Read Ebook {PDF EPUB} West Side Story by Leonard Bernstein West Side Story

Total Page:16

File Type:pdf, Size:1020Kb

Read Ebook {PDF EPUB} West Side Story by Leonard Bernstein West Side Story Read Ebook {PDF EPUB} West Side Story by Leonard Bernstein West Side Story. Our editors will review what you’ve submitted and determine whether to revise the article. West Side Story , theatre music by American composer Leonard Bernstein that premiered August 19, 1957, in Washington, D.C., before moving to Broadway for a second opening on September 26, 1957. The musical is a 20th-century American adaptation of the Shakespearean tale of Romeo and Juliet. It has become one of the most frequently performed of all American musicals, and many consider it to be the definitive Bernstein composition. For the creation of this musical, Bernstein was joined by lyricist Stephen Sondheim, playwright Arthur Laurents, choreographer Jerome Robbins, and impresario Harold Prince. It ran for 732 performances, and it might have won the 1958 Tony Award for best musical had its competition not been The Music Man . In 1961, adapted for the silver screen, West Side Story took 10 Academy Awards, including best picture. Bernstein’s score blended various styles, including jazzy sounds evocative of the decade in which the music was written, as well as Latin rhythms. Additionally, he drew upon some of the time-honoured techniques of opera composition. For example, in the song “Tonight,” he has several characters reflect on their hopes and expectations for the night to come. For each individual, Bernstein crafted music that mirrors those visions, whether romantic or sultry or combative. Why did Bernstein build West Side Story around 'The Devil's Interval'? West Side Story is one of the world's most famous musicals. It's packed with great tunes and catchy rhythms, but there's an interval with a dark history at its heart. Leonard Bernstein's West Side Story is based on and built around music's most unsettling interval, the ‘Devil's Interval’. Why would a composer do that? First things first: What is the Devil's Interval? If you're a classical music buff, you'll know that ‘The Devil's Interval’ is a nickname for a musical interval called a tritone. What is a tritone? Picture: Classic FM. In a nutshell, a tritone is an augmented fourth interval (between C and F sharp). It's an interval between two notes separated by three whole tones. For an in-depth explanation, have a look at our tritone analysis: Why is it called the Devil's interval? The interval is so dissonant that it acquired the nickname diabolus in musica – the devil in music. Instinctively, the human ear looks for harmony in music, and this jarring interval does the exact opposite of this. When used in music it frequently resolves itself by jumping to the nearby perfect fifth (one semi-tone away) for a musical resolution. It seems a bit odd that Leonard Bernstein decided to use this ugly interval as one of his main motifs in West Side Story . But this was no accident: he knew exactly what he was doing. Where do we hear the Devil's interval in West Side Story ? Frankly, it's everywhere. Blink and you'll miss a tritone. It forms the basis of some of the music's most iconic motifs. The most identifiable use of the tritone in West Side Story is in ‘Maria’. At 0.32 you'll hear the recognisable tritone jump: ‘The Jets’ gang also have their own motif that pops up throughout the music. Unsurprisingly, the tritone takes centre stage. Why does Bernstein use the tritone? He uses this interval as the central idea that ties the whole score together. It's worth noting at this point that Bernstein did something very different with West Side Story – he revolutionised the art of writing a musical. He wrote it as if it were an opera, with character motifs, musical foreboding and a musical narrative running through the score. The tritone forms the basis of romantic songs, conflict songs, and the themes that intertwine the score together. It's also famously used in the unresolved ending of the musical, where two alternating tritones play out against each other. Conductor Marin Alsop described the tritone as: “An interval that requires a resolution, and without resolution it just hangs there and makes you uncomfortable.” In theory terms, it therefore serves two purposes: 1. It creates dissonance 2. When resolved, it creates one of the most satisfying harmonic resolutions. This is Bernstein's tool to create a truly evocative score. Why does it work so well? Not only does Bernstein use this interval to tie the entire musical together, but the interval itself tells a story, and it adopts different meanings in different situations. In different instances Bernstein will decide to either resolve the tritone or leave it unresolved. Leaving the tritone unresolved hints at violence and the danger around the corner, but resolving it hints at optimism and a different outcome for the characters. For