Reviews (6)

Many conductors left out, and is short. Still very good!!
This is a fantastic video, and very interesting and funny. (But short - see below) It shows conductors and musicians (Isaac Stern, Menuhin, Heifitz, etc.) in rehearsal, concert, and interviewing. we also get to see Richard Strauss conduct his music (he looks bored - and you can probably tell why.)

What I am very disapointed about is that it leaves SO MANY conductors out; what is surprising about the list of conductors on this video may be who's NOT on it such as Solti, Levine, Bohm, Muti, Abaddo, Bonyage, Slatkin, Norrington, Maazel, Mitropolous, Kaplan, Mackerras, Carlos Kleiber, Leisendorf, Giulini, Mehta, Sinopoli, Marriner, and Placido Domingo (THAT would have been good). Had the video been longer and shown all of these conductors, I would have given this 5 Stars. But oh well...

also, the clips of conductors that ARE there, are extremely short; for Toscanini, we don't see his successes at the Met, La Scala, or the NBC or BBC symphony. Instead, we see him in a rehearsal of the famous Forza overture, and then throws a fit when his orchestra messes up during a Traviata rehearsal. that's it. For Klemperer, we hear him talk a little about Walter, and we hear how crabby he is during a rehearsal of the Egmont Overture. that's it. For Karajan, we don't see his successes with the Vienna and Berlin Philharmonic, La Scala, the Met or clips of the films he produced and directed. What we do see is a clip of him disscussing the success of the Japanese tour that the Berlin Philharmonic gave. Although it is nice to see these, one wishes there were more about these renowed conductors.

Quibbles aside, this is a very good video. You will enjoy seeing Leonard Bernstein rehearse Shostakovich, Walter getting his violins to "sing", a funny story about Reiner, and seeing the humor of Beecham and Szell (!) . You will enjoy this video. But if you want to see the the conductors that are left out of this video mentioned above, look elsewhere.

A sampler, not a history
Is it fair to the musical greats of the past to subject them to television's talking head/archival footage/talking head presentations of today? If it helps rescue some unjustly forgotten conductor, maybe so. If the sound byte + 45 second film clip leads a viewer to think that there is nothing more than that to a conductor's story, then that's wrong.

Take Leopold Stokowski, for example. In the early 20th century, he put the Cincinnati Symphony Orchestra on the map and then took the Philadelphia Orchestra to the top. He premiered a lot of American music as well as a lot of difficult new music, at a time when most audiences only wanted Romantic warhorses. He was a pioneer in many ways, and he took a lot of arrows for it early in his career. Yet in this documentary, the Stokowski segment presents a familiar cliché. We see the long-haired ham producing his luscious, dowager-pleasing strings sound, and hear some chin-tugging by the guest expert about how, in its own way, maybe it wasn't so bad.

Or take Toscanini. We don't see his charitable wartime work, his defiance of Hitler and Mussolini, his whipping of the lazy Bayreuth festival orchestra into shape, or his triumphs with the Met. However, we do see one of his famous temper tantrums.

So, since the television medium sometimes forces unjust brevity onto its subjects, it's best to regard this program as a sampler. All of the people included could have been the subject of documentaries equalling this show's length.

As for the "art" part of The Art of Conducting, the program delivers. It is fascinating to watch Sir John Barbirolli ironing out a bassline, or Bruno Walter, with his light but firm touch, getting his violins to "sing", or Sir Thomas Beecham playing the maestro role semi-tongue-in-cheek. And the concert footage is generous and usually free of annoying voice-overs. So get this video, certainly-but don't let it be the final word for you.

Rare, Priceless Films of Famous Conductors at Work!
The BBC television network came up with a real gem when someone in their heirarchy had the ingenious idea to compile a visual perspective of the great conductors of the 20th century. This is truly a magnificent video! All classical music fans have a favorite, and most everyone who obtains this video should find their favorite contained therein. A fleeting thought that has probably occurred to those of us who like and collect classical music recordings know how their favorite Golden Era conductor made a particular masterwork sound; but WHAT DID HE LOOK LIKE DOING IT? This video is certain to provide that answer. Contemporary big-name musicians and associates such as Isaac Stern, John Eliot Gardner, and Richard Mohr, who worked with the featured conductors, provide reminiscences and impressions of what it was like to work with them.

