Nichols-LEONARD BERNSTEIN's HALIL

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Leonard Bernstein’s Halil: Serialism, Eclecticism, and Antagonism in the American Flute Concerto

Item Type text; Electronic Dissertation

Authors Nichols, Elsa Kate

Publisher The University of Arizona.

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LEONARD BERNSTEIN’S HALIL: SERIALISM, ECLECTICISM, AND ANTAGONISM IN THE AMERICAN FLUTE CONCERTO

Elsa Kate Nichols

A Document Submitted to the Faculty of the

FRED FOX SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements

For the Degree of

DOCTOR OF MUSICAL ARTS

PERFORMANCE

In the Graduate College

THE UNIVERSITY OF ARIZONA

2018

STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED: Elsa Kate Nichols

ACKNOWLEDGMENTS

The path to this final step in my education has been long and arduous, but it has, above all else, been extremely fulfilling. Brian Luce has been a wonderful teacher and mentor, and he has made me the musician and professional that I am today, providing ample opportunities for development and preparation for the career I am about to enter.

For that, I am extremely grateful. My committee members, William Dietz and Daniel

Katzen, have also been helpful, providing sage advice and sharing their life experiences with me. I will always appreciate their willingness to see me to the end of my degree, despite having already retired.

Carrol McLaughlin served on my committee and went above and beyond to help me finish my degree. She always pushed me to be the best I could be, and she was one of the strongest people I have ever known. She has inspired me so much; I am fortunate to have had her as a role model, and she is greatly missed. I hope I can carry her memory, strength, mentorship, and love for everyone and everything throughout my career and other aspects of life.

Throughout my research for this project, so many people have stepped in to help me. Leonard Bernstein’s daughter, Jamie Bernstein, was very helpful and supportive, providing much insight. Hannah Webster from the Bernstein Organization was also a great source of information and guidance. All of the statistical information provided at the end of this document would not have been available had it not been for some extremely generous orchestra librarians: Verena Alves from the Berliner Philharmoniker,

Andria Hoy from The Cleveland Orchestra, Karen Schnackenberg from the Dallas 5

Symphony, Katrin Böhnisch from the Sächsische Staatskapelle Dresden, Libby Rice from the London Symphony Orchestra, Selena Chau and Rosa Mazon from the Los Angeles

Philharmonic, Krystel Nadeau from the Orchestre Symphonique de Montréal, Elizabeth

Schnobrick from the National Symphony Orchestra, and Carolyn Friedrich from the

Pittsburgh Symphony Orchestra.

Lastly, I could not have done this without the strength and support from my family: my dad, Thomas H. Nichols, Jr., my mom, Kimberly L. Nichols, and my brother,

David L. Nichols. You all have been my rock, and you will always be my favorite audience members.

DEDICATION

This document is dedicated to my parents, Thomas H. Nichols, Jr. and Kimberly L. Nichols. Thank you for your years of unconditional love and support; for the hours of driving to auditions and lessons; for the enormous amount of financial support, including that which has helped me get the beautiful instruments I feel privileged to play; for constantly proofreading every piece of my writing; for being my number one fans and audience members; and for so many other things that I haven’t listed. I love you both more than words can say.

TABLE OF CONTENTS

LIST OF MUSICAL EXAMPLES ...... 9

TABLES ...... 10

ABSTRACT ...... 11

CHAPTER ONE: INTRODUCTION ...... 13 Review of the Scholarly Literature ...... 14

CHAPTER TWO: LEONARD BERNSTEIN’S LIFE AND MUSICAL INFLUENCE/OUTPUT ...... 19 Biography ...... 19 Multi-Faceted Career ...... 29 Compositional Style ...... 31 Overview of Compositional Output ...... 35

CHAPTER THREE: HALIL ...... 39 Background/Dedication ...... 39 Major Performances ...... 40 Critical Reviews ...... 42

CHAPTER FOUR: ANALYSIS ...... 46 Serial Employment ...... 46 Quotations ...... 55 Functional Harmonic Usage ...... 60 Form ...... 63

CHAPTER FIVE: CONCLUSION ...... 73

APPENDIX A: CORRESPONDENCE SENT TO SURVEYED ORCHESTRAS ...... 75

APPENDIX B: ORCHESTRA SURVEY OF 20TH CENTURY FLUTE CONCERTOS PERFORMED ...... 76

APPENDIX C: ORCHESTRA SURVEY OF 20TH CENTURY FLUTE CONCERTOS PERFORMED (MAY 1981–2018) ...... 80

APPENDIX D: ORCHESTRA SURVEY OF PERFORMANCES OF BERNSTEIN’S HALIL ...... 82

APPENDIX E: ORCHESTRA SURVEY OF 20TH CENTURY FLUTE CONCERTOS PERFORMED (OCT. 1990–2018) ...... 83 8

APPENDIX F: 20TH CENTURY AMERICAN AND EUROPEAN FLUTE CONCERTOS (BY ORIGIN AND DATE) ...... 84

APPENDIX G: 20TH CENTURY AMERICAN AND EUROPEAN FLUTE CONCERTOS (ALPHABETICAL) ...... 92

APPENDIX H: PERMISSION TO REPRINT COPYRIGHTED MATERIAL ...... 99

BIBLIOGRAPHY ...... 101

LIST OF MUSICAL EXAMPLES

Musical Example 4.1. Full 12-tone row in The Age of Anxiety (Part II, “The Dirge,” from the reduction for two pianos)...... 46

Musical Example 4.2. Full 12-tone row at the beginning of Trouble in Tahiti (originally clarinet, excerpt here is from the piano reduction)...... 47

Musical Example 4.3. Full 12-tone row in the solo flute, mm. 1–8 of Halil...... 47

Musical Example 4.4. 12-tone row in retrograde (mm. 9–13)...... 48

Musical Example 4.5. 12-tone row segments...... 48

Musical Example 4.6. (025) and (027) in “I Feel Like I’m Not Out of Bed Yet” from On the Town (Act 1, no. 2, mm. 2–6); (025) in brackets, (027) in parentheses...... 50

Musical Example 4.7. (027) in “New York, New York” from On the Town (Act 1, no. 2a, mm. 44–47)...... 50

Musical Example 4.8. (025) from m. 6, Scene 1 in Trouble in Tahiti...... 51

Musical Example 4.9. Overlapping (025) sets (m. 41, solo flute)...... 51

Musical Example 4.10. Overlapping (025) sets, separated (m. 41)...... 51

Musical Example 4.11. Overlapping pitch-class sets (mm. 52–56)...... 52

Musical Example 4.12. Overlapping (014) sets (m. 201)...... 53

Musical Example 4.13. Horizontal and vertical utilization of pitch-class sets (page 1 of the orchestral score)...... 54

Musical Example 4.14. “Dybbuk Theme” (mm. 79–80, solo flute)...... 55

Musical Example 4.15. “Dybbuk Theme” in canon (mm. 75–88, solo flute and solo viola; “Dybbuk Theme” in brackets)...... 56

Musical Example 4.16. Canonic writing with P0 (mm. 13–19, solo flute and alto flute)...... 57

Musical Example 4.17. Imitation of low strings and harp ostinato by tom-toms (mm. 133–136)...... 59

Musical Example 4.18. Imitation of solo flute and glockenspiel by snare drums and contrabasses...... 59 10

Musical Example 4.19. “Yadin’s Theme” (mm. 28–44, solo flute)...... 61

Musical Example 4.20. “Yadin’s Theme” compared with P0...... 61

Musical Example 4.21. Pitch-class sets within tonality (mm. 31–35)...... 62

Musical Example 4.22. Polyrhythms during CBS Music section, starting at m. 177 (low strings in three, upper strings and piccolo in two, solo flute in five)...... 69

Musical Example 4.23. Cadenza: solo flute part at “Again, childlike” through rehearsal marking F has two separate (025)/(027) sets at the same time...... 69

Musical Example 4.24a. Conclusion of the flute cadenza...... 70

Musical Example 4.24b. Conclusion of the flute cadenza...... 70

Musical Example 4.25. Ascending flutes, mm. 251–267...... 71

Musical Example 4.26. Interruption of D-flat resolution with blue third in strings (mm. 262–267, blue third circled)...... 72

TABLES

Table 4.1. Form of Halil...... 65

ABSTRACT

Leonard Bernstein produced only three concerto-like pieces in his body of works:

Symphony No. 2, The Age of Anxiety (1949), which is largely considered a piano concerto; Serenade After Plato’s “Symposium” for Solo Violin, String Orchestra, Harp and Percussion (1954); and Halil: Nocturne for Solo Flute with Piccolo, Alto Flute,

Percussion, Harp and Strings (1981). One of the more frequently performed twentieth century American flute concertos, Halil is representative of the later part of Bernstein’s life and compositional output, combining his unique approach to serialism with the oppositional forces of tonality and atonality.

After exploring the existing research, this document provides an overview of

Leonard Bernstein’s life and career as a composer. Known predominantly for his

Broadway compositions, he always struggled to be regarded as a “serious” composer, refusing to forsake tonality and fully join the 12-tone movement. Like the true showman he was, Bernstein used atonality primarily as a programmatic tool, and Halil is no exception. The genesis of Halil as well as major performances and critical reviews are discussed, followed by an extensive analysis of the serial, tonal, and formal elements that constitute Halil. This analysis demonstrates the many compositional traits that are innately Bernstein, but much focus is placed on his development of form through the juxtaposition of tonality and atonality, as well as their connectivity within the piece provided through the consistent use of three pitch-class sets.

Additional information is provided at the end of the document, including a survey of twentieth century American and European flute concertos performed by fifteen 12 orchestras, placing Halil within the most frequently performed flute concertos of the century; a survey of performances of Bernstein’s Halil with conductors and soloists provided; and lists of twentieth century American and European flute concertos organized by origin and date and then also alphabetically.

CHAPTER ONE: INTRODUCTION

When asked to provide a list of the most well-known twentieth century flute concertos, most flutists might think of Jacques Ibert’s Concerto (1933) and Carl Nielsen’s

Concerto (1926). In a survey conducted by the author in 2018 of fifteen orchestras concerning twentieth century American and European flute concertos performed, results confirm this supposition, showing a total of 117 performances of Ibert and 64 performances of Nielsen. Although these two European concertos had the highest number of performances and tend to be the most widely recognized, the next three top-ranking concertos in this survey were all American, including Charles Griffes’s Poem (1918),

Leonard Bernstein’s Halil (1981), and Kent Kennan’s Night Soliloquy (1936), recording

61, 60, and 46 performances respectively (see Appendix B). When looking at the collected data spanning from May 1981 (when Bernstein’s Halil was premiered) to spring

2018, the ranking of these concertos shifts somewhat—Ibert’s concerto still remains the most popular with seventy performances, but in this range of data, Bernstein’s Halil sits just ten performances behind as the second most performed concerto (see Appendix C).

The data concerning Bernstein’s Halil, specifically, shows that Bernstein conducted at least twenty of the performances, ten of which were with the Vienna

Philharmonic on a concert tour. Forty-two of the total performances were given during

Bernstein’s lifetime and eighteen have been performed since his death (see Appendix D).

Considering the dramatic decline in performances of Halil after Bernstein’s death, the author also assessed the data of all concertos performed from October 1990 (the month of

Bernstein’s death) to spring 2018. Although the performances of Halil are far less 14 frequent than they were in the first nine years of its existence, this data shows that it still remains the fifth most performed twentieth century flute concerto (see Appendix E).1

Given these results, it is curious how little information is available in scholarly research regarding this work. A programmatic concerto reflecting his connection with

Israel as well as his overall beliefs, the work fits within “the same sonic category as the other pieces [Bernstein] was writing in his later years”2 and seems to be a culmination of many of the stylistic traits that he developed over the course of his career. Of these numerous characteristics that make him the eclectic musician that he is, Halil incorporates tonality and his non-traditional usage of serialism and juxtaposes them in a way that he had not done until this point, using it as a basis of the formal structure of the piece.

Review of the Scholarly Literature

Although there are quite a few sources on Bernstein in general, there are far fewer available when examining specific compositions. In most references to Halil, it is used to support broader topics rather than being the topic itself. Three dissertations directly referencing this piece can be found. Raphael Maria Bösing wrote the first, a PhD dissertation for Universität Münster in 2002: “Leonard Bernstein as a Religious

Humanist, Conductor, Composer and Music Teacher: Studies on Interdisciplinary

1 The ranking of concerto performances with these parameters are as follows: Jacques Ibert’s Concerto (1933) with 45, Carl Nielsen’s Concerto (1926) with 28, John Corigliano’s Pied Piper Fantasy (1981) with 22, François Borne’s Fantaisie Brillante sur “Carmen” (1900) with 19, and Leonard Bernstein’s Halil (1981) with 18.

2 Jamie Bernstein, e-mail message to author, March 26, 2018. 15

Aspects of Music Teaching.”3 Bösing’s research focuses on the influence of Bernstein’s

Jewish heritage on his multiple career facets. Brief analyses are included for Bernstein’s

Symphony No. 1: Jeremiah, West Side Story, Mass, Candide, and Halil. The conciseness of the analysis of Halil notwithstanding, Bösing identifies primary aspects of the piece, including the first complete statement of the twelve-tone row in the flute and the segmentation of the row into four, three, and two-note cells. He includes musical examples throughout and makes a point to show the last few measures that exhibit the work’s tonal resolution.

The next dissertation involving Bernstein’s Halil emerged in 2008, written by

Lars Erik Helgert for a PhD from Catholic University of America. This document, entitled “Jazz Elements in Selected Concert Works of Leonard Bernstein: Sources,

Reception, and Analysis,” goes into much more detail. Early in his document, Helgert discusses the continued need for research on Bernstein: “There has been a significant increase in research on Bernstein’s music in recent decades, but the overall amount of secondary research remains slim when one considers the fact that Bernstein is one of the most important figures in the history of American classical music.”4 He discusses the various locations where materials are available, including holograph sketches of Halil in the Bernstein Collection at the Library of Congress. At the time Helgert wrote this, he only found two primary sources of information on Halil: Bösing’s dissertation and an

3 Raphael Maria Bösing, “Leonard Bernstein als religiöser Humanist, Dirigent, Komponist und Musikpädagoge: Studien zu fächerübergreifenden Aspekten des Musikunterrichts,” Beiträge zur Europäischen Musikgeschichte, vol. 7 (Frankfurt: Peter Lang, 2003).

4 Lars Erik Helgert, “Jazz Elements in Selected Concert Works of Leonard Bernstein: Sources, Reception, and Analysis” (PhD diss., Catholic University of America, 2008), 15. 16 article by Martella Gutiérrez-Denhoff.5 Helgert’s contributions to the research available on this piece include basic background information, an overview of the reception of the work including specific concert reviews, and a more detailed analysis. In this analysis, he focuses primarily on elements that are derivative of jazz divided into sections that focus on melody, harmony, rhythm, and instrumentation (referring to the inclusion of vibraphone). Although it is not pertinent to his argument regarding jazz influences,

Helgert identifies the need for a formal analysis, as it was non-existent up until this point.

The main purpose of this formal analysis was to identify the specific points within the music where non-tonal and tonal forces alternate and what thematic material dominates in each of these sections. When considering its longevity, Helgert sums up Halil in the following way: “It is harder to assess the historical impact of Halil and Touches; at least the former seems to be surviving.”6

Most recently, in 2015, Meghan Anne Shanley wrote her DMA dissertation “An

Exploration of Works Inspired by Spiritual Traditions in Contemporary Flute Repertoire

(1981–2010)” at the University of Maryland. This is the only dissertation or research that lists Halil among other flute pieces rather than other Bernstein works, being highlighted along with eleven other flute works: Robert Dick’s Techno Yaman, Michael Daugherty’s

Crystal and Trail of Tears, Howard J. Buss’s Scenes from the Holy Land, Tōru

Takemitsu’s Air, Daniel Kellogg’s Into Utter Forever and Divinum Mysterium,

5 Martella Gutiérrez-Denhoff, “Drei Antworten auf eine Frage: Leonard Bernsteins Konzerte,” in Leonard Bernstein: Der Komponist, ed. Reinhold Dusella and Helmut Loos (Bonn, Germany: Boosey & Hawkes Musikverlag, 1989), 61–74.

6 Bernstein composed Touches: Chorale, Eight Variations and Coda for solo piano in the summer of 1980, serving as a test piece for the 1981 Van Cliburn International Piano Competition. Lars Erik Helgert, 186. 17

Christopher Rouse’s Compline, Richard Toensing’s Children of Light, Ruth Schönthal’s

A Bird Over Jerusalem, and Katherine Hoover’s Winter Spirits. This document functions as a survey of works that explores different avenues of spiritual musical expression, providing basic program notes for each work. The information she provides for

Bernstein’s Halil, specifically, includes a few biographical points on Bernstein and a summary and quotations of the program notes he wrote inside the score.

