C1793. LEONARD BERNSTEIN Cond. NYPO: Symphony #1 in C; w.RUDOLF SERKIN: Piano Concerto #3 in c (both Beethoven). (Canada) St Laurent Studio YSL T-1033, Live Performance, 17 Jan., 1964, Philharmonic Hall, New York. Transfers by Yves St Laurent.
"Rudolf Serkin joined the international elite while still a teen-ager and by incessant, tireless practice held ranking for more than half a century as an artist of the highest type. He was an eminent 20th-century representative of a Viennese tradition that mingled the classical and romantic styles of pianism.
Among the dozens of recordings he made, those in which he teamed as a chamber-music partner with Adolf Busch, the German violinist, are especially prized by collectors. It was Mr. Busch who promoted the young pianist's European career, presenting him as a soloist in Bach's Brandenburg Concerto #5 at Mr. Serkin's Berlin debut in 1921. Mr. Serkin regarded Busch as one of the three musicians who most deeply influenced him. The others were his onetime composition teacher, Arnold Schönberg, and the conductor Arturo Toscanini. Mr. Serkin studied composition, first with Joseph Marx and later with Schönberg, and published a string quartet. He made his concert debut with the Vienna Symphony at 12, playing the Mendelssohn g minor Concerto. At 17, Mr. Serkin met Busch, who was looking for a pianist to accompany him in a concert. They struck up a friendship and Busch took the younger musician along with him to Berlin on tour. Busch was then 30 years old and internationally established as a violinist. Soon Mr. Serkin was appearing in the great cities of Europe both as accompanist and as chamber-music performer with the Busch Chamber Players.
In April 1933, with the Nazis in the ascendancy in Germany, Busch stirred a controversy by refusing to appear at a Brahms centennial celebration in Hamburg. Although not Jewish himself, he was offended because a young Jewish pianist had been denied permission to play. The pianist was Rudolf Serkin.
Mr. Serkin had moved with the Busch family to Darmstadt in 1922. In 1927 they all left Germany and settled near Basel, Switzerland. After Hitler's rise to power, they applied for Swiss citizenship, which they held until all became American citizens in 1950.
Mr. Serkin first played in the United States in 1933, with Busch at a Coolidge Festival concert in the Library of Congress in Washington. He did not perform here again until his formal debut in New York on 20 Feb., 1936, when he appeared as soloist with the New York Philharmonic under Toscanini. His recital debut came on 11 Jan., 1937, at Carnegie Hall. The next year Mr. Serkin and Busch performed the complete cycle of Beethoven sonatas at Town Hall. In 1939, Mr. Serkin joined the piano faculty of the Curtis Institute in Philadelphia, where he taught for 36 years. From 1968 to 1975 he was director of the Institute.
Great though Mr. Serkin's success was as a concert pianist, perhaps his most lasting impact on musical life was as a teacher and inspirational force. In 1949, he helped found the Marlboro Festival in Vermont. Living in the same area at the time were Adolf and Herman Busch, Blanche Honegger Moyse, Louis Moyse and Marcel Moyse, all renowned musicians who had also left Europe. They merged their talents and quickly turned Marlboro into an American chamber-music mecca and a magnet for talent. The word 'Marlboro' came to stand for musicianship of a special, ardent type. Each summer, Mr. Serkin and his circle were joined by like-minded artists, including Pablo Casals, Alexander Schneider, Felix Galimir, Mieczyslaw Horszowski, Jaime and Ruth Laredo, Eugene Istomin, Pina Carmirelli and Peter Serkin (Mr. Serkin's son, himself a world-class pianist). At Marlboro, Mr. Serkin made a point of being a musician among colleagues, as ready to turn pages for other players as to perform. Friends of Mr. Serkin - and he seemed to have no enemies - spoke with incredulity of his unfailing good humor, his shy and sweet-tempered manner with everyone, the unknown as well as the famous. A longtime colleague, after giving the phenomenon some thought, remarked: 'It's impossible to talk about anybody's being saintly in this age, but Serkin is'."
- Donal Henahan, THE NEW YORK TIMES, 10 May, 1991
“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