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Benyamin Nuss · Maurice Steger and Others LEONARD BERNSTEIN (1918-1990) LEONARD BERNSTEIN (& LARRY FALLON (1936-2005) & RON ODRICH (* ?))

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Benyamin Nuss · Maurice Steger and Others LEONARD BERNSTEIN (1918-1990) LEONARD BERNSTEIN (& LARRY FALLON (1936-2005) & RON ODRICH (* ?)) LEONARD BERNSTEIN Piano & Chamber Music Wayne Marshall · Maria Kliegel · Benyamin Nuss · Maurice Steger and others LEONARD BERNSTEIN (1918-1990) LEONARD BERNSTEIN (& LARRY FALLON (1936-2005) & RON ODRICH (* ?)) Five Anniversaries (1954) 22 VI. For My Daughter, Nina 02:41 42 Leonardo’s Vision 04:34 1 I. For Elizabeth Rudolf 01:07 23 VII. In Memoriam: Helen Coates 02:37 24 VIII. In Memoriam: Goddard Lieberson 01:04 LEONARD BERNSTEIN 2 II. For Lukas Foss 01:30 25 IX. For Jessica Fleischmann 02:10 3 III. For Elizabeth B. 00:40 Sonata for Clarinet and Piano (1942) 4 IV. For Sandy Gellhorn 01:46 26 X. In Memoriam: Constance Hope 03:06 43 I. 03:54 5 V. For Susanna Kyle 01:39 27 XI. For Felicia, on Our 28th Birthday (& and her 52nd) 01:24 44 II. 06:23 Four Anniversaries (1948) 28 XII. For Aaron Stern 02:31 ANDY MILES Clarinet · WAYNE MARSHALL Piano 6 I. For Felicia Montealegre 02:38 29 XIII. In Memoriam: Ellen Goetz 02:30 Recording: VII 2017 7 II. For Johnny Mehegan 00:41 Piano Sonata (1938) Sonata for Violin and Piano (1940) 8 III. For David Diamond 02:12 45 I. Moderato assai 04:16 9 IV. For Helen Coates 01:03 30 I. 05:30 31 II. 11:11 46 II. Var. 1 – Allegro 01:38 Seven Anniversaries (1943) 47 III. Var. 2 – Prestissimo 02:01 Touches (1981) 10 I. For Aaron Copland 01:09 48 IV. Var. 3 – L’Istesso tempo 11 II. For my sister, Shirley 01:00 32 I. Chorale 01:48 (ma un poco più libre) 01:53 12 III. In Memoriam: Alfred Eisner 03:09 33 II. (Var. 1) 00:24 49 V. Var. 4 – Andante teneramente 01:16 13 IV. For Paul Bowles 01:14 34 III. (Var. 2) 00:35 50 VI. Var. 5 – Allegro agitato 01:20 14 V. In Memoriam: Nathalie Koussevitzky 02:14 35 IV. (Var. 3) 00:21 51 VII. Var. 6 – (Finale) 01:57 15 VI. For Sergei Koussevitzky 01:53 36 V. (Var. 4) 01:03 CHAD HOOPES Violin · WAYNE MARSHALL Piano 37 VI. (Var. 5) 01:25 16 VII. For William Schuman 00:38 Recording: VI 2018 38 VII. (Var. 6) 00:30 Piano Trio (1937) Thirteen Anniversaries (1989) 39 VIII. (Var. 7) 00:25 17 I. For Shirley Roads Perle 01:35 40 IX. (Var. 8) 00:39 52 I. Adagio non troppo – Allegro vivace 07:33 53 II. Tempo di marcia – Presto 03:26 18 II. In Memoriam: William Kapell 00:25 41 X. Coda 03:02 54 III. Largo – Allegro vivo e molto ritmico 04:42 19 III. For Stephan Sondheim 01:33 BENYAMIN NUSS Piano 20 IV. For Craig Urquhart 01:03 Recording: XI 2017 LISA SCHUMANN Violin · FERNANDO NINA Cello 21 V. For Leo Smit 00:32 BENYAMIN NUSS Piano · Recording: V 2018 2 LEONARD BERNSTEIN Three Meditations Dance Suite for Wind Quintet (1990)** Bridal Suite for Piano Four Hands (1960) from “Mass” for Cello and Piano (1971) 62 I. Dancisca 00:59 74 Prelude, Moderato (Beginning Part I) 01:58 55 Meditation No. 1 04:43 63 II. Waltz 00:47 Variation on Adolph Filis Green 56 Meditation No. 2 03:50 64 III. Bi-Tango 00:44 75 No. 1: Love Song 01:46 57 Meditation No. 3 06:20 65 IV. Two-Step 00:36 76 No. 2: Chaplinesque 00:41 66 V. MTV 01:43 MARIA KLIEGEL Cello 77 No. 3: Chaplinade 00:53 WAYNE MARSHALL Piano 67 Fanfare for Bima 78 Interlude (Beginning Part II) 01:42 Recording: V 2018* for Wind Quartet (1948) 01:01 Wedding dance PETER MÖNKEDIEK & PETER ROTH** Trumpets 79 No. 1: The first waltz 00:50 58 Elegy for Mippy I PAUL VAN ZELM French Horn 80 No. 2: Cha-Cha-Cha 00:31 for Horn and Piano (1948) 02:13 JEFFREY KANT Trombone 81 No. 3: Hora 00:35 59 Elegy for Mippy II HANS NICKEL Tuba 82 Encore No. 1: Modern music 00:27 for Solo Trombone (1948) 01:59 Recording: IV 2018 83 Encore No. 2: Old music 01:00 60 Waltz for Mippy III 84 Encore No. 3: Magyar lullaby 00:38 for Tuba and Piano (1948) 01:33 Variations on an Octatonic Scale PAUL VAN ZELM French Horn for Recorder and Cello (1988) 85 Music for Two Pianos (1937) 06:19 JEFFREY KANT Trombone 68 I. Theme – Andante sostenuto 01:43 JENNIFER MICALLEF & WAYNE MARSHALL Pianos HANS NICKEL Tuba 69 II. Var. 1 – Piu mosso 00:29 Recording (Tracks 74-85): VII 2017 WAYNE MARSHALL Piano 70 III. Var. 2 – Piu mosso ma comodo 01:32 Recording: IV 2018 (1); VI 2017 (2); VII 2017 (3) 71 IV. Var. 3 – Ancora piu mosso, agitato 00:42 Four Sabras (1950?) 72 V. Var. 4 – Piu mosso, quasi allegro 00:43 86 I. Ilana. The Dreamer 00:55 61 Rondo for Lifey 73 VI. Coda – Adagio 01:27 87 II. Idele. The Chassidele 01:54 for Trumpet and Piano (1948) 01:24 MAURICE STEGER Recorder 88 III. Yosi. The Jokester 00:52 PETER MÖNKEDIEK Trumpet MARIA KLIEGEL Cello 89 IV. Dina. The Tomboy Who Weeps Alone 01:19 WAYNE MARSHALL Piano Recording: II 2018 BENYAMIN NUSS Piano Recording: IV 2018 Recording: XI 2017 Total Time 175:28 4 Tracks 1-41: Recording Location: XI 2017, Köln, WDR Klaus-von-Bismarck-Saal Executive Producer: Michael Breugst Recording Producer: Christoph Terbyken Sound Engineer: Enrique Foedtke Tracks 42-57: Recording Locations: Köln, WDR Klaus-von-Bismarck-Saal; * Studio Stolberger Strasse, Cologne/Germany Executive Producer: Michael Breugst Producers: Christian Schmitt (Tr. 42-44; 55-57); Stephan Cahen (Tr. 45-51); Christoph Terbyken (Tr. 52-54) Sound Engineers: Enrique Foedtke (Tr. 42-44); Walter Platte (Tr. 45-51); Walburga Dahmen (Tr. 52-54); Arnd Coppers (Tr. 55-57) Tracks 58-89: Recording Location: Köln, WDR Klaus-von-Bismarck-Saal Executive Producer: Michael Breugst Producers: Stephan Cahen (Tr. 58+59; 61-73); Christian Schmitt (Tr. 60; 74-85); Christoph Terbyken (Tr. 86-89) Sound Engineers: Walter Platte (Tr. 58+59; 61-73); Enrique Foedtke (Tr. 60; 74-89) Publisher: Boosey & Hawkes Piano Technicians: Martin Lintzen; Paul Müller P 2017/2018 A production of Westdeutscher Rundfunk, Cologne/Germany g 2018 Avi-Service for music, Cologne/Germany · All rights reserved 42 6008553930 7 · LC 15080 · STEREO DDD · GEMA · Made in Germany · Translations: Stanley Hanks · Design: www.BABELgum.de Photos: g upload.wikimedia.org/wikipedia/commons/d/d3/Leonard_Bernstein_NYWTS_1955 (By Al Ravenna, World Telegram staff photographer [Public domain], via Wikimedia Commons) (cover); Edgar Brambies (Marshall); Manuel Chillagano (Nuss); Marco Borggreve (Steger); Lisa-Marie Mazzucco (Hoopes); Michael Fehlauer (Roth); privat (Mönkediek); Werner Schepers (Kliegel); Marvin Hillebrand (Nina); Jessylee Photography (Schumann); Rob Versluys (van Zelm); Ton Visser (Kant); Johannes Wippermann (Nickel) www.avi-music.de · www.wdr.de · Licensed by WDR mediagroup GmbH ... WAS DER LIEBE AM NÄCHSTEN KOMMT Leonard Bernstein umgab keine Aura der Unnahbarkeit. Er genoss die Popularität, auch wenn er sich viele Jahre zuvor bereits ein Anniversary gewidmet hatte. Selbstverständlich einbezogen in diesen nicht danach drängte, „everybody’s darling“ zu sein und von jedermann „Lenny“ genannt zu werden. Privatkosmos musikalischer Aufmerksamkeiten für Menschen, denen sich er sich verbunden fühlte, ist Die Eltern hatten ihm den Namen Louis gegeben, riefen ihn jedoch Leonard. Sein älterer Freund und auch seine Frau Felicia, trotz allen Unglücks, das ihre Ehe – nicht nur aufgrund seiner homoerotischen Lehrmeister Serge Koussevitzky, mit dem ihn nicht nur das Musiktalent, sondern auch der osteuropäisch- Eskapaden – fortdauernd belastete. jüdische Familienhintergrund verband, sprach ihn mit Lenyusha an. Er selbst bevorzugte die englische Koseform und setzte ihr als Pseudonym in seinen Anfangsjahren, als er sich mit Unterhaltungsmusik über Eher ein Nebenwerk und doch von einiger Bedeutung für das spätere Schaffen ist der vierteilige, Wasser hielt, das entsprechende Wort für Bernstein als Nachnamen hinzu: Lenny Amber. Das Verlags- ursprünglich wohl auf sechs Stücke angelegte Sabras-Zyklus, der zu Beginn der 1950er Jahre in unternehmen, in das er seine eigenen Werke einbrachte, taufte er Amberson Enterprises. Zusammenhang mit Bernsteins ersten Aufenthalten in Israel entstand. Sabra ist eine in Anlehnung an eine Kaktusfrucht geprägte Bezeichnung für einen ‚waschechten‘, das heißt nicht zugewanderten, Das Spiel mit Chiffren, Namen und Identitäten, sei es durch Verweise auf sich selbst, sei es auf Personen sondern im Land selbst geborenen Israeli, hier in Gestalt eines Träumers mit Namen „Ilana“ sowie des privaten Umfeldes oder auch auf Werke anderer Komponisten und Epochen fast aller Genres eines kleinen Witzboldes und zweier weiterer Charaktere, über deren Vorbilder – ebenso wie über zwischen Barockmusik und Jazz zieht sich durch Bernsteins gesamtes Schaffen. Am deutlichsten den konkreten Kompositionsanlass – man nur Mutmaßungen anstellen kann. Das erste Stück taucht tritt es in den Anniversaries hervor, die er in den 1940er Jahren zu komponieren begann, bald später als Lamento im Musical Candide wieder auf; strukturelle Gemeinsamkeiten bestehen auch nach seinem kometengleichen Aufstieg zu einem der umschwärmtesten Stars des amerikanischen mit dem mittleren der drei Sätze aus der Piano Sonata, die Bernstein noch als Harvard-Student Musikbetriebs. Die letzte Gruppe des aus mehreren kleinen Zyklen zusammengesetzten Gesamt- komponierte. Es ist ein formal und satztechnisch ambitioniertes Werk, in dem sich der Einfluss Coplands bestandes komplettierte er 1988, zwei Jahre vor seinem Tod. Insgesamt sind es 29 Stücke, die man zeigt, der ihm fordernd und fördernd als Ratgeber zur Seite stand oder vielmehr, in Bernsteins eigenen als liebevoll mit ein paar Strichen hingeworfene Porträtskizzen bezeichnen könnte, ohne sie deswegen Worten: ‚als Vorbild, weiser Führer, älterer Bruder und geliebter Freund‘. als Petitessen abzutun, mögen einige von ihnen auch im Nachhinein umgewidmet oder mehr aus Gefälligkeit denn aus einem starken inneren Bedürfnis heraus entstanden sein.
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