The first reference to Halil within a scholarly work after the piece’s premiere can be found in an article by Martella Gutiérrez-Denhoff, entitled “Drei Antworten auf eine

Frage: Leonard Bernsteins Konzerte” (“Three Answers to a Question: Leonard

Bernstein’s Concertos”), located in the 1989 book Leonard Bernstein: Der Komponist. In this article, Gutiérrez-Denhoff investigates the three works by Bernstein that can be considered concertos: Symphony No. 2: The Age of Anxiety, Serenade After Plato’s

“Symposium,” and Halil. “The latter piece is analyzed in terms of the juxtaposition between sections of tonal and non-tonal music. Three examples of material derived from the row are shown, along with a tonal excerpt.”7 There are other articles in existence that reference Halil, but these primarily consist of reviews of performances both live and recorded. The availability of these as sources proves to be useful when establishing the work’s initial reception. More recent reviews of performances reveal that it is still programmed in concerts, and critical reviews of the work are more favorable.

Bernstein biographies mention the composition and performances of Halil, providing basic background information and program notes. In The Leonard Bernstein

7 Lars Erik Helgert, 311. 18

Letters, compiled and edited by Nigel Simeone, there are a few letters of correspondence to and from Leonard Bernstein regarding performances of the work. These letters can also be found in the Leonard Bernstein Collection at the Library of Congress.

CHAPTER TWO: LEONARD BERNSTEIN’S LIFE AND MUSICAL INFLUENCE/OUTPUT

Biography

Leonard Bernstein was born on August 25, 1918 in Lawrence, Massachusetts to

Samuel Bernstein, a beauty product supplier, and Jenny Bernstein (née Resnick). “Both parents were first-generation Russian-Jewish immigrants. Samuel fled Russia in his mid- teens and lived the American dream, working his way up from cleaning fish in Manhattan to a prosperous business in the Boston area.”8 Leonard had two siblings: Shirley, born in

1923, and Burton, born in 1932.

Bernstein began to pursue music starting at the age of ten, when he was first exposed to a piano:

It was a very unmusical family, and we never had a piano until one day in 1928 when my Aunt Clara, who was in the process of moving, dumped a sofa on my family—I was ten years old at the time—along with an old upright piano, which, I still remember, had a mandolin pedal (the middle pedal turned the instrument into a kind of wrinkly-sounding mandolin). And I just put my hands on the keyboard—touched it—and I was hooked…for life.9

Starting at the age of fourteen, he studied with Helen Coates, his first piano teacher of note and his future secretary and beloved friend. Samuel Bernstein was proud of

Leonard’s success in music but opposed his desire to pursue it as a career, hoping that he might take over the family business. Occasionally, Samuel would refuse to pay for

8 Paul R. Laird and Hsun Lin, Leonard Bernstein: A Research and Information Guide, 2nd ed. (New York: Routledge, 2015), 1.

9 Jonathan Cott, Dinner with Lenny: The Last Long Interview with Leonard Bernstein (New York: Oxford University Press, 2013), 45. 20

Leonard’s lessons, so Leonard would earn the money for them himself by teaching lessons and performing as a jazz pianist. In an interview when asked about the relationship between Bernstein and his father, Lukas Foss mentioned the conflict between the two regarding Leonard’s career choice, saying, “Lenny had to persuade him about his music. I think also Lenny wanted to prove to his father that with his own career he could also be good in business, which of course he did.”10 Another point of contention was the pronunciation of their last name—while trying to establish his reputation as a conductor,

Bernstein changed the pronunciation of his last name from “Bernsteen” to “Bernstyne,” thinking that the new German pronunciation would be perceived as “high-class,” as opposed to the eastern European pronunciation. While his siblings followed suit instantly, his mother waited until his father passed away on April 28, 1969,11 because his father strongly disapproved.12

Bernstein stayed busy with music as a young man, pursuing multiple activities such as staging operettas with his friends and appearing as piano soloist with the Boston

Public School Orchestra in 1934.13 He graduated from Boston Latin School in 1935, and by the fall of 1935 he began studies as a music major at Harvard, graduating in 1939. In the fall of 1939, Bernstein continued his education and started studying at the Curtis

Institute of Music in Philadelphia with the recommendations of Dimitri Mitropoulos and

10 William Westbrook Burton, ed., Conversations About Bernstein (New York: Oxford University Press, 1995), 7.

11 Allen Shawn, Leonard Bernstein: An American Musician (New Haven: Yale University Press, 2014), 211.

12 William Westbrook Burton, 46.

13 Paul R. Laird and Hsun Lin, 1. 21

Aaron Copland. That summer, in 1940, he went to Tanglewood, a music festival for the

Boston Symphony Orchestra in the Berkshire Mountains of Massachusetts, for the first time to study conducting with Serge Koussevitzky.

Following his graduation from Curtis with a diploma in conducting, Bernstein attended Tanglewood again and then spent time pursuing music in New York and Boston.

During this time, Bernstein would take big steps in his musical career: in 1942, his

Sonata for Clarinet and Piano was premiered, he completed his first symphony, and he began a position in New York with Harms, Inc., a major publisher of popular music. In this position, “he transcribed jazz solos and made commercial arrangements under the pseudonym ‘Lenny Amber.’ ”14

By his twenty-fifth birthday, on August 25, 1943, Bernstein was named assistant conductor of the New York Philharmonic under Artur Rodzinski. While holding this position, he instantly became a celebrity when, on November 14, he had to step in quickly and conduct for Bruno Walter, the guest conductor who had fallen ill.15 This amazing performance given before a national radio audience launched the young conductor’s career. He remained as assistant conductor for only a year, beginning appearances as a guest conductor for various orchestras in 1944. By the end of 1944, he had already conducted in Boston, Chicago, Cincinnati, Pittsburgh, Los Angeles, Detroit, and Montreal. During this year, he also premiered his first symphony (Symphony No. 1,

14 Paul R. Laird and Hsun Lin, 2.

15 The concert program consisted of Robert Schumann’s Overture to Manfred; Miklós Rózsa’s Theme, Variations and Finale; Richard Strauss’s Don Quixote; and Richard Wagner’s Prelude to Die Meistersinger. “Young Aide Leads Philharmonic, Steps in When Bruno Walter is Ill,” New York Times, November 15, 1943, accessed July 11, 2018, http://ezproxy.library.arizona.edu/login?url=https://search- proquest-com.ezproxy4.library.arizona.edu/docview/106642337?accountid=8360. 22

Jeremiah), ballet score (Fancy Free), and Broadway musical score (On the Town).

Throughout his life, Bernstein also maintained strong ties with Tanglewood, continuing as an instructor after having attended as a student. His first experience as an instructor for the institute occurred when he served as Koussevitzky’s assistant in 1942. He later joined the conducting faculty in 1948 and took over the conducting department in 1951 after

Koussevitzky’s death.

From 1944 to 1957, Bernstein served primarily as guest conductor to multiple orchestras in the United States—his international presence began in the late 1940s. These opportunities to conduct internationally resulted in his longest held associations: those with the Israel Philharmonic and the Vienna Philharmonic. By 1957, he had been named co-conductor of the New York Philharmonic with Dimitri Mitropoulos, and later in that season was appointed music director, a position he officially began in the fall of 1958 and continued until 1969, making this Bernstein’s longest held position. During his tenure with the New York Philharmonic, Bernstein would attract the attention of many with his impassioned yet unorthodox conducting style, something that was frequently disparaged by music critics such as Harold Schonberg.16

The 1950s were also “Bernstein’s most productive as a composer of dramatic music,”17 resulting in many works, including what could be considered his most

16 Schonberg’s negative opinion of Bernstein’s conducting was apparent in many reviews, with comments such as this one from December 19, 1960: “Toward the end of the Liszt concerto he rose vertically into the air, à la Nijinsky, and hovered there a good fifteen seconds by the clock. His footwork was magnificent last night. But one did wish that there had been more music and less exhilaration.” Harold C. Schonberg, “Music: Richter and the Philharmonic,” New York Times, December 19, 1960, accessed February 27, 2018, http://ezproxy.library.arizona.edu/login?url=https://search-proquest- com.ezproxy1.library.arizona.edu/docview/115090603?accountid=8360.

17 Paul R. Laird and Hsun Lin, 5. 23 successful, West Side Story. His personal life also took a huge leap—he took a sabbatical from conducting to marry Chilean actress Felicia Montealegre Cohn on September 9,

1951, but he still spent time composing, working on his opera Trouble in Tahiti while on their extended honeymoon in Mexico.18 A letter written by Felicia in late 1951 or 1952 proves that she was aware of Bernstein’s homosexuality, but she was willing to accept him as he was because she loved him, and she hoped to have a relationship “not based on passion but on tenderness and mutual respect.”19 Previously, in the late 1930s and 1940s,

Bernstein sought the help of psychoanalysts in an attempt to abandon his homosexuality in order to fit within the confines of societal expectations. This was during a time “when homosexuality was considered a treatable mental illness.”20 He eventually abandoned these efforts. It is widely considered that this marriage “probably helped legitimize

Bernstein as an acceptable cultural figure in the conservative 1950s.”21 The two maintained this relationship and had three children: Jamie (b. 1952), Alexander (b. 1955), and Nina (b. 1962). Bernstein adored his children and frequently wrote letters expressing his love for his family. This continued until fall of 1976, when the Bernsteins announced a trial separation, during which Leonard embraced his homosexuality and lived for a few

18 Paul R. Laird and Hsun Lin, 5–6.

19 Ibid., 12.

20 Ibid., 11. The American Psychological Association’s (APA) initial removal of homosexuality as a diagnosis from the second edition of the Diagnostic and Statistical Manual (DSM) in 1973 began a series of revisions, including its removal from the International Classification of Diseases (ICD-10) by the World Health Organization in 1990. Jack Drescher, “Out of DSM: Depathologizing Homosexuality,” Behavioral Sciences 5, no. 4 (December 2015): 571.

21 Ibid., 6. 24 months with Tom Cothran.22 This came at a time when many were being more open about their homosexuality as a result of the gay liberation movement that was taking place.23 These sentiments were echoed by Bernstein in a press conference where he said,

“There comes a time in life when a man must be what he really is.”24

By May 1977, Bernstein returned home and reunited with Felicia. Shortly after, in

July, Felicia received the devastating diagnosis of lung cancer; Bernstein remained by her side until she passed away on June 16, 1978.25 This loss was traumatic for Bernstein, and he never fully recovered from his immense feelings of guilt. “After her death he plunged back into his work with a driving intensity, in many cases spurred by memories of her.”26

He later told a friend in 1985, “There’s not a minute in my life when I don’t think of her.”27 This remained true after a concert conducted in 1987 where Bernstein told the audience that Felicia had been in his thoughts while conducting Mahler’s Resurrection

Symphony, saying that she is “the person I love most in the whole world.”28

22 Paul R. Laird and Hsun Lin, 12.

23 Barry Seldes, Leonard Bernstein: The Political Life of an American Musician (Berkeley: University of California Press, 2009), 158. “It is common today to trace the tremendous gains made for lesbian and gay rights since the early 1970s back to the Stonewall Riots of 1969, when gay men, transvestites, and lesbians fought the police during a routine raid on a popular gay club in Greenwich Village. It is also commonly asserted that the riots, which continued on and off for six days, marked the beginning of the ‘gay rights movement.’ ” David Carter, Stonewall: The Riots that Sparked the Gay Revolution (New York: St. Martin’s Press, 2004), 2.

24 Schuyler Chapin, Leonard Bernstein: Notes from a Friend (New York: Walker and Company, 1992), 164.

25 Ibid., 164–65.

26 Ibid., 165.

27 Humphrey Burton, Leonard Bernstein (New York: Doubleday, 1994), 451.

28 Ibid., 452. 25

Just before his 60th birthday on August 25, 1978, Bernstein began to acknowledge that he was aging: “I don’t mind that I’m aged, …that my hair is white, that there are lines in my face. What I mind is the terrible sense that there isn’t much time.”29

Despite this sentiment, Bernstein began leading an even more reckless life, now that he did not have Felicia to ground him—his daughter, Nina, took on this task:

I started becoming protective of Daddy because he didn’t have a wife any more. …I’d say, ‘Now don’t stay out too late, and don’t misbehave, whatever you do.’ And sure enough the next day in the New York Post there would be a picture of him dancing on the tables at Studio 54 and I’d say, ‘Oh dear, I’m going to have to talk to him again.’ It was a complete reversal.30

In 1979, after two months of continuous conducting obligations, Bernstein had the realization that he needed to clear his schedule to allow himself more time for composing. He did this in 1980 and called it a “sabbatical,” an odd term for somebody who was not officially tied to any orchestras at the time. “Bernstein used ‘sabbatical’ to mean that he would concentrate on composing, thus implying that his conducting life was the norm from which he was departing.”31 During this time, Bernstein received three commissions. He received the commission for his Divertimento in April 1980 and was requested for the Boston Symphony Orchestra in celebration of its centenary season. The resulting work was a fifteen-minute, eight-movement suite. Just before the work’s

September premiere, Bernstein told the Boston Globe that “It reflects my youthful experiences here where I heard my first orchestral music, …I nearly fell out of my chair I

29 Humphrey Burton, 452–53.

30 Ibid., 454.

31 Ibid. 26 was so excited.”32 In the summer of 1980, Bernstein composed Touches: Chorale, Eight

Variations and Coda for solo piano. This served as a test piece for the 1981 Van Cliburn

International Piano Competition. Later, in October 1980, he composed an orchestral overture entitled A Musical Toast, honoring the memory of André Kostelanetz.33

While his professional life was productive during this “sabbatical,” Bernstein’s behavior became increasingly erratic. “During the fall of 1980 Bernstein gave disturbing signals that he was struggling with a compulsion to step outside the bounds of conventional good behavior. Without Felicia to keep him in check he seemed no longer to care what he said or whom he shocked.”34 Within this erratic behavior were a number of passionate affairs, but none of these led to any long-term relationships. Nothing filled the void that Felicia left, and there seemed to be “a certain loneliness.”35 Despite this, in

October of that year, Bernstein met a new collaborator to help him accomplish his long- held ambition of writing a truly American opera.36 Stephen Wadsworth Zinsser, a fellow

Harvard student of Jamie Bernstein’s, presented a possible scenario for a sequel to

Trouble in Tahiti, later to be entitled A Quiet Place. The majority of his original ideas didn’t make it into the final opera, “but the fact that the two men had independently

32 Humphrey Burton, 457.

33 Ibid., 457–58.

34 Ibid., 458.

35 Nigel Simeone, ed., The Leonard Bernstein Letters (New Haven: Yale University Press, 2013), 535.

36 Although Trouble in Tahiti is considered an opera, Bernstein considered A Quiet Place his way of finally fulfilling the ambition he expressed in 1948: “If I can write one real moving American opera that any American can understand (and one that is, notwithstanding, a serious musical work) I shall be a very happy man.” Humphrey Burton, 470. 27 thought of a death as the starting point for a sequel to Tahiti convinced Bernstein that he had found his man.”37 Later, in December of 1980, Bernstein received a lifetime achievement award, being honored at the third Kennedy Center Honors. Now aged 62, he jokingly protested, saying, “he was too young to qualify for a lifetime achievement award.”38

Despite having found a collaborator for A Quiet Place, Bernstein put the project on hold and returned to conducting. He spent about half of 1981 on the road conducting various orchestras. It was during this time that Bernstein premiered Halil in Israel, a nocturne for flute and orchestra composed in the winter of 1980–1981. By the summer of

1981, Bernstein and Wadsworth were able to begin work on the opera, formulating a game plan and starting the early stages of composition. The entire composition process was repeatedly interrupted due to various engagements, but the pair was able to meet their deadline of June 1983 for the premiere at the Houston Grand Opera.39 When looking at the characters and plot of the work in its completed stage, it is clear that there is an autobiographical element—besides the character of the father being named Sam, just like his father, it has been said that the character Junior very much reflects Bernstein himself.40

As Bernstein approached his 70th birthday, the once “perennial wonder boy of

American music” had become “a white-maned eminence,” a musical master who could

37 Humphrey Burton, 461.

38 Ibid., 459.

39 Ibid., 468.

40 William Westbrook Burton, 40. 28 do no wrong on the podium.41 While he was once criticized for his overly exuberant motions when conducting, what once seemed comical now seemed inspired. In 1989,

Bernstein completed his last major orchestral work, his Concerto for Orchestra, honoring the 50th anniversary of the Israel Philharmonic. In the same year, “his devoted secretary

Helen Coates died…, and by the start of 1990 concerns about his own health started to preoccupy him.”42 Doctors discovered a malignant tumor, diagnosing Bernstein with mesothelioma,43 “and in great secrecy he was given a course of radiation therapy.”44

His worsening condition notwithstanding, Bernstein continued conducting, having to run off the stage after a piece “to breathe from an oxygen tank and to take a drag on a cigarette”45 before returning to take a final bow. “Bernstein had to withdraw at very short notice from his last engagement in Japan—a big outdoor concert—earning some criticism in the Japanese press, who were unaware of the seriousness of his condition.”46 Soon after this he was back on the road, returning to Tanglewood one last time for its fiftieth anniversary concert, as well as the fiftieth anniversary of his first conducting appearance there. The entire Bernstein family was in attendance, watching him conduct the ‘Four Sea

Interludes’ from Britten’s Peter Grimes and Beethoven’s Seventh Symphony.

