On Thursday, January 25, 2012, I attended a wonderful rehearsal of the San Francisco Symphony Orchestra with Mr. Pinchas Zukerman in three roles:

o Violin soloist

o Viola soloist

o Orchestra conductor

This rehearsal showed me again that Mr. Z is still one of the finest musicians around, and from reading the program notes he leads one heck of an active life in bringing music to the millions in these three roles.

The rehearsal began with Mozart’s Adagio in E-Major for violin and Orchestra K. 261, followed by the Rondo in C-Major K. 373. Right from the first 3 notes, I marveled at the amazing sound that Mr. Z was able to deliver from his fine violin. Totally amazing sound, and terrific mozartean phrasing.

Mr. Zukerman left briefly to go and get his viola to perform the next work on this program: the Trauermusik for viola and strings by Paul Hindemith. The title means music of sorrow; and Zukerman showed us his rich, dark, from what I believe is a Guarneri – made viola…

Then followed the violin concerto #3 in G-Major, K. 216. This music was clearly locked for many years in Mr. Z’s fingers and muscles. Yet we heard a performance that was tasteful, charming, and fun.

Following an intermission, Mr. Zukerman was back in his 3rd role, and he conducted the SF symphony in the Symphony #40 by Mozart. He directed the players in a wonderful, sprightly tempo, with fine musical detail.

All in all this was a great enjoyable experience.

Here is Pinchas Zukerman playing the finale of the violin concerto by Max Bruch, with the Israel Philharmonic under Zubin Mehta (2006)

Tags: San Francisco rehearsal, Pinchas Zukerman, Mozart, Hindemith

This is an early Kleiber performance and with an unexpected repertoire of Carl Philip Emanuel Bach and Georg Philipp Telemann. It is a recording for music lovers, like me, who consider Carlos Kleiber to have been one of the planet’s truly phenomenal orchestra conductors.

Bach, C P E:

• Cello Concerto No. 2 in B flat major, Wq 171

Telemann:

• Suite in B flat major

Performed by the Hamburger Rundfunkorchester (Radio Orchestra of Hamburg), conducted by Carlos Kleiber

Here is Carlos Kleiber, conducting the Bavarian State Orchestra in Beethoven’s 7th symphony

And now I have for you Kleiber’s wonderful interpretation of the Symphony No. 4 in E minor, Op. 98 by Johannes Brahms

As an encore, here is Maestro Carlos Kleiber and the Wiener Philharmoniker in
A terrific performance of Johann Strauß’ waltz “An der schönen blauen Donau” (On the beautiful, blue Danube)

Tags: Carlos Kleiber, CPE Bach, Telemann

The opening concert of the Salzburg Festival, for many regarded as the world’s most renowned music festival, is by tradition a high-profile event.
In 2010 the Festival celebrated its 90th anniversary and the 50th anniversary of the Great Festival Hall.

The selections performed at the concert were:

Beethoven:

• Piano Concerto No. 4 in G major, Op. 58

Daniel Barenboim (piano)
Boulez:

• Notations

Bruckner:

• Te Deum in C major, WAB 45

Soloists were Dorothea Roschmann (soprano), Elīna Garanča (mezzo), Klaus Florian Vogt (tenor), René Pape (bass) and the Chorus of the Vienna State Opera

Performed by the Vienna Philharmonic Orchestra, conducted by Daniel Barenboim

In 2010 Barenboim also celebrated his 60th anniversary onstage, and also appeared as a soloist and conductor of Beethoven’s lyrical Fourth Piano Concerto.

Bruckner´s poignant Te Deum was performed by a quartet of world-class singers.

This DVD was released on August 30, 2011

Here is the Beethoven Piano Concerto 4 op. 58, first movement; Performed by Daniel Barenboim (pianist & conductor) and the Staatskapelle Berlin.

And here is part of the Bruckner “Te Deum”, as conducted by Daniel Barenboim:

Tags: Salzburg concert 2010, Barenboim, Bruckner, Beethoven, Boulez

With this concert, Yutaka Sado made his Berlin Philharmonic debut; and he is the first Japanese to conduct the renowned orchestra since Seiji Ozawa

Recorded live from the Philharmonie, Berlin, May, 20th 2011; the performance included the following:

Shostakovich:

• Symphony No. 5 in D minor, Op. 47

Takemitsu:

• From me flows what you call time (for five percussionists and orchestra)

Performed by the Berliner Philharmoniker, conducted by Yutaka Sado

This production is a Charity Concert for the victims of the Earthquake and Tsunami Disaster from March 11th 2011.

The profit generated will be donated to a special section of the Japanese Red Cross Society (JRCS), which was especially founded for earthquake victims, and will therefore be distributed directly among the population affected. Immediate help for the Japanese people in need is thus guaranteed.

Critics have unanimously hailed Yutaka Sado as one of the most charismatic conductors of the new generation. The long-time assistant of Leonard Bernstein and Seiji Ozawa was awarded the most important conductor’s prizes, e.g. the Premier Grand Prix at the 39th International Conducting Competition and the Grand Prix du Concours International L. Bernstein Jerusalem.

The Shostakovich 5th symphony is given a wonderful reading; and the Berlin Philharmonic displays its usual excellence.

The second selection is a composition for four percussionists by the noted Japanese composer Toru Takemitsu. It is called “From me flows what you call time” and it is a fascinating piece, if only to explore the fabulous expertise of the percussionists, playing a variety of instruments.

