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Opus Two Marin Mazzie AMERICAN CLASSICS Photo: J. Henry Fair The award-winning Opus Two has been internationally recognized for its Photo: Tim Schulthies Three-time Tony nominee actress-singer Marin Mazzie has “divine phrases, impelling rhythm, elastic ensemble and stunning sounds,” as starred in Kiss Me Kate, Ragtime, and Passion, among many well as its commitment to expanding the violin–piano duo repertoire. Since other Broadway shows. She has also appeared in concert winning the 1993 United States Information Agency’s Artistic Ambassador across the country, from Carnegie Hall to the Hollywood Auditions, violinist William Terwilliger and pianist Andrew Cooperstock have Bowl, under the baton of Michael Tilson Thomas, Marvin BERNSTEIN concertized extensively in major cities on five continents. Champions of Hamlisch, Keith Lockhart, Skitch Henderson, and Doc American music, Opus Two has recorded Aaron Copland’s complete works for Severinsen, to name a few. Her television credits include guest violin and piano, Robert Starer’s Duo, Sonata Lunaris by John Fitz Rogers, and rôles on Without a Trace, Numb3rs, and Still Standing, as well chamber music for piano and strings by Lowell Liebermann. Their recording as many appearances on PBS. Her recording Opposite You, Violin Sonata • Piano Trio • New Transcriptions dedicated to the music of Paul Schoenfield won a major grant from the American with husband Jason Danieley, was named Album of the Year Music Center’s Aaron Copland Recording Fund. For more information, by NPR. www.opustwo.org Opus Two violin-piano duo Charles Bernard, Cello • Marin Mazzie, Soprano
Eric Stern
Eric Stern is a veteran Broadway conductor and arranger. In addition to his work in the theatre, he has recorded or appeared in concert with the London Symphony Orchestra, the Charles Bernard Cleveland Orchestra, the Chicago Symphony, the Orchestra of St Luke’s, and the New York and New Jersey Pops, with Canadian cellist Charles Bernard joined the Cleveland Orchestra in 1992 and soloists including Dawn Upshaw, Barbara Cook, Mandy currently serves as its Assistant Principal. An avid chamber musician, he has Patinkin, Audra McDonald, Dianne Reeves, Deborah Voigt, collaborated with pianist Leif-Ove Andsnes, harpist Yolanda Kondonassis, and and Fred Hersch. He has won several Gramophone awards and violinist William Preucil, among others. His discography includes Paul an Emmy for his work in television. Schoenfield’s Café Music on Innova Recordings.
Photo: Roger Mastroianni
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Leonard Leonard Bernstein (1918-1990) Although he may have intended otherwise, Leonard the theme a soulful new melody, while the fourth is a Violin Sonata • Piano Trio • New Transcriptions Bernstein left very few examples of chamber music. lively study in pizzicato and syncopation. The fifth BERNSTEIN This disc collates the three such pieces that he wrote at variation ends the work on an unexpectedly though not (1918-1990) A true Renaissance man of music, Leonard Bernstein is To fill out this recording we became interested in the outset of his career (the earlier two of which inappropriately introspective note. renowned as a great American conductor, composer, commissioning the arrangements of songs taken from some remained unknown until just before his death), The first movement of the Piano Trio starts with Sonata for Clarinet and Piano (1941-42), arr. William author, music lecturer, and pianist. Among the first of Bernstein’s expressive and colorful stage music. We confirming his prowess in a genre to which he simply thoughtful interplay between the instruments, though a conductors born and educated in the United States to rise were especially drawn to his extraordinary 1956 operetta never had time to return. Added to these are greater activity soon comes to the fore and an intensive Terwilliger for violin and piano (b. 1962) (2008) 11:08 to international celebrity, he is best known for his Candide. Eric Stern enthusiastically and expertly took on arrangements by Eric Stern of songs from one of the discourse ensues, building to a powerfully wrought 1 I. Grazioso – Un poco più mosso 4:04 direction of the New York Philharmonic and his popular this challenging task, producing Four Moments from music-theatre works by which the composer is best climax which presages a return to the initial mood. The 2 II. Andantino – Vivace e leggiero 7:04 televised Young People’s Concerts, broadcast to millions Candide. We so loved these transcriptions that we asked known. Although Candide proved highly controversial second movement is a lively and resourceful scherzo, from 1958 to 1973. A protégé of Aaron Copland, he is him to arrange two additional