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The sound is so extremely clear that it startles, even today. A huge number of spotmicrophones must have been used, as we seem to crawl right inside each of the instruments,and can actually feel the buzz of a vibrating reed, the grip of a rosined bow, the impactof a plucked string, the tense breath on a flute, the biting flatulence of the heavybrass. The very air reverberates with the sounds of primal nature, like the buzz of aforest pulsing with life. Above it all the percussion section is given outrageousprominence, far louder than could be generated in any auditorium, with the tympani inparticular tearing the sonic fabric with their harsh blows.
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Although Walter, Klemperer, Horenstein and others had advocated Mahler's work, it wasBernstein's impassioned concerts and pioneering recorded cycle that finally launched theMahler revolution. The first installment was the pastoral , a vibrantperformance in which the orchestra plays its very heart out. For his soloist in the finalvocal movement, Bernstein made the inspired choice of Reri Grist, fresh from the cast of . Equally impressive is a staggeringly intense , whichfollowed in 1963 (previously on M2S-695 and unavailable on CD [.]). Any doubts as to the authenticity of Bernstein's free-wheelinginterpretations are dispelled by Mahler's only recordings: 1905 Welte-Mignon discs of hispianism (collected on Golden Legacy CD 101) which exhibit the same sort of highlyindividual, impetuous approach.
The first two minutes apparently went well, with the audience enthralled by thehaunting introduction. But then, just as the astringent brutality of the music brokethrough, in Stravinsky's words: "the curtain rose on a group of knock-kneed andlong-braided Lolitas jumping up and down." The subject of the ballet was itselfshocking: instead of the stuff of which fluffy dreams are made, ugly pagans sacrifice ayoung girl to propitiate the gods of spring. Even the costumes, choreography and setsboldly dispensed with grace and beauty to emphasize awkward, primitive starkness. At firstthere were a few boos and catcalls, but then the storm broke as the shocked audiencereacted by throwing, yelling and fighting. Diaghilev tried to quell the disturbance byswitching the house lights on and off, but to no avail. In the meantime, Nijinski tried tosustain the performance as best he could by shouting out numbers and cues to the dancers,who couldn't hear the music, loud as it was, over the din. Stravinsky was furious andstormed out of the theater before police arrived to end the show.
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We can see then that although from one point of view the personalphilistinism of Hitler and Stalin is not accidental to the rolesthey play, from another point of view it is only an incidentallycontributory factor in determining the cultural policies of theirrespective regimes. Their personal philistinism simply adds brutalityand double-darkness to policies they would be forced to supportanyhow by the pressure of all their other policies -- even werethey, personally, devotees of avant-garde culture. What the acceptanceof the isolation of the Russian Revolution forces Stalin to do,Hitler is compelled to do by his acceptance of the contradictionsof capitalism and his efforts to freeze them. As for Mussolini-- his case is a perfect example of the of a realist in these matters. For years he bent a benevolenteye on the Futurists and built modernistic railroad stations andgovernment-owned apartment houses. One can still see in the suburbsof Rome more modernistic apartments than almost anywhere elsein the world. Perhaps Fascism wanted to show its up-to-dateness,to conceal the fact that it was a retrogression; perhaps it wantedto conform to the tastes of the wealthy elite it served. At anyrate Mussolini seems to have realized lately that it would bemore useful to him to please the cultural tastes of the Italianmasses than those of their masters. The masses must be providedwith objects of admiration and wonder; the latter can dispensewith them. And so we find Mussolini announcing a "new Imperialstyle." Marinetti, Chirico, ., are sent intothe outer darkness, and the new railroad station in Rome willnot be modernistic. That Mussolini was late in coming to thisonly illustrates again the relative hesitance with which ItalianFascism has drawn the necessary implications of its role.
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By the summer of 1955, when urban gang warfare was in the headlines, Robbins's originalidea was recast as a rivalry between blacks and Hispanics in New York City. ArthurLaurents began to develop the book by adhering closely to the plot and characters of theShakespearean original. In final form, romance would bloom between Tony, retired leader ofthe white Jets, and Maria, newly immigrated sister of the head of the rival Puerto RicanSharks gang.
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Bernstein had been up all night partying, and had time only to briefly visit the ailingWalter to review the scores and to show up for the concert without rehearsal. The audiencegreeted the announcement of the substitution with disappointment at missing the chance tohear a great legend. Little could they have suspected that instead they would launch aneven greater one: the most spectacular debut of their generation, shared by an audience ofmillions through the scheduled CBS national radio broadcast.