Here is a video of Yutaka Sado in rehearsal with the Berliner Philharmoniker: Tōru Takemitsu: “From me flows what you call time” and Dmitri Shostakovich: Symphony No. 5

Yutaka Sado, conductor • Berliner Philharmoniker / Rehearsal recorded at the Berlin Philharmonie, 19 May 2011

Tags: Yutaka Sado, conductor, Berliner Philharmoniker, Berlin Philharmonic, Takemitsu, Shostakovich

Opinions on music will always vary, depending on the person with whom you interact. Musical performance is a personal thing, and how some black notes on a piece of paper are transformed into sound that is alive in the moment and then disappears, is filled with personal feelings.

We humans have many biases, as well. Some like to see tall men on the podium; others will accept a woman conductor; yet others will not accept her, no matter how competent she is (!) All of this is based on a person’s previous education, training, personal preferences in music performance, possibly some psychological factors, and more.

I like many conductors. I have written previously about my admiration of Sir Georg Solti. I love his performances of Richard Strauss, Schubert, Bartok, and Beethoven. I also like many young conductors who have recently emerged on the music scene, such as British conductor, Daniel Harding.

I am a fan of Sir Simon Rattle and of Daniel Barenboim. I admire how each of these men conduct the music of Gustav Mahler.

There is one man, whom we lost in 2004, who continues to be the subject of my greatest admiration. His name is Carlos Kleiber.

Every time that I hear Maestro Kleiber conduct a performance, I experience something new: It may be the transition from a slow musical introduction to an explosive Allegro; it might be a well-known masterpiece that suddenly has new detail under Mr. Kleiber’s interpretive direction. Frequently it is a complete painting of Nature in Europe which Kleiber presents to me, as I listen to how he carves out the fine details of a Beethoven symphony. For me, Carlos Kleiber holds a singular position as a musical director of an orchestra who is at the very top.

Listen please to Keliber’s opening bars and the subsequent development of Beethoven’s Symphony #4:

Carlos Kleiber conducts the Amsterdam Concertgebouw Orchestra:

It is clear to me that Maestro Kleiber loved the music of Johann Strauss. Here he is “Die Fledermaus” Overture at the Bayerische Staatsoper:

Finally, here is Carlos Kleiber in Mozart’s Symphony Number 36 with the Vienna Philharmonic:

Your comments are invited; make these comments at the bottom of the page.

Tags: Maestro Carlos Kleiber, symphony conductors

This is a collection of 14 CD’s for Celibidache fans:

Beethoven:

• Symphonies Nos. 1-9 (complete)

Brahms:

• Symphony No. 2 in D major, Op. 73

• Symphony No. 3 in F major, Op. 90

• Symphony No. 4 in E minor, Op. 98

• Variations on a theme by Haydn for orchestra, Op. 56a ‘St Anthony Variations’

Haydn:

• Symphony No. 92 in G major ‘Oxford’

• Symphony No. 103 in E flat major ‘Drum Roll’

• Symphony No. 104 in D major ‘London’

Mozart:

• Symphony No. 40 in G minor, K550

Schumann:

• Symphony No. 2 in C major, Op. 61

• Symphony No. 3 in E flat major, Op. 97 ‘Rhenish’

• Symphony No. 4 in D minor, Op. 120

Performed by the Münchner Philharmoniker, conducted by Sergiu Celibidache

I have recently come to respect the abilities of this legendary conductor, and this collection is indeed a way to have a thorough overview of his interpretations.

One characteristic of  Sergiu Celibidache is his frequent very slow tempi. That can work for some music, such as—perhaps Tchaikovsky or Schumann. However, in Haydn and Beethoven you may find these tempo changes too distracting.

However, you may well gain new insight into several compositions just because the tempi are slower, and you can hear new detail that you have never heard before.

Here is a Celibidache rehearsal of the Prokofiev  Classical Symphony:

Watch now as Celibidache rehearsals and performs a wonderful version of Mozart’s Requiem

Tags: Sergiu Celibidache, Münchner Philharmoniker, Symphonies

James Levine and the Boston Symphony Orchestra’s recording of Ravel’s complete Daphnis et Chloé, featuring the Tanglewood Festival Chorus, John Oliver, conductor, won the Grammy Award in the category of Orchestral Performance at the 52nd annual Grammy Awards on January 31, 2010.

I am a great admirer of James Levine, and I feel badly that his health has been rather poor in the past few years, which caused him to have to cancel musical performances. This recording of Ravel’s “Daphnis et Chloe” is one of the best I’ve heard of recent years. Levine has conducted this ballet twice on record: once with the Vienna Philharmonic on Deutsche Grammophon, and this release on the BSO’s own label.

What a composition this is: Filled with all the colors imaginable, and all sorts of musical excitement. Many other conductors have been inspired to perform this music. Here’s just one: An interpretation by French conductor, Charles Munch:

To hear Charles Munch conduct “Danse generale” from Daphnis et Chloe – Suite No. 2, please click HERE

Finally, here’s the NHK Symphony Orchestra conducted by Vladimir Ashkenazy. The concert hall is at the Wiener Musikverein, Large Hall, Vienna, 2005

Tags: Maurice Ravel, Daphnis et Chloe, Charles Munch, Vladimir Ashkenazy

My ongoing studies of great conductors have led me to admire Fritz Reiner a lot. He was born on December 19, 1888 in Hungary, and he studied with composer Bela Bartok. He also worked with Richard Strauss. Quite a heritage, really. He died in New York on November 15th, 1963 at the age of 74.