songs from other shows, at its 1956 première and 1600 Pennsylvania Avenue, whose underlying march rhythm is constantly undercut Sonata for Violin and Piano (1939) 16:00 equally recognized as a composer of concert and stage beautifully sung by Broadway favorite Marin Mazzie. written to mark the bicentenary of American by ironic pizzicato writing in the strings and capricious works, but he is best known for his popular musicals independence, was a failure when staged exactly two runs by the piano. The third movement comes in 3 I. Moderato assai 4:47 West Side Story, On the Town, and Candide. Bernstein Andrew Cooperstock and William Terwilliger decades later, both works contain many delightful and complete contrast, though its restrained opening section 4 II. Variations on Movement I 11:13 has left his mark as one of the most influential musical ingenious numbers that confirm Bernstein as master of is met with a vigorous, folk-inflected idea that rapidly Variation 1 – Adagio figures of the twentieth century, and his name has Although Bernstein’s music had been a major influence on his craft and which the present arrangements do much to takes hold of the trio. This sees the music through to a Variation 2 – Prestissimo become synonymous with American music. my musical thinking for as long as I can remember, I first accentuate. forceful climax in which elements of both themes are Variation 3 – L’istesso tempo (ma un poco più libre) The Sonata for Clarinet and Piano (1941-42), met him in the 1980s. Our paths crossed socially a few The first movement of the Clarinet Sonata (heard freely combined, before the music drives forward to an Bernstein’s first published piece, was written for times, me the wide-eyed admirer and he the legend: here in William Terwilliger’s arrangement) centres on effervescent conclusion. Variation 4 – Andante teneramente clarinetist David Oppenheim, whom he had met at passionate, enthusiastic, insightful, intelligent and an expressive theme for violin that attracts a good deal ‘My House’ (from a 1950 musical staging of J. M. Variation 5 – Allegro agitato Tanglewood and who was to become a record and mesmerizing. He was always encouraging when he saw of comment from piano. A central section brings more Barrie’s play Peter Pan) is a soulful number in Variation 6 (Finale) – Sostenuto (broad, open, relaxed) television producer and renowned dean of the New performances I led, and although I subsequently made a animated interplay, before the main theme is varied a Bernstein’s most expressive vein and responds well to York University School of the Arts. Although an early living conducting his music, from On The Town to Age of little on its reappearance. An inward coda dwells on the the understated arrangement. ‘Take Care of this House’ Trio for Violin, Violoncello and Piano (1937) 16:02 work, its lyrical and jazzy qualities both foreshadow Anxiety, I never had the opportunity to perform his music lyrical essence of the theme to telling effect. The second (from the musical 1600 Pennsylvania Avenue) is more 5 I. Adagio non troppo – Allegro vivace 7:37 Bernstein’s mature style, even hinting at West Side for him. movement is more quixotic in manner, the violin speculative in its mood, reflected here by the 6 II. Tempo di marcia 3:30 Story, and it has become a staple of the repertoire. Naturally I was delighted when Bill and Andrew called unfolding a thoughtful melodic line that is suddenly cut concertante writing for violin and piano. Following the lead of Yo-Yo Ma and Jeffrey Kahane, me about doing the arrangements. With a few Candides short by the piano’s tensile rhythmic interjection. This As to the Candide numbers, ‘I Am Easily 7 III. Largo – Allegro vivo e molto ritmico 4:55 who recorded a version for cello and piano, we are under my belt as well as a lifetime of Bernstein’s music in duly incites the violin to greater activity, but the initial Assimilated’ is one of Bernstein’s wittiest numbers; happy to offer our own adaptation. my head, I felt equipped to ‘translate’ these songs from mood is at length re-established and a soulful discourse something which the present arrangement recognizes Two House Songs, arr. Eric Stern for soprano, violin The early Sonata for Violin and Piano (1939), voice and orchestra to violin and piano without doing much pursued almost through to the end of the movement, with its trenchant interplay between instruments, though and piano (b. 1952) (2008) 8:10 Bernstein’s only original work for this combination, was damage. That, at least, was my aim. The two ‘House’ songs, which concludes with a return to the livelier music. taking on a suavity and swagger where appropriate. As 8 ‘My House’ from Peter Pan (1950) 3:50 composed for Raphael Hillyer, fellow Harvard student however, posed