Strauss – Salome and Orchesterlieder

   At the end of 19th century, many considered the romanticism as an era gone irretrievably into the past. There were many different visions and attitudes towards music of forthcoming century. Some were ahead of their time. Others were conservative. Main style of these years called modernism was trying to reconcile different aspirations but in consequence led to expressionism. Richard Strauss (1864-1949) was one of most famous in the group of composers who transpose late 19th century music and its early modernistic meanings into full range modern style of first half of 20th century. In his works neoromantic idiom was developing into full-blown expressionism. While most famous part of his orchestral works are tone poems, and most adored operas are musical dramas Salome and Electra, there are great list of compositions between these extremes only music lovers and professionals know. Featured place on such register took songs. In Strauss’ oeuvres in total number of 180 songs, 41 were composed with symphonic orchestra.
   In vocal repertoire music by Richard Strauss is present with many features. He is popular for strongly emotional, dramatic stage music. Electra and Salome, likewise his deeply moving symphonic songs occupy the position of rich and complex artistic work. Thus many great singers performed and recorded his most popular songs as well as fragments of his dramatic music. These works in Strauss’ huge creative output are highlights being the source of pride even for the greatest stars. One of such recordings was 1978 album recorded by Leonard Bernstein with Montserrat Caballé and Orchestre National de France for Deutsche Grammophon (2530 963). Program comprises fragments from Salome: Final Song and symphonic Dance of the Seven Veils, and Five Songs for Voice and Orchestra, a choice of best known and highly appreciated songs from different opuses. 

Monserat Caballe in Richard Strauss' Salome and Orchesterlieder

   Symphonic fragment Dance of Seven Veils is the ballet scene where Salome seduces King Herod with sensual dance. King possessed by desire promises to fulfill the wish of Salome. The scene of Salome’s Final Song is one of most dramatic fragments in stage music. It is common idea in opera to give heroine last chance of expressing her attitude. Artistic and intellectual context and maybe model for this scene was final Love Death (Liebestod) scene from Tristan und Isolde by Richard Wagner. In this composed almost 50 years earlier fragment Wagner set romantic love beyond the value of life. Strauss in accordance with play by Oscar Wilde took one step further. Salome receiving the severed head of John the Baptist kisses it and declares her love. Seeing this, King Herod ordered to kill Salome. Whole final scene called in original Schlußgesang is often performed as the concert piece.

   Lust and sensuality combined with brutal desire, authority powers and human weakness, these are the key values in the aesthetics of expressionism. In program of the album conducted by Leonard Bernstein Tanz der sieben Schleier occupies central position as a kind of interlude between dramatic Schlußgesang and songs. Performing Final Song of Salome or Strauss’ songs is quite a challenge for singer. Problem is not quite technical, although it requires a big voice and perfect technique. The real difficulties are decisions regarding interpreting frame of musical and poetic message. As most romantic composers, Strauss was writing his songs as a kind of dramatic music. Short but rich in narrative and emotional contents, these songs require deep emotionalism and full control.
   In 1978 album Montserrat Caballé performed five songs from four opuses of Richard Strauss’ songs with orchestra: Cäcille Op. 27 Nr. 2 to the poem of Heinrich Hart, Wiegendlied Op. 41 Nr. 1 with text by Richard Dehmel, Ich liebe dich Op. 37 Nr. 2 with words by Detlev von Liliencron, Morgen Op. 27 Nr. 4 to the poem by John Henry Mackay and Zueignung Op. 10 Nr. 1 with text of Hermann von Gilm. Creating lyrical, deeply emotional renditions, Montserrat Caballé shows the other side of Strauss’ music. The sound of Orchestre National de France perfectly conducted by Leonard Bernstein makes the whole program powerful and rich. To sum up, this is perfect program of great Strauss compositions in one of best renditions. Four and a half of in five star scale.