41 Donal Henahan, “America’s Musician at 70: Seemingly Having Passed the Age of Anxiety,” New York Times, August 21, 1988, accessed November 23, 2017, https://search-proquest- com.ezproxy4.library.arizona.edu/docview/110481701?accountid=8360.

42 Nigel Simeone, 536.

43 Barry Seldes, 166.

44 Nigel Simeone, 536.

45 Barry Seldes, 166.

46 Nigel Simeone, 536. 29

Throughout the concert, Bernstein struggled to breathe, and during the Scherzo of the

Beethoven he had to stop conducting for several minutes due to a major coughing fit. The

Boston Symphony Orchestra continued playing until Bernstein could resume conducting for the last movement. “It was his last concert—and he knew it.”47

Bernstein passed away in his Manhattan apartment on Sunday evening, October

16, 1990. His physician, Dr. Kevin M. Cahill, reported the cause of death as a heart attack induced by “progressive emphysema complicated by a pleural tumor and a series of pulmonary infections.”48 Even at the end of his life, “he remained alert and inquisitive and looked forward to resuming his composing and perhaps even his conducting careers.”49

Multi-Faceted Career

A common complaint regarding Bernstein’s career choices was the fact that he never chose one area and stuck with it. Over the years, there were many comments made wishing that he had devoted his time and talents to one specific area instead of spreading himself so thin. In a statement from the beginning of his career on October 15, 1946,

Bernstein acknowledged his multi-faceted career: “It is impossible for me to make an exclusive choice among the various activities of conducting, symphonic composition, writing for the theatre, and playing the piano. What seems right for me at any given

47 Nigel Simeone, 536.

48 John Rockwell, “The Last Days of Leonard Bernstein,” New York Times, October 16, 1990, accessed November 23, 2017, https://search-proquest- com.ezproxy4.library.arizona.edu/docview/108429937?accountid=8360.

49 Ibid. 30 moment is what I must do, at the expense of pigeonholing or otherwise limiting my services to music.”50

As much as Bernstein loved and felt drawn to work in all of these musical endeavors, he struggled to maintain balance among the different areas throughout his entire career. While he gained popularity as a conductor during the 1950s, he frequently

“crav[ed] solitude so that he might work as a composer, but often return[ed] to the podium for extended tours.”51 By 1969, Bernstein made the decision to leave his position with the New York Philharmonic, hoping to concentrate more on composing; however, his passion for conducting and working with different orchestras continually pulled him away.

The diversity in Bernstein’s career can further be observed through his activities as a composer:

There is Lenny, the secular composer of ballets, musicals and film scores. Then there is Leonard, the sacred composer of the “Jeremiah” and “Kaddish” symphonies, “Mass,” “Chichester Psalms” and “Dybbuk.” One composer seeks mainly to please, the other to pose profound questions about the modern crisis of faith. The two have met and mingled many times, and that has confounded the critics who need to put composers into handy compartments.52

Bernstein longed to be considered a “serious” composer, but, almost instantly, he was categorized as more of a popular composer—many critics wrote scathing reviews about

50 Leonard Bernstein, Findings (New York: Simon and Schuster, 1982), 103.

51 Paul R. Laird and Hsun Lin, 5.

52 John von Rhein, “All the World Loves Lenny…Except, Perhaps a Few Critics of Questionable Ear,” Orange County Register (Santa Ana, California), February 26, 1984, accessed November 23, 2017, https://access-newspaperarchive-com.ezproxy1.library.arizona.edu/us/california/santa-ana/santa-ana- orange-county-register/1983/10-02/page-135?tag=bernstein+halil&rtserp=tags/bernstein- halil?ndt=by&py=1980&pey=1989&psb=dateasc. 31 his “serious” works and continually criticized his lack of specialization in his career, yet

Bernstein continued to divide himself as he saw fit. The decision to do so seemed so simple to him: “If one is so lucky to have been gifted, then it seems to me that the greatest gift is being able to work at the thing you most love to do, 24 hours a day.”53

Compositional Style

Bernstein’s first serious attempt at composition began when he was a teenager, but he did not have any official training until his studies at Harvard. During his time there, he studied orchestration with Edward Burlingame Hill, harmony and counterpoint with A. Tillman Merritt, and counterpoint and fugue with Walter Piston.54 This was the only formal composition training Bernstein ever had;55 however, he gleaned stylistic tendencies from various well-known composers. In some contexts, one can see influences of Paul Hindemith and Aaron Copland, such as in his Sonata for Clarinet and Piano

(1942). As he became increasingly interested in composing American music, the Copland influence became more dominant. Eventually elements of Igor Stravinsky also began appearing in Bernstein’s compositions. It is also clear that George Gershwin influenced his writing, especially where jazz and Broadway are concerned,56 and it has been said that

Marc Blitzstein is represented in some of his theater music.57 In an interview, while

53 John von Rhein

54 Paul R. Laird and Hsun Lin, 1–2.

55 Ibid., 4.

56 William Westbrook Burton, 10.

57 Paul R. Laird and Hsun Lin, 4. 32 discussing the impact that these composers had on Bernstein’s writing, Lukas Foss said,

“The important thing about musical influences is that when you use them in a work you then have to make that work your own. And Lenny did that. Throughout his compositions he did that; even the early works were Bernstein.”58

While creating music that was distinctly his, Bernstein also loved to incorporate musical quotes from other works, including his own—in this regard Lukas Foss said that

Bernstein’s quotes were “unashamed and wonderful.”59 Throughout his career, critics called Bernstein’s compositional style “eclectic,” but he still had his own voice, which has been described as mixing “soaring lyricism, aching nostalgia, dark religiosity, bitter lament, emphatic rhythm, and vivid orchestration.”60

When examining Bernstein’s compositional output, one can tell that he truly valued tonality, as noted by fellow composer John Adams: “His intuition told him that tonality and pulsation were essential to the musical experience.”61 As his contemporaries were fully embracing atonal techniques, Bernstein remained steadfast. Music critic

Harold Schonberg was one who noticed the fact that Bernstein was not bothered by the appearance of these atonal techniques, whereas Copland and Stravinsky obviously

58 William Westbrook Burton, 10.

59 Ibid.

60 Marc Stein, ed., Encyclopedia of Lesbian, Gay, Bisexual, and Transgender History in America (New York: Charles Scribner’s Sons, 2004), s.v. “Leonard Bernstein,” by Michael Sherry.

61 Burton Bernstein and Barbara B. Haws, Leonard Bernstein, American Original: How a Modern Renaissance Man Transformed Music and the World During his New York Philharmonic Years, 1943–1976 (New York: Collins, 2008), 203. 33 were.62 In an interview with Jamie Bernstein, she recalls her father’s approach to this growing trend:

In general, he was stung by criticism of his compositions, but he was resigned to it. The entire time he was an active composer, “serious” musicians were expected to write exclusively in the 12-tone idiom. No tunes or keys allowed. Every time he wrote a tune…, he knew he was disqualifying himself yet again from joining the pantheon of esteemed American composers of the day. He was perfectly capable of writing 12-tone music, and he often did, but he saw it as but one of many colors on his compositional palette.63

The music community criticized Bernstein continuously for not fully adopting serialism, but by the 1980s, those who had were coming back around to the inclusion of tonality—

“Bernstein, who never forsook tonality, [was] enjoying the last laugh.”64 Bernstein did utilize atonal techniques, but their inclusion always had a specific purpose and did not overtake his priority of tonality and melody; even the 12-tone rows he incorporated

“always remain[ed] related not only to one another, but also to tonality.”65 Helen Smith recognized this in her research, saying, “From Candide onwards, the chromaticism becomes more obviously 12-tone in nature, being utilized primarily for dramatically tense situations, and, as in his orchestral works, not usually being subjected to strict serialist techniques.”66

62 William Westbrook Burton, 38.

63 Jamie Bernstein, e-mail message to author, March 26, 2018.

64 John von Rhein.

65 David Michael Schiller, Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music (Oxford: Oxford University Press, 2003), 146.

66 Helen Elizabeth Smith, “The Musical Development of Leonard Bernstein, as Demonstrated Through His Works for the Musical Theatre” (PhD diss., University of Birmingham, 2003), 326. 34

One of Bernstein’s primary writing techniques relates to his usage of intervals as a basis for his compositions—most ascending or descending intervals Bernstein uses have the propensity to be followed by stepwise motion.67 This intervallic style of composition may result from the influence of Stravinsky, which Bernstein examines during his Harvard Lecture “The Poetry of the Earth”:

Stravinsky’s asymmetrical structures are mainly based on the juggling of motives, rather than what you ordinarily think of as melody. By ‘motives’ I mean simply very brief melodic fragments, concise formations of two, three, or four notes which are then subjected to a kind of Cubistic treatment. …All these cells are conjoined, embedded, permuted, expanded, and relentlessly repeated, always in different patterns.68

Many of Bernstein’s compositions are primarily based on the relationships of intervals, used melodically, harmonically, and “as a generative seed for large works. This is exemplified in three of the ‘Musicals’ by the employment of a specific interval in each one, which serves as a kind of motto or recurring link.”69 Meanwhile, the dramatic tendencies of Bernstein’s compositions can largely be attributed to his consistent usage of juxtapositions, examples of which are provided by Paul Laird:

Bernstein’s style is based upon dramatic juxtapositions; lively rhythms with asymmetrical meters, surprising accent schemes, and speech rhythms in vocal music; melodic invention based upon wide interval; interest in program music; and motivic development. What makes his works both masterful and thoroughly

67 Jack Gottlieb discusses this compositional trait extensively, highlighting each of Bernstein’s favorite intervals and where they can be seen. Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations” (DMA thesis, University of Illinois, 1964), 33.

68 Leonard Bernstein, The Unanswered Question: Six Talks at Harvard (Cambridge, MA: Harvard University Press, 1976), 349.

69 Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations,” 22. 35

American is the fluidity with which he moves between concert music and various vernacular musics, including jazz, blues, and the Broadway idiom.70

In many ways, the similarities among Bernstein’s compositions can be tied to the lack of a single style. His reputation as an eclectic has become his distinct voice.

Overview of Compositional Output

Although many people tend to think of Bernstein as a conductor first and composer second, few other American composers have written successfully in multiple genres.71 Cellist and conductor Mstislav Rostropovich went so far as to say, “I think he had great possibility as a composer. I also think that without him the United States could not have existed musically.”72 The vastness of Bernstein’s compositional output confounded critics over the years, preventing them from classifying him as a particular type of composer. That said, Bernstein realized early on that he had an affinity for theater music. In an excerpt written by Bernstein on January 14, 1948, he happily expressed that revelation:

One thing I have already discerned, however. I have a basic interest in theater music. Most of my scores have been, in one way or another, for theatrical performance, and the others—most of them—have an obvious dramatic basis. I rather glow with pride at this discovery, rather than feel vulnerable, since I count such masters as Mozart, Weber, and Strauss (even Bach!) as similarly disposed. Where it will lead I cannot tell; but if I can write one real, moving American opera that any American can understand (and one that is, notwithstanding, a serious musical work), I shall be a happy man.73

70 Paul R. Laird, “Leonard Bernstein: Eclecticism and Vernacular Elements in Chichester Psalms,” Society for American Music Bulletin 25, no. 1 (Spring 1999).

71 Paul R. Laird and Hsun Lin, 4.

72 William Westbrook Burton, 137.

73 Leonard Bernstein, Findings, 129. 36

Just a year later in his forward to The Age of Anxiety, Bernstein recognized that he had unintentionally made his symphony programmatic in nature and said, “I have a deep suspicion that every work I write, for whatever medium, is really theater music in some way.”74 Despite his success in this genre, Bernstein was still determined to be recognized as a serious composer.

Many people, from critics to colleagues to friends, agree that Bernstein would have been better suited to stay within the popular genre of composition. In a letter from

Tom Cothran to Bernstein from late 1980, as Bernstein was planning finally to write his opera, A Quiet Place, Cothran candidly expresses that very sentiment:

It’s clear to one and all, and should be clear to you as well, that you should be writing first-class quick musical comedy that borrows from everywhere (including Wagner, if you want) but that throws out the heavy plush. …Your way is to play one thing against another, and when you are able to glide along just above the edge of irony, the result is good. You get so serious. It’s the knell.75

Bernstein did not heed Cothran’s advice and as a result, the compositions from the last decade of his life were considered “inferior.”76 When looking at Bernstein’s compositions after his death, many people still thought less of his serious works. Composer John

Adams wrote, “Bernstein’s weightier, more philosophical symphonies seem barely able to support their own emotion, and come alive only when they burst out into dance or some kind of rhythmically impelled physical expression.”77 Rostropovich expressed a

74 Jack Gottlieb, Working with Bernstein: A Memoir (New York: Amadeus Press, 2010), 333.

75 Humphrey Burton, 460–61.

76 Lars Erik Helgert, 162.

77 Burton Bernstein, 204. 37 similar opinion: “I will say that when Lenny tried to become a deep composer, like

Mahler or, for example, Beethoven, then it was perhaps not so successful for his composition. But when he tried to make a portrait of himself, his emotion and temperament, then he was a good composer.”78 Also, music critic Harold Schonberg, when asked if he thought Bernstein’s serious compositions would stand the test of time, gave this response: “I don’t myself. But if fifty years from now he’s pretty much in the repertory then of course I will have been dead wrong; frankly though, I don’t see it.”79

Even with all of the criticism of his serious works, Bernstein used those as well as his more popular works to express causes and beliefs that were important to him, some of which were topics other composers avoided. Jack Gottlieb, in his book Working with

Bernstein: A Memoir, provided a list of what some of Bernstein’s works address:

“Jeremiah” (Holocaust); “The Age of Anxiety” (search for faith); On the Waterfront (McCarthyism, in part, and labor corruption); Candide (also McCarthyism, organized religion, and so on); West Side Story (racism and class struggle); “Kaddish” (fear of nuclear annihilation); Mass (loss of faith); Songfest (oppression of various minorities); and Halil (futility of war).80

More specifically, some of these works focus on his Jewish heritage combined with his

American upbringing. The inclusion of Hebrew-Aramaic words can be seen in Kaddish and Chichester Psalms, whereas other works were inspired by events that affected Jews all over the world. “Among them, ‘Jeremiah,’ his 1942 symphony written in response to

78 William Westbrook Burton, 137.

79 Ibid., 38.

80 Jack Gottlieb, Working with Bernstein: A Memoir, 13. 38 early reports of Nazi anti-Semitism, and Halil, his 1981 flute rhapsody about young lives laid waste in the Israeli Yom Kippur War of 1973.”81

81 Jack Gottlieb, Working with Bernstein: A Memoir, 6–7. 39

CHAPTER THREE: HALIL

Background/Dedication

In 1976, after conducting the Israel Philharmonic in a concert in Tel Aviv,

“Bernstein was approached by the parents of Yadin Tanenbaum, a promising 19-year-old flutist who was killed in his Army tank during the fighting in the Sinai in 1973,”82 which is largely referred to as the “Yom Kippur War.”83 The couple told Bernstein of their son’s tragic death and requested that he compose a work in Yadin’s memory. Bernstein declined initially, but it was clear that Yadin’s story resonated with him. Not long after this conversation, Bernstein was inspired to write a piece for flute. During an interview with Martin Bookspan, announcer for the PBS program “Live From Lincoln Center,” he described where this inspiration originated: “A tune came to me that occurred to me as a flute tune—almost a pop song, very diatonic, very simple. I fooled around with it and then found that it led to all kinds of very symphonic things. So before I knew it, I was off and writing a flute piece.”84 The tune that Bernstein described became the main tonal melody in Halil—Hebrew for flute. It is clear that Bernstein felt connected to Yadin, especially when one reads the program note he included in the score:

82 “People in the Sun,” Lowell Sun (Massachusetts), March 24, 1982, accessed November 23, 2017, https://access-newspaperarchive-com.ezproxy1.library.arizona.edu/us/massachusetts/lowell/lowell- sun/1982/03-24/page-14?tag=bernstein+halil&rtserp=tags/bernstein- halil?ndt=by&py=1980&pey=1989&psb=dateasc.

83 This was the fourth Arab-Israeli War, which lasted from October 6 to October 25, 1973. The other Arab-Israeli Wars took place in 1948–49, 1956, 1967 (Six-Day War or June War), and 1982. Encyclopedia Britannica, s.v. “Arab-Israeli Wars,” accessed March 15, 2018, https://www.britannica.com/event/Arab-Israeli-wars.