My favorite (Fritz Reiner) is featured in this video. In the 1961 performance of excerpts from the first movement of the Beethoven Seventh with the Chicago Symphony, it is most interesting to compare how he conducts the work with an earlier 1954 complete performance with the same ensemble. The 1954 performance is available in the "Historic Telecasts" series. The 1961 performance featured here presents Reiner conducting with his legendary "vest pocket", small-gesture beat, virtually void of motion. The 1954 complete performance shows a much more lively Reiner, clearly conducting from his baton and occasionally using the free hand to signal to his players. Eye contact with his players is more evident in the 1954 than the 1961 performance. In the years between 1954 and 1961, Reiner had had two heart attacks, and suffered also from extreme neck pain, the latter likely a result of his rigid conducting. I believe his change in style was the result of his decline in health.

The follow-up companion to this video looks at other famous conductors, filling important gaps left with this volume. Despite that, there are still important names left out, such as Karl Boehm, Hermann Scherchen, Dimitri Mitropoulos, and Igor Markevitch. Meanwhile, until these and other gaps are filled, buy both videos as important reference additions to your library of regular recorded music!

A real treasure for any music-lover
In this video the director Sue Knussen painstakingly assembles a great variety of materials (concerts, vintage and contemporary interviews, rehearsal sessions) so creating ,at the same time, a tribute to the golden-age conductors and a panoramic view of this much-debated artistic figure (demi-gods or show-biz stars as according to N. Lebrecht's infamous book "The maestro myth"?). The authors of the video don't take an explicit position, because they let the music and the people talk (in the best BBC-style), but I can't avoid thinking that there was (still there is?) something really special about these artists: it comes out pretty clearly that conducting is just that what the title says , an art, and as such it's not so easy to explain rationally: it seems to be more about personal charisma, iron will and conductor/orchestra chemistry than pure technique or knowledge of the scores. Isaac Stern says, about Koussevitzky, "He was wonderful, but his technique was, at best, difficult to determine"! The highlights of the video are countless: we see an aged, almost petrified Reiner dominating the Chicago Symphony with a simple look of his eyes, Stokowski literally shaping the sound with the most elegant gestures, Szell being not only a wonderful "scientist" of the orchestra, but also a marvelously civilized conversationalist ( his anecdotes about Strauss' way of conducting are humorous! ), Beecham joking with the musicians, that clearly adore him, and so on..... And Bernstein! He was really unique in his complete "communion" with the music and, as a proof, we see/hear electrifying excerpts of Shostakovich's 5th on rehearsal and in concert: he really seems to recreate the music from deep inside. If some stereotypes (Toscanini's bad temper or Klemperer's cragginess) are confirmed, I also had a few surprises, like the cold , business-like nature of the relationship between Karajan and the Berliners in stark contrast to the sheer love they had for Furtwangler. Some of the contemporary interviews are absolutely fascinating : I could listen to people like Yehudi Menuhin or Isaac Stern for hours! The sound/picture quality is generally very good, even in the oldest footage. All in all, an endless (I've watched it many, many times) source of entertaining knowledge and a towering tribute to some of the greatest artists in the history of recorded and performed music.

a wonderful video that every musician must own
I think that this video is perhaps the best music documentary in existence. Not only did i learn a lot about the various great leaders of orchestras of the past, but i found the video truely entertaining. I must have seen the video at least 100 times and I am still not tired of it. I think that this is a gem that belongs on every musicians video shelf. ... Read more

Reviews (6)

Classical Musicians and Singers only
The story is an embarrassment, unworthy to share time with the great singers and musicians contained within. Vaughn Monroe and Harry James do not belong in the film because they were given poor material to work with. The creators of this film did not know what they were doing in the popular music department, nor in the story department. I would never watch this entire film again. The non-James non-Monroe music is excellent, exciting and worth buying a DVD for, because then you can skip everything else and be happy.