Bernstein in The Rite of Spring by Stravinsky

   It is really hard to say how much of his fame Igor Stravinsky owes to his ballets. His works were as much different as creative and the best part of his creativity was constant variability. He was programmatically syncretic, aiming to synthesis of all genres and ideas of artistic music. Using all kinds of formal and performing meanings, building of elements taken from diverse sources are Stravinsky’s peculiarity. This is the simple fact he was most original composer of his generation. Even though he became world famous thank to his cooperation with Sergei Diaghilev and his company Ballets Russes. First two ballets, The Firebird (1910) and Petrushka (1911) made for the company were successful and composing his third ballet Stravinsky was more experienced and radical than before. The Rite of Spring (Весна священная) was finished in 1913 and premiered in Vaslav Nijinsky’s choreographic embodiment May 29th, 1913. And the scandal becomes the real success. And the scandal in the theatre was the start to real success of music alone.
   The ballet was subtitled as Pictures of Pagan Russia in Two Parts and thank to Stravinsky’s music, Nijinsky’s choreography and Nicholas Roerich’s costumes it was virtually a manifesto of new musical, ballet and theatre esthetics. The Rite of Spring became the legend, ballet featured in the history of 20th century music as the example of new esthetics and foundation of many different “isms”. Indeed, Igor Stravinsky was polystylistic, constantly moving between different orientations since his aspiration was to make synthesis of all creative tendencies in concert, stage, religious and even popular music. Considering The Rite of Spring was turning point of the revolution in 20th century music, it serves as a chance to discover primary outcome. 

Bernstein – Stravinsky – Rites of Spring (1958)

   And there are dozens of great performances and recordings published since the beginning of long playing records era. One of early classic recordings was New York Philharmonic rendition conducted by Leonard Bernstein and published by Columbia Masterworks (MS 6010) in 1958. In cover notes for this edition Charles Burr wrote: “The Rite of Spring is still the most significant musical work of our time. Its birth pangs, which some mistook for an attempt to destroy music, are now seen to be, instead, the point of departure for a whole new way of listening to music”. These words, written almost half of the century after the work premiere, show unique position of Stravinsky’s music in shaping modern culture. Composer was not affirmative towards various interpretations. In fact he recognized as legitimate only his own performances and only conductor was his friend and co-worker Robert Craft.
   Leonard Bernstein’s rendition of The Rite of Spring is totally different from the vision known from recorded performances of Stravinsky and Craft or Igor Markevitch. Bernstein’s interpretation is extremely sound sensitive. It’s focused on orchestral colors and this solely element is responsible for formal integrity. This approach helps to understand the relationship between The Rite of Spring and the works of Rimsky-Korsakov or French impressionists. Complex structures allow the great number of possible emotional or semantic interpretations. The New York Philharmonic is perfect as usual although in some parts is trying to play this music in 19th century emotionalism. Leonard Bernstein shows its possible and fresh. Four stars even if somebody will say it is biased rating.

Bernstein – Berlioz – Harold in Italy

   Hector Berlioz, great romantic composer and innovator in orchestration, one of best French artists ever, was prized mostly for his Symphonie fantastique, or still very popular in 19th century and one of his most recognized work program symphony Harold in Italy. In most of his works he was breaking the fixed rules of music constructions. The most famous works on his account, like La damnation de Faust which Berlioz described as “légende dramatique” and Roméo et Juliette called by composer “symphonie dramatique”.
   After great artistic success of Symphonie fantastique, Hector Berlioz was credited as main personality of French romanticism and highly priced for musical language and form innovations. He was declared as an atheist, he composed also Te Deum in 1849, a quasi-liturgical work. His most famous religious work is Grande messe des morts op. 5 known also as the Requiem, a monumental composition written in 1837 by the commission of French Minister of Interior to commemorate soldiers who died during Revolution of July 1830.
   Although Berlioz second symphony is precisely defined in its title – Harold en Italie, Symphonie en quatre parties avec un alto principal op. 16 – it is not well fitting to any known form. This is more the symphony set of orchestral scenes corresponding with moods presented in Lord Byron’s poem Childe Harold's Pilgrimage, with melancholic parts of viola corresponding to the title hero dreamy character. The first idea to write a composition with extensive viola parts came from Nicolo Paganini. In December 1933, after performance of Symphonie fantastique great violinist commissioned work for solo viola he could play with extraordinary viola by Antonio Stradivari he possessed. But after great virtuoso seen first sketches of Berlioz new composition, he was disappointed and refused.

