Leonard Bernstein Downloaded by [New York University] at 04:27 09 August 2016 ROUTLEDGE MUSIC BIBLIOGRAPHIES

Downloaded by [New York University] at 04:27 09 August 2016 Leonard Bernstein Downloaded by [New York University] at 04:27 09 August 2016 ROUTLEDGE MUSIC BIBLIOGRAPHIES

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Paul R. Laird and Hsun Lin Downloaded by [New York University] at 04:27 09 August 2016

ROUTLEDGE MUSIC BIBLIOGRAPHIES Second edition published 2015 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Paul R. Laird and Hsun Lin to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. First edition published by Routledge 2002 Library of Congress Cataloging-in-Publication Data Laird, Paul R., compiler. Leonard Bernstein : a research and information guide / by Paul R. Laird and Hsun Lin. — Second edition. pages cm. — (Routledge music bibliographies) Includes bibliographical references and index. I. Lin, Hsun (Musicologist), compiler. II. Title. III. Series: Routledge music bibliographies. ML134.B512L35 2015 016.78092—dc23 2014048748 ISBN: 978-1-138-91333-2 (hbk) ISBN: 978-1-315-69154-1 (ebk) Typeset in Minion by Apex CoVantage, LLC Downloaded by [New York University] at 04:27 09 August 2016 Contents

Preface to the Second Edition ix Acknowledgments xii

1. The Life and Work of Leonard Bernstein 1 Family Background, Education, and Early Career to 1943 1 Bernstein the Conductor 2 Bernstein the Composer 4 Bernstein the Educator and Commentator 8 Bernstein the Pianist 9 Lenny of the Letters: The Man behind the Musician 9

2. Leonard Bernstein’s Musical Style 20 Eclecticism and Leonard Bernstein 20 Accessibility, Communication, and Dramatic Impact 22 Collaboration 24 Melody 24 Rhythm 27 Vernacular References 35 Harmony, Texture, and Form 39 Jewish Elements and Sensibility 40 Conclusion 41 Part A Index in Chapters 1 and 2 46

3. An Annotated List of Bernstein’s Major Compositions 49 Solo Instrumental Music 50

Downloaded by [New York University] at 04:27 09 August 2016 Piano(s) 50 Orchestral Instruments 54 Instrumental Chamber Music 55 Vocal and Choral Music 56 Solo Voice(s) 56 Choruses 59 Dramatic Music 60 Ballets 60 Broadway Scores and Theater Piece 62 Film Score 65 Incidental Music 65

vii viii Contents

Operas 66 Cantata 67 Orchestral and Band Music 68 Symphonies 68 Concerto 69 Miscellaneous Orchestral Music 70 Band Music 74 4. Selected Writings of Leonard Bernstein 76 5. Biographical Sources 92 General Biographies 92 Particular Biographical Issues 125 Relations with Other Luminaries 139 6. Sources on Bernstein’s Compositions 151 General and Collective 151 By Performance Category 164 Piano Music 164 Chamber Music 166 Choral Music 167 Film Score 170 Songs and Song Cycles 174 Symphonic Music 176 Theater Music 187 7. Sources on Bernstein’s Allied Pursuits 234 Conducting 234 Educator and Commentator 243 8. A Selected List of Video Recordings Featuring Leonard Bernstein and His Music 250 Films That Involved Bernstein and Documentaries on Bernstein 250 Films and Theatrical Works with Bernstein’s Music 254 Downloaded by [New York University] at 04:27 09 August 2016 9. Research Aids: Composition Catalog, Archives and Libraries, and Web Sites 255 Composition Catalog 255 Representative Archives and Libraries with Primary Materials 256 Web Sites 266 Index of Compositions and Arrangements 269 Index of Authors, Editors, and Titles 275 Index of Subjects 311 Preface to the Second Edition

Leonard Bernstein continues to loom as a giant in twentieth-century American music with a career that spanned the composition of concert and theater music, orchestral conducting, television, education, piano performance, and celebrity. His appeal was international because of his most popular music, such as the score to West Side Story, and his wide success as a conductor. Bernstein’s varied activities, larger-than-life personality, and brushes with controversy have inspired portrayals and commentary from many writers, rendering special problems for the compilation of the first and second editions of this book. We have tried to include significant examples of such sources as biographies (except children’s books) and scholarly articles on his life and work, but we have been selective in other areas, such as the thousands of articles in popular journals and newspapers. To exclude all such articles, however, would misrepresent Bernstein, a ubiquitous presence in American culture. Except for the first edition of this source, no other large-scale consideration of the bibliography concerning Bernstein exists, although there are a number of books and dissertations on the musician and his work that include extensive bibliographies, and we have benefitted from these sources in the preparation of this edition. Paul Laird’s scholarly interest in Bernstein began with his master’s thesis in the early 1980s. A source for that document was an interview with Bernstein that took place in Washington, DC, on 15 March 1982. Material from that interview sheds light on aspects of the composer and his work in the first two chapters of this book. Chapter 1 is Laird’s outline of Bernstein’s life and major activities to place the remainder of the book in context. Added to the second edition is consideration of Bernstein’s personality and character, based upon The Letters of Leonard Bernstein, compiled by Nigel Simeone (Yale University Press, 2013). As in the first edition, Laird’s Chapter 2 is a study of Bernstein’s compositional style in terms of its most significant components. Chapter 3, augmented in comparison to the first edition, is a list of Bernstein’s most important compositions, each with a short annotation describing the work’s historical background, how it fits into Downloaded by [New York University] at 04:27 09 August 2016 his overall output, and identification of other basic information about the piece. Bernstein was a prolific author of books, articles, speeches, poems, lectures, television scripts, and other types of writings. A complete listing of these hundreds of works is available in the Finding Aid for the Library of Congress Bernstein Collection. Chapter 4 is a representative, annotated listing of his most significant writings. Laird’s coauthor, Hsun Lin, made major contributions to the last five chapters. Author of a dissertation at the University of Kansas on how Bernstein’s music in the musicals On the Town and Wonderful Town compares to his concert works, Lin identified most of the sources on Bernstein and his music that have appeared since the first edition and wrote annotations for dissertations, articles, and other sources. Laird wrote annotations for most of the new books and some other sources. Chapter 5 lists biographical ix x Preface to the Second Edition

materials, including available biographies and major scholarly articles on Bernstein’s life in English and major European languages. Also included from various junctures of Bernstein’s career are articles in the popular musical press (e.g., Gramophone, Ste- reo Review, etc.), popular magazines (e.g., Time, Life, etc.), and pieces from The New York Times. These sources illustrate the perception of Bernstein during his life and the breadth of his celebrity. Sources included in this chapter primarily cover Bernstein’s overall career or his work as a composer; materials primarily on his conducting or work as an educator or television commentator appear in Chapter 7. Where no ISBN is available, often the Library of Congress card catalog number appears. Library of Congress call numbers are provided for those books for which they are available; for some books, the name of the library that performed the cataloguing appears in parentheses. Chapter 5 also includes an inventory of the more important articles from Prelude, Fugue & Riffs, a newsletter published by The Leonard Bernstein Office, Inc., edited by Craig Urquhart. These are mostly brief articles and have not been annotated. The segment of sources on “Particular Biographical Issues” includes material on Bernstein’s family, his political involvement, the FBI’s surveillance of him, reactions to his Norton Lectures, reports on various festivals, his work in Israel and other countries, his interest in the piano, the famous 1943 conducting debut with the New York Philharmonic, and other events in his personal life. Sources annotated under “Relations with Other Luminaries” are selected biographical materials on figures with whom Bernstein worked that include significant material on him and his work. Chapter 6 includes the following types of sources on Bernstein’s compositions: available books and scholarly articles in English or major European languages; dissertations and other doctoral documents on Bernstein’s music; some master’s theses; and selected reviews of concerts and recordings from the popular musical press and The New York Times. Few liner notes from recordings are included, but sometimes unusual material appears in these sources. Under “General and Collective” sources one finds writings on more than one genre in which Bernstein worked; otherwise sources appear under the appropriate genre designation. Sources on ballet appear under “Theater Music” and materials concerning the film West Side Story—a score that Bernstein wrote for theater and a film that he barely worked on—are also under “Theater Music.” Reviews of ballet and theater works are usually confined to reviews of premieres, but some reviews of significant revisions or revivals also appear. Chapter 7 includes the following types of selected materials on Bernstein’s work as a

Downloaded by [New York University] at 04:27 09 August 2016 conductor, educator, and commentator: books, significant articles, videos, dissertations and other doctoral documents, and master’s theses. Bernstein’s recorded legacy as a conductor, composer, and television personality includes hundreds of audio recordings and dozens of video recordings. John Hunt has dealt effectively with audio recordings in his The Discographies of Leonard Bernstein and Eugene Ormandy (Item 846). Chapter 8 includes a selected list of his video recordings available on DVD and identifies sources that list his videos. Bernstein’s archival footprint primarily falls on the Library of Congress Music Division, where the collection of his materials includes some 400,000 items. Chap- ter 9 includes Laird’s description of this collection along with statements about archival materials associated with Bernstein at the following institutions: Houston Preface to the Second Edition xi

Grand Opera, Metropolitan Opera, The Paley Center for Media, Museum of the City of New York, New York Philharmonic, New York Public Library for the Performing Arts at Lincoln Center, and State Historical Society of Wisconsin. Hsun Lin updated the list of important web sites related to Bernstein, also found in Chapter 9. Many people and institutions have assisted with the compilation of the first and second editions of this book. Paul Laird wishes to thank the following for their assistance on the first edition: Ali Tonn, his research assistant in 1999–2000; University of Kansas Music and Dance Library staff at the time, including Vic Cardell, Jim Smith, and Nancy Rutherford Hawkins; the University of Kansas Library Office of Inter-Library Loan; Douglas Nickel; Robert Howig; Doug and Demetria Laird; the University of Kansas General Research Fund; Mark Eden Horowitz of the Library of Congress; Ebon Brown of the Museum of Television & Radio; Marty Jacobs of the Museum of the City of New York Theater Collection; Barbara Haws and Richard Wandel of the New York Philharmonic Archives; George Boziwick of the New York Public Library for the Per- forming Arts; Marie Carter of The Leonard Bernstein Office, Inc.; Brian Mitchell of the Houston Grand Opera Archive; and Bob Tuggle of the Metropolitan Opera Archive. Many of these people and institutions remain just as important for the second edition, for which we would like to also thank: Constance Ditzel and Denny Tek of Routledge; Erica Argyropoulos, for assistance with some bibliographical references and a citation; the University of Kansas Music and Dance Library, including librarian George Gibbs and his assistants Jim Smith and Jane Hoyt; Dorothy Glick, for her assistance in checking citations in the weeks before submitting the manuscript and working on the indexing; John Pennino of the Metropolitan Opera Archive; and Elias Blumm of Boosey & Hawkes. Any errors in this book are the sole responsibility of the authors. Thanks to Joy Laird and Elizabeth Sallinger, who helped at the indexing and proofing stage. The writing of a book is a solitary profession—made more compelling, to be sure, through collaboration, even via email from halfway around the globe—but the many hours spent staring at one’s laptop place great demands on an author’s family. Paul Laird would like to thank his wife, Joy, for her quiet support through many years of his obsession with the life and work of Leonard Bernstein, and his daughter, Caitlin, for her interest in his work and willingness to listen to hours of lectures at the dinner table on Bernstein and other topics. Hsun Lin would like to thank her parents for supporting her to keep seeking her passion in the study of the musical theater. Paul R. Laird

Downloaded by [New York University] at 04:27 09 August 2016 Lawrence, Kansas 4 October 2014 Hsun Lin Taipei, Taiwan 6 October 2014 Acknowledgments

Letters by Leonard Bernstein © Amberson Holdings LLC. Used by permission of The Leonard Bernstein Office, Inc.

Letters by Felicia Montealegre Bernstein. Used by permission of The Leonard Bernstein Office, Inc.

Chichester Psalms by Leonard Bernstein © Copyright 1965 by Amberson Holdings LLC. Leonard Bernstein Music Publishing Company LLC, publisher. Boosey & Hawkes, agent for rental. International copyright secured. Reprinted by permissions of Boosey & Hawkes, Inc.

Candide by Leonard Bernstein © Copyright 1988 by Amberson Holdings LLC. Copyright renewed. Leonard Bernstein Music Publishing Company LLC, publisher. International copyright secured. Reprinted by permission of Boosey & Hawkes, Inc.

Jeremiah by Leonard Bernstein © 1943 Harms, Inc. Renewed 1971 by Warner Bros., Inc. Leonard Bernstein Music Publishing Co., LLC, Publisher. Downloaded by [New York University] at 04:27 09 August 2016 Boosey & Hawkes, Inc. Sole Agent. Reprinted by permission of Boosey & Hawkes, Inc.

Songfest by Leonard Bernstein © Copyright 1977 by Amberson Holdings, LLC. Leonard Bernstein Music Publishing Company, LLC, Publisher. Boosey & Hawkes, Inc., Sole Agent. All rights reserved. Reprinted by permission of Boosey & Hawkes, Inc.

xii Acknowledgments xiii

A Quiet Place by Leonard Bernstein Copyright © 1983, 1988 by Amberson Holdings, Inc. Leonard Bernstein Music Publishing Company LLC, publisher. International copyright secured. Reprinted by permission of Boosey & Hawkes, Inc.

Fancy Free by Leonard Bernstein © Copyright 1950, 1968 by Harms, Inc. Copyright Renewed. Boosey & Hawkes, Inc. Sole Agent. All Rights Reserved. International Copyright Secured. Reprinted by permission of Boosey & Hawkes, Inc. Downloaded by [New York University] at 04:27 09 August 2016 This page intentionally left blank Downloaded by [New York University] at 04:27 09 August 2016 1 The Life and Work of Leonard Bernstein

FAMILY BACKGROUND, EDUCATION, AND EARLY CAREER TO 1943

Leonard Bernstein was born 25 August 1918 in Lawrence, Massachusetts, to Samuel Bernstein, a supplier of barber and beauty products, and the former Jenny 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. The couple had two other children: Shirley and Burton, born in 1923 and 1932. Although there was little evidence of musical talent in previous generations of either family, Leonard Bernstein began to pursue musical activities with great intensity from the age of ten, when an aunt gave his family her piano. Bernstein quickly began lessons on the instrument. He studied with his first teacher of note, Helen Coates, from age fourteen. (Coates later became his lifelong secretary.) Samuel Bernstein, although proud of his son’s abilities, hoped that he might join the family business and opposed

Downloaded by [New York University] at 04:27 09 August 2016 his ambitions for a musical career, occasionally refusing to pay for his lessons. Leonard would then earn the money himself by giving lessons and playing jazz and blues gigs with fellow teenagers. In 1934, Samuel Bernstein advertised for his business with his son playing light classics on the radio for thirteen weeks. Leonard Bernstein spent several summers staging operettas with friends, foreshadowing his great interest in theater. Dur- ing the summer of 1934, for example, they staged a version of Bizet’s Carmen with sexes reversed in the roles and lyrics full of local jokes. Bernstein attended Boston Latin School, graduating in 1935. He appeared as piano soloist with the Boston Public School Orchestra in 1934. In the fall of 1935 he entered Har- vard, where he majored in music, and began piano instruction with one of Boston’s finest teachers, Heinrich Gebhard. His professors at Harvard included Edward Burlingame

1 2 Leonard Bernstein: A Research and Information Guide

Hill for orchestration, A. Tillman Merritt for harmony and counterpoint, and Walter Piston for counterpoint and fugue. Another professor who influenced Bernstein was David Prall of the philosophy department. Bernstein wrote a paper for Prall’s aesthetics course on Copland’s Piano Variations; Prall responded by buying the score for his student. Bernstein graduated from Harvard in 1939 with an A.B. in Music, cum laude. In addition to his academic studies, Bernstein pursued many musical activities. The most significant occurred his senior year, when he composed a score for Aristophanes’s The Birds, conducted the performance, and staged Marc Blitzstein’s The Cradle Will Rock, which he led from the piano like Blitzstein had in the famous New York production. Bernstein invited Blitzstein to the Harvard version, and the composer attended, beginning their lifelong friendship. In 1937 Bernstein met Dimitri Mitropoulos at a Boston reception and Aaron Copland at a dance recital in New York. Both older musicians were most impressed with Bernstein and became major figures in his career. Following his graduation from Harvard, Bernstein moved to New York, where he worked some as pianist for The Revuers, a cabaret act including Betty Comden, Adolph Green, and Judy Holliday, among others. In the fall, with the recommendations of Mitropoulos and Copland, he entered Curtis Institute of Music in Philadelphia, where he studied conducting with Fritz Reiner, piano with Isabelle Vengerova, and orchestration with Randall Thompson. In the summer of 1940, Bernstein joined Serge Kous- sevitzy’s conducting class at the Berkshire Music Festival at Tanglewood. Koussevitzky became another of Bernstein’s older mentors and friends. After finishing his diploma in conducting at Curtis, Bernstein spent another summer at Tanglewood and then pursued musical activities in New York and Boston. In 1942 his Sonata for Clarinet and Piano was premiered at the Institute of Modern Art in Boston with clarinetist David Glazer and Bernstein at the piano. That year he also took a position with Harms, Inc., a New York music company, where he transcribed jazz solos and made commercial arrangements under the pseudonym “Lenny Amber.” On 25 August 1943, Artur Rodzinski named Bernstein assistant conductor of the New York Philharmonic. With guest conductor Bruno Walter ill on 14 November, Bernstein made a dramatic debut with the orchestra before a national radio audience. His celebrity began immediately. On 16 December, he again substituted, this time for Howard Barlow. Bernstein spent only one year as an assistant conductor, beginning his work as a frequent guest conductor in 1944. By the end of that year, he had led orchestras in Pittsburgh, Boston, Montreal, Chicago, Cincinnati, Los Angeles, and Detroit. Downloaded by [New York University] at 04:27 09 August 2016

BERNSTEIN THE CONDUCTOR

Bernstein was one of the first American-born, American-trained conductors of international reputation. He was urged to consider conducting as a career by Mitropoulos and Copland. Mitropoulos was an important mentor and model; Bernstein shared his demonstrative podium manner and interest in performing piano concertos while directing from the keyboard. Bernstein’s study with Reiner and Koussevitzky provided extensive training with two other world-class conductors of varied temperaments and styles. Bernstein was especially close to Koussevitzky, serving as his assistant at Tanglewood in The Life and Work of Leonard Bernstein 3

1942, joining the conducting faculty in 1948, and taking over the conducting department when Koussevitzky died in 1951. Except for three years of part-time and unpaid work as music director of the New York City Symphony from 1945 to 1948, Bernstein mostly guest-conducted from 1944 to 1957. With the New York City Symphony Orchestra, he led three exciting seasons full of twentieth-century music and relatively unknown American works, establishing a brief but interesting rivalry with Rodzinski’s New York Philharmonic. But it is for his association with the New York Philharmonic that Bernstein will always be remembered. He sometimes guest-conducted the orchestra between 1944 and 1957, when he was named co-conductor with Mitropoulos. During that season he became music director, starting the position in fall 1958, the youngest musician ever in the position. Although some critics disliked Bernstein’s exaggerated podium manner and showmanship, the New York Philharmonic enjoyed one of its most successful periods under Bernstein. New concert series were added and the orchestra’s audience tripled between the 1955–56 season and the late 1960s.1 Bernstein helped bring the orchestra a presence on network television, both in concerts for young people and in regular symphonic programs. The orchestra made hundreds of recordings for CBS Masterworks with Bernstein, traversing much of the traditional repertory and releasing the first complete recording of Mahler’s symphonies and many relatively unknown American works. As a whole, Bernstein’s catalog with the New York Philharmonic must be considered one of the most impressive collaborations between a conductor and orchestra in the history of recording. Bernstein also led the Philharmonic on a number of tours, including one to South America in 1958 and another to Europe, the Near East, and the Soviet Union in 1959. Bernstein sometimes conducted the Philharmonic after resigning his position and being named laureate conductor in 1969. Bernstein’s international career began in the late 1940s. He conducted many orchestras a number of times, but enjoyed his longest associations with the Israel Philharmonic and the Vienna Philharmonic. He first led the former ensemble in 1947, serving as its musical adviser in 1948–49 and again in 1988. The conductor turned down the orchestra’s music directorship more than once. Bernstein was lionized in Israel for concerts presented close to the front during the War for Independence in October–November 1948. He was chosen to conduct the concert that opened its auditorium in Tel Aviv in 1957 and eventually was named the orchestra’s laureate conductor. Bernstein’s Viennese career began with a memorable performance of Verdi’s Falstaff in 1966 and in 1970 he con-

Downloaded by [New York University] at 04:27 09 August 2016 ducted Beethoven’s Fidelio there. He began to lead the Vienna Philharmonic (which also plays for the Vienna State Opera) in the orchestral repertory, eventually recording and filming all of the symphonies of Beethoven and Brahms, among other works, with them. Another highlight of his international career was a 1953 production with Maria Callas of Cherubini’s opera Medea at Milan’s La Scala, which made him the first American conductor to work there. There were always commentators who were excited by Bernstein’s music-making and audiences consistently responded well to him. From early in his career, however, some critics derided his emotional and choreographic leadership. Some also felt he bent the music out of shape, inserting subjective tempo and dynamic changes to communicate his analysis of the music. His most strident critic while music director of the 4 Leonard Bernstein: A Research and Information Guide

New York Philharmonic was Harold C. Schonberg of The New York Times, but even he saw Bernstein’s growth as a conductor. When Bernstein left the orchestra in 1969, Schonberg wrote that he had learned “to conduct the big works of the repertory in a way that had shape as well as color, structural integrity as well as freedom within the phrase.”2 In the same article Schonberg also praised Bernstein’s wide range, which at that point included almost everything from Haydn forward and special understanding of twentieth-century and American music. His interest in music of the twentieth century did not usually include the avant-garde. From the late 1970s, few conductors could be compared to Bernstein in terms of fame or influence. After recording with Colum- bia Masterworks from the late 1950s, Bernstein began an exclusive arrangement with Deutsche Grammophon in 1972.

BERNSTEIN THE COMPOSER3

Bernstein was active as a composer during most of his career, with the least productive years being 1957 to 1969, when he led the New York Philharmonic. His catalog of works is not large as such composers as Stravinsky or Copland, but he is one of the few Amer- ican composers who made significant contributions in both the popular theater and concert music. Bernstein’s meeting with Aaron Copland at the age of nineteen profoundly influenced him. He visited Copland often in the late 1930s and early 1940s, regularly showing the older composer his music and hearing what Copland was writing at the time. Cop- land commented on Bernstein’s music, urging him to find his own voice and emulate the French concept of la note choisie that Copland had learned from Nadia Boulanger.4 Bernstein insisted that his sessions with Copland were not formal study, but did once admit that, considering the many influences in his music, “you could . . . funnel all that through Aaron.”5 There are many moments in Bernstein’s music that demonstrate Cop- land’s influence. The music of Marc Blitzstein was another important model for Bern- stein, especially his theater music. Except for his study at Harvard, Bernstein never had any other “training” as a composer. Many critics have called his music “eclectic,” a point considered in detail in Chap- ter 2. He began composing seriously in his late teens. His first completed works heard in public were Music for the Dance Nos. 1 and 2 and Music for Two Pianos (premiered in

Downloaded by [New York University] at 04:27 09 August 2016 1938) and his score to Aristophanes’s The Birds (played at Harvard on 21 April 1939). He wrote a Sonata for Violin and Piano in 1940. The first work that Bernstein published, still played regularly, was his Sonata for Clarinet and Piano (1942). Bernstein completed his Symphony No. 1, Jeremiah at the end of 1942 to enter the work in a composition contest at the New England Conservatory of Music, incorporating an earlier setting from the Lamentations of Jeremiah. He completed the piece with little time to spare, copying the final score with the help of friends while doing the orchestration. It failed to win the contest, but remains an impressive work for such a young symphonist. Another work that he completed before becoming a celebrity was the song cycle I Hate Music! (1943), a setting of his own texts written for mezzo-soprano Jennie Tourel. In the The Life and Work of Leonard Bernstein 5

same year he wrote Seven Anniversaries, a series of short movements for solo piano honoring important people in his life, a format Bernstein returned to several times in his career. A little over a year after bursting on the scene as a conductor in late 1943, Bernstein premiered his first symphony, ballet score, and score for a Broadway musical. He conducted Symphony No. 1, Jeremiah in its premiere performance with the Pittsburgh Sym- phony on 28 January 1944. During the winter and spring he worked on the ballet Fancy Free, his first collaboration with Jerome Robbins. The plot, involving three sailors on twenty-four-hour leave in New York City, helped make it a wartime hit. With Robbins, lyricists Betty Comden and Adolph Green, and director George Abbott, the plot of the ballet was then turned into the musical On the Town. The show included notable use of jazz and blues elements, dance music effectively conceived for Robbins’s energetic choreography, and such fine songs as “New York, New York” and “Lonely Town.” However, the MGM movie of On the Town, which premiered in 1949, retained only three songs and some dance music from Bernstein’s original score. Bernstein composed less for the remainder of the 1940s, a period when he was music director of the New York City Symphony Orchestra and establishing his international career as a guest conductor in Europe and Palestine/Israel. His only notable work during 1945 was Hashkiveinu, a religious chorus with Hebrew text premiered at Park Avenue Synagogue in New York City on 11 May of that year. In 1946 he wrote his second ballet with Jerome Robbins, Facsimile, premiered by the Ballet Theatre on 24 October. Bernstein and Robbins would have been hard-pressed to duplicate the success of Fancy Free, and they did not. Bernstein’s last work of the decade, Symphony No. 2, The Age of Anxiety, fulfilled a commission from the Koussevitzky Foundation. The work was inspired by W. H. Auden’s poem by the same name, an indication of Bernstein’s affinity for program music. The piece is as much a piano concerto as a symphony and with critics was a qualified success. Bernstein revised it substantially in 1965. In 1949, Bernstein also wrote Prelude, Fugue and Riffs, originally commissioned by Woody Herman, who never paid Bernstein for the work. It was premiered on an Omnibus broadcast in 1955. Two minor works of note from the 1940s were La Bonne Cuisine (1947), a song cycle based on four recipes, and Brass Music (1948), subtitled “Five Pieces for Four Brass Players and Piano.” The suite includes solos for each brass instrument and piano and concludes with a brass quartet. The next decade was Bernstein’s most productive as a composer of dramatic music.

Downloaded by [New York University] at 04:27 09 August 2016 During the 1950s, he wrote three Broadway scores, incidental music to two plays, one opera, and his only film score. The only significant piece of concert music for the entire decade was the Serenade, after Plato’s Symposium for Solo Violin, Strings, Harp and Per- cussion. The work was the result of another commission from the Koussevitzky Founda- tion and premiered with Isaac Stern and the Israel Philharmonic on 12 September 1954 at Venice’s Teatro La Fenice. Bernstein was clearly wrestling with his dual careers during the 1950s, craving solitude so that he might work as a composer, but often returning to the podium for extended tours. Nevertheless, he did take sabbaticals from conducting during the 1950s, including one around the time of his marriage to Felicia Montealegre Cohn on 9 Sep- tember 1951. They went to Mexico for an extended honeymoon while Bernstein worked 6 Leonard Bernstein: A Research and Information Guide

on his opera Trouble in Tahiti, but returned early so that Bernstein could serve as a substitute conductor at the Boston Symphony. Their union bore three children and probably helped legitimize Bernstein as an acceptable cultural figure in the conservative 1950s, but his homosexuality is well known today and he pursued affairs with men throughout his life. His marriage and sexuality are considered in more detail ahead. Bernstein’s productive decade for theater music began with a score of twenty songs, choruses, dances, and segments of descriptive music composed for a production of J. M. Barrie’s Peter Pan, which premiered on 24 April 1950. Bernstein wrote the lyrics as well as the music for the score. His next dramatic score was his short opera Trouble in Tahiti, composed for the first Festival of the Creative Arts at Brandeis University in 1952. Bern- stein also wrote the libretto, telling the story of a troubled marriage in suburbia. He returned to the story and music three decades later in his opera A Quiet Place. Bernstein also wrote an incidental score to Lillian Hellman’s 1955 adaptation of Jean Anouilh’s The Lark, based on Joan of Arc’s life. The score included three French choruses and five Latin choruses for performance by the New York Pro Musica Antiqua, music that he later turned into his Missa Brevis (1988). His only completed film score, except for the adaptations of his Broadway musicals (which Bernstein usually had little to do with), was On the Waterfront, which premiered on 29 July 1954. Elia Kazan directed the movie for Columbia Studios. Bernstein enjoyed the composing process for the project and loved the result, but found the editing process, when some of the music was lost, painful.6 Much of Bernstein’s composing time during the 1950s went to the three musicals: Won- derful Town (1953), Candide (1956), and West Side Story (1957). Joseph Fields and Jerome Chodorov had turned their play My Sister Eileen into a musical book and hired Rosalind Russell to star in the production, retitled Wonderful Town, but needed a score before their option on the actress expired. After one team failed to produce a score, Comden, Green, and Bernstein dropped everything in late 1952 and composed the entire score between early November and mid-December.7 The show was an unqualified success as Bernstein again demonstrated that Broadway scores might have been his best calling as a composer. Candide was a less satisfying experience. Lillian Hellman wrote a book heavy on irony and satire, Bernstein wrote a lively confection of a score with principal lyricist Richard Wilbur that explores several corners of European music history, and director Tyrone Guthrie mounted a sumptuous production that demonstrated his lack of experience with musical theater. The score has been revived a number of times, but in its

Downloaded by [New York University] at 04:27 09 August 2016 original form Candide ran only seventy-three performances. Bernstein’s next effort, however, made Broadway history and is perhaps his best composition. Bernstein worried often that he might be remembered only for West Side Story, but there are surely worse fates for a composer. The genesis and success of the work with choreographer/director Jerome Robbins, author Arthur Laurents, and lyricist Stephen Sondheim and its importance in Broadway history have been covered in many sources, a number of them described in this book. Bernstein finished very few works during his tenure with the New York Philhar- monic. In 1963 he premiered his Symphony No. 3, Kaddish, conceived for speaker, mezzo-soprano soloist, chorus, and orchestra. The work was controversial, primarily because of the part that Bernstein wrote for the speaker, who at times directly confronts The Life and Work of Leonard Bernstein 7

God. Bernstein substantially revised the symphony in 1977. He took a sabbatical from the Philharmonic during the 1964–65 season. Months of effort to try to adapt Thornton Wilder’s The Skin of Our Teeth into a musical with Betty Comden, Adolph Green, and Jerome Robbins ultimately yielded nothing of substance. Bernstein turned some of the music he wrote for the project and material deleted from West Side Story into Chichester Psalms, a choral work with orchestra written for an English cathedral choir festival at Chichester. The work is in three movements with Hebrew texts and has proven to be one of his most popular concert pieces. During this period he also composed two short fanfares for the inauguration of President John F. Kennedy in 1961 and for the twenty-fifth anniversary of the New York City High School of Music and Art. Bernstein left the New York Philharmonic in 1969 with the intention to compose. In the 1970s he completed four major works: Mass (1971), the ballet Dybbuk (1974), the Broadway musical 1600 Pennsylvania Avenue (1976), and Songfest (1977). Mass, composed for the opening of the John F. Kennedy Center for the Performing Arts in Wash- ington, DC, is a sprawling “theater piece” that includes the entire text of the Roman Catholic Mass and added texts in English by Bernstein and Stephen Schwartz.8 A recurring theme in many of Bernstein’s works is the modern “crisis of faith,” and Mass was his most extensive statement on the subject. Dybbuk, based upon a Hebrew legend, was commissioned by the New York City Ballet and constitutes his last completed collaboration with Jerome Robbins. Bernstein worked on 1600 Pennsylvania Avenue with lyricist and writer Alan Jay Lerner. The show told the history of the White House through pres- idents, first ladies, and black slaves and servants. It failed to work on several levels and ran for one week, among the most spectacular failures in Broadway history. The score resurfaced in a 1997 concert work as A White House Cantata. Songfest was Bernstein’s bicentennial project for the concert hall, a setting of works by American poets from throughout history scored for a group of soloists and orchestra. It is one of Bernstein’s most heartfelt works and a major contribution to the genre of orchestrally accompanied song cycles, but it has been neglected, perhaps partly because of the need for six soloists. Composing remained important to Bernstein during the 1980s. In 1980 he wrote two lighthearted pieces: the Divertimento for Orchestra for the centennial of the Boston Symphony and A Musical Toast for André Kostelanetz. In 1981 he completed the serious and effective Halil, Nocturne for solo flutist and orchestra, dedicated to an Israeli flutist killed in Arab-Israeli war of 1973. It is one of Bernstein’s most effective abstract works, an interesting combination of jazz-inspired material, more advanced harmonic concep-

Downloaded by [New York University] at 04:27 09 August 2016 tions, and lyrical melody. In 1981 Bernstein also wrote Touches, commissioned as the competition piece for the Van Cliburn International Piano Competition that year and his most substantial solo piece for the piano. Bernstein long desired to write a full-length opera, which he did in 1982–83. A Quiet Place, conceived with librettist Stephen Wadsworth, revisits the story of Trouble in Tahiti thirty years later. The opera was jointly commissioned by the Houston Grand Opera, Kennedy Center of Washington, and Teatro alla Scala of Milan. The score was withdrawn after its tepid reception in Houston. Bernstein and Wadsworth completely revised the opera, which then played in the other houses. The opera includes inspired use of speech rhythms, but the work probably will remain controversial for its blunt emotional honesty and apparently self-revelatory nature. 8 Leonard Bernstein: A Research and Information Guide

Bernstein’s last major orchestral work was his Concerto for Orchestra, completed in 1989. It was first conceived as Jubilee Games in 1986. In its final version the piece honored the fiftieth anniversary of the Israel Philharmonic, concluding with a setting for solo baritone and orchestra of a benediction from the book of Numbers. Two major works completed in 1988 were the Missa Brevis, a recasting of his score for The Lark, and Arias and Barcarolles, a song cycle for two singers and duo pianists notable for both light songs and several touching moments. Not included in this history are a number of suites that Bernstein derived from his dramatic music. Each of his ballet scores was transformed into one or more suites, as were segments of the scores to On the Town, On the Waterfront, and West Side Story. The Overture to Candide has taken on a life of its own in the concert hall. Each of these works was based largely on its original model and all are listed under “Orchestral Works” in the list of compositions.