A Classical Music Cinderella Story
Carnegie Hall is a movie of its era, an era when men and women in evening dress attended concerts performed by the likes of Rubenstein, Heifetz and Stokowski; an era in which classical music was "music", and playing Carnegie Hall the dream of every aspiring musician. During this era young Nora arrives from Ireland; she grows up in the hall, then takes a job as a cleaning woman, polishing and dusting to the beat of the baton of Walter Damrosch. In this position she garners the attentions of a headstrong young pianist who dares to defy convention, both in his personal view of music and of the simple, hardworking Nora. In due course they are wed (there is a charming scene in which the pianist courts Nora at the home of the Carnegie Hall timpanist and his comrades), and have a son. When Nora's pianist dies under rather shady circumstances, she pours her energies into the training of her son. Nora's Tony will become a great pianist, he will play Carnegie Hall: in this manner he will honor his father's memory. But there will be one thing more. Tony will become the sort of musician who plays only the finest of works and in the most proper manner. Nora will not tolerate any of those unconventional notions that became, in the end, the undoing of his dad. Nora singlemindedly pursues her dreams for her son, and as she does, rises through the ranks of Carnegie Hall echelon...in effect becoming Carnegie Hall itself; she is called as much by those who know her best, the great artists and the unsung toilers (Mr. Donovan played by Frank McHugh is Nora's most dedicated supporter) who make Carnegie Hall their own. It's only natural that in the training of Tony Nora should take him to concerts, and this is indeed fortunate. For within the musical segments are we treated to splendid, rare performances by the greatest names of the time: Lily Pons, Ezio Pinza, Jan Peerce, Gregor Piatigorsky, Bruno Walter, Artur Rodzinski, and more. Truly, the plot is secondary to the concert segments, (the movie is based on a story written by silent actress Seena Owen) yet it manages to remain intact enough its premise that we're never so overwhelmed by the music we're tempted to abandon it altogether. When the camera again returns to Nora (played fabulously by Marsha Hunt) and her iron fist in a velvet glove approach to child rearing, we are more than willing to suffer, dream, and hope along with her. And suffer Nora will, as Tony (William Prince) is doomed to follow the bent of his father and abandon Nora and Carnegie Hall in order to follow his heart. Yet, never fear. In the end, hearts are mended tidily and satisfactorily--at least to this viewer's satisfaction. After all, this is a movie of its era.

Classical Music Stars Of Another Era.
CARNEGIE HALL is a one of a kind film. It is a love letter to classical music in general and the historic landmark in particular. There have been many movies about classical music featuring well known artists before and after but never one that features as many top performers. Most of these performers were captured at the peak of their careers making it even more special. Director Edgar G. Ulmer has developed a cult reputation over the years as the man who could get the most with the least. With CARNEGIE HALL he probably had his largest budget to work with and he makes the most of it. His imaginative use of camera angles and editing make the performances come alive with an intensity that simply has to be seen to be believed. At a recent showing of this film that I attended the audience applauded after the Rubinstein and Heifetz segments. Most reviews criticize the plot of a pushy mother and her plans for her son as trivial and old fashioned which it is but that's missing the point. Tucked away within that conventional storyline are pertinent observations about ambition, musical snobbism, and the consequences of decisions that we make. Marsha Hunt gives an excellent performance as Nora who literally grows up inside of Carnegie Hall with solid support from veteran character actor Frank McHugh as Mr Donovan. William Prince who plays the grown up son would go on to a distinguished career on stage and in television with the occasional movie role thrown in. Among the many fine classical music sequences is the rare opportunity to see Artur Rodzinski conduct the New York Philharmonic of which he was then the music director. Rodzinski has become a largely forgotten figure partially due to the fact that he barely lived into the stereo era (he died in 1958). Some of his recordings are now being reissued (see my review of his NUTCRACKER) to great acclaim. His performance of Beethoven's Fifth illustrates his celebrated "passion with precision" style of conducting. This movie is a true classic the like of which will never be made again. If you love classical music it's an absolute must have. If you don't then it's worth a look just to see and hear the classical music stars of another era.

Great performers on film
This text refers to the DVD release.
If you're looking for another Casablanca, look elsewhere. This film really focuses on the musicians who appear in it. It's a wonderful collection of live performances by some of the greatest performers during the peak of their careers in the US in the 40s. These people made many audio recordings, but comparatively hardly any film/TV or video recordings are available. So this is your chance to watch them in action.
For me the star of the film is of course Jascha Heifetz, seen here playing the first mvt - with cuts - of the Tchaikowsky concerto with Reiner conducting the NYPSO. Artur Rubinstein plays two short pieces. Also Walter, Stokowski, Rodzinski and Reiner conduct the NYPSO. It's very interesting to watch these conductors in action and the playing, precision and discipline of the New York Philharmonic Symphony Orchestra - the orch used throughout the film - is amazing. VAImusic in the US and Denon Japan have released some concert performances on VHS and DVD with Reiner and the Chicago Symphony, but I haven't come across much other video footage of any of these conductors. There are a host of other musicians as well - look at the DVD cover. Piatigorsky plays Saint-Saens "The Swan" in a strange arrangement of the piece in which he's accompanied by 8 harps. And one scene I like takes place in the NYPSO timpanist's apartment where Alexander Schneider leads a "play-through" of the Schumann piano quintet. Good fun are also the little walk-on parts Heifetz and co. get to do, although I prefer their playing of course*g*
The extras on this DVD are good - bios, track listings etc. And finally, the picture and sound quality are excellent; Kino must have found a good master reel to make this DVD version.