Leonard Bernstein – Berlioz – Harold in Italy (1977)

   It is worth to remember Harold in Italy is not titled sinfonia concertante, viola is very well displayed but not in concerting manner. From formal point of view it is freely constructed program symphony with viola representing the hero of Byron’s poem. In some ideas this work can be seen as a predecessor of symphonic poem, the romantic form established by Liszt almost two decades later and this is real value of this symphony. Nicolo Paganini heard the Harold in Italy symphony four years after premiere in 1938 and in front of audience he knelt before composer kissing his hand. Few days later Berlioz received congratulations and bank draft for 20 000 francs as a personal award for commissioned work.
   In 1977 EMI Records released recording of Harold in Italy interpreted by Leonard Bernstein with Orchestre National de France and violist Donald McInnes. Published in quadraphonic pressing, this performance gives the audiophile satisfaction of clear and deep sound. String phrases are strongly outlined and the whole orchestral sound is rich and filled with colors. Soloist plays viola with full, silky sound. He is observant and precise, giving the viola part nostalgic, sometimes melancholic temper. Formal frame of the program symphony, narrative continuity and permanent exploration of possible, sometimes even surprising new readings with full orchestral expression are features marking this recording so significant, deserving five in a five-star scale.

Leonard Bernstein – Schumann – Symphonies 1 & 4

   Robert Schumann was intended to be virtuoso pianist but in the first period of his musical career he became influential music critic and aesthete of German romanticism. Until the age of thirty, he was composing exclusively piano music. In 1940, when he married Clara Wieck, encouraged by his wife, he begun his symphonic period. And shortly he became famous as a composer of vocal and symphonic music. One of milestones of his creative output was Symphony No. 1 in B flat Major op. 38 „Spring” which he sketched in four days of January 1941 between 23rd and 26th. In one month he completed the full symphonic score. Premiere took place in Leipzig and was conducted by Felix Mendelssohn. This work is widely known also under original German title „Frühlingssymphonie” is one of most loved symphonies of romantic era.

Leonard Bernstein – Schumann – Symphonies No. 1 & No. 4 (1985)

   The same year Robert Schumann composed his 4th Symphony in D Minor but this work hadn’t been published for years, until composer has revised this composition ten years later. In 1851 Schumann’s Symphony No. 4 in D Minor op. 120 has been published for the first time. This dramatic work clearly presents romantic style, even if it’s still in four movements, yet in new setting played without pauses between. It was the sign of the time composer changed not only the form and orchestration, but also language of tempo indications. The first version from 1841 has traditionally Italian tempo indications and final version from 1851 has German tempo indications. There are lots of differences between those two versions. Despite the first version was lighter and more transparent in the facture, Clara Schumann insisted for recognizing the essential meaning of 1851 version.
   In 1984 Leonard Bernstein conducted all four Schumann’s Symphonies in Vienna Musikverein’s concert hall. Life recording of this event was published by Deutsche Grammophon label next year and is undeniably one of best recordings of Schumann’s music on vinyl, cd, dvd, youtube or any other media. One can hear and watch fragments of recorded concerto but no new media can give out the power of original DGG album with 1st and 4th symphonies.

   Leonard Bernstein’s interpretations of romantic and post-romantic symphonic music are a class for itself. He was able to bring out the essence of musical experience using measures corresponding to the era and style of the works. As creative personality he was sometimes arbitrary but his interpretations were never anachronic or incoherent. Especially performances of nineteenth century music require a thorough knowledge of ideas and technical solutions evolving over several decades, sometimes from one symphony to another. This is real foundation of conductor’s workshop and Bernstein was one of the best in interpretation of symphonic music. Under his baton Wiener Philharmoniker sound warm and precise, playing with passion yet with necessary distance. Hope of Frühlingssymphonie and dramatic aura of Symphony No. 4 in D Minor are like two sides of the coin. Between them one can find deep conflicts, power of feelings and unique creative rendition of two great romantic symphonies Robert Schumann.