example: Resolved tritones: Tony's tritone in ‘Maria’ The tritone resolves straight on to the perfect 5th. Picture: Classic FM. In ‘Maria’, the music couldn't be further away from the discordant sound that the tritone normally creates. This is because the tritone is only there for a moment before it moves up a semi-tone to create a perfect fifth interval. Tony is filled with wonder having just met Maria, and his optimistic jump up from the tritone seems to brush away any unharmonic sound that comes with the tritone. The reality remains however, just like Tony's unfortunate end (spoiler), so the tritone is an integral part of the melody. Even in the most optimistic and romantic of moments in the music, Bernstein keeps the tritone present as an ominous reminder of darker things to come. Unresolved tritones: Jets motif and finale. The Jets motif doesn't resolve its tritone jump, it sits unresolved and does exactly what a tritone is known to do, create dissonance. From its first appearance, these unresolved tritones create the jarring harmony that mirrors the trouble to come in the plot. The Jets motif. Picture: Classic FM. At the end of the musical, after Tony's death, two tritone intervals sit next to each other, again with no resolution. It defines the plot's incompleteness: an unresolved interval, yearning to reach up to a musical resolution that it never quite gets. It's subtle, but packs a big punch. Best Of Broadway: Bernstein's 'West Side Story' Carol Lawrence (right) sings "I Feel Pretty," along with (left to right) Elizabeth Taylor, Carmen Gutierrez and Marilyn Cooper, in the 1957 original Broadway cast recording of West Side Story . Sony Music Photo Archives/Sony Music Photo Archives hide caption. Carol Lawrence (right) sings "I Feel Pretty," along with (left to right) Elizabeth Taylor, Carmen Gutierrez and Marilyn Cooper, in the 1957 original Broadway cast recording of West Side Story . Sony Music Photo Archives/Sony Music Photo Archives. Hear The Music. Maria. Embed. One Hand, One Heart. Embed. Sung by Larry Kert (as Tony) and Carol Lawrence (as Maria). West Side Story , first staged in 1957, proved to be Leonard Bernstein's masterpiece. The lyrics were by a newcomer named Stephen Sondheim. It's a modern-day, big-city adaptation of the story of Romeo and Juliet in which Tony, a former gang leader on the verge of adulthood, and Maria, a girl newly arrived from Puerto Rico, are the star-crossed lovers. The rival street gangs — the Jets and Sharks — stand in for the Montagues and Capulets. West Side Story transcends the limits of the musical genre without attempting to be opera. A Classic Musical, But Is The Music Classical? West Side Story is classical music, but it isn't opera by any means. It is musical theater done in an elaborate manner, musically very rich, and that's what makes it classical. I don't think it could have been anything else with Leonard Bernstein as the composer. Later, Bernstein himself came back and recorded West Side Story , but it wasn't as compelling as this original Broadway cast recording, in part because in the original, the music was fresh and challenging, and also because the voices were chosen carefully. The demands made in this music are operatic without requiring operatic voices. The structure of the music and the melodic contours are very sophisticated. Carol Lawrence, Larry Kert, Chita Rivera and the rest were fine singing actors, not classical vocalists or operatic stars. They were naturals. This particular recording of the original Broadway cast was made just three days after the show opened in New York. The freshness comes across on CD more than 50 years later, as the singers know they're at the beginning of a great show. West Side Story by Leonard Bernstein. Photo by Paul de Hueck. Composer, conductor, pianist, teacher, thinker, and adventurous spirit, Leonard Bernstein (1918-1990) transformed the way Americans and people everywhere hear and appreciate music. Bernstein's successes as a composer ranged from the Broadway stage- West Side Story , On the Town , Wonderful Town , and Candide -to concert halls all over the world, where his orchestral and choral music continues to thrive. His major concert works include three symphonies-subtitled Jeremiah (1944), The Age of Anxiety (1949), and Kaddish (1963)-as well as Prelude, Fugue and Riffs (1949); Serenade for violin, strings and percussion (1954); Symphonic Dances from West Side Story (1960); Chichester Psalms (1965); Mass: A Theater Piece for Singers, Players and Dancers (1971); Songfest (1977); Divertimento for orchestra (1980); Halil for solo flute and small orchestra (1981); Touches (1981) and Thirteen Anniversaries (1988) for solo piano; Missa Brevis for singers and percussion (1988); Concerto for Orchestra: Jubilee Games (1989); and Arias and Barcarolles (1988).
Recommended publications
  • PLAYHOUSE SQUARE January 12-17, 2016
    For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut.