Mr. Reiner came to the US in 1922 to take the post of Principal Conductor of the Cincinnati Symphony Orchestra. He remained until 1931, having become a naturalized citizen in 1928, then began to teach at the Curtis Institute in Philadelphia, Pennsylvania, where his pupils included Leonard Bernstein and Lukas Foss.

Reiner also conducted operas at the Metropolitan Opera in New York City.

I own a treasured recording of Reiner as he conducts the Tchaikovsky Violin concerto with Jascha Heifetz. Amazing performance by all!

My admiration of  Fritz Reiner centers on the following factors:

o Conducting precision

o Conducting technique

o Economy of movement

o Small, powerful gestures

Note from the videos below his erect stature, his CLEAR beat of the tempo; Note his little use of the left hand. See his very clear cutoffs. Observe that he hardly has any body movements, as compared with, say, Georg Solti. And see the really effective cues he gives to orchestra players.

Yep… this man is always very serious. He does not smile often. But… as a leader… I think he’s excellent, as long as you, as a performer, know your stuff!

Watch now as Fritz Reiner Conducts Beethoven’s 7th Symphony. Click HERE

Fritz Reiner conducts Mozart: Symphony No. 39 in E-flat Major, K. 543; Adagio; click HERE

Tags: Conductors, Fritz Reiner, Cincinnati Symphony Orchestra

Music has always been a huge part of my life, and I have derived enormous joy from listening to music. When our family immigrated to the US in 1951, I recall that one of our first “possessions” was a High Fidelity music system. I recall that it included a Pilot FM tuner, a Bogen amplifier, a set of 12” speakers, and a record turntable for 33 1/1 LP recordings. I also remember being ‘glued’ to this set whenever radio broadcasts of Toscanini or Bernstein took place.

While I began to play violin at age 7, the notion of conducting an orchestra has always been an active dream/fantasy that remained dormant.

Fast forward to my 70th birthday party: One of the wonderful gifts that my kids gave me, was a certificate which entitled me to get my first conducting lesson at the Aspen, Colorado Music School. I was thrilled! Four years ago I traveled to Colorado; however, things changed, and the lesson really never materialized.

Move forward in time some more to the present: I’ve been getting daily radiation treatments at a major medical facility. I rented a room close to this hospital, and receiving these treatments every day at 8 AM. I decided early-on that I ought to add some badly-needed content to each day by auditing two music classes at the university associated with the medical center. Yep… one of the classes is a freshman seminar in the Music department on…. CONDUCTING!

The class assignment for last Thursday was to memorize the music for Beethoven’s Symphony #5, and to explore how various conductors handled the tricky beginning of the first movement. When we all came to class, our Professor asked for volunteers to show what each of us had learned. Of the 16 students, nobody raised her/his hand!

So… I raised my hand!!! I asked the Prof: “Who is going to play the piano transcription of the Symphony?” And he answered: “No need for that; we’re all going to SING IT!!!

Imagine the scene: Hank Zauderer, radiation patient, 74 year old music fanatic got to conduct 15 wide-eyed kids, who sang the various instrument parts of Beethoven’s Symphony #5! What a great moment of joy, and an opportunity for smiles and reflection on Life, Change, Music, and honoring my passion!

Here is Beethoven’s Symphony No. 5, 1st movement, conducted by Arturo Toscanini/NBC Symphony:

And here’s a conductor I admire greatly: the late Carlos Kleiber, leading Beethoven’s Symphony No.7, Op.92

Tags: Cancer, radiation, conducting, Beethoven, Toscanini, Kleiber

• Kathleen Battle (soprano), Christa Ludwig (mezzo)

• Performed by the Vienna Philharmonic Orchestra, and the Konzertvereinigung Wiener Staatsopernchor , conducted by James Levine

This recording was of great interest to me for several reasons:

1. I have always been a huge admirer of the voice of Kathleen Battle

2. Christa Ludwig performed a lot of Mahler’s work under the direction of Leonard Bernstein

3. James Levine is an amazing orchestral conductor, and I heard him do a performance of Mahler’s 3rd symphony that I will always remember.
James Levine left his mark not only on the operatic life of the Salzburg Festival, but also on its concerts, in particular its Mahler renaissance, culminating in the present performance of the ‘Resurrection’ Symphony, which is magnificently sung by chorus and soloists and superbly played by the Vienna Philharmonic.

Volker Boser wrote in the Münchner Abendzeitung on 21/8/1989:

“Christa Ludwig, Kathleen Battle and the Vienna State Opera Chorus had no difficulty in achieving the same high level as that by Levine and his orchestra, we were witness to a Mahler experience that will remain with us for a very long time.”

Here are some interesting comments from the singers who participate in the Mahler 2 performance:

And here’s Bernstein conducting Mahler’s 2nd (ending)

Tags: Mahler Symphony #2, James Levine, Battle, Ludwig, Vienna Philharmonic

Perfomed by Christiane Oelze (soprano) & Sarah Connolly (alto), with the
Gewandhausorchester Leipzig, MDR Rundfunkchor, Berliner Rundfunkchor & GewandhausChor, conducted by Riccardo Chailly

The Leipzig Gewandhaus Orchestra is one of the oldest concert orchestras in the world. At Leipzig’s International Mahler Festival they performed his Second Symphony, with the two singers and the and choral groups listed above.

Mahler said the following about the final movement of his 2nd symphony:

“The increasing tension, working up to the final climax, is so tremendous that I don’t know myself, now that it is over, how I ever came to write it.”