BERNSTEIN THE EDUCATOR AND COMMENTATOR

Bernstein was often called a “natural teacher” by his colleagues, friends, and members of his family. His “classrooms” included orchestras, concert audiences, national television audiences, seminars for young conductors, and captive audiences at parties and dinners. Through his activities as an educator and musical commentator, especially on television, Bernstein exposed many Americans to classical music. In this area there were few figures like him in the twentieth century. Bernstein’s educational career began in the orchestral world. Orchestras might have thought differently, but Bernstein considered his rehearsals and conducting a type of education. This was especially true for all of the twentieth-century music that he conducted, which some orchestras had seldom played. On 15 March 1982, I observed Bernstein lead a rehearsal with the National Symphony in Washington, DC. The program included Elgar’s “Enigma” Variations, Walton’s Viola Concerto, and his own Halil for flute and orchestra. At the time the National Symphony was a fairly young orchestra, and I heard Bernstein remark that they still needed training, especially in playing twentieth-century music. It was clear that his rehearsal technique was based on teaching the orchestra his understanding of the music. Bernstein’s work as a teacher of conducting began in the summer of 1942 as an

Downloaded by [New York University] at 04:27 09 August 2016 assistant at Tanglewood. In 1951 Bernstein was appointed head of the orchestra and conducting departments there, positions he worked through 1955, except for 1954. He often taught and conducted at Tanglewood during the rest of his life. Another place where he actively trained conductors was the Los Angeles Philharmonic Institute in the early 1980s. Among his many students were Marin Alsop, John Mauceri, Seiji Ozawa, Bright Sheng, Carl St. Clair, and Michael Tilson Thomas. Bernstein’s crowded career precluded a full-time academic position, but he was appointed professor of music at Brandeis University in September 1951. As Brandeis was founded, Koussevitzky became involved in the formation of a school of music. When he died, Bernstein took his place. Bernstein’s first project was an ambitious Festival of the Creative Arts in June 1952, which included several interesting performances and The Life and Work of Leonard Bernstein 9

discussions. He taught in the two following academic years, but the pressures of his many commitments made his long-term association with the school impossible. Jack Gottlieb, Bernstein’s long-time assistant and a graduate student at Brandeis in the early 1950s, remembers fondly Bernstein’s lecture-demonstrations on the musical theater and composition seminars in 1953.9 Although Bernstein played a direct role in the education of many professional musicians, he will be best remembered for his extensive television work during the 1950s and 1960s on Omnibus (1954–61), Lincoln Presents (1958–59), Ford Presents (1959–62), Young People’s Concerts (1958–72), and other television shows that were not parts of organized series. Bernstein had a gift for explaining musical concepts in a way that non-musicians could understand. His frequent presence on network television made him familiar to millions, for many the seminal American classical musician during his lifetime. Much of the appeal of the television scripts, which Bernstein wrote, was transferred into print in his books. Bernstein the educator also wrote and presented the Charles Eliot Norton Lectures at Harvard University in 1973, his most detailed work as a musical analyst and controversial for his spirited defense of tonality in twentieth-century music and idiosyncratic application of Noam Chomsky’s theories of linguistics to musical analysis. Detailed annotations on Bernstein’s books appear in Chapter 4.

BERNSTEIN THE PIANIST

Much has been made of Bernstein the versatile musician. Part of this image includes the fact that he was also an outstanding pianist. Bernstein probably could have pursued a career as a concert pianist. After years of lessons in Boston, he polished his technique at the Curtis Institute of Music with Isabelle Vengerova. Before finding fame as a conductor, he played several notable performances as a pianist in New York and Boston and made a few recordings, perhaps most significantly Copland’s Piano Sonata. He sometimes led piano concertos from the keyboard, including Ravel’s Concerto in G Major, certain Mozart concertos, and Gershwin’s Rhapsody in Blue, among other works. His sight-reading ability was phenomenal, and many stories exist about how well he could play works that he had not practiced in years. He occasionally served as pianist on Lieder recitals with such singers as Christa Ludwig and Dietrich Fischer-Dieskau. As much as he loved the piano, however, the instrument simply never could have captured fully the ambitions and wide-ranging interests of Bernstein. Downloaded by [New York University] at 04:27 09 August 2016

LENNY OF THE LETTERS: THE MAN BEHIND THE MUSICIAN

Leonard Bernstein was one of those celebrities that people thought they knew. Given his presence on television and elsewhere in the media this is not surprising, and we certainly understand the phenomenon in an age when the publicity machine for the famous oper- ates twenty-four hours per day on the web. In the same way, however, that most of us really do not know today’s Hollywood actors or singers of Top 40 hits, the public in his day did not really know Bernstein. He had many friends, but he was a complicated man capable of manifesting a wide range of emotions and interpersonal behaviors, like many 10 Leonard Bernstein: A Research and Information Guide

of us. Bernstein’s biographers have shown this, but with the publication of Nigel Sime- one’s The Leonard Bernstein Letters,10 an unfiltered sketch of the man begins to emerge. As Simeone states in his preface, he chose to emphasize Bernstein the man and musician,11 favoring his correspondence with luminaries, friends, and colleagues over that with his parents and siblings, but the volume includes a selection of letters with family, among them many between the man and his wife, Felicia Montealegre Cohn, baring aspects of his unrehearsed personality. Similar impressions may be drawn from Bern- stein’s correspondence with such lifelong friends as Aaron Copland, David Oppenheim, and others, some of which reveals much about his conflicted sexuality and personal observations on music and life. The letters also offer fresh information on the timetable for some of his compositions or other projects, material that has been used elsewhere in this book and, to an extent, ahead. With family and friends, Bernstein appears, for the most part, to have been generous and amiable, but he could be tactless.12 His relationships with his siblings, Shirley and Burton, were close, and letters to Felicia Bernstein in Simeone’s volume reveal that after initial difficulties that they became a happily married couple who enjoyed each other’s company, and that of their children. Complications that Bernstein’s sexuality brought to the relationship will be described ahead, but Simeone calls Felicia “the greatest love” of Bernstein’s life.13 There is an especially touching communication from 1954 (no. 335) that he wrote when she felt overwhelmed by the several members of the Bernstein family who had entered her life and were around her much of the time. Most of the evidence in the letters about Bernstein’s feelings for his children date from when they were young, but he does describe a 1974 trip to New Zealand that he enjoyed taking with his then nineteen-year-old son, Alexander (no. 571), and there is a delightful letter (no. 553) from his daughter Jamie (born 1952) while she was a student at Harvard in 1971. Simeone’s selection of letters does little to illuminate the relationship between Bernstein and his father, but a surprising statement the son makes to Harvard friend Kenneth Ehrman on 17 January 1939 (no. 30) is that his father would be willing to bankroll his son for another year following graduation from Harvard. Despite well-known tensions that existed between father and son concerning choice of a career, this does not sound like the words of a man trying to stop his son from going into music. In the letter to Ehrman, Bernstein mulls over options such as a year in Paris or New York, but instead he went to Curtis to study conducting and piano, and Dimitri Mitropoulos helped pay his living expenses (see no. 41, 42). Mitropoulos’s strong interest in the young Bernstein seems

Downloaded by [New York University] at 04:27 09 August 2016 clear in three letters written in 1938–39 (nos. 19, 23, 31). One of the delights of Simeone’s collection is to read many letters from Bernstein’s loyal friends, some of them also professional colleagues, such as (besides Copland and Oppenheim) Marc Blitzstein, Betty Comden, David Diamond, Lukas Foss, Adolph Green, Arthur Laurents, Goddard Lieberson, Renée Longy Miquelle, Sid Ramin, Jerome Rob- bins, William Schuman, Frank Sinatra, Oliver Smith, and Stephen Sondheim. Certainly not all of his friends were famous, such as Kenneth Ehrman, Alfred Eisner, Shirley Gabis, Philip and Barbara Marcuse, and Kiki Speyer, but their letters help paint the picture of a man surrounded with companionship. An unusual case among Bernstein’s friends was the celebrated writer and journalist Martha Gellhorn (once married to Ernest Heming- way), whom Bernstein met in Mexico in the 1940s.14 They remained correspondents The Life and Work of Leonard Bernstein 11

throughout Bernstein’s life. Simeone included few of her letters, but they reveal someone who knew Bernstein well and who was willing to say what she thought he needed to hear. Joan Peyser states that Bernstein’s “powerful sexuality affected his art and career as much as did his formidable musicianship.”15 It is a matter of significance for all biographers, and Simeone’s collection of letters provides a great deal of grist for the mill. Such consideration is not merely for an emphasis on the prurient; men who were likely Bern- stein’s lovers at some point in his life, such as Aaron Copland and David Oppenheim, were among his best friends and crucial professional contacts, and his sexuality might have partially prompted his marriage to provide “cover” from accusations of homosexuality. As Simeone notes, Bernstein came into adulthood at a time when homosexuality was considered a treatable mental illness,16 and his letters from the late 1930s and 1940s show that he went to great lengths to try to “cure” himself through psychoanalysis, a topic that appears often in letters with his therapist, Oppenheim, and Copland. One of the more enlightened thinkers about homosexuality at the time appears to have been Bern- stein’s wife, Felicia, who wrote to him early in their marriage (no. 320, 1951–52) that she was willing to accept him as he was, noting that “your peace of mind, your health, your whole nervous system depend on a certain sexual pattern,” strikingly modern thinking for the early 1950s. Felicia was not the only woman interested in Bernstein. His youthful friend Kiki Speyer discussed marriage with him during the summer of 1941, a situation to which Bernstein referred cryptically in a letter to Shirley Gabis (no. 95, August 1941) and that he explained to Copland that fall (no. 99). Speyer told Bernstein that she would marry him and accept his “double life” or support him as he tried for a “recovery.” His reaction was to flee to Key West.17 Specific letters reveal the ambiguous nature of Bernstein’s sexuality. As a young man he was capable of taking offense at the more effeminate of men, condemning the “totally degenerate homosexuals” in Greenwich Village in a letter to Kenneth Ehrman (no. 30, 17 January 1939), but he admitted his own preference in a number of letters, confessing, for example, to his love for Jean Middleton (a male pianist) in a letter to Copland from early 1942 (no. 107). He often stated his love for Oppenheim and Copland in letters that Simeone published, but none of these references prove a physical relationship.18 News of his own sexual exploits in his letters shocked Copland (nos. 68, 71, 140, 147), who counseled more discretion in what he was willing to commit to paper, once presciently joking in about 1940 (no. 71) that Bernstein would have to censor one of his letters when he would be director of the New York Philharmonic. Bragging in letters about one’s sex

Downloaded by [New York University] at 04:27 09 August 2016 life occurred among Bernstein’s younger friends, such as those from his heterosexual college roommate Alfred Eisner, who wanted Bernstein to know about his success with Hollywood actresses (no. 52, 70). Bernstein’s apparent lack of discretion—and that of his close associates—went beyond the epistolary: his friend Seymour Myerson wrote in 1945 (no. 212) about how shocked he was that Bernstein’s secretary Helen Coates knew so much about Bernstein’s sex life and was willing to discuss it with others. Bernstein’s attempt to “cure” himself of his homosexuality demonstrates that at least part of him wished to live a heteronormative life, despite evidence of his considerable appetite for amorous experiences with many partners. Both he and David Oppenheim went through extensive psychoanalysis with Marketa Morris, whom they identified as “Frau.” She appears often in Bernstein’s correspondence (for example, in nos. 110, 120, 12 Leonard Bernstein: A Research and Information Guide

133, 142, 148–50, 197, 256, 260–61, etc., encompassing 1942–47), including letters from her that include specific advice, such as his need to abstain from sex (no. 142) and how their treatment will take time, noting on 23 July 1947 (no. 256) that they could not be finished in five months, as Bernstein had apparently hoped. He also consulted with Jun- gian psychoanalyst Renée Nell, from whom Simeone published a letter (no. 278, 30 Jan- uary 1949). Bernstein mentioned Nell in a letter to his sister Shirley from 26 April 1950, when he declares his intention “only to cope . . . through my own powers,” foregoing Nell’s further assistance. This was in a letter where he asked his sister to serve as an inter- mediary in his renewed pursuit of Felicia, with whom he had become engaged in 1946, only to end it the next year. By 1950, however, he was ready to marry Felicia. Shirley’s help bore fruit, and Felicia wrote Bernstein a loving letter before 9 August 1951 (no. 314), thanking him and Shirley for help through a difficult time and declaring her love. Their marriage did not begin smoothly. As Simeone notes, Bernstein seems to have regarded it as a trial arrangement.19 Following their wedding in Boston at his home synagogue, they drove across the country to San Francisco, finally landing in Cuernavaca, Mexico, where Bernstein had stayed before. Besides settling into married life in an extended honeymoon, Bernstein’s task was to work on his opera Trouble in Tahiti (about an unhappy marriage!). Bernstein reported to his brother, Burton, on 18 September 1951 (no. 316) that they had a “big crisis” in Detroit while staying with his friends Philip and Barbara Marcuse, whom he reports helped mediate. Three weeks after his letter to Bur- ton, on 9 October 1951, Bernstein wrote to the Marcuses (no. 317), stating that tensions still existed, but there were moments of calm that boded well for the future. He declared that they would see how things developed in “a marriage contracted in insecurity.” The aforementioned letter from Felicia (no. 320, from late 1951 or 1952), where she admits that Bernstein is gay and always will be, basically lays out the rules of engagement under which their marriage apparently proceeded: she understood his need to express himself sexually with men, but asked that he do so “without guilt or confession.” She admitted that their marriage might not last, but was willing to accept him as a husband on these terms because she loved him. She wished to go back to working as an actress, and continue their marriage “not based on passion but on tenderness and mutual respect.” Their first child, Jamie, born on their first anniversary, seems to have cemented their relationship. Bernstein was crazy about his children. His many letters to Felicia routinely include statements of his love for her and their children and tender thoughts when things are not well, such as when Felicia took Jamie and Alexander (aged five and two) home to Chile

Downloaded by [New York University] at 04:27 09 August 2016 in summer 1957 to allow Bernstein to work on West Side Story, and they were struck by the Asian flu and other misfortunes (nos. 381, 383). They maintained this satisfactory, if complex, arrangement until 1976, when they announced a trial separation because Bern- stein decided to exist as a gay man and lived for some months with Tom Cothran.20 While Bernstein was in the process of reconciling with Felicia, however, she was diagnosed with lung cancer. Her death on 16 June 1978 shattered him. Humphrey Burton asserts that Bernstein felt responsible for her death “and his sense of guilt never left him.”21 Another crucial aspect of both his personal and professional life was Bernstein’s desire to work simultaneously in multiple careers. Critics frequently made disparaging remarks about his multifarious activities, and Simeone’s volume makes clear that this was a difficult subject for Bernstein. He pursued with abandon opportunities in both The Life and Work of Leonard Bernstein 13

composition and conducting from the time that he graduated from Curtis in spring 1941. The letters indicate that, at his core, Bernstein was a composer rather than a conductor, because he often expressed his longing for more time to compose; he never declared that he should spend less time composing so that he could conduct more. A revealing moment appears in a letter to the Marcuses from 18 May 1955, where he wrestles with this very issue and concludes, “Some day, preferably soon, I simply must decide what I’m going to be when I grow up.” Bernstein’s choices, however, were complicated by two factors: he was a fine conductor who presented memorable performances and often got invited back by orchestras, and he made a considerable part of his income as a guest conductor, especially earlier in his career. An important aspect of Bernstein’s life that makes few appearances in the letters is religion. Grandson of an Orthodox rabbi and with a father actively involved with temple and Talmud, Leonard Bernstein sought deep assimilation in American life but trum- peted his faith in several of his serious compositions and in his strong support for Israel. Simeone’s selection of letters includes references to Judaism (such as in correspondence with Solomon Braslavsky, musical director in the temple where Bernstein grew up; see nos. 208–09), but the aspect of the correspondence where Bernstein seems most committed to his Jewishness is through his conducting in Israel. It is instructive to read such letters as one that Bernstein wrote to Koussevitzky (no. 252) on 25 April 1947, where he lauds the spirit of Israel’s people and the region’s natural beauty. It is not surprising that he conducted the Palestine, and later Israel, Philharmonic often and led them on tours, but he was never able to accept musical directorship of the orchestra.22 Bernstein was first and foremost an American who wanted success in his home country. Israel would never have been large enough to contain all of Bernstein’s ambitions. He occasionally commented on how being Jewish affected his work in other parts of the world, such as while conducting Falstaff in Vienna in 1966. He wrote Felicia (no. 522, 2 March 1966) about how well things were going for him (“I’m a sort of Jewish hero who has replaced Karajan”) at a time when there was a general election going on “full of anti-Semitic issues & overtones.” Interestingly, politics is another area important in Bernstein’s life that makes scant appearance in the volume.23 Simeone provides Bernstein’s entire affi- davit (no. 328, 3 August 1953) written for the U.S. State Department to demonstrate his loyalty when an official questioned whether his passport should be renewed, but besides a few letters (nos. 329–30) commenting on that experience, Bernstein has little to say about politics in this collection of correspondence.

Downloaded by [New York University] at 04:27 09 August 2016 Simeone’s collection offers a fascinating glimpse at Bernstein the practicing, perceptive musician, revealing his feelings about his music and that of others. From the moment that he raves about Ravel’s Bolero to Sid Ramin (no. 2) a few months shy of his fifteenth birthday, Bernstein writes about music in his letters in fascinating manners. After hearing a poor performance of Copland’s Piano Variations in March 1938 (no. 20), he wrote to the composer in abject despair. He had other complaints about life at that moment, but he could not abide what he called “no performance” of one of his favorite pieces. In October–November 1940, Bernstein had a telling, testy exchange of letters with David Diamond (nos. 65–67) over his preludes and fugues for piano that Bernstein was reviewing; he made his first recording in January 1941 of Diamond’s Prelude and Fugue No. 3. Bernstein offers specific, frank observations concerning Diamond’s counterpoint 14 Leonard Bernstein: A Research and Information Guide

and what he considers lack of nuances in the fugue. It is a revealing example of Bern- stein’s strongly developed musical sense at a tender age, and his potential tactlessness. Bernstein provided fascinating commentary on his music for the ballet Fancy Free, which he wrote for Jerome Robbins’s choreography in late 1943 and early 1944. In a letter from late 1943 (no. 164), Bernstein noted that the rhythm he had in mind for the pas de deux was “something startling—hard at first, but oh so danceable with the pelvis!” In the next letter (no. 165), the composer demonstrated his concern for unifying the ballet in terms of musical style, asking Robbins if they might open the work with a section of “a regular commercial song” performed by the bartender that “is very blue, intimate, sexy and naive, but unusual formally,” and the pas de deux was “based on a popular song style, but a rather complicated version of same.” (They decided to open Fancy Free with a recording of bluesy song, representing the jukebox.24) Bernstein’s following letter (no. 166, Decem- ber 1943) is especially rich, including his description of sections of the ballet and his suggestion that the piano would have a growing role in the score, making it the “auditory key to the ballet” and carrying “the feeling of percussion, brazenness, hardness, brightness, honky-tonkness, clarity, and intimacy”—a juicy description of Bernstein’s home instrument! He insists that the “score is very simple” (apparently corresponding to the choreographer’s request), but “only the rhythms have to be concentrated upon like fury” because “they’re the essence & basis of the whole score.” Bernstein felt Copland’s influence strongly, which he himself recognized in his next letter to Robbins (no. 169, early 1944), writing in a postscript about “a phrase most Aaron-like” in the second section that he hoped Rob- bins did not mind because “It’s so pretty I can’t remove it.” Bernstein’s most specific letter concerning Fancy Free (no. 171) carries the date 28 February 1944. Concerning the orchestration, he wonders if they might perform the ballet score with only two pianos and percussion, but Robbins did not bite. Also fascinating and specific in this letter are Bernstein’s numerous postscripts answering a letter from Robbins, including a new chord for the end of Variation 2 because what he had sent was “too sour.” In his next letter (no. 172, 11 March 1944), Bernstein answered Robbins’s concerns that Variation 2 was “melancholy,” describing it instead as [Bernstein’s emphasis] “whimsical, very dancy, a little poignant in the harmony, full of lyrical jazziness. The main thing is sweet and sympathetic.” Demonstrating self-awareness concerning the intended audience and purpose for his music, Bernstein told Copland on 18 October 1951 (no. 318) that he had just written a new “aria” for Captain Hook to sing in the touring version of Peter Pan,25 which he identified parenthetically as “what shit!” With that out of the way, he hoped to be

Downloaded by [New York University] at 04:27 09 August 2016 “starting on the long hard road of writing some real things,” such as his opera Trouble in Tahiti. Another aspect of Bernstein’s apparent ability to examine his work with a realistic eye while composing appears in a letter to Copland from 29 July 1954 (no. 338), when he mentions how difficult writing the score for Candide had been, admitting that Copland would have trouble believing that “it’s very hard trying to be eclectic”—an aspect of Bernstein’s music that his mentor had often criticized26—and Bernstein found himself “raising the unwilling ghosts of Hérold and Auber” (French composers of the nineteenth century), certainly not his usual influences. While working on West Side Story, Bernstein wrote his brother, Burton, a letter (no. 363, 29 October 1955) in which he noted that he wrote one song “which may finally bring me to jukeboxes” (“Maria”) and another that “will never see a jukebox” (“Cool”).27 The differences between the songs are obvious for The Life and Work of Leonard Bernstein 15

all to hear, with the latter actually including a twelve-tone row, but it is intriguing to read Bernstein’s realization of the fact nearly two years before the show opened. A fascinating aspect of Bernstein’s character and how he related to music and a close friend is to read how critical he could be to Copland about his works. Copland seems to have been extraordinarily tolerant in his replies.28 When in Cuernavaca, Mexico, on his honeymoon, Bernstein bought a phonograph and recording that included Copland’s Clarinet Concerto and Piano Quartet, and he wrote Copland about both on his birthday (no. 319, 14 November 1951). In the former, Bernstein found the playing by soloist Benny Goodman to be “ghastly and student-like,” and while the opening of the work “is still ravishing,” he criticized the touches of Richard Strauss that he heard, the cadenza, and overall form. In the Piano Quartet, however, Bernstein praised the “continuity” of the second movement and the “tonal way” in which Copland handled his tone rows, making the whole a “real triumph.” Bernstein liked the first movement as well, but he states that he had never really thought much of Copland’s fugues, and the third movement sounded too much like Hindemith. But the whole was wonderful on a recording “because you want to hear it again and again.” Bernstein was mostly positive about Copland’s The Tender Land, writing him about it on 13 June 1956 (no. 367): “The more I look at the score the more beautiful & special it becomes.” Like many commentators, Bernstein did not like the libretto, but he notes that Copland still produced “great theatrical value” and created in the score “its own authentic ‘world,’ ” perhaps a hint at what Bernstein attempted in his own dramatic scores. Other letters that provide a window into Bernstein the thinking and feeling musician are those concerning the creation of West Side Story, the last month or so of which Bern- stein documented with informative epistles to Felicia, who was in Chile. On 19 July 1957 (no. 376) he mentioned one of the overriding factors in putting a show together with Jerome Robbins: “Jerry continues to be—well, Jerry: moody, demanding, hurting. But vastly talented.” A week later (no. 377) he reported that his favorite parts of the West Side Story score, “the ‘big’, poetic parts—get criticized as ‘operatic,’ ” and someone suggested that they be deleted. He insists that he will never do another show, and, related to that, his contract as director of the New York Philharmonic had just been approved. On 28 July (no. 378) Bernstein wrote his wife on the way to Miami for a Columbia Records convention, needing to be back in New York the next evening for a run-through of Act 1. He was still worried about what might be cut, referring to “my poor little mashed-up score.” Segments that he loved were “slowly being dropped—too operatic, too this & that.” His

Downloaded by [New York University] at 04:27 09 August 2016 collaborators worried about “commercial success,” a distinction that Bernstein thought should be “achieved with pride,” meaning while they retained artistic principles. While the show ran in Philadelphia before opening on Broadway, Bernstein wrote composer David Diamond on 12 September (no. 396), noting the success out of town of his “baby, my tragic musical comedy, whatever that is,” and suggesting that if it is successful in New York that it might alter “the face of the American musical theatre.” The composer was no stranger to harboring big hopes for his work! Thoughts about various aspects of music appear in Bernstein’s letter to Copland on 12 November 1959 (no. 440), written from Palm Springs, California. He was thinking how he might have the Philharmonic celebrate Copland’s sixtieth birthday in 1960 and listening to a great deal of Mahler, a composer that Bernstein championed. Whereas 16 Leonard Bernstein: A Research and Information Guide

Mahler induced tears from Bernstein, he had just listened for the first time to Bruckner’s sixth, eighth, and ninth symphonies and found “him impossibly boring, without personality, awkward & dull, masked in solemnity.” Mahler made Bernstein think of Copland and “our music” (Bernstein taking some ownership in Copland’s compositions, which he conducted often), stating, “I don’t really understand the direction of any more,” hoping that at some point Copland could explain it to him. (Copland had moved towards atonality and twelve-tone composition, a development Bernstein did not support.29) Bernstein offered what becomes almost an artistic credo in a response to a young John Adams when he was a student at Harvard (no. 521, 27 January 1966). Adams has stated that he wrote Bernstein a letter after hearing Chichester Psalms, chiding him for ignoring more modern influences, such as Boulez.30 Bernstein responded, “One writes what one hears within one, not without.” He insists that he has been sufficiently exposed to works by “non-tonal” composers, “but obviously I have not been conditioned by them.” He did not wish to conceive his music “divorced from tonality,” and his allegiance to “the truth of the creative act” mandated that, from there, “the chips will fall where they may.” Bernstein moved quickly from one major project to another, producing an impressive body of work. Another, provocative way to look at his career is to see major projects that were suggested but never materialized. The following is a list of these that appear in Simeone’s letters; other abandoned projects appear in the biographies. Some listed ahead have been described by Bernstein’s biographers. One cannot read a list like this without wondering what might have been created if these possibilities had panned out. It is also striking to realize how often Bernstein was approached with possible projects. Following On the Town, Bernstein considered possible projects with Betty Comden and Adolph Green, and perhaps George Abbott. The famed director wrote Bernstein a letter on 20 February 1945 (no. 187), where he charged the young composer to develop a new kind of opera that included the level of integration between plot and music they had accomplished in On the Town. This seems to have led to a meeting with Comden and Green, which might be what Comden refers to as “our ‘opera’ meeting” in a letter from 29 April 1945 (no. 189). In the same letter, Comden described the complicated genesis of an idea they were working on with Abbott involving a show to take place in the 1920s that might include a role for Gypsy Rose Lee. This eventually became Billion Dollar Baby, with music by Morton Gould. Jerome Robbins wrote what he called a “ballet play,” Bye Bye Jackie, fleshing out the story for one of the sailors in Fancy Free. He pitched the project to Aaron Copland,

Downloaded by [New York University] at 04:27 09 August 2016 Paul Bowles, and Bernstein,31 but it never materialized. On 13 May 1945 (no. 191) he expressed his irritation to Bernstein that he had spoken about the project in a published interview and never mentioned Robbins. Bernstein was in California with Felicia in late 1946 and pursuing a film project called The Beckoning Fair One that he hoped would involve his serving as composer and conductor of the film score, actor, and writer. He described aspects of this possibility in letters to Shirley Bernstein (no. 238) and Helen Coates (no. 239). In late 1947 Bernstein corresponded with writer James M. Cain about turning his novel Serenade into an opera. The plot involved an opera singer who lost his voice, perhaps as a result of a gay affair that he had with a noted conductor. Cain approved and Bernstein stated that he would write the work during 1948, but it never came to fruition (see nos. 262–65). In 1955 the property came into Bernstein’s orbit again, this time The Life and Work of Leonard Bernstein 17

with Arthur Laurents writing the book, Bernstein the score, and perhaps with Gina Lol- labrigida playing a role in the show (see nos. 353–54).32 Bernstein wrote his sister Shirley on 20 July 1949 (no. 288), full of venom directed at Alan Jay Lerner, with whom he thought he would be doing a show, but Lerner had just announced a new project with Frederick Loewe. George Abbott wrote Bernstein on 25 November 1949 (no. 294), asking if he might be interested in writing the score to a version of A Tree Grows in Brooklyn. The composer declined the project by telephone, and Abbott collaborated with composer Arthur Schwartz and lyricist Dorothy Fields. Betty Comden wrote Bernstein on 15 May 1950 (no. 301), feverishly talking around an idea for a show about which Bernstein had expressed interest before leaving town. Comden and Adolph Green had discussed the idea with Oliver Smith and Jerome Rob- bins. It concerned a house on Middagh Street in Brooklyn where Oliver Smith once lived, an address occupied by artists in the early 1940s, including George Davis, Carson McCullers, W. H. Auden, Chester Kallman, Benjamin Britten, Peter Pears, and Gypsy Rose Lee, among others.33 Marc Blitzstein wrote Bernstein on 15 August 1952 (no. 323), apparently after Bern- stein had discussed with him the possibility of an opera on the life of Eva Perón. He had mentioned Lillian Hellman as a possible librettist. Perón had only died on 28 July. The topic of course waited until Andrew Lloyd Webber and Tim Rice wrote Evita, released first as a concept album in 1976. In a letter to Felicia written from St. Moritz, Switzerland, on 7 January 1954 (no. 335), Bernstein stated that theatrical producer Edwin Lester was interested in reworking the play Peter Pan with Bernstein’s score as a vehicle for Mary Martin. Lester went on to work on the famous version that included songs by Carolyn Leigh, Mark Charlap, Jule Styne, Betty Comden, and Adolph Green. In a letter dated 4 April 1957, writer Aldous Huxley contacted Bernstein (no. 374) about a possible play that would include music and dancing based upon Brave New World. Jerome Robbins wrote Bernstein on 13 February 1958 (no. 412) asking about two projects. He suggests making Prelude, Fugue and Riffs the centerpiece of perhaps a twenty-minute ballet that might include dance music from On the Town. He then goes on to describe a theater piece based on the Beat Generation, inspired by interviews with Jack Kerouac. In a letter dated 3 June 1960 (no. 448), Robbins responded to a question that Bern- stein had asked him about collaborating on an opera about a Chassidic ghetto. Robbins

Downloaded by [New York University] at 04:27 09 August 2016 expressed interest. Bernstein wrote Ingmar Bergman on 11 August 1970 (no. 548) about a possible collaboration on Tristan und Isolde, perhaps both a staged version at Bayreuth in 1973 and a filmed version. Humphrey Burton had already approached the director about such a project. Thornton Wilder wrote Bernstein a letter on 20 July 1975 (no. 574), rejecting in no uncertain terms the possibility of making an opera of The Skin of Our Teeth. He had given Bernstein permission to write the work a decade before, and Bernstein had tried to do it with Jerome Robbins, Betty Comden, and Adolph Green in 1964, but that effort failed.34 Wilder had perhaps heard some of the music from that attempt in the review By Bernstein and describes some of it in unflattering terms in this letter.35 Francis Ford Coppola wrote Bernstein on 7 March 1980 (no. 595) about what had apparently been a frustrating attempt to do a film based on the career of automaker Preston Tucker 18 Leonard Bernstein: A Research and Information Guide

with the composer, Betty Comden, and Adolph Green. Humphrey Burton briefly describes this project, and it sounds like it was equally frustrating for Bernstein and his friends.36 Bernstein sent his Divertimento for Orchestra to Robbins in 1980 so that he might consider it as a possible ballet. The choreographer responded on 12 November 1980 (no. 599), saying that the work pleased him but some movements seemed too short for a dance treatment. Yevgeny Yevtushenko wrote Bernstein about collaborating, probably in Septem- ber 1986 (no. 618), about his script The End of the Musketeers. Bernstein replied enthu- siastically on 27 September 1986 (no. 619), noting that the work seemed ideal for a film. He told the famous Russian writer where he would be for the next few months in hopes that they might meet. A bit more than four years after his contact with Yevtushenko, Leonard Bernstein was dead. One might have hoped that he would have managed to live longer than seventy-two years, but it cannot be said that he failed to live his allotted years to their fullest. He never did resolve the conflict between composition and conducting, trying to do as much of each as he could throughout his life. To be sure, there were compositions that he wanted to write and never got around to, but it would seem that conducting was easier for him, and sufficiently satisfying to occupy much of his time. He had enough students to be regarded as a significant teacher of conducting, and his own work survives in many audio and video recordings. His teaching legacy also includes all of the televised lectures and concerts that document his singular ability to speak intelligently and convincingly about music to people of all ages and backgrounds. His compositional output, though not as large of a part of his legacy as he might have wished, includes music for Broadway that appears to be a permanent part of the American soundtrack and concert works that continue to speak to new generations of performers and listeners. The time for Bernstein’s regrets—and anyone else’s for that matter—has passed. We must honor that which we have from Leonard Bernstein, and persevere with our work in understanding his legacy in the context of his time and ours.