84 Andrew Porter, “Musical Events: Fluting,” New Yorker, April 26, 1982. 40

This work is dedicated “To the Spirit of Yadin and to his Fallen Brothers.” The reference is to Yadin Tanenbaum, a nineteen-year-old Israeli flutist who, in 1973, at the height of his musical powers was killed in his tank in the Sinai. He would have been twenty-seven years old at the time this piece was written. Halil (the Hebrew word for “flute”) is formally unlike any other work I have written, but is like much of my music in its struggle between tonal and non- tonal forces. In this case, I sense that struggle as involving wars and the threat of wars, the overwhelming desire to live, and the consolations of art, love and the hope for peace. It is a kind of night-music which, from its opening 12-tone row to its ambiguously diatonic final cadence, is an ongoing conflict of nocturnal images: wish-dreams, nightmares, repose, sleeplessness, night-terrors and sleep itself, Death’s twin brother. I never knew Yadin Tanenbaum, but I know his spirit.85

Major Performances

The world premiere of Halil took place on May 27, 1981. The decision for the location of the premiere was very fitting, taking place in the Frederic Mann Auditorium

(now known as Heichal HaTarbut or the Charles Bronfman Auditorium)86 in Tel Aviv, performed by the Israel Philharmonic Orchestra, conducted by Bernstein with solo flutist

Jean-Pierre Rampal.87 The next performance followed quickly, being performed on June

12, 1981 at the Vatican88 with the Academy of Santa Cecilia Orchestra and solo flutist

Uri Shoham.89 While these two performances are referenced in the media, the most

85 Leonard Bernstein, Halil: Nocturne for Solo Flute with Piccolo, Alto Flute, Percussion, Harp and Strings (Boosey and Hawkes, 1981).

86 Heichal HaTarbut, Structurae: International Database and Gallery of Structures, accessed December 30, 2017, https://structurae.net/structures/heichal-hatarbut.

87 Leonard Bernstein, Halil.

88 Paul Hume, “Bernstein at the Vatican,” Washington Post, June 21, 1981, accessed November 12, 2017, https://www.washingtonpost.com/archive/lifestyle/1981/06/21/bernstein-at-the- vatican/1c23a5c8-4e06-4183-a5c1-2f49c1f57861/?utm_term=.c5bdec01a0c1.

89 Annalisa Bini, Accademia Nazionale di Santa Cecilia, e-mail message to author, June 4, 2018. 41 substantial coverage of the work began after the American premiere performed on July 4,

1981, at Tanglewood. Conducted by Bernstein, this was an all-Bernstein concert, made so after Gershwin’s Rhapsody in Blue was replaced by a performance of Halil with Doriot

Anthony Dwyer as the soloist, the Boston Symphony Orchestra’s principal flutist.90

Friend and fellow composer, Lukas Foss, conducted the Midwest premiere of Halil with the Milwaukee Symphony Orchestra in February 1982 with the orchestra’s principal flutist performing as soloist.91 This performance was soon followed by another major

American performance of this work, also conducted by Bernstein, performed by the New

York Philharmonic on March 24, 1982, with soloist Julius Baker, then the orchestra’s principal flutist.92 After this point, other performances of Halil were given, such as the

Southeastern premiere in July 198293 and the United Kingdom premiere on May 15,

1985;94 however, the next major performance of the work conducted by Bernstein took place in September 1985 in Carnegie Hall. Bernstein conducted the Israel Philharmonic in two programs, the first, on September 21, including Mahler’s Ninth Symphony and the

90 John Rockwell, “Tanglewood: A Bernstein Fourth,” New York Times, July 6, 1981, accessed November 24, 2017, http://www.nytimes.com/1981/07/06/arts/tanglewood-a-bernstein-fourth.html.

91 “Composers Festival at College,” Kenosha News (Wisconsin), February 10, 1982, accessed November 23, 2017, https://access-newspaperarchive- com.ezproxy1.library.arizona.edu/us/wisconsin/kenosha/kenosha-news/1982/02-10/page- 10?tag=bernstein+halil&rtserp=tags/bernstein-halil?ndt=by&py=1980&pey=1989&psb=dateasc.

92 Donal Henahan, “Philharmonic: ‘Halil,’ New Nocturne by Bernstein,” New York Times, March 25, 1982, accessed November 23, 2017, https://search-proquest- com.ezproxy4.library.arizona.edu/docview/121867513?accountid=8360.

93 James Roos, “Bernstein Works Premiered,” Miami Herald (Florida), July 12, 1982, accessed September 24, 2017, http://infoweb.newsbank.com.ezproxy2.library.arizona.edu/resources/doc/nb/news/0EB359528BA2FFCD? p=AWNB.

94 “News Section,” Tempo New Series, no. 152 (March 1985): 49. 42 second, on September 22, being split by works by Bernstein and Brahms. Ransom Wilson was the soloist for this performance.95

Critical Reviews

Reviews of Halil have been mixed over the years, just like many of Bernstein’s more serious compositions. Negative reviews, rather than being completely scathing, appear to be more along the lines of indifference; an example of one of these dismissive comments can be found by author John von Rhein in The Orange County Register from

February 1984, saying that Halil is “weak to the point of being trivial.”96 On the positive side, it was described as having been “played with beauty, excitement, and no little poetry,”97 and, overall, “wholly good to hear.”98 Some critics, while pointing out the negatives of the piece, were also able to appreciate its positives. After the American premiere, John Rockwell of The New York Times initially described Halil as

“disturbingly slight,” but ultimately decided that it “passed the time wispily but unobjectionably.”99 After the New York Philharmonic’s 1982 performance with Julius

Baker, Donal Henahan of The New York Times had mixed feelings toward the piece, writing, “it seems much of the time to lack vitality and backbone, and to verge on

95 Tim Page, “At 67, Bernstein Comes Home to Carnegie Hall,” New York Times, September 20, 1985, accessed December 30, 2017, http://www.nytimes.com/1985/09/20/arts/at-67-bernstein-comes- home-to-carnegie-hall.html.

96 John von Rhein.

97 Leighton Kerner, “Music: A Most Kosher Brahms,” Village Voice 30 (October 10, 1985): 82.

98 Andrew Porter.

99 John Rockwell, “Tanglewood: A Bernstein Fourth.” 43 sentimentality.” That said, he found the piece to be “immediately palatable,” having its

“delicious moments.” He was also impressed by Bernstein’s orchestration: “It is a tribute to Mr. Bernstein’s craft that Mr. Baker’s flute was almost invariably able to speak through, over or around the orchestral din, so that the solo instrument became a still point and a stabilizing influence.”100

After time had given the musical community perspective, and they were able to look at Bernstein’s compositional output in its entirety, opinions regarding Halil seemed to become more positive. In his 1994 biography on Bernstein, Humphrey Burton names

Halil “one of Bernstein’s most positive statements among his abstract compositions.”101

Then, almost twenty years later, in his 2013 publication The Leonard Bernstein Letters,

Nigel Simeone wrote “In terms of composition, the last ten years are difficult to assess: there are some fine pieces, of which Halil for flute and orchestra is certainly among the best.”102 German-born Israeli musicologist Peter Gradenwitz “regards this work as one of the most personal creations of Bernstein.”103

Bernstein never wrote any pieces that were officially entitled concertos, but his

Halil and his Serenade After Plato’s “Symposium” for solo violin for are both considered as such. Both have similar orchestration, consisting of string orchestra, harp, and percussion, but Halil has the addition of piccolo and alto flute, to be played off stage

100 Donal Henahan, “Philharmonic: ‘Halil,’ New Nocturne by Bernstein.”

101 Humphrey Burton, 465.

102 Nigel Simeone, 534.

103 Original German text: “Gradenwitz hält dieses Werk für eine der persönlichsten Schöpfungen Bernsteins.” Raphael Maria Bösing, 87. 44

(there is also a version for flute, piano, and percussion from 1987). When comparing to earlier Bernstein works, Halil has been described as “less characteristically brassy and jazzy,”104 though it has been said that “Gershwin’s syncopations” are present.105 Donal

Henahan, Richard Dyer (The Boston Globe), and Andrew Pincus (The Berkshire Eagle) all noticed Mahler influence in the piece. Henahan goes on to say that the work is

“redolent at times of Ravel,”106 whereas Pincus and Dyer identify the influences of

Copland and Strauss, respectively.107 Ellen Pfeifer of the Boston Herald describes the work as a combination of “Broadway and Schoenberg,”108 alluding to Bernstein’s usage of serialist techniques.

Approximately sixteen minutes long, this single-movement work alternates between tonality and atonality, depicting contrasting forces of “lyricism and violence.”109

Many reviewers have described Halil similarly: Andrew Porter (The New Yorker), Donal

Henahan, and James Roos (Miami Herald) all point out the elegiac quality of the piece;110

Porter also calls it “partly dramatic” while Peter Dickinson (The Musical Times) wrote

104 James Roos.

105 Lars Erik Helgert, 161.

106 Donal Henahan, “Philharmonic: ‘Halil,’ New Nocturne by Bernstein.”

107 Lars Erik Helgert, 160–61.

108 Ibid., 160.

109 Humphrey Burton, 465.

110 Andrew Porter; Donal Henahan, “Philharmonic: ‘Halil,’ New Nocturne by Bernstein;” James Roos. 45 that it conveys “the nostalgic images of a film scenario.”111 Other commentators call

Halil “concise, solidly built, altogether haunting;”112 “cool, sometimes poignant, sometimes agitated;”113 and having a “strongly meditative, ruminating quality.”114

Ultimately, Leighton Kerner of The Village Voice describes the denouement: “Tonality wins out in Halil—any longtime Bernstein-watcher could predict the outcome—but the composer here seems unusually comfortable in his devil’s-advocate robes and stages a fairly even-handed battle for most of the distance.”115

111 Andrew Porter; Peter Dickinson, “Reviewed Work: Symphony No. 2 by Ives, Concertgebouw Orchestra and Tilson Thomas; Halil; Three Meditations from Mass; On the Waterfront by Bernstein, Rampal, Rostropovich and Israel PO,” Musical Times 124, no. 1690 (December 1983): 753.

112 Leighton Kerner, “Music: A Most Kosher Brahms.”

113 James Roos.

114 Elliott Schwartz, “Recording Reviews: Doriot Anthony Dwyer, Flute,” American Music 16, no. 2 (Summer 1988): 250.

115 Leighton Kerner, “Music: Flutings for the Fourth,” Village Voice (July 15–21, 1981): 68. 46

CHAPTER FOUR: ANALYSIS

Serial Employment

The appearance of 12-tone rows within Bernstein’s compositions can be seen as far back as his second symphony, The Age of Anxiety (1949) (Musical Example 4.1). As with many of these instances and his overall usage of serial composition methods,

Bernstein does not conform to the strict rules of the practice, utilizing note repetitions and other aspects of tonality to suit his needs. In some cases, Bernstein introduces the full 12- tone row at the very beginning of his pieces. This can be seen at the beginning of Trouble in Tahiti, where the 12-tone row is played in its entirety by solo clarinet (Musical

Example 4.2). This same practice is used in Halil in the solo flute (Musical Example 4.3).

After introducing complete 12-tone rows, Bernstein’s tendency is to primarily use

Musical Example 4.1. Full 12-tone row in The Age of Anxiety (Part II, “The Dirge,” from the reduction for two pianos).

The Age of Anxiety (from Symphony No. 2) by Leonard Bernstein Copyright © 1949 by The Estate of Leonard Bernstein. Copyright Renewed. Leonard Bernstein Music Publishing Company, LLC, Publisher; Boosey & Hawkes, Inc., Sole Agent Reprinted by permission for the exclusive use of Elsa Kate Nichols, 2018. 47

Musical Example 4.2. Full 12-tone row at the beginning of Trouble in Tahiti (originally clarinet, excerpt here is from the piano reduction).

Trouble in Tahiti by Leonard Bernstein; Copyright © 1953, Amberson Holdings LLC Leonard Bernstein Music Publishing Company, LLC, Publisher; Boosey & Hawkes, Inc., Agent for Print Copyright For All Countries. All Rights Reserved. Reprinted by permission for the exclusive use of Elsa Kate Nichols, 2018.

Musical Example 4.3. Full 12-tone row in the solo flute, mm. 1–8 of Halil.

Halil by Leonard Bernstein, Copyright © 1981 by The Estate of Leonard Bernstein. Copyright Renewed. Leonard Bernstein Music Publishing Company, LLC, Publisher; Boosey & Hawkes, Inc., Sole Agent Reprinted by permission for the exclusive use of Elsa Kate Nichols, 2018.

fragments of the row during the remainder of the piece. In Halil, the full 12-tone row is heard in its complete form only three times in the entire piece, all of these being in the first eighteen measures and in the solo flute: in its prime form in measures 1–8, in retrograde in measures 9–13 (Musical Example 4.4), and back to its prime form in measures 13–18. 48

Not including the repeated notes, this tone row in its prime form (P0) is

(4,1,5,8,0,t,3,e,9,2,7,6). When examining it closely, this tone row can be divided into four segments, as shown in Musical Example 4.5: the first four notes form a D-flat major triad with a blue third (F-flat) and include the frequently used pitch-class set (014); the second and third segments, three notes each, both belong to the pitch-class set (025), another primary motive; the fourth segment includes the half-step motion of G to F-sharp—when the G from the fourth segment is combined with the previous segment’s A and D, the third of the most used pitch-class sets, (027), is formed. From this point, only fragments of the 12-tone row are used as a basis of composition. In some instances, the majority of the tone row is present, as can be seen in the alto flute in measures 14–19—in this case, all notes of the prime form of the 12-tone row are used except for the very last F-sharp.

Near the end of the piece in measures 231–234, the piccolo plays the last eight notes of the row in its prime form as the alto flute plays all but the last F-sharp of the tone row again.

Musical Example 4.4. 12-tone row in retrograde (mm. 9–13).

Musical Example 4.5. 12-tone row segments.

Predominately throughout Halil, Bernstein utilizes even smaller fragments and manipulates them,116 using them as a unifying force throughout the work.117 These segments can be analyzed as the pitch-class sets of (014), (027), and (025)118, as referenced above.119 This intervallic style of composition is a common trait within

Bernstein’s output, as noted by several scholars. Jack Gottlieb, in particular, said, “The most prominent feature of Bernstein’s melodic style is the importance it places upon the individual interval—that is, the relationship between two contiguous tones. In fact, it can be said that he actually composes with intervals as his main source materials.”120 These particular sets seen in Halil are obvious favorites of Bernstein’s: the sets (025) and (027) appear multiple times within On the Town in songs such as “I Feel Like I’m Not Out of

Bed Yet” 121 and “New York, New York”122 (Musical Examples 4.6 and 4.7).123 In

116 This same trait can be seen within Bernstein’s Symphony No. 1, Jeremiah, and the ballets Fancy Free and Facsimile. Gottlieb identifies these works and notes that they “are based on the variation and expansion of the segments that make up the themes.” Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations,” 93.

117 Linda Snyder highlights the same compositional trait, saying, “A prominent feature of Bernstein’s melodic style is an emphasis upon the melodic interval as a unifying element.” Linda June Snyder, “Leonard Bernstein’s Works for the Musical Theatre: How the Music Functions Dramatically” (DMA thesis, University of Illinois at Urbana-Champaign, 1982), 21.

118 These can also be classified as Forte numbers 3-3, 3-9, and 3-7, respectively. More information on this type of analysis can be found here: Allen Forte, The Structure of Atonal Music (New Haven: Yale University Press, 1973).

119 Gottlieb discusses the primary intervals utilized by Bernstein, and identifies “a descending minor second followed by a descending major third” as his “Urmotiv (primary motive).” He later identifies “the motive of a descending minor sixth followed by a descending major second” as a relative of the Urmotiv. These two primary motives of Bernstein’s do appear in Halil, but they do not appear nearly as often as the three pitch-class sets identified above. Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations,” 34–43.

120 Ibid., 19.

121 Helen Elizabeth Smith, 18.

122 Ibid., 23. 50

Trouble in Tahiti, (025) appears as a recurring theme initially stated in the character

Sam’s first vocal phrase (Musical Example 4.8).124

Musical Example 4.6. (025) and (027) in “I Feel Like I’m Not Out of Bed Yet” from On the Town (Act 1, no. 2, mm. 2–6); (025) in brackets, (027) in parentheses.

Musical Example 4.7. (027) in “New York, New York” from On the Town (Act 1, no. 2a, mm. 44–47).

On the Town by Leonard Bernstein, Betty Comden, and Adolph Green Copyright © 1977 by Warner Bros, Inc. Leonard Bernstein Music Publishing Company, LLC, Publisher. Boosey & Hawkes, Inc., Sole Agent. All Rights Reserved. International Copyright Secured. Reprinted by permission for the exclusive use of Elsa Kate Nichols, 2018.

123 Smith identifies (025) as the set that appears the most within On the Town, appearing in 13 out of the 23 numbers and in five songs that were cut from the show. “This introduces an almost symphonic level of thematic connection and integration throughout the show.” Helen Elizabeth Smith, 29.

124 Ibid., 59–61. 51

Musical Example 4.8. (025) from m. 6, Scene 1 in Trouble in Tahiti.

Musical Example 4.9. Overlapping (025) sets (m. 41, solo flute).

Musical Example 4.10. Overlapping (025) sets, separated (m. 41).

