Richter and Rostropovich Play Concertos by Robert Schumann

★★★★★

   Romanticism was artistic and intellectual movement of various directions and currents. One of dominants of the era was social and philosophical background of artistic activities. This was not new idea, but in prior eras it was always limited to one clear idea and all answers were already known. The one and only question was about how to render idea to find full understanding of listeners. In romanticism many composers were searching for new, more capacious musical construction and a new shape of musical forms. One of such ambitious composers was Robert Schumann (1810-1856), who was experimenting with new forms and trying to renew some classical ideas. He started as music critic and he was always aware of the possibilities and importance of meaning in absolute music. Most famous examples are his cycles of piano miniatures, cycles of songs and four symphonies. Also at least two of his concertos are concert favorites.

   Robert Schumann started composing piano concertos when he was twenty, but results disappointed him and in effect he criticized the idea of the form. In 1828 he worked on piano concerto in E-flat major, next year he tried to compose concerto for piano and orchestra in F major, then in 1839 he wrote one movement of concerto in D minor. When he was thirty, he wrote Fantasy in a Minor for piano and orchestra which became the first part of Piano Concerto in A Minor Op. 54, finished in 1845. His next concert pieces were Konzertstück for Four Horns and Orchestra Op. 86 and Introduction and Allegro Appassionato for Piano and Orchestra Op. 92, both composed in 1849, Cello Concerto in A Minor Op. 129 from 1850 and three concert works from 1853: Fantasy in C for violin and orchestra Op. 131, Introduction and Allegro for Piano and Orchestra Op. 134 and Violin Concerto in D minor.  Both concertos in A Minor are definitely most famous of Schumann’s concertos.

Richter Rostropovich Schumann - Concertos (1961, reissue 1971)

   Piano Concerto in A Minor is great success of Robert Schumann and His idea of emotionally driven concerto being continuation of Beethoven’s symphonic concerto and antithetic to concertos of Schumann’s contemporaries. The compact shape, fresh and clear melodic invention and construction subordinated to the clear dramatic idea are features of this work. The 1958 interpretation by Svjatoslav Richter (1915-1997) is probably the best rendition of Schumann’s Piano Concerto ever. Richter as virtuoso pianist had technical excellence and intellectual base sufficient to create great works of art. What makes him unique is his possibility of profound emotional connection with the composer’s idea and with listener’s sensibility. He communicates not as middleman; he is the fully proficient element of this process. His vision of Schumann is touchingly simple, like he was just playing notes finding them instinctively their natural place. Orchestra of Warsaw National Philharmonic conducted by Witold Rowicki sounds very good, with lots of space for soloist and well balanced proportions.
   Cello was one of instruments Schumann have studied in his youth, so he knew possibilities and limitations of the instrument enough good. But his idea of joining soloist with orchestra was rather to create emotional dramatic tension in musical narration than conventional piece in concerting style which he had so much criticized. He wrote concert in three united movements with concise solos and considerate answers in orchestral parts. In effect Cello Concerto in A Minor Op. 129 is Schumann’s great achievement and one of the best cello concertos ever. Its cheerful feeling, slide along and flowing action, reducing make it invariably great position in concert repertoire. Interpreted by Mstislav Rostropovich (1927-2007), one of best cellists recorded ever, Schumann’s Concerto sounds perfect, light and meaningful. Accompanied by the Leningrad Philharmonic Orchestra under Gennadi Rozhdestvensky, Rostropovich’s 1961 brilliant performance shows charm of Schumann’s Cello Concerto. Many qualities mentioned on Richter’s interpretation of Schumann’s Piano Concerto and Mstislav Rostropovich’s rendition of Cello Concerto in A Minor Op. 129 have their counterpart in each other. No wonder Deutsche Grammophon joined these two recordings in one album in 1961 and republished it in 1971. Five stars for these breathtakingly performances is quite natural rate.

Robert Schumann – Dichterliebe and Liederkreis

★★★★✰

   Song cycle was undoubtedly the crowning artistic form in early romantic music, in the times of growing importance of bourgeoisie and in consequence the great social change of culture and music. Most popular romantic cycles of songs were composed by Franz Schubert, Robert Schumann, Hector Berlioz and later by Johannes Brahms, Hugo Wolf, Richard Wagner and Gustav Mahler but there were many more composers all over the Europe and Americas. Even in late romanticism, when symphonic poem became trendy the idea of cyclic musical form based on song was alive. New cycles of songs were still created in the twentieth century but rather for public performances since there was no longer social background for societal performing practice. 

