Aaron Copland — The Tender Land

THE 50th ANNIVERSARY OF THIS RECORDING SESSION

★★★★★

   American classical music has a long history dating back to the hymns of First New England School, Justin Morgan and William Billings, which is considered as first original music in United States. But still in romantic era European music was dominated on New World scenes, although many composers, like famous pianist from New Orleans Louis Moreau Gottschalk, were trying to find original idiom of new society. It’s interesting some idea of musical picture of America came from Czech composer Antonin Dvořak. While in literature and fine arts Americans were already proud of internationally acclaimed artists, music was still in strong dependence of its European roots. In 20th century changing economic position of the country gave music more possibilities to develop original American music. In early 20th century creative activity of many composers let them achieve artistic independence of European trends and styles and create idiomatic American music. Most active composers of this generation were George Gershwin, Charles Ives and Aaron Copland who was called “truly American composer” and “the Dean of American music”.

   Aaron Copland was prolific author of works in various genres and utilizing different styles of modern music to create works being vehicle of his views and ideas. He was also pianist, conductor, educator and music critic. Born in Brooklyn November 14, 1900, he grew up in conservative Jewish family of Lithuanian origins. He had a lot of opportunities to deal with different musical activities, with religious, popular music and with regular music lessons since he was seven, as all of his siblings. The key role in musical education played his mother Sarah Mittenthal Copland who was herself singer and pianist. As 11 years old he wrote his first sketches of opera libretto with 7 bar theme, but to be a composer he decided four years later after concert of Ignacy Jan Paderewski, Polish composer and virtuoso. In his high school years he was learning piano with Leopold Wolfsohn, but his later and more formal education with Rubin Goldmark gave him basic knowledge in theory of music, harmony and composition and let him start his studies in Conservatoire de Paris in class of Nadia Boulanger. 

Aaron Copland — The Tender Land (1965)

   After three years in Paris, where he started to write critics (first was on music of Gabriel Fauré), Aaron Copland back to New York where he devoted himself to composing. He befriended with artists and was introduced into intellectual circles. He was under influence of esthetics of American modernists, some progressive social ideas, he was impressed by Alfred Stieglitz and photographer Walker Evans, famous for his photographic documentary on effects of Great Depression. These ideas inspired young artist who focused his full time creative activity on social issues. In 1945 Copland’s intention to write musical based on Erskine Caldwell’s Tragic Ground was officially announced. It was planned as socio-economic drama on “poor white trash” with farcical elements. Copland written some music, but finally the project has been abandoned. Nine years later when Richard Rogers and Oscar Hammerstein II commissioned composition for anniversary of the League of Composers, Copland used parts to create two-act opera on related content and title The Tender Land. This work was premiered April 1st 1954. One year later, May 20th 1955, three-act version of opera was premiered in Oberlin Conservatory of Music — this time Tragic Ground fragments were completely cast away.
   Both versions of the opera were poorly received. In 1958 Aaron Copland compiled suite for orchestra, but opera was still not accepted. First successful production took place in 1965 as a part of French-American Festival. July 28 composer conducted concert version of this opera with New York Philharmonic and singers of Metropolitan Opera: Joy Clements as Laurie, Clarmae Turner as Ma Moss, Norman Treigle as Grandpa Moss, Richard Cassilly as Martin and Richard Frederics as Top. This performance was enough successful for Columbia to arrange three days later recording session in Manhattan Center. Recorded again under Aaron Copland’s baton the abridged version of The Tender Land was published as one of significant albums in contemporary American music. After a half of the century this album sounds as clear and fresh as it was recorded in any moment between. In 2000 Sony republished this historic recording on compact disc. Four stars for artistic and historical position of this album.

