needed]

  1. Allegro affettuoso
  2. Andantino and Rondo

The three movement listing is the more common form used.

Allegro affettuoso

The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. The first theme is introduced by the oboe along with wind instruments. The theme is then given to the soloist. Schumann provides great variety with this theme. He first offers it in the A minor key of the piece, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A flat section. The clarinet is often used against the piano in this movement. Toward the end of the movement, the piano launches into a long cadenza before the orchestra joins in with one more melody and builds for the exciting finish.

Intermezzo

This movement is keyed in F major. The piano and strings open up the piece with a small, delicate tune, which is heard throughout the movement before the cellos and later the other strings finally take the main theme, with the piano mainly used as accompaniment. The movement closes with small glimpses of the first movement’s theme before moving straight into the third movement.

Allegro vivace

The movement opens with a huge run up the strings while the piano takes the main, A major theme. Schumann shows great color and variety in this movement. The tune is regal, and the strings are noble. Though it is in 3/4 timing, Schumann manipulates it so that the time signature is often ambiguous. The piece finishes with a restating of the previous material before finally launching into an exciting finale, and ending with a long timpani roll and a huge chord from the orchestra.

Further reading

 

Best classical music, Leonard Bernstein, Brahms Tragic Overture Op.81, great compositions/performances


 

Leonard Bernstein, Brahms Tragic Overture Op.81

 

“Gaudeamus” , Best Classical Music, Bernstein – Academic Festival Overture (Brahms), great compositions/performances


Bernstein – Academic Festival Overture (Brahms)

great compositions/performances, Robert Schumann , Symphony No 1 in B flat major, Op 38, Frühlingssinfonie Spring, Bernstein


Robert Schumann Symphony No 1 in B flat major, Op 38 Frühlingssinfonie Spring Bernstein

Historic Musical Bits: Schumann – Symphony No 2 in C major, Op 61 – Bernstein , great compositions/performances


Schumann – Symphony No 2 in C major, Op 61 – Bernstein


Robert Schumann Symphony No 3 “Rhenish” in E flat major, Op 97 Bernstein

Bernstein, L. – Symphonic Suite from ‘On the Waterfront’ ,great compositions/performances


Bernstein, L. – Symphonic Suite from ‘On the Waterfront’

Gioachino Rossini : La scala di seta (The Silken Ladder), Overture (N.Y. Philharmonic Leonard Bernstein Conducting


Gioachino Rossini : La scala di seta (The Silken Ladder), Overture

Leonard Bernstein – Maria (from West Side Story) , great compositions/performances


English: Leonard Bernstein, conductor and musi...

English: Leonard Bernstein, conductor and musical director of New York City Symphony Español: Leonard Bernstein, director de orquesta y director musical de la New York City Symphony (Photo credit: Wikipedia)

 

George Gershwin – An American in Paris, (performed in 1959 by the New York Philharmonic, conducted by Leonard Bernstein.), great compositions/performances


George Gershwin – An American in Paris

Jacqueline du Pré plays Schumann – Cello Concerto in A minor, Op. 129|NY Philharmonic, Leonard Bernstein, conducting: great compositions/performances


Jacqueline du Pré plays Schumann – Cello Concerto in A minor, Op. 129 (1/2)

Jacqueline du Pré plays Schumann – Cello Concerto in A minor, Op. 129

(2/2)
**********************************************

Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967: Great compositions/performances


Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967

A Thanksgiving Present for all my friends #euzicasa: Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philharmonic


Dvořák: Symphony No. 9 “From The New World” / Karajan · Vienna Philarmonic

Antonín Dvořák Symphony No 8 [No 4] G major Karajan Wiener Philarmoniker: great compositions/performances


Antonín Dvořák Symphony No 8 [No 4] G major Karajan Wiener Philarmoniker

Sibelius, Symphonie Nr 7 C Dur op 105 Leonard Bernstein, Wiener Philharmoniker: great compositions/performances


Sibelius, Symphonie Nr 7 C Dur op 105 Leonard Bernstein, Wiener Philharmoniker

Debussy Prélude à l’après-midi d’un faune, Leonard Bernstein, Boston Symphony Orchestra: great compsitions/performances


MUSSORGSKY (arr. Stokowski) Night on Bald Mountain: great compositions/performances


MUSSORGSKY (arr. Stokowski) Night on Bald Mountain

Here is Leopold Stokowski‘s (1882-1977) transcription of Modest Mussorgsky‘s “Night on Bald Mountain”. This is the version most famously featured as the ending sequence of the Disney film “Fantasia” (1948), and that most famously caused quite an uproar among movie-goers due to the demonic imagery used in the aforementioned clip.