Bernstein conducts Tchaikovsky’s Pathétique

   Leonard Bernstein, composer, pianist, conductor and teacher was one of brightest persons in second half of 20th century. He was famous even among people who didn’t ever visit any philharmonic hall. As an orchestra conductor Leonard Bernstein was expert of extended symphonic forms. In many visionary interpretations he was able to balance individual emotionalism and stable construction. And under his direction orchestras always played on the top of their possibilities. The real greatness of his artistry we can appreciate while listening records with New York Philharmonic, orchestra which he was musical director for 11 seasons (1958-1969).
   Leonard Bernstein was conducting New York Philharmonic much longer before and after his term of office. Since unrehearsed and spectacularly successful debut in 1943 he was working with this orchestra regularly until last years of his creative life. And he left dozens of outstanding recordings made with New York Philharmonic. Especially as musical director of the orchestra he recorded every major work from Philharmonic repertoire. The material he worked on during rehearsals immediately after public presentation was recorded in CBS studios. And CBS was his primary label these years, later in seventies and eighties he recorded mainly for Deutsche Grammophon with various orchestras and wide range of repertoire.

Leonard Bernstein - Tchaikovsky’s Pathétique (1987)

   Composing Symphony no. 6 in B Minor op. 74, Peter Tchaikovsky has suffered from serious depression. There are even presumptions about last symphony he finished was illustration of composer’s suicide plans but with lack of evidence or indications such ideas must remain in the realm of speculation. Such conjectures have emerged as a response to the extremely emotional nature of the work. Four part construction with widely expanded first and last parts and with as much characteristic fragments as Adagio lamentoso in final movement it was ideal fodder for imagination.
   This meaningful symphony was called „Патетическая” after opinion by his brother Modest. Russian title means „passionate” and traditionally is accepted worldwide in French translation as „Pathétique”. Composer considered to call it „Programme Symphony” but finally he rejected the idea because he wanted to keep his outward ideas in secret and he didn’t want to encourage conjectures on this field. Qualities of the work makes us think composer’s decision should be respected.

Leonard Bernstein - Tchaikovsky’s Pathétique (1987)

   Leonard Bernstein recorded Symphony no. 6 in B Minor „Pathétique” with New York Philharmonic Orchestra in August 1986. It was live recording of the concert performance in Avery Fisher Hall. This rendition can be seen as a best probe of conductor’s possibilities in eighties. In this recording he achieved the effect of sublimity and nobility, characterizing only these musical works which are devoted to the final decisions on moral and philosophical questions. The first movement is opening with pianissimo possibile giving artists best start posision to create differentiated and complex part. Middle parts are just complete for filling the emotional and imaginary span of the work. It’s worth to pay attention to the 3rd movement Allegro molto vivace, powerful but still subtle. And the answer for the questions of the beginning is given by finale part of the symphony. Experienced conductor is aware of the rules, genius can follow universal path focusing emotions of every receiver. And Leonard Bernstein gives listener a chance to see it from highly captivating perspective. Thus the Bernstein's interpretation of Tchaikovsky’s Pathétique reveals its inner beauty so well.

Isaac Stern – Bach Violin Concerti

   Isaac Stern is one of very few greatest violinists of XX century. He started very early as 15 years old, debuted with San Francisco Symphony Orchestra under Pierre Monteux playing Saint-Saëns’ 3rd Violin Concerto. As world known virtuoso he confess in his style he was follower of Nathan Milstein and Arthur Grumiaux to whom he owed his sublime phrase, both elegant and emotional. He is well known as performer of main works of classical and romantic repertoire, but he was also known for his visionary renditions of contemporary works by Barber, Bartók, Bernstein, Dutilleux and Stravinsky.
   He is not only virtuoso and groundbreaking interpreter of most advanced violin literature. After he made an entrance in some movie and television projects he became popular among people who did not attend to listen professional music. One of his highly recognizable showing in popular culture was recording of violin music for the movie Fiddler on the roof. In fact in this and other movies he was only dubbing actors playing the role of violinist. He show himself in 1999 movie by Wes Craven Music of the Heart where also Itzhak Perlman and Guarneri Quartet can bee seen. Naturally he was featured in numerous documentaries and concert recordings. In 1997 main hall of Carnegie Hall was named Isaac Stern Auditorium to commemorate the leading role of violinist in rescuing this institution from demolition.