    [Show full text]
  • Kert, Larry (1930-1991) Larry Kert and Carol Lawrence Performing on by Craig Kaczorowski the Ed Sullivan Show in 1958
    Kert, Larry (1930-1991) Larry Kert and Carol Lawrence performing on by Craig Kaczorowski the Ed Sullivan Show in 1958. Encyclopedia Copyright © 2015, glbtq, Inc. Film still from a YouTube video. Entry Copyright © 2010 glbtq, Inc. Reprinted from http://www.glbtq.com The gay actor and singer Larry Kert originated the lead romantic role of Tony in the landmark 1957 Broadway musical West Side Story. With his expressive, vibrant tenor, he introduced some of the most memorable songs in the Leonard Bernstein-Stephen Sondheim score, including "Maria," "Tonight," and "Something's Coming." In 1970, Kert triumphed again on Broadway in another Sondheim musical, Company, as Robert, a New York bachelor observing the strains and tensions in the marriages of his best friends, as well as struggling to commit emotionally to each of his three girlfriends. Other Broadway shows involving Kert were unfortunately short-lived, and his later career was devoted mainly to cabaret, television, and regional theater. He was born Frederick Lawrence Kert in Los Angeles, California on December 5, 1930 into a comfortably middle-class family. His father was a jeweler and his mother an actress. He had a brother, Morton, and two sisters, Evelyn and the singer later known as Anita Ellis. He initially attended Hollywood High School but transferred to the Hollywood Professional School in Los Angeles. While still in school, Kert performed as an extra and stunt double in several movies, including Lassie Come Home (1943), where he was a stand-in for the film's star Roddy McDowell. After graduation, Kert took some classes at Los Angeles City College but soon dropped out and moved to New York City where he studied with the celebrated acting teacher Sanford Meisner.
    [Show full text]
  • Our History 1971-2018 20 100 Contents
    OUR HISTORY 1971-2018 20 100 CONTENTS 1 From the Founder 4 A Poem by Aaron Stern 6 Our Mission 6 Academy Timeline 8 Academy Programs 22 20 Years in Pictures 26 20 Years in Numbers 26 Where We’ve Worked 27 20th Anniversary Events 28 20th Anniversary Images Send correspondence to: Laura Pancoast, Development Coordinator 133 Seton Village Road Santa Fe, NM 87508 [email protected] ON THE COVER & LEFT: Academy for the Love of Learning photo © Kate Russell 20 YEARS of the Academy for the Love of Learning Copyright © 2018 Academy for the Love of Learning, Inc. 2018 has been a very special year, as it marks the 20th anniversary of FROM THE FOUNDER the Academy’s official founding in 1998. 2018 is also, poignantly and coincidentally, the 100th anniversary of Leonard Bernstein’s birth. Lenny, as I knew him, the great musician, the 20th century giant with whom, in 1986, I conceived the Academy, was one of the first people with whom I engaged in dialogue about “this thing,” as he called it, just before proposing that we call our “thing” the Academy for the Love of Learning. “Why that name?”, I asked – and he said: “because you believe that if we truly open ourselves to learning, it will liberate us and bring us home, individually and collectively. So, the name is perfect, because the acronym is ALL!” I resisted it at first, but soon came to realize that the name indeed was perfect. This and other prescient dialogues have helped us get to where we are today – a thriving, innovative organization.
    [Show full text]
  • West Side Story” (Original Cast Recording) (1957) Added to the National Registry: 2008 Essay by Robert L
    “West Side Story” (Original cast recording) (1957) Added to the National Registry: 2008 Essay by Robert L. McLaughlin (guest essay)* Original “West Side Story” cast members at recording session (from left: Elizabeth Taylor, Carmen Gutierrez, Marilyn Cooper, Carol Lawrence) “West Side Story” is among the best and most important of Broadway musicals. It was both a culmination of the Rodgers and Hammerstein integrated musical, bringing together music, dance, language and design in service of a powerful narrative, and an arrow pointing toward the future, creating new possibilities for what a musical can be and how it can work. Its cast recording preserves its score and the original performances. “West Side Story’s” journey to theater immortality was not easy. The show’s origins came in the late 1940s when director/choreographer Jerome Robbins, composer Leonard Bernstein, and playwright Arthur Laurents imagined an updated retelling of “Romeo and Juliet,” with the star- crossed lovers thwarted by their contentious Catholic and Jewish families. After some work, the men decided that such a musical would evoke “Abie’s Irish Rose” more than Shakespeare and so they set the project aside. A few years later, however, Bernstein and Laurents were struck by news reports of gang violence in New York and, with Robbins, reconceived the piece as a story of two lovers set against Caucasian and Puerto Rican gang warfare. The musical’s “Prologue” establishes the rivalry between the Jets, a gang of white teens, children mostly of immigrant parents and claimants of a block of turf on New York City’s west side, and the Sharks, a gang of Puerto Rican teens, recently come to the city and, as the play begins, finally numerous enough to challenge the Jets’ dominion.
