Stanley Drucker, clarinet Leonard Bernstein, conductor New York Philharmonic From the Young People's Concert - A Copland Celebration Aired December 27, 1970
Love how Bernstein explains and demonstrates this pieces. Love his passion for educating others in music so they can appreciate the genius of Copeland. Love his passion for music, musicians and the audience. All these are evident. Fantastic! You can't help but be inspired to create music.
My father, Leon Rudin, was the pianist in this recording. He was a violinist in the Philharmonic, who, at various times also played piano parts like this.
I first saw this on TV in 1970 my first year in this country and was impressed by this performance and now 47 years later, I have never forgotten this wonderful performance of this concerto. This is EXCELLENT and PERFORMED WITH STYLE AND "EASE" . BRAVO MAESTRO DRUCKER!!!
I hear pure New York out of this and it's delicious. Go Aaron, go Lenny, go Stanley. I just love genius, especially when it pours out in great gushing torrents.
Listening to Lennie talking about the music brings me back when I was studying at the Guilldhall many years ago and he also gave a talk about his R and J from the piano and explained the various themes etc it was mind blowing ! What a musician I wish I could hear more of his talks lectures. Thanks for posting it .
Lenny, der größte Musiker des 20. Jahrhunderts. Ein Genie. Keiner konnte Musik den Menschen so erklären wie er. Als Dirigent ebenso einmalig wie als Komponist. Hier denke ich insbesondere an Westside Story, neben vielen anderen großartigen Werken der Neuzeit. Wie er Kindern öffentlich Musik näherbrachte ist einmalig in der Klassikwelt. Diese bräuchte einen wie ihn heutzutage dringend. Lenny forever.
The definition of sublime. The artistic heights are ascended and take us all along to listen to the wonder that is genius. Also, as a side note, it's so nice to watch a musician just create magic with his/her sound without any accompanying gymnastics or hurdle-running. Music for music's sake without any distractions or having to follow the bell of the instrument galavanting across the stage in order to hear what's being played.
Interesting explanation by Bernstein of Copland’s understanding of the variety of innovative rhythms used in Swing and Latin jazz and this unique style innovative orchestral arrangement for harp and strings. This concerto was commissioned specifically for Goodman the “King of Swing but the quality of their recording in 1967 with himself conducting the Columbia strings cannot be surpassed ; their precision throughout, especially in the very slow and tender first movement .
One of the very few pieces where I think a clarinet vibrato should be off-limits. The ideal clarinet tone has changed a lot since Drucker played this, but there's no doubting that he was a legend when this recording was done. I love how delicately he approaches the intro to the long cadenza bit.
It was written for Benny Goodman, not sure why vibrato would be off limits. Check out the recording of Benny, conducted by Copland, and maybe reconsider? ua-cam.com/video/PmMFL1zZ-tU/v-deo.html
Good point. Too much vibrato with such a delicate instrument sounds like russian saxophones (!) And in this contemplative opening it is sheer bliss to hear no vibrato at all.
justacondom Same! Then I kept seeing him throughout many other of Bernstein's conducting works, and had been wondering what his name was so this video gave me an "Ah-ha" moment. Lol
He is in the Guiness Book of World Records as longest clarinet career. Stanley Drucker is a living legend. He also plays the Rhapsody in Blue beginning to Woody Allen's "Manhattan". And his recording of this work with Bernstein (Bernstein's last with NY Phil?) was nominated for a Grammy. Enjoy !
Listen to Drucker's commercial recording that he made 20 years later. ua-cam.com/video/YEmKU2aUx2w/v-deo.html I think you'll find the vibrato much more restrained. Honestly, I think what you're hearing in this recording is to a great deal due to the quality of the recording. It was 1969 and it wasn't recorded for audio/stereo release but for a TV broadcast....to be heard through TV speakers.