   This high artistic position of song cycle was also preserved by social practice. While in many homes of 19th century singing was common activity, wealthier part of societal life was animated by professional and semiprofessional private concerts. Romantic song was form derived both from earlier aria da capo and from the idea of a narrative ballad so significant in folk music and in romantic ideas. Based on romantic song form, song cycles were heard only during very special evenings, as requiring professional shape of singer and accompanist. Such singing performances were central event in many societal occasions.

Robert Schumann – Diechterliebe and Liederkreis op. 24 (1965)

   After his marriage with Clara Wieck, Robert Schumann has devoted almost exclusively to one type of musical works and for one year he was consecutively composing song cycles. One of very first in this Liederjahr series was Liederkreis op. 24, cycle of nine songs to poems by Heinrich Heine. During the same ‘year of songs’ Schumann composed his most famous cycles Liederkreis op. 39 (to poems by Joseph von Eichendorff), Frauenliebe und –leben op. 42 (to poems by Adelbert von Chamisso) and Dichterliebe op. 48 cycle of sixteen songs to texts taken from Lyrisches Intermezzo by Heinrich Heine. Dichterliebe (Poet’s Love) became one of most popular cycles in history of the genre. One of best recordings awarded with Orphee D’or was 1957 recording by Dietrich Fischer-Dieskau with Jörg Demus for Deutsche Grammophon Gesellschaft and published with 6 Songs by Johannes Brahms (18370). This recording was reedited in 1965 with Schumann’s Liederkreis op. 24 (LPM 39 109). This way two song cycles by Heine and Schumann were bound in one album.

Robert Schumann – Die alten, bösen Lieder (1957)

   Last song of the Dichterliebe cycle (No 16) was also the last poems of Heinrich Heine’s Lyrisches Intermezzo (No 65). In this song called Die alten, bösen Lieder (The Old Bad Songs) poet says it’s time to bury old bad songs with angry and bitter dreams in great and heavy coffin which could contain all his love and suffering. This form of poetic imagery shows how much romantic poets were reliant of folk inspirations. Comparing to other romantic composers, Schumann gives piano more autonomous role in creating emotional narration and in construction of the composition. One of effects was two minute piano coda in last song of the cycle, where he gives an instrumental commentary to the song.

   As love was main thematic background of whole romantic culture, song merging poetry and music was perfect construction for emotional content. While many songs and musical compositions were devoted to different feelings and stories, in cycles of songs love is dominant theme. It can be brotherly love or parents’ love to children. But what makes this subject so significant from social point of view, love is an element of personal freedom or expression of rebellion against unjust societal rules. This was one of elements in cultural movement strengthened the position of new social force which has changed the history of whole human civilization.

Hermann Prey – Auf Flügeln des Gesanges

   Hermann Prey was one of greatest German singers of 20th century. His lyric baritone was perfect for performing artistic song which was main part of Prey’s rich repertoire. He was also known for his opera appearances, especially for the roles requiring acting talents and virtuoso vocal technique like the unforgettable one of Figaro in TV movie of Rossini’s Il Barbiere di Siviglia made by Jean-Pierre Ponnelle in 1972. Since he was known as gifted singer with beautiful voice, he was appearing as well in oratorio as in more popular repertoire. But he was remembered mainly for his Lider recitals. So the hallmark of his discography are perfect renditions of songs and song cycles.
   Collection of Herman Prey’s song recordings were published by Philips in early 70’s. The series Lied Edition Prey comprises 27 discs in four boxes from Minnesang to contemporary music, from Walter von Vogelweide and Oswald von Wolkenstein to songs composed by Giselher Klebe and Friedrich Gulda. In the series there were also published two albums with highlights Zum Lob des deutschen Liedes and Auf Flügeln des Gesanges with songs of German romanticism.