    [Show full text]
  • Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions.
    [Show full text]
  • Composition Catalog
    1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound.
    [Show full text]
  • Leonard Bernstein
    chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins.
    [Show full text]
  • Doin' It for Sugar
    DOIN’ IT FOR SUGAR Hot rights, Herman and Stewart proceeded tive and drab. We all looked on in astonish - using the Fanfaren der Liebe source mate - ment and said, ‘How can you be funny on a ometimes timing is everything. If, for rial only. At that point, the show was titled One brown set. How do you get light and happy example, Sugar , a musical based on of the Girls . The time frame was moved to the on a brown set?’” And so Jo Mielziner was Sa beloved film comedy, with two great 1940s and in that version there was little re - out and Robin Wagner was in. male starring roles, directed by an amaz - sembling Some Like It Hot and Merrick was ing director/choreographer, had opened not especially annoyed and unhappy, and when The show opened, reviews were tepid, in April 1972 but in April 2001, the year an - Merrick was especially annoyed and unhappy songs came and went, characters came other musical based on a beloved film com - it was especially unpleasant to be on the cre - and went, and Champion and company edy, with two great male starring roles, ative team. Herman and Stewart resigned and worked on the show while they played the directed by an amazing director/choreog - then, magically, somehow Merrick finally show at night. At one of the rehearsals, rapher, my guess is it would have been a snagged the rights to the Ho t screenplay. Bert Michaels, who was assisting Cham - smash hit and run for a very long time. But pion, came up with the brilliant idea that The Producers had the timing and Sugar The title was changed to Nobody’s Perfect Spats Palazzo should tap like a machine didn’t.
    [Show full text]
  • Catalogue of Photographs of Performers at the Embassy Theatre
    Catalogue of Photographs of Performers and Shows in the Archives of the Embassy Theatre Foundation The archives of the Embassy Theatre Foundation hold more than 3000 artifacts, including more than 600 photographs of vaudevillians inscribed to Bud Berger (long-time stage man- ager at the Embassy Theatre, known as the Emboyd until 1952); more than 300 posters, playbills, programs, stools, and even guitars signed by the stars and casts of shows that have played at the Embassy Theatre over the past forty years, rang- ing from classic and current Broadway shows to acrobatic groups, choral ensembles, dance shows, ballet, stand-up comedians, rock bands, country singers, travel films, silent films, theatre organists, and so on; and hundreds of publicity photographs of performers, shows, and events at the theatre, primarily from the period following the establishment of the Embassy Theatre Foundation and its rescue of the theatre from the wrecking ball in 1975; and a nearly complete run of the journal of the American Theatre Organ Society. The archive is now almost fully catalogued and preserved in archival housing. Earlier excerpts from the catalogue (available on the Archives page of the Embassy Theatre’s web site) cover the photographs inscribed to Bud Berger and the posters, playbills, programs, stools, and so on from later shows at the Embassy. This is the third excerpt, covering the public- ity photographs of the last forty-five years and a few photographs of earlier events, Bud Berger, and other members of the stage crew. The publicity photographs are primarily of individ- ual performers, but a few shows are presented as well, including Ain’t Misbehavin’, Annie, Barnum, Bubbling Brown Sugar, Cabaret, California Suite, Cats, A Christ- mas Carol, Dancin’, Evita, Gypsy, I'm Getting My Act Together And Taking It On The Road, Joseph and the Amazing Technicolor Dreamcoat, Peter Pan, Same Time Next Year, Side by Side by Sondheim, and Ziegfeld: A Night at the Follies.
    [Show full text]
  • Reflection and Emergence: Celebrating 20 Years of the Academy for the Love of Learning and Leonard Bernstein’S 100Th
    Reflection and Emergence: Celebrating 20 years of the Academy for the Love of Learning and Leonard Bernstein’s 100th 201 AUGUST 25 8 1 Copyright © 2018 Academy for the Love of Learning, Inc. © Kate Russell About the Academy 2018 marks both The Academy for the Love of Learning’s 20th anniversary and the centennial of the birth of the 20th century musical giant Leonard Bernstein. The Academy shares a deep history with Leonard Bernstein, and ultimately was birthed from an intense collaboration between Bernstein and Academy founder and President Aaron Stern during the fnal decade of Bernstein’s life. Stern, then Dean of the American Conservatory of Music in Chicago, had a profound discovery about learning while observing how music students learned music. From that discovery, Stern recognized that a restoration of the human capacity to learn was essential not only to the revitalization of music, but all of education and more generally, Western culture itself. From this, Stern began to develop a body of work, pedagogy and learning methodologies that are now at the center of the Academy for the Love of Learning. Stern’s approach to learning found its counterpart in Bernstein’s vision for a better world and a lifelong commitment to sharing that vision through music. Stern’s clear conviction that by “taking the lid of learning, we can learn ourselves to a better world, individually and collectively” touched and inspired Bernstein deeply toward the end of his life. Bernstein invested in Stern enormously during that last decade of his life. Following Bernstein’s death in 1990, Stern developed further and implemented peripatetically the methodologies he frst began to explore while at the Conservatory.
