{"product_id":"bernstein-in-the-1940s-volume-2-his-debut-1943-pasc533","title":"BERNSTEIN in the 1940s Volume 2: His Debut (1943) - PASC533","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eSCHUMANN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eManfred Overture\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eRÓZSA \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eTheme, Variations and Finale\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eR. STRAUSS \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDon Quixote\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast concert, 1943\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration:  74:26\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eJoseph Schuster, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003ecello\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilliam Lincer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviola\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003cbr\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eLeonard Bernstein\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fEnthusiastically recommended578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis concert preserves Leonard Bernstein’s\nheadline-making professional conducting debut with the New York\nPhilharmonic at age 25. At the time Bernstein was the orchestra’s\nofficial assistant conductor under principal conductor Artur Rodziński.\nBruno Walter was scheduled to conduct. The evening before, Bernstein\nattended a concert by mezzo-soprano Jennie Tourel, which included a\nperformance of his own song cycle \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eI Hate Music\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nDespite being advised during the concert that Walter was not feeling\nwell and to be on standby, he went to an all-night party afterwards at\nTourel’s apartment, staying until somewhere between 4:30 am and dawn. He\nreturned to his own flat, flipped through the scores again, fell\nasleep, and was awakened at 9:00 am by a phone call advising him that\nWalter was sick with the flu and that he would have to conduct the\nconcert—a Sunday afternoon national broadcast over CBS Radio—with no\ntime for a rehearsal. Unnerved, Bernstein asked if he at least could\nmeet with Walter to go over the scores with him. This was arranged, and\nBernstein was brought up to Walter’s hotel room. As he later recounted\nin an oral interview: \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003e“He was very, very gracious. He was sitting\nhuddled up in a blanket, poor man, sweating and shivering and what-not.\nAnd in the midst of all that misery of his, he was so kind and so\nhelpful to me. I was there an hour, in the course of which he showed me\nvarious places [in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e] where he cut off first and made a \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLuftpause\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nand then gave an extra upbeat here, and therefore I could be helped and\nin front of the orchestra wouldn’t be ragged. He was very helpful; I\ndon’t know what I would have done without that hour with him and he gave\nit to me under great duress.” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eBernstein’s family, already in town for Tourel’s\nperformance, was seated in the conductor’s box. No-one told him that\nRodziński, who was in Stockbridge, CT and could have returned in time to\nlead the concert, had declined to do so, curtly responding when\ncontacted, “Call Bernstein. That’s why we hired him.” (Rodziński\nactually did return in time to hear the second half of the program.)\nAlthough a friendly druggist had given Bernstein two pills for nerves\nand energy, Bernstein flung them away just before walking out on stage,\nsaying to himself, “I’m going to do this on my own.” \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eWith a supportive orchestra and sympathetic audience pulling for him, Bernstein’s debut was a triumph. The next day the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNew York Times\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nran the debut as a headline story, “Young Aide Leads Philharmonic;\nSteps in When Bruno Walter is Ill,” and an accompanying editorial\nremarked: “It’s a good American success story. The warm, friendly\ntriumph of it filled Carnegie Hall and spread far over the air waves.”\nAnd, to invoke the old cliché, the rest is history. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis disc presents the broadcast portion of the complete concert. The final work on the program, the Overture to Wagner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDie Meistersinger\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwas not broadcast due to time constraints, and with that also was lost\nthe tumultuous ovation that the Carnegie Hall audience gave Bernstein at\nits finish. Certainly, though, the ovation after the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDon Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e is enthusiastic enough to give an idea of what occurred at the concert’s close. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThree key questions that arise here. How good are\nthe performances? How good is the sound quality? How much of what is\nheard is genuine Bernstein, and how much is the orchestra playing for\nWalter with Bernstein primarily directing traffic? \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eTo address those in reverse order, the third\nquestion is essentially unanswerable. Surely, a good deal of what is\nheard must necessarily be what the musicians imbibed from Walter in the\ncourse of rehearsal, and one can hear characteristically Walterian\nlyrical phrasing and weighty sonorities in many places. (To cite just\none example, listen to the opening bars of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLangsam\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e introduction to the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eManfred\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nOverture, where the almost sighing expression of grief in the violins,\nand the warmly supple tones and subtle swells in the lower strings,\nimmediately speak of Walter’s handiwork.) Yet, just as surely, Bernstein\nwas doing much more than just beating time (even if, by his own\naccount, in the Strauss he had to work hard just to “hang on”), and much\nof the febrile energy of the playing must surely be due to his own\nskill. Even if he did largely preserve Walter’s coaching in the piece,\nthat in and of itself would be no small accomplishment. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe sound quality is above average for a broadcast\nof this period, though there is some background shellac noise at points\nand some congestion and distortion at climaxes in the\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e Don Quixote\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nThe New York Philharmonic previously issued the virtually identical\ncontents (Pristine preserves about two additional minutes of the closing\nstation announcements) on a promotional CD in late 1996 to benefit the\norchestra’s pension fund, but that disc has of course long been\nunavailable. This new version from Pristine clearly comes from a\ncomparable source. It is remastered at a noticeably higher level, and\nalso is slightly less filtered in the treble frequencies. The result is a\ntrade-off according to tastes; Pristine’s sound is more forward and\nslightly more open, but also retains more harshness. If you are one of\nthe fortunate few who owns the original NYP issue, I wouldn’t see a need\nto trade that in for this one; but if you don’t have it, there’s\nlikewise no need to pay a premium price on the used CD market for that\nolder issue when this one is readily available at a reasonable price. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eFinally, as for the performances themselves, they are all simply terrific. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eManfred\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nOverture has a nervous, even whiplash intensity, as the doomed\nprotagonist confronts his earthly end. Miklós Rózsa’s Theme, Variations\nand Finale is an early work (op. 13) originally dating from 1933 and\ndedicated to the composer’s wife; he later revised it, mostly by way of\nsmall excisions, and the latter version is heard here. (The Chandos\nrecording led by Ramon Gamba, the only other one currently in print,\npresents the uncut original. Out of print recordings include ones led by\nJames Sedares on Koch and two on LP—mono Decca and stereo RCA—conducted\nby Rózsa.) A melancholy theme of an unmistakably Hungarian folk music\nstamp is introduced by the oboe, and then taken through eight colorful\nvariations of varying characters before a fugal finale brings the\nproceedings to a close. All in all, it sounds very much akin to Kodály.\nThe Strauss tone poem receives the most dynamic and compelling reading\nof that work I’ve ever heard (though I admit it’s not a work I turn to\noften). The orchestra plays at the top of its game, and first-chair\nplayers Joseph Shuster and William Lincer excel as the elderly knight\nand his faithful squire. This is a very brisk reading—whereas most\nperformances come in about 41 to 45 minutes, this times out at a mere\n38:05—which in my book is all to the good. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn sum, we have here not just a truly historic\noccasion, but also a set of first-rate performances. Pristine is\nespecially to be commended for providing 10 separate track points in the\nRózsa work and 14 for the Strauss (the NYP issue allots each only one\ntrack). Enthusiastically recommended.