a different challenge, since we were The first movement of the Violin Sonata commences the title suggests, ‘You Were Dead, You Know’ leavens 9 ‘Take Care of this House’ from 1600 Pennsylvania Avenue (1976) 4:20 and founding violist of the Juilliard Quartet. The two essentially adding an element: what once were duets are with a lyrical theme that soon touches on more intense its pathos with a decidedly dry humour that is amply movements are highly unified, the second consisting of now trios, and this seemed to warrant an expansion of the expression, the piano injecting a rhetorical element into reflected here. ‘Glitter and Be Gay’ is the undoubted Four Moments from Candide (1956), variations on the first. Several of the themes were ideas. It was intriguing, incidentally, to pair these songs, one the discourse. A passage that resembles an accompanied showstopper of the work, its alternation between reworked and re-used in Bernstein’s ballet Facsimile as from the composer’s earlier theatre writing, the other cadenza serves as the understated coda. The second soulfulness and display being fully conveyed in this arr. Eric Stern for violin and piano (2008) 16:21 well as in his Symphony No. 2, ‘The Age of Anxiety’. written in his undisputed prime. Although they represent movement is a set of variations on a forceful theme virtuoso arrangement. By contrast, ‘Make Our Garden 0 I. Moderato (‘I Am Easily Assimilated’) 3:53 While still a nineteen-year-old student at Harvard, different ends of his career, they both have the hallmark derived from the preceding movement and announced by Grow’ is the apotheosis to which the whole work has ! II. Andantino cantabile (‘You Were Dead, You Know’) 2:22 Bernstein composed his Piano Trio during 1937. The beauty and breadth that characterize his songs. My thanks piano, to which the violin responds with due purpose. been leading; hence this arrangement, which builds to a @ III. Aria (‘Glitter and Be Gay’) 5:42 work is imbued with both intensity and humor, and the to Bill, Andrew and Marin for bringing them to life so The first variation is an often virtuosic workout for both climax of real emotional intensity. pizzicato movement is particularly lighthearted. It was expressively. instruments, tellingly complemented by the plaintive # IV. Andante moderato (‘Make Our Garden Grow’) 4:24 finally published in 1979. Eric Stern manner of the second. The third variation makes out of Richard Whitehouse
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Leonard Leonard Bernstein (1918-1990) Although he may have intended otherwise, Leonard the theme a soulful new melody, while the fourth is a Violin Sonata • Piano Trio • New Transcriptions Bernstein left very few examples of chamber music. lively study in pizzicato and syncopation. The fifth BERNSTEIN This disc collates the three such pieces that he wrote at variation ends the work on an unexpectedly though not (1918-1990) A true Renaissance man of music, Leonard Bernstein is To fill out this recording we became interested in the outset of his career (the earlier two of which inappropriately introspective note. renowned as a great American conductor, composer, commissioning the arrangements of songs taken from some remained unknown until just before his death), The first movement of the Piano Trio starts with Sonata for Clarinet and Piano (1941-42), arr. William author, music lecturer, and pianist. Among the first of Bernstein’s expressive and colorful stage music. We confirming his prowess in a genre to which he simply thoughtful interplay between the instruments, though a conductors born and educated in the United States to rise were especially drawn to his extraordinary 1956 operetta never had time to return. Added to these are greater activity soon comes to the fore and an intensive Terwilliger for violin and piano (b. 1962) (2008) 11:08 to international celebrity, he is best known for his Candide. Eric Stern enthusiastically and expertly took on arrangements by Eric Stern of songs from one of the discourse ensues, building to a powerfully wrought 1 I. Grazioso – Un poco più mosso 4:04 direction of the New York Philharmonic and his popular this challenging task, producing Four Moments from music-theatre works by which the composer is best climax which presages a return to the initial mood. The 2 II. Andantino – Vivace e leggiero 7:04 televised Young People’s Concerts, broadcast to millions Candide. We so loved these transcriptions that we asked known. Although Candide proved highly controversial second movement is a lively and resourceful scherzo, from 1958 to 1973. A protégé of Aaron Copland, he is him to arrange two additional songs from other shows, at its 1956 première and 1600 Pennsylvania Avenue, whose underlying march rhythm is