{"product_id":"new-york-philharmonic-orchestra_oeuvres-orchestrales_2018","title":"Œuvres orchestrales","description":"It all begins one January evening in 1937, in Boston, where conductor Dimitri Mitropoulos is concluding his second stay with Schumann's Symphony in C. Invited to attend rehearsals and the concert, student Bernstein feels, during the Adagio espressivo, his \"heart bursting in a terrible mix of pride and dejection.\" Conceived at the bottom of the abyss and completed upon the return of light in 1846, this Symphony No. 2 will haunt him for a long time. Bernstein the conductor is born from it, let us begin likewise [CD I, 1-4]. Mitropoulos's influence does not stop there. A season earlier, the Greek conductor had dazzled Boston by conducting Prokofiev's Piano Concerto No. 3 from the piano, a feat that his admirer would replicate by substituting Ravel for Prokofiev. A magnificent pianist, Bernstein was already playing the Piano Concerto in G in 1937, which he would conduct from the piano for the first time in London in 1946 and which would become one of his very first records as director of the New York Philharmonic in 1958 [CD II, 2-4]. The birth of a vocation, accompanied by a credo: to interpret is to \"become one with the work as if it were mine.\" To Mitropoulos, his genius boy also owes the understanding of the emotional space where Tchaikovsky operates, between romantic confession and classical arch. In 1957, during the few months they shared at the New York Phil, the elder had recorded the Capriccio italien, this \"Rome-on-the-Volga\" composed shortly after Eugene Onegin; this would not prevent the younger from recording the same symphonic poem with the same orchestra for the same label three years later. Tribute or showdown: electrifying once again [CD I, 7]. Ruy Blas, too, the Overture sketched in three days by a Mendelssohn inspired by Victor Hugo's \"ignoble play,\" had been recorded in New York by Mitropoulos, seven years before the disciple faced the master – what audacity! What flair [CD I, 6]. No model, however, when it comes to marrying serious orchestra with joyful music, an exercise where Lenny excelled throughout his life. The young conductor had not yet set foot on French soil and was already speaking the double language of Gershwin, with the forms and the accent, when he recorded An American in Paris, another symphonic poem, where the honking of taxis on the Champs-Élysées shakes the melancholic jazz of Harlem [CD II, 1]. A detour through the second (called \"III\"!) of the four Overtures Beethoven wrote for his only opera (Leonore, renamed Fidelio) – Bernstein loved it dearly and would bid farewell to the Met with it in 1983 [CD I, 5]. To conclude where the traveler wished to end, on this island with two heads, one turned towards his homeland, the America of wide open spaces and spontaneous melody where the \"New World\" Symphony was born in 1893, the other towards the Central Europe of his ancestors, of which the Bohemian Dvořák is the clear, ardent, and also double voice [CD II, 5-8]. (Ivan A. Alexandre)","brand":"New York Philharmonic Orchestra","offers":[{"title":"Default Title","offer_id":57978336182616,"sku":null,"price":20180701.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0898\/4943\/0360\/files\/3701025805492.jpg?v=1786833940","url":"https:\/\/vinyles.com\/en\/products\/new-york-philharmonic-orchestra_oeuvres-orchestrales_2018","provider":"Vinyles.com","version":"1.0","type":"link"}