Hermann Prey – Auf Flügeln des Gesanges (1974)

   Under the title inspired with Heinrich Heine’s poem and Felix Mendelssohn’s song, Philips published album of romantic songs recorded by Hermann Prey for this label. Choice comprises four songs by Franz Schubert with Der Pilgrim to the poem by Friedrich von Schiller, three songs by Robert Schumann to poems by Johann Wolfgang von Goethe, Joseph von Eichendorf and Hans Christian Andersen – brave performance of Der Spielmann. Second side is opening with title song Auf Flügeln des Gesanges by Heinrich Heine and Felix Mendelssohn-Bartholdy, then come Im Rhein by Heinrich Heine and Franz Liszt, Lied des Mephistopheles from Goethe’s Faust composed by Richard Wagner, In der Ferne written by Peter Cornelius to his own words, and recital close two songs by Johannes Brahms and three songs by Hugo Wolf.
   Piano accompaniments were played by Karl Engel (Schubert), Leonard Hokanson (Schumann, Wolf) and Gerald Moore (Mendelssohn, Liszt, Wagner, Cornelius, Brahms, Wolf). Hremann Prey’s renditions are natural and unforced, subordinated to musical and artistic ideas of each song. He interprets music and words trying to catch them as the entity of the message. In fact romantic artistic song is called with German term Lied, and this is somehow honoring this phenomenon. Based on great poetry of 18th and 19th centuries and perfect music elaborations of romantic composers, these songs are complete artistic expression and in Hermann Prey interpretations they shine as jewel in the crown of romantic output. Four and half jewels in five jewel scale.

Cyprien Katsaris plays Beethoven’s Seventh Symphony

   Romanticism was the time of great success of Ludwig van Beethoven’s music. In the times of the birth of romantic ideology and a growing worship surrounding artists, poets and composers, the last great Vienna classic became the social mind hero. He was seen as an unrivaled creator of music reaching highest levels of metaphysical mysteries and human spiritual powers. Especially his symphonies and sonatas were considered as the exposure of 19th century mind. And this music was played not only in original settings, but also by every possible instruments and ensembles. Piano sonatas were transcribed for various chamber lineups to meet social needs. The same way, the whole cycle of Beethoven’s symphonies was present virtually in everyday life with its various piano transcriptions. Some were easy, like four-hands editions for home playing, others were highly artistic arrangements demanding virtuoso pianist.

   One of greatest piano virtuoso ever and the prominent composer of 19th century was Franz Liszt (he was also known under the name Franz Ritter von Liszt or Hungarian form of his name as Liszt Ferenc). He was strong personality in New German School (Neudeutsche Schule) forcing new ideas in writing and constructing musical forms. An important part of his artistic activity were public performances as the master of romantic piano. Like every romantic virtuoso Liszt was composer of his own repertoire but also and author of numerous piano transcriptions. He was not only transcribing music for piano, organ and other instruments, making many free editing changes, composing paraphrases, variations, reminiscences, fantasias and other creative elaborations common in romantic culture. Among most famous were his transcriptions of music by Richard Wagner who was Liszt’s son-in-law and complete of nine Beethoven’s symphonies.

Cyprien Katsaris – Beethoven-Liszt Symphony No.7 (1985)

   Beethoven’s Symphony No. 7 was transcribed by Franz Liszt in 1838 along with Fifth and Sixth. Five years later he transcribed Third. Other transcriptions were unpublished while Liszt was playing them during his European touring. In 1863 Breitkopf & Härtel ordered transcriptions for planned publication of complete set. Cyprien Katsaris, one of the best pianists recording in last four decades, recorded this one in 1985 for Teldec complete edition pressed in Direct Metal Mastering technology. This recording has all the advantages to become a legend. Virtuoso cycle of great works demands great technique as well as great intellectual and emotional possibilities. And Cyprien Katsaris is one the only artist with such temperament and professional possibilities. Powerful sound, wide range of dynamic and expression means, deep emotionalism and suitable distance to the form – these are qualities giving Katsaris' recordings exceptional place between best achievements of piano masters.
   Program of the album comprises also 1982 recording of Robert Schumann’s Exercises (original title is Etüden in Form freier Variationen über ein Thema von Beethoven, WoO 31). The choice is strongly justified since basic subject of the Exercises is the Allegretto theme of the same Beethoven’s Symphony. The comparison of these two compositions shows stylistic difference between Schumann and Liszt piano works. This is also a perfect occasion to experience the versatility of Cyprien Katsaris’ pianistic art. This is phenomenal attribute of his art. His interpretations are always subjected to a composer’s style to the point he is hard to recognize as a performer. He owes his position to unforgettable renditions of Beethoven, Chopin, Mozart and great set of late romantic virtuoso music. In Liszt’s transcriptions of Beethoven’s music there are all qualities of his art. Five stars (out of five) for rendition which is so much complete.

