Copland 1997

Aaron Copland & Leonard Bernstein - The Composer As Performer (1997) {Pearl GEMM CD9279 rec 1933-1944}
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© 1933-44, 1997 Pavilion Records / Pearl | GEMM CD 9279
Classical / Early 20th Century / Historical / Piano

Copland never performed other people's piano music in public, but he was an excellent player of his own music. His 1935 78s of his own spiky, wonderful Piano Variations have never been surpassed. This CD collects most of Copland's prewar 78s, adds a piano transcription of Appalachian Spring (well played by someone, but the provenance seems dubious), and concludes with Leonard Bernstein's first recording. As a program it's a bit scattered, but the individual items are important. Some of the dubs are noisy, but the sound is good enough throughout so that we can enjoy a major document of American music.

Happy is the composer who has an advocate as passionate and talented as Leonard Bernstein. These Copland performances have been the preferred versions since they were first issued–better even than the composer's own, later recordings. Originally they were spread over two discs, but thanks to the extended playing time of the compact disc, you can now get all three great Copland ballets together, along with the ever popular Fanfare for the Common Man. Bernstein brings to this music the right sharpness of rhythm but also a typically open-hearted warmth. He coaxes a virtuoso response from the New York Philharmonic, which knows this music as well (or better) than anyone. Self- recommending. –David Hurwitz

New York Philharmonic - The Historic Broadcasts 1923 to 1987 (1997) {10CDs Box Set NYP 9701}
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© 1923-87, 1997 New York Philharmonic | NYP 9701
Classical / Orchestral / Concerto / Symphony

Culled from New York Philharmonic broadcasts spanning 75 years, this remarkable 10-disc compilation testifies to the strong-willed yet chameleon-like orchestra's virtuosity and versatility under a diverse assemblage of podium personalities. Stylistically speaking, the earlier items are the most interesting, revealing, for instance, a more vibrant Otto Klemperer and freer Arturo Toscanini than their later commercial efforts sometimes suggest. Other artists are heard in repertoire which they otherwise didn't record: Fritz Reiner's Brahms 2nd, Leonard Bernstein's Berg and Webern, and a wrenching concert version of Bartók's Bluebeard's Castle under Kubelík's direction, to name but a few. From program notes to transfer quality, not one stone is left unturned to ensure first-rate results.