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003ci\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eJames A. Altena \u003c\/span\u003e\u003c\/b\u003e\u003c\/i\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n\n\n\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003e\n\u003cspan style=\"font-size: 12px;\"\u003eThis article originally appeared in Issue 42:1 (Sept\/Oct 2018) of \u003c\/span\u003e\u003ci\u003e\u003cspan style=\"font-size: 12px;\"\u003eFanfare\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 12px;\"\u003e Magazine.\u003c\/span\u003e\n\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC533.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\n\t\u003ci\u003eThere were times when I must have fantasized – you know, one of those\ndays – \"Someday, son, this will all be yours,\" as they say. But I never\nthought I would have to walk out there [the Carnegie Hall stage] on my\nown. When it came to the time – that very day – all I can remember is\nstanding there in the wings shaking and being so scared. There was no\nrehearsal. I had just come from seeing Bruno Walter, who very sweetly\nand very quickly – wrapped up in blankets because he had the flu – went\nover the score of Don Quixote with me. He showed me a few tricky spots\nwhere he cut off here but didn't cut off there; here you give it an\nextra upbeat, and so on.\n\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003ci\u003e\n\tI called Mama and Daddy at the Barbizon to tell them and you [Burton].\nAnd then I just had to hang around. I mean, I was all dressed; when it\ncame to the crunch on that Sunday afternoon, I wore the one good suit\nthat I had, a double-breasted suit. I had until 2:30 p.m. to kill before\ngoing to the hall in my sharkskin suit. In that hour or two, I sat in\nthe drugstore [the Carnegie Hall Pharmacy, then located at the street\nlevel corner of the building]. I went in for some coffee. The druggist\nsaid, \"What are you looking so pale about?\" and he gave me two little\npills, a green and red one. He said, \"Look, before you go on, just pop\nthese into your mouth. One will calm you down and the other will give\nyou energy.\" I put them in my pocket.\n\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003ci\u003e\n\tThe time seemed to hang heavy till 3:00 p.m., even though I had to go\nover some of the tricky spots in Don Quixote with the cello and viola\nsoloists and the concertmaster. The thing that was obsessing me,\npossessing me, was the opening of the Schumann overture, which is very\ntricky because it starts with a rest – the downbeat is a rest. If they\ndon't come in together, the whole concert is sunk. I mean, I can't once\ngo 'bop, bop, bop,' and make sure they can do it. So, this was like a\nnightmare. I had to go on and do, untried, this thing of such\ndifficulty. You know, I've heard other people come to grief in that\nopening bar. Then I finally went and talked with the guys and they said,\n\"Good luck.\" Bruno Zirato said, \"Hey, Lenny. Good luck baby.\" Oh, he\nwas very fatherly and gave me big bear hugs. And that was about it.\n\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003ci\u003e\n\tAs I was about to walk onstage, I remembered the pills. I took them out\nof my pocket, flung them as far away from me across the backstage as I\ncould and said, \"I'm going to do this on my own.\" I strode out and I\ndon't remember a thing from that moment – I don't even remember\nintermission – until the sound of people standing and cheering and\nclapping.\n\u003c\/i\u003e\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003ci\u003eFrom \u003c\/i\u003ehttps:\/\/leonardbernstein.com\/about\/conductor\/historic-concerts\/the-debut-concert-1943\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe story of Leonard Bernstein's remarkable concert hall debut with the Philharmonic-Symphony Orchestra of New York on 14 November, 1943, crops up in many retellings. Yet it seems to have escaped any commercial release until now. The concert was broadcast live from Carnegie Hall by CBS radio, with Bernstein's triumphant stepping in for an ailing Bruno Walter at the very last minute, without rehearsal, making the front page of the following day's New York Times, alongside numerous war reports from around the world.\u003c\/p\u003e\u003cp\u003eBernstein knew Walter was unwell but only after spending the previous evening at a concert did he check over the scores before going to bed. The following morning the call came to say he would be taking the podium. There was no time to assemble the orchestra for any kind of run-through, so Bernstein had to settle for a visit and consultation with a blanket-wrapped Bruno Walter and a short time with the two soloists for \u003ci\u003eDon Quixote\u003c\/i\u003e, Joseph Schuster (cello) and William Lincer (viola).