NOTES

1 Howard Shanet, Philharmonic: A History of New York’s Orchestra (Garden City, NY: Doubleday), 340. 2 Harold C. Schonberg, “Bernstein Given a Hero’s Farewell—End of His Formal Duties May Bring Busier Life,” New York Times (19 May 1969), 2/54.

Downloaded by [New York University] at 04:27 09 August 2016 3 Bernstein’s musical style is described in detail in Chapter 2. Here is offered a brief history of his work as a composer. Additional comments on individual compositions are found as annotations in the list of works. 4 Personal interview with Leonard Bernstein by Paul R. Laird, Washington, DC, 15 March 1982. 5 Ibid. 6 See his “Interlude: Upper Dubbing, Calif.,” The Joy of Music (New York: Anchor Books, Dou- bleday, 1994), 65–69. 7 Humphrey Burton, Leonard Bernstein (New York: Doubleday, 1994), 224. 8 Paul Simon did give Bernstein the gift of the first quatrain to “Half the people are stoned . . . ”; see Burton, 386–87. 9 Jack Gottlieb, “The Music of Leonard Bernstein: A Study of Melodic Manipulations” (DMA document, University of Illinois, 1964), vii. The Life and Work of Leonard Bernstein 19

10 Nigel Simeone, ed., The Leonard Bernstein Letters (New Haven: Yale University Press, 2013). 11 Simeone, xii. 12 Bernstein was certainly capable of being rude and difficult, and possessed a large ego, qualities in his personality that Joan Peyser aired generously in her Bernstein: A Biography (New York: Beech Tree Books, William Morrow, 1987). These are not the personal traits that appear most often in Simeone’s collection of letters. Ironically, among Bernstein’s most abrasive letters in the collection (nos. 633, 637) he wrote to David Diamond after the composer cooperated with Peyser and offered the author some of her material that places Bernstein in the most negative perspective. The second of those letters surely ended a friendship that had lasted fifty years. 13 Simeone, xvi. 14 Other letters from Gellhorn to Bernstein are available in the following: Caroline Moorhead, ed., Selected Letters of Martha Gellhorn (New York: Owl Books/Henry Holt, 2007). 15 Joan Peyser, “The Bernstein Legacy,” Opera News 65/1 (July 2000): 23. 16 Simeone, xv. 17 See Burton, 95–96. 18 Vivian Perlis has stated that letters survive between Bernstein and Copland that do demonstrate the existence of a physical relationship in the early 1940s. See her “Dear Aaron, Dear Lenny: A Friendship in Letters” in Aaron Copland and His World, ed. Carol J. Oja and Judith Tick, 151–78 (Princeton, NJ: Princeton University Press, 2005), 152. 19 Simeone, 266. 20 Burton, 434–39. 21 Burton, 446–47. 22 Burton, for example, describes how Bernstein turned down the directorship of the orchestra in 1947 on pp. 164–65. 23 See Barry Seldes, Leonard Bernstein: The Political Life of an American Musician (Berkeley: Uni- versity of California Press, 2009). 24 Bernstein wrote the song “Big Stuff” to open the ballet, sung on a recording by his sister Shirley. Burton (pp. 127–28) describes how Betty Comden supplied a phonograph at the last moment so that the song could be played at the ballet’s premiere. 25 For a brief description of Bernstein’s score to Peter Pan, see Item 36 in this book. 26 See Aaron Copland, “The New ‘School’ of American Composers,” New York Times Magazine (14 March 1948): 54. Bernstein’s mentor notes that Bernstein’s music could be quite eclectic and subject to “facile” inspiration. Copland also addressed his feelings about Bernstein’s eclecticism directly in a letter that he sent on 25 March 1943 (Simeone, no. 134). 27 Bernstein addressed his feelings about trying to write popular songs in his essay “Why Don’t You Run Upstairs and Write a Nice Gershwin Tune?,” Item 85d in this source. 28 See, for example, Copland’s response to Bernstein’s comments about his Symphony No. 3 in a

Downloaded by [New York University] at 04:27 09 August 2016 letter from 4 June 1947 (Simeone, no. 254). 29 Bernstein commented on Copland’s late works in Item 97h in this source. 30 Simeone, 477, note 142. 31 Simeone offers further information on Bye Bye Jackie, p. 174, note 11. 32 Burton, 247–48. 33 Sherill Tippins, “Genius and High Jinks on 7 Middagh Street,” New York Times, 6 Febru- ary 2005, consulted 30 July 2014 at www.nytimes.com/2005/02/06/nyregion/thecity/06feat. html?pagewanted=2&_r=0. 34 For more on their attempt to make a musical play out of The Skin of Our Teeth, see my The Chichester Psalms of Leonard Bernstein (Hillsdale, NY: Pendragon Press, 2010), 9–14. 35 Simeone, 525, note 47. 36 Burton, 456. 2 Leonard Bernstein’s Musical Style

ECLECTICISM AND LEONARD BERNSTEIN

In 1982, Paul Laird interviewed Leonard Bernstein at the Watergate Hotel in Washing- ton, DC. Following are excerpts from that interview:1

Laird: You’ve said yourself that your music is eclectic. Bernstein: With a certain amount of pride, I think. Laird: Would you consider Copland your greatest influence? Bernstein: I think Copland is eclectic, very. Because he was strongly influenced, for example, by Stravinsky, who was the most eclectic composer that ever lived himself . . . If you go into anybody, including Bach, Beethoven, you can make out a case for eclecticism. The greater the composer, the better case you can make out for his eclecticism. This combination of Haydn, Mozart, and Bach, and everything else that goes into making up Beethoven, plus the magic fac-

Downloaded by [New York University] at 04:27 09 August 2016 tor which is the individuated thing we call Beethoven, that voice, that personal sound. But you can reduce almost every bar of Beethoven to some previous composer, if you want to. Now what can be more eclectic than that? And you can with Stravinsky; I don’t care how original. You should set yourself an assignment sometime. Take Le Sacre du printemps, which is supposed to be the work that revolutionized music and changed the world, and just analyze it page by page, bar by bar. You’ll find that every bar of it comes from somewhere else. But it has just been touched by this magic guy. You’ll find roots in Rimsky-Korsakov, and you’ll find sources from Scriabin . . . note-for- note sources like in the sacrificial dance at the end, which is supposed to be the most original thing of all, right? (He sings from the “Danse sacrale.”) It’s

20 Leonard Bernstein’s Musical Style 21

from Scriabin’s Fifth Piano Sonata. I can show it to you bar by bar. I can show you Balakirev, I can show you the whole thing. Laird: Is there Mussorgsky in it? Bernstein: Debussy, Ravel. [Oh], the amount of Ravel in that piece, and Mussorgsky. But I mean note for note, in the same key even. Compare sometime, when you get around to it, the opening of Part Two of Le Sacre and the Spanish Rhap- sody of Ravel . . . Laird: So to you, every composer is to some extent eclectic. Bernstein: Every painter, every poet, everybody. Laird: You’ve got to be basing your work on what’s coming before it. Bernstein: Otherwise you don’t exist. Who are you if you are not the sum of everything that’s happened before? Everything that you’ve experienced at least, not everything that has happened, but everything that has been significant in your experience, unconsciously mainly.

Those familiar with Bernstein, his career and output, and the music he invokes hear much that can be debunked. What Bernstein offers is not the usual definition of eclecticism, and he evinces pride at what many might consider the derivative nature of his music. To call Stravinsky the most eclectic composer ever stretches credibility, and Beethoven surely was a more original composer than Bernstein suggests. He overstates the parallels between The Rite of Spring (1913) and works by Scriabin and Ravel. The “Danse sacrale” owes something to Scriabin’s Piano Sonata No. 5 (1907), but few direct comparisons can be made.2 The “Introduction” of Part Two of the Rite is similar in affect and sonority to the “Prélude à la nuit” of Ravel’s Rapsodie espagnole (1908), but there are no direct quotations.3 And finally, when asked if Copland were his greatest influence, Bernstein launched into a lengthy defense of eclecticism and invoked the name of several compositional icons, thereby comparing his own works with those of Beethoven and Stravinsky. To dismiss Bernstein’s statements, however, as the musings of a defensive composer would miss what could be called a revealing compositional credo.4 Bernstein was eclectic, and proud of it. His statements about Copland, Beethoven, and Stravinsky are exag- gerations, but each composer felt the influences that he cites.5 The Rite of Spring, for example, was not cobbled together from previous compositions, but the influences are clear. Bernstein believed himself to be in a long line of Western composers who reacted

Downloaded by [New York University] at 04:27 09 August 2016 to various influences. His own music shows a greater range of styles than that of most composers, but all were derived from influences he felt. The core of Bernstein’s compositional logic as a true eclectic is heard in his concluding statement (here in reverse order): “Who are you if you are not the sum of everything that’s happened before? Otherwise you don’t exist.” He felt his influences primarily “unconsciously,” possibly an interesting insight into a man who conducted so much music by other people. For Bernstein, and in his words, without eclecticism, we would not have “the magic factor which is the individuated thing called Bernstein.” What is this eclecticism that is so much a part of Bernstein’s music? According to The American Heritage College Dictionary, “eclectic” (used as an adjective) carries two meanings.6 The first involves “Selecting or employing individual elements from a variety 22 Leonard Bernstein: A Research and Information Guide

of sources.” The second meaning describes something derived from varied sources. It is the first of these meanings that I apply to Bernstein, but music critics often used the second meaning in a pejorative sense. It is time for the concept of eclecticism to be reex- amined by those writing about music since 1900, because much of the music from that period has been defined by this compositional approach.

ACCESSIBILITY, COMMUNICATION, AND DRAMATIC IMPACT

An unmistakable feature of Bernstein’s music is its accessibility. Many twentieth-century works require a number of hearings or considerable study before one understands them. Bernstein seemed consciously to try to avoid this scenario, loading his music with ideas that foster accessibility. He often speaks directly to an audience with lyrical melodies, more or less tonal harmonies, and rich vernacular references. His music has been described in similar terms by commentators since the 1940s.7 The accessibility of Bernstein’s music seems to have been an extension of his personality. On several occasions he noted his desire to communicate with an audience, part of a notably extroverted personality. Bernstein said during our interview, “I write [music] so I can be very close to people, so I can talk very deeply and intimately to a vast number of people, which is otherwise impossible to do.”8 Meryle Secrest has described Bernstein as a man who feared loneliness, constantly surrounding himself with friends and admirers.9 One might also consider his highly extroverted conducting, especially in his younger years, and his career in television all aspects of this personality trait. Given his tendency, it is hard to imagine that Bernstein the composer would have been an austere serialist in the mold of a Webern or Boulez. Bernstein’s desire for musical communication also might have governed some of his choices of genre. Perhaps his most enduring works were written for the Broadway stage, a commercial genre where immediate communication is a necessity. Mass was not composed for Broadway, but as a theater piece still requires a sense of musical accessibility. Bernstein’s ballets and operas also include music presented with other art forms, again easing the pathways of communication. The same could be said about film music, but Bernstein completed only one film score, On the Waterfront (1954). When writing symphonic music a composer can assist a score’s accessibility by including a program, either during the work’s actual composition or added after com-

Downloaded by [New York University] at 04:27 09 August 2016 pletion. Most of Bernstein’s pieces for orchestra or chamber group bear programmatic references, including his three symphonies. The Jeremiah is based on a specific program and concludes with a mezzo-soprano singing from the prophet’s Lamentations. Bern- stein meant his second symphony, The Age of Anxiety, as a musical interpretation of the poem of the same name by W. H. Auden. How close this association really is has been questioned.10 His third symphony, Kaddish, is based upon an elaborate program that includes both sung and spoken texts. A work that could be described as Bernstein’s violin concerto, the Serenade, after Plato’s Symposium, could stand alone with nary a programmatic reference, but Bernstein tied the work to what today seems a rather obscure idea. The majority of his solo piano compositions are called Anniversaries, small pieces intended as gifts for friends and published in collections, and other chamber works for Leonard Bernstein’s Musical Style 23

brass instruments are dedicated to friends’ pets.11 There are just a few works in his output that are not in some way tied to an extra-musical idea, such as the Sonata for Clar- inet and Piano. Considering the composer’s interest in immediate communication and tendency to write program music, it is hardly surprising that his music is theatrical. This is obvious when the composer wrote for the theater, but it is a quality found throughout his output. The dramatic feelings that Bernstein’s music engenders are largely based upon striking juxtapositions of dynamics, mood, or an aspect of musical style. A work that includes many examples of these juxtapositions is Mass. A major contrast of dynamics and mood sounds early in the work during the opening quadraphonic tape, an imitative treatment of “Kyrie eleison” in “Devotions before Mass.” There are four separate entrances based upon different musical material and tempos (“Allegretto con spirito,” “Andante sonore,” “Vivo,” and “Maestoso”). After all four voices have entered, the score notes, “From this point until the Celebrant’s entrance (p. 17), there is a gradual and steady increase in volume.”12 The Celebrant’s guitar chord silences the tapes. Then begins the undulating accompaniment to “A Simple Song,” a highly effective change that ushers in the peacefulness of the work’s next segment. Other especially dramatic juxtapositions in Mass include a number of surprising orchestral outbursts in “Meditation No. 2” (pp. 120–22), and a major shift in musical style and from a mood of devotion to mocking irreverence between “The Word of the Lord” and “God Said” (pp. 132–33). Another piece based upon powerful juxtapositions is Chichester Psalms, where the form of each of the three movements is based upon contrasts of tempo and mood.13 The two-part first movement opens with a declamatory chorale on Psalm 108:2 that includes several statements of a melodic cell that returns often during the work. The chorale leads to a jaunty passage in 7/4 that flirts with jazz and commercial music as a setting for Psalm 100. The second movement, a setting of the complete Psalm 23 and the first four verses of Psalm 2, is the most theatrical conception of the composition. The peace of Psalm 23, set to one of Bernstein’s most enduring melodies, is interrupted by the angry “Why do the nations rage.” The ideas are combined in the third section. The final movement is ternary, with the outer sections based upon the opening chorale. The central section is a seraphic passage in 10/4 that transmits Psalm 131. The opening section includes primarily dissonant structures for strings and no text, and the final chorale sets Psalm 133:1. Bernstein has often reacted to programs in his music with wide contrasts in musical

Downloaded by [New York University] at 04:27 09 August 2016 style, ranging freely between frankly tonal music and more dissonant twentieth-century harmonic techniques. An effective example is heard in the finale of Chichester Psalms, where the acerbic opening leads into the innocent D major of the 10/4 section. Those interested in more dissonance in their music from the twentieth century, however, might find the harmonies in much of Chichester Psalms too bland. Bernstein almost admitted this in a poem he published in The New York Times following his 1964–65 sabbatical from the New York Philharmonic, remarking that the piece stands on “his own two tonal feet.” 14 Works in which he approached more dissonant harmonies include the Symphony No. 3, Kaddish and Songfest. The “Din-Torah” that opens the second section of Kaddish presents a text where the narrator accuses God of breaking faith with humankind: “You 24 Leonard Bernstein: A Research and Information Guide

ask for faith; where is Your own?”15 The music of the section is not tonal, ending with an eight-part choir singing complex and dissonant ostinati. At this point, one of the emotional climaxes of the symphony, Bernstein felt the need to use atonality. In Songfest, the poem “The Pennycandystore beyond the El” by Lawrence Ferlinghetti is set in what Jack Gottlieb describes as “strict 12-tone technique.”16 The poem describes an adult’s recollection of a childhood sexual memory. The movement is marked “Leggiero (like a quick, dark dream),”17 and is a combination between twelve-tone atonality and jazz, the latter heard in both the bass line and dotted swing rhythms. In some ways these influences might seem contradictory, but the poem evokes an earlier time, validating the swing references. The eeriness of the twelve-tone writing adds to the distance of the memory. The poem concludes with the realization that it is too early for the child to be thinking such thoughts; the dissonant writing gives one the feeling that something is awry.

COLLABORATION

A number of authors have commented on Bernstein’s love of working with others, and the composer himself admitted that he was a “born collaborator.”18 Collaboration is a given when working in the Broadway musical theater or on a ballet. In these areas Bernstein sometimes demonstrated a surprisingly compliant attitude when working with decisive artists, such as Jerome Robbins. Secrest reports that Bernstein would go to almost any length to avoid a confrontation with Robbins during the creation of West Side Story.19 Bernstein clearly relished collaborating with Betty Comden and Adolph Green in On the Town and Wonderful Town.20 He also was known to seek collaborators in projects where another arrangement was first explored. For example, Bernstein originally intended to write his own lyrics for West Side Story, but later asked Sondheim to do so.21 A similar set of circumstances brought Stephen Schwartz on as the primary lyricist in Mass.22 Bernstein was also aware of the pitfalls of collaboration, suffering through the difficult genesis of Candide with Lillian Hellman, who wrote the book, and Richard Wilbur, the main lyricist.23 Whatever the problems of the show’s creation, if it had died in the 1950s and never seen a revival (the fate of much music associated with unpopular shows), his delightful score would have been lost. One of Bernstein’s longest scores was lost for over twenty years because of a disastrous collaboration in 1976 with Alan Jay Lerner in 1600 Pennsylvania Avenue.24 Among Bernstein’s ballet collaborations are three works composed for choreographer Jerome Robbins: Fancy Free, Facsimile, and Dybbuk. Downloaded by [New York University] at 04:27 09 August 2016 The first work was wildly popular and brought about On the Town. The second and third were less successful. Bernstein experienced writing film music for On the Waterfront, but, as noted in Chapter 1, he disliked the editing process and never finished another film score. In the area of opera Bernstein had one notable collaboration. He wrote the lyrics to Trouble in Tahiti himself, but worked with lyricist Stephen Wadsworth in A Quiet Place.

MELODY

Bernstein was a fine melodist, one of the main reasons that people are drawn to his music. He moaned that he was unable to write a “hit tune” like Gershwin could, but this Leonard Bernstein’s Musical Style 25

seems false modesty.25 Broadway composers must be able to write memorable tunes, and Bernstein’s shows are filled with them. Gershwin might have written more “hits,” but Bernstein composed “Lonely Town,” “Make Our Garden Grow,” “Tonight,” “Somewhere,” and “Maria.” For varied reasons, these songs rank among Broadway’s best. Another song justly famed for its simple beauty is “A Simple Song” from Mass. Bernstein’s lyrical sense hardly failed him in his concert works. Most include at least one tune that shows his romantic bent for lyrical melody. Chichester Psalms includes two of his finest melodic creations: the opening theme of the second movement and the rolling 10/4 theme in the finale. A movement from Songfest, “To What You Said . . ., ” also carries the mark of Bernstein’s melodic genius. Notable examples are also found in Serenade, after Plato’s Symposium and Symphony No. 3, Kaddish, among other pieces. His desire to juxtapose advanced harmonies with lyrical melody may be heard in Halil, Nocturne for flute and orchestra, where the highly dissonant opening gives way to a lovely theme, first stated by the flute soloist. Melodic appreciation is, of course, highly subjective. One might dismiss some of the examples cited earlier as overly sentimental, but Bernstein’s melodic gift is consistent in his output and an important part of his music’s appeal. There seems a real genuineness in his melodic expression. If one rejects Bernstein’s music because his melodies are too singable, too tonal, or perceived as too naïve, one simply must reject his music. Bernstein’s inherent lyricism often disguises his unusual melodic construction. His frequent use of wide intervals lends a distinctive angularity to his themes. Although he often balances this angularity with passages of conjunct motion, Bernstein enjoyed boldly claiming tonal space with large ascending or descending gestures. Famous examples of this are found in West Side Story, especially in “Maria,” when the famous tritone is balanced by almost constant conjunct motion until the beginning of the next phrase, where the tritone reappears. An even bolder statement is the minor seventh that opens “Somewhere,” a melody where later conjunct passages alternate with descending triads. The melody of “Tonight” is disjunct, but without the presence of one distinctive interval. Two melodies already cited as examples of Bernstein’s profound lyricism illustrate his fondness for bold gestures. The opening of the second movement of Chiches- ter Psalms, an otherworldly setting of Psalm 23, is sung by a boy alto or countertenor, accompanied by harp. As may be seen in Example 1, the first phrase is quite angular. All three words with more than one syllable set here include large leaps. The ascending minor sixth between measures 4 and 5 is balanced by the descending minor seventh, which

Downloaded by [New York University] at 04:27 09 August 2016 prepares the octave leap into measure 9. The descent to the d’’ that concludes the phrase changes the accompanying harmony to a seventh chord, resolved deceptively in the next phrase, which opens in F-sharp minor. The major melodic feature in the second phrase is the c-natural’’, a blues note. The remainder of the melody moves primarily by steps or in thirds. “A Simple Song” from Mass is in two parts, the first somewhat like a recitative, and the second a sort of pop aria with a more active bass line. The first section includes a fairly static accompaniment of open intervals and simple triads, the melody basically conjunct or triadic. The piece’s transformation from rather uninspired downward gestures begins in measure 10 when an E-flat’’ sounds in the melody over an open fifth, G-sharp and D-sharp. The melody moves only in E-flat major for the next four measures, accompanied by E-flat, C minor, and G minor7 harmonies. The ascent of a major 26 Leonard Bernstein: A Research and Information Guide

Example 1 Chichester Psalms, II, mm. 1–10

sixth into measure 14, to e’’ over an unexpected C major harmony on the text “For God is the simplest of all,” is a distinctive gesture, repeated with an ascending octave leap in measure 17. The simple, innocent sounds of these measures reach out and capture the listener, launching the gentle air that follows. This second section of “A Simple Song” includes an accompaniment that carries a pop sound, moving from an arpeggiated pattern (that divides the 4/4 measures into groups of three and five eighth notes) to quarter note dotted rhythms in two parallel places that add to the forward motion. The musical form of the segment is aa’bb’, the latter section ending with a further reference to a. The piece closes with an instrumental statement of the a theme and a short cadenza for the soloist. The melody carries the simplicity of a folk song, but with striking use of wide, ascending intervals, often based on a minor seventh. The opening melodic phrase of the section is Example 2. The leap to f ’’ on the word “Lord” sets the tone. The minor seventh is unexpected,

Downloaded by [New York University] at 04:27 09 August 2016 an inspired and distinctive moment, utterly typical of Bernstein’s melodic construction. The leap in measure 24 is balanced by the outlined descending minor seventh in the following measure, returning the phrase to its opening pitch. The conjunct motion on “to praise him, to bless him” is colored by the chromatic alternation to f-sharp’ on “bless,” leading to what sounds like a half cadence in the following measure. The distinctive opening gesture is repeated in measures 33 and 35, with new triplet motion introduced in measures 35 and 36 on the refrain “Lauda.” The opening statements of the two b sections in measures 40–41 and 48–49 each include consecutive rising fourths, outlining the minor seventh that is so important in the song. The careful construction of this melody, combined with its innate lyricism, raises this song from what could be a routine pop ballad to one of the most beautiful pieces in Bernstein’s output. Leonard Bernstein’s Musical Style 27

Example 2 “A Simple Song,” Mass, mm. 20–32

Another important aspect of Bernstein’s melodic construction is his use of idioms from various types of vernacular music, especially blues intervals. The same melody from the second movement of Chichester Psalms, analyzed earlier, includes important use of two c-naturals’’ in important positions in the second phrase, and countless other examples in his output could be cited.

Downloaded by [New York University] at 04:27 09 August 2016 RHYTHM

Bernstein’s penchant for lively rhythmic display is another major reason for his music’s appeal. Much of this rhythmic vitality originates from his free use of vernacular elements, especially jazz and Latin American rhythms. Important aspects of Bernstein’s rhythms include: the habitual use of unusual or shifting meters in a regular pattern, in slow, medium, and fast tempos; movements in which irregular rhythms are notated through such devices as rapidly shifting meters, groups of two and three eighth notes in irregular groupings, and rich use of syncopation; slow declamatory movements notated in shifting meters, often based on quarter-note motion; and settings of vocal texts that show Bernstein’s keen ear for speech rhythms in English and other languages. 28 Leonard Bernstein: A Research and Information Guide

For the purposes of this study, an unusual meter is defined as one with five or seven beats per measure, or one with a more predictable number of beats per measure (e.g., 4, 8, 9, or 12) subdivided unusually. (An example of the latter is the song “Storyette H. M.” from Songfest, in 12/8, but with the parenthetical designation 7+5/8.) The same effect of meters of five and seven can be made with a regularly shifting meter, such as in the second movement, “Aristophanes,” from the Serenade, after Plato’s Symposium, where the central section of the ternary form primarily shifts between 4/4 and 3/4. Bernstein often employs such meters, at both slow and fast tempos. One might expect the potential asymmetry of meters such as 5/8 and 7/8 to be most effective at rapid tempos, certainly the case in the ecstatic 7/4 section of the opening movement of Chich- ester Psalms. An effective use of 5/8 is “Gloria tibi” from Mass, marked “Vivo.” The movement is infectious, partly from the bongos and clever interplay between the Celebrant and the boys’ choir, but mostly from the meter’s constant forward motion. An example of Bernstein’s use of rapidly shifting meters in regular patterns is “In nomine Patris” from Mass, which regularly shifts between 3/8 and 3/4 in the first section, has a central passage in which the meters are reversed, and returns to the original pattern in the last section. An example of Bernstein’s use of such meters in a slower tempo is found in Sym- phony No. 3, Kaddish. “Kaddish 2” is in 5/8 and marked “Andante con tenerezza,” heard after the speaker suggests that God be rocked to sleep. Bernstein wrote a delicate setting of a text that declares God’s magnificence and glory, set as a lullaby for solo soprano, women’s chorus, and orchestra. The movement is in stark contrast to the chaotic “Din-Torah” that precedes it. Another use of an unusual meter in a moderate tempo is found in the song “Oh Happy We” from Candide, seen in Example 3. The opening section of this song, which also appears in the show’s well-known overture,26 is one of Bernstein’s most ingenious combinations of a lyrical melody and unusual meter. Built in symmetrical phrases, the alternation of 4/4 and 3/4 measures simultaneously feels awkward and curiously right. Unusual meters can be applied to keep the listener off balance or delighted by the music’s sheer spirit, but Bernstein also uses unusual meters when the rhythm is not the first musical element that the listener finds important. Bernstein is among the many twentieth-century composers who have written music based upon consistently irregular rhythmic motion, used so effectively by Stravinsky in The Rite of Spring. Stravinsky’s music certainly influenced Bernstein, but his more immediate influence was Copland, whom Bernstein met at age 19 on 14 November 1937.27 Cop-

Downloaded by [New York University] at 04:27 09 August 2016 land frequently wrote such rhythms, including in El Salón México, which he wrote shortly before Bernstein met him.28 Copland’s complex Latin-American rhythms, based on irregular meters and shifting accents in constant eighth-note patterns, might have been inter- nalized by Bernstein when he arranged the piece for piano.29 Bernstein admitted that the tone poem strongly influenced the second movement of his Symphony No. 1, Jeremiah, which he completed at the end of 1942.30 Bernstein suggested another possible influence on the movement’s rhythms in an imaginary dialogue he wrote in April 1948: “The Scherzo of my Jeremiah Symphony . . . is certainly not jazz, and yet I’m convinced I could never have written it if I had not had a real and solid background in jazz.”31 Whatever the reason for the influence, the rhythmic verve of the movement is palpable (see Example 4). Another movement in which Bernstein uses highly irregular rhythms is “A Julia de Burgos” from Songfest. It is a setting of a poem by Julia de Burgos (1914–1953), a Puerto Downloaded by [New York University] at 04:27 09 August 2016 Example 3 “Oh Happy We” from Candide, mm. 3–7

Example 4 Symphony No. 1, Jeremiah, II, opening, mm. 1–7, flutes only 30 Leonard Bernstein: A Research and Information Guide

Rican poet who expresses rage about her dual roles of homemaker and liberated artist. Jack Gottlieb, in his “Program Notes” for Songfest, attempts to place Bernstein’s setting in a context that one associates with the Spanish-speaking world: “The music is sharply rhythmic, and might well be underscoring for a bullfight.”32 Whether this work evokes a bullfight is a matter of opinion, but the song is breathless, never settling into a predictable meter. Practically every beat of the accompaniment includes pounding eighth notes, driving forward with merciless abandon. The final image of the poem finds the poet as Don Quixote’s horse, Rocinante, running forward in search of God’s justice. Bernstein sets this striking idea in a most lively fashion (see Example 5). This passage is marked “con gioia,” but this is within the savage rhythmic intensity of this movement. The metric choice Bernstein made here possibly results from a speech rhythm. The recurring phrase “Mienten, Julia de Burgos” (“They lie, Julia de Burgos”) is set as follows in Example 6. The setting appears to be based upon the Spanish accent scheme, probably not an accident for a composer so sensitive to text. Downloaded by [New York University] at 04:27 09 August 2016

Example 5 “A Julia de Burgos,” Songfest, mm. 147–58 Leonard Bernstein’s Musical Style 31

Example 6 “A Julia de Burgos,” Songfest, mm. 23–24, vocal line only

Bernstein made frequent use of speech rhythms when setting vocal texts. Speech may, in fact, be the single most important influence on rhythms in Bernstein’s vocal music. Andrew Porter has commented upon the composer’s fascination with the rhythms and inflections of vernacular speech, especially in the composition of his opera A Quiet Place: “The melodic lines are as sharp-eared as Janaˇcek’s in their transformation of speech rhythms and speech inflections into music.”33 Bernstein also stated this about his opera, which he was working on when I interviewed him in 1982:34

Laird: In your own music, when you are writing vocal music, are you inspired by speech rhythms? Bernstein: Yes. That’s what my whole opera is about right now. It’s not all it’s about, but that’s a very big thing it’s about, is the vernacular. The way Americans talk.