Isaac Stern in Bach's Concerti

   Concerti by Johann Sebastian Bach recorded in February and June 1966 are Concerto for Violin and Strings A Minor BWV 1041, Concerto for Violin and Strings E Major BWV 1042 and Concerto for Violin, Oboe and Strings C Minor BWV 1060. The double concerto was played both by violinist Isaac Stern and oboist Harold Gomberg. The A Minor Concerto Stern played with strings of London Symphony Orchestra conducted by soloist himself. In the next two concerti soloists were accompanied by musicians of New York Philharmonic Orchestra conducted by Leonard Bernstein, who was also playing the basso continuo parts on harpsichord.
   Published by CBS, record with three Bach’s concerti shortly became the milestone in traditional way of reading the greatest works of baroque era. Rooted in romantic esthetics, widely vibrant phrases and strong dynamics made this music more intention of twentieth century vision than eighteenth century representation. The question of difference between Stern’s renditions and later models of reading baroque music is baseless. And even if one can ask how much these interpretations made possible the revolution of original instruments and new technical attitude of seventies and beyond, there are no controversy between the opposites. Decades after performances we can admit all were wrong as well as all have right for their mistakes. Creating work of art can’t be safe or easy. Especially if it looks like that.

The West Side Story Soundtrack

Every genre and form in history of music had its own moments of expansion, when creative impact and strength of expression is recognizable and legible for a wide society. There should be need to learn contemporary art. No one did learn to understand sonata in times of Mozart or to hear swing bands in 1940s. But what was once a natural formula, what was the message fully relevant to common sensitivity, after years can occur nothing more than an empty formula of strange gestures. Among many forms musical theatre (in English as well as in many other languages called just musical) is one of most capacious. It’s more loose than opera or operetta, more dramatic than vaudeville or extravaganza. And the quality of every living form is its permanent changing. Musicals of sixties were at least so much distant from fifties than fifties from forties. 

It is normal, in any dynamically changing reality always happen some unexpected turns up and down. It is quite a rule every decade has few significant musicals, like Show Boat in 1927, Anything Goes in 1934, Oklahoma! in 1943, Fiddler on the Roof in 1964, Cabaret in 1966, Hair in 1968 or Chorus Line in 1975. But one musical produced on Broadway in 1957 was quite unique phenomenon. It was West Side Story written by Arthur Laurents with Stephen Sondheim’s lyrics and music composed by Leonard Bernstein. While Stephen Sondheim was young lyricist, other two were experienced authors. Bernstein had his big success in musical theatre before – it was On the Town from 1944. Based on Shakespeare’s Romeo and Juliet, musical West Side Story beat all expectations. In few years it was produced as a movie and became world class hit on many theatres and pure musical arrangements including composer’s own symphonic version. Until today this is evergreen of many theatres all over the world.

West Side Story Soundtrack

Cinematic version of this musical made Bernstein’s score extremely popular. In 1957 record with songs from original Broadway cast was published by Columbia Records. Company initially refused this edition because of “depressive and difficult nature of the score”. Due to success of the original cast recording and first jazz versions of musical songs recorded in 1959 by André Previn, the soundtrack from the movie West Side Story was issued without delay in 1961. Published under headline The Original Sound Track Recording this record is unquestionably top hit in the history of musical soundtracks. 

This is also a document of its time. Synopsis of the story and many photos from the movie can give an idea of how good is the movie, just like CBS editors believe records buyers need some encouragement to go to the theatre. However it is impossible to find any information about real voices of Maria and Tony. Songs of Maria, who was played in the movie by Natalie Wood, were dubbed by Marni Nixon. The same with Tony’s played by Richard Beymer but singed by Jimmy Bryant. Some subtle changes in text were added just to fit songs to movie narration. For example in original version of I Feel Pretty from West Side Story of 1957 we can hear:

I feel pretty, oh, so pretty,
I feel pretty and witty and bright!
And I pity any girl who isn't me tonight.