Stokowski was a prodigy along the lines of Maazel, entering into the Royal Academy of Music to study composition and conducting at the age of merely 13. During his long span as one of the most prominent and important conductors (not to mention one of the greatest) he was actually a very controversial figure. What many people probably don’t know is that Stokowski was a great champion of contemporary music, giving the U.S. and/or world premieres of works by Elgar, Vaughn Williams, Prokofiev, Schoenberg, Hovhaness, Copland, Barber, Berg, Feldman and other contemporary composers. He is also very important to the history of modern concert practice as well, popularizing the batonless technique of conducting, as well as inventing and popularizing the “pops concert” and the modern chairing of a symphony orchestra. He was able to produce what was then referred to as “the Stokowski Sound”, although what is now called “the Philly Sound” (one of the many, illustrious orchestras he was resident conductor for), and was the greatest influence on many conductors proceeding him, particularly Leonard Bernstein. His transcriptions and editing of works were considered uncoif at the time, a practice that had long since become outdated as printed music became more available, but they are now one of the things he is best-known for, particularly this and his orchestration of Bach’s Toccata en Fugue in D Minor BWV 565.

Performed here in 1966 by the London Symphony Orchestra.

George Gershwin – I got rhythm: variations for piano and orchestra: make music part of your life series


George Gershwin – I got rhythm: variations for piano and orchestra

Wayne Marshall – Aalborg Symphony

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

(September 8, 1988, Luzern)

Itzhak Perlman “Rèverie et caprice” Berlioz: Great compositions/performances


 FROM:

Itzhak Perlman “Rèverie et caprice” Berlioz

Rèverie et caprice op 8 for violin and orchestra
by Hector Berlioz
Itzhak Perlman, violin
Orchestre de Paris
Daniel Barenboim, conductor

Gustav Mahler – Symphony Nº 5. IV Adagietto | Vienna Philharmonic, Leonard Bernstein (4/5) (from Adagietto’s You Tube Channel): make music part of your life series


Gustav Mahler – Symphony Nº 5. IV Adagietto | Vienna Philharmonic, Leonard Bernstein (4/5) (from Adagietto’s You Tube Channel)

Gustav Mahler – Symphony Nº 5 in C sharp minor, 1901-02.
Wiener Philharmoniker, Vienna Philharmonic, Leonard Bernstein.
[HD] Adagietto http://youtu.be/15WQNKhaCHY

Movements:
I Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt. http://youtu.be/tPpm323M_Ik
II Stürmisch bewegt, mit größter Vehemenz http://youtu.be/JwxrTsSQf0Y
III Scherzo. Kräftig, nicht zu schnell http://youtu.be/SKPlH6L5zeE
IV Adagietto. Sehr langsam. http://youtu.be/yjz2TvC2TT4
V Rondo-Finale. Allegro – Allegro giocoso. Frisch http://youtu.be/U5573xP6JkU

Complete Playlist http://www.youtube.com/watch?v=tPpm32…

“In the Fourth movement, the famous Adagietto, harp and strings alone play. The opening melody recalls two of Mahler’s songs, “Nun seh’ ich wohl” (from Kindertotenlieder) and the separate Ruckert setting “Ich bin der Welt abhanden gekommen”. The long upbeats and expressive appoggiaturas of the melodic lines give the music a yearning, almost heart-breaking quality. The intensity that builds up inthis movement finaly assuages the darkness and doubts of the earlier movements, making the lighter mood and extrovert energy of the Rondo-Finale acceptable. Together, these two movements form the third part of the symphony. The formal function of the Adagietto is ambiguous. It acts as an introduction to the last movement, which follows without a break, and is thematically bound to it, for twice in the Finale we hear the Adagietto’s main theme, now at a fast tempo. The Adagietto also functions as a slow interlude in F major, between two faster movements in D major; but is also has an expressive weight sufficient for it to stand on its own – indeed, it is often performed by itself.

Even without a text or programme, the music’s emotional and referential content implies an existential dimension. Without an explicit programme or titles, we have few clues to the “meaning” of the Fifth Symphony other than the music itself. Mahler offers some guidance by grouping the five movements, which share some thematic Material, as well as an obsession with death, from the first part; the central scherzo stands alone as the second part; and the lat two movements, which are also linked thematically, form the third.

An essential aspect of Mahler’s symphonies is the idea of emotional and spiritual progression, through various alternatives to a (provisional) conclusion. One important means he uses to articulate this spiritual journey is the technique of progressive tonality. In other symphonies he begins and ends movements in diferent keys, but in the Fifth each movement begins and ends in the same key; however as a whole, it moves from C sharp minor opening movement to the D major of the third and fifth movements.

