Reviews (2)

Superb look at a musical giant.
Bruno Walter (1876-1962) was one of the 20th century's truly colossal musicians. When he died, at nearly 86 years old, he was (with the exception of Otto Klemperer, who died 11 years later) the last in the long line of great European maestros who had directed some of the most legendary operatic and symphonic ensembles in the history of classical music. Walter served from 1901 to 1907 as Gustav Mahler's assistant at the Vienna Opera (having served as his vocal coach earlier in Hamburg) and later premiered "Das Lied von der Erde" and the Ninth Symphony. He served 11 illustrious years as music director at the State Opera in Berlin and was recognized as one of the supreme interpreters of his time in the music of Mahler, Schubert, Wagner and particularly Mozart.

This video was filmed in 1958 during a rehearsal in Vancouver, British Columbia. Walter, at 82, is in fine form throughout, displaying his experienced musical insight, acute ear and a profound knowledge of the score, which he conducts from memory. The music being rehearsed is Brahms' Second Symphony. Also included is an interview with Walter conducted in his garden by Los Angeles Times music critic Albert Goldberg. The interview is interesting, but a tad bit unctuous. Isaac Stern once said of Walter, "There was a gentleness to Bruno Walter--an APPARENT gentleness. Because he was one of the most stubborn and iron-willed of people. But there was a certain courtliness about him." This is evident in the film, as Walter politely but firmly corrects the orchestra and pulls from them the sound he hears in his head.

Anyone interested in orchestral conducting or in seeing a legendary maestro doing what he does best will enjoy this film. Apart from musicians, however, I can't imagine who would be interested in it.

A rare chance to see a master rehearse an orchestra.
An old (1958) but none-the-less fascinating video of one of this century's great Maestros rehearsing the Vancouver Festival Orchestra in Canada - an orchestra he had never before conducted. In addition, an interview, which although somewhat cliched in nature, gives a great insight into the musical mind of Dr. Walter. Extremely useful as an instructional tool, especially if you look past the actual rehearsing to the interpretation he is attempting to achieve with the orchestra. (It also helps if you are acquainted with Brahms). A fine amplification of the 'Great Conductors' video also available through Amazon. ... Read more

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This 1947 curio, saluting and partly filmed at the New York Cityculturallandmark, begins with a shot of the building's exterior.Except that the"exterior" is a photograph with a dramatic yet distinctly ersatz night skyoptically sutured above it.In short, Edgar G. Ulmer, the poet of PovertyRow, is up to his usual tricks--wresting dynamic imagery out ofnext-to-nothing, even if Carnegie Hall represents a comparativelyupscale endeavor in his expressionist/minimalist career.

The film boasts an epic running time of 136 minutes and about half an hour'sworth of narrative.Silent-film actress Seena Owen is credited with thestory, about an Irish immigrant (Marsha Hunt) whose mystical rapport with theHall leads to her rise from cleaning woman to a kind of house-mother who helps musically talented kids go far.That's partly because her son (WilliamPrince) has gone right out of her life, asserting a passion for "modernmusic" (i.e., Vaughn Monroe's dance band) over the classics to which she is devoted.The latter are exuberantly performed or conducted by the likes of Fritz Reiner, Leopold Stokowski, Risë Stevens, Ezio Pinza, and--mostmemorably--Artur Rubinstein and Jascha Heifetz, who rate the most extendedand visually bravura treatment.

It's easy to kid this as virtually a one-film glossary of camp.Yet itssincerity seems genuine, and Ulmer's resourcefulness at devising angles toexalt the bond between music and musician, performer and audience, isoccasionally breathtaking.(Cinematographer and effects wizard EugenSchüfftan was a key collaborator.)The black and white is lustrous in this digital transfer from the original 35mm nitrate negative. --Richard T. Jameson ... Read more