CHICAGO BLUES SESSION VOL. 1 features tracks by Boston Blackie recorded in 1992 and by Otis "Big Smokey" Smothers in 1984.
Leonard Bernstein bestrode the musical scene in the second half of the 20th century like few others. For the last decade of his life he recorded exclusively for Deutsche Grammophon, having also made several recordings for the label in the 1970s, starting with his celebrated Carmen in 1973.
VOLUME ONE comprises Bernstein's complete recordings of composers from Beethoven to Liszt, and includes all of Bernstein's recordings of his own works, those of Brahms and Haydn, and individual CDs of Bruckner, Debussy, Dvorak, Elgar, Franck, Hindemith and many American composers.
This is the most drugged-out performance of the work that you will ever hear, and it's accompanied by a delightful spoken essay (essentially word for word the same as appears in the "Young People's Concerts") that explores the highlights of the composer's opium-induced vision. –David Hurwitz; Classicstoday.com
"By the end of 1949, when the recordings issued here were made, Leonard Bernstein was beyond the point where he could be regarded a "new" figure on the American musical scene. In six short years - from the dramatic moment of his debut with the New York Philharmonic on nationwide radio, filling in at the last moment for an ailing Bruno Walter - he had shown remarkable gifts first as a conductor, then as a composer in the symphonic world and ballet and then on Broadway . All that in the 13 months between November 14, 1943, and the end of 1944! When World War II ended, Bernstein was able to take up his role as the assistant to Serge Koussevitzky at Tanglewood. He had promoted the music of his fellow Americans in live performances…. had produced significant recordings of works by two of them. He had appeared as conductor and soloist in a recording of Ravel's Concerto in G. And, naturally, he had recorded a number of his own works."Steven Ledbetter
Mr. Bernstein kicks off with Ravel's Rapsodie Espagnole, 4th Movement, to illustrate a total unawareness of a tonal crisis. The bigger and greater the ambiguities, the more immortal is tonality. There is still Rosenkavalier to be written, some operas by Puccini and Firebird. But 1908 breathes an air of disturbance indicating that tonality cannot last, nor figurative painting, nor syntactical poetry, nor the seemingly endless growth of colonial wealth or imperial power. A hint of social collapse. Marinetti's "Manifesto of Futurism" is to appear. Mahler, writing his 9th Symphony, agonizes over his reluctant and protracted farewell to tonality. Scriabin does so in his Prometheus. Sibelius in his 4th Symphony
Continuing with with my previous video upload, here is the 3nd Lecture pronounced at Harvard in 1973 by Leonard Bernstein as the Charles Eliot Norton Professor of Poetry during his tenure from 1971 onwards.