Bernstein was a prolific recording artist, and this chapter considers his vast recorded legacy, from his earliest recordings made in the 1940s to later ventures, including several important opera sets as well as a large swathe of orchestral repertoire, with the symphonies of some composers (notably Beethoven, Schumann, and Mahler) recorded more than once. As well as mainstream European repertoire, Bernstein never lost his enthusiasm for recording music by American composers, including outstanding discs of Copland, Foss, Harris and Ives. While Bernstein was usually pleased with the results of his sessions – whether in the studio or recorded live in concert – he also felt the need at times to return to composing. These creative phases were intermittent (Bernstein was usually at his happiest when working with other musicians), but the consequence was a healthy output of new work, most of which Bernstein himself subsequently recorded, including two cycles of his symphonies and recordings of his major stage works.

This chapter examines the different music and dance traditions that influenced the development of the Viennese waltz. Dance historians traditionally trace the origins of the waltz in the folk dancing of alpine Central Europe, viewing the rise of the Viennese waltz as a shift away from the cultural influence of the aristocracy in wider social dance practice. Yet the early waltz dances of the Viennese ballroom were shaped by influences that included French courtly dancing as well as Austrian folk music. The early history of the waltz is furthermore complicated by the fact that variants of the waltz dance did not always correspond with specific musical variants in the eighteenth-century ballroom. The development of the waltz highlights the complex network of influences that shaped social dance culture in the public ballrooms of Vienna.

This chapter examines the political, social and economic factors that shaped the early development of Vienna’s public ball culture from the time Joseph II opened the imperial ballrooms to the public in 1772. The number of public dancing venues in the city expanded rapidly in the decades around 1800, resulting in an increased influence of the middle classes over Viennese dance culture, and the rise of a new area of professional musical life. These developments gave dance orchestras a prominent position in Vienna’s musical landscape, and contributed to the emergence of new listening practices associated with dance music.