Do not underestimate the morphine-like effects of things written in D-flat major.
“It was a song that was pioneering. At the time there was nothing that sounded like it, and frankly, except for the people that have sampled it, there still isn’t.”
—Chris Frantz, drums
Fritz Reiner, while a major influence, did not create as much of an emotional impact on Lenny—not as compared with the effect of [Dimitri] Mitropoulos and [Serge] Koussevitzky on him.
Still, Bernstein learned a tremendous amount from Reiner, who was tough and demanding. No standard was too high.
He early imprinted on Lenny’s mind the axiom that unless one really knew every last note of a score, one had no business standing on the podium in front of an orchestra. Lenny told me that Reiner was ruthless in his quizzing, that nothing was good enough, that no one was ever good enough.
Bernstein nevertheless managed to become the Liebling [German, “darling”] of his class, much to the consternation of other Curtis [Institute, Philadelphia] students.
It was at Curtis that Bernstein first conducted an orchestra. While Fritz Reiner regularly directed the Institute’s student orchestra, he occasionally allowed his students to have a try at it.
Lenny describes his first conducting experience as unforgettable. “It was Brahm’s Third, first movement,” he told me.
“I went mad! I was engulfed in a sea of sound! I was not prepared for this. It came at me with such rushes, and I was conducting like a mad, mad… like a dying swimmer in the ocean. Engulfed in a hurricane of sound! It’s incredible the first time. No one can know what it’s like to stand in an orchestra. I’m sure I was just horrible. But that was the first time for me.”
Gruen, John (Author) and Ken Heyman (Photographer). The Private World of Leonard Bernstein. New York: The Viking Press, 1968. 53. Print.
“The musicians were already there on the stage, in their places and of course the hall was filled with people. I had to tell each of the musicians as I was handing out the music what was going on. That was the first they knew of the death. It wasn’t an easy moment, for them or for me.”
Skywalker Sound has produced a remastered video of NASA’s Space Shuttle Solid Rocket Boosters’ ascent and fall, teasing out sound captured by the cameras for an enhanced experience. This is what is sounds like to shoot 220,000 ft (42 mi) into the atmosphere and free-fall back to Earth.
Beethoven, Ludwig van. “Symphony No. 3 in E flat major (Eroica).” 1804.
Buick Radios are completely transistorized and are engineered by Buick Autombiles’ acoustics. The Sonomatic Radio furnishes the highest fidelity possible and permits loud and clear reception while enjoying road speed driving with windows open. The Buick AM-FM Radio is equipped with Automatic Frequency control which “locks in” the FM stain you have selected. The AM-FM Stereo Radio available for the LeSabre, Wildcat, Electra and Riviera provides the same incomparable Stereophonic Sound you have heard in your home or in the theatre.
This new dimension in musical reproduction will excite and enthuse the most casual listener and provide the ultimate listening pleasure to the music lover. The Tone Reverberator produces a concert hall effect by electronic means. A portion of the sound is heard directly from the front speaker. Another portion is routed through the Reverberator, where it is delayed, reverberated and amplified through the Rear Seat Speaker. Available for all models except Special and Skylark Convertibles.
Rear Seat Speaker
“Stereo-like” quality is offered for the listening pleasure of all passengers with this auxiliary speaker, which is installed on the rear shelf. It operates with, or independently of, the regular front speaker and is controlled by the driver. Available for all models except Special and Skylark Convertibles.
Buick: Engineered Approved Accessories for 1966. Second Edition 1377749. General Motors, 1966.
Mauriat, Paul. “Love Is Blue.” Love Is Blue. Philips, 1968.