Bruno Walter - Schubert's Unfinished and Beethoven's Fifth

★★★★★

   There are genius musicians and musicians with moderate talent. Among them there are modest people and impostors. Since most musicians are duplicating some patterns, it is really hard to say what part of the scene is more important in the history of music, creators or carriers and supporters.  One of the best ways to test creative talent in music is to examine how original are interpretations of commonly known works. Performances too much dependent of tradition, reproductive and not self-reliant are excluded at this point, although we should remember this is the main part of all musical activity. Interpreters who can show the work in new perspective, who are able to find some new ideas in famous and commonly known work, these are really gifted people. Such works as most popular symphonies like Beethoven’s Fifth or Schubert’s Unfinished are the test some musicians will never pass.
   Bruno Walter recorded Schubert and Beethoven many times. Especially looking for recordings of most popular symphonies like Beethoven’s Fifth and Schubert’s Unfinished, one can be overwhelmed by number of performances and recordings. But our astonishment fades away when we consider it was just a part of everyday work and basic symphonic repertoire was recorded on various occasions, for example with live radio broadcasts. Standards were considerably lower and market more voracious, so recordings had more chance to be sold. These recordings have paramount importance in understanding changes in perception of music in last century. Bruno Walter recorded Schubert’s Symphony No. 8 “Unfinished” nine times, first time with Vienna Philharmonic Orchestra in 1936 and last time with the same orchestra in 1960. Beethoven Symphony No. 5 in C Minor Bruno Walter recorded four times, first time for Columbia with Royal Philharmonic Orchestra in 1926, second with New York Philharmonic in 1941 and then two times more as parts of wider projects of complete Beethoven’s Symphonies in 1950 with New York Philharmonic and in 1958 with Columbia Symphony Orchestra.

Bruno Walter conducts Schubert and Beethoven (1963)

   In 1963 edition of two most popular symphonies Columbia chose newest studio recordings. Schubert’s Symphony No. 8 is sixth recording and was made with New York Philharmonic March 3rd, 1958 at St. George Hotel in Brooklyn. It was recorded three more times with Chicago Symphony Orchestra, New York Philharmonic and with Vienna Philharmonic, but all of these were live recordings. Recording of Beethoven’s Symphony No. 5 with Columbia Symphony Orchestra was Walter’s last recorded performance of this work. It was done during two day session January 27 & 30, 1958 at American Legion Hall. Both were master performances and Columbia published them repeatedly as parts of various programs. Unfinished Symphony was published under Columbia Masterworks label since 1960 in many re-editions. It basic set was together with Schubert’s Fifth Symphony. This album has its license edition in German Democratic Republic in 1967, in 1974 was republished in CBS Masterworks and in 1996 on CD with Beethoven’s Overture Leonore III by Sony. Beethoven’s Fifth was published with Fourth and sold both as a part of  complete Symphonies' set or as alone album.
   What makes these more than half century old recordings still interesting is the question of value in music. In fact this is also the way to ask about autonomy of musical meaning. 19th century music is so much complex it can be reinterpreted without the danger its potential can be exhausted. The issue in best conductors’ performances is not only to show the new face of the composition, but to show it in most universal, most capacious shape. Bruno Walter read Schubert’s Symphony No. 8 B Minor ‘Unfinished’ in a dramatic way, moving the centre of gravity from melodic narration to background harmony dramatic contrasts and obsessive rhythms. Powerful dynamics and orchestral precision of sound and articulation give this performance more tragic aspect than usual. In contrast Beethoven’s Symphony No. 5 C Minor Op. 67 Bruno Walter shaped as more classical, balanced in equilibrium of melodic and rhythmic ideas and formal discipline. Characteristic feature of his interpretation of Fifth are moderate tempos, never too fast, rather slower, calm and reassuring. Five stars for quality of interpretation sound of orchestras and recording quality.

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 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.