constantly undercut Sonata for Violin and Piano (1939) 16:00 equally recognized as a composer of concert and stage beautifully sung by Broadway favorite Marin Mazzie. written to mark the bicentenary of American by ironic pizzicato writing in the strings and capricious works, but he is best known for his popular musicals independence, was a failure when staged exactly two runs by the piano. The third movement comes in 3 I. Moderato assai 4:47 West Side Story, On the Town, and Candide. Bernstein Andrew Cooperstock and William Terwilliger decades later, both works contain many delightful and complete contrast, though its restrained opening section 4 II. Variations on Movement I 11:13 has left his mark as one of the most influential musical ingenious numbers that confirm Bernstein as master of is met with a vigorous, folk-inflected idea that rapidly Variation 1 – Adagio figures of the twentieth century, and his name has Although Bernstein’s music had been a major influence on his craft and which the present arrangements do much to takes hold of the trio. This sees the music through to a Variation 2 – Prestissimo become synonymous with American music. my musical thinking for as long as I can remember, I first accentuate. forceful climax in which elements of both themes are Variation 3 – L’istesso tempo (ma un poco più libre) The Sonata for Clarinet and Piano (1941-42), met him in the 1980s. Our paths crossed socially a few The first movement of the Clarinet Sonata (heard freely combined, before the music drives forward to an Bernstein’s first published piece, was written for times, me the wide-eyed admirer and he the legend: here in William Terwilliger’s arrangement) centres on effervescent conclusion. Variation 4 – Andante teneramente clarinetist David Oppenheim, whom he had met at passionate, enthusiastic, insightful, intelligent and an expressive theme for violin that attracts a good deal ‘My House’ (from a 1950 musical staging of J. M. Variation 5 – Allegro agitato Tanglewood and who was to become a record and mesmerizing. He was always encouraging when he saw of comment from piano. A central section brings more Barrie’s play Peter Pan) is a soulful number in Variation 6 (Finale) – Sostenuto (broad, open, relaxed) television producer and renowned dean of the New performances I led, and although I subsequently made a animated interplay, before the main theme is varied a Bernstein’s most expressive vein and responds well to York University School of the Arts. Although an early living conducting his music, from On The Town to Age of little on its reappearance. An inward coda dwells on the the understated arrangement. ‘Take Care of this House’ Trio for Violin, Violoncello and Piano (1937) 16:02 work, its lyrical and jazzy qualities both foreshadow Anxiety, I never had the opportunity to perform his music lyrical essence of the theme to telling effect. The second (from the musical 1600 Pennsylvania Avenue) is more 5 I. Adagio non troppo – Allegro vivace 7:37 Bernstein’s mature style, even hinting at West Side for him. movement is more quixotic in manner, the violin speculative in its mood, reflected here by the 6 II. Tempo di marcia 3:30 Story, and it has become a staple of the repertoire. Naturally I was delighted when Bill and Andrew called unfolding a thoughtful melodic line that is suddenly cut concertante writing for violin and piano. Following the lead of Yo-Yo Ma and Jeffrey Kahane, me about doing the arrangements. With a few Candides short by the piano’s tensile rhythmic interjection. This As to the Candide numbers, ‘I Am Easily 7 III. Largo – Allegro vivo e molto ritmico 4:55 who recorded a version for cello and piano, we are under my belt as well as a lifetime of Bernstein’s music in duly incites the violin to greater activity, but the initial Assimilated’ is one of Bernstein’s wittiest numbers; happy to offer our own adaptation. my head, I felt equipped to ‘translate’ these songs from mood is at length re-established and a soulful discourse something which the present arrangement recognizes Two House Songs, arr. Eric Stern for soprano, violin The early Sonata for Violin and Piano (1939), voice and orchestra to violin and piano without doing much pursued almost through to the end of the movement, with its trenchant interplay between instruments, though and piano (b. 1952) (2008) 8:10 Bernstein’s only original work for this combination, was damage. That, at least, was my aim. The two ‘House’ songs, which concludes with a return to the livelier music. taking on a suavity and swagger where appropriate. As 8 ‘My House’ from Peter Pan (1950) 3:50 composed for Raphael Hillyer, fellow Harvard student however, posed a different challenge, since we were The first movement of the Violin Sonata commences the title