While in recorded three years later movie version, lyrics are:

I feel pretty, oh, so pretty,
I feel pretty and witty and gay!
And I pity any girl who isn't me today.

Some people ask if this change was effect of any kind of censorship or strange definition of political correctness but the probable cause was  that in stage and movie versions the same scenes were just happening in different times. By the way, in 1961 the word gay was still synonymous to happy or joyous. And this is how Natalie Wood looks in this scene and how Marni Nixon sounds. Of course we can use the word bright as well. 

Concert of the Century at Carnegie Hall

Maybe the worst moments in the history of Carnegie Hall came in the 1970s. Since first decades of 20th century many things were changed – cinema, radio, television, popular culture and mechanical reproduction of sound made many forms of social activities obsolete. Many were convinced Carnegie Hall waits for the fate of many similar institutions and its bankruptcy is inevitable. The idea of collecting founds for help to the most remarkable musical institution in New York came from Isaac Stern. Great violinist called together his friends, the best musicians of this time, to commemorate the past and to help revitalizing the Carnegie Hall by giving special presentation in its auditorium.

Celebrating the 85th Anniversary of Carnegie Hall on May 18, 1976, musical society with Carnegie Hall Endowment Found produced great concert event with participation of great musicians. Artists invited to this project were in close relations with the place and its history. In program of this concert listeners can hear and see Leonard Bernstein with the Members of the New York Philharmonic, Dietrich Fischer-Dieskau, Vladimir Horovitz, Yehudi Menuhin, Mstislav Rostropovich, Issac Stern and The Oratorio Society directed by Lyndon Woodside. Also Martina Arroyo has been invited, but the star had to cancel her appearance due to accident. 

Celebrating The 85th Anniversary of Carnegie Hall

This special event, advertised The Concert of the Century, was recorded live and published in CBS Masterworks series (79 200). Two records, leaflet with lyrics of Schumann’s Dichterliebe and poster in red gatefold cover were the hit in following season of 1977. There was also a special edition of this album, printed in limited issue of 1000 numbered copies with large photos signed by artists and biography of every soloist, the program of the concert and essay on history of Carnegie Hall – all in red calf portfolio and marbled slipcase. In 1978 this album won the Grammy Award as Best Classical Album of the year. It was the third prize in this category in the career of Thomas Frost, producer of this album.
Special program assorted for this celebration include a number of works that became the base for individual and collective exposition. And everyone can find here something enjoying to himself. Beethoven’s „Leonore” Overture No. 3 in solid sound and natural expression of New York Philharmonic Orchestra conducted by Leonard Bernstein was the single symphonic piece in this program. Strong and emotional Pezzo Elegiaco from Piano Trio A Minor op. 50 by Peter Tchaikovsky was performed by Vladimir Horowitz, Isaac Stern and Mstislav Rostropovich. Also Rachmaninoff's Andante from Cello Sonata G Minor Op. 19 (Rostropovich and Horowitz) was example of perfect playing.
The cycle of songs Dichterliebe Op. 48 Robert Schumann composed for the lyrics by Heinrich Heine. This is one of most exacting romantic song cycles. And Dietrich Fisher-Dieskau maintains it with purity and lightness. His conception is clear and his voice sounds perfect in pair with accompanying him Vladimir Horowitz. Also Bach’s Concerto D Minor for Two Violins BWV 1043 with Yehudi Menuhin, Issac Stern and Leonard Bernstein playing harpsichord and conducting orchestra can satisfied the connoisseur. But what gives the listener the vision of the whole evening? When after Tchaikovsky’s Pater Noster sung by The Oratorio Society directed by Lyndon Woodside, in performance of Alleluia from Handel's oratorio The Messiah the whole collective of soloists engaged in this evening joined the choir. And even if it looks like an occasion to listen to Horowitz, Bernstein and Stern singing along, it is worthy to remember this recording as an perfect example of promoting a social activity.