Bruno Walter – Mahler’s Fifth and Kindertotenlieder

Since Gustav Mahler was graduating from Vienna Conservatory, he was working with sequence of opera orchestras in Olomouc, Kassel, Leipzig, Prague and Budapest. Every engagement was successful and droves his career to higher positions. Great successes, he achieved as a director of Stadttheater Hamburg and then Hofoper in Vienna, didn’t protect him from attacks of anti-Semitic press. Doubts and accusations had escalated when Mahler begun his work as director of Vienna Philharmonic. Orchestra was displaying discontent of his habit to re-orchestrate well known works. Musicians protested because they had to learn their parts from the beginning. First chosen unanimously, than openly criticized for his artistic decisions, overworked and tired of attacks Mahler resigned off the function. But this decision didn’t help and he was still under attacks as the director of Hofoper. In October 1907 Mahler resigned and after farewell performance of his Second Symphony on November 24th, he left Vienna for New York. One month later 1st day of 1908 Mahler made his New York debut conducting Wagner’s Tristan und Isolde in Metropolitan Opera where he stayed for last three years of his life.
Despite not too much numerous catalogue his works has bad reception during his life and in next decades. Instrumental and structural requirements of his works were usually higher than most symphonic works in his times, so for years he was omitted, played only by few most professional and conscious conductors. Among them were Mahler’s assistants Bruno Walter and Otto Klemperer, as well as some prominent artists – Willem Mengelberg, Leopold Stokowski, and Henry Wood. But still Mahler’s music was not known to wider public. After Nazis recognized Mahler’s music as „degenerate”, it was totally banned in Germany and satellite countries. Rare presentations in Berlin (Symphony No 2) and in Amsterdam under German occupation (Symphonies 1st & 5th) had been performed by Jewish artists and for Jewish audience only.

Bruno Walter - Mahler's Fifth and Kindertotenlieder

Better times for Gustav Mahler’s legacy came after the war. Rediscovery of Mahler’s music was possible amid another thank to the new media and recording techniques. Unparalleled in history of mankind accessibility to the values of the culture changed the way of social understanding and participating. Once recorded, music had been played from gramophone records and radio auditions. But probably it was contemporary music what had served Mahler best. Better understanding the powers of modern symphonic orchestra and the meaning of the sound in formal setting were qualities extremely helpful for Mahler’s listeners. Later to the group of great conductors joined next generation of artists, Pierre Boulez, Claudio Abbado and many others. The better these new renditions were, the more impressive appeared older Bruno Walter’s recordings.

Bruno Walter has center position in history of Mahler’s heritage. In 1894 when Bruno Walter met Gustav Mahler for the first time, he was only 17 years old. Musical and creative personality of sixteen years older Mahler had to make a huge impression on novice conductor. In next years young artist was conducting assistant of the great composer. This fascination and even idolization resists for decades – Bruno Walter became the conductor strongly connected to Mahler’s work. He was spreading his promoter’s music by playing numerous premieres and working on piano transcriptions of Mahler’s compositions. And his recordings of Mahler’s works became one of legends in Twentieth Century recording history. And not only because we can believe Mahler’s himself would have conducted in closest way. Fifth Symphony recorded by Bruno Walter in 1947 has so many shadings and nuances it’s hard to catch simple pattern characteristic for this interpretation.
Highly narrative, dramatic and meaningful Symphony No 5 sounds with inevitable power of sound, but cycle of mourn songs about death of the children Mahler wrote to his own poems in many parts is even more soulfully profound and emotionally pronounced.  Fifth Symphony and legendary recording from 1949 of five song cycle Kindertotenlieder with great Kathleen Ferrier and Wienner Philharmoniker were published together as double LP album issued by Odyssey. It is unbelievable how vividly and transparently sound these recordings after 64 years.

Bruno Walter – Gustav Mahler – Symphony No 2

Gustav Mahler is probably most important composer connecting separate worlds of romanticism and modernism, nineteenth century irrational trust in development and progress and twentieth century blend of pessimism and exalted emotionalism. His creative output was almost exclusively delimited to symphonic works and songs cycles. Exceptions in most cases are a student works, among them one opera and very few piano compositions. These compositions are predominantly lost even if some of them resist as a parts of symphonies or song cycles. Some of his early works composer later revised and included into new projects. Mahler’s major activity was conducting. For orchestras he led he was constantly rescoring historic compositions, and this can explain why list of his mature compositions is so short.
Symphony No. 2 in C Minor called „Resurrection” is undoubtedly one of highly valued Mahler’s masterworks. Since it’s premiere in 1895 it was recognizable and esteemed as a masterpiece of postromantic symphonic form. Five movements of this symphony were set with philosophic program, which Mahler confided to his friends. First movement based on Mahler’s earlier symphonic poem Totenfeier represents funeral rites and express query of life after death. There are still a lots of doubts about formal and constructive ideas or about composer’s intentions of the first movement. Second part, illustrative slow landler with two contrastive episodes, represents remembrance of past life. First two movements of Second Symphony are focused on past live.