    [Show full text]
  • A Prima Vista
    A PRIMA VISTA a survey of reprints and of recent publications 2011/2 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: + 31 (0)20 679 65 75 CDs: + 31 (0)20 675 16 53 / fax: + 31 (0)20 664 67 59 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2011/2 PAGE HEADING 03 PIANO LEFT-HAND, PIANO 2-HANDS 16 PIANO 4-HANDS 17 2 AND MORE PIANOS 18 HARPSICHORD, ORGAN 20 ACCORDION 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 20 VIOLIN SOLO, VIOLA SOLO, CELLO SOLO, DOUBLE BASS SOPLO 21 VIOLA DA GAMBA SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 21 VIOLIN with accompaniment 23 VIOLIN PLAY ALONG 24 VIOLA with accompaniment, VIOLA PLAY ALONG, CELLO with accompaniment 25 CELLO PLAY ALONG 26 DOUBLE BASS with accompanimemt, VIOLA DA GAMBA with accompaniment 26 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 30 FLUTE SOLO 32 OBOE SOLO, CLARINET SOLO 33 SAXOPHONE SOLO, TRUMPET SOLO, HORN SOLO, TROMBONE SOLO, TENORHORN SOLO 34 MOUTH ORGAN (HARMONICA) SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 34 PICCOLO with accompaniment, FLUTE with accompaniment 36 FLUTE PLAY ALONG 37 OBOE with accompaniment 38 COR ANGLAIS with accompaniment, CLARINET with accompaniment 39 CLARINET PLAY ALONG, 40 SAXOPHONE with accompaniment 41 SAXOPHONE PLAY ALONG 43 BASSOON with accompaniment, TRUMPET with accompaniment 44 TRUMPET PLAY ALONG, HORN with accompaniment 45 HORN PLAY ALONG, TROMBONE
    [Show full text]
  • Irma La Douce Little Theatre on the Square
    Eastern Illinois University The Keep 1965 Shows Programs 1965 Summer 9-21-1965 Irma la Douce Little Theatre on the Square Follow this and additional works at: http://thekeep.eiu.edu/little_theatre_1965_programs Part of the Theatre History Commons Recommended Citation Little Theatre on the Square, "Irma la Douce" (1965). 1965 Shows Programs. 14. http://thekeep.eiu.edu/little_theatre_1965_programs/14 This Book is brought to you for free and open access by the 1965 at The Keep. It has been accepted for inclusion in 1965 Shows Programs by an authorized administrator of The Keep. For more information, please contact [email protected]. alp &ittlp ahpatrp @n th~Bquar~ .'Central Illinois' Only Equity Star ilfusic and Drama Theatre" 11 I Ninth Season May - October 3, 1965 Sullivan, Illinois I 6uy S. Little, Jr. Presents I' JERILI LITTLE in "IRMA LA DOUCE" SEPTEMBER 2 1 -OCTOBER 3, 1 965 Guy S. LWe, Jr. PRESENTS JERlll ART KEN LITTLE OSTRlN CANTRll "IRMA LA DOUCE' Music by English Book and Lyrics by Marguerite Monnot Julian More, David Heneker and Monty Norman Original Book and Lyrics by Produced for the Broadway Stage by Alexandre Breffort David Merrick With Guy Barile, Lowell Christy, Hal Frank, Duane Clute, Warren Burton, Leonard Hodera and Michael O'Dqer Directed, Staged and Choreographed by ART OSTRIN Musical Direction by ALFRED HELLER Scenery Designed by Paul Hoffman Costumes Designed by Sally Gifft ENTIRE PRODUCTION UNDER THE SUPERVISION OF MR. LITTLE CAST Irma-La-Douce ............................................ JERlLl LITTLE Mestor-Le-Fripe .................................................. KEN CANTRIL Bob-Le-Hotu ..................................................... ART OSTRIN Polyte-Le-Mou .............................................. HAL FRANK JoJo-Les-Yeux.Sales .........................................
    [Show full text]