Carlo Maria Giulini – Schumann – Symphony No. 3 “Rheinish” & Overture “Manfred”

   It’s an interesting coincidence of how many great conductors were primarily orchestral viola players. Of course not as many as conductors who started as piano players. Piano is the best instrument for starting the study of scores and formal structures, but still from the group of viola players come a nice group of successful conductors. Maybe the center position of violas in standard sitting of symphonic orchestra gives the best chance to observe directly the art of conducting. Especially conductor’s face expressions being the essence of communication with the orchestra are a condition of success. Maybe there is also a syndrome of the first desk, where students are remembering more part of the lesson just because they have shorter perspective and have to be more attentive. Unfortunately I do not have statistical data to prove this opinion.
   One of the greatest conductors of viola players was Carlo Maria Giulini. In fact he was one of the best at all. He started playing viola in the orchestra of Accademia Nazionale di Santa Cecilia when he was 18 and eight years later he won the Accademia competition giving him chance to become the orchestra conductor. But before he had chance to start, he was drafted and sent to the Croatia as a soldier. Italian army occupied the Balkans as allies of the Nazis. As an declared antifascist and pacifist Giulini had never shoot to human targets and later he refused to take part in further events. In last nine months of the war he was back to Rome and has been hiding because of nazist street posters showing his face instructed he should be shot of sight.

Giulini - Schumann - Rheinish Symphony, Manfred-Overture (1982)

   After postwar Rome debut and short period of directorship in La Scala, in 1956 he started his long time association with Philharmonia Orchestra and Royal Opera House Covent Garden. Later years he was developing series of widely acclaimed performances and cooperation with the best orchestras all over the world. One of the bands he achieved his greatest successes was Los Angeles Philharmonic Orchestra, where in years 1978-1984 he was working as Musical Director. This was the moment in Giulini’s artistic biography when he focused on symphonic music and resigned of the opera performances. He made one exception with Verdi’s last opera Falstaff. Although this setup both as stage performances and recorded Deutsche Grammophon album aroused wide acceptance, Giulini recorded mainly symphonic works. This was even not numerous discography, only a dozen of albums, but what a renditions these recordings are!
   Los Angeles Philharmonic Orchestra was always playing with the kind of sound which is full of harmonics in every dynamic range and with perfect articulation making the whole sections sound like one musician – the same time powerful and subtle. This was why this orchestra gave so many possibilities for Giulini. The 1981 digital recording of two Robert Schumann’s symphonic works became a great success. The program of the Deutsche Grammophon 1982 album (Club-edition 46 373 7) are Symphony No. 3 “Rhenish” in E-flat major, op. 97 and Overture “Manfred”. Both performances are perfectly executed visionary interpretations.

Giulini - Schumann - Rheinish Symphony - Lebhaft 

   Marvelous sound and perfect proportions of orchestral sections give a chance for almost unlimited creativity. Giulini was always a creative personality and wise interpreter. In his interpretations he melted emotional contents with deep concern of musical tradition. Also these renditions of Schumann’s music are deeply serious and intellectual. In fourth movement of the Symphony, Feierlich he enhances polyphonic structures giving it more tragic tension which will be surprisingly solved in final part Lebhaft. Soft but precise articulation, full dynamic range and warm sound make this music captivating in deeper level of its symphonic narration. It was strikingly apparent then as so it is still, thirty years after publishing this famous album.

The Sound of Horowitz

Vladimir Horowitz was one of greatest artists of the twentieth century. His legendary reluctance to public appearances made the recordings were main factor deciding on his artistic development. As gramophone recording artist, Vladimir Horowitz was active since 1928, when he for the first time was recorded by RCA Victor. Earlier, in 1926, his performances were registered on many piano rolls by Welte-Mignon. In time of Great Depression he recorded for His Masters Voice, it was European RCA’s affiliate, and then till the end of fifties his recordings were published by this company. Since 1953 it was continued second period of withdrawal in the artist career. In 1962 Horowitz begun studio sessions for CBS. The Sound of Horowitz is one of his early recitals recorded in CBS studios during four sessions on 6, 13 & 29 of November and December 18th, 1962. 

Although he was already well-known virtuoso, CBS tittled first Horowitz recitals as he was new on the music market.  The Sound of Horowitz was his second recital recorded for CBS. First was recorded in April and May 1962 and published in 1962 by Columbia Masterworks label under the tittle Columbia Records Presents Vladimir Horowitz and comprised Chopin’s Sonata No. 2, Rachmaninoff’s Etudes Tableaux, Schumann’s Arabesque and Liszt’s Hungarian Rhapsody No. 19. For this album in 1963 pianist received two Grammy Awards (for Best Solo Performance and Best Classical Album). Next year The Sound of Horowitz was awarded with Grammy for Best Instrumental Soloist Performance without orchestra. In this category Vladimir Horowitz was awarded also in 1965 and 1966.