Mahler's 2nd Symphony by Bruno Walter

Third movement opens totally new perspective of musical vision. First two movements are cancelled. Anything keeping us bounded with this life occurs false value. Foundation for biting sarcasm of third movement is satirical song from Des Knaben Wunderhorn cycle – Des Antonius von Padua Fischpredigt. The scherzo-like movement is designated by composer as In ruhig fliessender Bewegung but it has not much to do with joking spirit of scherzos. Its naïve serenity from bright enthusiasm turns into dark and depressive consciousness of defeat, like it was trying to convince listener that even under the mockery hides the nonsense of the world. The solution comes in fourth movement for which Mahler included the song „Urlicht” (Primeval Light) from Des Knaben Wunderhorn, which is straight confession of faith in redemption from God. Final movement comes as hymn in choral and orchestral setting. There are some construction analogies with Finale from Beethoven’s Ninth. Poetic text of this is poem Die Auferstehung by Friedrich Gottlieb Klopstock to which Mahler wrote alternative closing.

This work is extremely hard for interpretation and life performing. This is confirming by notable differences between various renditions. Recording of this work occurs even more difficult. Among few good records especially one is extraordinary. It is 1957 stereo recording made under baton of Bruno Walter for Columbia with New York Philharmonic, Emilia Cundari, Maureen Forrester and Westminster Choir directed by John Finley Williamson. Conductor of this performance was Mahler’s assistant so it is easy to believe his interpretation is as much close to composer’s intentions as it is possible. And perfect sound he achieved is so transparent, it makes polyphonic structures readable and clear. After more than half of the century this recording is still fresh and powerful vision of Mahler’s Second.

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.

Fryderyk Chopin's Greatest Hits

A great number of performances is the hallmark of Frederic Chopin’s music. And the reason for such appreciation is not the same as for Vivaldi’s Le Quattro staggioni or Handel’s Watermusic. There is a big bunch of beloved pieces in Chopin’s catalogue, and looking for any favorites does not make too much sense. It’s hard to find in Chopin’s oeuvre these few works which are not bestsellers. This is why pianists who play Chopin’s music have to be so flexible.  Beside of romantic stylistic idiom Chopin’s music is polyphonic and disciplined as Bach’s studies. And that was the basic repertoire Polish composer was playing while his everyday rehearsal routine. It is worth to remember that, to train his hands, young Chopin was playing what Johann Sebastian Bach had written as the examples of teaching composing techniques. Within many qualities most are common for Bach’s and Chopin’s music, but one differentiate them firmly. Interpretations of Chopin’s pieces are like snowflakes – it is impossible to find two identical ones – both, in idea or in realization. This is by the way one of the greatest features of his music. 

Chopin's Greatest Hits

Maybe the craziest thing one can do is choosing greatest hits out of Chopin’s legacy. And even more crazy is to include in such choice a big variety of unoriginal arrangements. The Columbia label produced in 1969 in a Masterworks series (ML 5442 and MS 7506) a sellection of original and orchestrated Chopin’s hits. Later this edition was reprinted in CBS Harmony series (S 30005). Only three pieces are recorded in the original piano versions – these are Minute Waltz in D-Flat Major, Op. 64, No. 1, Fantasie-Impromptu, Op. 66 and Polonaise in A-Flat Major, Op. 53 in great performances by Philippe Entremont. Two pieces arranged for symphony orchestra were recorded by Andre Kostelanetz conducting The New York Philharmonic (Military Polonaise, Op. 40, No. 1) and The Columbia Symphony (Etude in E-Major, Op. 10, No. 3). The other six pieces arranged for symphonic orchestra were recorded by The Philadelphia Orchestra under direction of Eugene Ormandy. These are Waltz in D-Flat Major, Op. 64, No. 1, Mazurka in D Major, Op. 33, No. 2, Nocturne in E-Flat Major, Op. 9, No. 2, Waltz In G-Flat Major, Prelude in A Major, Op. 28, No. 7 and Grande Valse Brillante in E-Flat Major. Arrangement credits are not complete – they were included only in references for two pieces (Nocturne in E-Flat Major and Etude in E-Major) and they indicate that these pieces had been rewritten for orchestra by Arthur Harris. And even if it still looks crazy, orchestral versions sound quite good. Sometimes even much better than works of some other romantic composers.

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.