The Bernstein Legacy VI: Mahler's Sixth Symphony

Yes, this is "the one with the hammer."
by Paul J. Pelkonen

Cover art by Erte for the Mahler 6th © 1987 Deutsche Grammophon. Photo of Daniel Druckman by Chris Lee © 2016
The New York Philharmonic. Detail from cartoon of Gustav Mahler © 1910.

When Gustav Mahler started work on his Sixth Symphony, in 1904,life was going pretty well. He had married Alma Schindler, 19 years his junior and one of the most desirable brides in Vienna. They had had two beautiful daughters. Winters were spent leading the Vienna Hofoper, summers composing by the side of a mountain lake. Things were great, but this idyll would not last.

The Bernstein Legacy IV: Mahler's Symphony No. 4

Superconductor probes Mahler's dark meditation on childhood.
by Paul J. Pelkonen

Boy treble Helmut Wittek, the cover art for Mahler's Fourth by Erte
and a German copperplate portrait of "Freund Hein." Triptych assembled by the author.

The Symphony No. 4 is at once, one of the most popular and most misunderstood of Mahler's  works. Janus-like, it stands at the end of his Wunderhorn period while looking forward to the trilogy of instrumental symphonies that follow it. This symphony sprang to life from its fourth movement, a song-setting originally conceived as the seventh movement of the already massive Third. Mahler wrote that movement first and then created the three that precede it. On this recording, made by Leonard Bernstein with the Royal Concertgebouw Orchestra in 1987, the symphony's subject matter is squarely to the fore: an attempt to reconcile the innocence of childhood with the inevitability of death.

The Bernstein Legacy III: Mahler's Symphony No. 3

Leonard Bernstein takes on the world according to Gustav Mahler, in six movements.
by Paul J. Pelkonen

Art for the original release of Mahler's Symphony No. 3 by Erte. 

Of the wild and unpredictable early symphonies of Gustav Mahler, it could be argued that the composer’s Third, heard here as played by  Leonard Bernstein and the New York Philharmonic in 1987, is the wildest. It is certainly the longest, a sprawling six-movement work whose outer movements are each longer than most Beethoven compositions. The Third charts a cosmological course, starting with the the upthrust and upheaval of primeval mountain ranges and culminating in a slow finale that looks the Almighty square in the eye.

The Bernstein Legacy II: Mahler's Resurrection Symphony

The dead rise from their graves...slowly at Lincoln Center.
by Paul J. Pelkonen
Part II of an ongoing series on Superconductor.
(Ed. Note: A helpful reader pointed out that this recording was indeed made with the New York Philharmonic and not the Royal Concertgebouw as previously stated. This error was sourced from the Leonard Bernstein discography and has been corrected in the text below.)

Gustav Mahler (left), Leonard Bernstein (right) and the cover art by Erte for the Mahler Symphony No. 2.
Images © Deutsche Grammophon, the estate of Erte, and the New York Philharmonic.

For Leonard Bernstein, the Symphony No. 2 by Gustav Mahler became a calling card. It was heavily featured throughout his podium career, both in his days leading the New York Philharmonic and in the later years on the international conducting circuit. His recording of the Second for Deutsche Grammophon was made with the New York Philharmonic, his second with that orchestra. The New York Philharmonic one of three participating orchestras in what is referred to as his "second" Mahler cycle but is really his third.

The Bernstein Legacy I: Mahler's First

An exploration of the conductor's second cycle of Mahler symphonies.
by Paul J. Pelkonen

Combination of cover art from two different pressings of the Mahler Symphony No. 1. 
Drawing by Erte, photographs © 1989 Deutsche Grammophon/Universal Classics.

Leonard Bernstein's 100th birthday (August 25th of this year) has been met with performances and festival devoted to his musical output. However, it could be argued that his achievements as a conductor are as important as his compositions. With thirty years of recordings to choose from, which makes it necessary to choose a microcosm from which one can generate a judgment. For these purposes, that microcosm will be Bernstein's late recordings of the symphonies of Gustav Mahler, made in the last decade of his life.

Concert Review: Joy Without (too much) Pain

Gustavo Dudamel takes on Beethoven's Ninth.
by Paul J. Pelkonen

Photo by Matthew Imaging
© 2018 Lincoln Center for the Performing Arts.

Like a famous conductor on tour across America, Beethoven's Symphony No. 9 in d minor is a victim of its own success. The four movement symphony was the first in its genre to add human voices in the form of four soloists and a choir to an already expanded symphony orchestra. For better or worse, the main theme of its finale is culturally ubiquitous, a necessity for any orchestra or choral society. As a result, bad performances of the Ninth are legion: enthusiastic readings that do little to enhance the work’s musical worth.

Recordings Review: The Roar of the Flowers

Leonard Bernstein's very weird 1973 Carmen.
by Paul J. Pelkonen

Leonard Bernstein (left) and Marilyn Horne (right) flank the stage director in rehearsals for Carmen.
Photo by F. Fred Sher © 1972 The Metropolitan Opera Archives. 

Despite having a long catalogue, Leonard Bernstein did not record that many operas. One of the more interesting ones is a 1973 recording of Carmen made by the maestro and the Metropolitan Opera Orchestra. It is not the best recording of George Bizet's opera but it is certainly interesting, capturing the energy of this seminal work. The recording is studio-bound, based on a series of six performances led by the maestro at the Met in October of 1972.