Bernstein was not alone among twentieth-century American composers in this interest. Certainly vernacular speech rhythms appear in several different types of popular music—for example, in the works of Broadway composers who might have influenced Bernstein when he wrote for the stage. Perusal of many Broadway scores, especially starting in the 1940s, demonstrates the remarkable way that something approaching speech rhythms can be placed within the genre’s typical ballads, marches, and waltzes. Many art music composers as well, including Copland and Blitzstein, endeavored to capture American speech patterns.35 One finds Bernstein following the dictates of text accent and rhythm in almost any text that he sets in English, Spanish, French, Latin, or Hebrew. Ahead will be described three examples of Bernstein’s successful representation of speech rhythms.

Downloaded by [New York University] at 04:27 09 August 2016 Perhaps one of Bernstein’s most virtuosic manipulations of speech rhythms is seen in “Sonnet: What lips my lips have kissed . . ., ” the penultimate movement in Songfest. He sets Edna St. Vincent Millay’s poem for alto soloist and orchestra. The text influences every aspect of the music here: the rhythms, the many meter changes, the “Adagio” tempo designation, and, to at least an extent, the melodic direction. Bernstein makes his reading of the poem utterly clear in the setting. The poem could be interpreted as a memory of lost loves, asking not only what lips the poet has kissed, but also “what arms have lain under my head until morning.”36 A number of images of loss appear: ghosts tapping at the window, a lonely tree, and van- ished birds. The poet closes by noting that “summer . . . in me sings no more.”37 Bernstein 32 Leonard Bernstein: A Research and Information Guide

Example 7 “Sonnet: What lips my lips have kissed . . ., ” Songfest, mm. 1–3

captures the melancholy with an opening motive built from a possible blues reference of C-sharp and C-natural in close juxtaposition, as seen in Example 7. The motive occurs often in the orchestral accompaniment, sometimes in imitation. It is played in an emotionally detached manner by woodwinds and later with a Straus- sian intensity by full strings in measure 23.38 The motive is stated by the voice, but less prominently than in the accompaniment. The tempo is slow, only slightly faster on two occasions when the singer declaims an absent-minded “I have forgotten” with a widely disjunct melody, and later when this melodic motion is recalled with a different but related text. St. Vincent Millay uses the phrase “I have forgotten” only once in the poem, but Bernstein repeats it for dramatic effect. The vocal line sounds conversational, usually moving in conjunct motion, often slipping back and forth between two or three pitches. For a composer who often pours great emotional intensity into his melodies, this is a stark piece, keeping with the subject of the poem. Bernstein almost never violates the text accent, seeming to take rhythmic dictation from the manner that an American might speak these lines (see Example 8). In measures 5 and 6, the textual accents on “lips” (twice), “kissed,” “where,” and “why” all occur on the long notes, usually at the beginning of a measure. There is a steady insistence on two pitches, except at the height of the phrase, on the word “kissed.” The rapid statement of “I have forgotten” on a quintuplet wittily imitates how one might read these words in the poem: quickly, with little emotional weight. A similar treatment of

Downloaded by [New York University] at 04:27 09 August 2016 text accent occurs in the second phrase. The word “morning” has a metric accent on its first syllable, but one might expect an accent of length as well. The phrase concludes with Bernstein’s restatement of “I have forgotten.” Perhaps Bernstein violates the structure of the poem by inserting these words here, but he also provides a satisfying symmetry to what he obviously considers the first two “lines” of the poem, each citing something the poet has forgotten. These examples are merely highlights in a song where the rhythmic motion is based upon patterns of speech and melodic motion is dependent largely upon vernacular vocal inflection. Porter’s praise of Bernstein’s ability to capture vernacular speech rhythms in his opera A Quiet Place is no exaggeration. The composer approached the issue in his opera Trouble in Tahiti (1952), and the later work is a sort of sequel, with Trouble in Tahiti Leonard Bernstein’s Musical Style 33

Example 8 “Sonnet: What lips my lips have kissed . . ., ” Songfest, vocal line, mm. 4–10, vocal line only

appearing as two flashbacks in A Quiet Place.39 Trouble in Tahiti includes some of Bern- stein’s more convincing imitations of vernacular musical styles, a less prominent feature of A Quiet Place. It is striking to see Bernstein revisit the same story in his second opera, but, as has been noted, aspects of Trouble in Tahiti are autobiographical.40 If anything, Bernstein and Stephen Wadsworth, the librettist, referenced Bernstein’s own life even more candidly in A Quiet Place.41 The following two excerpts demonstrate the dramatic power of Bernstein’s use of speech rhythms in the opera. Sam is the father who appears as a young man in Trouble in Tahiti. In A Quiet Place he buries his wife, Dinah, with whom he has shared a long, turbulent marriage. His emotionally troubled son, Junior, who has not seen his father in twenty years, appears at the funeral, much to his father’s distress. In the aria, “You’re Late . . ., ” Sam berates his son for his tardiness and behavior, but also sings to himself. The aria paints a vivid picture of a profoundly conflicted character, as may be seen in the opening of the vocal part (see Example 9). The opening phrase is directed to Junior. Note the accusatory longer note on the ini-

Downloaded by [New York University] at 04:27 09 August 2016 tial contraction, followed by rests as Sam moves onto his next declaration. The following parenthetical statement Sam sings to himself. The duple motion in the vocal line over the triplets in the accompaniment causes a rhythmic tension that mirrors his troubled state of mind. Following the close of parentheses after “mind,” the last four notes in the vocal part in m. 767 drive forward to the accented long note on the second syllable of “ashamed,” an effective presentation of the phrase. The angry ascending line that sets “But are you?” places the accented word on the downbeat. The rhythm in the last measure of the phrase includes “all” on the longest note, followed by slightly shorter notes on the next two syllables, just as the words might be spoken. The final accent of meter and length on “a-SHAMED” lends great weight to the passage’s final accusation. 34 Leonard Bernstein: A Research and Information Guide

Example 9 “You’re Late . . ., ” A Quiet Place, Act I, mm. 762–71

Another striking segment involving speech rhythms comes in the first scene of Act III, which opens with an aria sung by Dede, Sam’s daughter. The act portrays a struggle among the four main characters to overcome years of acrimony and perhaps learn to communicate. Following the funeral, Dede weeds her mother’s garden. Before her brother joins her, she sings a plaintive aria in which she reflects on her mother’s life and her own, musing about choices made and past troubles. Bernstein captures this private moment in an opening “Allegretto grazioso” that functions as a sort of recitative

Downloaded by [New York University] at 04:27 09 August 2016 for the following “Con moto,” a lyrical release. Bernstein’s fine ear for speech rhythm is revealed in Dede’s opening lines, especially “A good morning to François and me” (see Example 10). A number of other passages in Dede’s brief scene could be cited. It is clear, however, from these examples that speech rhythms were an important influence on Bernstein’s rhythmic procedures. His ability to set realistically the manner that Americans speak is surely one of the most important stylistic features of his compositions. Other twentieth-century composers, such as Ives and Stravinsky, sometimes pur- posely violate speech rhythms. The resulting awkwardness lends the text a distinctive setting,42 a technique that Bernstein sometimes employs, including, for example, in “Opening Hymn: To the Poem” in Songfest. Leonard Bernstein’s Musical Style 35

Example 10 “Morning . . ., ” A Quiet Place, Act III, mm. 65–75

VERNACULAR REFERENCES

The immediate appeal of Bernstein’s music is strongly dependent upon his frequent use of American vernacular musical references, including elements of jazz, blues, Latin

Downloaded by [New York University] at 04:27 09 August 2016 music, what might be termed the Broadway idiom, and, occasionally in later works, rock. Bernstein learned some of these styles from the inside, playing jazz and blues piano as a teenager, sometimes to help fund his piano studies.43 With On the Town, of course, he demonstrated his complete understanding of the American Broadway idiom, bringing to it his facility with jazz and blues, but he used vernacular references in his concert works as well, often for programmatic reasons. Such references could be documented in any of his works. The first score in which he made regular vernacular references was the ballet Fancy Free (1944), where jazz and blues ideas intermingle with many ideas inspired by classical music, a fascinating catalog of the young composer’s eclecticism. Fancy Free was commissioned by the Ballet Theatre. In 1943, Jerome Robbins, one of the company’s young dancers, conceived a scenario involving three sailors who arrive 36 Leonard Bernstein: A Research and Information Guide

for a twenty-four-hour shore leave in New York City. Robbins heard about Bernstein and invited him to compose the score. Burton reports that Robbins had already decided to derive his choreography from social dances, meaning that the score needed to be filled with jazz, boogie-woogie, and blues references.44 The ballet was the energetic work of several young American artists, and met with great success, extending the Ballet Theatre’s season in New York, and then featured on a tour. Praised were Robbins’s choreography, especially the manner that the personalities of the sailors were conveyed through dance, Oliver Smith’s stylish sets, and Bernstein’s vibrant score.45 Fancy Free is a fascinating picture of Bernstein as a young composer, an eclectic who had not yet fully found his own voice. Although showing great talent, its many references to jazz and blues at times mix uncomfortably with music too strongly reminiscent of Rimsky-Korsakov, Stravinsky, Copland, and others. Vernacular references form the most successful moments in the score. It is somewhat later in Bernstein’s output—for example, in Symphony No. 2, The Age of Anxiety (1949)—when he seems to hit his stride in more successfully mixing vernacular elements with “classical” music ideas. One hesitates to draw biographical parallels between Fancy Free and Bernstein’s life, but the important solo presence of the piano, always playing in a vernacular musical language (such as “stride”), is provocative.46 The ballet, after all, was written by a pianist who often played jazz, blues, and boogie-woogie, a natural show-off who entertained at the piano at many parties. Here the piano has a similar function, sometimes dominating the proceedings with unmistakably American party music, interrupting more “classical” sections. One is tempted to see Bernstein himself sitting at the piano bench, urging the sailors along as they seek pleasure on their short leave. The ballet is in seven major sections: “Enter Three Sailors,” “Scene at the Bar,” “Enter Two Girls,” “Pas de deux,” “Competition Scene,” “Three Dance Variations” (“Galop,” “Waltz,” and “Danzon [sic]”), and “Finale.” Here each section of the complete ballet will be considered for its vernacular references amidst Bernstein’s frequent use of classical models. When the curtain opens, the audience hears a jukebox playing a blues number called “Big Stuff,” composed by Bernstein. It includes a bass line moving entirely in dotted eighth and sixteenth notes, the pianist’s right hand full of jazzy syncopations and quarter-note triplets, and a melodic line loaded with the bluesy juxtaposition of two chromatic versions of the same note.47 The first measure of “Enter Three Sailors,” in a fast four, consists of four quarter-note

Downloaded by [New York University] at 04:27 09 August 2016 rimshots, followed by this melody stated in the brass (Example 11). Bernstein makes obvious Latin and jazz references here, with a swinging melody that includes syncopation in the second measure approaching the tresillo rhythm (3+3+2) of the rumba, and the third measure with dotted eighths and sixteenths meant to swing like Count Basie’s Orchestra. Scored for three trumpets and two trombones, the opening also approximates the block scoring one hears from big bands, an effect also heard later in the section. Most orchestral segments of this first movement include development of similar material, with a number of syncopations resembling rumba rhythms. The solo pianist in Fancy Free often plays the melody in the right hand and a stride accompaniment in the left. The piano first plays the movement’s opening melody in measure 22. Percussion accompaniment with cymbal sounds like a jazz band’s rhythm Leonard Bernstein’s Musical Style 37

Example 11 “Enter Three Sailors,” Fancy Free, mm. 1–5, winds, brass and percussion parts

section. Another major solo piano passage begins in measure 51. Although there is no such notation in the score, on some recordings the piano is tuned to sound like a honky-tonk in a bar.48 The “Scene at the Bar” opens with two clarinets playing material highly reminiscent of Copland. In measures 183 and 194–96, Bernstein interrupts this mood with solo piano boogie-woogie, as if heard through a dreamy haze. Elsewhere in this brief move-

Downloaded by [New York University] at 04:27 09 August 2016 ment the piano withdraws into the background, but still as an important part of the orchestration, something else that Bernstein might have learned from Copland, who tended to use piano in his orchestra. The third segment of the ballet, “Enter Two Girls,” returns to the jazz world with a tempo designation of “Fast and hot.” A major indication of the swing style is the first segment’s intentional ambiguity between 4/4 and 12/8. The latter meter sounds very much like straight eighth notes in 4/4 played with a sense of swing, an effect most obvious in the use of wire brushes on the snare drum in 12/8. The ostinato played by bassoon and clarinet in the early measures of the movement begins on concert A, rising in alternation to C-sharp and C-natural, an obvious blues reference. One of the major sounds of the movement is introduced in measure 257, when the solo piano enters for eleven 38 Leonard Bernstein: A Research and Information Guide

measures with a jazz-inflected ostinato. It is based upon a swinging dotted-eighth and sixteenth-note figure propelled by constant quarter notes in the pianist’s left hand, timpani, and string basses, an orchestral counterpart to a rhythm section. The segment at measure 268 includes horn fanfares reminiscent of the second movement of Rimsky-Korsakov’s Scheherazade, especially when played antiphonally by two brass instruments. The fanfares function like the “break strain” of a march, building excitement and expectation, but Bernstein follows it with nothing more than a return of the piano ostinato figure in measure 273. In measure 304 a blues section is introduced based upon the ostinato that opened the movement in the clarinet and bassoon. A full orchestral statement of material from the piano ostinato interrupts in measure 310, and the movement closes with the solo piano’s return, this time accompanied by cymbal and bass drum. The former sounds on beats two and four, a common pattern of jazz drumming. The “Pas de Deux” is primarily based upon blues melodic references from the opening song “Big Stuff,” heard first here in a melody scored for solo flute and two trombones in measure 332, rapidly followed by trumpet solo (with Solotone mute) and two trombones. The central section of this ternary movement shifts between eighth note meters of 7/8, 2/8, and 6/8, as noted earlier, one of Bernstein’s favorite rhythmic effects. Isolated notes separated by rests eventually build to a figure in measure 355 that sounds like an introduction fanfare for a cheesy cabaret act. The movement concludes with a return of the opening blues. As the three sailors argue over the two girls in the “Competition Scene,” one again finds vernacular musical references among music reminiscent of famous classical scores. From the opening until measure 406 we return to the cocky jazz of the ballet’s opening. A series of competition dances begins. Now, however, as if we must be reminded of the profound Russian influence on American ballet in the first half of the twentieth century, Bernstein turns to music reminiscent of Petrushka. The rapid, dissonant figure in the woodwinds and piano beginning in measure 407 sounds like the music describing the Moor in Petrushka.49 The descending fifths heard in the fanfares in the previous movement are recalled as well in the winds and strings in measures 410–11, as are the triplet rhythms of those fanfares in the next measures. Bernstein uses all of this to prepare (in measure 422) a sea chanty worthy of Scheherazade, and more than a little reminiscent of some 6/8 melodies in that score.50 To this is added, in measure 459, jazz licks in the brass that seem derived from the piano ostinato figure in the last movement, preparing yet another entrance of solo stride piano in measure 477. Jazz and sea chanty rhythms

Downloaded by [New York University] at 04:27 09 August 2016 are combined in the following section, resulting by measure 505 in a section much like Stravinsky’s piling one ostinato upon another in the openings of the first and fourth tableaux of Petrushka. Reference to Stravinsky’s ballet becomes almost unmistakable in measures 513 to 520, where descending fanfare-like figures in the brass sound much like the brass music used to describe Petrushka in the ballet’s second tableau.51 The remainder of the segment again includes layered ostinati. In the “Three Dance Variations,” Bernstein continues his mixture of European ballet music and American vernacular references. He calls Variation 1 a “galop,” and it indeed sounds very much like what Stravinsky, in a neoclassical mood, might have done with that species of nineteenth-century French dance. The expected duple meter is clear throughout, but there are many spicy dissonances from the “wrong-note” school (the Leonard Bernstein’s Musical Style 39

effect of which was parodied by Comden, Green, and Bernstein in the “Wrong Note Rag” from Wonderful Town) and some unexpected scoring touches, like the melody played by solo trumpet and piccolo starting in measure 577. Variation 2 is a waltz in an irregular meter, again not unlike Stravinsky’s take on a dance meter, but with melodies that sound like waltzes. In measure 669, Bernstein settles into a “waltz” that is a regular alternation of 3/4 and 3/8. A blues-like section begins at measure 683 with chromatic juxtapositions and swinging dotted rhythms over regular quarter notes in 4/4. The waltz-like material returns before the end of the movement. One might note the popularity of the waltz among Broadway composers, making the genre almost as much an American vernacular reference as European. In Variation 3, “Danzon [sic],” Bernstein wrote some of his early Latin American–inspired music. The danzón is a couple’s dance derived from the contredanza and habanera of the previous century. In the twentieth century it developed into an urban dance with more African influences, including cinquillo and tresillo rhythms and other patterns associated with Afro-Cuban dance traditions.52 It is possible that Bern- stein’s inspiration was again his mentor Copland, who finished his Danzón cubano for two pianos in 1942; Bernstein played it with Copland in its premiere.53 Bernstein also approaches the ostinato-driven textures and unpredictable rhythms of Copland’s El Salón México in measure 789 of Fancy Free. Another influence here surely was the ever-increasing interest in Latin music in American jazz and on ballroom floors throughout North America. Marginal Latin influences can be traced back to the beginnings of jazz, such as in the ostinati that appear in Jelly Roll Morton’s piano music, and by the 1940s such influences were frequent.54 This movement of Fancy Free includes many statements of the rumba’s typical tresillo rhythm. The “Finale” includes no new musical references. It starts with the “sea chanty” from the “Competition Scene,” adding typical vernacular references and earlier material starting in measure 865. There is a brief stride piano entrance at measure 914, but a more important musical event is the return of the Coplandesque opening of “Scene at the Bar,” this time with a few Latin ideas after measure 948. A final slow luesb sounds at measure 992 with stride piano, this time with a right hand that becomes progressively more ornamented, harkening back in an interesting manner to the progressive ornamentation heard in the piano part in Petrushka’s second tableau.55 The ballet concludes with a brief and exciting “Allegro molto,” a throwaway gesture that brings an exciting conclusion. Downloaded by [New York University] at 04:27 09 August 2016 HARMONY, TEXTURE, AND FORM

As shown earlier, the accessibility and communicative nature of Bernstein’s music are best explained by his gifts as a melodist, his creative use of rhythm, the effective imitation of rhythms of vernacular speech found in his vocal music, and his rich use of vernacular elements. Extensive consideration of these three musical elements is unnecessary, because in each case Bernstein does not depart significantly from norms established by other composers in the twentieth century, especially Americans. Bernstein’s harmonies are quite varied, ranging from common-practice tonality to twelve-tone writing, the latter used for programmatic reasons. His basic harmonic 40 Leonard Bernstein: A Research and Information Guide

style could be described as follows: triadic writing with significant use of added tones, often adding piquant dissonance, even in his most lyrical passages; an expanded concept of tonality that, besides traditional tonic-dominant relationships, includes rich use of modal inflections, borrowed chords, and chromaticism; a fondness for static harmonies; and the use of dissonance to communicate emotional distress. None of these features is unique to Bernstein’s music, and each could be used to describe works by Aaron Copland, Roy Harris, William Schuman, and other composers. What shines through the majority of Bernstein’s music, however, is his strong commitment to tonality, sometimes comfort- ably within most bounds of the common practice period, but more often writing with a central pitch in mind, like many twentieth-composers who did not leave the tonal fold.56 Texture in Bernstein’s music shows the mark of a composer with considerable craft. Effective counterpoint is hardly unusual among composers of concert music in the twentieth century, but scarcer in music written for popular tastes, including the scores of Broadway musicals. It is in places where Bernstein defies compositional expectations that his textures are most interesting. Most of his theatrical scores include pieces with contrapuntal complexity rare for the genre. One can listen to many musicals by Richard Rodgers or Cole Porter and not find moments of significant counterpoint, except in some duets that might include fairly simple note-against-note counterpoint. Sometimes countermelodies are placed in the orchestra, an effect that might be added by an orchestrator. Bernstein’s flouting of this convention explains some of the appeal of his Broad- way scores with more sophisticated listeners, but one must also admire a composer who can write, for example, “Make Our Garden Grow” as the finale of Candide, and still please the typical Broadway audience. Towards the end of the song, the orchestra drops out, and there is complex six-part vocal writing, certainly the kind of passage most Broadway singers do not expect to confront. Bernstein’s counterpoint in his dramatic scores ranges from a tour-de-force such as the “Tonight Quintet” in West Side Story to the almost Ivesian “Antiphon: Kyrie Eleison” from Mass. Use of counterpoint is notable in several movements of Mass. Among Bernstein’s formal procedures, there are two areas that bear mention: dependence of many of his forms upon programs in instrumental music and his tendency to base a composition upon continuous development of a small amount of musical material. His dependence on programs has already been considered, and in many works is so obvious that specific examples need not be explained. His genesis of a composition from small building blocks has been considered at length by Jack Gottlieb in a

Downloaded by [New York University] at 04:27 09 August 2016 study of what he calls “melodic manipulation.”57 What Gottlieb seems to be describing is Bernstein’s generation of small and large forms from small cells, a common compositional process in twentieth-century music. Gottlieb has also noted Bernstein’s fondness for symmetrical forms, citing several works in his defense, including Symphony No. 2, The Age of Anxiety and Hashkiveinu.58

JEWISH ELEMENTS AND SENSIBILITY

Raised in a Jewish family that regularly attended temple services and by a father who considered the Hebrew scriptures and Talmud to be the most important influences in his Leonard Bernstein’s Musical Style 41

life, it is hardly surprising that Jewish musical elements and an overall Jewish sensibility suffuse many of Bernstein’s compositions. This aspect of his music has been covered in the most detail by Jack Gottlieb, who served as Bernstein’s assistant during some of the New York Philharmonic years and remained a friend, and was long a senior figure among those now managing Bernstein’s legacy and one of the more important commentators on his life and works. Gottlieb wrote a penetrating essay on Bernstein and his Jewishness to open his book Working with Bernstein, and he raises specific issues about Jewish influences on individual works elsewhere in the volume.59 The author finds many aspects of Bernstein’s personality to have been conditioned by his religion, a predilection that spilled over into his compositions, including those where Judaism plays a clear role and others where one has to look harder for the influence. Gottlieb notes, “The greater part of Bernstein’s output was sparked by the interaction of his American conditioning and his Jewish inheritance,” citing immediately Symphony No. 3, Kaddish and Chichester Psalms for their mixture of “Hebrew-Aramaic words” and “a glint of the West Side Story sound.”60 Among other works that Gottlieb believes combine “American kinetic energy” with events that took place in ancient or modern Israel are Symphony No. 1, Jeremiah and Halil.61 Gottlieb has identified direct Jewish musical influence on works that would seem unrelated to religious or cultural tropes associated with the religion, including the songs “Ya Got Me” and “Some Other Time” from On the Town, which “are redolent of a cantorial mode known as Adonai Malakh.”62 Gottlieb has also compared the opening motives in the Overture to Candide and the Symphonic Dances from West Side Story (the whistle call that the Jets use in the show’s “Prologue”) to the traditional shofar call that sounds on Rosh Hashanah and Yom Kippur.63 In another essay, Gottlieb posits that a melodic motive based upon a descending perfect fourth and major or minor second, which can be traced to another famous Jewish chant, might be related to the name Jeho- vah in the Hebrew alphabet, and he finds this motive in Bernstein’s first two symphonies, the choruses to The Lark, Chichester Psalms, Mass, and the ballet Dybbuk.64 The presence of something like a Jewish Urmotiv in a number of Bernstein’s works, and a number of other influences that Gottlieb has pointed out in other works, raises the possibility that more such associations might be found, and underlines how Bernstein’s Jewishness profoundly affected his compositional style.

CONCLUSION Downloaded by [New York University] at 04:27 09 August 2016 In the nearly quarter century since Bernstein’s death, it has become clear that parts of Bernstein’s compositional output will continue to be performed. West Side Story has become a recognized American masterwork, a Broadway musical with more of a following than most works in the genre. On the Town, Wonderful Town, and Candide are less famous but considered significant parts of Broadway history and include songs that are often heard. Candide is still performed in various versions, and Wonderful Town was revived on Broadway as recently as 2003 and then toured in various productions. Although a huge work that requires many performers, Mass has become a major project for university music schools and professional organizations trying to make a statement. During his lifetime, Bernstein took part in many performances of his concert music, 42 Leonard Bernstein: A Research and Information Guide

making it hard to assess its lasting significance, but since his death in 1990 several pieces have become standard fare: Chichester Psalms, the Serenade, after Plato’s Symposium, Overture to Candide, and Symphonic Dances from West Side Story, along with other pieces that are heard less often. The three symphonies have not left the repertory, but they are not as well known to the concert audience as those pieces listed earlier. The Sonata for Clarinet and Piano has become a standard part of that woodwind instrument’s literature, and singers frequently program Bernstein’s songs, both from his cycles and dramatic works. Other pieces, like Songfest, deserve considerably more attention. In short, Bernstein as a composer contributed a substantial body of music that has outlived him, including several pieces that have become part of the American cultural canon. Given his success in composing both concert works and Broadway scores, he can be compared to George Gershwin in terms of the breadth of his accomplishment, and he shares with the older musician a reputation for effectively combining classical and vernacular tropes. The appeal of Bernstein’s music includes his lyrical but unusual melodies, his rhythmic verve, his instinctive theatricality, and his lively attention to the America that he knew: the way we speak, the musical styles with which we surround ourselves, and the spirit of his times. In the same way that Gershwin captured the jazzy, urban America of the 1920s, Bernstein provided a soundtrack for American cities in the 1940s and 1950s, with such scores as On the Town, On the Waterfront, and West Side Story. In his more restrained moments he approaches the Americanism associated with Copland and others, and Bernstein also reflected his Jewish heritage in many scores. The extent of his achievement becomes clear in many of the resources described in this book, and it is one that will continue to resonate for many years in our study of American music.

NOTES

1 Personal interview with Leonard Bernstein by the author, Washington, DC, 15 March 1982. 2 There are, for example, few places in Scriabin’s piano sonata where the rhythms are as irregular as in the “Danse sacrale.” See Alexander Scriabine, Ten Sonatas (New York: Leeds Music, 1949), 86–103, and compare with Igor Stravinsky, The Rite of Spring (London: Boosey & Hawkes, 1967), 121–53. 3 Compare the Stravinsky (pp. 76ff) with Maurice Ravel, Rapsodie espagnole (Paris: Durand S.A., 1908), 1–11. 4 Bernstein could be defensive, as he revealed in our discussion. About the size of his compo-

Downloaded by [New York University] at 04:27 09 August 2016 sitional output, he stated, “I feel I’ve written very little. Considering my other activities, it is explicable. I mean one understands right away. But the fact remains that the list is short . . . I don’t even know when I wrote all of those pieces that are there, but when you consider how old I am, there are a lot of years.” Bernstein also felt that the size of his output colored the way some perceive his work: “[T]hat’s why I’m not considered by my colleague composers as a major composer, or a significant one. But somebody like Peter Mennin would not consider me a major composer, because I’ve done so little of it and spend so much time doing other things. And the fact that I do other things turns them off. I couldn’t really be serious. Because no real composer does all those other things except somebody like Mahler, but that was a different time.” 5 Of the influences no these three composers that Bernstein names, Bach’s influence on Beethoven might be the least important, but Beethoven did know Bach’s works. See Elliot Leonard Bernstein’s Musical Style 43

Forbes, Thayer’s Life of Beethoven (Princeton, NJ: Princeton University Press, 1970). Beethoven wrote a canon on B-A-C-H in one of his Conversation Books (pp. 958–59), and Ferdinand Ries, who knew Beethoven well, once remarked that the composers Beethoven esteemed most highly were Mozart and Handel. Bach occupied the next tier (p. 366). 6 William Morris, ed., The American Heritage College Dictionary, Third Edition (Boston: Houghton Mifflin, 1997), 434. 7 In 1949, for example, Copland wrote the following about Bernstein’s music: “The most striking feature of Bernstein’s music is the immediacy of emotional appeal. Melodically and har- monically it has a spontaneity and warmth that speak directly to an audience . . . it is music of vibrant rhythmic invention, of irresistible élan . . . At its worst Bernstein’s music is conductor’s music—eclectic in style and facile in inspiration.” Consulted in Aaron Copland, Copland on Music (Garden City, NY: Doubleday, 1960), 173. 8 Interview. 9 Meryle Secrest, Leonard Bernstein (New York: Vintage Books, 1994). Secrest, for example, quotes Kiki Speyer, one of Bernstein’s girlfriends in the early 1940s, as saying, “I had a problem with him in that he could never be alone” (p. 87). Secrest also approaches his essential fear of loneliness in reference to Bernstein’s effort to find a wife (p. 167). 10 See Humphrey Burton, Leonard Bernstein (New York: Doubleday, 1994), 188–91, for a consideration of the influence Auden’s poem had on Bernstein. He concludes, “Auden’s influence on Bernstein’s work should not be exaggerated” (p. 190). 11 Sample titles, for example, include “Elegy for Mippy I” and “Fanfare for Bima,” both part of Brass Music (1948). 12 Leonard Bernstein, Mass (n.p.: Jalni and Boosey & Hawkes, 1971), 13. 13 For a detailed exploration of the work, see my Leonard Bernstein’s Chichester Psalms, CMS Sourcebooks in American Music, 4 (Hillsdale, NY: Pendragon Press, 2010). 14 The poem appeared first in The New York Times on 24 October 1965. It is reproduced in Bur- ton, 344–47, among other places. 15 Leonard Bernstein, Kaddish Symphony No. 3 (New York: G. Schirmer, 1980), 34. 16 Jack Gottlieb, “Program Notes,” in Leonard Bernstein, Songfest: A Cycle of American Poems for Six Singers and Orchestra (n.p.: Jalni and Boosey & Hawkes, 1988). 17 Ibid., 7. 18 Robert Rice, “Profiles: The Pervasive Musician I,” New Yorker 33 (11 January 1958), 50. 19 Secrest, 218. 20 See Burton, 129ff, esp. the account of Bernstein and Adolph Green entering the hospital on the same day for surgeries so that recovery time could be spent writing songs. 21 Nigel Simeone, Leonard Bernstein: West Side Story (Farnham, UK: Ashgate, 2009), 29–31. 22 Burton, 403.