The Sound of Horowitz (1963)

The recital comprised by the frame of The Sound of Horowitz album became reference point for pianistic artistry. Whole program has been constructed with precision and main idea behind. It starts with full cycle of thirteen Scenes of Childhood by Robert Schumann. Treated by assumption as being not difficult, miniatures were not composed for children. Small, sometimes episodic but mostly composed in binary form, miniatures of strong imaginary potential became Horowitz specialty. Rich and constantly changing Kinderszenen op. 15 and emotionally powerful Toccata op. 7 shows two opposite sides of Schumann’s works, deep sensitiveness and vivid expression are like two sides of composer personality. This contrast is getting even bigger considering relations between Schumann works and three of Domenico Scarlatti’s Sonatas beginning next side of the record. Repetitions in Sonata in G (L. 209) can be seen as a culmination of virtuoso technical display. And once again Horowitz shows brilliant technique just to reverse and strengthen melodious factor of piano music.

This is Franz Schubert’s Impromptu in G-flat op. 90 nr 3 showing how intensively and lyrically he can carry the melody. And Schubert’s musical language was always based on melody and imagination. Inner beauty of this music is making the phenomenal context for three compositions by Alexander Scriabin: Poem op. 32 nr 1, Etude in C-sharp Minor op. 2 nr 1 and Etude in D-sharp Minor op. 8 nr 12. Especially recorded by Vladimir Horowitz renditions of Scriabin’s Etudes have historical meaning as perfect interpretations and the result of extraordinary inventiveness and philosophical inspirations. The same can be said on every piece of The Sound of Horowitz recital. Beginning with romantic miniatures and virtuoso Toccata, jumping to early sonata form, then going to loosy romantic and postromantic forms Vladimir Horowitz shows piano as perfect singing instrument. This is the recital no piano admirer can miss.

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.

Anda and Kubelik – Schumann and Grieg – Piano Concerti

Two piano concertos in A Minor by two composers Robert Schumann and Edvard Grieg are often placed together. Both are very popular works of romantic period, both are in the same key, both are the only finished concertos in composers’ oeuvres but this is still not enough explanation to understand why so many listeners love to connect these two concertos. Although these two composers were parted by interval of a whole generation and so these concertos were written 27 years one after another, both are highlights of the same romantic style and both are extremely attractive as philharmonic evening events.

From constructional point of view both base on the same idea. After orchestral strike, piano bursts with descending passage and this creates space for theme in orchestra. The construction idea of both concertos is generally the same. Both are nominally in three parts and both have second and third parts ordered to play attacca. And this makes them closer to the rhapsody in two parts than to Mozart or Beethoven type of three-part piano concerto. Consequently in  place of the development traditionally dominating in first parts composers show many casual themes and ideas. These two are similar in basic ideas probably because 25 years old composer followed some creative directions of Schumann whom he really admired. This is most probable cause for some construction and main idea similarities but considering the final effect, these two concertos are still quite different in style and personal character.

Anda in Schumann and Grieg's Concerti (1964)

Basic differences between these two concertos could be derived from historic circumstances and creative attitude of both composers. The Schumann’s work was the milestone of romantic concerto formal development. It was set up against traditional form by composer who was trying to restore the spirit of improvised virtuoso music and reform old idea of concerto. After quarter of the century subversive formal ideas of first romantics became common way of composing. Edvard Grieg, who was great admirer of Schumann’s work, was also determined to create national style of Norway music, which was in line with the spirit of the era. He used national Norwegian folklore, melodies and rhythms of folk dances and transform them into elements of European musical tradition. And this is probably the hallmark of Grieg’s Piano Concerto A Minor which resulted this very work became beloved piece of nineteenth and twentieth century audience.

Géza Anda plays Schumann’s Concerto with a kind of classical standoff, building emotional pressure through standard dynamics and precise articulation. Orchestra creates highly suggestive emotional support for pianist. In Grieg’s Piano Concerto artists follow the rhythmic and melodic intensity with vigor and pathos driving to more emotional or even sentimental moods. Pianist, orchestra and conductor are perfect team for this works. The set of two concertos recorded for Deutsche Grammophone Gesellschaft in 1964 was out of stock and highly priced recording, so twenty years later it has been digitally mastered and republished with new cover design in DGG „Galleria” series. Is there any better review than second edition of the work?

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.