Bernstein could have been a pole dancer😅

Everytime you talk about Toscanini's rigidity, his "CONTRABASSI" resonates in my mind.

"Furtwangler didn't like recordings because he had to hear what he sounded like." I also loved "oleaginous". It's a real word (I looked it up). I'd never heard of it before and now I wish I had. I could have used that so many times in my music career!

Great talk! Please consider a talk on national differences in conducting and interpretation, e.g., German, Czech, French, Hungarian, English — these distinctions are not always recognized in the 21st century, as globalization leads to more musical homogeneity, but the rich recorded legacy we have preserves them😊 for all to hear and appreciate. I believe most well-known American and Asian conductors, because of their models and teachers, continue those national traditions, perhaps without conscious knowledge of them.

David, have you watched this Bernstein interview now on YT: "Kennedy Center Honors Legend: Leonard Bernstein (In-Depth Interview)" where he talks about the quirks of many of the great conductors? He tells moving tales about his education and the  incredible, intimate interactions with Toscanini, Furtwangler and especially Karl Boehm, but also Koussevitzky, and Munch.   I saw the interview immediately after I watched your video and I thought they fit well together, and Bernstein amplifies everything you say. It also makes one realize the awesome musicality required to be a great conductor.

Interesting comments about Bernstein. Thanks. I once heard a Karajan recording of the Brandenburg Concertos that was so wrong it was funny.

Maybe not a mannerism as such, but Stokowski and his tinkering with the score - not always of course, but often enough to make you dread listening for what he may or may not do.

So fair minded to say that these guys get it right more than they get it wrong! Great post!

Love the remarks about Bernstein…so spot on

I’ve been a big fan of Leonard Bernstein’s recordings and compositions for a long while. Your videos have only increased my interest and enjoyment of his work.

He passed away a few years before I was getting into the genre which only increased my interest in not only his work but his life.

From images, video and books about Bernstein it’s obvious his smoking was completely out-of-control so I’ve always wondered if the constant smoking interfered with rehearsals or made musicians and staff uncomfortable? (I realize he lived in decades where smoking was ubiquitous).

I think I will now listen to the On The Waterfront soundtrack which is a masterpiece.

Karajan and Berlin Philharmonic must have really loved Finlandia because their performance (the mid '70's EMI and the early '80's DG ) is so much more intense, heartfelt and exciting than anybody elses version.  They make it sound like really great music whereas everybody elses sounds like a uncaring run through.  I think Mr. Sibelius would have loved Karajan's interpretation of Finlandia.  I know I do!

Is there not a pattern here, like a person’s strongest character is also their greatest weakness (when overdone/over emphasised)?

Speaking of Bernstein, have you heard the recordings made by... Bradley Cooper of all people for that Bernstein biopic, apparently assisted by Nezet Seguin? Classic FM has gone nuts about it. I can already see one of the scarves.

very interesting points, especially about bernstein

Another major Karajan mannerism in opera is the frequent "whispering" singing. No other conductor asked his singers to sing quasi "mezza voce" - almost "Markieren" (rehearsal voice) so often.

According to his widow Solti never listened to his music once committed to vinyl/disc. There is one single example: the production team finally had him listen to the introduction to Das Rheingold up to the entrance of the Rheinmaidens. I paraphrase:  marvellous, awe inspiring. I only saw him conduct once at the Maggio Musicale Fiorentino circa 1990. He conducted Mahler 5 with LSO. It was very fine indeed. But not mind blowing, transcendental etc.

I'd love to hear your thoughts on Karajan's recording of Handel's Opus 6--it's so wrong, but a total hoot, sort of like Mantovani conducting the "101 Strings" orchestra! It gives new meaning to the adjective "lush."

Loved this one! You put into words the very things that bug about Solti and HvK.  But those were two distinctive sounds.

You are absolutely right in that Herbie‘s Bartók was coupled with Apollo. That performance of Music for Strings, Percussion and Celesta is probably the most listened to ever, because it was this very recording that was included in Kubrick‘s The Shining.

A very interesting talk, which will make me pay extra attention, when I watch some of those mentioned, conducting. Thank you.