One reason for Mahler’s significance and influence as a composer is that he viewed his music as a means of seeking and expressing solutions to the problems of his personal, spiritual life. The Depth and seriousness of these problems naturally drew him to the largescale form of the symphony, wich he expanded in length and number of movements to unprecedented proportions.

Mahler kept revising the orchestration of this work until his death. He conducted the first performance with the Gürzenich Orchestra in Cologne on October 18, 1904. He’d begun the Fifth Symphony at Maiernegg in 1901 – writing the third, first and second movements in that order, after a death-obsessed song, “Der Tamboursg’sell,” and the Kindertotenlieder cycle (“on the death of children”). After nearly bleeding to death the previous winter (from an intestinal hemorrhage), Mahler’s symphonic orientation underwent a profound change. Mahler cast his Fifth Symphony in five movements that fall naturally into three parts.

The First begins in C sharp minor with a Funeral March, of measured tread and austere (Movement I). A sonata-form movement follows, marked “Stormily, with greatest vehemence” (Movement II), which shares themes as well as mood with the opening.

The Second Part (which Mahler composed first) is a Scherzo: “Vigorously, not too fast” (Movement III) — the symphony’s shortest large section, but its longest single movement. This emphatically joyous, albeit manic movement puts forward D major as the work’s focal key. Although its form has remained a topic of debate since 1904, rondo and sonata-form elements are both present.

Part Three begins with a seraphic Adagietto: “Very slowly” (Movement IV). This is indubitably related to the Rückert song Mahler composed in August 1901, “Ich bin der Welt abhanden gekommen” (I have become lost to the world…I live alone in my heaven, in my loving, in my song). A Rondo-Finale: “Allegro giocoso, lively” (Movement V) concludes the symphony, although Mahler devised a form far removed from classic models. While sectional, in truth episodic, this too has elements of sonata form.

Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker: great compositions/performances


Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker

Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

September 8, 1988, Luzern

 

 

Aaron Copland. The Red Pony. Dream March and Circus Music. New Philharmonia (make music part of your life series)


Aaron Copland. The Red Pony. Dream March and Circus Music. New Philharmonia

Dream march and circus music from: “The Red Pony” – Suite from the film by the american composer Aaron Copland (1900-1990) performed by the New Philharmonia Orchestra conducted by the composer.

make music part of your life series: Leonard Bernstein – Maria (from West Side Story)


[youtube.com/watch?v=kpF1IZ4xLuE]

Leonard Bernstein – Maria (from West Side Story)

Leonard Bernstein (1918 – 1990) was probably best known to the public as the longtime music director of the New York Philharmonic, for conducting concerts by many of the world’s leading orchestras, and for writing the music for West Side Story, a musical based on William Shakespeare’s Romeo and Juliet.

great compositions/performances: Debussy Prélude à l’après-midi d’un faune


[youtube.com/watch?v=EvnRC7tSX50]

Debussy Prélude à l’après-midi d’un faune

Leonard Bernstein conducts Claude Debussy‘s Prelude to the Afternoon of a Faun – extract from “The Unanswered Question“, Boston Symphony Orchestra

Check my channel for more music http://www.youtube.com/user/ofirgal

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Historic musical moments: Brahms – Symphony No. 2 – Wiener Philharmoniker – Leonard Bernstein – 1982


[youtube.com/watch?v=n-qMtWVf0NA]

Brahms – Symphony No. 2Wiener PhilharmonikerLeonard Bernstein – 1982

Johannes Brahms
Symphony No. 2 in D major, Op. 73

I. Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . . (00:42)
II. Adagio non troppo – L’istesso tempo, ma grazioso . . . (21:53)
III. Allegretto grazioso (quasi andantino) . . . . . . . . . . . . (34:41)
IV. Finale. Allegro con spirito . . . . . . . . . . . . . . . . . . . . (40:13)

Wiener Philharmoniker
Leonard Bernstein

Recorded live at the Große Musikvereinssaal
Vienna, 1-6 September 1982

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GREAT COMPOSITIONS/PERFORMANCES: George Gershwin – An American in Paris ( This was performed in 1959 by the New York Philharmonic, conducted by Leonard Bernstein.)


[youtube.com/watch?v=zi0ENw-JlUI]

George GershwinAn American in Paris ( This was performed in 1959 by the New York Philharmonic, conducted by Leonard Bernstein.)