Leonard Bernstein's Gershwin

Leonard Bernstein was „one of most prodigally talented and most successful musician in American history”, as Donald Henahan wrote twenty years ago in New York Times obituary. It is natural he made great bunch of époque recordings.  He recorded almost every position from great repertoire of classical and romantic period. Some of this repertoire more than once. Many great works of later composers owe him significant part of their fame. He is vivid part of 20th century music. Both as original composer and as the conductor. Also great pianist and  gifted  lecturer, TV-personality and educating animator. Man of so many talents who has the chance to fulfill his destiny. And as we know from many eye-witness relations, he was even better when off the record, doing music in private for friends, his improvisations and good societal aura were legendary.

Gershwin - Rhapsody in  Blue (1979)

George Gershwin was prodigy but in time he was growing, his talent was like cashiers check. He was new kind of worker, artist who has been producing popular melodies which can be merchandise as any other consuming goods. So he was producing popular songs and dreaming about great music and serious composition. Step by step he was heading towards this aim. Big step forward and the very first serious composition was Rhapsody in Blue in 1924. Gershwin wrote it for two pianos and Ferde Grofé arranged Gershwin's piece for jazz band as ordered by Paul Whiteman. Later this piece has been transcribed  for symphonic orchestra by the same Ferde Grofé. This work made Gershwin famous and rich.  He tried to learn composition. The same 1924 he traveled to Paris where he ask Nadia Boulanger to be her student. The legendary professor of dozens of composers rejected him saying she is afraid to kill most valuable part of his talent. He was trying to learn also from Henry Cowell, Wallingford Rieger and Arnold Schoenberg, but they refused his proposals. So Gershwin bought books on instrumentation and musical forms and learned himself everything he needed. After visit in Paris, he traveled to Vienna where he wrote symphonic poem An American in Paris. This time the orchestra score of this symphonic poem has been readied all by composer himself. It is clear George was learning faster than any student. His later works among many other were Piano concerto in F (1925) and folk opera Porgy an Bess (1935). When he died, aged 39, he was well known around the world as the first composer in American history. In fact he was either first nor unique, but this is not the question about facts. 

Gershwin's Rhapsody in Blue on Hungaroton pressing (1980)

What is Gershwin’s music like when conducted by Bernstein? It’s not enough to say it’s good. This are probably the best interpretations ever! Bernstein’s piano performance is so much syncopated as it can be. One step more and he would lost the character of symphonic work. Both orchestras sound like musicians have jazz in their veins. Two of very few so good symphonic orchestras ever recorded. Columbia Symphony Orchestra in Rhapsody in Blue and New York Philharmonic Orchestra in An American in Paris. Both recordings produced for CBS in 1959 and copyrighted for edition in CBS Masterworks series in 1979. By the way, this is second edition I have, after one bought in Hungaroton license press (the photo of that old cover you can find here too). Absolutely classical rendition!  So the answer for the first question should be divided into two opposite questions. First: how would be Gershwin’s works without Bernstein? Not so well, it’s out of the question. And second: how would be Bernstein’s career without Gershwin? He would be still one of greatest directors in recorded history of music. In fact, we will never know if without Gershwin’s music in the second half of 20th century some jazz inspired compositions would be possible in shape we know. George Gershwin’s Rhapsody in Blue and Porgy and Bess opened a new perspective before American music. One of best effects of this attitude was Leonard Bernstein’s musical West Side Story.

Leonard Bernstein's West Side Story (1985)

Maybe this note is too much personal. George Gershwin as Bernstein made him. Leonard Bernstein in Gershwin's music only. And everything else between this two great musicians. Today, on August 26th 2010, he would be 92. I am not sure if birthday of an artist should be occasion to think of his work. Great Lennie Bernstein! It is hard to write about him in any other way than as I know him in private. Indeed I did not. When I was child, my father pointed him as one of greatest artists of our times. And as a child I was not so sure about it. Great artists usually are like pieces of bronze, I thought. They do not smile to the public, they are not speaking to children and even not trying to show that serious music is not so serious as we like to believe. Especially, great artists tend not to show how simple it is to be an artist. Now I am smiling when I think, how unhappy were those counting to be future bronze monuments when hearing Bernstein's CBS programs. Maybe that was the reason he had addressed his best lectures about music to children. I feel I am one of them - even if my generation was more than decade later - and maybe this is why I can't write about him any other way than this.