Downloaded by [New York University] at 04:27 09 August 2016 23 For one account of the collaboration, see William Wright, Lillian Hellman (New York: Simon and Schuster, 1986), 267–72. 24 Much of Bernstein’s score to 1600 Pennsylvania Avenue has been revived as A White House Cantata. See Item 41 in this study. 25 See Bernstein’s fictional dialogue with a professional manager, “Why Don’t You Run Upstairs and Write a Nice Gershwin Tune?” in The Joy of Music (New York: Anchor Books/Doubleday, 1959), 52–62. 26 The song first appears in the overture in mm. 83–133. See Leonard Bernstein, Candide (n.p.: Jalni and Boosey & Hawkes, 1994), 4–6. 27 Bernstein and a friend went to New York City to see dancer Anna Sokolow’s debut there. Sitting in the front row of the balcony near them was Aaron Copland, who invited Bernstein to his birthday party that night at his loft. See Secrest, 43–44. 44 Leonard Bernstein: A Research and Information Guide

28 Copland wrote El Salón México between 1932 and 1936. It was premiered on 27 August 1937, less than three months before Copland met Bernstein. See Aaron Copland and Vivian Perlis, Copland, 1900 through 1942 (New York: St. Martin’s/Marek, 1984), 244–46. 29 Bernstein told me in the interview, “I made a transcription because I loved the piece and I just played it [for Copland]. I played it for him once and he said, ‘Have you written that down?’ And I said, ‘No.’ And he said, ‘Why don’t you and I’ll get you $50.’ So I did and they [Boosey & Hawkes] wanted a four-hand one, and maybe it was another $50 for the four-hand one; I’m not sure. But it couldn’t have been much money.” In our discussion, Bernstein described El Salón México as a “masterpiece.” 30 Julia Smith, Aaron Copland: His Work and Contribution to American Music (New York: E. P. Dutton, 1955), 289. 31 Leonard Bernstein, “Dialogue and . . ., ” in Findings (New York: Simon and Schuster, 1982), 119. A useful consideration of Bernstein’s use of jazz in his output, especially related to the question of what jazz means in his music, is Katherine A. Baber, “Leonard Bernstein’s Jazz: Musical Topic and Cultural Resonance,” PhD dissertation, Indiana University, 2011. 32 Gottlieb, “Program Notes,” in Leonard Bernstein, Songfest. 33 Andrew Porter, “Musical Events: Harmony and Grace,” New Yorker 59 (11 July 1983), 88–89. 34 Interview. 35 Excellent examples of vernacular speech rhythms are seen in Marc Blitzstein, Regina (New York: Chappell, 1954) and Copland’s The Second Hurricane (New York: Boosey & Hawkes, 1938). 36 The text, from Edna St. Vincent Millay’s Collected Poems, is provided in Bernstein, Songfest, with the remainder of the work’s texts. 37 Ibid. 38 The orchestration may be heard on the following compact disc: Bernstein Conducts Bernstein, Songfest/Chichester Psalms, National Symphony Orchestra of Washington/Leonard Bernstein and Wiener Jeunesse-Chor and Israel Philharmonic Orchestra/Leonard Bernstein, Deutsche Grammophon 415 965–2, 1978. 39 Leonard Bernstein and Stephen Wadsworth, A Quiet Place (n.p.: Jalni and Boosey & Hawkes, 1988). The flashbacks to Trouble in Tahiti, reprinted from the previous score, are found in Act II, Scenes 2 and 4. 40 Joan Peyser, Bernstein: A Biography (New York: Beech Tree Books/William Morrow, 1987), 199–202. 41 Peyser (pp. 459–63) has speculated broadly on parallels between Bernstein’s life and the plot of A Quiet Place. The score also includes some self-quotation. In Act III, mm. 219–23 (p. 268), the character François enters, singing, “What a day, what a day, for a café au lait” to the tune from Candide, “What a day, what a day, for an auto-da-fé.” Both uses of the melody are humor-

Downloaded by [New York University] at 04:27 09 August 2016 ous, but this quotation might be part of the intense introspection that is part of the opera. 42 Consider, for example, Ives’s fanciful mistreatment of text accent in his pseudo-cowboy ballad, “Charlie Rutlage,” and Stravinsky’s interesting setting of the text in his Mass. 43 See Burton, 17, for a consideration of Bernstein’s youthful forays into jazz. See also Secrest, 30. 44 Burton, 126. 45 Secrest, 129. 46 Peter Gradenwitz. Leonard Bernstein: The Infinite Variety of a Musician (New York: Oswald Wolff Books, 1987), 172, notes the following about Fancy Free: “Characteristic means of linking the movements closely together are piano solos, which play an important role in the instrumental texture of the jazzy score, a method used again by Bernstein in his later ballet score for Facsimile.” Leonard Bernstein’s Musical Style 45

47 For another analytical take on this song, see Gradenwitz, 135–36. 48 This may be heard, for example, on the following phonodisc: Leonard Bernstein, Fancy Free and Aaron Copland, Rodeo (Capitol Classics P-8196, n.d.). 49 See, for example, Igor Stravinsky, Petrushka, ed. Charles Hamm (New York: W. W. Norton, 1967), third tableau, 94ff. 50 See Nikolay Rimsky-Korsakov, Scheherazade in Full Score (New York: Dover, 1984), 97ff. 51 See Stravinsky, Petrushka, 79ff. 52 See William Gradante and Jan Fairley, “Danzón,” Oxford Music Online, consulted 8 January 2014. 53 Secrest, 101. 54 See Barry Kernfeld, “Latin Jazz,” Oxford Music Online, consulted 8 January 2014. 55 See Stravinsky, Petrushka, 84ff. 56 Probably nowhere is Bernstein’s philosophical commitment to tonality clearer than in his The Unanswered Question (Cambridge, MA: Harvard University Press, 1976), where in his fifth Charles Eliot Norton Lecture, delivered at Harvard in 1973, Bernstein goes to great pains to find tonal passages in atonal works by Schoenberg. See esp. pp. 271–97. 57 See Jack Gottlieb, “The Music of Leonard Bernstein: A Study in Melodic Manipulations” (PhD dissertation, University of Illinois, 1964), abstract, where he states, “The form of any given work is revealed as an outgrowth of its melodic constituents; and a song is found to be a microcosm of a symphony.” 58 Gottlieb, 207–15. 59 Jack Gottlieb, Working with Bernstein (New York: Amadeus Press, 2010). The opening essay is “Introduction: A Jewish American or an American Jew?” (pp. 1–15), perhaps the finest consideration of this aspect of Bernstein’s life, which Gottlieb believes is the true key to understanding the man and his music. Gottlieb has approached Bernstein’s Jewishness and its influence on his musical style and individual works in several articles and sets of program notes, most of which have been reprinted in this book. 60 Ibid., 6–7. 61 Ibid., 7. 62 Ibid., 7. It should also be noted that Gottlieb has written an entire book on Jewish musical influences on American composers of popular song. See his Funny, It Doesn’t Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood (Albany: State University of New York in association with the Library of Congress, 2004). Another version of the article cited in endnote 64, with additional references to Bernstein’s Broadway repertory, appears in this book (pp. 178–85). 63 Gottlieb, Funny, It Doesn’t Sound Jewish, 180. 64 Jack Gottlieb, “Symbols of Faith in the Music of Leonard Bernstein,” Musical Quarterly 66/2

Downloaded by [New York University] at 04:27 09 August 2016 (April 1980): 287–95. For another good introduction to the Jewish character of some of Bern- stein’s music, see Edmond H. Weiss, “Lenny the Klezmer,” Moment 18/1 (February 1993): 40–45, 80. Part A Index

Works by Leonard Bernstein L A Lamentations of Jeremiah 4, 22 The Lark 6, 8, 41 Anniversaries 22 Arias and Barcarolles 8 M

B Mass 7, 18n8, 22 – 7, ex.2, 28, 41, 43n12 Missa Brevis 6, 8 The Birds 2, 4 A Musical Toast 7 La Bonne Cuisine 5 Music for the Dance Nos. 1 and 2, 4 Brass Music 5, 43n11 Music for Two Pianos 4

C O Candide 6, 14, 24, 28 – 9, ex. 3, 40 – 1, 43n23, On the Town 5, 8, 16 – 17, 24, 35, 41 – 2, 43n26, 44n41 43n20 Chichester Psalms 7, 16, 23, 25 – 6, ex. 1, 27 – 8, On the Waterfront 6, 8, 22, 24, 42 41 – 2, 43n13 Overture to Candide 8, 41 – 2 Concerto for Orchestra 8

D P Divertimento for Orchestra 7, 18 Peter Pan 6, 14, 17, 19n25 Dybbuk 7, 24, 41 Prelude, Fugue and Riffs 5, 17

F Q Facsimile 5, 24, 44n46 A Quiet Place 6, 7, 24, 31 – 5, exx. 9 – 10, 44n39, Fancy Free 5, 14, 19n24, 24, 35 – 9, ex. 11, 44n41 44n46, 45n47, 45n48 Fanfare for the Inauguration of John F. Kennedy S

Downloaded by [New York University] at 04:27 09 August 2016 7 Fanfare for the 25th Anniversary of the High Serenade (After Plato’s Symposium) 5, 22, 25, School of Music and Art, NYC, 7 28, 42 Seven Anniversaries 5 H 1600 Pennsylvania Avenue 7, 24, 43n24 The Skin of Our Teeth 7, 17, 19n34 Halil, Nocturne 7 – 8, 25, 41 Sonata for Clarinet and Piano 2, 4, 23, 42 Hashkiveinu 5, 40 Sonata for Violin and Piano 4 I Hate Music! 4 Songfest 7, 23 – 5, 28, 30 – 4, 5 – 8, 42, 43n16, 44n32, 44n36, 44n38 J Symphonic Dances, from West Side Story 41 – 2 Symphony No. 1 Jeremiah 4, 5, 22, 28 – 9, ex. Jubilee Games 8 4, 41

46 Part A Index 47

Symphony No. 2 The Age of Anxiety 5, 22, 36, E 40 – 1, 43n10 Symphony No. 3 Kaddish 6 – 7, 22 – 5, 28, 41, Elgar, Edward, “Enigma” Variations 8 43n15 “Enigma” Variations (Elgar) 8 Evita (Webber and Rice) 17 T F Touches 7 Trouble in Tahiti 6 – 7, 12, 14, 24, 33 Falstaff (Verdi) 3, 13 Fidelio (Beethoven) 3 Fifth Piano Sonata (Scriabin) 21, 42n2 W

West Side Story 6 – 8, 12, 14 – 15, 24 – 5, 40 – 2, G 43n21 A White House Cantata 7, 43n24 Gershwin, George, Rhapsody in Blue 9 Wonderful Town 6, 24, 39, 41 Gould, Morton, Billion Dollar Baby 16

Works by Other Composers I B Ives, Charles, “Charlie Rutlage” 44n42 Beethoven, Ludwig van, Canon on B-A-C-H 42 – 3n5; Fidelio 3; symphonies 3 L Billion Dollar Baby (Gould, Comden, and Lloyd Webber, Andrew, Evita 17 Green) 16 Bizet, Georges, Carmen 1 Blitzstein, Marc, The Cradle Will Rock 2; M Regina 44n35 Bolero (Ravel) 13 Mahler, Gustav, symphonies 3, 15 – 16 Brahms, Johannes, symphonies 3 Mass (Stravinsky) 44n42 Bruckner, Anton, symphonies 16 Medea (Cherubini) 3 Bye Bye Jackie (“ballet play” Robbins) 16, 19n31 Mozart, Wolfgang Amadeus, piano concertos 9

C P

Canon on B-A-C-H (Beethoven) 42 – 3n5 Peter Pan (Styne, Comden, Green, and others) Carmen (Bizet) 1 17 “Charlie Rutlage” (Ives) 44n42 Petrushka (Stravinsky) 38 – 9, 45n49, 45n51, Cherubini, Luigi, Medea 3 45n55 Clarinet Concerto (Copland) 15 Piano Concerto in G Major (Ravel) 9

Downloaded by [New York University] at 04:27 09 August 2016 Copland, Aaron, Clarinet Concerto 15; Danzón piano concertos (Mozart) 9 Cubano 39, 45n52; Piano Quartet 15; Piano Quartet (Copland) 15 Piano Sonata 9; Piano Variations 2, 13; Piano Sonata (Copland) 9 Rodeo 45n48; El Salón México 28, 39, Piano Variations (Copland) 2, 13 44n28, 44n29; The Second Hurricane Prelude and Fugue No. 3 (Diamond) 13 – 14 44n35; Symphony No. 3, 19n28; The Tender Land 15 R The Cradle Will Rock (Blitzstein) 2 Rapsodie espagnole (Ravel) 21, 42n3 D Ravel, Maurice, Bolero 13; Piano Concerto in G Major 9; Rapsodie espagnole 21, 42n3 Danzón Cubano (Copland) 39, 45n52 Regina (Blitzstein) 44n35 Diamond, David, Prelude and Fugue No. 3 13 – 14 Rhapsody in Blue (Gershwin) 9 48 Part A Index

Rimsky-Korsakov, Nicolai, Scheherazade 38, symphonies (Brahms) 3 45n50 symphonies (Bruckner) 16 Robbins, Jerome, Bye Bye Jackie (“ballet play”) symphonies (Mahler) 3, 15 – 16 16, 19n31 Symphony No. 3 (Copland) 19n28 Rodeo (Copland) 45n48 T S The Tender Land (Copland) 15 Le Sacre du printemps (Stravinsky) 20 – 1, 28, A Tree Grows in Brooklyn (Schwartz and 42n2 Fields) 17 El Salón México (Copland) 28, 39, 44n28, Tristan und Isolde (Wagner) 17 44n29 Schwartz, Arthur, A Tree Grows in Brooklyn 17 V Scheherazade (Rimsky-Korsakov) 38, 45n50 Scriabin, Alexander, Fifth Piano Sonata 21, Verdi, Giuseppe, Falstaff 3, 13 42n2 Viola Concerto (Walton) 8 The Second Hurricane (Copland) 44n35 Stravinsky, Igor, Mass 44n42; Petrushka 38 – 9, W 45n49, 45n51, 45n55; Le Sacre du printemps 20 – 1, 28, 42n2 Wagner, Richard, Tristan und Isolde 17 symphonies (Beethoven) 3 Walton, William, Viola Concerto 8 Downloaded by [New York University] at 04:27 09 August 2016 3 An Annotated List of Bernstein’s Major Compositions

This list of Bernstein’s compositions has been compiled from the published scores and the following sources:

Gottlieb, Jack, compiler. Leonard Bernstein: A Complete Catalogue of His Works Celebrating His 60th Birthday, August 25, 1978. Amberson Enterprises, Publisher; Boosey & Hawkes, Sole Selling Agent, 1978. 68 p. ISBN: 0-913932-40-X. Gottlieb, Jack, ed. Leonard Bernstein, August 25, 1918–October 14, 1990, A Complete Catalog of His Works Celebrating His 80th Birthday Year: 1998–99. Volume 1: Life, Musical Compositions & Writings. Leonard Bernstein Music, Publisher; Boosey & Hawkes, Selling Agent, 1998. 96 p. ISBN 0-913932-82-5. ML134.B512G7 1998. www.leonardbernstein.com (www.leonardbernstein.com/composer.htm) www.boosey.com/composer/Leonard+Bernstein

Presented ahead for each of Bernstein’s major compositions is an annotation with information concerning the work’s conception and premiere, and a brief musical

Downloaded by [New York University] at 04:27 09 August 2016 description. Additional information about most of the works may be found by locat- ing the title of the composition in the index and consulting the indicated books and articles. There are also a number of obscure compositions by Bernstein that were never published and seldom heard, some of which became part of other works. The fullest listing of such pieces may be found in the Finding Aid for the Bernstein Collection at the Library of Congress; see http://memory.loc.gov/ammem/collections/bernstein/ lbrelated.html.

49 50 Leonard Bernstein: A Research and Information Guide

SOLO INSTRUMENTAL MUSIC

Piano(s)

1937 1. Music for Two Pianos Largo—Più mosso (andante)—Poco più mosso (Blues) Allegro (Fox-trot)

Bernstein wrote this work in 1937 and premiered it the next year at a Boston recital involving students of Heinrich Gebhard. His performing partner was his friend Mildred Spiegel. The piece shows the young musician’s fascination with popular music and, even at this early moment, his desire to work it into concert music. As Jack Gottlieb notes in his 1978 catalog of Bernstein’s music (p. 31), this composition bore later, professional fruit. The first movement became part of the “Dream Ballet” in On the Town seven years later, and the second movement appeared in “Real Coney Island” in the same show. A vamp that Bernstein wrote for the Music for Two Pianos appeared in Wonderful Town in the segment “Conquering the City” (also known as “Conquering New York”).

1938 2. Piano Sonata Cadenza: Presto—Molto moderato—Presto—Scherzando Largo—Moderato—Molto moderato (Cadenza)

A serious work by a talented young composer who was soaking in a great deal of modern music. Bernstein wrote the piece for his piano teacher Heinrich Gebhard and premiered it in Boston in 1938, while a student at Harvard. Approximately fifteen minutes in length, the sonata, unlike some of Bernstein’s other early pieces, often does not sound a great deal like his mature style. It carries a strong influence from Copland, whom Bernstein had met the previous year. The first movement includes some of the eighth notes in shifting meters like Bernstein heard in Copland’s El Salón México, and there are a few lyrical moments in the second movement that evoke Bernstein’s later melodic

Downloaded by [New York University] at 04:27 09 August 2016 style, but the piece has a self-consciousness about it, like a composer looking over his shoulder to make sure that he is demonstrating a requisite studiousness. The declamatory writing towards the end of the second movement is close to aspects of Copland’s Piano Variations.

1943 3. Seven Anniversaries 1. For Aaron Copland 2. For My Sister, Shirley 3. In Memoriam: Alfred Eisner Bernstein’s Major Compositions 51

4. For Paul Bowles 5. In Memoriam: Natalie Koussevitzky 6. For Serge Koussevitzky 7. For William Schuman

Bernstein composed this set of pieces in the fall of 1943, according to Peyser (Item 157b, p. 118), “for seven people whom he loved.” Copland and Koussevitzky were two of Bernstein’s most important mentors. Natalie Koussevitzky, the conductor’s first wife, died in January 1942. Composers Paul Bowles and William Schuman both were good friends. Alfred Eisner, one of Bernstein’s roommates at Harvard, died of a brain tumor at age twenty-three. Shirley Bernstein, his sister and five years younger, was one of his closest confidantes. The movements include the influences expected in the young Bernstein’s music, especially Copland and jazz. Material from the fifth movement also appears in the first movement of Symphony No. 1, Jeremiah.

1948 4. Four Anniversaries 1. For Felicia Montealegre 2. For Johnny Mehegan 3. For David Diamond 4. For Helen Coates

In this set of pieces, Bernstein continued his composition of short works honoring friends and family. In order, the movements honor: the woman he married in 1951; a jazz pianist and composer who was Bernstein’s good friend (and perhaps his lover) from the mid-1940s; the famous composer and a friend; and one of Bernstein’s piano teachers who became his lifelong secretary. “Montealegre” is a slow waltz in ternary form with rapid figuration in the central section. “Mehegan” is jazz-like with blues intervals and Latin rhythms, especially tresillo patterns. “Diamond” is Copland-like, with uneven rhythms and an angular melody. “Coates” is a jocular “Allegro giacoso” based largely on anapestic rhythms and incessant forward drive.

1949–51 Downloaded by [New York University] at 04:27 09 August 2016 5. Five Anniversaries 1. For Elizabeth Rudolf 2. For Lukas Foss 3. For Elizabeth B. Ehrman 4. For Sandy Gellhorn 5. For Susanna Kyle

Dedicatees of this set, except for composer and conductor Lukas Foss, include some of Bernstein’s friends. The last two movements are dedicated to friends’ children. Susanna Kyle, for example, is Betty Comden’s daughter, born in 1949. The first three movements 52 Leonard Bernstein: A Research and Information Guide

include music Bernstein also used in Serenade, after Plato’s Symposium (1954). “Rudolf” is found in the A section of the second movement, “Aristophanes”; “Foss” appears in the B section of the same movement. Material from “Ehrman” is found in Serenade’s finale. “Gellhorn” is a somewhat jazzy movement united by dotted rhythms. “Kyle” is another Copland-like movement, reminiscent of the simplicity of Copland’s score to Our Town. Its music also appeared in the Prelude to Act II of Peter Pan.

c 1950 6. Four Sabras 1. Ilana: The Dreamer 2. Idele: The Chassidele 3. Yosi: The Jokester 4. Dina: The Tomboy Who Weeps Alone

A “sabra” is a nickname for a native Israeli, taken from a plant that resembles a cac- tus with thorns on the outside and sweet flesh on the inside. Jack Gottlieb, in his liner notes for the compact disc Leonard Bernstein: A Jewish Legacy (Naxos 8.559407, 2003, Item 536), hypothesizes, based upon the manuscript paper on which Bernstein wrote the music, that Bernstein might have composed this as children’s piano music during a visit to Israel in 1948, 1950, or 1953. The contemplative first movement became “Candide’s Lament” in the 1956 musical, and also appears in Bernstein’s manuscript legacy as an Anniversary for Cesarina Riso. “Idele” is a dialogue between the two hands, compared by Gottlieb to a conversation between a wise teacher (left hand) addressing a distracted young man, Idele (right hand). “Yosi” is brief, insistent, and dance-like. “Dina” is based upon a rueful descending motif that appears in various guises, the central portion of which Gottlieb notes appears in On the Waterfront (1954).

1960 7. Bridal Suite in 2 Parts with 3 Encores Part I: Prelude Three Variations on Adolph F#yllis Green: 1. Love Song, 2. Chaplinesque, 3. Chaplinade

Downloaded by [New York University] at 04:27 09 August 2016 Part II: Interlude (Bell, Book, and Rabbi); Three Wedding Dances: 1. The First Waltz (canon), 2. Cha-Cha-Cha, 3. Hora Three Encores (Obligatory): Encore 1: Modern Music (Argument), Encore 2: Old Music (Reconciliation), Encore 3: Magyar Melody

For two pianos, four hands A set that Bernstein wrote for collaborator Adolph Green and his new wife, actress Phyllis Newman, to play together. Jack Gottlieb described some of the movements in the liner notes for the partial recording of the set on Leonard Bernstein: A Jewish Legacy (Naxos 8.559407, 2003, Item 536). Part I seems to comment on combining two lives, with one pianist playing the famous Prelude in C Major from Bach’s Well-Tempered Bernstein’s Major Compositions 53

Clavier and the other performing “Just in Time” from Bells Are Ringing (1956), which Green wrote with Betty Comden and Jule Styne. Part II includes a series of brief movements, the kind of witty material one might have expected to have heard in Bernstein’s circle of friends.

1981 8. Touches: Chorale, Eight Variations and Coda. Written for the Sixth Van Cliburn International Piano Competition. Bernstein was the sixth American composer asked to write the test piece for the Van Cliburn International Piano Competition. Touches bears some resemblance to Copland’s Piano Variations, one of Bernstein’s favorite pieces at the time he met the older composer in 1937. Both works are variation sets that flow easily from one section to another, each built from material heard in earlier sections. Bernstein also follows Copland’s lead with well-digested references to blues melodies and harmonies and jazz rhythms.

1988 9. Thirteen Anniversaries 1. For Shirley Gabis Rhoads Perle 2. In Memoriam: William Kapell 3. For Stephen Sondheim 4. For Craig Urquhart 5. For Leo Smit 6. For Nina Bernstein 7. In Memoriam: Helen Coates [original title (according to Gottlieb, Complete Catalog, p. 43): For Helen Coates] 8. In Memoriam: Goddard Lieberson 9. For Jessica Fleischmann 10. In Memoriam: Constance Hope 11. For Felicia, On Our 28th Birthday (& Her 52nd) [original title (according to Gottlieb, Complete Catalog, p. 43): For Claudio Arrau] 12. For Aaron Stern 13. In Memoriam: Ellen Goetz Downloaded by [New York University] at 04:27 09 August 2016 A series of movements written between 1964 and 1988, published in 1989. A cor- rected version was issued in 1990. Bernstein honored many old friends (such as Shirley Gabis Rhoads Perle), old and young musical colleagues (such as Kapell, Sondheim, Smit, Urquhart, and Stern), professional associates (such as recording executive Lieberson), and members of his family. The music is mostly tonal and themes from numerous movements also appeared elsewhere. The first two movements were also the Moby Diptych (1981). “Sondheim” (composed 1965) was later used in A Quiet Place (1983). “Coates” (composed 1970) became most of “Meditation No. 1” from Mass. “Fleischmann” (composed 1977) first appeared in the “Leah” section ofDybbuk . “Hope” includes a twelve-tone row written under a quotation from Edgar Allen Poe. 54 Leonard Bernstein: A Research and Information Guide

Orchestral Instruments

1940 10. Sonata for Violin and Piano 1. Moderato assai 2. Variations

A youthful work that Bernstein premiered with violinist Raphael Hillyer (later the original violist in the Juilliard Quartet) in Cambridge, Massachusetts, in 1940. The main theme of the first movement appears in the ballet Facsimile, and one of the six variations became Variation 3 in “The Seven Ages” of Symphony No. 2, The Age of Anxiety.

1942 11. Sonata for Clarinet and Piano 1. Grazioso—Un poco più mosso 2. Andantino—Vivace et leggiero

Bernstein composed this work during the two years between his graduation from Curtis and his appointment as assistant conductor of the New York Philharmonic. He premiered it with clarinetist David Glazer at the Institute of Modern Art in Boston on 21 April 1942, but it was dedicated to clarinetist David Oppenheim, a good friend. It is a solid addition to the clarinet’s twentieth-century repertory in a neoclassical style and is one of Bernstein’s first mature compositions. In a letter (at the New York Pub- lic Library) to fellow musician and music critic Ashley Pettis from 13 August 1947, written for Bernstein by Helen Coates, however, he dismisses it as a student work. The sonata has derivative moments, especially reminiscent of Hindemith and Copland, but Bernstein wrote effectively for the clarinet and the rhythmic élan of the 5/8 section in the finale is delightful. Sid Ramin prepared an orchestration of the piano part.

1948 12. Brass Music 1. Rondo for Lifey (trumpet and piano) Downloaded by [New York University] at 04:27 09 August 2016 2. Elegy for Mippy I (horn and piano) 3. Elegy for Mippy II (trombone solo) 4. Waltz for Mippy III (tuba and piano) 5. Fanfare for Bima (brass quartet)

Commissioned by the Juilliard Musical Foundation. Bernstein dedicated these works to his brother Burton, but the names for individual movements refer to pets owned by his brother, actress Judy Holliday, and Serge Koussevitzky. According to a note in the music, he based the fanfare upon the theme “whistled in the Koussevitzky household to call the pet.” The premiere as a complete set took place at Carnegie Hall on 8 April 1959, played by members of the New York Bernstein’s Major Compositions 55

Philharmonic. The first movement, despite its mixed meters, has the character of a march. In the first “Elegy” Bernstein explores several horn timbres, but the second “Elegy” for trombone takes on a jazzier air as the soloist is instructed to tap one foot on each beat of the bar. The lilting, playful “Waltz” is a delightful movement for tuba and piano, and the “Fanfare” is a high-spirited finale.

c 1994 13. Leonardo’s Vision for Clarinet and Piano. Composed by Bernstein, Ron Odrich, and Larry Fallon. Ron Odrich was Bernstein’s periodontist. He had an eye chart on his wall with musical notation as well as letters, and one day the composer copied down the notes. Bernstein arranged them into a ten-measure melody for Odrich, a jazz clarinetist, under the title Visione Fugitiva. He sent the manuscript to the doctor, who after Bern- stein died worked with jazz pianist, composer, and arranger Larry Fallon to write this set of variations. The piece opens with Bernstein’s melody as he wrote it and then proceeds through nine short variations that emphasize several qualities of each instrument, include some jazzy rhythms and harmonies, but they are for the most part restrained and nostalgic.

INSTRUMENTAL CHAMBER MUSIC

1937 14. Piano Trio 1. Adagio non troppo—Più mosso—Allegro vivace 2. Tempo di marcia 3. Largo—Allegro vivo et molto ritmico violin, cello, and piano

An early work that Bernstein did not publish during his lifetime, but now available. Premiered at Harvard by a trio of his female friends, the piece is about sixteen minutes in length and shows a young composer eager to demonstrate his polyphonic technique.

Downloaded by [New York University] at 04:27 09 August 2016 Bernstein uses more dissonance and polytonality here than are found in most of his later compositions, and one also notes the relative absence of jazz elements. The slow opening of the first movement is gradually energized through successive points of imitation, leading to a sonata form in the fast section. The second movement, in ternary form with some recalling of the B section in the final A, includes a pizzicato march and a rapid B section. Bernstein reused one of its themes in the song “Gabey’s Coming” in On the Town. The finale moves from a chromatic introduction to a rapid dance.

1988–89 15. Variations on an Octatonic Scale recorder and cello 56 Leonard Bernstein: A Research and Information Guide

While vacationing in Florida in late 1988, Bernstein wrote this for recorder player Helena Burton, daughter of his friend, Humphrey Burton. The composer utilized an octatonic scale that appears in the ballet Dybbuk; it is stated at the opening of Bern- stein’s solemn theme, the first five notes in the cello, and then continued by the recorder. Four variations that contrast in tempo and character and a restrained coda follow. The recorder player is called upon to flutter tongue in places. Bernstein knew that the range he wrote for recorder is too wide to play on one instrument, leaving open the choice of when to change instruments, but in places he left little time to do so when changes will be needed. He advises the cellist to tune the open C string to a C-sharp for Variation II only. An expanded and reordered version of this work was the basis for the second movement, “Mixed Doubles,” of Bernstein’s Concerto for Orchestra.

1989 16. Dance Suite 1. Dancisca 2. Waltz 3. Bi-Tango 4. Two-Step 5. MTV brass quintet

The composer’s last completed work, Dance Suite premiered at the Fiftieth Anniver- sary Gala of the American Ballet Theater on 14 January 1990. Although originally intended to accompany dancing, the choreographer decided that the movements were of insuffi- cient length. The Empire Brass, the work’s dedicatees, played the piece on stage with some help from the pit orchestra in the first movement. Bernstein dedicated each movement to a different choreographer. All movements originally were composed for different occasions, circumstances explained by Jack Gottlieb in his program notes in the score. The movements are short but musically quite varied. “MTV” includes an optional part for trap set.

VOCAL AND CHORAL MUSIC

Downloaded by [New York University] at 04:27 09 August 2016 Solo Voice(s)

1943 17. I Hate Music!, “A Cycle of Five Kid Songs for Soprano and Piano” Lyrics by Leonard Bernstein

1. “My Name Is Barbara” 2. “Jupiter Has Seven Moons” 3. “I Hate Music!” 4. “A Big Indian and a Little Indian (Riddle Song)” 5. “I’m a Person Too” Bernstein’s Major Compositions 57

Bernstein dedicated these songs to artist Edys Merrill, with whom he shared an apartment for a short period starting in October 1942. When Bernstein was coaching a singer or entertaining friends, she sometimes shouted, “I hate music!” The cycle’s premiere occurred at the public library in Lenox, Massachusetts, on 24 August 1943, sung by mezzo-soprano Jennie Tourel with Bernstein at the piano. Tourel was then one of Bernstein’s best friends, and they repeated the pieces at her New York debut recital at Town Hall on 13 November 1943, the night before Bernstein’s famed conducting debut with the New York Philharmonic. The songs, written as though performed by a ten-year-old girl, are light and satirical, and the full cycle is no more than seven minutes in length.

1947 18. La Bonne Cuisine, “Four Recipes for Voice and Piano” Lyrics from La Bonne Cuisine Française by “Émile Dumont with English version by Leonard Bernstein”

1. “Plum Pudding” 2. “Queues de Boeuf” (“Ox Tails”) 3. “Tavouk Guenksis” (shredded chicken in rice porridge with bread and milk) 4. “Civet à Toute Vitesse” (“Rabbit at Top Speed”)

Bernstein had a gift for writing music intended for humorous effect. More substantial examples are found in the Broadway scores, but his wit shines through in this setting of four nineteenth-century French recipes. The cycle is dedicated to Bernstein’s friend, the eminent mezzo-soprano Jennie Tourel. Singer Marion Bell and pianist Edwin MacArthur premiered the set at Town Hall on 10 October 1948. The entire cycle is only about four minutes in length. All songs range from Allegretto (no. 2) to Presto (no. 4) and each features an active accompaniment. The finale is especially effective.

1949 19. Two Love Songs

Downloaded by [New York University] at 04:27 09 August 2016 Poems by Rainer Maria Rilke with English translation by Jessie Lemont

1. “Extinguish My Eyes” 2. “When My Soul Touches Yours”

Bernstein also dedicated these songs to mezzo-soprano Jennie Tourel, finishing them on 2 and 4 February 1949. She sang their premieres fourteen years apart; the first song was on a program at Town Hall on 13 March 1949 and the second was heard first at Philharmonic Hall on 13 March 1963. The first rushes forward, a breathless setting of a text that describes a frantic lover at parting. The second is slower and more reflective, but with an active accompaniment that offers musical imagery based on the text. Sid Ramin later prepared an orchestral version of the piano part. 58 Leonard Bernstein: A Research and Information Guide

1977 20. Songfest, “A Cycle of American Poems for Six Singers (S, M, A, T, Bar, Bs) and Orchestra” 1. “To the Poem” (text by Frank O’Hara) 2. “The Pennycandystore beyond the El” (Lawrence Ferlinghetti) 3. “A Julia de Burgos” (Julia de Burgos) 4. “To What You Said” (Walt Whitman) 5. “I, Too, Sing America”/“Okay ‘Negroes’ ” (Langston Hughes/June Jordan) 6. “To My Dear and Loving Husband” (Anne Bradstreet) 7. “Storyette H.M.” (Gertrude Stein) 8. “if you can’t eat you got to” (e. e. cummings) 9. “Music I Heard with You” (Conrad Aiken) 10. “Zizi’s Lament” (Gregory Corso) 11. “What lips my lips have kissed” (Edna St. Vincent Millay) 12. “Israfel” (Edgar Allen Poe)

Songfest was Bernstein’s bicentennial project for the concert hall. The premiere took place on 11 October 1977 with six singers and the National Symphony Orchestra at the Kennedy Center. Bernstein selected twelve poems by American writers from the seven- teenth to the twentieth centuries and set each with close attention to text and satisfying music. Each movement is stylistically distinct and appropriate to its poem, making Song- fest a most successful example of Bernstein’s natural eclecticism. Some movements seem among Bernstein’s most personal statements, especially “To What You Said” and “What lips my lips have kissed.” “To What You Said” by Walt Whitman is an admission of his homosexuality, a text that Bernstein set at a time when he tried to leave his wife and live as a gay man with Tom Cothran, who helped choose the texts for this cycle. Bernstein returned to Felicia just before she was diagnosed with lung cancer.