suggests, ‘You Were Dead, You Know’ leavens 9 ‘Take Care of this House’ from 1600 Pennsylvania Avenue (1976) 4:20 and founding violist of the Juilliard Quartet. The two essentially adding an element: what once were duets are with a lyrical theme that soon touches on more intense its pathos with a decidedly dry humour that is amply movements are highly unified, the second consisting of now trios, and this seemed to warrant an expansion of the expression, the piano injecting a rhetorical element into reflected here. ‘Glitter and Be Gay’ is the undoubted Four Moments from Candide (1956), variations on the first. Several of the themes were ideas. It was intriguing, incidentally, to pair these songs, one the discourse. A passage that resembles an accompanied showstopper of the work, its alternation between reworked and re-used in Bernstein’s ballet Facsimile as from the composer’s earlier theatre writing, the other cadenza serves as the understated coda. The second soulfulness and display being fully conveyed in this arr. Eric Stern for violin and piano (2008) 16:21 well as in his Symphony No. 2, ‘The Age of Anxiety’. written in his undisputed prime. Although they represent movement is a set of variations on a forceful theme virtuoso arrangement. By contrast, ‘Make Our Garden 0 I. Moderato (‘I Am Easily Assimilated’) 3:53 While still a nineteen-year-old student at Harvard, different ends of his career, they both have the hallmark derived from the preceding movement and announced by Grow’ is the apotheosis to which the whole work has ! II. Andantino cantabile (‘You Were Dead, You Know’) 2:22 Bernstein composed his Piano Trio during 1937. The beauty and breadth that characterize his songs. My thanks piano, to which the violin responds with due purpose. been leading; hence this arrangement, which builds to a @ III. Aria (‘Glitter and Be Gay’) 5:42 work is imbued with both intensity and humor, and the to Bill, Andrew and Marin for bringing them to life so The first variation is an often virtuosic workout for both climax of real emotional intensity. pizzicato movement is particularly lighthearted. It was expressively. instruments, tellingly complemented by the plaintive # IV. Andante moderato (‘Make Our Garden Grow’) 4:24 finally published in 1979. Eric Stern manner of the second. The third variation makes out of Richard Whitehouse
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Leonard Leonard Bernstein (1918-1990) Although he may have intended otherwise, Leonard the theme a soulful new melody, while the fourth is a Violin Sonata • Piano Trio • New Transcriptions Bernstein left very few examples of chamber music. lively study in pizzicato and syncopation. The fifth BERNSTEIN This disc collates the three such pieces that he wrote at variation ends the work on an unexpectedly though not (1918-1990) A true Renaissance man of music, Leonard Bernstein is To fill out this recording we became interested in the outset of his career (the earlier two of which inappropriately introspective note. renowned as a great American conductor, composer, commissioning the arrangements of songs taken from some remained unknown until just before his death), The first movement of the Piano Trio starts with Sonata for Clarinet and Piano (1941-42), arr. William author, music lecturer, and pianist. Among the first of Bernstein’s expressive and colorful stage music. We confirming his prowess in a genre to which he simply thoughtful interplay between the instruments, though a conductors born and educated in the United States to rise were especially drawn to his extraordinary 1956 operetta never had time to return. Added to these are greater activity soon comes to the fore and an intensive Terwilliger for violin and piano (b. 1962) (2008) 11:08 to international celebrity, he is best known for his Candide. Eric Stern enthusiastically and expertly took on arrangements by Eric Stern of songs from one of the discourse ensues, building to a powerfully wrought 1 I. Grazioso – Un poco più mosso 4:04 direction of the New York Philharmonic and his popular this challenging task, producing Four Moments from music-theatre works by which the composer is best climax which presages a return to the initial mood. The 2 II. Andantino – Vivace e leggiero 7:04 televised Young People’s Concerts, broadcast to millions Candide. We so loved these transcriptions that we asked known. Although Candide proved highly controversial second movement is a lively and resourceful scherzo, from 1958 to 1973. A protégé of Aaron Copland, he is him to arrange two additional songs from other shows, at its 1956 première and 1600 Pennsylvania Avenue, whose underlying march rhythm is constantly undercut Sonata for Violin and Piano (1939) 16:00 equally recognized as a composer of concert and