In the context of Halil, much of Bernstein’s manipulation of these pitch-class sets shows them overlapping each other, especially in quintuplets. An early example of this can be seen in the solo flute in measure 41 (Musical Example 4.9). Musical Example 4.10 shows this same quintuplet pulled apart to show the different sets of (025). In Musical

Example 4.11, measures 52–56 show the entire string section playing varying forms of all 52 three pitch-class sets, with brackets around all instances of (025), circles around (014), and parentheses around (027). In the quintuplets, the pitch-class set (025) is overlapped three different times, as shown in the previous example. This overlapping technique is especially effective when conveying tension and chaos, as can be seen in measure 201.

Here, all of the strings play varying sets of (014), but they all perform these sets in different rhythms, making an otherwise melodically tonal set sound harmonically atonal

(Musical Example 4.12). This is a prime example of Bernstein’s compositional practice of using sets both melodically and harmonically at the same time, a technique that can be

Musical Example 4.11. Overlapping pitch-class sets (mm. 52–56).

Musical Example 4.12. Overlapping (014) sets (m. 201).

seen from the very beginning of Halil. Musical Example 4.13, the first page of the orchestral score, shows the strings and vibraphone playing the pitches E, F, and D-flat, or

(014), in a harmonic context, quickly followed by the solo flute playing those exact pitches at the beginning of the original 12-tone row (forming the D-flat major triad with a blue third, as noted previously). This same thing happens again in a different key in measure 20 with the notes G, F-flat, A-flat, and C-flat, forming an F-flat major triad with a blue third, followed by the flute playing all of the same notes except for C-flat. 54

Musical Example 4.13.Horizontal and vertical utilization of pitch-class sets (page 1 of the orchestral score).

Quotations

Bernstein is well known for using quotations within his music, many times quoting himself, and Halil is no exception. Two major sections within Halil contain material from previously composed works of Bernstein’s: Dybbuk, his ballet from 1974, and CBS Music from 1977, originally broadcasted on April 1, 1978. All three major pitch-class sets used throughout Halil can be seen in these two quoted excerpts. The very first appearance of (025) in Halil at measure 4, containing the notes C, B-flat, and E-flat, is also the head motif of CBS Music; the primary motive from the quoted measures of

Dybbuk is an overlapping combination of (014) and (027), and, at times, two subsequent statements of the motive are connected by (025) (Musical Example 4.14).

Musical Example 4.14. “Dybbuk Theme” (mm. 79–80, solo flute).

Using these same pitch-class sets throughout the rest of Halil allows Bernstein to seamlessly insert these quotations, as noted by Gottlieb:

The head motif consists of three notes: C, B-flat (B in German) and E-flat (Es in German) to stand for the CBS call letters. This profile of a descending major second and a rising interval of the fourth happens to be indigenous to parts of the Dybbuk ballet, particularly in a pas de deux section titled “LC” (for the doomed bride and groom, Leah and Chanon), dated “4 Feb.’73.” It was a section that was eventually cut from the ballet, but subsequently thirteen bars from it were 56

incorporated into the flute concerto, Halil (at con moto, ardente). This is done so smoothly that the lift would not be apparent even to discerning ears. But more front and center, LB organically merges the complete “Fanfare and Titles” of the CBS Music into Halil (Allegro con brio). No seams show. It is a feat of legerdemain accomplished by a musical magician at the top of his game.125

Musical Example 4.15. “Dybbuk Theme” in canon (mm. 75–88, solo flute and solo viola; “Dybbuk Theme” in brackets).

125 Jack Gottlieb, Working with Bernstein: A Memoir, 103–4. 57

Musical Example 4.16. Canonic writing with P0 (mm. 13–19, solo flute and alto flute).

Beginning at measure 75, the excerpt from Dybbuk features an instance of canonic writing, alternating the primary motive between solo viola and solo flute (Musical

Example 4.15); Bernstein uses this imitative technique primarily in atonal sections, which can also be seen in measures 13–19 in the solo flute and alto flute (Musical Example

4.16). Once the thirteen-bar excerpt ends after measure 87, Bernstein continues to use and develop materials from the quotation until larger fragments of the 12-tone row reappear starting in measure 101. From here, Bernstein reduces the instrumentation and the music gets increasingly softer until measure 110, where things suddenly shift, accelerating and rapidly getting louder to launch into the CBS Music quote starting at measure 113.

As previously stated, the primary motive of this CBS Music excerpt is (025), first in E-flat major and then in B-flat major at measure 147. Throughout this section, the strings maintain a consistent rhythmic undercurrent, as the flute plays a lyrical melody

(played in the original piece by strings and then solo trumpet)—all of these elements combined remain within the realm of functional tonality, alternating primarily between pentatonic and jazz chords. That said, they continue with their employment of the primary pitch-class sets. Also noteworthy in this section is Bernstein’s utilization of unpitched percussion. Gottlieb noted Bernstein’s creative use of percussion, saying

“Perhaps more than any other composer of his generation, Bernstein is a master in his imaginative handling of percussion in his orchestral style.”126 In this particular case,

Bernstein utilizes four tom-toms and later four snare drums of different sizes to imitate the pitched instruments. In Musical Example 4.17, the tom-toms imitate the low strings and harp as they contribute to the ostinato line. As noted by Helgert in his analysis, this example also shows one of the few instances of the blue third being treated in a truly jazz manner, as an appoggiatura.127 Musical Example 4.18 shows the snare drums playing with the contrabasses in measures 154–155, imitating the same motive previously played by the solo flute and the glockenspiel in measures 143–144.128

126 Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations,” 206.

127 Lars Erik Helgert, 317.

128 Much advancement in orchestral writing for percussion has been credited to composers such as Stravinsky and Bartók. More information on this style of percussion writing can be found in sources including: Theodore C. Frazeur, “The Successful Use of Percussion in the Modern Orchestra as Exemplified by Three Works of Rogers, Stravinsky, and Bartók” (master’s thesis, University of Rochester, 1956); and Andrew J. Browne, “Aspects of Stravinsky’s Work,” Music & Letters 11, no. 4 (October 1930): 360 – 66. 59

Musical Example 4.17. Imitation of low strings and harp ostinato by tom-toms (mm. 133–136).

Musical Example 4.18. Imitation of solo flute and glockenspiel by snare drums and contrabasses.

Functional Harmonic Usage

In his program notes for Halil, Bernstein references the combating forces of tonality and atonality. The majority of the tonal sections (excluding the CBS Music section) feature what could be considered the main melody of the piece, which will from this point be designated as “Yadin’s Theme” (Musical Example 4.19). When looking at this melody, one can see similarities to the original 12-tone row, especially when note repetitions are removed from each.129 This comparison is exhibited in Musical Example

4.20, showing that there are only minor differences: the first and third notes of “Yadin’s

Theme” are a half-step higher than the 12-tone row, the fifth and sixth notes of each are reversed, and “Yadin’s Theme” only consists of seven notes rather than the full twelve.

As referenced in chapter 3, Bernstein was particularly inspired by this melody: “A tune came to me that occurred to me as a flute tune—almost a pop song, very diatonic, very simple. I fooled around with it and then found that it led to all kinds of very symphonic things. So before I knew it, I was off and writing a flute piece.”130 Based on this, as well as the comparison above, it can be assumed that “Yadin’s Theme” came first, and therefore inspired the creation of the 12-tone row.

129 Lars Erik Helgert, 324–25.

130 Andrew Porter. 61

Musical Example 4.19. “Yadin’s Theme” (mm. 28–44, solo flute).

Musical Example 4.20. “Yadin’s Theme” compared with P0.

As the solo flute introduces “Yadin’s Theme” in the first tonal section of the piece, the strings and the harp maintain the sense of tonality with the chords they perform. For the majority of these tonal segments, there is an alternation between pentatonic and jazz influenced chords, particularly an alternation between D-flat Pentatonic and A-flat 7 (add

11) and, beginning at measure 237, the same alternation a half-step higher, D Pentatonic and A7 (add 11). This can be seen in Musical Example 4.21, which shows this alternation 62 from measure 31 to 35; however, in this particular instance, the second pentatonic chord presented is in B-flat, rather than the usual D-flat. Andrew Porter of The New Yorker references this harmonic motion, saying, “The tune itself is a beguiling D-flat melody, andante tranquillo, swaying gracefully between D-flat and A-flat.”131

Musical Example 4.21. Pitch-class sets within tonality (mm. 31–35).

131 Andrew Porter. 63

Although the application of set theory analysis is predominantly used for atonal compositions, this form of analysis is appropriate for Bernstein’s tonal material as well— while Bernstein uses the sets (014), (027), and (025) and overlaps them to depict a sense of atonality, these same sets are easily applied to the tonal sections. Revisiting Musical

Example 4.21, the harp is playing the same chords as the rest of the strings but playing them as broken chords. The way that these broken chords have been voiced has created sets of (027), ranging from one set to three overlapping sets (shown within parentheses), depending on the chord.132 The set (025) also appears in this example within sets of brackets in the solo flute at the anacrusis to measure 32 and then in the solo viola and vibraphone starting on beat 3 of measure 32. These are prime examples of competing elements permeating opposing sections. Conversely, fragments of the tonal “Yadin’s

Theme” can be found at various points of the atonal sections, for example, at measure 22 in the alto flute and the anacrusis to measure 25 in the solo viola and vibraphone, foreshadowing the initial appearance of “Yadin’s Theme” in the next section.

Form

Bernstein also states in his program notes that Halil “is formally unlike any other work I have written, but is like much of my music in its struggle between tonal and non- tonal forces.”133 In this case, Bernstein’s affinity for juxtapositions permeates into the

132 Gottlieb points out a similar passage in the ballet Fancy Free, saying, “The accompaniment is also intervallic rather than harmonic, although it does imply chords.” Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations,” 21.

133 Leonard Bernstein, Halil. 64 overall formal structure. During the majority of the work, there is a clear division of sections alternating from atonal to tonal music, keeping in mind that at times, some of the opposing materials appear in sections in which they seem incongruous. While the majority of the changes between sections have a clearly audible shift, as well as some form of visual change (including double bar lines, tempo changes, key changes, etc.), more overlap occurs in the final few sections, making section changes somewhat more ambiguous.

Programmatically speaking, this alternation of tonality in sections depicts the constant struggle between war and the innocence that accompanies peace, ultimately ending without complete resolution. This lack of resolution at the end of Halil is reflective of what humanity has suffered throughout history and continues to struggle with, conveying that impending conflict is always looming as a possibility. The table below outlines the section divisions and the compositional elements each contains, and programmatic suggestions primarily based on the author’s suppositions are included, when applicable.134 Musical Examples 4.22 through 4.26, referenced in the table, are placed below.

134 Most of the programmatic ideas presented occur in the flute cadenza and at the end of the piece. Although the basic oppositional forces of war and peace are referred to when discussing Halil, as well as the idea of Yadin’s death at the end of the cadenza, the author has presented new interpretation to consider. Quotations from outside sources regarding programmatic interpretation are also included as they are available. 65

Possible Programmatic Programmatic Possible Interpretation

- flat 7 (add 7 (add flat - 45); first45); Musical Musical – 36, see 36, see – influenced chords in the the chords in influenced - fragments by the by the fragments 87); canonic playing of playing canonic 87); – tone row fragments with row with fragments tone

row

flat Pentatonic and A and Pentatonic flat 0 - tone tone - (mm. 75 (mm. rhythms in the strings; solo flute solo flute strings; the in rhythms

tone row fragments of the piece (all (all row of fragments piece tone the influenced chords in the strings; 12 strings; the chords in influenced - sharp); vertical/horizontal usage of usage vertical/horizontal sharp); - - Dybbuk Dybbuk 4.21) and later alto flute (mm. 43 (mm. flute alto later 4.21) and of solo (027)] in (014) and [overlap Theme” of fragments measures; quoted beyond Theme” fragments in solo flute; solo flute reclaims reclaims solo flute solo flute; in fragments

tone row (three times in solo flute: P0, R0, P0); solo flute: in times row (three tone - hone and solo viola (mm. 32 (mm. solo viola and hone class sets (m. 1, m. 20) 1, m. sets (m. class - row

. tch Dybbuk Dybbuk Dybbuk Compositional Elements 12 Full plays flute alto flute, alto and solo flute between canon 12 of larger one the F last except notes pi solo flute; the in of “Yadin’s Introduction Theme” jazz and of pentatonic alternation D strings [predominately of 12 interjection 11)]; vibrap Example a 45, strings play m. at “Yadin’s over Theme” take violins section short Appassionata by use of 12 Chaos depicted sets and overlapping of fragments P0 larger plays of alternation first in violins; returns “Yadin’s Theme” jazz and pentatonic tone 7 m. in “Yadin’s Theme” from Excerpt “ of development and incorporation solo viola; and flute “ Halil

Dybbuk Dybbuk Tonality Atonal Tonal Atonal Tonal Atonal ( quote)

Table 4.1. Form of Table 51 59 73 112 25 – – – – – Measures 1 26 52 60 74

the snare drum rim shots at shots at rim drum snare the

135 the against placed solo flute The percussion ofopposition rolling of innocence the represent may of brutality the enters as he Yadin war; be could of cadenza end the the midst the as gunfire in perceived -

to to

flat flat 106 has -

– F

at m. 177 m. at Musical Musical

CBS Music Music CBS canonic canonic fragments fragments Theme” Theme” entatonic (in (in entatonic blue 3rd [A blue crescendo

— “Again,

e cadenza e in strings at m. m. strings at in marking CBS CBS

flat P flat - one row one t appears 025) stated in E in 025) stated - part at part flat]); “ flat]);

including overlapping overlapping including

- , into the flut the into

es toms imitate; solo flute plays plays solo flute imitate; toms Theme” ( Theme” - flat major; a new section not in in not new section a major; flat - CBS Music Music CBS entatonic ostinato entatonic through rehearsal through 108; acceleration and and acceleration 108;

4.22); a different ending from the from different the a ending 4.22); CBS CBS –

CBS Music CBS launch

, tam, bass drum, and timpani accompany accompany timpani bassand drum, tam, - tone row (P0) reappear in mm. 101 mm. in row (P0) tone reappear - 12 strings in then flute, alto and solo flute in 107 mm. section next to segue from section “Fanfare Titles” and “ (1977); F P major; 121, four tom on A based melody lyrical of F contains major, context the [E 7th blue and flat] B in restated original the piccolo and solo flute between writing 160, four four m. drums and snare at begins polyrhythms wood imitate; blocks strings and upper three, (low strings in five) ( in two, solo flute in piccolo Example original the 201 in m. sets of at rhythms (014) and strings 12 between Alternation rolling fragments; “Yadin’sand Theme” tam of wood drum, snare interjections with percussion other and chime, blocks, solo flute instruments; childlike” CBS CBS

( Tonal Music quote) Tonal/ Atonal

201 – 113 202 (Cadenza)

135 In his March 1982 review, Henahan references the overall sense of struggle, “particularly in a central section where the soft-voiced flute finds itself matched against a hostile-sounding percussion section.” It can be assumed that he is referring to the cadenza, as this is the only section with just flute and percussion. Donal Henahan, “Philharmonic: ‘Halil,’ New Nocturne by Bernstein.” 67

en en 137 initial initial

Halil — he he 136 toned alto flute flute alto toned -

brings possible brings possible the solo flute falls silent as if to falls solo flute silent the the duet between dark between duet the — — spirit departing from …T Yadin. departing spirit

war; the solo flute’s end on F7 has been on F7 solo flute’s end has been the war; of as Yadin’s death by many perceived Yadin’s death to reaction Immediate tonality then chaos, the and of has happened what realization that accompanies that pain sleep as “the section this describes Burton night of unmistakable terror an the after battle hidd a and suggest Yadin’s wasteful death, for metaphor touching as a is heard flute alto the which with of blessing peace tranquil ends effective…” is particularly solo viola and

J; row tone tone - H; fff the the 4.24a) arp) 4.23 at

tone tone sh - rth, rth, - row sets section (m. (m. section fo marking marking

- Theme;” Theme;” marking marking

tone tone sal - and - 4.24b); small small 4.24b);

Theme” returns returns Theme” Dybbuk CBS Music Music CBS (025)/(027) the alto flute by m. 223; 223; by m. flute alto the

Musical Example Musical Musical Example Musical Dybbuk Dybbuk ; “ ; fragments back fragments separate Musical Example Musical two [ time same shows of first two measures the (025)] and solo flute with canonically rehearsal at xylophone and flute between writing canonic from piccolo rehear at 160) returns and desperate, more become things shotsthe in rim ends with cadenza the on fluttering flute the and drum snare ( F7 an note 12 playing Strings reappear at tremolos frantic in fragments ( is heard offragment “Yadin’s Theme” tonality 206; m. low strings at the in 210, 12 m. at returns are “Yadin’s and fragments Theme” down quiet rapidly as things played pass 12 solo viola and flute Alto row “ the including viola, the in starts augmentation followed by piccolo 230; m. at reenters piccolo of fragments larger play flute alto and alto notes, eight last plays P0 (piccolo F last except all plays flute

Atonal/ Tonal Tonal

217 236 – – 203 218

136 Gottlieb refers to this programmatic aspect, saying, “Bernstein was reluctant to reveal that the pyrotechnical cadenza section depicted the slaughter of the Israeli soldier, but critics were quick to note this programmatic aspect of the work.” Jack Gottlieb, Working with Bernstein: A Memoir, 271.