Carnegie Hall
We enjoyed this video. The many famous musicians that we got to see and hear and the views of Carnegie Hall that brought back memories of being there ourselves. William Prince is a favorite of ours and we enjoy all of his films. We were disappointed that he was not pictured on the video cover, but that did not lessen our enjoyment of this story of a mother's love and training that in the end was such a satisfaction for her. We could see the love for his wife,and mother in his eyes. A beautiful story. ... Read more

Reviews (2)

Superb look at a musical giant.
Bruno Walter (1876-1962) was one of the 20th century's truly colossal musicians. When he died, at nearly 86 years old, he was (with the exception of Otto Klemperer, who died 11 years later) the last in the long line of great European maestros who had directed some of the most legendary operatic and symphonic ensembles in the history of classical music. Walter served from 1901 to 1907 as Gustav Mahler's assistant at the Vienna Opera (having served as his vocal coach earlier in Hamburg) and later premiered "Das Lied von der Erde" and the Ninth Symphony. He served 11 illustrious years as music director at the State Opera in Berlin and was recognized as one of the supreme interpreters of his time in the music of Mahler, Schubert, Wagner and particularly Mozart.

This video was filmed in 1958 during a rehearsal in Vancouver, British Columbia. Walter, at 82, is in fine form throughout, displaying his experienced musical insight, acute ear and a profound knowledge of the score, which he conducts from memory. The music being rehearsed is Brahms' Second Symphony. Also included is an interview with Walter conducted in his garden by Los Angeles Times music critic Albert Goldberg. The interview is interesting, but a tad bit unctuous. Isaac Stern once said of Walter, "There was a gentleness to Bruno Walter--an APPARENT gentleness. Because he was one of the most stubborn and iron-willed of people. But there was a certain courtliness about him." This is evident in the film, as Walter politely but firmly corrects the orchestra and pulls from them the sound he hears in his head.

Anyone interested in orchestral conducting or in seeing a legendary maestro doing what he does best will enjoy this film. Apart from musicians, however, I can't imagine who would be interested in it.

A rare chance to see a master rehearse an orchestra.
An old (1958) but none-the-less fascinating video of one of this century's great Maestros rehearsing the Vancouver Festival Orchestra in Canada - an orchestra he had never before conducted. In addition, an interview, which although somewhat cliched in nature, gives a great insight into the musical mind of Dr. Walter. Extremely useful as an instructional tool, especially if you look past the actual rehearsing to the interpretation he is attempting to achieve with the orchestra. (It also helps if you are acquainted with Brahms). A fine amplification of the 'Great Conductors' video also available through Amazon. ... Read more

Reviews (6)

Classical Musicians and Singers only
The story is an embarrassment, unworthy to share time with the great singers and musicians contained within. Vaughn Monroe and Harry James do not belong in the film because they were given poor material to work with. The creators of this film did not know what they were doing in the popular music department, nor in the story department. I would never watch this entire film again. The non-James non-Monroe music is excellent, exciting and worth buying a DVD for, because then you can skip everything else and be happy.

A Classical Music Cinderella Story
Carnegie Hall is a movie of its era, an era when men and women in evening dress attended concerts performed by the likes of Rubenstein, Heifetz and Stokowski; an era in which classical music was "music", and playing Carnegie Hall the dream of every aspiring musician. During this era young Nora arrives from Ireland; she grows up in the hall, then takes a job as a cleaning woman, polishing and dusting to the beat of the baton of Walter Damrosch. In this position she garners the attentions of a headstrong young pianist who dares to defy convention, both in his personal view of music and of the simple, hardworking Nora. In due course they are wed (there is a charming scene in which the pianist courts Nora at the home of the Carnegie Hall timpanist and his comrades), and have a son. When Nora's pianist dies under rather shady circumstances, she pours her energies into the training of her son. Nora's Tony will become a great pianist, he will play Carnegie Hall: in this manner he will honor his father's memory. But there will be one thing more. Tony will become the sort of musician who plays only the finest of works and in the most proper manner. Nora will not tolerate any of those unconventional notions that became, in the end, the undoing of his dad. Nora singlemindedly pursues her dreams for her son, and as she does, rises through the ranks of Carnegie Hall echelon...in effect becoming Carnegie Hall itself; she is called as much by those who know her best, the great artists and the unsung toilers (Mr. Donovan played by Frank McHugh is Nora's most dedicated supporter) who make Carnegie Hall their own. It's only natural that in the training of Tony Nora should take him to concerts, and this is indeed fortunate. For within the musical segments are we treated to splendid, rare performances by the greatest names of the time: Lily Pons, Ezio Pinza, Jan Peerce, Gregor Piatigorsky, Bruno Walter, Artur Rodzinski, and more. Truly, the plot is secondary to the concert segments, (the movie is based on a story written by silent actress Seena Owen) yet it manages to remain intact enough its premise that we're never so overwhelmed by the music we're tempted to abandon it altogether. When the camera again returns to Nora (played fabulously by Marsha Hunt) and her iron fist in a velvet glove approach to child rearing, we are more than willing to suffer, dream, and hope along with her. And suffer Nora will, as Tony (William Prince) is doomed to follow the bent of his father and abandon Nora and Carnegie Hall in order to follow his heart. Yet, never fear. In the end, hearts are mended tidily and satisfactorily--at least to this viewer's satisfaction. After all, this is a movie of its era.