This is a live recording, done May, 2011; it is beautifully photographed, with the editors showing an excellent understanding of being close-in on the right instruments at the right points in time.

In the “Urlicht” section, Sarah Connolly sings passionately, with each syllable perfectly timed and precisely articulated. And in the final movement Christiane Oelze is right there with every note, sung with terrific expressiveness.

The start of the last movement is literally shattering and dramatic in this performance.

Here is a section of this amazing work:

And here is a Mahler interview with Riccardo Chailly

Tags: Gustav Mahler, Symphony #2, Ricardo Chailly, Gewandhaus Orchestra

Dimitri Mitropoulos was born in Athens, Greece. He was musically precocious, demonstrating his abilities at an early age. From the ages of eleven to fourteen, when Mitropoulos was in secondary school, he would host and preside over informal musical gatherings at his house every Saturday afternoon.

Mitropoulos studied music at the Athens Conservatoire as well as in Brussels and Berlin, with Ferruccio Busoni among his teachers. From 1921 to 1925 he assisted Erich Kleiber at the Berlin State Opera and then took a number of posts in Greece. At a 1930 concert with the Berlin Philharmonic, he played the solo part of Prokofiev’s Piano Concerto No. 3 and conducted the orchestra from the keyboard, becoming one of the first modern musicians to do so.

This is a recording of a performance of Mahler’s 3rd Symphony given by Mitropoulos with the Cologne Radio Symphony on 31 October 1960, just two days before his death.

The tracks on the two – disc are as follows:

Disc 1:
1. Symphony No. 3 in D minor: I. Kraftig – Entschieden

2. Symphony No. 3 in D minor: II. Tempo di menuetto. Sehr massig

3. Symphony No. 3 in D minor: III. Comodo. Scherzando. Ohne Hast

4. Symphony No. 3 in D minor: IV. Sehr langsam. Misterioso

5. Symphony No. 3 in D minor: V. Lustig im Tempo und keck im Ausdruck

Disc 2:
1. Symphony No. 3 in D minor: VI. Langsam. Ruhevoll. Empfunden

2. La mer: No. 1. De l’aube a midi sur la mer

3. La mer: No. 2. Jeux de vagues

4. La mer: No. 3. Dialogue du vent et de la mer

5. Dimitri Mitropoulos addresses the Cologne Radio Symphony Orchestra (1950s)

Overall, I was disappointed in this performance. While I knew in advance that the Cologne Radio Symphony Orchestra was not on a comparable level with, say, the Berlin Philharmonic, I was disappointed with the performance quality of several solo instruments which have prominent parts in Mahler’s music. Many of these solos sounded flat and inexpressive. Even the chorus was of rather medium quality.

I am used to being thrilled when I listen to this work by Gustav Mahler. I was left cold and unaffected by this performance.

Here’s a video of a conductor who was an expert in communicating Mahler’s music: Leonard Bernstein conducts the Vienna Philharmonic in the Symphony No. 3 in D minor by Gustav Mahler:

In the 5th movement the chorus and the children’s choir sing happily the so-called “Bim-Bam”; here are the Women of the Choir of the Vienna State Opera, and the Vienna Boy’s Choir:

Tags: Dimitri Mitropoulos, Cologne orchestra, Mahler 3rd symphony

When I look at the face of conductor James Levine, while he conducts the overture to, say, “The Marriage of Figaro”, “The Magic Flute”, or a Mozart symphony, I see a face filled with Joy. No matter how many dozens of times this man must have directed these masterpieces, I can still see the smile and the wonder in his face, as he undoubtedly contemplates the genius of Mozart.

I have previously listened to many well-known impressive performances of “Zauberfloete”, as conducted by Mr. Levine. And he usually did so with a whole collection of amazing singers.

On December 30, 2006, he directed a live performance of “Zauberfloete”, and it was Julie Taymor’s excellent English-language production which brought one of Mozart’s greatest works to life as never before.

James Levine led a cast that included Ying Huang as Pamina in her Met debut, as well as Nathan Gunn, Matthew Polenzani, Erika Miklosa and Rene Papa. This is a recording of that performance, and the DVD Release Date was August 16, 2011

James Levine was born in Cincinnati, Ohio, to a musical family. His father was a violinist, who led a dance band, and his mother was an actress. He began to play the piano as a small child. At the age of 10, he made his concert debut as soloist in Felix Mendelssohn’s Piano Concerto No. 2 at a youth concert of the Cincinnati Symphony Orchestra.

Levine subsequently studied music with Walter Levin, first violinist in the LaSalle Quartet. In 1956 he took piano lessons with Rudolf Serkin at the Marlboro Music School, Vermont. In the following year he began studies with Rosina Lhévinne at the Aspen Music School. After graduating from High School, he entered the Juilliard School of Music in New York City in 1961, and took courses in conducting with Jean Morel. He graduated from the Juilliard School in 1964.

Here’s a section of the overture to the Magic Flute and the cast preparation: (Just listen to that terrific energy in the orchestra)

Here is a video of the famous aria from The Magic Flute – Papagena! Papagena! Papagena!

And here’s another scene from the same opera:

Tags: Mozart, Magic Flute, Zauberfloete, James Levine, Julie Taymor

As a result of all the listening, reading and studying, I have come to admire and respect Johannes Brahms. And this great respect includes not only Brahms, the composer, but also Brahms, the human being. I have come to understand at least some of his values as a person, and some of the things on which he did not compromise.