Is it just me, or this is a surprisingly slapdash effort by Bernstein and the Phil? Copland requires rhythmic precision, especially in mixed meter fast writing, and the orchestra often seems to be not together with Drucker and, sometimes, even internally not together. This stands in contrast to many of Lenny's superb recordings of Copland's music. This seems to have an effect on Drucker's playing too; everyone sounds as if they're trying to get through the piece and pick up their paychecks, rather than delving into the tapestry of the score.
This had likely less rehearsal than was required for all the meter shifts in the finale. The same performers played it on tours and recorded it for DG in 1989.
I kind of like the relative raggediness of it. We have the composer’s (and dedicatee’s) truly pristine reference recording in contrast. And this is still a pretty sharp performance IMO, but with Lenny’s usual urgency. Drucker didn’t sound rushed to my admittedly inexpert ears.
RIP Stanley Drucker. Philharmonic legend.
1:37
"That last dissonance was mine, not his"
I just love Bernstein's humility to admit that he had gone wrong
RIP Stanley Drucker 1929 - 2022. Thanks for the beautiful music ❤
Love how Bernstein explains and demonstrates this pieces. Love his passion for educating others in music so they can appreciate the genius of Copeland. Love his passion for music, musicians and the audience. All these are evident. Fantastic! You can't help but be inspired to create music.
My father, Leon Rudin, was the pianist in this recording. He was a violinist in the Philharmonic, who, at various times also played piano parts like this.
What an enormous musical talent!
@@isaacparlin3070 Thanks! He was a very humble man who inspired us all.
나는 이해 할 수 없는 음악 아마도 새로운 어떤 의미가 있는지?
Came back here after hearing the "high priced soloist" Stanley Drucker passed away. R.I.P. Junior. Fly high with Lenny.
I first saw this on TV in 1970 my first year in this country and was impressed by this performance and now 47 years later, I have never forgotten this wonderful performance of this concerto. This is EXCELLENT and PERFORMED WITH STYLE AND "EASE" . BRAVO MAESTRO DRUCKER!!!
I hear pure New York out of this and it's delicious. Go Aaron, go Lenny, go Stanley. I just love genius, especially when it pours out in great gushing torrents.
What a historical recording! Thanks for posting...
Hope he continues in the “ clarinet heaven “ met him once in Stockholm
Wonderful composition and Bernstein was wonderful to make a point of it.
A true treasure of a recording and lecture.
Fabulous! The Best, played by the Best, conducted by the Best!
Hope it's not too late to fall in love with Bernstein.. also crazy how that clarinetist memorized his part!!
Listening to Lennie talking about the music brings me back when I was studying at the Guilldhall many years ago and he also gave a talk about his R and J from the piano and explained the various themes etc it was mind blowing ! What a musician I wish I could hear more of his talks lectures. Thanks for posting it .
Have you seen the six lectures? They're on youtube, just type Bernstein musical syntax and you'll find them.
R and J?
Magnificent. Brings back great memories. Such a treasure.
Lenny, der größte Musiker des 20. Jahrhunderts. Ein Genie. Keiner konnte Musik den Menschen so erklären wie er. Als Dirigent ebenso einmalig wie als Komponist. Hier denke ich insbesondere an Westside Story, neben vielen anderen großartigen Werken der Neuzeit. Wie er Kindern öffentlich Musik näherbrachte ist einmalig in der Klassikwelt. Diese bräuchte einen wie ihn heutzutage dringend. Lenny forever.
The definition of sublime. The artistic heights are ascended and take us all along to listen to the wonder that is genius. Also, as a side note, it's so nice to watch a musician just create magic with his/her sound without any accompanying gymnastics or hurdle-running. Music for music's sake without any distractions or having to follow the bell of the instrument galavanting across the stage in order to hear what's being played.
A masterpiece.
Fantastic performance! Drucker so sensitive to the music and music making...and well Lenny...they broke the mold...
Que lujo poder escuchar esta grabación. ¡Fabuloso!
Interesting explanation by Bernstein of Copland’s understanding of the variety of innovative rhythms used in Swing and Latin jazz and this unique style innovative orchestral arrangement for harp and strings. This concerto was commissioned specifically for Goodman the “King of Swing but the quality of their recording in 1967 with himself conducting the Columbia strings cannot be surpassed ; their precision throughout, especially in the very slow and tender first movement .
amazing...
thankyou for uploading!