stage beautifully sung by Broadway favorite Marin Mazzie. written to mark the bicentenary of American by ironic pizzicato writing in the strings and capricious works, but he is best known for his popular musicals independence, was a failure when staged exactly two runs by the piano. The third movement comes in 3 I. Moderato assai 4:47 West Side Story, On the Town, and Candide. Bernstein Andrew Cooperstock and William Terwilliger decades later, both works contain many delightful and complete contrast, though its restrained opening section 4 II. Variations on Movement I 11:13 has left his mark as one of the most influential musical ingenious numbers that confirm Bernstein as master of is met with a vigorous, folk-inflected idea that rapidly Variation 1 – Adagio figures of the twentieth century, and his name has Although Bernstein’s music had been a major influence on his craft and which the present arrangements do much to takes hold of the trio. This sees the music through to a Variation 2 – Prestissimo become synonymous with American music. my musical thinking for as long as I can remember, I first accentuate. forceful climax in which elements of both themes are Variation 3 – L’istesso tempo (ma un poco più libre) The Sonata for Clarinet and Piano (1941-42), met him in the 1980s. Our paths crossed socially a few The first movement of the Clarinet Sonata (heard freely combined, before the music drives forward to an Bernstein’s first published piece, was written for times, me the wide-eyed admirer and he the legend: here in William Terwilliger’s arrangement) centres on effervescent conclusion. Variation 4 – Andante teneramente clarinetist David Oppenheim, whom he had met at passionate, enthusiastic, insightful, intelligent and an expressive theme for violin that attracts a good deal ‘My House’ (from a 1950 musical staging of J. M. Variation 5 – Allegro agitato Tanglewood and who was to become a record and mesmerizing. He was always encouraging when he saw of comment from piano. A central section brings more Barrie’s play Peter Pan) is a soulful number in Variation 6 (Finale) – Sostenuto (broad, open, relaxed) television producer and renowned dean of the New performances I led, and although I subsequently made a animated interplay, before the main theme is varied a Bernstein’s most expressive vein and responds well to York University School of the Arts. Although an early living conducting his music, from On The Town to Age of little on its reappearance. An inward coda dwells on the the understated arrangement. ‘Take Care of this House’ Trio for Violin, Violoncello and Piano (1937) 16:02 work, its lyrical and jazzy qualities both foreshadow Anxiety, I never had the opportunity to perform his music lyrical essence of the theme to telling effect. The second (from the musical 1600 Pennsylvania Avenue) is more 5 I. Adagio non troppo – Allegro vivace 7:37 Bernstein’s mature style, even hinting at West Side for him. movement is more quixotic in manner, the violin speculative in its mood, reflected here by the 6 II. Tempo di marcia 3:30 Story, and it has become a staple of the repertoire. Naturally I was delighted when Bill and Andrew called unfolding a thoughtful melodic line that is suddenly cut concertante writing for violin and piano. Following the lead of Yo-Yo Ma and Jeffrey Kahane, me about doing the arrangements. With a few Candides short by the piano’s tensile rhythmic interjection. This As to the Candide numbers, ‘I Am Easily 7 III. Largo – Allegro vivo e molto ritmico 4:55 who recorded a version for cello and piano, we are under my belt as well as a lifetime of Bernstein’s music in duly incites the violin to greater activity, but the initial Assimilated’ is one of Bernstein’s wittiest numbers; happy to offer our own adaptation. my head, I felt equipped to ‘translate’ these songs from mood is at length re-established and a soulful discourse something which the present arrangement recognizes Two House Songs, arr. Eric Stern for soprano, violin The early Sonata for Violin and Piano (1939), voice and orchestra to violin and piano without doing much pursued almost through to the end of the movement, with its trenchant interplay between instruments, though and piano (b. 1952) (2008) 8:10 Bernstein’s only original work for this combination, was damage. That, at least, was my aim. The two ‘House’ songs, which concludes with a return to the livelier music. taking on a suavity and swagger where appropriate. As 8 ‘My House’ from Peter Pan (1950) 3:50 composed for Raphael Hillyer, fellow Harvard student however, posed a different challenge, since we were The first movement of the Violin Sonata commences the title suggests, ‘You Were Dead, You Know’ leavens 9 ‘Take Care of this House’ from 1600 Pennsylvania Avenue (1976) 4:20 