\u003c\/p\u003e\u003cp\u003eAs the New York Times reported, the concert was a huge success for the 25-year-old novice conductor, effectively launching his career on the world stage - and what a career that would go on to be.\u003c\/p\u003e\u003cp\u003eHere we present the full radio broadcast, less the interval talk. Missing from the broadcast was the encore, but everything else has been preserved, including a very short summary of war news headlines that was included as part of the pay-off at the end of the broadcast.\u003c\/p\u003e\u003cp\u003eThe recording was made onto acetate discs from an off-air source, thus is of 1943 broadcast quality. I've managed to eliminate almost all the interference from another classical music broadcast which could just about be made out on the original recording (I thought at first it might have been a live Artur Schnabel concert which was being transmitted at the same time but the repertoire didn't match), and have done what I can with the condition of these elderly and somewhat worn discs. A handful of very short patches were required in two of the works to cover very short gaps in the source recording - these five patches have been digitally aged from more recent recordings to make their appearance as seamless as possible.\u003c\/p\u003e\u003cp\u003eSome surface noise inevitably remains, and can be heard at different levels throughout the recording, parts of which are excellent considering the source, others less so. Overall this is good AM radio sound, and the listener will soon tune out of its shortcomings and become totally absorbed in this remarkable and truly historic performance.\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\u003cb\u003eAndrew Rose\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERNSTEIN'S NEW YORK DEBUT, 1943\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. Radio Introduction 1  (3:18)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e2. \u003cb\u003eSCHUMANN Manfred Overture\u003c\/b\u003e, Op. 115  (12:07)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRÓZSA  Theme, Variations and Finale\u003c\/b\u003e, Op. 13a\u003cbr\u003e3. Theme  (0:31)\u003cbr\u003e4. Variation 1  (1:40)\u003cbr\u003e5. Variation 2  (1:09)\u003cbr\u003e6. Variation 3  (1:08)\u003cbr\u003e7. Variation 4  (2:56)\u003cbr\u003e8. Variation 5  (1:05)\u003cbr\u003e9. Variation 6  (2:28)\u003cbr\u003e10. Variation 7  (1:10)\u003cbr\u003e11. Variation 8  (1:28)\u003cbr\u003e12. Finale  (3:55)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e13. Radio Introduction 2  (0:41)\u003cbr\u003e\u003cbr\u003e\u003cb\u003eR. STRAUSS  Don Quixote\u003c\/b\u003e, Op. 35 \u003cbr\u003e14. Introduction  (5:48)\u003cbr\u003e15. Theme  (1:58)\u003cbr\u003e16. Sancho Panza  (2:32)\u003cbr\u003e17. Variation 1  (1:31)\u003cbr\u003e18. Variation 2  (3:41)\u003cbr\u003e19. Variation 3  (3:50)\u003cbr\u003e20. Variation 4  (1:47)\u003cbr\u003e21. Variation 5  (3:44)\u003cbr\u003e22. Variation 6  (1:07)\u003cbr\u003e23.Variation 7  (0:48)\u003cbr\u003e24. Variation 8  (1:33)\u003cbr\u003e25. Variation 9  (1:01)\u003cbr\u003e26. Variation 10  (4:05)\u003cbr\u003e27. Finale  (4:50)\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJoseph Schuster\u003c\/b\u003e, cello\u003cbr\u003e\u003cb\u003eWilliam Lincer\u003c\/b\u003e, viola\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e28. Radio Outro, News Headlines, Sign off  (2:35)\u003cbr\u003e\u003cbr\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/b\u003e\u003cbr\u003econducted by \u003cb\u003eLeonard Bernstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003eXR remastering by\u003cb\u003e Andrew Rose\u003c\/b\u003e\u003cbr\u003eCover artwork based on a photograph of \u003cb\u003eLeonard Bernstein\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eLive CBS broadcast from Carnegie Hall, New York City, Sunday 14 November 1943\u003cbr\u003eIntroduced by Bernard Dudley\u003cbr\u003e\u003cbr\u003eTotal duration:  74:26\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC533.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC533.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fNew York Times Article, 1943578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eYoung Aide Leads Philharmonic, Steps In When Bruno Walter Is Ill\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA nation-wide radio audience and several thousand persons in Carnegie Hall\nwere treated to a dramatic musical event yesterday afternoon when the\n25-year-old assistant conductor of the New York Philharmonic Symphony\nOrchestra Leonard Bernstein, substituted on a few hours’ notice for Bruno\nWalter, who had become ill, and led the orchestra through its entire\npro­gram.