An American in Paris is a symphonic tone poem by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s. It is one of Gershwin’s best-known compositions.
Gershwin composed the piece on commission from the New York Philharmonic. He also did the orchestration (he did not orchestrate his musicals). Gershwin scored An American in Paris for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. Gershwin brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928 in Carnegie Hall, with Walter Damrosch conducting the New York Philharmonic.
Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: “My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” When the tone poem moves into the blues, “our American friend … has succumbed to a spasm of homesickness.” But, “nostalgia is not a fatal disease.” The American visitor “once again is an alert spectator of Parisian life” and “the street noises and French atmosphere are triumphant.”

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Great Compositions/Performances: Brahms: Symphony No.4 in E minor – Bernstein / Wiener Philharmoniker


Johannes Brahms: Symphony No.4 in E minor, Op.98

I. Allegro non troppo (00:00)
II. Andante moderato (13:33)
III. Allegro giocoso (27:19)
IV. Allegro energico e passionato (33:47)

Wiener Philharmoniker
Leonard Bernstein, conductor

September 8, 1988, Luzern

From Wikipedia, the free encyclopedia
 




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The Symphony No. 4 in E minor, Op. 98 by Johannes Brahms is the last of his symphonies. Brahms began working on the piece in Mürzzuschlag. then in the Austro-Hungarian Empire, in 1884, just a year after completing his Symphony No. 3, and completed it in 1885.

Instrumentation

The symphony is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle (third movement only), and strings

Reception

The work was given its premiere in Meiningen on October 25, 1885 with Brahms himself conducting. The piece had earlier been given to a small private audience in a version for two pianos, played by Brahms and Ignaz Brüll. Brahms’ friend and biographer Max Kalbeck, reported that the critic Eduard Hanslick, acting as one of the page-turners, exclaimed on hearing the first movement at this performance: “For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people.”[2] Hanslick later spoke more approvingly of it, however.[citation needed]

Progressive rock group Yes‘ keyboardist Rick Wakeman used part of the symphony on the instrumental “Cans and Brahms” from the 1971 album Fragile

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Make Music Part of Your Life Series: Leonard Bernstein – Maria (from “West Side Story”)


[youtube.com/watch?v=kpF1IZ4xLuE]

Leonard Bernstein – Maria (from “West Side Story”)

Leonard Bernstein (1918 – 1990) was probably best known to the public as the longtime music director of the New York Philharmonic, for conducting concerts by many of the world’s leading orchestras, and for writing the music for West Side Story, a musical based on William Shakespeare’s Romeo and Juliet.

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Great Compositions/Performances: Bernstein – Academic Festival Overture (Brahms)



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Make Music Part of Your Life: Johannes Brahms – Serenade No.1 in D-major, Op.11 (1857)



Johannes Brahms

Work: Serenade No.1 in D-major, Op.11 (1857) for orchestra

Mov.I: Allegro molto 00:00
Mov.II: Scherzo: Allegro non troppo 10:27
Mov.III: Adagio non troppo 17:55
Mov.IV: Menuetto I & II 33:35
Mov.V: Scherzo: Allegro 37:13
Mov.VI: Rondo: Allegro 39:47

Orchestra: Capella Agustina

Conductor: Andreas Spering

 

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Make Music Part of Your Life Series: Brahms, Symphony Nr 3 F Dur op 90 Leonard Bernstein, Wiener Philharmoniker


Brahms, Symphony Nr 3 F Dur op 90 Leonard Bernstein, Wiener Philharmoniker

From Wikipedia, the free encyclopedia

The Symphony No. 3 in F major, Op. 90, is a symphony by Johannes Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Second Symphony. In the interim Brahms had written some of his greatest works, including the Violin Concerto, two overtures (Tragic Overture and Academic Festival Overture), and the Second Piano Concerto.

The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. The shortest of Brahms’ four symphonies, a typical performance lasts between 30 and 40 minutes.

Form

The symphony consists of four movements, marked as follows:

  1. Allegro con brio (F major), in sonata form.
  2. Andante (C major), in a modified sonata form.
  3. Poco allegretto (C minor), in ternary form (A B A’).
  4. Allegro (F minor/F major), in a modified sonata form.