and founding violist of the Juilliard Quartet. The two essentially adding an element: what once were duets are with a lyrical theme that soon touches on more intense its pathos with a decidedly dry humour that is amply movements are highly unified, the second consisting of now trios, and this seemed to warrant an expansion of the expression, the piano injecting a rhetorical element into reflected here. ‘Glitter and Be Gay’ is the undoubted Four Moments from Candide (1956), variations on the first. Several of the themes were ideas. It was intriguing, incidentally, to pair these songs, one the discourse. A passage that resembles an accompanied showstopper of the work, its alternation between reworked and re-used in Bernstein’s ballet Facsimile as from the composer’s earlier theatre writing, the other cadenza serves as the understated coda. The second soulfulness and display being fully conveyed in this arr. Eric Stern for violin and piano (2008) 16:21 well as in his Symphony No. 2, ‘The Age of Anxiety’. written in his undisputed prime. Although they represent movement is a set of variations on a forceful theme virtuoso arrangement. By contrast, ‘Make Our Garden 0 I. Moderato (‘I Am Easily Assimilated’) 3:53 While still a nineteen-year-old student at Harvard, different ends of his career, they both have the hallmark derived from the preceding movement and announced by Grow’ is the apotheosis to which the whole work has ! II. Andantino cantabile (‘You Were Dead, You Know’) 2:22 Bernstein composed his Piano Trio during 1937. The beauty and breadth that characterize his songs. My thanks piano, to which the violin responds with due purpose. been leading; hence this arrangement, which builds to a @ III. Aria (‘Glitter and Be Gay’) 5:42 work is imbued with both intensity and humor, and the to Bill, Andrew and Marin for bringing them to life so The first variation is an often virtuosic workout for both climax of real emotional intensity. pizzicato movement is particularly lighthearted. It was expressively. instruments, tellingly complemented by the plaintive # IV. Andante moderato (‘Make Our Garden Grow’) 4:24 finally published in 1979. Eric Stern manner of the second. The third variation makes out of Richard Whitehouse
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Opus Two Marin Mazzie AMERICAN CLASSICS Photo: J. Henry Fair The award-winning Opus Two has been internationally recognized for its Photo: Tim Schulthies Three-time Tony nominee actress-singer Marin Mazzie has “divine phrases, impelling rhythm, elastic ensemble and stunning sounds,” as starred in Kiss Me Kate, Ragtime, and Passion, among many well as its commitment to expanding the violin–piano duo repertoire. Since other Broadway shows. She has also appeared in concert winning the 1993 United States Information Agency’s Artistic Ambassador across the country, from Carnegie Hall to the Hollywood Auditions, violinist William Terwilliger and pianist Andrew Cooperstock have Bowl, under the baton of Michael Tilson Thomas, Marvin BERNSTEIN concertized extensively in major cities on five continents. Champions of Hamlisch, Keith Lockhart, Skitch Henderson, and Doc American music, Opus Two has recorded Aaron Copland’s complete works for Severinsen, to name a few. Her television credits include guest violin and piano, Robert Starer’s Duo, Sonata Lunaris by John Fitz Rogers, and rôles on Without a Trace, Numb3rs, and Still Standing, as well chamber music for piano and strings by Lowell Liebermann. Their recording as many appearances on PBS. Her recording Opposite You, Violin Sonata • Piano Trio • New Transcriptions dedicated to the music of Paul Schoenfield won a major grant from the American with husband Jason Danieley, was named Album of the Year Music Center’s Aaron Copland Recording Fund. For more information, by NPR. www.opustwo.org Opus Two violin-piano duo Charles Bernard, Cello • Marin Mazzie, Soprano
Eric Stern
Eric Stern is a veteran Broadway conductor and arranger. In addition to his work in the theatre, he has recorded or appeared in concert with the London Symphony Orchestra, the Charles Bernard Cleveland Orchestra, the Chicago Symphony, the Orchestra of St Luke’s, and the New York and New Jersey Pops, with Canadian cellist Charles Bernard joined the Cleveland Orchestra in 1992 and soloists including Dawn Upshaw, Barbara Cook, Mandy currently serves as its Assistant Principal. An avid chamber musician, he has Patinkin, Audra McDonald, Dianne Reeves, Deborah Voigt, collaborated with pianist Leif-Ove Andsnes, harpist Yolanda Kondonassis, and and Fred Hersch. He has won several Gramophone awards and violinist William Preucil, among others. His discography includes Paul an Emmy for his work in television. Schoenfield’s Café Music on Innova Recordings.
