[.ca] Beethoven: Symphony No. 3 "Eroica"; Bernstein: How a ...

Just what was the Leonard Bernstein phenomenon all about? This disc--part of Sony's ongoing series of reissued performances from the conductor's years with the New York Philharmonic--goes a long way toward recapturing at least two aspects of his protean musical career. Bernstein's astonishing powers of communication as both conductor and teacher permeate this account of the landmark Eroica Symphony (recorded in one day in 1964 under legendary producer John McClure); filling out the disc is a lengthy excerpt from his broadcast discussion of the work, "How a Great Symphony Was Written." The charismatic rapport between Bernstein and his New York colleagues crackles with live-wire intensity. Throughout, the sense of excitement in bringing Beethoven's untamable profusion of ideas to life is unjaded. Indeed, it's easy to imagine Bernstein exhorting his players to the explosive power of the score with such descriptions as he later uses in his analysis: the explosive opening chords as "whiplashes of sound," the new theme in the development section "like a song of pain after the holocaust," the evocation of struggle, and--above all--the constant surprises that nevertheless ring with inevitable truth. Bernstein masterfully conveys both deep focus and the larger epic and architectural structure of the symphony but never dams its brimming energy--what a contrast from the mannered style that the conductor would manifest later in his career. It's an extraordinarily inspired performance that does justice to the Promethean range of this music. For a fascinating interpretation of the Eroica in terms of Beethoven's larger political and aesthetic vision, take a look at the Cambridge Music Handbook by Thomas Sipe. --Thomas May

Surprise! A Truly Great Eroica!:
Gustav Mahler once told Bruno Walter: "Nothing can matter less than what the critics in this town have to say," and that, frequently, was true in the case of Leonard Bernstein. It comes as no surprise that Lenny's discussion of Beethoven's creative genius in making the "Eroica" is informative and insightful. Bernstein was the most masterful teacher of music we had. But the real revelation here is his performance of this great work. It crackles and sings with vitality and is devoid of the stylistic excesses Bernstein indulged in late in his career. The pacing of the movements, the shaping of every phrase and the weight of the dynamics all blend perfectly to make this one of the best "Eroica" symphonies on record. It outshines Solti's, and is so much better than Karajan's, both in its pacing and in its clarity, that to compare the two recordings in just silly. Only Toscanini's 1952 performance rivals this one in its faithfulness and brilliance. For anyone who ever doubted Lenny's credentials as a great conductor, or wondered what all the fuss was about, leave your preconceptions at the door and check this out!

• Symphony No. 3 In E Flat Major, Op. 55: I. Allegro Con Brio
• Symphony No. 3 In E Flat Major, Op. 55: II. Marcia Funebre. Adagio Assai
• Symphony No. 3 In E Flat Major, Op. 55: III. Scherzo, Allegro Vivace
• Symphony No. 3 In E Flat Major, Op. 55: IV. Finale. Allegro Molto
• Symphony No. 3 In E Flat Major, Op. 55: How A Great Symphony Was Written