137 Humphrey Burton, 465. 68

; the the ; 139 138

present - Nostalgic, seeming like an an like seeming Nostalgic, of epilogue/reflection result has passed as a what of war the piccolo the Ascension in followed flute by alto and of solo the reentry the represent could flute into Yadin’s ascension olam haba that hints resolution left is being conflict third blue the but behind, the to ambiguity adding warn that could resolution is conflict impending ever -

4.26); 4.26);

e blue third third blue e Musical Musical flat as long as as long flat - this is very is very this — flat major ( major flat - 4.25); all seems seems all 4.25); n of pentatonic and jazz and n of pentatonic

Musical Example Musical step higher [predominately D [predominately higher step - flat) in the harp and first and harp the in flat) - First violins play “Yadin’s Theme” “Yadin’s Theme” play First violins the back strings bring other while alternatio chords influenced through first time the to similar is everything but “Yadin’s Theme,” half a A711)] and (add Pentatonic previous in ofEnd “Yadin’s Theme” hopeful a into launches section flute; alto and of piccolo reentry alternate, flute alto and piccolo solo the until ascending gradually 261, resolving m. in returns flute D to finally Example for the except resolved completely of th short reappearance (E/F ( violins sustains D solo flute piece the end to possible

Tonal Tonal

250 267 – – 237 251 (Coda)

138 “A number of Hebrew phrases relate to the idea of afterlife. These phrases themselves are subject to various interpretations. Perhaps the most popular term for afterlife is olam haba, the future world. …A widely held view, propounded by Moses Maimonides, suggests that when the body dies, the soul returns to God. The soul is immortal and will live forever in olam haba.” Leon Klenicki and Geoffrey Wigoder, ed., A Dictionary of the Jewish-Christian Dialogue, Expanded ed. (Mahwah, NJ: Paulist Press, 1995), s.v. “Afterlife: Jewish View,” by Marc Angel.

139 Joseph Stevenson had a similar opinion regarding the programmatic meaning of the end of the piece: “In the end there is a hanging uncertainty: though consolation has been gained for past losses, the music does not let the listener forget that hostility is ever ready to return.” Joseph Stevenson, “Leonard Bernstein: Halil, Nocturne for Flute Solo, Piccolo, Alto Flute, Percussion & Harp; Also for Flute, Piano & Percussion,” AllMusic, accessed October 4, 2017, https://www.allmusic.com/composition/halil-nocturne- for-flute-solo-piccolo-alto-flute-percussion-harp-also-for-flute-piano-percussion-mc0002359531. 69

Musical Example 4.22. Polyrhythms during CBS Music section, starting at m. 177 (low strings in three, upper strings and piccolo in two, solo flute in five).

Musical Example 4.23. Cadenza: solo flute part at “Again, childlike” through rehearsal marking F has two separate (025)/(027) sets at the same time.

Musical Example 4.24a. Conclusion of the flute cadenza.

Musical Example 4.24b. Conclusion of the flute cadenza.

Halil by Leonard Bernstein Copyright © 1981 by The Estate of Leonard Bernstein. Copyright Renewed. Leonard Bernstein Music Publishing Company, LLC, Publisher Boosey & Hawkes, Inc., Sole Agent Reprinted by permission for the exclusive use of Elsa Kate Nichols, 2018.

Musical Example 4.25. Ascending flutes, mm. 251–267.

Musical Example 4.26. Interruption of D-flat resolution with blue third in strings (mm. 262–267, blue third circled).

CHAPTER FIVE: CONCLUSION

Although the flute concertos with the highest rate of performance continue to be

European, the results from my survey show that American flute concertos follow closely behind, including Bernstein’s Halil. In the data concerning Halil from the fifteen orchestras surveyed, names of many prominent musicians appear, including flutists Julius

Baker, Leone Buyse, Doriot Anthony Dwyer, Paul Edmond-Davies, Jean-Pierre Rampal, and Paula Robison and conductors Marin Alsop, Bernard Haitink, Michael Tilson

Thomas, Edo de Waart, John Williams, and Leonard Bernstein, himself. While Halil may not have received exceptional critical reviews after its premiere, time has allowed for much improvement, and it is now regarded as “among the best” of Bernstein’s later compositions.140

In many aspects, Halil is an important piece within Bernstein’s œuvre. Much of the compositional techniques he uses in this work are identical to those used in his other major works that are perhaps considered better known. As a later work, Halil seems to be more of a culmination of all these stylistic traits accrued over his career, and is representative of the compositional output in the later part of his life. Jamie Bernstein expresses this same sentiment: “Halil is certainly in the same sonic category as the other pieces my father was writing in his later years: much thornier, much denser, less crowd- pleasing, perhaps. He himself was a more complicated person by then, having

140 Nigel Simeone, 534. 74 experienced so much in life. I think his music from that later time reflects that mature complexity.”141

While Bernstein had used many of the compositional aspects of Halil in previous works, including juxtapositions, programmatic writing, and very tonally-oriented serialism, Halil takes things a step further—in this case, Bernstein’s typical juxtaposition has permeated the entire formal structure, a new feature that he acknowledges in his program notes for the work: “Halil…is formally unlike any other work I have written but is like much of my music in its struggle between tonal and non-tonal forces.”142 This work is also representative of the social causes that Bernstein fully believed in, in this case being the futility of war and his connection to Israel. As observed by Jamie

Bernstein: “Yes, the piece does of course reflect my father's connection to Israel. He was there in 1948, performing for the troops in the Negev Desert, participating in Israel's birth. It was an experience he never forgot, and Halil was one way he found to express his deep connection.”143 Considering that the work reflects historical events and utilizes compositional trends of the twentieth century, as well as having been written by “one of the most vital musicians America has ever produced,”144 Halil truly is a staple within the repertoire of twentieth century American flute concertos.

141 Jamie Bernstein, e-mail message to author, March 26, 2018.

142 Leonard Bernstein, Halil.

143 Jamie Bernstein, e-mail message to author, March 26, 2018.

144 Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations,” 1. 75

APPENDIX A: CORRESPONDENCE SENT TO SURVEYED ORCHESTRAS

Hello,

I am a doctoral student at the University of Arizona. I’m doing some research for my lecture recital document involving the frequency of performance of 20th century European and American flute concertos, so I’ve been looking through concert program archives of top orchestras. Do you have any way of accessing information like that? I would love to incorporate [orchestra name] in the statistics.

Thank you! Kate Nichols

Total/Without Reduced Reduced Total/Without Orchestras List 61/46 60/49 46/32 29/24 23/22 22 17 11 9 8 8 7 7 5 5 5 4 4 3 3 3 3 2 1

, Op. 50 (1944) 1997)

(1954)

–

(1985)

Orchestra (1995 Orchestra (1981)

(1936) (1993)

(1922)

A Portrait of Roger Baker Roger of Portrait A (1975)

(1971,arr.1988) for Fluteandfor Orchestra (1978) (1918) (1981)

Poem Poem Halil Soliloquy Night Fantasy Piper Pied Piece Night A and Flute for Music (1935) Op.35 Serenade, Concerto Renaissance (1971) Concerto Concerto Lyric (1989) Concerto (1989) Concerto Concerto: II Orfeo (1993) Concerto (1969) Concerto (1977) Concerto Music (1939) 1 No. Concerto Urardu) of God Dawn the of (name Elibris (1992) 39 Op. Concerto, (1988) Concerto (1983) Concerto Voyage

: ORCHESTRA: SURVEY OF CENTURYCONCERTOS 20th FLUTE PERFORMED

1990)

– 61)

1981) 2015)

1920) 2000) –

1989) – – 2007) – 1976) – 2014) 2009) 2003) 1937) – – 1983) – 2003) – – – 2009) – – – APPENDIX B Marc (b. 1946) (b. Marc Concertos Flute American (1884 Charles *Griffes, (1918 Leonard *Bernstein, (1913 Kent *Kennan, 1938) (b. John *Corigliano, (1853 Arthur *Foote, (1930 Lorin *Maazel, Howard(1896 *Hanson, (1922 Lukas *Foss, (1894 Walter *Piston, 1938) (b. William Bolcom, 1939) (b. Taafe Ellen *Zwilich, Neikrug, (1896 Virgil Thomson, 1928) (b. Thea Musgrave, 1949) (b. Christopher *Rouse, 1932) (b. John Williams, Imbrie,Andrew (1921 (1919 Leon Kirchner, (1917 Lou Harrison, (1911 Alan Hovhaness, 19 (b. Lowell Liebermann, (1925 Gunther Schuller, (1923 Peter Mennin, 1938) (b. John Corigliano, 77

1 1 1 1 1 1 1 1 1 1 Reduced Total/Without Orchestras List 117/105 64/54 37/32 23/18 20 16/12 5 5 5 4 4 4 4 3

(1992) (1900)

(1976)

(1994)

Flute and Percussion (1965) Percussion and Flute

(1978) (1976)

(1983)

Medieval Suite Medieval (1964) Concerto (1948) Orchestra and Flute for Bagatelle System Fluid a as Atmosphere The (1973) Concerto IrishVapours and Capers (1922) 1 No. Soliloquy Mordents & Turns Bells Evening the of Canticle (1952) Strings and Flute for Air (1933) Concerto (1926) Concerto (1902) 107 Op. Concertino, 1968) (arr. Concerto “Carmen” sur Brillante Fantaisie (1939) Ballade (1946) Concerto (1902) 32 Op. Capriccio, (1908) 283 Op. Concerto, (1949) Concerto for Concert en Suite Pastoral Concierto (1902) 43 Op. 1, No. Concerto (1957) Instruments 14 and Flute for I Serenata

1978)

–

1944)

–

1995) 1999)

1929) – 1918) 1968)

1910) – 1920)

– 1974) – 1974) – 1962) 2005) – – 2013) (1903 1931) – 1974) 2014) – – – – 1957) – – – 1980) – – (1932 Flute Concertos Flute Hoover, Katherine (b. 1937) (b. Katherine Hoover, (1931 Gerald Humel, (1888 Victor Kolar, 1950) (b. Libby Larsen, Henri Lazarof, (1930 Lorin Maazel, (1893 Bernard Rogers, 1946) (b. Bruce Saylor, 1943) (b. Joseph Schwantner, (1907 Alec Wilder, European (1890 Jacques *Ibert, (1865 Carl *Nielsen, (1857 Cécile *Chaminade, Aram *Khachaturian, (1840 François Borne, (1890 Frank *Martin, (1913 Hans Henkemans, (1844 Lothar Kempter, (1824 Carl *Reinecke, (1905 Andre *Jolivet, Andre Jolivet, (1905 (1901 Joaquin Rodrigo, (1838 Theodor Verhey, 1925) (b. Luciano Berio, 78

3 3 3 3 3 3 3 3 3 2 2 1 1 1 1 1 1 1 1 1 1 1 1

(1954,arr.1984)

1983)

–

(1941)

(1984) (1970)

(1992)

Musik - (1961)

certo (1944) certo Concerto (1952) Concerto (1965) 85 Op. Concerto, Music Night (1954) Concerto Turm (1990) Concerto Alba Concerto (1960) Concerto Gentilhombre un para Fantasia (1953) 29 Op. Concerto, 2006) orchestra with arr. (1980, Instruments Wind Eight and Flute for Concerto (1954) 45 Op. Concerto, (1949) Concerto (1955) Concerto Suite Pastoral Con (1964) Concertino (1978) Concerto (1903) Ballade (1972) Concerto (1957) Concerto (1981 Concerto

2009)

– 1987)

–

2003)

2008) 2002) – 2003) 1989)

– – 1999) 2007) – – 1988) 1985) 2008) 1936) – – – – – – 2015) 2006) 1957) 2007) – 1988) – – – – (b.1949) ich (1925 ř lderhof, Jan (1907 Berkeley, Lennox (1903 Lennox Berkeley, (1919 van Lex Delden, (1906 Antal Doráti, Jind Feld, 1939) (b. Heinz Holliger, (1939 John McCabe, (1914 Wilfrid Mellers, 1933) (b. Krzysztof Penderecki, (1904 Goffredo Petrassi, (1901 Joaquin Rodrigo, (1921 Werner Thärichen, (1905 William Alwyn, 1921) (b. Malcolm Arnold, (1881 Sem Dresden, Fe (1908 de Gunnar Frumerie, (1909 Harald Genzmer, (1930 Günther Hans Kochan, 1934) (b. Siegfried Matthus, (1846 Albert Périlhou, (1931 Gerhard Rosenfeld, (1908 Edward Staempfli, Manfred Trojahn, searches list reduced in included *Concertos 79

us us erliner erliner listed under

List Reduced Orchestra Symphony Dallas Philharmonic Angeles Los Montréal de Symphonique Orchestre IncompleteArchive Philharmoniker Berliner

Orchestra

This survey was conducted in 2018 by consulting archives available online and contacting librarians and archivists from vario from archivists and librarians contacting and online available archives consulting by 2018 in conducted was survey This orchestras The below. listed are and results the in included been have respond to able were who Those orchestras. B The titles. specific of list smaller a for look to had instead and search general a do to unable were Search” “ReducedList tour. on concerts and concerts early some for except complete is Philharmoniker Survey: in Included Orchestras Search General Orchestra Symphony Boston Orchestra Cleveland Symphony London Orchestra Minnesota Orchestra Symphony National Philharmonic York New Orchestra Symphony Pittsburgh Orchestra Concertgebouw Royal Dresden Staatskapelle Sächsische Symphony Francisco San Philharmonic Vienna

2018)

–

Total/Without Reduced Reduced Total/Without Orchestras List 60/49 29/24 23 22 13 11 8 8 7 5 5 5 3 3 3 3 2 1 1 1 1 1 1

1997) –

(1992)

(1976)

(1994)

(1985)

Orchestra (1995 Orchestra (1981)

(1976)

(1936) (1993)

(1983) 20th CENTURYCONCERTOS20th FLUTE PERFORMED (MAY 1981

(1922)

(1969) (1975)

(1971,arr.1988) (1918) (1981)

Halil Fantasy Piper Pied Poem and Flute for Music Concerto Renaissance Soliloquy Night Concerto Lyric (1989) Concerto (1989) Concerto Piece Night A II Orfeo (1993) Concerto (1939) 1 No. Concerto (1992) 39 Op. Concerto, (1988) Concerto Concerto (1983) Concerto Voyage System Fluid a as Atmosphere The Suite Medieval IrishVapours and Capers Mordents & Turns Bells Evening the of Canticle

1990)

–

2015)

1920)

–

2014) 2003) 1937) 1983) – 2014) 2003) – – 2009) – – – : ORCHESTRA: SURVEY OF – (b.1938) in (1930 APPENDIX C Concertos Flute American (1918 Leonard *Bernstein, John *Corigliano, (1884 Charles *Griffes, (1930 Lorin *Maazel, (1922 Lukas *Foss, (1913 Kent *Kennan, 1938) (b. William Bolcom, 1939) (b. Taafe Ellen *Zwilich, 1946) (b. Marc Neikrug, (1853 Arthur *Foote, 1928) (b. Thea Musgrave, 1949) (b. Christopher *Rouse, (1917 Lou Harrison, 1961) (b. Lowell Liebermann, (1925 Gunther Schuller, 1932) (b. John Williams, (1923 Peter Mennin, 1938) (b. John Corigliano, 1950) (b. Libby Larsen, 1937) (b. Katherine Hoover, Lor Maazel, 1946) (b. Bruce Saylor, 1943) (b. Joseph Schwantner,

Total/Without Reduced Reduced Total/Without Orchestras List 70 50 20 19 18 11 5 3 3 3 3 3 2 1 1 1

(1900)

(1954,arr.1984)

(1978)

1983)

–

(1984)

Musik - Concerto (1933) Concerto (1926) Concerto “Carmen” sur Brillante Fantaisie (1902) 107 Op. Concertino, 1968) (arr. Concerto (1939) Ballade (1908) 283 Op. Concerto, (1954) Concerto Turm (1949) Concerto (1990) Concerto (1992) Concerto Gentilhombre un para Fantasia 2006) orchestra with arr. (1980, Instruments Wind Eight and Flute for Concerto Pastoral Concierto (1981 Concerto

1978)

–

1944)

–

1999) 1999) 1985) 1910) – – 1920) 1974) 1974) – 1962) – – 2015) 1931) – – 2007) – – – (1857 – 901 ich (1925 ř European Flute Concertos European Flute (1890 Jacques *Ibert, (1865 Carl *Nielsen, (1840 François Borne, Cécile *Chaminade, Aram(1903 *Khachaturian, (1890 Frank *Martin, (1824 Carl *Reinecke, Jind Feld, 1939) (b. Heinz Holliger, (1905 Andre *Jolivet, (1939 John McCabe, 1933) (b. Krzysztof Penderecki, (1 Joaquin Rodrigo, (1905 William Alwyn, (1901 Joaquin Rodrigo, 1949) (b. Manfred Trojahn, searches list reduced in included *Concertos 82