1988 21. Arias and Barcarolles, “For Piano Four-Hands, Mezzo-Soprano and Baritone” Lyrics by Leonard Bernstein, Jennie Bernstein (No. 3), and Yankev-Yitskhok Segal (No. 6)

Downloaded by [New York University] at 04:27 09 August 2016 1. “Prelude” 2. “Love Duet” 3. “Little Smary” 4. “The Love of My Life” 5. “Greeting” 6. “Oif Mayn Khas’neh” (“At My Wedding”) 7. “Mr. and Mrs. Webb Say Goodnight” 8. “Nachspiel”

Bernstein’s last completed vocal work is an exploration of aspects of love. He wrote the lyrics, except for “Little Smary,” a story his mother told Bernstein as a child, and “Oif Bernstein’s Major Compositions 59

Mayn Khas’neh,” by Yankev-Yitskhok Segal. Some of the lyrics for the seventh movement were originally written by Betty Comden in an abandoned movie musical project (see Richard Patrick Evans, “Autobiography,” Item 605, 60–61). The cycle’s title was based on a naïve comment that President Eisenhower made to Bernstein in 1960 (see Burton, Item 113, 492). The final song, a birthday gift to Bernstein’s mother in 1986, here is presented with the singers humming the melody. The cycle is a combination of guileless sentiments and irony, a look back on a life of loving and being loved. Especially sardonic is the “Love Duet,” where the singers comment on the musical devices as they occur. The work has been orchestrated twice, by Bright Sheng (1988) and Bruce Coughlin (1993).

Choruses

1945 22. Hashkiveinu cantor (tenor), SATB choir, and organ

A five-minute setting of this prayer that is part of the Jewish Sabbath service and also recited by observant Jews before bed. Commissioned by the Park Avenue Synagogue in New York City, it premiered there on 11 May 1945. Bernstein’s dramatic setting makes full use of the available forces with varied textures and vivid dynamic contrasts. Of special interest is the opening imitative section for choir, where a chant-like but animated melody is treated over an extended pedal point in the organ, an idea repeated at the end. The central section is faster and rhythmically more aggressive. The title of the original setting, published in 1946 by M. Witmark & Sons, is spelled Hashkivenu.

1965 23. Chichester Psalms texts: 1. Psalm 108:2 and Psalm 100 2. Psalm 23 and Psalm 2:1–4 3. Psalm 131 and Psalm 133:1 Downloaded by [New York University] at 04:27 09 August 2016 mixed chorus (or male chorus), countertenor (or boy soloist), and orchestra

Bernstein began his 1964–65 sabbatical from the New York Philharmonic planning to write a musical, but what he completed instead was this setting of three full psalms and verses from three others. Although commissioned for an Anglican choral festival by Dr. Walter Hussey, dean of Chichester Cathedral, Bernstein reflected his own religion and set Hebrew texts. Chichester Psalms includes music deleted from West Side Story and material he wrote for The Skin of Our Teeth, his recently abandoned musical. A fetching combination of lively rhythms, memorable melodies, and careful musical integration based upon a five-note cell heard often in the outer movements, Chichester Psalms is 60 Leonard Bernstein: A Research and Information Guide

one of Bernstein’s most popular concert works. Following a chorale-like opening, the first movement includes a rollicking setting of Psalm 100 in 7/4. Bernstein based the second movement on dramatic contrast between his treatments of Psalms 23 and 2. The final movement has contrasting treatments of the cell in the outer sections, which frame a lyrical setting of Psalm 131 in 10/4. (For more on this work, see Laird, Item 586.)

1988 24. Missa Brevis 1. Kyrie Eleison 2. Gloria 3. Sanctus 4. Benedictus 5. Agnus Dei 6. Dona Nobis Pacem

mixed chorus (or vocal septet) and countertenor with percussion ad libitum

After attending a performance of The Lark in 1955, conductor Robert Shaw suggested to Bernstein that his score could be made into a missa brevis with a few changes and additions. In 1985 the Atlanta Symphony Orchestra, conducted by Shaw, commissioned such a work from Bernstein, who finished it in 1988. He dedicated it to Shaw, who led its premiere in Atlanta on 21 April 1988. The work includes no “Credo” and was adapted from the five Latin choruses and French “Spring Song” of The Lark. The scoring is for a chorus of three women’s parts and three men’s parts and countertenor solo, either a male or boy alto. The percussion accompaniment is optional except for the two sets of bells. Like its model, the Missa Brevis is an interesting mixture of musical effects one associates with music of the Middle Ages and Renaissance with aspects of Bernstein’s familiar musical style.

DRAMATIC MUSIC

Ballets Downloaded by [New York University] at 04:27 09 August 2016 1944 25. Fancy Free, with choreography by Jerome Robbins. Commissioned by Ballet Theatre. When offered the opportunity to choreograph his first ballet by the Ballet Thea- tre, Jerome Robbins conceived this scenario about three sailors on twenty-four-hour shore leave in New York City. His search for a composer finally led him to Bernstein, then assistant conductor of the New York Philharmonic. Robbins wanted the ballet to include social dances and required appropriate music. Correspondence between Bernstein and Robbins reveals much about the work’s composition (see Simeone, Item Bernstein’s Major Compositions 61

411, nos. 164–66, 169–72). The witty work, commenting on the daily presence of sol- diers and sailors on leave in New York during World War II, was a smash hit, playing for an extended season at the old Metropolitan Opera House starting on 18 April 1944 and then touring. The ballet was Bernstein’s first opportunity to make full use of vernacular styles in an orchestral score. Melodies with blues inflections, jazz rhythms, big band percussion effects, and block-scoring mingle with traditional orchestral sounds. Bern- stein’s earlier piece Extension on a Theme by Adolph Green became “Variation 2 (Waltz)” in Fancy Free (see Simeone, Item 411, p. 112, note 77). Fancy Free is considered in some detail in Chapter 2.

1946 26. Facsimile, with choreography by Jerome Robbins. Commissioned by Ballet Theatre. Robbins and Bernstein followed the success of Fancy Free with a psychological drama. Three lonely people, one woman and two men, meet on a beach and discover passion but no real personal connections, only a “facsimile” of a relationship. Bern- stein wrote the score in August 1946 and it premiered at the Ballet Theatre on 24 Octo- ber. Reviews were mixed with perhaps the true “problem” being its profound contrast with Fancy Free, which had been light and humorous. Facsimile cannot be considered a popular or commercial success for either the choreographer or composer. Bernstein’s nineteen-minute score, in four major sections, is a taut development of the opening material in the oboe and flute, featuring his characteristically rich lyricism and strong rhythmic interest. He adapted most of the ballet score into “A Choreographic Essay” (see Item 48) for concert use, with the main difference found in the final section.

1974 27. Dybbuk, with choreography by Jerome Robbins. Commissioned by the New York City Ballet. For the subject of their last collaboration, Bernstein and Robbins chose The Dyb- buk, a Yiddish play by Shlomo Ansky (1863–1920) about Jewish marriage traditions, cabalistic rites, and demonic possession. They had been considering the possibility for years: Bernstein mentioned a possible ballet based on The Dybbuk to a reporter in Pal-

Downloaded by [New York University] at 04:27 09 August 2016 estine in 1947 (Arthur D. Holzman, “Palestine Inspires New Ballet by Young American Composer,” Boston Daily Globe, 2 June 1947, p. 101) and Robbins mentioned it to the composer in a letter from 13 October 1958 (see Simeone, Item 411, no. 422). Critical response was positive at the 16 May 1974 premiere, but the public did not embrace the work. Robbins reworked the ballet twice. The score is fifty minutes long and combines Jewish elements with many Stravinskian touches, including the octatonic scale. Hebrew texts, sung by tenor and baritone soloists, appear in several places. Bernstein’s explanation of the ballet includes his derivation of tone rows by converting Kabbalah symbols into numbers and relating them to various pitches. Bernstein lavished great care on the score, creating a fine example of his mature style. The ballet’s original title was Dybbuk Variations. Bernstein arranged his music into two orchestral suites (see Items 52 and 53). 62 Leonard Bernstein: A Research and Information Guide

Broadway Scores and Theater Piece

1944 28. On the Town. “Musical Comedy,” with book and lyrics by Betty Comden and Adolph Green (based on an idea of Jerome Robbins); orchestrations by Leonard Bernstein, Hershy Kay, Don Walker, Elliot Jacoby, and Ted Royal; choreography by Jerome Robbins; directed by George Abbott. After Fancy Free, Robbins and Bernstein carried the plot into this Broadway musical. They were joined by lyricists and book writers Comden and Green, also making their Broadway debuts. Discipline in the production came from veteran director George Abbott, whose willingness to work on the show helped secure funding. It opened at the Adelphi Theater in New York on 28 December 1944 and played 462 performances. Bernstein’s score was on the sophisticated side for Broadway audiences and included few songs that might be considered hits, but it showed his sure hand with jazz, blues, speech rhythms, and modern dance music. Abbott and Robbins managed a remarkable integration of action, dance, and music, helped in no small part by Bernstein’s own dramatic sense. Some Broadway histori- ans have come to see On the Town as an epochal work in the genre’s history, but its strong identity as a work rooted in a wartime sensibility has limited its possibilities in revivals.

1953 29. Wonderful Town. “Musical Comedy,” with book by Joseph Fields and Jerome Chodorov; lyrics by Betty Comden and Adolph Green; orchestrations by Don Walker; choreographed by Donald Saddler; directed by George Abbott. Bernstein’s second collaboration with Comden and Green was another triumph. Producers Robert Fryer and George Abbott held an option for Rosalind Russell to star in a musical version of the play My Sister Eileen by Fields and Chodorov. After one team failed to write the music, they turned to Bernstein and friends, who quickly wrote a score imbued with a strong sense of the 1930s, when the story takes place. The show, starring Russell and Edie Adams, opened at the Winter Garden Theater in 26 February 1953, ran for 559 performances, and won eight Tony Awards. Bernstein, Comden, and Green once again demonstrated their ability to mix humor, cultural references, and genuine emotions into memorable Broadway tunes. Songs such as “Ohio,” “Conga!,” and “Wrong

Downloaded by [New York University] at 04:27 09 August 2016 Note Rag” are excellent examples of Bernstein’s combination of sophisticated musical notions with knowledgeable vernacular appeal.

1956 30. Candide. “Comic Operetta in Two Acts,” with book by Lillian Hellman (after Vol- taire); lyrics by Richard Wilbur, John Latouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein; orchestrations by Leonard Bernstein and Hershy Kay; directed by Tyrone Guthrie. Candide has one of Broadway’s most problematic and complicated histories. Hell- man contacted Bernstein about the possibility in fall 1953, and Bernstein said in a letter Bernstein’s Major Compositions 63

to his wife from 7 January 1954 that he would accept it (see Simeone, Item 411, nos. 331, 335). The original production suffered from numerous problems, not the least of which was the chasm in mood between Hellman’s satirical book and Bernstein’s ebullient score. It never grabbed the public’s imagination and played only seventy-three performances. The music, however, was fondly remembered, and the show has been revived in several guises (such as with another book by Hugh Wheeler), by producer Hal Prince (1973), the New York City Opera (1982), the Scottish Opera (1988), and in a concert version by the composer (1989), among other productions. Which songs have been included and where each is placed in the various versions are complicated issues indeed. Whereas much of Bernstein’s music includes American vernacular elements, Candide is more of an operetta with many references to European musical types (waltz, gavotte, barcarolle) and operatic singing (“Glitter and Be Gay,” “We Are Women”).

1957 31. West Side Story. “Musical, based on an idea by Jerome Robbins,” with book by Arthur Laurents; lyrics by Stephen Sondheim; orchestrations by Sid Ramin, Irwin Kostal, and Leonard Bernstein; choreographed and directed by Jerome Robbins. Bernstein’s most famous score and some of his most effective music. The show premiered to generally positive reviews on 26 September 1957 and ran 732 performances. The popular film premiered in 1961 and won ten Oscars, helping establish the property as an icon of American culture. Robbins conceived the original idea, but the show’s creation was a model of collaboration by the director/choreographer with Bernstein, Sond- heim, and Laurents. Bernstein brought the story’s harsh realism alive in music through the use of jazz elements and other modern compositional elements (“Prologue,” “Jet Song,” “The Rumble,” “Cool”), Latin rhythms (“Mambo,” “Cha-Cha,” “America”), and more traditional Broadway songs (“Tonight,” “One Hand, One Heart”). Given the huge importance of dance in the show, Bernstein’s dance music carried added dramatic significance. Bernstein unified the score through frequent and programmatic use of the tritone and minor seventh and the short-long rhythmic pattern most closely associated with the song “Somewhere.”

1971 Downloaded by [New York University] at 04:27 09 August 2016 32. Mass. “A Theatre Piece for Singers, Players and Dancers,” with text from the Roman Catholic Mass liturgy; additional texts by Stephen Schwartz and Leonard Bernstein; orchestrations by Jonathan Tunick, Hershy Kay, and Leonard Bern- stein; choreography by Alvin Ailey; directed by Gordon Davidson. Jacqueline Kennedy asked Bernstein in 1966 to write a dramatic work for the opening of the Kennedy Center in Washington. The result was one of Bernstein’s most ambitious and original conceptions that carries multiple levels of political and religious meanings and defies categorization of genre. Additional English texts by Bernstein and Stephen Schwartz place the Roman Catholic Mass within an exploration of a modern crisis of faith and quest for peace. Schwartz also helped design the work’s loose plot. 64 Leonard Bernstein: A Research and Information Guide

Performing forces at the 8 September 1971 premiere included a cast of two hundred accompanied by a rock band, brass band, and orchestra. Mass exhibits an all-embracing eclecticism, taking Bernstein into musical regions where he is sometimes less comfortable, but few musical works have ever showed such formal daring. Bernstein approached Mass with considerable self-indulgence, resisting calls for cuts from collaborators, but many find the piece moving and it has become a work put on by institutions that wish to make a splashy statement.

1975 33. By Bernstein. “A Musical Cabaret,” with book by Betty Comden and Adolph Green; lyrics by Comden and Green, John Latouche, Jerry Leiber, Stephen Sond- heim, and Leonard Bernstein; orchestrations by Thomas Pierson; directed by Michael Bawtree. While producing their 1973–74 version of Candide (which subsequently ran for two years on Broadway), those involved with Brooklyn’s Chelsea Theater were intrigued by the number of unknown songs by Bernstein that had fallen out of theatrical projects. Songs that had been part of On the Town, West Side Story, Peter Pan, Candide, Wonderful Town, abandoned projects A Pray by Blecht (see Secrest, Item 405, p. 304) and The Skin of Our Teeth (see Laird, Item 586, pp. 9ff), and from other sources found their way into this revue, which opened on 23 November 1975 at the Chelsea Westside Theater on West 43rd Street in Manhattan. Comden and Green wrote the book that connected the material. The show took place in what appeared to be a club with a bartender/narrator who introduced each song. While commenting that some of the songs perhaps were dropped from shows for reasons of their quality, Clive Barnes reviewed By Bernstein positively in The New York Times on 24 March 1975 (Item 667).

1976 34. 1600 Pennsylvania Avenue. “A Musical Play about the Problems of Housekeep- ing,” with book and lyrics by Alan Jay Lerner; orchestrations by Sid Ramin and Hershy Kay; choreographed and directed by George Faison and Gilbert Moses. Bernstein and Lerner worked on this musical sporadically from 1974 until its pre- Downloaded by [New York University] at 04:27 09 August 2016 miere on 4 May 1976. A spectacular failure, it closed after seven performances. The creators intended to tell a story about both white and African American occupants of the White House throughout its history, but critical problems of conception existed after the Broadway opening and the project could not be saved. Four actors played multiple roles, making it difficult, for example, for the audience to understand which president or first lady that Ken Howard and Patricia Routledge might be playing as the show pro- gressed. Both book and score included effective moments, but the whole was unwork- able. Bernstein’s score included the song “Take Care of This House,” which has become fairly well known. Much of the score was revived in 1997 as A White House Cantata (see Item 41), but the musical has never been revived. Bernstein’s Major Compositions 65

Film Score

1954 35. On the Waterfront (Columbia). Directed by Elia Kazan with background score by Leonard Bernstein. Bernstein almost never wrote his only film score because of his objections to working with director Elia Kazan, notorious as an informer before the House Committee on Un-American Activities. Once convinced to watch the film’s rough cut by producer Sam Spiegel, however, Bernstein was hooked by the story’s power and portrayals by Marlon Brando, Lee J. Cobb, and others. He worked on the score from February to May of 1954, creating twenty-seven musical cues that total forty-two minutes in length (Stephen Lias, “A Comparison,” Item 599, p. 7), ranging from the soaring love theme for Edie and Terry to violent music for the film’s moments of mayhem among dockworkers. Anthony Bushard has performed a detailed motivic analysis for the score (Item 594). Bernstein was dismayed with his music’s treatment during preparation of the soundtrack, a process he recounted in “Upper Dubbing, Calif.,” which appeared in The Joy of Music (see Item 85e).

Incidental Music

1950 36. Peter Pan. “Songs and Choruses for the play by J. M. Barrie,” with lyrics by Leon- ard Bernstein; orchestrations by Hershy Kay. Bernstein was commissioned to write songs and incidental music for J. M. Barrie’s famous play in 1949. He worked on the score during the fall of that year. The show, starring Jean Arthur and Boris Karloff, premiered on 24 April 1950 at the Imperial Theater. Bernstein’s contribution, with orchestrations by Hershy Kay and arrangements and some incidental music by Trude Rittman, included seven songs and thirteen brief instrumental segments, part of a successful production that ran 321 performances. Bernstein was out of the country while the production was being mounted, and Marc Blitzstein served as his deputy to make changes to music and lyrics as needed; Blitzstein described his work in this role in a letter to Bernstein on 16 April 1950 (see Simeone, Item 411,

Downloaded by [New York University] at 04:27 09 August 2016 no. 296). The song “Dream with Me,” originally composed in 1944, was intended to be part of the score but was cut. Bernstein wrote “Captain Hook’s Soliloquy” in 1951 for the touring version (see Simeone, Item 411, no. 318, for Bernstein’s description of this song), but it was also left unperformed. Both appeared in the 1975 revue, By Bernstein. A compact disc of Bernstein’s little-known score for Peter Pan appeared in 2005 (Koch International Classics 99923 75962).

1955 37. The Lark, incidental music for the play by Jean Anouilh, adapted by Lillian Hellman; directed by Joseph Anthony. 66 Leonard Bernstein: A Research and Information Guide

Bernstein began to discuss what became Candide with Lillian Hellman in 1953, but before completion of that score (and when the project that became West Side Story was also under discussion), he wrote incidental music for this 1953 French play, translated by Hellman. The show premiered at the Longacre Theater in New York on 17 Novem- ber 1955 and ran for 229 performances. Bernstein, drawing on musical inspirations from the Middle Ages and Renaissance and combining them with aspects of his eclectic style, wrote three songs with French texts and five choruses with Latin texts drawn from the Roman Mass. The scoring is for voices accompanied by minimal percussion. Noah Greenberg and the New York Pro Musica Antiqua recorded the selections for the production. At the suggestion of Robert Shaw, Bernstein adapted the Latin choruses and French “Spring Song” into his Missa Brevis in 1988 (see Item 24).

1958 38. The Firstborn. Play by Christopher Fry; incidental music by Leonard Bernstein; directed by Anthony Quayle. The Firstborn was a verse drama that premiered at the Edinburgh Festival in 1948. Taking place in Egypt at the time of the plagues that allowed the Hebrew slaves to leave, the play came to New York in spring 1958 to honor Israel’s tenth birthday. Katharine Cornell and Roger L. Stevens produced it for the America-Israel Cultural Foundation. Quayle directed and played Moses, and the cast also included Bernstein’s friend Michael Wager, who convinced the composer to make his contribution. It was recorded for use in the play, which opened at the Coronet Theater on 30 April and ran through May, a total of thirty-eight performances. According to Jack Gottlieb’s liner notes on Leonard Bern- stein: A Jewish Legacy (see Item 536), the score includes “Israelite Chorus” and “Teusret’s Song.” The chorus (heard on the CD) raucously describes events from Exodus 12 and the solo, sung live, included lute accompaniment. Felicia Bernstein sent her husband a letter on 1 May 1958 offering a negative assessment of both the play and the use of his score in it (see Simeone, Item 411, no. 414). Bernstein later withdrew the score from circulation.

Operas

1951 39. Trouble in Tahiti. “One Act Opera in Seven Scenes,” with libretto and orchestra- Downloaded by [New York University] at 04:27 09 August 2016 tions by Leonard Bernstein. This work has also been incorporated into A Quiet Place. Bernstein composed this forty-minute opera, a look at an unhappy marriage, during the nine months after his own wedding. It premiered at the Festival of the Creative Arts at Brandeis University in June 1952. Bernstein also wrote the libretto, which examines human superficiality and the potential desperation of marriage and life in the suburbs. His model for the characters might have been his own family: the husband bears his father’s name, Sam, and the wife his paternal grandmother’s name, Dinah. The opera also includes a “Greek Chorus,” a close-harmony, jazzy trio that Bernstein’s Major Compositions 67

ironically praises suburban life with the sound of commercial jingles. The work, too short for an evening of professional performance without combining it with something else, has become a standard for university opera workshops. It includes spirited use of vernacular musical styles, American speech rhythms, fine melodies, and effective musical irony.

1983 40. A Quiet Place. “Opera in Three Acts,” with libretto by Stephen Wadsworth and Leonard Bernstein; orchestrations by Irwin Kostal, Sid Ramin, and Leonard Bern- stein. Commissioned by Houston Grand Opera, Kennedy Center, and Teatro alla Scala. Revised version in 1984; for details see Gottlieb, Complete Catalog, 48–49, and www.leonardbernstein.com/works_a_quiet_place.htm. The plot revisits the family from Trouble in Tahiti thirty years later, after Dinah’s death in an automobile accident. Sam mourns that he is a widower and argues with his troubled children and a son-in-law he has never before met. By the end of the opera, the characters have started to communicate. The opera includes Trouble in Tahiti in flashbacks; their treatment was a major issue of the 1984 revision. Bernstein and librettist Stephen Wadsworth found common ground in recent losses within their families, Bern- stein his wife and Wadsworth his sister, and their joint work explores death, memories, and family dynamics. Given the opera’s difficult subject matter, confessional nature (especially as it seems to involve Bernstein’s family), and personal music, its reception has been mixed and it has seldom been performed. The score, however, represented a major step forward for Bernstein in the setting of American vernacular speech rhythms, a defining theme of his compositional career.

Cantata

1997 41. A White House Cantata. “Scenes from 1600 Pennsylvania Avenue in Con- cert.” Book and lyrics by Alan Jay Lerner. Orchestrations by Sid Ramin and Hershy Kay. Development of Bernstein’s musical output continued in the years following his

Downloaded by [New York University] at 04:27 09 August 2016 death. Bernstein helped rehabilitate the score for Candide after its initial failure, but he never did the same for 1600 Pennsylvania Avenue, his least successful Broadway show. Some praised the score while panning the show, and Bernstein’s estate made much of it available in this concert version, which at ninety minutes is one of the longer works in Bernstein’s catalog. The cantata premiered at London’s Barbican Centre with the London Symphony Orchestra directed by Kent Nagano on 8 July 1997. A compact disc (Deutsche Grammophon 289 463 448–2) appeared in 2000. The cantata includes no attempt to tell the original show’s story, but in addition to Bernstein’s notable music it includes Alan Jay Lerner’s lyrics, which often are as sparkling as one might expect from the wordsmith of My Fair Lady. 68 Leonard Bernstein: A Research and Information Guide

ORCHESTRAL AND BAND MUSIC

Symphonies

1942 42. Symphony No. 1, Jeremiah 1. Prophecy 2. Profanation 3. Lamentation (text from Bible)

mezzo-soprano soloist

Bernstein wrote what became the third movement in 1939 (in a letter to Copland from 29 August 1939, he already stated that “song” might become part of a larger work; see Sime- one, Item 411, no. 39) and later finished the symphony for a composition contest, which he did not win. The program follows Jeremiah’s prophesying Israel’s doom before the Babylo- nian captivity in 586 BC, the nation’s slide into sinfulness (represented by the second movement’s irregular rhythms, the influence of Copland’sEl Salón México), and then a mournful setting with mezzo-soprano of one of Jeremiah’s lamentations. As Jack Gottlieb has shown in program notes published with the score, each movement includes themes derived from Jewish liturgical melodies. The second theme of the first movement first appeared in the third movement of Four Studies for two clarinets, two bassoons, and piano that Bernstein wrote in about 1940. He conducted the symphony’s premiere with the Pittsburgh Sym- phony Orchestra in 1944, the same year that the work won a New York Critics Circle Award.

1949 43. Symphony No. 2, The Age of Anxiety (after W. H. Auden) (rev. 1965). “For Piano and Orchestra.” 1. Part I: The Prologue, The Seven Ages (Variations 1–7), The Seven Stages (Variations 8–14) 2. Part II: The Dirge, The Masque, The Epilogue

Downloaded by [New York University] at 04:27 09 August 2016 Commissioned by the Koussevitzky Foundation.

A programmatic symphony that often sounds more like a piano concerto. Bernstein was the piano soloist in the work’s premiere by the Boston Symphony Orchestra on 8 April 1949, which was conducted by Serge Koussevitzky. The work’s program was inspired by W. H. Auden’s poem The Age of Anxiety: A Baroque Eclogue, which won the 1948 Pulitzer Prize for literature and included observations on modern life that many found revelatory in the postwar world. The possibility of the work was suggested to the composer by his friend Richard Adams “Twig” Romney in a letter dated 25 July 1947 (see Simeone, Item 411, no. 257). Bernstein had written at least some of the music that became part of the symphony by 26 July 1944 when he sent the opening to Serge Koussevitzky as part of a birthday greeting (see Simeone, Item 411, no. 178). The composer noted in his “Prefatory Bernstein’s Major Compositions 69

Note” of the first version that he was shocked after finishing the piece at how closely it follows the poem’s structure, but some commentators have questioned the depth of the association between the poem and symphony. Bernstein’s 1965 revision made the piano soloist more prominent in the last movement. The score represents one of Bernstein’s most successful uses of vernacular elements in a concert work, especially in “The Masque.”

1963 44. Symphony No. 3, Kaddish (rev. 1977). “For Orchestra, Mixed Chorus, Boys’ Choir, Speaker, Soprano Solo.” 1. Invocation (Kaddish 1) 2. Din-Torah (Kaddish 2) 3. Scherzo (Kaddish 3) 4. Finale

Kaddish refers to a Jewish prayer glorifying God and to prayers that children speak at a parent’s grave. It is another of Bernstein’s works that seems to defy expectations of a genre, often resembling more an oratorio with narrator than a symphony. He completed the work’s orchestration the day John F. Kennedy was assassinated and dedicated the work to his memory. Since its premiere in Tel Aviv on 10 December 1963 with the Israel Philhar- monic, the symphony has been controversial for the way that the speaker confronts God and the varied harmonic approaches that depend upon the program, where the dissonance of twelve-tone passages succumb to what Bernstein clearly sees as the peacefulness of tonality. In a letter to his sister Shirley, Bernstein commented that the audience appreciated the Israeli premiere, but he was concerned about how the narration would go over in English in the first Boston performance (see Simeone, Item 411, no. 494). The spoken text covers many topics, from a child’s disappointment in a parent to the horrors of nuclear war. Bernstein revised the work extensively in 1977, making cuts and rewriting the spoken text.

Concerto

1954 45. Serenade, after Plato’s Symposium. “For Solo Violin, Strings, Harp and Percussion.” Downloaded by [New York University] at 04:27 09 August 2016 1. Phaedrus: Pausanias 2. Aristophanes 3. Eryximachus 4. Agathon 5. Socrates: Alcibiades

Commissioned by the Koussevitzky Foundation.

Bernstein wrote most of the Serenade in Europe during the summer of 1954, pre- miering it at the Teatro La Fenice in Venice on 12 September with violinist Isaac Stern and the Israel Philharmonic. Some consider it one of his finest concert works, but 70 Leonard Bernstein: A Research and Information Guide

express reservations about its unusual title, based on Plato’s written conversation about love. It has been speculated that Bernstein added the program late in the compositional process because the movement titles, based on Plato’s characters, appear out of order when compared with Plato’s conversation. The work is an excellent example of Bern- stein’s penchant for developing variations, basing subsequent sections on material that has already been heard. He also quotes previous works in the piece, such “Aristophanes,” which includes material from two of his Five Anniversaries. The work’s highlight is perhaps “Agathon,” a lovely Adagio, and the finale, including material from the third of Five Anniversaries, is some of Bernstein’s best symphonic jazz.

Miscellaneous Orchestral Music

1944 46. Three Dance Variations from Fancy Free 1. Galop 2. Waltz 3. Danzon [sic]

Bernstein followed the practice of many twentieth-century composers and derived orchestral works from some of his dramatic music. The sixth segment of Fancy Free includes these three “variations,” competition dances for the three sailors. The “Galop” and “Waltz” are similar to what one might have expected Stravinsky to do with those nineteenth-century dance forms. The “Galop” includes spicy dissonances and unusual orchestrations. The “Waltz” is metrically irregular but features melodies appropriate to the form, except in the blues-like central section. The “Danzon” is some of Bernstein’s first Latin American-inspired music to be heard, including the ostinato-driven textures and unpredictable rhythms of Copland’s El Salón México. Bernstein conducted the premiere of this set with the New York City Symphony Orchestra on 21 January 1946.

1945 47. Three Dance Episodes from On the Town 1. The Great Lover Displays Himself

Downloaded by [New York University] at 04:27 09 August 2016 2. Lonely Town: Pas de Deux 3. Times Square: 1944

The musical On the Town included several major dances, three of which Bernstein adapted for full orchestra. He conducted the premiere with the San Francisco Symphony Orchestra on 3 February 1946. “The Great Lover Displays Himself” is crafted from several repeated riffs. In the show it sounds during Gabey’s nap on the subway, when he dreams of dancing for “Miss Turnstiles.” “Lonely Town: Pas de Deux” is an effective treatment of the bluesy ballad by the same name. The dance action involves Gabey’s interruption of a seaman bothering a young girl. “Times Square: 1944” underscored a frenetic meeting between the sailors and their girlfriends, based largely on the song “New York, New York.” Bernstein’s Major Compositions 71

1946 48. Facsimile: Choreographic Essay for Orchestra 1. Solo 2. Pas de Deux 3. Pas de Trois 4. Coda

Bernstein’s version of Facsimile for orchestral performance bears strong resemblance to the ballet score except for rewriting in the “Coda.” It was premiered by the Rochester Philharmonic on 5 March 1947, with the composer conducting after Koussevitzky had forbidden Bernstein to lead the work in a guest appearance with the Boston Symphony. Like a number of Bernstein’s early works, the piece does sincere homage to Copland. Vernacular influences are more submerged here than in either Fancy Free or On the Town. Many touches in the orchestration demonstrate Bernstein’s early mastery in that area, especially in the use of piano, another possible influence of Copland’s ballets.

1955 49. Symphonic Suite from On the Waterfront As Bernstein suffered through some of his music for On the Waterfront being drowned out during soundtrack preparation, Hollywood types urged him to use the lost music in a suite. On the Waterfront included about forty-two minutes of music and the suite is about twenty minutes long. Stephen Lias (“A Comparison,” Item 599) shows where various musical cues from the film appear in the suite, demonstrating as well that some of the most successful music from a cinematic sense does not appear in the concert version. The suite, however, proves its musical worth even without knowledge of the film. Lias (pp. 84–85) notes that more than 80 percent was derived from the film with few changes, while the remaining 20 percent was new “connecting material.” Most of the suite is drawn from the film’s first seven musical cues (Lias, p. 85).

1956 50. Overture to Candide. “For Symphony Orchestra.”

Downloaded by [New York University] at 04:27 09 August 2016 Bernstein’s overture to his third Broadway score has become one of his most famous works through numerous concert performances. A rollicking treatment of themes from the show, the work was given its concert premiere by the composer and New York Philhar- monic on 26 January 1957. It has been transcribed for concert band by Clare Grundman.

