C1145. LEONARD BERNSTEIN Cond. NYPO: Theme, Variations & Finale (Rósza); Manfred – Overture (Schumann); Don Quixote (Strauss); Star Spangled Banner (Francis Scott Key). (Canada) St Laurent Studio YSL 78-153, Live Performance, 14 Nov., 1943, Carnegie Hall, (from rare existing copies, albeit with numerous technical flaws). Transfers by Yves St Laurent.
“Bernstein gave a credibility to American musicianship that hadn’t existed before, easing our sense of inferiority. He came along and did what seemed impossible: bringing Mahler back to Vienna!
He loved storytelling, and music for him was just a vehicle for telling stories. Often his stories had important morals as well: There was always a lesson to be learned. For me that was a big takeaway. He was so many things: a great conductor, great composer, great pianist. But he was also a TV star, he was a thinker, he was a philosopher, he was a political activist. How many people could wear all of those hats at once? It’s a rare thing.”
-Marin Alsop, THE NEW YORK TIMES, 23 Aug., 2018
“According to THE NEW YORK TIMES’ critic Donal Henahan, (15 Oct., 1990), Bernstein was ‘one of the most prodigiously talented and successful musicians in American history’. He is quite possibly the conductor whose name is best known to the public in general, especially the American public. His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for WEST SIDE STORY, as well as CANDIDE, WONDERFUL TOWN, ON THE TOWN and his own MASS. Bernstein was also the first conductor to give numerous television lectures on classical music, starting in 1954 and continuing until his death. In addition, he was a skilled pianist, often conducting piano concertos from the keyboard.
In 1960 Bernstein and the New York Philharmonic held a Mahler Festival to mark the centenary of the composer's birth. Bernstein, Walter and Mitropoulos conducted performances. The composer's widow, Alma, attended some of Bernstein's rehearsals. The success of [Bernstein’s Mahler] recordings, along with Bernstein's concert performances and television talks, was an important part of the revival of interest in Mahler in the 1960s, especially in the US.
In 1964 Bernstein conducted Franco Zeffirelli's production of Verdi's FALSTAFF at the Metropolitan Opera in New York. In 1966 he made his début at the Vienna State Opera conducting Luchino Visconti's production of the same opera with Dietrich Fischer-Dieskau as Falstaff. He returned to the State Opera in 1968 for a production of DER ROSENKAVALIER and in 1970 for Otto Schenk's production of Beethoven's FIDELIO. Sixteen years later, at the State Opera, Bernstein conducted his sequel to TROUBLE IN TAHITI, A QUIET PLACE, with the ORF orchestra."
- Donal Henahan, THE NEW YORK TIMES, 15 Oct., 1990
“Each of these disks, from Canadian engineer Yves St Laurent… [feature] St Laurent's natural transfer – made without filtering, like all his dubbings – it is easy to listen to, despite the surface noise.”
- Tully Potter, CLASSICAL RECORD QUARTERLY, Summer, 2011