HALIL

) 3/24/1982, 3/25/1982, 3/26/1982, 3/27/1982, 3/26/1982, 3/25/1982, 3/24/1982,

American Premiere American

by Bernstein: 20 out of 53 (Los Angeles data unknown) data Angeles (Los 53 of out 20 Bernstein: by

American Premiere American

Date(s) 3/19/1982, 3/18/1982, 3/17/1982, 3/16/1982, 3/30/1982 8/28/1993 11/26/1988 (2x), 11/25/1988 11/19/1988, 11/18/1988, 11/16/1988, * 7/4/1981 8/11/1982 10/12/1988 1/27/1991 9/19/1984 1/16/2009 1/16/1994 1/15/1994, 1/14/1994, 1/13/1994, 3/3/1984, 3/2/1984, 3/1/1984, 2/29/1984, 3/16/1997 3/15/1997, 3/13/1997, 3/12/1997, 7/23/1995, 9/22/2017 11/1/1988, 10/30/1988, 10/29/1988, 9/22/1988, 9/13/1988, 9/10/1988, 9/8/1988, 9/7/1988, 11/5/1988 11/2/1988, 1/14/1989 1/13/1989, 1/12/1989, 11/5/2017 3/10/2001 3/9/2001, 3/8/2001, Conducted ( 1 Orchestra: Symphony Boston 4 Orchestra: Symphony National 5 Philharmonic: York New tour) (concert 10 Philharmonic: Vienna

: ORCHESTRA: SURVEY OF PERFORMANCES OF BERNSTEIN’S

Conductor Bernstein Leonard JohnWilliams Waart de Edo Bernstein Leonard Nowak Grzegorz Bernstein Leonard Thomas Tilson Michael Lankester Michael Vänskä Osmo Mata Eduardo Thomas Tilson Michael Nelsons Andris Bernstein Leonard Waart de Edo Alsop Marin Haitink Bernard NDIX D

APPE

Pierre

Davies, Paul Davies, Paul Davies, - -

Soloist Julius Baker, Leone Buyse, Timothy Day, Anthony Doriot Dwyer, Anthony Doriot Dwyer, Edmond Edmond Bernard Goldberg, Adam Kuenzel, Jean Rampal, Paula Robison, Elizabeth Rowe, Wolfgang Schulz, Paul Verhey, Adam Walker, Jacques Zoon, lifetime: Bernstein’s during Performances 18 death: Bernstein’s After 83

2018)

–

Total/Without Reduced Reduced Total/Without Orchestras List 22 18 7 7 5 5 2 Reduced Total/Without Orchestras List 45 28 19 10 8 5 3

(1900)

(1985)

(1981)

(1936)

(1922)

(1918)

(1981)

Pied Piper Fantasy Piper Pied Halil Concerto Renaissance Soliloquy Night Poem (1989) Concerto Piece Night A (1933) Concerto (1926) Concerto “Carmen” sur Brillante Fantaisie (1902) 107 Op. Concertino, 1968) (arr. Concerto (1939) Ballade (1908) 283 Op. Concerto,

1978)

1990) –

1944)

–

– 1920) 1910) – 1920) 1974) 2003) 1962) 1937) – – 1931) – – – – 2009) – : ORCHESTRA: SURVEY OF CENTURYCONCERTOS 20th FLUTE PERFORMED (OCT. 1990 – APPENDIX E Concertos Flute American 1938) (b. John *Corigliano, (1918 Leonard *Bernstein, (1922 Lukas *Foss, (1913 Kent *Kennan, (1884 Charles *Griffes, 1939) (b. Taafe Ellen *Zwilich, (1853 Arthur *Foote, Concertos European Flute (1890 Jacques *Ibert, (1865 Carl *Nielsen, (1840 François Borne, (1857 Cécile *Chaminade, Aram(1903 *Khachaturian, (1890 Frank *Martin, (1824 Carl *Reinecke, searches list reduced in included *Concertos 84

Written while in the US the in while Written (1918) (1922) (1922) (1923) (1924) (1935) (1936) (1939) (1939) (1940) (1944) (1944) (1944) (1945) (1946) (1948) * (1948) (1949) (1952) (1953)

, Op.

, Op. 40

(forflute, oboe, or clarinet solo)

Poem Piece Night A 1 No. Soliloquy Concertino Scene Lyric Op.35 Serenade, Soliloquy Night Concertino 1 No. Concerto Ode Pastoral Urardu) of God Dawn the of (name Elibris Concerto Concertino Dawn Mountain 66 Op. Threnody, Concerto Orchestra and Flute for Bagatelle Colloquy Strings and Flute for Air Antoniano Concerto

1971)

–

1965)

2008)

–

– 1959) 1976) – 2000) – 1994) 1981) 1968) 1920) – – – – – 2005) 1983) 1996) 1996) 2003) 2003) : 20th CENTURY 20th AMERICAN: AND EUROPEAN CONCERTOS FLUTE (BY ORIGIN AND DATE) 1937) 1957) – 2008) – 1980) – – – – – – – – ouis (1906 ouis

born American composer American born - ec (1907 ec born American composer American born - Bernard (1893 Bernard APPENDIX F Latvian Canadian American (1884 Charles Griffes, (1853 Arthur Foote, Rogers, (1900 Otto Luening, (1900 Otto Luening, (1896 Howard Hanson, (1913 Kent Kennan, (1913 Norman Joio, Dello (1917 Lou Harrison, (1878 Wheeler Mabel Daniels, (1911 Alan Hovhaness, L Gesensway, * (1923 Peter Mennin, (1897 Lamar Stringfield, (1913 Gardner Read, (1894 Aaron Avshalomov, (1888 Victor Kolar, (1913 Henry Brant, * Al Wilder, (1928 Nicolas Flagello, 85

(1954) (1954) (1955) (1957) (1958) (1960) (1962) (1963) (1964) (1964) (1965) (1967) (1967) (1968) (1969) (1970) (1971) (1972) (1973) (1976) (1976) (1977) (1977) (1978)

147

Orchestra

Why Not? Why A Portrait of Roger Baker Roger of Portrait A

—

Suite for Flute and Piano/Strings, Op. Op. Piano/Strings, and Flute for Suite Concerto: 3 No. 59, Op. Ostinato, Modale Suite (Maybe…) Poems Last Two Concerto Strings and Flute for Movements Concerto Concerto Players 10 and Flute for Concerto Chamber Odyssey Metal and Flute for Concerto Aulos Concerto Concerto Music Night Concerto Bodies Celestial Concerto Mordents & Turns Bells Evening the of Canticle Concerto Concerto Orchestra and Flute

2015) 1987)

1991) 1989) – – 2007) 2015) – – 2005) – 2013) – 1976) 1991) 1979) 1959) 1959) – – 1995) 1988) – 2008) – – – – – – – 2018) – (1896 born American composer American born - Czech origin, Austrian then American then Austrian origin, Czech Canadian 1943 in citizen American naturalized Hungarian, America in career Bulgarian, Krenek, Ernst (1900 Ernst Krenek, * Virgil Thomson, (1932 Alan Stout, (1880 Ernest Bloch, (1880 Ernest Bloch, (1909 Elie Siegmeister, (1925 Gunther Schuller, 1927) (b. Lou Emma Diemer, (1931 Gerald Humel, 1938) (b. Charles Wuorinen, (1913 Henry Brant, * 1946) (b. Randall Croley, (1917 Ulysses Kay, (1913 Eldin Burton, 1932) (b. John Williams, (1906 Antal Doráti, * (1894 Walter Piston, (1924 Ezra Laderman, (1932 Henri Lazarof, * 1946) (b. Bruce Saylor, 1943) (b. Joseph Schwantner, 1928) (b. Samuel Adler, Imbrie,Andrew (1921 (1926 Morton Feldman, 86

1997)

– (1978) (1978) (1980) (1980) (1981) (1981) (1983) (1983) (1983) (1985) (1986) (1986) (1987) (1987) (1971,arr.1988) (1988) (1988) (1988) (1989) (1989) (1990) (1990) (1992) (1992) (1993) (1993) (1994) (1995

Vapours and Capers and Vapours

Music for Flute and Orchestra and Flute for Music Concerto Concerto 48 Op. Concerto, Halil Fantasy Piper Pied Concerto Suite Medieval Concerto Concerto Renaissance Concerto Concerto Bells the of Song Ruah Voyage Concerto SummerNocturne Concerto Concerto Concerto Shadows of Play A Concerto System Fluid a as Atmosphere The 39 Op. Concerto, Concerto Lyric Concerto Irish Orchestra and Flute for Music

1990)

2013)

–

2015) –

2005) –

1983) 2015)

–

2009) 1996) – –

1983) 2014) 2014) – – 1996) – – – 2009) – – Katherine (b. 1937) (b. Katherine Lorin (1930 Lorin Kirchner, Leon (1919 Leon Kirchner, (1913 Jerome Moross, (1926 Paul Cooper, (1920 John Montaine, La (1918 Leonard Bernstein, 1938) (b. John Corigliano, (1913 Morton Gould, Hoover, (1923 Peter Mennin, (1922 Lukas Foss, (1915 David Diamond, (1924 Ezra Laderman, 1954) (b. Robert Beaser, 1949) (b. Judith Shatin, 1938) (b. John Corigliano, 1954) (b. Eric Ewazen, 1930) (b. P. William Perry, (1925 Gunther Schuller, 1946) (b. Marc Neikrug, 1939) (b. Taafe Ellen Zwilich, 1943) (b. Joseph Schwantner, 1938) (b. Joan Tower, 1950) (b. Libby Larsen, 1961) (b. Lowell Liebermann, 1938) (b. William Bolcom, 1949) (b. Christopher Rouse, Maazel, (1930 Lorin Maazel, 87

Pulitzer Prize Pulitzer

(1996) (1997) (1999) (1999)* (1900) (1901) (1902) (1902) (1902) (1903) (1908) (1920) (1926) (1928) (1933) (1935) (1938) (1939) (1941) (1942) (1942) (1944) (1944) (1944)

, Op. 55

(Concertino)

, Op.44

Renascence Flute Golden The Moon Flute Concerto “Carmen” sur Brillante Fantaisie Nocturne 107 Op. Concertino, 32 Op. Capriccio, 43 Op. 1, No. Concerto Ballade 283 Op. Concerto, 52 Op. Orchestra, Small and Flute for Divertimento Concerto Aria Concerto Pictures Three Concerto Ballade Suite Pastoral Agrestide Burlesque and Pastorale 35 Op. Concerto, Concerto E in Concerto

1987)

–

1960)

1944) 1972) 1962) 1924) – – – 2007) – 1929) – 1918) 1936)

1920) – – 1937) – 1960) 1991) – 1910) – 1971) – 1974) – 1948) 1962) – – 1931) – –

– – –

(1909 (1840

Yi (b. 1953) (b. Yi , Grier, Lita (b. 1937) (b. Lita Grier, Chen 1955) (b. Bright Sheng, 1957) (b. Melinda Wagner, European François Borne, (1858 Georges Hüe, (1857 Cécile Chaminade, (1844 Lothar Kempter, (1838 Theodor Verhey, (1846 Albert Périlhou, (1824 Carl Reinecke, (1866 Ferruccio Busoni, (1865 Carl Nielsen, (1869 Albert Roussel, Ibert,Jacques (1890 (1893 Eugene Goossens, (1878 Rutland Boughton, (1890 Frank Martin, (1908 de Gunnar Frumerie, (1905 Eugène Bozza, (1905 Mátyás Seiber, (1899 Robert Casadesus, Harald Genzmer, (1901 Henri Tomasi, 88

1953) 1954)

– – (1946) (1947) (1948) (1949) (1949) (1951) (1951) (1952) (1952 (1953) (1953 (1954) (1954) (1954) (1954) (1954) (1955) (1955) (1956) (1957) (1957) (1957) (1957) (1958) (1959) (1959) (1959)

: “Y su sangre ya viene

in F

imento, Op. 26 Concerto Concerto Klavier mit Streichorchester und Flöte für Konzert Concerto Concerto 1 No. Concerto Concerto Concerto Lorca Garcia Frederico per 2 Epitaffio cantando” 29 Op. Concerto, Concerto 45 Op. Concerto, Concerto Concerto Concerto Divert Concerto Concerto Concerto Instruments 14 and Flute for I Serenata 36 Op. Sérénade, 1 No. 45, Op. Concertino, Concerto Concerto Scherzando Rondo 8 Op. Concerto, Concerto

2013)

–

1995)

2008) 2002) 1986) – 1995) 1983)

1989)

– – – 2007)

– – – 1973) 1972) 1966) – – – – 1984) 1971) 2000) 2006) 1965) 1974) 1957) 1987) 2007) 1998) – 1994) – – – – – – – – – 1990) – 1987) – – Max (1930 Max (1899 Michel (1928 Michel - Erik (1908 Erik - - ich (1925 ř on, Lars on, Henkemans, Hans (1913 Hans Henkemans, (1901 Henri Tomasi, Reinhold Otto (1881 Sem Dresden, Andre Jolivet, (1905 Jacob,Gordon (1895 (1922 Mario Zafred, (1903 Lennox Berkeley, (1924 Luigi Nono, (1921 Werner Thärichen, (1897 Hermann Heiss, 1921) (b. Malcolm Arnold, Jind Feld, (1909 Harald Genzmer, (1920 Bruno Maderna, (1915 Humphrey Searle, Pierre Dubois, (1907 Jan Felderhof, (1896 Jean Rivier, 1925) (b. Luciano Berio, Jean Damase, Larss (1908 Edward Staempfli, (1926 Anatol Vieru, (1921 Heinz Benker, (1928 Otar Gordeli, (1906 Maurice Thiriet, 89

1966) 1971)

– – (1960) (1961) (1961) (1962) (1962) (1963) (1963) (1947,rev. 1963) (1963) (1964) (1965) (1965) (1965) (1965 (1967) (1967) (arr.1968) (1968) (1969) (1970 (1972) (1972) (1972) (1972) (1973) (1974) (1975) (1975)

111

Camera

Concerto Alba 75 Op. 1, No. Concerto Concerto Consonante Orchestra Symphony Wind and Flute for Concerto Da Concertino Pastorale Concertino III Dimensioni Concertino 85 Op. Concerto, Percussion and Flute for Concert en Suite Printemps de Concerto Concerto Concerto Harpsichord and Strings, Flute, for Concerto Concerto Concerto Concerto Concerto Op. 2, No. Concerto Concerto Rondo 44 Op. Orkester, Liten och Flöjt för Concertino Winds” the with “Dances 69, Op. Concerto, marine” “Impressioni Concerto, Concerto II Orfeo

1973)

–

2016) 1996) 2009)

–

– –

1987)

1978)

1996) 2016)

– 2003)

– – – –

2003) 2013)

2009)

– – 1988) 1996) – 1973) 2008) 1997) – – – – 1976) 1991) 1987) 1971) 1997) – 1974) – – – 1921) – – – aw(1919 1992) ł 1986) – – Petrassi, Goffredo (1904 Goffredo Petrassi, (1914 Wilfrid Mellers, Mieczys Weinberg, (1900 Henry Barraud, (1932 Niccolò Castiglioni, (1907 Henk Badings, (1905 Eugène Bozza, (1910 von Erland Koch, (1920 Bruno Maderna, (1930 Günther Hans Kochan, (1919 van Lex Delden, Andre Jolivet, (1905 (1901 Henri Tomasi, (1923 Dietrich Manicke, (1912 Jean Françaix, (1922 Josef Matej, (1903 Aram Khachaturian, (1882 Francesco Gian Malipiero, (1908 de Gunnar Frumerie, (1910 Jean Martinon, (b. Malcolm Arnold, (1931 Gerhard Rosenfeld, 1947) (b. Salvatore Sciarrino, (1905 Dag Wirén, (1928 Einojuhani Rautavaara, (1927 Leonid Bashmakov, (1929 Edison Denisov, 1928) (b. Thea Musgrave, 90

1976) 1982) 1983)

– – – (1975 (1976) (1978) (1978) (1978) (1979) (1979) (1980,arr.with orchestra 2006) (1980) (1981) (1981) (1981 (1982) (1981 (1983) (1984) (1954,arr.1984) (1984) (1985) (1985) (1985) (1986) (1987)

and Whispers and

Musik - Concerto No. 1, Op. 126 (M 279) (M 126 Op. 1, No. Concerto Calaïs Espagnole Concerto Concerto Pastoral Concierto Antique Suite Euridice Instruments Wind Eight and Flute for Concerto Concertante Fantaisie 2 No. Concerto Sangeet Raga ki Mandala 307) (M 147 Op. 2, No. Concerto Columbine Concerto Memento Turm Gentilhombre un para Fantasia Liongate Concerto Visions Concerto d’Iris Souffle Le 148 Op. 2, No. Concerto

2013) 2013) 2013) 2013) – – – –

1996)

–

(1938 (1938 (1938 (1938

2004) 2008)

1999) 1999) 1985) – – – – 1996) 1996) 1999) – – – 1984)