\n\u003c\/p\u003e\n\u003cp\u003e\nEnthusiastic applause greeted the performance of the youthful musician, who\nwent through the ordeal with no signs of strain or nervousness. Artur\nRodziński, the orchestra’s permanent conductor and musical director, who\narrived at intermission time after motor­ing from his home in Stockbridge,\nMass., declared the young man had “prodigious talent,” adding that “we wish\nto give him every oppor­tunity in the future.“\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Bernstein, appointed to his post at the beginning of the cur­rent\nseason, was notified of Mr. Walter’s illness in the morning by Bruno\nZirato, assistant manager. Mr. Walter, who was said to be suffering from a\nstomach disorder, was to have been the guest con­ductor for the afternoon\nper­formance, broadcast over the Co­lumbia network.\n\u003c\/p\u003e\n\u003cp\u003e\nThe young conductor, a native of Lawrence, Mass., and a Harvard graduate,\nhad no opportunity for rehearsal before opening the pro­gram with\nSchumann's Overture to “Manfred.” The program also included Rozsa's “Theme,\nVaria­tions and Finale”; Strauss’ “Don Quixote” and Wagner’s Prelude to\n“Die Meistersinger.”\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Bernstein received hearty applause at the end of the Schu­mann\noverture, but was recalled four times when he concluded the Rozsa\nvariations. The audience warmed increasingly to his per­formance during the\nremainder of the program and. at its end, was wildly demonstrative.\n\u003c\/p\u003e\n\u003cp\u003e\nAfter the performance Mr. Bern­stein disclosed that he had been told on\nSaturday evening that Mr. Walter was ill and that he “might” be called upon\nto take his place at Sunday's concert. The possibility seemed remote, and\nthe young man went to a song recital. When he got home, however, he decided\nto look over the scores of the Phil­harmonic program “just in case.”\n\u003c\/p\u003e\n\u003cp\u003e\n“I stayed up until about 4:30 A. M., alternately dozing, sipping coffee and\nstudying the scores,\" he said. “I fell into a sound sleep about 5:30 A. M.\nand awakened at 9 A. M. An hour later Mr. Zirato telephoned and said:\n“You're go­ing to conduct.”\n\u003c\/p\u003e\n\u003cp\u003e\n\"My first reaction was one of shock. I then became very excit­ed over my\nunexpected debut and, I may add, not a little frightened. Knowing it would\nbe impossible to assemble the orchestra for a re­hearsal on a Sunday, I\nwent over to Mr. Walter’s home and went over the scores with him.\n\u003c\/p\u003e\n\u003cp\u003e\n\"I found Mr. Walter sitting up but wrapped in blankets and he obligingly\nshowed me just how he did it.\"\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Bernstein said he was too intent on his work to feel nervous during the\nperformance.\n\u003c\/p\u003e\n\u003cp\u003e\nBy a happy coincidence, Mr. Bernstein’s father and mother, Mr. and Mrs.\nSamuel Bernstein, had come from their home in Sharon, Mass., to visit their\nson and so they were able to attend the con­cert. Mr. Bernstein’s\n12-year-old brother, Burton, also was with his parents.\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Bernstein attended the Bos­ton Latin School before entering Harvard,\nwhere he majored in music, studying composition under Walter Piston and\nEdward Bur­lingame Hill and piano with Hein­rich Gebhard. He was graduated\nin 1939. He spent the next two years at the Curtis Institute in Philadel­phia, where\nhe worked under Fritz Reiner in conducting and Randall Thompson in\norchestration.\n\u003c\/p\u003e\n\u003cp\u003e\nCon­tinuing his piano studies under Mme. Isabella Vengerova, he was\naccepted by Sergei Koussevitzky and trained by him in conducting at the\nBerkshire Music Center at Tanglewood, Mass. He returned as Mr. Koussevitzky’s assistant in the summer of 1942 after\nspending the winter season in Boston teaching, com­posing and producing a\nnumber of operas for the Institute of Modern Art in that city. It was during this\nseason that his Clarinet Sonata had its first hearing.\n\u003c\/p\u003e\n\u003cp\u003e\nMr. Bernstein has been continu­ing his composing here for the last year and\nhis First Symphony is to have its première under Mr. Kous­sevitzky with the\nBoston Sym­phony this season.\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe New York Times\u003c\/b\u003e, Monday November 15, 1943\u003cbr\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Ambient Stereo 24-bit FLAC","offer_id":55010070495598,"sku":"uup1789306103579","price":11.51,"currency_code":"USD","in_stock":true},{"title":"Ambient Stereo 16-bit FLAC","offer_id":55010070528366,"sku":"hvj1789306103580","price":10.08,"currency_code":"USD","in_stock":true},{"title":"320kbps Ambient Stereo MP3","offer_id":55010070561134,"sku":"igt1789306103581","price":6.47,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/bernstein-in-the-1940s-volume-2-his-debut-1943---pasc533_1.jpg?v=1789306132","url":"https:\/\/www.harborviewgoods.shop\/products\/bernstein-in-the-1940s-volume-2-his-debut-1943-pasc533","provider":"My Store","version":"1.0","type":"link"}