Classical Music Stars Of Another Era.
CARNEGIE HALL is a one of a kind film. It is a love letter to classical music in general and the historic landmark in particular. There have been many movies about classical music featuring well known artists before and after but never one that features as many top performers. Most of these performers were captured at the peak of their careers making it even more special. Director Edgar G. Ulmer has developed a cult reputation over the years as the man who could get the most with the least. With CARNEGIE HALL he probably had his largest budget to work with and he makes the most of it. His imaginative use of camera angles and editing make the performances come alive with an intensity that simply has to be seen to be believed. At a recent showing of this film that I attended the audience applauded after the Rubinstein and Heifetz segments. Most reviews criticize the plot of a pushy mother and her plans for her son as trivial and old fashioned which it is but that's missing the point. Tucked away within that conventional storyline are pertinent observations about ambition, musical snobbism, and the consequences of decisions that we make. Marsha Hunt gives an excellent performance as Nora who literally grows up inside of Carnegie Hall with solid support from veteran character actor Frank McHugh as Mr Donovan. William Prince who plays the grown up son would go on to a distinguished career on stage and in television with the occasional movie role thrown in. Among the many fine classical music sequences is the rare opportunity to see Artur Rodzinski conduct the New York Philharmonic of which he was then the music director. Rodzinski has become a largely forgotten figure partially due to the fact that he barely lived into the stereo era (he died in 1958). Some of his recordings are now being reissued (see my review of his NUTCRACKER) to great acclaim. His performance of Beethoven's Fifth illustrates his celebrated "passion with precision" style of conducting. This movie is a true classic the like of which will never be made again. If you love classical music it's an absolute must have. If you don't then it's worth a look just to see and hear the classical music stars of another era.

Great performers on film
This text refers to the DVD release.
If you're looking for another Casablanca, look elsewhere. This film really focuses on the musicians who appear in it. It's a wonderful collection of live performances by some of the greatest performers during the peak of their careers in the US in the 40s. These people made many audio recordings, but comparatively hardly any film/TV or video recordings are available. So this is your chance to watch them in action.
For me the star of the film is of course Jascha Heifetz, seen here playing the first mvt - with cuts - of the Tchaikowsky concerto with Reiner conducting the NYPSO. Artur Rubinstein plays two short pieces. Also Walter, Stokowski, Rodzinski and Reiner conduct the NYPSO. It's very interesting to watch these conductors in action and the playing, precision and discipline of the New York Philharmonic Symphony Orchestra - the orch used throughout the film - is amazing. VAImusic in the US and Denon Japan have released some concert performances on VHS and DVD with Reiner and the Chicago Symphony, but I haven't come across much other video footage of any of these conductors. There are a host of other musicians as well - look at the DVD cover. Piatigorsky plays Saint-Saens "The Swan" in a strange arrangement of the piece in which he's accompanied by 8 harps. And one scene I like takes place in the NYPSO timpanist's apartment where Alexander Schneider leads a "play-through" of the Schumann piano quintet. Good fun are also the little walk-on parts Heifetz and co. get to do, although I prefer their playing of course*g*
The extras on this DVD are good - bios, track listings etc. And finally, the picture and sound quality are excellent; Kino must have found a good master reel to make this DVD version.

Carnegie Hall
We enjoyed this video. The many famous musicians that we got to see and hear and the views of Carnegie Hall that brought back memories of being there ourselves. William Prince is a favorite of ours and we enjoy all of his films. We were disappointed that he was not pictured on the video cover, but that did not lessen our enjoyment of this story of a mother's love and training that in the end was such a satisfaction for her. We could see the love for his wife,and mother in his eyes. A beautiful story. ... Read more