Thank you so much for publishing this gem. -- Shimon
You are very welcome. Btw, you have a very cool name.
Wonderful...HBD Aaron Copeland.
RIP....Wow......
One of the very few pieces where I think a clarinet vibrato should be off-limits. The ideal clarinet tone has changed a lot since Drucker played this, but there's no doubting that he was a legend when this recording was done. I love how delicately he approaches the intro to the long cadenza bit.
I agree. My father played this, without vibrato.
It was written for Benny Goodman, not sure why vibrato would be off limits. Check out the recording of Benny, conducted by Copland, and maybe reconsider? ua-cam.com/video/PmMFL1zZ-tU/v-deo.html
Good point. Too much vibrato with such a delicate instrument sounds like russian saxophones (!) And in this contemplative opening it is sheer bliss to hear no vibrato at all.
Goodman didn't quite get it right, either ... Harold Wright of the Boston Symphony was the first in every way to fulfill this piece ...
Amazing, thanks for this!
Beautiful.
Quelle beauté dans le premier mouvement !
Marvelous! Better than the Goodman/Copland recording in many ways.
Can you explain?
A living legend !
a gem !
“That’s the note that costs.”
Bravo
Perfect
かっこいい。
Original ++++ comme compo.
Lennnnnyyyyy!! (and Mr. Copland)
Goat
👏👏💯🔥
A little surprised by the rawness of the string sound/ensemble here-sounds a bit strained and under-rehearsed. Still an energetic performance.
I remember this soloist from Bernstein's Rhapsody in Blue with the New York Phil
justacondom Same! Then I kept seeing him throughout many other of Bernstein's conducting works, and had been wondering what his name was so this video gave me an "Ah-ha" moment. Lol
He is in the Guiness Book of World Records as longest clarinet career. Stanley Drucker is a living legend. He also plays the Rhapsody in Blue beginning to Woody Allen's "Manhattan". And his recording of this work with Bernstein (Bernstein's last with NY Phil?) was nominated for a Grammy. Enjoy !
Bravo Stanley.... Rough string playing though....
The part of the con
theres a video were he explain modulation, does anybody know what video is?
16:32
18:15
Really like the piece but why is Stanley create a high speed vibrato sometimes there it not suits ?
Listen to Drucker's commercial recording that he made 20 years later. ua-cam.com/video/YEmKU2aUx2w/v-deo.html I think you'll find the vibrato much more restrained. Honestly, I think what you're hearing in this recording is to a great deal due to the quality of the recording. It was 1969 and it wasn't recorded for audio/stereo release but for a TV broadcast....to be heard through TV speakers.
4:00 starting here
But It's really reccomended that you listen to the lecture
Have you noticed when straight Clarinet players play "Jazzy" they WIGGLE...? Even Bernstein had a bit of it. What's going on with that?
Under rehearsed
WHERE IS THAT BILLY GOAT/? i hear that billy goat tone
Is it just me, or this is a surprisingly slapdash effort by Bernstein and the Phil? Copland requires rhythmic precision, especially in mixed meter fast writing, and the orchestra often seems to be not together with Drucker and, sometimes, even internally not together. This stands in contrast to many of Lenny's superb recordings of Copland's music. This seems to have an effect on Drucker's playing too; everyone sounds as if they're trying to get through the piece and pick up their paychecks, rather than delving into the tapestry of the score.
This had likely less rehearsal than was required for all the meter shifts in the finale. The same performers played it on tours and recorded it for DG in 1989.
I kind of like the relative raggediness of it. We have the composer’s (and dedicatee’s) truly pristine reference recording in contrast. And this is still a pretty sharp performance IMO, but with Lenny’s usual urgency. Drucker didn’t sound rushed to my admittedly inexpert ears.
Were women not allowed in the NYP?
This sounds like it was stolen from Ravel..