1960 51. Symphonic Dances from West Side Story. Orchestrated with the assistance of Sid Ramin and Irwin Kostal. The New York Philharmonic premiered Bernstein’s orchestral version of West Side Story on 13 February 1961 under the direction of Lukas Foss. Many have remarked on the musical unity of the show’s score with such elements as the tritone appearing 72 Leonard Bernstein: A Research and Information Guide

throughout the score, providing what might be called a “symphonic” quality. Here Bern- stein uses those elements to help unify a twenty-three-minute work that includes some of the show’s most famous music. Included, in order, are the “Prologue,” “Somewhere,” “Scherzo,” “Mambo,” “Cha-Cha,” “Meeting Scene,” “Cool Fugue,” “Rumble,” and “Finale.” The popularity of the stage show surely has contributed to this work’s frequent appearance on orchestral programs. Ramin and Kostal also scored the show and the film.

1974 52. Dybbuk Suite No. 1. “For Tenor, Bass-Baritone and Orchestra.” 1. Invocation and Trance 2. The Pledge 3. Kabbalah 4. Possession 5. Pas de Deux 6. Exorcism

Texts from Bible, Havdalah, Kaddish.

53. Dybbuk Suite No. 2 1. The Messenger 2. Leah 3. Five Kabbalah Variations 4. Dream (Pas de Deux)

Bernstein divided the score to Dybbuk into two suites for orchestral performance. The first includes music of specific Jewish qualities, including Hebrew texts sung by male soloists in a cantorial style. One is immediately struck by the obvious influence of Stravinsky in this music, a major figure in Bernstein’s development as a composer. In the second suite Bernstein placed his depiction of the spiritual world with music of a more abstract nature, but the Jewish element returns in the “Leah” section. Bernstein premiered the two suites in separate concerts with the New York Philharmonic in April 1975.

1977 Downloaded by [New York University] at 04:27 09 August 2016 54. Slava!. “A Political Overture for Orchestra.” This overture’s title refers to Mstislav Rostropovich’s nickname. Dedicated to the Russian cellist and conductor (who asked Bernstein to write it), it premiered at the same concert as the version of Three Meditations from Mass for cello and orchestra (see Item 55). The composer used music from 1600 Pennsylvania Avenue in Slava!, including the song “Rehearse!” The overture is a witty romp of a bit more than three minutes with even a brief tape of typical political speeches over an orchestral vamp (mm. 129ff). Near the end (mm. 195–99) the two main themes are combined with a four-measure quotation from the “Coronation Scene” of Boris Godunov, when the chorus sings the Russian word “slava” (“glory”). The orchestra shouts “Slava!” before the final cadence. It has been arranged for concert band by Clare Grundman. Bernstein’s Major Compositions 73

55. Three Meditations from Mass. “For Violoncello and Orchestra.” The version of Mass that premiered in 1971 included two orchestral “Meditations”; the third movement of this set combines material from “Epiphany,” “In Nomine Patris,” and “Almighty Father.” Bernstein first set the Three Meditations for cello and piano in 1972, two of which he played with Stephen Kates in a performance in New York. In 1977 (with the assistance of John Mauceri and Jack Gottlieb) he arranged the works for cello and orchestra and dedicated them to Mstislav Rostropovich. The premiere occurred in an all-Bernstein program by the National Symphony on 11 October 1977. Meditation No. 1 was first a piano Anniversary written for Helen Coates in 1970 (see Thirteen Anniversaries, Item 9).

1980 56. Divertimento for Orchestra 1. Sennets and Tuckets 2. Waltz 3. Mazurka 4. Samba 5. Turkey Trot 6. Sphinxes 7. Blues 8. In Memoriam, March: “The BSO Forever”

Commissioned by the Boston Symphony Orchestra.

Bernstein received the commission for this work for the BSO’s centenary season. Its premiere, conducted by Seiji Ozawa, occurred on 25 September 1980. Bernstein finished the orchestration days before. Linking the movements are the notes B (for “Boston”) and C (for “centennial”) and the resulting intervals. The work honors Bernstein’s memories of growing up as a musician in Boston. Of special note are the main material identified in “Sennets and Tuckets” (heard later in several movements), the charm of the 7/8 “Waltz,” delightful imitations and varied scoring of the other dances, the canonic “In Memoriam” that opens the last movement for the BSO’s departed conductors, and the final raucous march. The work includes several quotations of standard literature, including Beethoven’s

Downloaded by [New York University] at 04:27 09 August 2016 Symphony No. 5 at the close of the “Mazurka” and the “Radetzky March” in the finale. Clare Grundman prepared a version for concert band. Bernstein offered it to Jerome Robbins as a possible basis for a ballet, and the choreographer replied on 12 November 1980 that he liked the music but some of the movements seemed too short (see Simeone, Item 411, no. 599). 57. A Musical Toast. “Fondly dedicated to the memory of André Kostelanetz.” A brief work, two and one-half minutes in duration, honoring the long-time conductor of the New York Philharmonic Promenade concerts, who died on 13 January 1980. Its premiere took place in Avery Fisher Hall on 11 October 1980 with the Philharmonic led by Zubin Mehta. In his “Program Note” in the printed score, Jack Gottlieb explains how Bernstein derived from Kostelanetz’s surname the 7/8 rhythm on which the piece is based. The same rhythm also sounds prominently in the 7/4 section of the first movement 74 Leonard Bernstein: A Research and Information Guide

of Chichester Psalms, which this piece resembles. At the end the orchestra sings the main melodic cell with the dedicatee’s name. Clare Grundman prepared a version for band.

1981 58. Halil, Nocturne. “For Solo Flute with Piccolo, Alto Flute, Percussion, Harp and Strings.” Halil (Hebrew: “flute”) is dedicated “To the spirit of Yadin and to his fallen brothers.” Yadin Tanenbaum was a nineteen-year-old Israeli flutist who died in the 1973 Arab-Israeli War. Bernstein never met him but wrote, “I know his spirit.” He composed the piece during the winter of 1980–81. It is based to an extent on CBS Music (1977), a score that Bernstein withdrew. The orchestral scoring is not unlike Bernstein’s Serenade, but with piccolo and alto flute players seated in the percussion section and invisible to the audience. The world premiere was in Tel Aviv on 27 May 1981 with flutist Jean-Pierre Rampal and Bernstein conducting the Israel Philharmonic Orchestra. Halil opens with a twelve-note row and features the composer wrestling between tonality and atonality. In his “Program Note,” Bernstein called the piece “an ongoing conflict of nocturnal images,” but the conclusion is peaceful and calm. It also exists in a version for flute, piano, and percussion.

1986–89 59. Concerto for Orchestra (original title: Jubilee Games) for baritone and orchestra 1. Free-Style Events 2. Mixed Doubles (Theme and Seven Variations) 3. Diaspora Dances 4. Benediction (text: Numbers 6:24–26)

Bernstein wrote Jubilee Games, in two movements, for the fiftieth anniversary of the Israel Philharmonic in 1986 and announced at the premiere that he planned to add more movements to it. The “Opening Prayer” from late 1986 became the middle movement in the next version, but then in 1989 he added his Seven Variations on an Octatonic Theme (see Item 15) as the new second movement and “Opening Prayer” became the “Benedic- tion.” The premiere of the four-movement version came in Tel Aviv on 24 April 1989 with the Israel Philharmonic and baritone José Eduardo Charma. The first movement features

Downloaded by [New York University] at 04:27 09 August 2016 improvisation, including with prerecorded tapes. The new title of the second movement refers to the “Play of the Couples” movement from Bartók’s Concerto for Orchestra. The third movement invokes several different types of dance music and the fourth movement, with a peaceful text from the book of Numbers, brings the work to a thoughtful conclusion.

Band Music

1949 60. Prelude, Fugue and Riffs. “For Solo Clarinet and Jazz Ensemble.” Bernstein was asked to compose a work by Woody Herman for his Second Herd, but by the time he finished it the ensemble had disbanded. While working on Wonderful Bernstein’s Major Compositions 75

Town, Bernstein hoped to use the piece for a ballet, but the sequence was excised from the show. The work finally premiered with Bernstein conducting a studio group on ABC-TV’s Omnibus on 16 October 1955, concluding Bernstein’s program entitled The World of Jazz. Although certainly based on jazz idioms, the work’s only improvisation occurs in the final ad lib repetitions. The Prelude is for trumpets and trombones and the Fugue is played by five saxophones. Riffs is a clarinet solo accompanied by the entire band, closing a convincing and ecstatic piece of composed jazz. Bernstein dedicated the piece to Goodman. Lukas Foss has transcribed the piece for orchestra.

1961 61. Fanfare for the Inauguration of John F. Kennedy. Orchestration by Sid Ramin. A short composition, approximately thirty seconds in length, that Ramin orchestrated for piccolo, flute, two oboes, two clarinets, three horns, four trumpets, four trombones, timpani, snare drum, bass drum, and cymbals. The composer wrote Ramin a letter more or less specifying the possible orchestration in early 1961 (see Simeone, Item 411, no. 460). Nelson Riddle and Bernstein conducted the premiere at the Inaugural Gala in Washington, DC, on 19 January 1961. The work is in common time throughout with interesting use of syncopation. 62. Fanfare for the 25th Anniversary of High School of Music and Art, NYC. Orchestra- tion by Sid Ramin. Another short fanfare about thirty seconds in length that was first conducted by Alexander Richter, leading musicians from the school to which the piece was dedicated. Ramin scored this fanfare for three trumpets, four horns, three trombones, tuba, timpani, snare drum, cymbals, and bass drum. It is a fast and joyous, in the mixed meter of 2/4 + 3/8 throughout.

1969 63. Shivaree [Scored for double brass ensemble and percussion] A fanfare approximately two and one-half minutes in length commissioned by the Metropolitan Museum of Art in New York for its centenary. The first ensemble includes three trumpets, four horns, two trombones, four drums, bongos, and tambourine. The

Downloaded by [New York University] at 04:27 09 August 2016 second ensemble includes trumpet, two horns, trombone, tuba, snare drum, bass drum, and cymbals. The title is a corruption of the French word charivari, or a discordant serenade with pots, pans, and other noisemakers and intended in jest. The two main musical ideas of the work appeared two years later as “God Said” (the “Gospel-Sermon”) and the “Prefatory Prayers” (from the “First Introit”) of Mass.

NOTE

1 Thanks to Erica Argyropoulos for this reference. 4 Selected Writings of Leonard Bernstein

For a full-time musician, Leonard Bernstein wrote many words during his life, as may be seen best in the full list of his writings in the “Finding Aid” of the Library of Congress Bernstein web site, http://memory.loc.gov/ammem/collections/bernstein/lbrelated. html. Ahead is annotated a large representative sample of Bernstein’s published books and articles. Unlike the following chapters with bibliographic citations, Bernstein’s writings are arranged in chronological order. 64. “Forecast and Review: Boston Carries On.” Modern Music 15/4 (May–June 1938): 239–41. For annotation, see Findings, 19–21 (Item 97a). 65. “Forecast and Review: Season of Premieres in Boston.” Modern Music 15/2 (January–February 1939): 103–06. Bernstein reviews nine American premieres from the first eleven concerts of the

Downloaded by [New York University] at 04:27 09 August 2016 Boston Symphony season, including works by Prokofiev, Mikhail Starokadom- sky, Edward Burlingame Hill, and Sibelius. He briefly mentions other Boston concerts as well. Included are two musical examples from violin concertos by Prokofiev and a rather cheeky critique of Hill’s Symphony No. 3, a work by one of Bernstein’s Harvard professors. 66. “Forecast and Review: The Latest from Boston.” Modern Music 16/3 (March–April 1939): 182–84. Bernstein reviews three works recently performed by the Boston Symphony: John Alden Carpenter’s Violin Concerto, William Schuman’s Symphony No. 2, and Roy Harris’s Symphony No. 3. Bernstein is quite critical of Carpenter’s work,

76 Selected Writings of Leonard Bernstein 77

but offers qualified approval for Schuman’s symphony. He highly praises the Harris, a work he later became associated with as a conductor. 67. “Young American—William Schuman.” Modern Music 19/2 (January– February 1942): [96]–99. A brief critique of Schuman’s musical qualities with praise for his sincerity of expression. Bernstein attempts to explain what he sees as Schuman’s “long-winded” works and his “naïveté,” traits that he explains as arising from Schuman’s sense of conviction and love of musical sounds. The review includes Bernstein’s usual plain language and rich imagery, but it is too short to cover the topic. In an undated letter in the William Schuman Collection at the New York Public Library, Bernstein wrote Schuman, hoping that he was not offended by this article. He states that editor Minna Lederman altered his meaning in the editing process. 68. Program note for Symphony No. 1, Jeremiah, first published in New York Phil- harmonic Notes, 29 March 1944. Reprinted as part of the “Prefatory Note” in Jeremiah Symphony No. 1. N.p.: Jalni Productions/Boosey & Hawkes, 1992, [v]. Bernstein explains when he wrote the work, his limited inclusion of Jewish liturgical chants, and the piece’s program. Jack Gottlieb published more extensive notes in this edition (pp. iv–v), further explaining Bernstein’s use of Jewish chants. 69. “The Arts Belong to the People.” Christian Register 125/2 (February 1946): 77–78. An article written in support of the New York City Symphony Orchestra, which Bernstein directed from 1945 to 1948. He calls for a new understanding of the Works Project Administration’s benefits during the New Deal and for additional government support for the arts. He believes his orchestra represents a new spirit of cultural institutions intended for the people and hopes that New York City will help fund the orchestra in addition to sponsoring it. 70. Program note for Three Dance Episodes from On the Town, first published in Rochester Philharmonic Notes, 28 February 1946. Reprinted as “Program Note” in On the Town (Three Dance Episodes). N.p.: Jalni Productions/Boosey & Hawkes, Downloaded by [New York University] at 04:27 09 August 2016 1986, [iii]. Bernstein offers these symphonic excerpts from a Broadway show as “an experiment” and describes the place of each in the show. 71. “Neglected Works: A Symposium.” Modern Music 23/1 (Winter 1946): 3–12. Reprint: Perspectives of New Music 2/2 (Spring–Summer 1964): 31–34. Ten American composers and musicians each were asked to name ten neglected contemporary works. Bernstein’s list (pp. 10–11): Stravinsky’s Perséphone and Les Noces, Berg’s Wozzeck and Lulu, Chávez’s Sinfonia India, Bartók’s Music for Strings, Percussion and Celesta, Satie’s Socrate, Sessions’s Symphony, and 78 Leonard Bernstein: A Research and Information Guide

Copland’s Ode and Statements. He notes the importance of careful performances and how difficult it is for an audience to accept twelve-tone works or Blitzstein’s theater works, the latter for social and political reasons. 72. “Jazz Forum: Has Jazz Influenced the Symphony?” Esquire 27 (February 1947): 46ff. A pair of articles by Bernstein, who argues a qualified affirmative, and Gene Krupa, who takes a negative stance. Bernstein presents a brief history of the search for American musical materials similar to what he wrote elsewhere. Using Gershwin’s Rhapsody in Blue and Stravinsky’s L’Histoire du soldat as examples, he cites the use of jazz materials but acknowledges the absence of jazz’s true essence. He asserts, however, that jazz rhythms have influenced American symphonic music, sending listeners to Copland, Schuman, and others for examples. Krupa argues that jazz has had no real influence on symphonic music because elements such as improvisation are missing from symphonic performances. 73. Program note for Facsimile, first published in Rochester Philharmonic Notes, 3 March 1947. Reprinted as “Program Note” in Facsimile: Choreographic Essay for Orchestra. N.p.: Jalni Productions/Boosey & Hawkes, 1988, [iii]. Bernstein’s description as to when he wrote the work and his explanation of the ballet action in each section. 74. “The Essence of Music Study.” Etude 65 (April 1947): 204, 233. An essay on the nature of musical study and a musician’s most important attributes. Bernstein advises a prospective musician somehow to combine a university’s liberal arts education with the musical training of a conservatory and calls for more governmental support for the arts. He also muses on the lack of a single type of popular music in the United States from which a truly American style of concert music might emerge. 75. “The Negro in Music: Problems He Has to Face in Getting a Start.” New York Times (2 November 1947): Music Section/7. Despite a flap over minority practices by the New York Philharmonic in 1969 (a case the complainants lost; see Peyser’s, Item 157b, 403–07), Bernstein was an advocate for the equality of African Americans. Bernstein notes the relative Downloaded by [New York University] at 04:27 09 August 2016 lack of African American musicians in orchestras, Broadway pits, opera companies, Hollywood studios, and radio studios. He blames this on a lack of access to first-class training because of racial prejudice and economic barriers, making African American musicians more likely to gravitate to the greater opportunities in jazz. Bernstein calls on music schools to offer more scholarships to African Americans. 76. “Music That Sings.” Theatre Arts 32 (February 1948): 14–16. A review of five recordings: Bruno Walter conducting Mahler’s Symphony No. 5 in C-sharp Minor (Columbia MM718), Robert Shaw leading Bach’s Cantata, Selected Writings of Leonard Bernstein 79

BWV 140 (RCA Victor DM 1162), an album entitled Alice in Wonderland starring Jane Powell with music by Carmen Dragon (Columbia MM713), works by Alan Hovhaness (Disc 876), and Aram Khachaturian’s Masquerade (Album 300). Bernstein reserves his most positive comments for the Mahler and Bach, disliking the remainder. 77. “A Note on Variety,” in Minna Lederman, ed. Stravinsky in the Theatre. New York: Pellegrini & Cudahy, 1949. 228 p. No ISBN. ML410.S932L4. Bernstein’s tribute to variety in Stravinsky’s music in terms of musical styles, levels of profundity, and orchestral sonority. Bernstein notes that several different programs of both symphonic and choral music could be fashioned with just Stravinsky’s music. 78. Program note for Symphony No. 2, The Age of Anxiety, first published inBoston Symphony Orchestra Notes, 8 April 1949. Reprinted as “Prefatory Note” in The Age of Anxiety Symphony No. 2. N.p.: Jalni Productions/Boosey & Hawkes, 1993, [iv–v]. Bernstein’s oft-quoted explanation of the piece, including his attraction to W. H. Auden’s poem and the programmatic significance of each section. It includes Bernstein’s famous admission that “I have a suspicion that every work I write, for whatever medium, is really theater music in some way.” 79. “Music and Miss Stein.” New York Times Book Review (22 May 1949): 4, 22. Bernstein’s review of Gertrude Stein’s Last Operas and Plays. He ruminates about Stein’s writing style, noting its musicality. He compares her influence on other writers to that of Virgil Thomson’s in music, noting how his use of triads and other simple materials in Four Saints in Three Acts and other works influenced Copland and others. 80. “Prelude to a Musical.” New York Times (30 October 1949): Section 2/1, 3. Bernstein wrote this article to coincide with the Broadway premiere of Marc Blitzstein’s opera Regina, an adaptation of Lillian Hellman’s play The Little Foxes. Bringing an opera to Broadway is a difficult task; here Bernstein sympathizes and tries to pave the way, in the process revealing some of his own feelings

Downloaded by [New York University] at 04:27 09 August 2016 about problems of genre in musical theater. He praises the music as the “apex” of Blitzstein’s output, “the summation of what Blitzstein has been trying to do” (p. 3), providing specific references to the score. Blitzstein’s work, however, went the way of many operas on Broadway, playing only one month. 81. “Symphony or Musical Comedy.” Atlantic Monthly 194 (November 1954): 25–29. An essay republished in The Joy of Music, 40–51. Annotation provided ahead. 82. “A Nice Gershwin Tune.” Atlantic Monthly 195 (April 1955): 39–42. An essay republished in The Joy of Music, 52–62. Annotation provided ahead. 80 Leonard Bernstein: A Research and Information Guide

83. Program note for Serenade, after Plato’s Symposium, first published in Boston Symphony Orchestra Notes, 15 April 1955. Reprinted as “Program Note” in Sere- nade (after Plato’s Symposium). N.p.: Jalni Productions/Boosey & Hawkes, 1988, [iii]. Bernstein’s explanation of the programmatic significance of each section of the work. 84. “Colloquy in Boston.” New York Times (18 November 1956): Section 2/1, 3. One of Bernstein’s “imaginary conversations,” this time between himself and his “Id” (“irrepressible demon”) concerning how Candide fits into the historical outline of the Broadway musical that Bernstein offered on his Omnibus broadcast the previous month (7 October 1956). Bernstein had emphasized the American nature of the genre, but his Id reminds him that here he works with a French story and writes in European musical styles. Bernstein counters, somewhat glibly, that the work is American because of the nationality of its creators and calls Candide an “operetta.” 85. The Joy of Music. New York: Anchor Books, Doubleday, 1994. 315 p. ISBN 0-385-47201-3. ML60.B47 1994. [Originally published: New York: Simon and Schuster, 1959.] Bernstein’s first book, like some of his later publications, is an anthology that cannot be considered easily in a single citation. The two major portions include three revealing “Imaginary Conversations” and seven scripts from Omnibus telecasts between 1954 and 1958. The book captures some of the excitement of those broadcasts, and this publication became an important part of Bernstein’s image. The book’s photograph section includes stills from the Omnibus shows. 85a. “Introduction: The Happy Medium,” The Joy of Music, 11–17. Thoughts on speaking and writing about music and the search for the middle ground between “the music-appreciation racket and purely technical discussion.” This essay is an expansion of an article entitled “Speaking of Music,” published in The Atlantic Monthly 200/6 (December 1957): 104–06. 85b. “Imaginary Conversations: Bull Session in the Rockies,” The Joy of Music, 21–39. Downloaded by [New York University] at 04:27 09 August 2016 Bernstein wrote several such fictional conversations during his career. Most are useful for those interested in his biography and character, illuminating his feelings on a variety of subjects. The setting for this conversation took place in 1948, when Bernstein, his younger brother, Burton, and British poet Stephen Spender drove together from Tanglewood to a ranch in Taos, New Mexico (see Burton Bernstein, Family Matters, Item 428, pp. 178–81). Bernstein wrote the piece later that summer. Through his three characters, Bernstein muses on the meaning of music, especially Beethoven. Serious music comments and unrelated asides are juxtaposed consistently. 85c. “Imaginary Conversations: Whatever Happened to that Great American Sym- phony?,” The Joy of Music, 40–51. Selected Writings of Leonard Bernstein 81

An imaginary exchange of letters and cables between Bernstein and a “Broadway Producer,” written in November 1954. The relative merits of composing symphonies and Broadway show scores are debated, certainly a question Bernstein often faced. 85d. “Why Don’t You Run Upstairs and Write a Nice Gershwin Tune?,” The Joy of Music, 52–62. A conversation in a New York restaurant between Bernstein and a “Professional Manager,” written in April 1955. Included are pithy comments about George Gershwin and Bernstein’s musings on the difficulty of writing popular songs when one is also a composer of concert music. 85e. “Interlude: Upper Dubbing, Calif.,” The Joy of Music, 65–69. Bernstein finished one film score in his career, for On the Waterfront (1954), directed by Elia Kazan. Here he candidly reacts to the process of sound editing, where some segments of his score were lost so other details of the soundtrack might be heard. The essay was written in May 1954. A version first appeared in The New York Times on 30 May 1954; Jon Burlingame (Item 601, p. 133) has shown that the two versions differ, with the book version being nearly seven hundred words longer and having a different ending. 85f. “Beethoven’s Fifth Symphony,” The Joy of Music, 85–105. Bernstein’s first Omnibus show, broadcast 14 November 1954, was a comparison of Beethoven’s sketches with the final version of the Symphony No. 5. Although some of the show’s immediacy is lost in this printed version (with extensive musical examples), a musician is able to appreciate how Bernstein brought the compositional process alive for the non-musician. 85g. “The World of Jazz,” The Joy of Music, 106–31. Bernstein’s explanation, again with many musical examples, of the melodic, rhythmic, instrumental, and improvisational aspects of jazz. The show was first broadcast on 16 October 1955. Script notes from this show were also printed in Vogue, 127 (15 March 1956): 103–05, 142–45 and Film Music 16 (Spring 1957): 20–24. 85h. “The Art of Conducting,” The Joy of Music, 132–63. Downloaded by [New York University] at 04:27 09 August 2016 From a broadcast of 4 December 1955, Bernstein explicates the role of a conductor, basic beat patterns, communication of music’s emotional content, mainte- nance of tempo, and learning a score. 85i. “American Musical Comedy,” The Joy of Music, 164–91. The script from a broadcast of 7 October 1956. Bernstein compares the Amer- ican musical comedy to opera and then embarks on a brief history from The Black Crook (1866) through operetta and Gershwin to the greater integration of musical and dramatic elements seen in Oklahoma! and South Pacific. An example of the types of memorable moments that Bernstein devised for Omnibus is a side-by-side comparison of first-act finales from The Mikado and Of Thee I Sing. 82 Leonard Bernstein: A Research and Information Guide

Bernstein concluded the broadcast by saying that what the American musical comedy needed was for a Mozart to come along and take the genre to the next level. At this moment his own Candide was to open in less than two months and he was hard at work on West Side Story; one cannot help but wonder if Bernstein saw himself as this master-in-waiting. Some of this material also appeared in “Leonard Bernstein Explores American Musical Comedy,” Vogue 129 (1 Febru- ary 1957): 158–59, 208–11. 85j. “Introduction to Modern Music,” The Joy of Music, 192–235. In a script from a telecast of 13 January 1957, Bernstein explores modern music, explaining tonality, the harmonic series, the presence of dissonance in nineteenth-century music, indefinite tonality in Wagner’s Prelude to Tristan and Isolde, atonality as heard in works by Schoenberg and Berg, and brief looks at music by a number of other contemporary composers. In the same manner that portions of scripts from these broadcasts appeared in other journals, this one did as well: “On Modern Music,” Gentleman’s Quarterly (Summer 1958): 76, 123ff. Gunther Schuller wrote Bernstein a long letter about the telecast from which this chapter came, taking him to task for the attitude that he communicated concerning Webern (see Simeone, Item 411, no. 373). 85k. “The Music of Johann Sebastian Bach,” The Joy of Music, 237–77. An introduction to Bach’s music, first broadcast on 31 March 1957. He compares Bach’s music to that of later composers, noting aesthetic differences and the importance of counterpoint. He concludes with extensive discussion of the St. Matthew Passion accompanied by performed excerpts. 85l. “What Makes Opera Grand?,” The Joy of Music, 278–315. A telecast from 23 March 1958 where Bernstein explores the emotional range of opera with performed examples, including a comparison between Shakespeare’s and Verdi’s versions of Othello. The major part of the script is spent on Puccini’s La Bohème. Much of this also appeared in “What Makes Opera Grand?,” Vogue 132 (December 1958): 120–21, 157ff. 86. “Preface” to John Mehegan. Tonal and Rhythmic Principles: Jazz Improvisation I. New York: Watson-Guptill, 1959. 207 p. ISBN 0-8230-2571-3. MT68.M47. Downloaded by [New York University] at 04:27 09 August 2016 John Mehegan taught jazz improvisation at Juilliard in the 1950s and played in New York clubs. He was a good friend of Bernstein’s, who wrote a two-paragraph “Preface” for his series of books. Bernstein admits that jazz improvisation is a difficult art to explain but voices considerable confidence that Mehegan can do so. 87. “Introduction” to Heinrich Gebhard. The Art of Pedaling: A Manual for the Use of the Piano Pedals. [New York]: F. Colombo, 1963. 50 p. No ISBN. MT227.G4. Reprint: Mineola, NY: Dover, 2012. 50 p. ISBN: 0-486-48827-6. Bernstein wrote an appreciation of his teacher in Boston for this instructional book, remembering a typical lesson with Gebhard and his teacher’s reaction Selected Writings of Leonard Bernstein 83

when Bernstein first introduced him to Copland’s Piano Variations. The introduction was reprinted as: Leonard Bernstein, “My Teacher: Heinrich Gebhard,” Listen 1 (December 1963): 3. 88. “What I Thought . . . And What I Did.” New York Times (24 October 1965): Section 2/17. Bernstein’s response to the newspaper’s request for a sabbatical report. “What I Thought” is in prose, including musings on the symphony’s future, coming Phil- harmonic seasons, and what questions music might answer. “And What I Did” is a poem, telling of Bernstein’s study of modern compositional techniques, his abandoned attempt at a Broadway musical, and composition of Chichester Psalms. 89. The Infinite arietyV of Music. New York: Simon and Schuster, 1966. 287 p. LC card number 66024038/MN/r85. MT6.B43 1966. Bernstein’s second book, again for the most part directed at the general reader or young musician, but also informative about Bernstein’s thinking on a variety of musical topics. 89a. “Introduction,” The Infinite Variety of Music, 9–13. Bernstein offers his feelings about the twentieth-century rift between composer and audience and sides firmly with tonality. He closes by assuring the reader that composer and audience would emerge from the time of “transition” and “crisis” with “a new idea of tonality.” 89b. “An Imaginary Conversation: The Muzak Muse,” The Infinite Variety of Music, 17–25. A conversation with George Washington that Bernstein wrote in February 1962. Bernstein explains that he has enjoyed Washington as an imaginary traveling companion since he was a boy. This discussion covers the pervasiveness of music in the United States and the importance of music-reading being taught in general education. This article first appeared as “Nobody Listens Anymore, George,” Show 2/2 (February 1962): 93–94. 89c. “The Infinite Variety of Music,” The Infinite Variety of Music, 29–47.

Downloaded by [New York University] at 04:27 09 August 2016 The first of five television scripts in the book, this was first telecast on 22 Febru- ary 1959 as part of the series Lincoln Presents. Here Bernstein explores how many different melodic and harmonic possibilities exist with twelve chromatic pitches, but then simplifies the problem by showing the huge variety composers have managed from the phrase “sol, do, re, mi,” the melody associated with “How dry I am.” As is the case with all of Bernstein’s published scripts, rich musical examples are included. 89d. “Jazz in Serious Music,” The Infinite Variety of Music, 49–64. A Lincoln Presents script from a 25 January 1959 broadcast. Bernstein shows how elements of jazz and blues appear in works by Copland, Stravinsky, Milhaud, and Gershwin. The featured work is Rhapsody in Blue. 84 Leonard Bernstein: A Research and Information Guide

89e. “The Ageless Mozart (The New York Philharmonic in Venice),” The Infinite Vari- ety of Music, 65–81. A script from a Ford Presents telecast of 22 November 1959 from La Fenice, Ven- ice. Bernstein considers excerpts from a number of Mozart’s works, showing how they resemble music from Bach to Wagner. 89f. “Rhythm,” The Infinite Variety of Music, 83–109. A script used in a Ford Presents telecast of 13 March 1960. Bernstein explains rhythm from its most basic concepts to twentieth-century complexities, culmi- nating in a performance of Copland’s El Salón México, one of Bernstein’s favorite works by his mentor. See, for example, his fan letter concerning the piece written to the composer in October 1938 (see Simeone, Item 411, no. 25). 89g. “Romanticism in Music,” The Infinite Variety of Music, 111–36. Bernstein, in a Ford Presents telecast from 22 January 1961, explains the importance of emotional content in Romantic works by Chopin, Wagner, Berlioz, Liszt, Verdi, Strauss, and Schumann. 89h. “A Sabbatical Report,” The Infinite Variety of Music, 139–46. See annotation above (Item 88) under “What I Thought . . . And What I Did,” a New York Times article from 24 October 1965. 89i. “Four Symphonic Analyses,” The Infinite Variety of Music, 149–262. Bernstein’s useful and witty analyses of Dvorák’s Symphony No. 9, From the New World, Tchaikovsky’s Symphony No. 6, Pathétique, Beethoven’s Symphony No. 3, Eroica, and the first movement of Brahms’s Symphony No. 4. As is the case with all such essays by Bernstein, one must be a music reader to benefit fully from these analyses. 89j. “Something to Say . . ., ” The Infinite Variety of Music, 265–86. A transcript from an improvised address given at the University of Chicago on 19 February 1957. The address concerns the compositional process, including the trance-like state that Bernstein tried to induce to compose. This is one of Bernstein’s largest statements on the subject. Downloaded by [New York University] at 04:27 09 August 2016 90. Leonard Bernstein’s Young People’s Concerts. Revised and expanded edition. New York: Simon and Schuster, 1970. 233 p. ISBN 671-20664-8. ML3930.A2B55 1970. [Originally published: New York: Simon and Schuster, 1961.] The translation of ten of Bernstein’s television scripts into print. These essays are not unlike the published Omnibus scripts found in The Joy of Music, but here the target audience is younger. Jack Gottlieb, Bernstein’s assistant at the time, prepared the book’s first draft. It includes many witty illustrations by Isadore Seltzer along with copious musical examples. In his foreword, Bernstein recommends that the book be used in conjunction with recordings of the pieces discussed or Selected Writings of Leonard Bernstein 85

with the examples played at the keyboard, each presented here as simply as possible. The ten lectures are entitled: “What Is a Melody?,” 10–35 “Musical Atoms: A Study of Intervals,” 36–61 “What Does Music Mean?,” 62–87 “What Is Classical Music?,” 88–117 “Humor in Music,” 118–33 “What Makes Music American?,” 134–49 “Folk Music in the Concert Hall,” 150–63 “What Is Impressionism?,” 164–81 “What Is Orchestration?,” 182–207 “What Makes Music Symphonic?,” 208–33 Reprint with additional essays: Pompton Lakes, NJ: Amadeus Press, 2005. 379 p. ISBN: 1-57467-102-2. ML3928.B49 2005.

