A century later, the New World experienced an unprecedented wave of
migration consisting of leading figures, largely Jewish, from the
cultural and intellectual spheres of Germany and Austriia, composers
were able to immerse themselves in the new world of sound film in
Hollywood. However, few were able to reap those rewards to the fullest.
Among those few, who were able to make their way through pragmatism and
perseverance, were Erich Wolfgang Korngold and Miklós Rózsa – both
regularly nominated for Oscars. While making a living from this genre of
'music drama', each of them – whether or not they were recognized by
the classical music business – sought to push the limits of the
traditional formats and were remarkably successful in doing so.
'If you’re Heifetz, I’m Mozart!' Taking a phone call, Rózsa could
scarcely believe that the legendary virtuoso was seriously interested in
his Violin Concerto and was ready to give the work its premiere – but
so he did in 1956. It was the same with the Violin Concerto by Korngold,
Rózsa’s senior by ten years: the 1947 premiere of this twentiethcentury
classic again showcased Heifetz as soloist. In the new generation of
genuinely American musicians, one outstanding figure was Leonard
Bernstein, an all-rounder whose early success led on to even greater
heights: here too, one can hardly ignore his contribution to film music,
even if it amounts to one single film. Bernstein rated his Violin
Concerto of 1954, 'Serenade', inspired by Plato’s Symposium, as his best
work ever, and this work too in its imaginatively slimmed-down scoring
for string orchestra, harp and percussion is now acknowledged to be an
important 20th-century concerto for violin. Isaac Stern performed the
premiere of the work with the composer conducting. As an encore', this
compilation includes the masterly Symphonic Dances from the immortal
'West Side Story', which has long risen above the 'fruitless wrangling'
over 'light' and 'serious' music. The very different challenges posed by
all three concertos are brilliantly overcome by Baiba Skride, whose
unquestionable virtuosity nevertheless takes second place to the
immediacy of her musical language and expression.