Johannes Brahms was born in Hamburg on 7th May 1833 and died in Vienna on 3rd April 1897. He studied composition with E. Marxsen and went on tour for the first time with the Hungarian violinist E. Reményi. On this tour he met the violinist Joseph Joachim and he introduced Brahms to Robert and Clara Schumann. Clara Schumann became Brahms’ companion for life after the death of Robert Schumann in 1856.

Wikepedia tells us that “Brahms’s first known use of the title A German Requiem was in an 1865 letter to Clara Schumann in which he wrote that he intended for the piece to be “a sort of German Requiem”. Brahms’s mother died in February 1865, a loss that caused him much grief and may well have inspired Ein deutsches Requiem. Brahms’ lingering feelings over Robert Schumann’s death in July 1856 may also have been a motivation, though his reticence about such matters makes this uncertain.”

Johannes Brahms wrote the libretto to A German Requiem himself. In contrast to the traditional Roman Catholic requiem mass, which employs a standardized text in Latin, A German Requiem derives its text from the German Martin Luther Bible. The Viennese critics at the time chastised Brahms for the fact that the text did not include the name of “Jesus Christ”; Brahms responded that the words and the music are in memory of his mother, and he can choose any text that he wishes. (YES!)

This recording is by Maestro James Levine with Boston Symphony Orchestra and the Tanglewood Festival Chorus. For me, this music has always been a wonderful way to have a soothing experience. The pace of the music is not too slow and not too fast, just right. The choir and the orchestra are mutually supportive, with exceptional dynamic range, and fine lyrical sound.

The first section of the Requiem is called “Blessed are they that mourn”. In German it is:

“Selig sind, die da Leid tragen” – Just listen to the Vienna Philharmonic perform this masterpiece, under the direction of Herbert von Karajan:

And here is Claudio Abbado leading the Berlin Philharmonic in the 4th movement:

Finally, here is James Levine, talking about his recording of the Requiem, and some other music:

Tags: Johannes Brahms, James Levine, A German Requiem

I am a great admirer of Michael Tilson Thomas, because I see him as the “complete musician”. He is a pianist, a composer, and an excellent conductor.

Mr. Thomas has huge repertoire as a conductor. He’s an expert on the music of Gustav Mahler. And he knows a whole lot about the music of Mahler’s contemporaries, Alban Berg, Arnold Schoenberg, and the other composers from the “Vienna school”.

When it comes to American music, Mr. Thomas is an authority, as well. He knew Aaron Copland, and there’s no greater conductor of Copland’s music today than MTT. They met for the first time, when MTT was 18 years old, and a student in Los Angeles.

As a classical conductor, he has led the San Francisco Symphony now for the past 16 years. And many world-class soloists have appeared with the symphony under his direction.

I also see Mr. Thomas as an educator and as a teacher; not since Leonard Bernstein have we seen a musician with MTT’s abilities to explain music to his audiences.

If you have Spotify, check out the playlist I’ve created for your enjoyment, where you can listen to the following selections by Mr. Thomas:

• Tchaikovsky: Violin concerto, with Joshua Bell, violin

• Mozart: concerto for Flute and Harp

• Aaron Copland:

1. On First meeting Copland at age 18
2. Rodeo
3. Clarinet Concerto, with Richard Stoltzman, clarinet

• Samuel Barber: adagio for Strings

Tags: Michael Tilson Thomas, San Francisco Symphony, Copland

Austrian conductor Karl Böhm died on August 14, 1981; as such, this recording is quite old, but sometimes old music is still exciting and important.

This recording gives us two wonderful Mozart masterpieces with his concerti numbers 19 and 23. Pianist Maurizio Pollini is sparkling in the F major concerto, and the A major concerto has a terrific, vibrant sense of phrase and beauty. Every musical phrase here seems to speak, and Pollini is given excellent support from Boehm and the Vienna Philharmonic orchestra. There is no sense of haste in the outer movements; everything is beautifully paced for our enjoyment. Good, well-detailed and finely balanced recording make this one of the finest Mozart concerto records available.

Listen particularly to the second movement of the Mozart concerto #23, Andante; it is a Jewell…

Recording was issued on January 25, 2011

Track Listings:

1. Piano Concerto No.23 in A, K.488: Allegro – Cadenza
2. Piano Concerto No.23 in A, K.488: Andante
3. Piano Concerto No.23 in A, K.488: Allegro assai
4. Piano Concerto No.19 in F, K.459: Allegro vivace – Cadenza
5. Piano Concerto No.19 in F, K.459: Allegretto
6. Piano Concerto No.19 in F, K.459: Allegro assai – Cadenza

Here is pianist and conductor Michael Tilson Thomas, talking about this concerto:

And now, here is the Mozart Piano Concerto No. 23-1M with pianist Radu Lupu, and Sándor Végh, conducting the Vienna Philharmonic:

And finally, let’s hear Vladimir Horowitz play the second movement of this great composition by Mozart:

Tags: Mozart piano concerti numbers 19 and 23, Michael Tilson Thomas, Radu Lupu, Vladimir Horowitz

To this day, and now several years after his death, I am still a great admirer of Georg Solti, the musician and conductor. His ability to achieve amazing performance excellence, accuracy, drama, and excitement is simply second to none.

While his career developed somewhat slowly, one of the key turning points was his becoming a performance assistant to Toscanini at the Salzburg Festival in Austria. And as he worked to prepare various Operas for performance, he once heard Maestro Toscanini say “Bene”, indicating satisfaction with what Solti was doing. As a young conductor at the time, Solti was, of course ecstatic on hearing that Toscanini was happy with his work.