History

Hans Richter, who conducted the premiere of the symphony, proclaimed it to be Brahms’ Eroica. The symphony was well received, more so than his Second Symphony. Although Richard Wagner had died earlier that year, the public feud between Brahms and Wagner had not yet subsided. Wagner enthusiasts tried to interfere with the symphony’s premiere, and the conflict between the two factions nearly brought about a duel.[1]

After each performance, Brahms polished his score further, until it was published in May 1884. His friend and influential music critic Eduard Hanslick said, “Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect.”[1]

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Make Music Part of Your Life series: Schumann – Symphony No. 2 in C Op.61 – Leonard Bernstein (live recording)



Robert Schumann (1810 – 1856) – Symphony n°2 in C major opus 61

I. Sostenuto assai (00:00) – Allegro ma non troppo (03:41)
II. Scherzo. Allegro vivace (12:26)
III. Adagio espressivo (19:20)
IV. Allegro molto vivace (32:46)

Bavarian Radio Symphony Orchestra (Symphonieorchester des Bayerischen Rundfunks), dir Leonard Bernstein
(live recording 1983)
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Make Music Part of Your Life Series: The Berlin Celebration Concert – Beethoven, Symphony No 9 Bernstein 1989



Make Music Part of Your Life Series: The Berlin Celebration Concert – Beethoven, Symphony No 9 Bernstein 1989

Published on Mar 30, 2013

Conducted by Leonard Bernstein, THE BERLIN CELEBRATION CONCERT is an historic performance marking the fall of the Berlin Wall. Performed on Christmas Day 1989 in the former East Berlin, the concert unites an international cast of celebrated musicians and vocalists for a moving performance of Beethoven’s Ninth Symphony.

Symphonieorchester des Bayerisches Rundfunks and members of Staatskapelle Dresden, Orchestra of the Leningrad Kirov Theatre, London Symphony Orchestra, New York Philharmonic and Orchestre de Paris.

 

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Great Compositions/Performances: Leonard Bernstein interprets Maurice Ravel’s Piano Concerto in G


[youtube.com/watch?v=4jYVnNHo3S8]
Great Compositions/Performances: Leonard Bernstein interprets Maurice Ravel‘s Piano Concerto in G

 

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GREAT PERFORMANCES: Rhapsody in Blue – George Gershwin



Rhapsody in Blue, de George Gershwin. Interpretada por el genial Leonard Bernstein, al piano y la dirección.

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GREAT PERFORMANCES: Schumann – Symphony n°2 – Leonard Bernstein (live recording)



Published on Mar 6, 2013
Robert Schumann (1810 – 1856) – Symphony n°2 in C major opus 61

I. Sostenuto assai (00:00) – Allegro ma non troppo (03:41)
II. Scherzo. Allegro vivace (12:26)
III. Adagio espressivo (19:20)
IV. Allegro molto vivace (32:46)

Bavarian Radio Symphony Orchestra (Symphonieorchester des Bayerischen Rundfunks), dir Leonard Bernstein
(live recording 1983)

From Wikipedia, the free encyclopedia
  

The Symphony in C major by German composer Robert Schumann was published in 1847 as his Symphony No. 2, Op. 61, although it was the third symphony he had completed, counting the B-flat major symphony published as No. 1 in 1841, and the original version of his D minor symphony of 1841 (later revised and published as No. 4).

Schumann began to sketch the symphony on December 12, 1845, and had a robust draft of the entire work by December 28. He spent most of the next year orchestrating, beginning February 12, 1846.[1] His depression and poor health, including ringing in his ears, prevented him finishing the work until October 19. Publication followed in 1847.

The uplifting tone of the symphony is remarkable in the face of Schumann’s health problems—the work can be seen as a Beethovenian triumph over fate/pessimism. It is written in the traditional four-movement form, and as often in the nineteenth century the Scherzo precedes the Adagio. All four movements are in C major, except the first part of the slow movement (in C minor); the work is thus homotonal:

  1. Sostenuto assai — Allegro, ma non troppo
  2. Scherzo: Allegro vivace
  3. Adagio espressivo
  4. Allegro molto vivace
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Great Performances: Brahms, Symphony Nr 3 F Dur op 90 Leonard Bernstein, Wiener Philharmoniker


 

Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967



Leonard Bernstein – Mozart Schlittenfahrt (Sleigh Ride) 1967
Leonard Bernstein & New York Philharmonic Orchestra – Mozart Schlittenfahrt (Sleigh Ride) 1967 

Die Schlittenfahrt (Sleigh Ride) is the popular name given to the third of the Three German Dances K. 605 composed by Wolfgang Amadeus Mozart

 

Schubert: Rondo el la mayor para violin y cuerdas D 438



Federico Agostini, violin 
Orquesta de Camara Abril. Concierto de Clausura.
0:11
3:43

Great Performances: Beethoven’s “Overture König Stephan” with Leonard Bernstein



Overture König Stephan, op. 117
by Ludwig van Beethoven
Wiener Philharmoniker
Leonard Bernstein, conductor

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