BERNSTEIN 'Broadway to Hollywood'
View record and artist detailsRecord and Artist Details
Composer or Director: Leonard Bernstein
Genre:
Orchestral
Label: Somm Recordings
Magazine Review Date: 10/2018
Media Format: CD or Download
Media Runtime: 75
Mastering:
DDD
Catalogue Number: ARIADNE5002
Tracks:
Composition | Artist Credit |
---|---|
Overture to 'Candide' |
Leonard Bernstein, Composer
Hannover Philharmonie Iain Sutherland, Conductor Leonard Bernstein, Composer |
On The Waterfront Symphonic Suite |
Leonard Bernstein, Composer
Hannover Philharmonie Iain Sutherland, Conductor Leonard Bernstein, Composer |
Fancy Free, Movement: Complete Ballet |
Leonard Bernstein, Composer
Hannover Philharmonie Iain Sutherland, Conductor Leonard Bernstein, Composer |
Symphonic Dances from 'West Side Story' |
Leonard Bernstein, Composer
Hannover Philharmonie Iain Sutherland, Conductor Leonard Bernstein, Composer |
On the Town, Movement: Lonely town pas de deux |
Leonard Bernstein, Composer
Hannover Philharmonie Iain Sutherland, Conductor Leonard Bernstein, Composer |
On the Town, Movement: The great lover displays himself |
Leonard Bernstein, Composer
Hannover Philharmonie Iain Sutherland, Conductor Leonard Bernstein, Composer |
Author: Tim Ashley
His Bernstein is strong and trenchant, often exhilarating, never sentimental. The dances from West Side Story blend energy with restraint, the opening bristling with tension, the Mambo hard-driven and electric, the ‘Somewhere’ Adagio clean and very reined in. On the Waterfront is dark and brooding throughout, fierce and angry at the start, full of grand passion later on. The booklet notes tell us that Fancy Free comes complete but in fact the pas de deux and the Galop and Waltz have been cut, which is a great shame, since the performance is witty and unforced, the sleazy bar-room atmosphere nicely caught and maintained.
The playing, meanwhile, is enthusiastic if raw round the edges in places. The brass are very big-band and full-on, though the horn solo at the start of On the Waterfront is smooth, Mahlerian, and a bit too polite. Textures can sometimes be dense, particularly in the Candide Overture, which ideally needs to be lighter on its feet. The sound quality is clear if variable. We’re not told when the individual performances were taped, but the dances from West Side Story and On the Town get the warmer, better balanced recordings: elsewhere the bass is sometimes heavy and the brass a bit too far forwards.
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