In this DVD, we see Solti’s conducting as he methodically prepares a performance of Strauss’ Don Juan. The level of detail, explanation and coaching is exciting and legendary. Solti’s recordings of Richard Strauss’ operas were groundbreaking, achieving him a great reputation as a Strauss conductor with high levels of expressiveness, drama and precision. There is also an interesting interview with John Culshaw in which Solti talks about performing the music of Strauss.
Selections on this DVD are:

Beethoven:

• Symphony No. 5 in C minor, Op. 67

• Royal Albert Hall, London, 13 May 1985

• BBC Symphony Orchestra

Strauss, R:

• Don Juan, Op. 20

• Includes bonus rehearsal footage. 19 March 1967

• Covent Garden Orchestra

Wagner:

• Der fliegende Holländer: Overture

• 22 September 1963

• Covent Garden Orchestra

Sir Georg Solti (1912–1997) had been the Music Director of the Covent Garden Opera for two years by the time this performance of the overture to Wagner’s “Der fliegende Holländer” was filmed. His reputation for recording Wagner was becoming established, having achieved great success with the first complete recording of Das Rheingold in 1958.

This performance of the Beethoven Symphony #5 was filmed during his tenure as Chief Conductor of the Chicago Symphony Orchestra. It is clear from this terrific, incisive, and thrilling performance that his sense of drama did not diminish with age.

Here is Sir Georg Solti in 2 minutes from the Don Juan rehearsal:

Tags: Sir Georg Solti, Richard Strauss, Beethoven, Wagner

Performed by Simon Trpceski, piano, and the Royal Liverpool Philharmonic Orchestra, conducted by Vasily Petrenko

While Sergei Rachmaninoff’s Piano concerto #2 became a world-wide favorite, many of his other compositions are wonderful, yet not as well known. Such is the case with the music on this CD.

Selections on this CD are:

• Piano Concerto No. 1 in F-Sharp Minor, Op. 1

• Piano Concerto No. 4 in G Minor, Op. 40

• Rhapsody on a Theme of Pagnini in A Minor , Op. 43:

This is beautiful music, and actually the composer did not complete the concerto #4 before he died. Listen to a great interpretation of it now:

Sergei Rachmaninov’s Piano Concerto 4 (Opus 40), Movement: 1: Allegro vivace, as performed by Vladmir Ashkenazy, piano, and Andre Previn
conducting the London Symphony Orchestra:

And here is another great favorite, as performed by a terrific pianist:

Michael Pletnev plays the Rachmaninoff  Rhapsody on a theme of Paganini:

Finally, here is Rachmaninoff playing Rachmaninoff: the Piano Concerto No. 1:

Tags: Rachmaninoff, Piano Concertos 1 & 4, Rhapsody on a Theme of Paganini

• Debussy:

Prélude à l’après-midi d’un faune

• Ravel:

Daphnis et Chloé

Performed by the Orchestre Philharmonique de Monte Carlo, conducted by the late Yakov Kreizberg, with the Berlin Radio Chorus

This is a recording of the late Yakov Kreizberg, conducting Ravel’s Daphnis & Chloé and Debussy’s Prélude à l’Apresmidi d’un faune”.  Mr. Kreizberg died after a long illness earlier this year. He had also previously collaborated on some terrific recordings of Mozart violin concerti with Julia Fischer. A tragic loss…

Here is a video of Yacov Kreizberg:

And here is Kreizberg, conducting the Vienna Symphony Orchestra in Tchaikovsky’s music:

Tags: Yacov Kreizberg, Debussy, Ravel

On this CD, Simon Rattle conducts the Berlin Philharmonic musicians in performances of orchestral works by Arnold Schoenberg.

Schoenberg created an orchestral arrangement of the Brahms Piano Quartet in G minor Op. 25; this piece must be a favorite of Sir Simon and of audiences, because it is performed quite often in this arrangement. The accompanying works are Schoenberg’s soundtrack for Begleitungsmusik zu einer Lichtspielszene (‘Accompanying Music for a Film Scene’), composed in 1929, and the 1935 re-working for full orchestra of the Chamber Symphony No. 1.

Sir Simon Rattle became chief conductor and artistic director of the Berlin Philharmonic orchestra in September 2002. His contract was recently extended to 2018.

Here is the Schoenberg Chamber Symphony No. 1, with Sir Simon Rattle and the Berliner Philharmoniker:

And here is a portion of the Brahms/Schönberg: Piano Quartet in G-minor, Op.25

Tags: Schoenberg, Sir Simon Rattle, Berlin Philharmonic

International superstar singers Anna Netrebko and Rolando Villazón show us their outstanding performances in the opera, Manon by Jules Massenet. Netrebko displays her excellent abilities as a singer and actress in portraying innocence, lust, greed and, above all, beauty. It is Netrebko’s amazing performance which makes Villazón’s youthful passion and ultimate despair even more authentic and heart-breaking.

The setting in this Berlin production has been updated to the 1950’s and the entire opera takes place as if Manon were the star of her own film. Indeed, Netrebko transforms her character from the innocence of Audrey Hepburn through the voluptuousness of Marilyn Monroe into the tragedy of Ingrid Bergman.

The work of director Vincent Paterson is especially effective in creating a passionate and ultimately tragic performance with stunning visual effects. Netrebko and Villazón are supported by conductor Daniel Barenboim who leads the Staatskapelle Berlin in a wonderful performance.

