Swarming–people are everywhere, moving chaotically at first sight, but actually in a very organized way. There's no time to take a deep breath, not even at that almost pause at 1'03''.
Young Perlman is shining, and so is BSO. The final tones are so disburden you want to live the relief again and again.
Composer: Leonard Bernstein Work: Serenade after Plato's "Symposium", III. Eryximachus (Presto) Recording: Itzak Perlman, Boston Symphony Orchestra, Seiji Ozawa
Wind mills, trains, big wheels: It's the revolving motion that characterizes this movement. It's presto, yet the motion is not fast: it's bigger than life, very regular, continuous, unmatched.
Stern is iconic here. His playing works magnificently with NYP. A very pleasant recording.
Composer: Samuel Barber Work: Violin Concerto, III. Presto in moto Recording: Isaac Stern, New York Philharmonic, Leonard Bernstein
Unmistakeable klaxon sound, traffic, bustle... welcome to Paris! And then such a luminous cooling down and my favorite part at 7'27'': walking on the sly, and the melody that takes you onward.
Bernstein is having a good time here. Switching moods, balancing classical and jazz, fun and sentiment, excitement and homesickness, he pretty much sets the standard.
Composer: George Gershwin Work: An American in Paris Recording: New York Philharmonic, Leonard Bernstein
It's easy to talk about folksy settings and square dances. What else do you want to smell here? I smell reunion in progress–small streams in a forrest, coming together, forming something bigger, of a higher call. They unite and continue in their way down, gurgling: smiling, sunny, festive.
You need to say Bernstein when you say Copland. A wonderful account, hearty and hilarious. Spring's in the air.
Composer: Aaron Copland Work: Appalachian Spring Suite, 4. Fast Recording: New York Philharmonic, Leonard Bernstein
This piece is charged with positive energy. Everything goes up, everything grows and shines. Truly a magical world. Moreover, it's wonderfully recorded, so you can really follow different musical flows and be astonished how they intertwist and merge together.
This recording is from 1972 but there's still a touch of young Bernstein: swift tempos, fire, spontaneity. Is it even possible that strings can smile like that?
Composer: Petr Ilyich Tchaikovsky Work: Nutcracker Suite, 1. Miniature Overture Recording: New York Philharmonic, Leonard Bernstein
The soprano part in this symphony is normally sung by a woman. However, it tries to cover the deceit, the falsehood of the finale: These are heavenly lies, only children can believe them. If you listen to the symphony from the beginning, if you succumb to it, you realize the irony here.
This text from Des Knaben Wunderhorn should be sung by ein Knabe, a boy. It hits the chord of
naïveté: it's a childish ditty, nothing more. The adults are smiling knowingly and whispering to each other: lovely, lovely.
Composer: Gustav Mahler Work: Symphony No 4, IV. Sehr behaglich Recording: Helmut Wittek, Royal Concertgebouw Orchestra, Leonard Bernstein
Years ago, I skipped slow movements in symphonies. There was not enough thrill in them for me. Today I'm maybe thrilled in different ways. I'm fascinated with the simplicity of expressive means, with orchestration, with inner intensity.
But perhaps the greatest beauty of this C Major symphony is contained in the third movement, in Adagio of such a lyrical intensity that it stands alone among the slow movements of its time, said young Bernstein about the movement. In this 1953 recording, there's no fear of misunderstanding. Pure music.
Composer: Robert Schumann Work: Symphony No 2, III. Adagio espressivo Recording: New York Stadium Symphony Orchestra, Leonard Bernstein
The finale of The Firebird gives you the unique feeling there's Good and there's Heaven. It's uprising, forcing you to stand up and tell it: Yes! Do whatever you have to do but keep the music playing!
It cannot be played too slowly, it cannot be too exciting, there's no "too much" in this piece, no excess is enough.
Composer: Igor Stravinsky Work: The Firebird Suite, Finale Recording: Israel Philharmonic Orchestra, Leonard Bernstein
