The 1953 American Decca Recordings – Leonard Bernstein

Name: The 1953 American Decca Recordings - Leonard Bernstein
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Beethoven: Sinfonie Nr. 3 Es-dur op. 55 “Eroica”
1. Allegro con brio
2. Marcia funebre Adagio assai
3. Scherzo Allegro vivace
4. Finale Allegro molto
Musical Analysis Bernstein on Beethoven’s Symphony No.3, op.55, “Eroica”
“Simplicity itself…” 1st movement
“I always feel this gigantism” 2nd movt.
“We have just been examining…” 3rd movt.
“All that we have said” 4th movt.
“The study of the Eroica is a lifetime work,…”
Dvorak: Sinfonie Nr. 9 e-moll op. 95 “Aus der Neuen Welt”
1. Adagio – Allegro molto
2. Largo
3. Scherzo Molto vivace
4. Allegro con fuoco
Musical Analysis: Bernstein on Dvorák, Symphony No.9, op.95, “From the New World”
1. “Does this music sound like the New World to you?” 3rd movt., Trio II; 1st movt.
2. “We come now to the second movement, which has a charming melody, …” 2nd movt.
3. “The third movement is a marvel of ingenuity and deftness” 3rd movt.
4. “And now the last movement. In general I should say that this is the most Slavic of all” 4th movt.
5. “The final claim of those who argue for the New World Symphony as American music, …” 4th movt.,cont. (Original)
Schumann: Sinfonie Nr. 2 C-dur op. 61
1. Sostenuto assai – Un poco più vivace – Allegro ma non troppo – Con fuoco
2. Scherzo Allegro vivace
3. Adagio espresssivo
4. Allegro molto vivace
Musical Analysis: Bernstein on Schumann, Symphony No.2, op.61
1. “Robert Schumann has been dead…” 3rd movement, opening theme
2. “To my mind Schumann follows in this tradition”
Schumann: Sinfonie Nr. 2 C-dur op. 61
1. excerpt: sostenuto assai – un poco piú vivace – Allegro ma non troppo (Musical Analysis)
Musical Analysis: Bernstein on Schumann, Symphony No.2, op.61
4. “And so we have arrived at the Allegro section…” 1st movt. cont.
Schumann: Sinfonie Nr. 2 C-dur op. 61
2. excerpt: Scherzo (Musical Analysis)
3. excerpt: Adagio espressivo (Musical Analysis)
Musical Analysis: Bernstein on Schumann, Symphony No.2, op.61
7. “Even in the final movement” 4th movt.
Brahms: Symphony No.4 in E minor, Op.98
1. Allegro non troppo
2. Andante moderato
3. Allegro giocoso – Poco meno presto – Tempo I
4. Allegro energico e passionato – Più allegro
Musical Analysis: Bernstein on Brahms, Symphony No.4, op.98, first movement
1. “Brahms? Fourth Symphony in E minor is today …” 4th movt., opening theme
2. “Our journey begins without introduction…”
3. “Do you see now what a symphonic theme is?”
4. “Now, think of it – we have so far only had 44 bars of music”
5. “Here is that second theme”
6. “This brings us to the development section proper”
7. And here we are back home, ready for the rehearing of the exposition, …”
8. “So we arrive at the coda”
9. “Well, we have had a microscopic look at symphonic method”
Tchaikovsky: Sinfonie Nr. 6 h-moll op. 74 “Pathétique”
1. Adagio – Allegro non troppo
2. Allegro con grazia
3. Allegro molto vivace
4. Finale Adagio lamentoso – Andante
Musical Analysis: Bernstein on Tchaikovsky, Symphony No.6, op.74, “Pathetique”
1. “Now there is a melody, a pure orchestral song…” 1st movt.
2. “Now the development section erupts…” 1st movt. cont.
3. “Now one would think that Tchaikovsky had really exploited the device of scales” 2nd movt
4. “Jumping now to the famous third movement, the great March…” 3rd movt.
5. “Perhaps the most admirable example of this is to be found in the wonderful last movement, …” 4th movt. (Original)
6. “Now I don?t want to give you the impression that scales are the only unifying force in this work”

New York Stadium Symphony Orchestra, Leonard Bernstein