– 2007) – 2010)

aw(1919 – 2004) orkell) orkell) orkell) orkell) – ł – Þ Þ Þ Þ (1912

(b.1945) ich (1925 ř Ole (1928 Ole

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(1988) (1990) (1992) (1993) (1994) (1995) (1998) (1998) (1999)

Harlekiini

Galim

Birds in the Morning the in Birds Concerto Concerto Concerto Percussion and Strings, Flute, for Music Op.70, Concerto, Concerto, Concerto Concerto

2006) 2015) – – Bergman, Erik (1911 Erik Bergman, (1939 John McCabe, 1933) (b. Krzysztof Penderecki, 1956) (b. Herbert Willi, 1931) (b. Sofia Gubaidulina, 1935) (b. Aulis Sallinen, 1955) (b. Pascal Dusapin, 1934) (b. Siegfried Matthus, 1961) (b. Nicolas Bacri, 92

Written while in the US the in while Written (1977) (1980,arr.with orchestra 2006) (1954) (1972) (1948) * (1999) (1963) (1962) (1974) (1987) (1959) (1983) (1988) (1957) (1952) (1981) (1957) (1958) (1993) (1900) (1938) (1942) (1963) (1949)

(flute,oboe, or clarinet solo) , Op.44

Concerto Instruments Wind Eight and Flute for Concerto 45 Op. 1, No. Concerto 111 Op. 2, No. Concerto Concerto Concerto Orchestra Symphony Wind and Flute for Concerto Concerto marine” “Impressioni Concerto, Bells the of Song Scherzando Rondo Memento Morning the in Birds Instruments 14 and Flute for I Serenata 36 Op. Concerto, Halil Modale Suite (Maybe…) Poems Last Two Concerto Lyric “Carmen” sur Brillante Fantaisie Concerto Agrestide Camera Da Concertino Colloquy

1936)

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: 20th CENTURY 20th AMERICAN: AND EUROPEAN CONCERTOS FLUTE (ALPHABETICAL) 1989) – –

–

1985) 1920) 1997) 18 – 1991) 1991) 1987) – 2006) 2000) – – – – 1921) 1921) 1959) 1959) – – 2008)

– – – 1925)

(1907 born American composer American born - APPENDIX G Canadian 1928) (b. Samuel Adler, (1905 William Alwyn, (b. Malcolm Arnold, (b. Malcolm Arnold, (1894 Aaron Avshalomov, 1961) (b. Nicolas Bacri, Henk Badings, (1900 Henry Barraud, (1927 Leonid Bashmakov, 1954) (b. Robert Beaser, (1921 Heinz Benker, (b. Rodney Richard Bennett, (1911 Erik Bergman, (b. Luciano Berio, (1903 Lennox Berkeley, (19 Leonard Bernstein, (1880 Ernest Bloch, (1880 Ernest Bloch, 1938) (b. William Bolcom, (1840 François Borne, (1878 Rutland Boughton, (1905 Eugène Bozza, (1905 Eugène Bozza, (1913 Henry Brant, * 93

(1965) (1968) (1920) (1944) (1962) (1902) (1997) (1980) (1981) (1971,arr.1988) (1967) (1957) (1940) (1965) (1939) (1975) (1986) (1963) (1970) (1949) (1955) (1998) (1985) (1988) (1954) (1980)

Orchestra, Op. 52 Op. Orchestra,

, Op. 40

Why Not? Why Galim

—

Music Odyssey Concerto Small and Flute for Divertimento 35 Op. Concerto, Consonante 107 Op. Concertino, Flute Golden The Concerto Fantasy Piper Pied Voyage Orchestra Metal and Flute for Concerto 36 Op. Sérénade, Ode Pastoral 85 Op. Concerto, Concertino Concerto Concerto Concerto Night Concerto Concerto Concerto, Concerto Concerto Concerto Concertante Fantaisie

1971)

–

2013)

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1944) –

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1924)

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(1919 Max (1930 Max Michel (1928 Michel - - born American composer American born - ich (1925 ich (1925 ř ř Canadian 1943 in citizen American naturalized Hungarian, Brant, Henry (1913 Henry Brant, * (1913 Eldin Burton, (1866 Ferruccio Busoni, (1899 Robert Casadesus, Niccolò Castiglioni, (1857 Cécile Chaminade, 1953) (b. Yi Chen, (1926 Paul Cooper, 1938) (b. John Corigliano, 1938) (b. John Corigliano, 1946) (b. Randall Croley, Jean Damase, (1878 Wheeler Mabel Daniels, van Lex Delden, (1913 Norman Joio, Dello (1929 Edison Denisov, (1915 David Diamond, 1927) (b. Lou Emma Diemer, (1906 Antal Doráti, * (1881 Sem Dresden, Pierre Dubois, 1955) (b. Pascal Dusapin, (1916 Einar Englund, 1954) (b. Eric Ewazen, Jind Feld, Jind Feld, 94

1954) 1976) 1982)

– – – (1955) (1978) (1953) (1922) (1985) (1967) (1941) (1969) (1944) (1954) (1944) (1935) (1959) (1983) (1996) (1918) (1994) (1935) (1939) (1953 (1946) (1984) (1975 (1981 (1983) (1944) (1901)

Op. 50 Op.

Urardu)

, Op. 55

(Concertino)

Op. 8 Op.

Musik

- Concerto Orchestra and Flute Antoniano Concerto Piece Night A Concerto Renaissance Concerto Suite Pastoral Concerto Concerto Concerto Concerto Pictures Three Concerto, Concerto Renascence Poem Percussion and Strings, Flute, for Music Op.35 Serenade, 1 No. Concerto Concerto Concerto Turm 279) (M 126 Op. 1, No. Concerto 307) (M 147 Op. 2, No. Concerto Suite Medieval of God Dawn the of (name Elibris Nocturne

1987) 1987)

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1976) 1962) 1995)

1987) 2007) 2007) 1994) – – 2000) 1981) – – 1966) 1920) 1996) 1996) – – – – – 1996) – – – – 1997) 2006) 2003) – 1948) 1937) 1994) – – –

– – – 2009) – Alan (1911 Alan born American composer American born - ensway, Louis (1906 ensway,Louis Latvian Felderhof, Jan (1907 Jan Felderhof, (1926 Morton Feldman, (1928 Nicolas Flagello, (1853 Arthur Foote, (1922 Lukas Foss, (1912 Jean Françaix, (1908 de Gunnar Frumerie, (1908 de Gunnar Frumerie, (1909 Harald Genzmer, (1909 Harald Genzmer, Ges * (1893 Eugene Goossens, (1928 Otar Gordeli, (1913 Morton Gould, 1937) (b. Lita Grier, (1884 Charles Griffes, 1931) (b. Sofia Gubaidulina, (1896 Howard Hanson, (1917 Lou Harrison, (1897 Hermann Heiss, (1913 Hans Henkemans, 1939) (b. Heinz Holliger, (1909 Vagn Holmboe, (1909 Vagn Holmboe, 1937) (b. Katherine Hoover, Hovhaness, (1858 Georges Hüe, 95

(1964) (1933) (1977) (1951) (1981) (1949) (1965) (1967) (1902) (1936) (arr.1968) (1978) (1947,rev. 1963) (1964) (1948) (1954) (1972) (1986) (1980) (1992) (1957) (1973) (1992) (1923) (1924) (1994)

Flute and Piano/Strings, Op. 147 Op. Piano/Strings, and Flute

Concerto Concerto Concerto 1 No. Concerto 2 No. Concerto Concerto Percussion and Flute for Concert en Suite Aulos 32 Op. Capriccio, Soliloquy Night Concerto Orchestra and Flute for Music Pastorale Concertino Concertino Orchestra and Flute for Bagatelle for Suite Bodies Celestial Concerto 48 Op. Concerto, System Fluid a as Atmosphere The 1 No. 45, Op. Concertino, Concerto 39 Op. Concerto, Concertino Scene Lyric IrishVapours and Capers

2009)

–

1978)

–

2013) 1986) 2009) – – 1918) –

2007) 2015) 2015) – 2009) 2005) – 2013) – – 1984) 1984) 1974) 1974) 2014) 1996) 1996) – 2003) 1991) 1962) – – – – 1957) 1995) – – – – – – – – – – (1920 Erik (1908 Erik (1890 - Henri (1932 Henri rchner,Leon (1919 Czech origin, Austrian then American then Austrian origin, Czech America in career Bulgarian, Humel, Gerald (1931 Gerald Humel, Ibert,Jacques Imbrie,Andrew (1921 Jacob,Gordon (1895 Jacob,Gordon (1895 Andre Jolivet, (1905 Andre Jolivet, (1905 (1917 Ulysses Kay, (1844 Lothar Kempter, (1913 Kent Kennan, (1903 Aram Khachaturian, Ki (1910 von Erland Koch, (1930 Günther Hans Kochan, (1888 Victor Kolar, (1900 Ernst Krenek, * (1924 Ezra Laderman, (1924 Ezra Laderman, John Montaine, La 1950) (b. Libby Larsen, Lars Larsson, Lazarof, * 1961) (b. Lowell Liebermann, (1900 Otto Luening, (1900 Otto Luening, (1930 Lorin Maazel, 96

1997) 1966) 1971) 1953)

– – – – 1986) (1995 (1954) (1963) (1968) (1965 (1939) (1970 (1978) (1967) (1978) (1981) (1990) (1961) (1944) (1983) (1985) (1978) (1975) (1989) (1926) (1952 (1992) (1903) (1988) (1960) (1971) (

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Music for Flute and Orchestra and Flute for Music Concerto III Dimensioni Concerto Concerto Ballade Concerto Espagnole Concerto Harpsichord and Strings, Flute, for Concerto Concerto Sangeet Raga ki Mandala Concerto Alba Concertino Concerto Whispers and Visions Concerto II Orfeo Concerto Concerto Lorca Garcia Frederico per 2 Epitaffio cantando” Concerto Ballade SummerNocturne Concerto Concerto d’Iris Souffle Le

1973) –

2003) 2013)

2004) 2008) – –

1973) 1973) 2008) – – 1936) 1983) – – 1976) – – – 2015) 1976) 1983) 1983) 2014) 1974) – – 1931) – – – –

– 2004) 1992) 1990) – – – – (1912

(1923 Frank (1890 Frank Maazel, Lorin (1930 Lorin Maazel, (1920 Bruno Maderna, (1920 Bruno Maderna, (1882 Francesco Gian Malipiero, (1923 Dietrich Manicke, Martin, (1910 Jean Martinon, Tauno Marttinen, (1922 Josef Matej, 1934) (b. Siegfried Matthus, (1929 John Mayer, (1939 John McCabe, (1914 Wilfrid Mellers, (1923 Peter Mennin, Peter Mennin, (1930 Usko Meriläinen, (1913 Jerome Moross, 1928) (b. Thea Musgrave, 1946) (b. Marc Neikrug, (1865 Carl Nielsen, (1924 Luigi Nono, 1933) (b. Krzysztof Penderecki, (1846 Albert Périlhou, 1930) (b. P. William Perry, (1904 Goffredo Petrassi, (1894 Walter Piston, 1933) (b. Yves Prin, 97

(1973) (1946) (1908) (1956) (1978) (1954,arr.1984) (1922) (1972) (1993) (1928) (1979) (1995) (1976) (1985) (1962) (1988) (1976) (1990) (1972) (1954) (1942) (1987) (1999) (1960) (1976) (1979)

Harlekiini

Mordents

Concerto, Op. 69, “Dances with the Winds” the with “Dances 69, Op. Concerto, 66 Op. Threnody, 283 Op. Concerto, Concerto Pastoral Concierto Gentilhombre un para Fantasia 1 No. Soliloquy Concerto Concerto 1 No. Aria Antique Suite Op.70, Concerto, & Turns Concerto Strings and Flute for Movements Concerto Bells Evening the of Canticle Shadows of Play A Rondo 26 Op. Divertimento, Burlesque and Pastorale Ruah Moon Flute Concerto Calaïs Euridice

2013) 2013)

– –

2016)

–

2003) (1938 (1938

– 198 2015) 2015)

1999) 1999) 1991)

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– 1937) – 1960) 1910) 2005) – – – – 2010) orkell) orkell) – 1987) Þ Þ – 1945) (1913 Rautavaara, Einojuhani (1928 Einojuhani Rautavaara, Gardner Read, (1824 Carl Reinecke, (1896 Jean Rivier, (1901 Joaquin Rodrigo, (1901 Joaquin Rodrigo, (1893 Bernard Rogers, (1931 Gerhard Rosenfeld, 1949) (b. Christopher Rouse, (1869 Albert Roussel, (b. John Rutter, 1935) (b. Aulis Sallinen, 1946) (b. Bruce Saylor, (1928 Ole Schmidt, (1925 Gunther Schuller, (1925 Gunther Schuller, 1943) (b. Joseph Schwantner, 1943) (b. Joseph Schwantner, 1947) (b. Salvatore Sciarrino, (1915 Humphrey Searle, (1905 Mátyás Seiber, 1949) (b. Judith Shatin, 1955) (b. Bright Sheng, (1909 Elie Siegmeister, Thorkell Sigurbjornsson, (Sigurdbjörnsson, Thorkell Sigurbjornsson, (Sigurdbjörnsson, 98

Pulitzer Prize Pulitzer 1983)

– (1982) (1984) (1957) (1955) (1945) (1953) (1959) (1954) (1944) (1947) (1965) (1990) (1981 (1902) (1958) (1999)* (1961) (1987) (1952) (1993) (1969) (1972) (1964) (1951) (1989)

A Portrait of Roger Baker Roger of Portrait A

Columbine Liongate Concerto 3 No. 59, Op. Ostinato, Dawn Mountain 29 Op. Concerto, Concerto Concerto: E in Concerto F in Concerto Printemps de Concerto Concerto Concerto 43 Op. 1, No. Concerto Concerto Concerto 75 Op. 1, No. Concerto 148 Op. 2, No. Concerto Strings and Flute for Air Concerto Concerto 44 Op. Orkester, Liten och Flöjt för Concertino Players 10 and Flute for Concerto Chamber Concerto Concerto

2013) 2013) – –

1996) 1996)

– –

(1938 (1938 2008)

2002)

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1987) 1998) – – – 1980) – aw(1919 aw(1919 – orkell) orkell) ł ł 1986) – 2018) Þ Þ – – 1938) Edward (1908 Edward

Sigurbjornsson, Thorkell Sigurbjornsson, (Sigurdbjörnsson, Thorkell Sigurbjornsson, (Sigurdbjörnsson, Staempfli, (1932 Alan Stout, (1897 Lamar Stringfield, (1921 Werner Thärichen, (1906 Maurice Thiriet, (1896 Virgil Thomson, (1901 Henri Tomasi, (1901 Henri Tomasi, (1901 Henri Tomasi, (b. Joan Tower, 1949) (b. Manfred Trojahn, (1838 Theodor Verhey, (1926 Anatol Vieru, 1957) (b. Melinda Wagner, Mieczys Weinberg, Mieczys Weinberg, (1907 Alec Wilder, 1956) (b. Herbert Willi, 1932) (b. John Williams, (1905 Dag Wirén, 1938) (b. Charles Wuorinen, (1922 Mario Zafred, 1939) (b. Taafe Ellen Zwilich, 99

APPENDIX H: PERMISSION TO REPRINT COPYRIGHTED MATERIAL

Elsa Kate Nichols The University of Arizona Tucson, AZ 85716 USA

RE: The Age of Anxiety (from Symphony No. 2) by Leonard Bernstein Halil by Leonard Bernstein On the Town by Leonard Bernstein, Betty Comden, and Adolph Green Trouble in Tahiti by Leonard Bernstein

Dear Kate:

We hereby grant you gratis permission to include excerpts from the above referenced works in your dissertation for The University of Arizona.

We do require that you include the following copyright notices immediately following the excerpts for which they pertain:

The Age of Anxiety (from Symphony No. 2) by Leonard Bernstein Copyright © 1949 by The Estate of Leonard Bernstein. Copyright Renewed. Leonard Bernstein Music Publishing Company, LLC, Publisher Boosey & Hawkes, Inc., Sole Agent Reprinted by permission for the exclusive use of Elsa Kate Nichols, 2018.

100

Trouble in Tahiti by Leonard Bernstein Copyright © 1953, Amberson Holdings LLC Leonard Bernstein Music Publishing Company LLC, Publisher Boosey & Hawkes, Inc., Agent for Print Copyright For All Countries. All Rights Reserved. Reprinted by permission for the exclusive use of Elsa Kate Nichols, 2018.

Permission is also granted for you to deposit one copy of your paper with ProQuest. Should you wish to place your paper elsewhere, beyond that which is required for the degree, you will have to contact us in advance as a royalty may be payable.

With kind regards,

BOOSEY & HAWKES, INC.

Matthew White Coordinator, Copyright Administration

————————————————————————————— MATTHEW WHITE Coordinator, Copyright Administration

Concord Music 229 West 28th Street, 11th fl, New York, NY 10001, USA T: +1 (212) 699 6528 F: +1 (212) 489 6637 www.concord.com —————————————————————————————

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