The result is that Anna Netrebko has added Manon to a list of amazing roles she has created on stage. Her coloratura is as beautiful as she is in a range of gorgeous period gowns. At one point she is pole dancing in a gold lame gown while singing beautifully.

This DVD was issued September 23, 2008

Here is Flower duet from the Opera Lakmé by Leo Delibes, with Anna Netrebko and Elina Garanca:

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Tags: Anna Netrebko, Rolando Villazón, Manon, Jules Massenet, Berlin, Staatskapelle Berlin, Barenboim

Mahler:

• Symphony No. 6 in A minor ‘Tragic’

Stravinsky:

• Le Chant du Rossignol

Webern:

• Passacaglia for Orchestra, Op. 1

• Variations for Orchestra, Op. 30

Performed by the Lucerne Festival Academy Orchestra, conducted by Pierre Boulez

This two -  CD album  will be issued, June 28, 2011; the first CD gives us the Webern and Stravinsky; CD-2 has the Mahler 6th.

The LUCERNE FESTIVAL ACADEMY was founded in 2004 by Pierre Boulez in conjunction with the Festival’s executive director Michael Haefliger. Since then, some 130 highly gifted musicians from all over the world have gathered together every summer in Lucerne. Working together in daily rehearsals, the participants are trained in basic skills for performing contemporary music. The teaching staff is made up of members of the Parisian “Ensemble intercontemporain”, one of the most celebrated ensembles in the field of modern music.

The 2010 Academy repertoire was recorded live during rehearsals and concerts of the Academy during the summer of 2010. This double CD is the only audio recording of the LUCERNE FESTIVAL ACADEMY Orchestra under the baton of maestro Pierre Boulez.

Here’s more about The Lucerne festival academy:

Here is Boulez, conducting the Berliner Staatskapelle in Mahler’s second symphony:

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Tags: Pierre Boulez, Gustav Mahler, Symphony #6, Stravinsky, Webern

In the days of Johann Strauss, during the 1800’s, it was frequently the violinist who was also the leader of the performing orchestra that was doing waltzes and other dances. Even many years later it was Willy Boskofsky who also led the orchestra in Vienna for many performances. Now… the legendary violinist Yitzhak Perlman is appearing more frequently as a conductor. He’s performed with the San Francisco Symphony for the past several seasons in that role, and his conducting repertoire keeps growing.

In keeping with this theme… here’s some news: The Academy of St Martin in the Fields has pulled off quite a coup by naming violinist Joshua Bell as the orchestra’s new music director. Bell is one of the world’s most sought-after violinists. He will certainly provide new excitement to an ensemble who have perhaps lacked a little of that quality in recent years.

The orchestra was founded in 1958 by Sir Neville Marriner. He subsequently made them world-famous with a vast number of recordings – at one point they were among the most recorded ensembles in the world.

Unlike some other soloists who have second careers as conductors away from their instruments, such as fellow violinists Nikolaj Znaider and Thomas Zehetmair, Bell will direct with his violin.

Here is the Academy of St Martin in the Fields in under Neville Marriner in Mozart’s “Figaro” Overture:

And here is Academy of St Martin in the Fields Concert with Joshua Bell (director and soloist), performing Beethoven:

Tags: Academy of St Martin in the Fields, Neville Marriner, Joshua Bell

On the occasion of Herbert Von Karajan’s 100th birthday, this is the definitive documentary of his life.

To commemorate Herbert von Karajan’s 100th birthday, this 90 minute documentary casts a clarifying light on the entire complexity of Karajan’s career. While the film reviews the main aspects of his career, it attempts to uncover the true, personal essence of this unique artist behind the public figure.

From the archives of Unitel which was for over twenty years Karajan’s production home, a wealth of partly unpublished material such as interviews, rehearsals and more contribute to describe a man who was full of contradictions and remained a mystery until his death. The film explores topics that are important for understanding Herbert von Karajan’s work and personality. Interviews featured include those with Eliette, Isabel and Arabel von Karajan, Anne-Sophie Mutter, Seiji Ozawa, Christian Thielemann, Rene Kollo, Christa Ludwig, Brigitte Fassbaender, Gundula Janowitz, Sir Simon Rattle, Mariss Jansons, Joachim Kaiser and Helmut Schmidt.

Gramophone Magazine wrote the following:

“Dornhelm tells a good story… Even the most dedicated Karajan follower is likely to come across some unfamiliar footage from the assemblage of DG and Unitel videos and old TV documentaries, which are interspersed with some authoritative and often critical talking heads.”

Among a huge inventory of music performances, here is Karajan conducting Beethoven’s Symphony No.9 with the Berlin Philharmonic:

If you would like to purchase the Karajan film at Amazon, please click on the image below:

Tags: Herbert von Karajan, Beauty As I See It, A Film By Robert Dornhelm

Composed 1893-96; revised in 1906
Recorded Live at the Concertgebouw Amsterdam on 3-5 February 2010

• Performed by Bernarda Fink, mezzo soprano, and the Royal Concertgebouw Orchestra, Netherlands Radio Choir, Boys of the Breda Sacrament Choir & Rijnmond Boys’ Choir; Mariss Jansons, conductor.

The Royal Concertgebouw Orchestra is yet another orchestra that is presenting a Mahler cycle under the direction of its chief conductor Mariss Jansons. Following the releases of the First, Second, Fifth and Sixth Symphonies, the orchestra now turns its attention to the Third Symphony.