Photo: Roger Mastroianni
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Opus Two Marin Mazzie AMERICAN CLASSICS Photo: J. Henry Fair The award-winning Opus Two has been internationally recognized for its Photo: Tim Schulthies Three-time Tony nominee actress-singer Marin Mazzie has “divine phrases, impelling rhythm, elastic ensemble and stunning sounds,” as starred in Kiss Me Kate, Ragtime, and Passion, among many well as its commitment to expanding the violin–piano duo repertoire. Since other Broadway shows. She has also appeared in concert winning the 1993 United States Information Agency’s Artistic Ambassador across the country, from Carnegie Hall to the Hollywood Auditions, violinist William Terwilliger and pianist Andrew Cooperstock have Bowl, under the baton of Michael Tilson Thomas, Marvin BERNSTEIN concertized extensively in major cities on five continents. Champions of Hamlisch, Keith Lockhart, Skitch Henderson, and Doc American music, Opus Two has recorded Aaron Copland’s complete works for Severinsen, to name a few. Her television credits include guest violin and piano, Robert Starer’s Duo, Sonata Lunaris by John Fitz Rogers, and rôles on Without a Trace, Numb3rs, and Still Standing, as well chamber music for piano and strings by Lowell Liebermann. Their recording as many appearances on PBS. Her recording Opposite You, Violin Sonata • Piano Trio • New Transcriptions dedicated to the music of Paul Schoenfield won a major grant from the American with husband Jason Danieley, was named Album of the Year Music Center’s Aaron Copland Recording Fund. For more information, by NPR. www.opustwo.org Opus Two violin-piano duo Charles Bernard, Cello • Marin Mazzie, Soprano
Eric Stern
Eric Stern is a veteran Broadway conductor and arranger. In addition to his work in the theatre, he has recorded or appeared in concert with the London Symphony Orchestra, the Charles Bernard Cleveland Orchestra, the Chicago Symphony, the Orchestra of St Luke’s, and the New York and New Jersey Pops, with Canadian cellist Charles Bernard joined the Cleveland Orchestra in 1992 and soloists including Dawn Upshaw, Barbara Cook, Mandy currently serves as its Assistant Principal. An avid chamber musician, he has Patinkin, Audra McDonald, Dianne Reeves, Deborah Voigt, collaborated with pianist Leif-Ove Andsnes, harpist Yolanda Kondonassis, and and Fred Hersch. He has won several Gramophone awards and violinist William Preucil, among others. His discography includes Paul an Emmy for his work in television. Schoenfield’s Café Music on Innova Recordings.
Photo: Roger Mastroianni
8.559643 5 6 8.559643 CMYK NAXOS Playing Leonard Time: BERNSTEIN 67:42 (1918-1990) broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and 8.559643 1-2 Sonata for Clarinet and Piano, & AMERICAN CLASSICS
arr. William Terwilliger 2010 Naxos Rights International Ltd. • Made in Canada This disc collects three of Leonard (1941-42/2008) 11:08 BERNSTEIN: 3-4 Sonata for Violin and Piano Bernstein’s very few examples of (1939) 16:00 chamber music. Although written at 5-7 Trio for Violin, Violoncello the onset of his career, the Piano * and Piano (1937) 16:02 Trio and the Violin Sonata (both 8-9 Two House Songs, arr. Eric Stern ** student works) and the Clarinet
(1950, 1976/2008) 8:10 Violin Sonata • Piano Trio Sonata (here arranged for violin by 0-# Four Moments from Candide, arr. Eric Stern (1956/2008) 16:21 William Terwilliger) confirm his prowess in a genre to which he Opus Two simply never had time to return. William Terwilliger, Violin Rounding out the disc are songs Andrew Cooperstock, Piano Violin Sonata • Piano Trio Sonata • Piano Violin from three of his theatre works, * Charles Bernard, Cello including ‘My House’ from Peter ** Marin Mazzie, Soprano Pan, ‘Take Care of this House’ from A detailed track list can be found on page 2 of the booklet. 1600 Pennsylvania Avenue, and four Funded in part by Cornelia Freeman, Edwin Betsill, the University of Colorado, and the John & Mary Virginia Foncannon Chamber songs from the acclaimed madcap Music Scholarship of Mu Phi Epsilon. Thanks to Steinway pianos. DDD Special thanks to the Bernstein Estate and to Boosey & Hawkes, operetta Candide, all idiomatically BERNSTEIN: publisher of all music on this recording. Recorded at Waetjen Auditorium at Cleveland State University, arranged by Eric Stern. Cleveland, Ohio, USA, on 19th August, 2008 (tracks 1-4), on 30th November, 2008 (tracks 5-7), and on 1st December, 2008 (tracks 10-13); and at Clinton Recording Studios, New York, USA, www.naxos.com 8.559643 8.559643 on 4th November, 2008 (tracks 8-9) Producer: Alan Bise • Engineer: Bruce Egre Publisher: Boosey & Hawkes Music Publishers Ltd. Booklet notes: Andrew Cooperstock and William Terwilliger, Eric Stern, Richard Whitehouse • Cover image by Paolo Zeccara NAXOS