Columbus, OH

The 1953 American Decca Recordings

Feat.
Release date 2004

Tracklist

1
Symphony No. 3 in E-flat major, Op. 55 "Eroica": I. Allegro con brio
2
Symphony No. 3 in E-flat major, Op. 55 "Eroica": II. Marcia funebre. Adagio assai
3
Symphony No. 3 in E-flat major, Op. 55 "Eroica": III. Scherzo. Allegro vivace
4
Symphony No. 3 in E-flat major, Op. 55 "Eroica": IV. Finale. Allegro molto
5
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "Simplicity itself..." (1st movement)
6
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "I always feel this gigantism..." (2nd movement)
7
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "We have just been examining..." (3rd movement)
8
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "All that we have said..." (4th movement)
9
Musical Analysis (Bernstein on Beethoven's Symphony No. 3): "The study of Eroica is a lifetime work..."
10
Symphony No. 9 in E minor, Op. 95 "From the New World": I. Adagio – Allegro molto
11
Symphony No. 9 in E minor, Op. 95 "From the New World": II. Largo
12
Symphony No. 9 in E minor, Op. 95 "From the New World": III. Scherzo. Molto vivace
13
Symphony No. 9 in E minor, Op. 95 "From the New World": IV. Allegro con fuoco
14
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "Does this music sound like the New World to you?" (3rd movement, Trio II; 1st movement)
15
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "We come now to the second movement, which has a charming melody, ..." (2nd movement)
16
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The third movement is a marvel of ingenuity and deftness" (3rd movement)
17
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "And now the last movement. In general I should say that this is the most Slavic of all" (4th movement)
18
Musical Analysis (Bernstein on Dvorák's Symphony No.9): "The final claim of those who argue for the New World Symphony as American music, ..." (4th movement, continued)
19
Symphony No. 2 in C major, Op. 61: I. Sostenuto assai - Un poco più vivace - Allegro ma non troppo - Con fuoco
20
Symphony No. 2 in C major, Op. 61: II. Scherzo: Allegro vivace
21
Symphony No. 2 in C major, Op. 61: III. Adagio espressivo
22
Symphony No. 2 in C major, Op. 61: IV. Allegro molto vivace
23
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Robert Schumann has been dead..." (3rd movement, opening theme)
24
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "To my mind, Schumann follows in this tradition..."
25
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Now let's look at the Symphony itself..." (1st movement)
26
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "And so we have arrived at the allegro section..." (1st movement, continued)
27
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "In the marvelous Scherzo that follows..." (2nd movement)
28
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "But perhaps the greatest beauty...." (3rd movement)
29
Musical Analysis (Bernstein on Schumann's Symphony No. 2): "Even in the final movement...." (4th movement)
30
Symphony No. 4 in E minor, Op. 98: I. Allegro non troppo
31
Symphony No. 4 in E minor, Op. 98: II. Andante moderato
32
Symphony No. 4 in E minor, Op. 98: III. Allegro giocoso - Poco meno presto - Tempo I
33
Symphony No. 4 in E minor, Op. 98: IV. Allegro energico e passionato - Più allegro
34
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Brahms' Fourth Symphony in E minor is today ..." (4th movement., opening theme)
35
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Our journey begins without introduction..." (1st movement)
36
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Do you see now what a symphonic theme is?" (1st movement)
37
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Now, think of it - we have so far only had 44 bars of music" (1st movement)
38
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Here is that second theme" (1st movement)
39
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "This brings us to the development section proper" (1st movement)
40
Musical Analysis (Bernstein on Brahms's Symphony No. 4): And here we are back home, ready for the rehearing of the exposition,..." (1st movement)
41
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "So we arrive at the coda" (1st movement)
42
Musical Analysis (Bernstein on Brahms's Symphony No. 4): "Well, we have had a microscopic look at symphonic method" (1st movement)
43
Symphony No. 6 in B minor, Op. 74 "Pathétique": I. Adagio – Allegro non troppo
44
Symphony No. 6 in B minor, Op. 74 "Pathétique": II. Allegro con grazia
45
Symphony No. 6 in B minor, Op. 74 "Pathétique": III. Allegro molto vivace
46
Symphony No. 6 in B minor, Op. 74 "Pathétique": IV. Finale. Adagio lamentoso – Andante
47
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now there is a melody, a pure orchestral song..." (1st movement)
48
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now the development section erupts..." (1st movement continued)
49
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now one would think that Tchaikovsky had really exploited the device of scales" (2nd movement)
50
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Jumping now to the famous third movement, the great March..." (3rd movement)
51
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Perhaps the most admirable example of this is to be found in the wonderful last movement, ..." (4th movement)
52
Musical Analysis (Bernstein on Tchaikovsky's Symphony No. 6): "Now I don't want to give you the impression that scales are the only unifying force in this work"
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