Jansons and the orchestra performed the Symphonies Nos. 2, 3 and 8 in the 2009–11 seasons as part of the full, chronological series of performances given by the Concertgebouw Orchestra of Gustav Mahler’s symphonies to commemorate Mahler’s 150th birthday and the 100th anniversary of his death. Mariss Jansons stands out in these performances with an astonishing ear for the minutest of details, and in his ability to present Mahler’s symphonies as a truly exciting experience.

Here are some press comments:
“… The strings, particularly in Mr. Jansons’s plangent reading of the finale, were rich-toned and supple, qualities matched by the remarkably focused woodwind and brass sections. And given Mahler’s penchant for explosive climactic writing (as often in mid -movement as in his endings), the ensemble’s percussionists were in their element.”
……………………………………New York Times

“… the brass playing, particularly from the horns, is a continuous joy, the strings are lush and opulent, and the woodwind solos are all distinctive…What makes Jansons’ reading distinctive is the rubato he introduces into the second and third movements…The orchestra are on top form, and the superior audio works to everybody’s benefit.”
………………………….Gavin Dixon, Classical Review, May 2011

Original Release Date: April 1, 2011

Tracks on this CD are:

Disc 1:

• 1. Symphony No. 3 in D Minor: Kräftig, Entschieden (Der Sommer marschiert ein)

Disc 2:

• 1. Symphony No. 3 in D Minor: Tempo di Menuetto. Sehr mässig (Was mir die Blumen auf der Wiese erzählen)

• 2. Symphony No. 3 in D Minor: Comodo. Scherzando. Ohne Hast (Was mir die Tiere im Walde erzählen)

• 3. Symphony No. 3 in D Minor: Sehr Langsam. Misterioso. Durchaus ppp: “O Mensch! Gib Acht!” (Was mir die Nacht erzählt)

• 4. Symphony No. 3 in D Minor: Lustig im Tempo und keck im Ausdruck: “Es sungen drei Engel” (Was mir die Morgenglocken erzählen)

• 5. Symphony No. 3 in D Minor: Langsam. Ruhevoll. Empfunden (Was mir die Liebe erzählt)

Here is a video of Mahler’s symphony Number 3, with Mariss Jansons conducting the Royal Concertgebouw Orchestra:

Tags: Mahler Symphony 3, Mariss Jansons, Royal Concertgebouw Orchestra

It was Shostakovich’s First Symphony that propelled the 19-year old Russian composer to international fame. The symphony’s emotional turmoil, and its innovative orchestration identified Shostakovich as a daring and major talent.

From a contrasting perspective, the Third Symphony, ‘The First of May’, was intended to become part of a cycle relating to key dates on the Russian revolutionary calendar. Who know? Perhaps that was the composer’s way of dealing with the cultural aspects of the Stalin era…
This CD gives us both of these symphonies, and it allows us to study these works further, particularly the 3rd, which is rarely performed.

Tracks are:

• Symphony No. 1 in F minor, Op. 10

• Symphony No. 3, Op. 20, “Pervomayskaya”

Performed by the Royal Liverpool Philharmonic Orchestra, conducted by Vasily Petrenko

Vasily Petrenko seems to have brought just the right style and musical rhythms to the players of the Royal Liverpool Philharmonic Orchestra (RLPO). Also, Petrenko has inspired the players to play just beautifully in those sad, lyrical Shostakovich moments.

By the end of the first symphony, I was amazed that a nineteen-year-old Shostakovich could have grasped and depicted the sad-tragic aspects of his times. Many of his bold, lyrical melodies are vigorous, yet gesturing to dark aspects at the same time.

As I said, the third symphony is rarely performed. I still need to hear more of this music to fully comprehend it. I went through a long phase of study with many of the Mahler symphonies until I appreciated them, and I suspect that the same is true with Shostakovich.

Here is a video of Shostakovich’s Symphony No.1, 3rd Movement, with the London Symphony Orchestra, conducted by Valery Gergiev:

And here is the rarely performed Shostakovich’s Symphony 3 “The First of May” conducted by Mstislav Rostropovich:

Tags: Shostakovich, Symphonies 1 and 3, Vasily Petrenko, Royal Liverpool Philharmonic Orchestra

Gustav Mahler died on May 18, 1911. A few months earlier he gave his very last concert as Music director of the New York Philharmonic Orchestra. He had left Vienna and moved to New York after many years of wide-spread criticism of his work as a composer. He headed for New York, where he was wanted, rather than being constantly hounded about his Jewish origins.

Mahler had converted to Catholicism years earlier, when he was trying to obtain the position as the head of the Imperial Opera Company in Vienna; and… he was ultimately successful in his quest. As such, Gustav Mahler was not only the conductor of the Vienna Opera, but also of the Vienna Philharmonic Orchestra; the reason is simple: The Opera orchestra members were also members of the VPO.

As such, 2011 is the 100th anniversary of Gustav Mahler’s death. And throughout the world millions of people for whom Mahler’s music has been so deeply meaningful take some time to remember this amazingly creative man.

Here are some members of the New York Philharmonic Orchestra, paying their respects at Mahler’s grave this week, 100 years after his death. After all, he was the conductor of their orchestra years earlier, and they regularly perform his music now:

And here is Leonard Bernstein conducting the ending of Mahler’s 2nd symphony:

May Gustav Mahler rest in Peace…

Tags: Gustav Mahler, May 18, 2011, May 18, 1911, Vienna Philharmonic, New York Philharmonic