“What Does Music Mean?,” 1–31 “What Makes Music American?,” 33–51 “What Is Orchestration?,” 53–73 “What Makes Music Symphonic?,” 75–101 “What Is Classical Music?,” 103–31 “Humor in Music,” 133–49 “What Is a Concerto?,” 151–63 “Folk Music in the Concert Hall,” 165–77 “What Is Impressionism?,” 179–97 “What Is a Melody?,” 199–223 “What Is Sonata Form?,” 225–43 “A Tribute to Sibelius,” 245–53 “Musical Atoms: A Study of Intervals,” 255–85 “What Is a Mode?,” 287–315 “Berlioz Takes a Trip,” 317–37 91. “An Introduction” (pp. xi–xii) to Charles Schwartz. Gershwin: His Life and Music. Indianapolis: Bobbs-Merrill, 1973. 428 p. ISBN 0-672-51662-4. ML410. G288S33. Downloaded by [New York University] at 04:27 09 August 2016 Bernstein’s introduction to this study of Gershwin and his music presents Bern- stein’s usual, ultimately pejorative, summation of his famous predecessor. He praises Gershwin’s brilliant natural talent and laments the “higher criticism” that did not allow him into the ranks of the best composers. He lauds Gershwin the composer of popular song and the wonderful themes found in his concert works, but notes that each of these works are “easily demolished by the higher criticism” (p. xii). He believes the true tragedy is not that Gershwin failed to “cross the tracks,” but that when he did, he did not have the time to develop himself as a composer of concert music. 86 Leonard Bernstein: A Research and Information Guide

92. “Jennie Tourel—1910–1973.” New York Times (9 December 1973): Section 2/19. Jennie Tourel was a noted mezzo-soprano with whom Bernstein was a good friend and often performed. An article based upon the eulogy that Bernstein read at Tourel’s funeral. He speaks mostly of Tourel’s character. 93. The Unanswered Question: Six Talks at Harvard. Cambridge, MA: Harvard Uni- versity Press, 1976. 428 p. ISBN 0-674-92001-5. MT6.B45U6. In 1973 Bernstein was invited to present the Charles Eliot Norton Lectures at Harvard University, which he turned into a mammoth project. They included videotaped performances with the Boston Symphony Orchestra, and the six lectures eventually were made available as videotapes, phonodiscs, and in this book form. Bernstein applied Noam Chomsky’s linguistic theories to music, a controversial premise that nevertheless foreshadowed what is now an accepted method of musical analysis. The lectures show the wide breadth of Bernstein’s intellect and his uncanny ability to describe music verbally, but a number of his premises and assertions have been questioned by a variety of commentators. The lectures also demonstrate his commitment to tonality. 93a. “Musical Phonology, “ The Unanswered Question, 3–49. An exploration of our musical sound system and the universality of music from different cultures, which Bernstein attributes to the harmonic series. This is an important theme in the lectures because he postulates that tonality is based upon the harmonic series, making tonality a “natural” phenomenon. Bernstein suggests that wide acceptance of various intervals in Western music occurred according to their order of occurrence in the harmonic series, from the perfect intervals of early organum to nineteenth-century chromaticism. Many of these ideas are then applied in an analysis of Mozart’s Symphony No. 40. 93b. “Musical Syntax,” The Unanswered Question, 53–115. Bernstein opens with the application of parts of speech to various parts of music, such as comparing a chord to a grammatical modifier. He then locates many of these structures in musical examples, finally in further analysis of Mozart’s Symphony No. 40. Downloaded by [New York University] at 04:27 09 August 2016 93c. “Musical Semantics,” The Unanswered Question, 119–89. Bernstein searches for musical meaning in such diverse pieces as Stravinsky’s Petrushka, Brahms’s Symphony No. 4, piano sonatas by Beethoven and Mozart, Beethoven’s Symphony No. 7, and a Chopin ballade through the application of such linguistic processes as transformation and repetition. The “sad” sound of the minor triad is explained by how late a true minor third is found in the harmonic series. 93d. “The Delights and Dangers of Ambiguity,” The Unanswered Question, 193–259. A wide-ranging exploration of harmonic and rhythmic ambiguity in works by Mahler, Beethoven, Schumann, Chopin, Berlioz, Wagner, and Debussy. Selected Writings of Leonard Bernstein 87

Bernstein’s consideration of nineteenth-century music here sets up the central conflict of the fifth lecture. 93e. “The Twentieth Century Crisis,” The Unanswered Question, 263–321. Bernstein firmly divides twentieth-century composers between tonal and atonal camps, suggesting that Schoenberg creates too much ambiguity in his atonal and twelve-tone music for an audience to assimilate. He allows for Berg’s ability to move an audience because of the dramatic impact of a Wozzeck or the tonal aspects of the Violin Concerto. He concludes with the finale of Mahler’s Sym- phony No. 9 after suggesting that the work’s tonal nature allows Mahler to illuminate our “century of death.” 93f. “The Poetry of Earth,” The Unanswered Question, 325–425. Bernstein ranges through a number of Stravinsky’s works, with particular emphasis on The Rite of Spring and Oedipus Rex, positing that Stravinsky was a savior in twentieth-century music because he spent the majority of his career pursuing tonality. Given Bernstein’s own commitment to tonality, the thrust of his concluding lecture was probably preordained, but his exposition is nonetheless provocative. 94. “Introduction” to Geoffrey Stokes. The Beatles. New York: Times Books/Rolling Stone Press, 1980. 245 p. ISBN 0-8129-1007-9. ML421.B4S76. Bernstein’s two-page “Introduction” to this illustrated history of The Beatles is dated 9 October 1979. He reminisces about discovering the group with his children on The Ed Sullivan Show in 1964 and writes loftily on how they continue to epitomize the 1960s. Bernstein praises the group’s intonation and “fresh lyrics,” and compares their musical invention to that of Schubert. He holds John Lennon and Paul McCartney in the most esteem as the primary songwriters of the group, but writes of Ringo Starr as “a lovely performer” and George Harrison as “a mystical unrealized talent.” 95. “A.C. (An Acrostical Sonnet, on his 80th Birthday).” Perspectives of New Music 19 (Fall–Winter 1980, Spring–Summer 1981): 9. Bernstein’s poetic tribute to Aaron Copland in an issue dedicated to his mentor’s eightieth birthday. The content includes Bernstein’s memories of their first meeting on 14 November 1937. Downloaded by [New York University] at 04:27 09 August 2016 96. Program note for Halil, Nocturne first published in Israel Philharmonic Orchestra Notes, 22 September 1981. Reprinted as “Program Note” in Halil. N.p.: Jalni Productions/Boosey & Hawkes, 1984, [iii]. A note about the work’s dedication and the conflict in the work between “tonal and non-tonal forces.” 97. Findings. New York: Simon and Schuster, 1982. 376 p. ISBN 0-671-42919-1. ML410.B566A3 1982. A collection of sixty-two essays, speeches, stories, and poems that Bernstein wrote between 1935 and 1980, many previously unpublished. The most important 88 Leonard Bernstein: A Research and Information Guide

selections are described ahead, including Bernstein’s undergraduate thesis at Harvard, “The Absorption of Race Elements into American Music” (1939). Though the collection includes items of marginal interest, it must be consulted for a complete understanding of Bernstein the man. Notable themes include his dedication to his friends and mentors (especially Copland and Koussevitzky), his interest in issues beyond music, and his feelings about his work at various moments in his career. 97a. “New Music in Boston,” Findings, 19–21. [Originally published as “Forecast and Review: Boston Carries On.” Modern Music 15/4 (May–June 1938): 239–41.] Bernstein wrote this review at age twenty for this important American musical journal. He writes about a Boston Symphony Orchestra concert led by Serge Prokofiev that featured his own works. Bernstein finds Peter and the Wolf the highlight. Bernstein also briefly considered other concerts, including one where Walter Piston’s Symphony No. 1 premiered. What Bernstein is willing to say about the work of one of his Harvard professors demonstrates his self-assurance. 97b. “The Occult,” Findings, 25–34. Bernstein was influenced profoundly by his 1937 meeting with Greek conductor Dimitri Mitropoulos. Many of his feelings about that event appear to be revealed in this story, dated 24 February 1938, written for an English composition course at Harvard. In the story a young musician, Carl Fevrier, meets a famous Greek conductor named Eros Plato. Details of the story are similar to what is known about Bernstein’s early friendship with Mitropoulos. 97c. “The Absorption of Race Elements into American Music,” Findings, 36–99. Bernstein’s lifelong fascination with American music is seen in an early stage in this document from 1939, where he shows a fairly accurate sense of history and penetrating analytical abilities. He considers nationalism and the American composer and how American composers have used native elements. He deems as failures early twentieth-century composers who used Indian and Negro elements, reserving praise and the most attention for composers such as Gershwin and Copland, whom he believed absorbed elements of jazz and blues at a more profound level. The thesis includes 117 handwritten musical examples. Geoffrey

Downloaded by [New York University] at 04:27 09 August 2016 Block has dealt with Bernstein’s thesis in significant detail (Item 429), and there is a revealing letter Bernstein wrote Copland on 19 November 1938 about his ideas for the work (see Simeone, Item 411, no 27). 97d. “Dialogue and . . . Encore,” Findings, 110–21. In this imaginary conversation, written about 1948, Bernstein finds himself shar- ing a stateroom on the HMS Queen Mary with a French sociologist. During the voyage, Bernstein and his alter ego explore Bernstein’s role with the Palestine Symphony Orchestra, nationalism vs. internationalism in general and in the arts, the growth of nationalistic music in Palestine, and what constitutes American music. The dialogue is at times pedantic and includes ideas more effectively Selected Writings of Leonard Bernstein 89

explored in Bernstein’s undergraduate thesis at Harvard, but it is an interesting autobiographical statement. 97e. “Excerpts from a West Side Story Log,” Findings, 144–47. A fascinating, but brief, personal log published in Playbill and offering some of Bernstein’s feelings during the genesis of West Side Story, from 1949 until the opening in Washington. The log, often quoted, is crucial to the understanding of the show’s history, but it is not what it seems. Arthur Laurents (in his Original Story By, p. 347, Item 494) notes the following about it: “He also kept a journal in which he jotted down the progress of the work long after the events occurred.” When one consults this source in the Bernstein Collection at the Library of Congress, it exists in a drafted handwritten version on legal size yellow pages (including copious editing) and a final typescript of four pages. Bernstein certainly might have compiled the dates from his datebooks, but the actual entries seem to have been written simultaneously. 97f. “A Tribute to Teachers,” Findings, 178–208. The facsimile of the original shooting script for the CBS broadcast of a New York Philharmonic Young People’s Concert on 2 November 1963. Included are all cuts, revisions, and additions. Not only is it a useful glimpse into Bernstein’s creation of one of the scripts—a process with which he was intimately involved—but also the topic is edifying. Bernstein speaks of the important teachers in his life, including Koussevitzky, Randall Thompson, Walter Piston, and others. 97g. “Mahler: His Time Has Come,” Findings, 255–64. [Originally published in High Fidelity/Musical America, 17 (September 1967): 51–55.] An article that Bernstein wrote to correspond with CBS’s release of Mahler’s nine symphonies conducted by Bernstein, the first “complete” recordings of the works. Bernstein was an important figure in the renewal of interest in Mahl- er’s symphonies. He describes his philosophical and musical interest in Mahler, including his perception of the composer’s various dualities, Mahler’s role as a turn-of-the-century figure, and his position at the end of a Germanic tradition dating back to Bach. 97h. “Aaron Copland: An Intimate Sketch,” Findings, 284–91. [Originally published in Downloaded by [New York University] at 04:27 09 August 2016 High Fidelity/Musical America 20 (November 1970): 53–55.] For the occasion of Copland’s seventieth birthday, Bernstein recounts meeting the composer in 1937, their subsequent friendship, showing many of his early compositions to Copland for his criticism, and his own debut with the New York Philharmonic on Copland’s birthday in 1943. Bernstein then describes Copland’s music and how he perceives that it was becoming unfashionable during the 1960s, concluding with a call for Copland to resume composing. (Copland was surprised to hear he had stopped, and there were other aspects of the article that disturbed him. See Copland and Perlis, Copland since 1943, Item 483, p. 368.) 90 Leonard Bernstein: A Research and Information Guide

97i. “A Letter to Franz Endler: Beethoven’s Ninth,” Findings, 291–98. A letter to the music critic of the Viennese Die Neue Freie Presse, dated 20 April 1970. Bernstein had conducted Beethoven’s Symphony No. 9 six days apart with the Vienna Philharmonic and Boston Symphony. Here he muses about working with two different orchestras in different halls and opposite interpretations of the work. Written in typical Bernstein prose with flights of fancy and tangential remarks, the article demonstrates his varied approach to music and its analysis. 97j. “The Future of the Symphony Orchestra,” Findings, 338–50. [Originally published in High Fidelity/Musical America 30 (November 1980): 52–54.] A keynote address presented to the American Symphony Orchestra League on 18 June 1980, the speech offers a review of the state of the American orchestra. Bernstein recalls the old days of conductors who were tyrants, such as Fritz Reiner and others. He touches on the orchestra’s history, concluding that in 1980 the institution served a dual role as a musical museum and as “fertile soil” for the growth of new music. He speaks to the various constituencies within the orchestral world, urging all to honor music first, and makes a plea to management to remember the American conductor. This article also appeared in Ger- man translation: “Die Zukunft der Symphonie-Orchester,” Das Orchester 39/2 (February 1991): 130–32. 97k. “Ni commencement, ni fins . . ., ” Findings, 351–53. [Originally published in French: Bruno Monsaingeon. Mademoiselle: entretiens avec Nadia Boulanger. Paris: Editions Van de Velde, 1981.] Bernstein’s remembrance of his final visit with the great French teacher. He did not study with Boulanger, although this article seems to show his desire to be thought of as one of her disciples, a kinship he would have traced through Copland. 98. “The Truth about a Legend” in John McGreevy, ed. Glenn Gould by Himself and His Friends. Toronto: Doubleday, 1983, pp. 17–22. 319 p. ISBN 0-385-18995-8. ML417.G68A5. Bernstein remembers Gould soon after his death, recalling their creative and Downloaded by [New York University] at 04:27 09 August 2016 public disagreement on the tempo for Brahms’s Piano Concerto No. 1 in D minor in 1962 and memorable meetings in both New York City and Toronto. 99. “Bernstein on Bernstein at 70: Beauty and Truth Revisited.” New York Times (21 August 1988): H23. The New York Times asked Bernstein for an article on the occasion of his seventieth birthday. He responded with this poem, a similar response to the verses he wrote when the Times asked him for a sabbatical report in 1965 (see Item 88). He muses on being a musician, a political man, a religious man, one blessed by luck and the gift of family, one infuriated by inhumanity, and with a final call for the power of love. Selected Writings of Leonard Bernstein 91

100. “Wagner’s Music Isn’t Racist.” New York Times (26 December 1991): A25. An article published in the section of editorials and letters to the editor. Bernstein wrote these comments and filmed them in Vienna in 1985, but the film was never completed. Bernstein writes of the lack of specific meaning that music carries, one of his familiar themes. He also speaks of Wagner wrestling in a Freudian way with father figures in the opera Siegfried, but concludes that this means nothing in the music itself. Bernstein wonders whether, with both Wagner and the Third Reich buried in the past, it is possible for music lovers simply to embrace beautiful music. Downloaded by [New York University] at 04:27 09 August 2016 5 Biographical Sources

GENERAL BIOGRAPHIES

101. Ames, Katrine. “An Affair to Remember: Leonard Bernstein, Who Changed the Face of American Music, Dies at 72.” Newsweek 116/18 (29 October 1990): 79–80. Ames concentrates on Bernstein’s conducting and notes his ability to move between “high” and “low” culture. She believes his best compositions date from the 1940s and 1950s, but praises his last efforts as well, naming the “delicious” Arias and Barcarolles. Ames also suggests that Bernstein was best as a teacher. 102. Ardoin, John. “Leonard Bernstein at Sixty: The Many Careers, the Singular Man.” High Fidelity/Musical America 28/8 (August 1978): 53–58. A concentrated but informative look at Bernstein’s personality and career. Ardoin covers Bernstein’s early debuts as conductor and composer, noting that at sixty he was still enlarging his conducting repertory and searching for Downloaded by [New York University] at 04:27 09 August 2016 new compositional challenges. Ardoin evaluates Bernstein’s work as a conductor and recording artist and places his compositions in a positive light. Ardoin finds Bernstein’s eclecticism “a viable aesthetic style” in a “pluralistic country” (p. 57) and his commitment to tonality courageous and prophetic. The article also includes pithy quotations from Bernstein on performance, critics, art and politics, composition, and tonality. 103. —. “Bernstein at Seventy.” National Review 41/1 (27 January 1989): 62–64. Ardoin offers yet another summary of Bernstein’s career, focusing on his importance as the first American conductor of such a stature who paved the way for

92 Biographical Sources 93

others like him. He mentions Bernstein’s other activities as well, dividing his composing personality into the “savvy secularist” who wrote works like On the Town and the composer of sacred music like Symphony No. 3, Kaddish and Mass. He concludes with an interesting list of concert tributes to Bernstein scheduled in New York City, Portland (Oregon), Chicago, and Dallas during the winter and spring of 1989. 104. Beadle, Jeremy. “New Views on Bernstein.” Classic CD 50 (July 1994): 26–29. A brief consideration of Bernstein’s life and work, including primarily his compositions and conducting. Beadle reviews his life, positing at one point that the dichotomy between Bernstein’s family life and “his open and gay infidelities . . . created an important creative tension in Bernstein’s mentality” (p. 28). Beadle finds Bernstein’s best compositions to include Symphony No. 1, Jeremiah, On the Town, West Side Story, Candide, Chichester Psalms, and Songfest. Beadle feels his most persuasive conducting involves the works of Haydn, Beethoven (except for slow movements), Berlioz, Stravinsky, and Mahler. 105. Bernheimer, Martin. “Perpetual Promise.” Opera News 65/1 (July 2000): 28–31. A short essay from a critic who believes Bernstein never fulfilled his great potential. As a conductor, Bernheimer finds Bernstein too impressed with “the value of flash” (p. 28), taking slow tempos too deliberately and striving for fortissimos that were too loud. He grants Bernstein his accomplishments in some areas, such as in interpreting Mahler. Bernheimer finds Bernstein’s serious music harmon- ically too sweet and suffering from “melodic kitsch” (p. 30), but believes he did raise the standards of the Broadway musical in works such as West Side Story and Candide. 106. Bernstein, Burton, and Barbara B. Haws. Leonard Bernstein: American Original: How a Renaissance Man Transformed Music and the World during His New York Philharmonic Years, 1943–1976. New York: Harper Collins, 2008. 223 p. ISBN 978-0-06-153786-8. ML410.B566B47 2008. Starting from the year of his debut at the New York Philharmonic and ending with the year of his last European tour with orchestra, this book portrays different facets of Bernstein’s life. The book includes the following essays: Alan Rich Downloaded by [New York University] at 04:27 09 August 2016 on New York between 1943 and 1976, Paul Boyer on Bernstein as a humanitarian and activist, Carol J. Oja on his musicals, Tim Page on Bernstein and television, Burton Bernstein on his brother and Berlin, Jonathan Rosenberg on Bernstein the idealist in other lands, Joseph Horowitz on Bernstein the music director, Bill McGlaughlin on Bernstein on the podium, James M. Keller on Bernstein and Mahler, and John Adams on Bernstein and the American voice. Several of these essays are enhanced by personal insights from Burton Bernstein, the composer’s brother. The book tries to answer the question “what was it like to live in the city (New York City) during Bernstein’s time?” and also provides a selective Bernstein timeline, from birth to death. It also includes many useful photos. 94 Leonard Bernstein: A Research and Information Guide

107. “Bernstein, Leonard.” Current Biography (1944): 44–47. An evenhanded summation of early press reports on Bernstein from the New York City newspapers, Christian Science Monitor, Cue, PM, New Yorker, and Newsweek. Included are his early life and education, debut with the New York Philharmonic, the reception of his early compositions and guest conducting stints, and personal information. Both positive and negative comments on his compositions appear, but complaints about his active conducting style do not appear to have been common at this point. 108. Bernstein, Shirley. Making Music: Leonard Bernstein. Chicago: Encyclopedia Britannica, 1963. 192 p. Library of Congress card number 63-13513. ML410. B566B5. An early biography written by Bernstein’s sister. The book is most effective for adolescents, but Shirley Bernstein was close to her brother and offers helpful information for anyone wanting a complete picture of the man. Shirley Bernstein covers nothing controversial except for addressing critics of her brother’s wide-ranging activities, but she keeps the cheerleading to a minimum and offers many personal insights. One seldom-told story is how Bernstein’s piano teacher at Curtis, Isabelle Vengerova, later heard a rehearsal where Bernstein led a Mozart concerto for the piano, voiced her disapproval, and then helped him with the piece. The author also notes that by 1963 Fancy Free had been performed over eight hundred times. 109. Blyth, Alan. “Leonard Bernstein Talks to Alan Blyth.” Gramophone 48/568 (Sep- tember 1970): 408–11. A useful interview in which Bernstein talks about his debut and other aspects of the 1943–44 season, his feelings about the contemporary Broadway scene, his lack of interest in the avant-garde, his love for Mahler, recent work on Beethoven in Vienna, and his future projects. 110. Botstein, Leon. “The Tragedy of Leonard Bernstein.” Harper’s Magazine 266 (May 1983): 38–40, 57–62. What Botstein believes to be Bernstein’s tragedy is the superficiality of his work, both as a conductor and composer. He places Bernstein among the most talented American musicians of the century and identifies specific aspects of his work to Downloaded by [New York University] at 04:27 09 August 2016 praise as a conductor, composer, pianist, and teacher, but dismisses what many consider Bernstein’s triumphs. He finds Bernstein as both a composer and conductor fond of the grand gesture but unable to generate real emotion. Botstein goes further in areas where a number of commentators have criticized Bernstein, but in places his scale of comparison seems unrealistically high. He calls on Bern- stein to change at the age of sixty-five so that he might start to fulfill his true promise as a conductor and television commentator. 111. Brandon, Henry. “A Conversation with Leonard Bernstein: “The Notes—That’s What I Mean by Musical Meaning.” New Republic 138/23 (9 June 1958): 13–16. Biographical Sources 95

Transcription of a wide-ranging interview from just before Bernstein assumed music directorship of the New York Philharmonic. They cover the history and possible future of Broadway musicals, what is American in music, the future of concert music, musical development from Mozart to Mahler, and musical meaning. Brandon is not the most musically informed of interviewers, but Bernstein’s answers are worthwhile. 112. Briggs, John. Leonard Bernstein: The Man, His Work, and His World. Cleveland: World Publishing, 1961. 274 p. No ISBN. ML410.B566B7. Reprint: Whitefish, MT: Kessinger, 2009. 310 p. ISBN: 978-1104842314. One of the first full-length biographies of Bernstein, written three years after he became music director of the New York Philharmonic. Briggs presents the dash- ing young conductor and television personality and tackles few thorny issues, but does provide interesting anecdotes and telling coverage of Bernstein’s work with the Philharmonic. Briggs includes basic descriptions of Bernstein’s major compositions and summations of criticism, both positive and negative. The book is written for an inexperienced undergraduate or general reader and is most useful as a window into how Bernstein was viewed by the public in the early 1960s. 113. Burton, Humphrey. Leonard Bernstein. New York: Doubleday, 1994. 594 p. ISBN 0-385-42345-4. ML410.B566B9 1994. A complete biography by one of Bernstein’s long-time associates that includes a list of compositions, selected bibliography, and basic documentation for direct quotations. Although the “official biography” of Bernstein commissioned by his estate, this is a remarkably balanced study. Burton considers Bernstein as a versatile musician who constantly struggled to be a composer while also conducting extensively. Burton presents all sides of Bernstein the man, relying heavily on correspondence and interviews with associates. Bernstein’s compositions are described from a historical standpoint with some musical description, much of the latter derived from reviews of the music. The book also includes black-and- white photographs and a list of the main events in Bernstein’s life. 114. Castiglione, Enrico. Una vita per la musica. Rome: Edizioni Logos, 1991. 190 p. No ISBN. ML410.B566C37 1991. [8th edition: Roma: Pantheon, 2003. ISBN 8874340443.] Downloaded by [New York University] at 04:27 09 August 2016 Castiglione is an Italian musicologist and writer who interviewed Bernstein extensively between 1985 and 1990, allowing him to fashion an unusual and worthwhile book. Following the introductory “Un ritratto” (“A Portrait”) in which he touches on each side of Bernstein’s career, Castiglione arranges his material into seven chapters: Bernstein’s childhood and first musical experiences; his work with Maria Callas in Italy in the 1950s; compositions; conducting; Mahler and his music; political and personal views; and his desire to stop conducting so that he could compose more. Each chapter is in an interview format. Castiglione asks pithy questions and seems to have provided Bernstein’s answers 96 Leonard Bernstein: A Research and Information Guide

with little editing. The book includes photographs, a chronology of Bernstein’s life, bibliography, discography, and index. 115a. Chapin, Schuyler. Musical Chairs: A Life in the Arts. New York: G. P. Putnam’s Sons, 1977. 448 p. ISBN 0-399-11970-1. ML429.C497A3.

115b. —. Leonard Bernstein: Notes from a Friend. New York: Walker, 1992. 178 p. ISBN 0-8027-1216-9. ML410.B566C5 1992. Chapin knew Bernstein from 1959, when he became the head of Columbia Records Masterworks Division. He worked closely with Bernstein off and on until 1972, the last three years as head of Amberson Enterprises, Bernstein’s video production company. Notes from a Friend is his final word on Bernstein. He offers a close personal look at Bernstein in both professional and relaxed sit- uations. Chapin worked with Bernstein on several major projects. He describes the behind-the-scenes work, leaving comment on Bernstein the musician to others. Much of the same story is told in Musical Chairs (pp. 205–69), sometimes in more detail or in slightly different words but without fifteen years of further reflection. 116. Cott, Jonathan. Dinner with Lenny: The Last Long Interview with Leonard Bern- stein. New York: Oxford University Press, 2013. 183 p. ISBN 978-0-19-985844-6. ML410.B566C68 2013. Commissioned by Rolling Stone magazine, Cott had the opportunity to interview Leonard Bernstein in November 1989. This is the last extended interview that Bernstein granted, and Cott provides a complete version of this remarkable dialogue, where he asked questions and then let Bernstein talk, digress, expostulate, and, at times, carry on outrageously. This conversation covered a wide array of topics, including popular music, great composers, various compositions, other conductors, life, education, and politics. This is an important reading for anyone who wishes to understand the mature Bernstein. It was published as an abridged version of the conversation in 1990 in “The Rolling Stone Interview: Leonard Bernstein,” Rolling Stone, no. 592 (29 November 1990): 70–76, 79, 81, 83, 86, 88–89, 92–93, 130. The interview was excerpted and Cott recalled the experience in “Leonard Bernstein,” Rolling Stone, no. 641 (15 October 1992): 197–99. Downloaded by [New York University] at 04:27 09 August 2016 117. Denby, David. “The Trouble with Lenny.” New Yorker 74/24 (17 August 1998): 42–53. An overview of Bernstein’s life as a conductor, composer, and teacher. Denby considers how Bernstein drew strength from his ambiguous influences and varied interests. Especially effective are: Denby’s explanation of Bernstein’s educational contribution to American concert life; his growth and development as a musical interpreter; his effort to make German-speaking Europe realize the Jewishness in their music, especially Mahler; his success at bringing American popular musical styles into what Denby considers Bernstein’s best music; and the Biographical Sources 97

possible failure of some of Bernstein’s serious works because of his overwhelm- ing desire to make a grand statement. 118. Elöd, Juhász. Bernstein Story. Budapest: Zenemükiadó, 1972. 176 p. No ISBN. ML410.B566J8. A biography on Bernstein in Hungarian by an author who followed him throughout his career (see Item 119). Elöd includes coverage of Bernstein’s youth and education, his career, and a special section on his work in Central Europe. There are separate sections under the heading of “Portrait of the Artist” on his work as a pianist, conductor, composer, writer, and lecturer, and a “portrait sketch.” Elöd also provides a short chronology of Bernstein’s life, a list of his compositions and books, and a short bibliography. 119. —. Bernstein és Budapest. Bernstein Story II. [Budapest]: Szabad Ter Kiadó, 1988. 116 p. ISBN 963-02-5928-1. ML410.B566J79 1988. A series of interviews the author had with Bernstein and other short items. The interviews in this volume took place in various cities in 1973, 1979, 1983, 1985, and 1988. Other chapters include: a translation into Hungarian of an interview with High Fidelity that Bernstein had about Mass in 1971 (22/2, February 1972; see Item 691); an essay on Bernstein’s music in the films On the Town, On the Waterfront, and West Side Story; and material on Bernstein’s compositions since 1972. Also included are a chronology of his life, a list of works, and fourteen pages of black-and-white photographs. 120. Epstein, Helen. Music Talks: Conversations with Musicians. New York: McGraw-Hill, 1987. 241 p. ISBN 0-07-019544-7. ML385.E67 1987. A series of fine articles based upon interviews with, and observation of, various musicians. Bernstein appears prominently in two chapters. “Learning to Con- duct at Tanglewood” (pp. 27–45), which first appeared in The New York Times, is a fetching portrait of Bernstein and Ozawa teaching together in the summer of 1981. “Listening to Lenny” (pp. 47–65), which first appeared in The Soho Weekly News in 1981, is a picture of Bernstein at Tanglewood that summer. Epstein covers his outrageous behavior and the varied reactions to it and transcribes some of her interview with him. The interview was largely about his childhood, but

Downloaded by [New York University] at 04:27 09 August 2016 Epstein skillfully makes the transcription a personality sketch. 121. Ewen, David. Leonard Bernstein: A Biography for Young People. Philadelphia: Chilton, 1960. 174 p. No ISBN. ML410.B48E9. [Reprints: New York: Bantam Books, 1960; Philadelphia: Chilton, 1967; Charleston, SC: Nabu Press, 2011]. One of the first book-length biographies on Bernstein, written not long after he became director of the New York Philharmonic. It is superseded by later works, but provides an interesting snapshot of Bernstein early in his career. Written in a breezy style, Ewen approaches Bernstein’s life more or less chronologically with some asides for context. Compositions are mentioned with samplings of critical 98 Leonard Bernstein: A Research and Information Guide

reception. Ewen liberally quotes Bernstein from various articles to give a hint of his personality, but the work can hardly be called a balanced biography. 122. Fluegel, Jane, ed. Bernstein Remembered. New York: Carroll & Graf, 1991. 160 p. ISBN 0-88184-722-4. ML88.B476B47 1991. A fine volume fo photographs on Bernstein’s career produced a year after his death. The preface is an adoring essay from violinist Isaac Stern. The introduction is a sober and brief description of Bernstein’s career and personality by New York Times music critic Donal Henahan. The reason to consult this book, however, is for the many black-and-white photographs that document Bernstein’s career after 1940. Jane Fluegel’s detailed captions place each picture into context, possibly sometimes erring too far to the side of praise. The book also includes a good chronology of Bernstein’s career. 123. Freedland, Michael. Leonard Bernstein. London: Harrap, 1987. 273 p. ISBN 0-245-54499-2. ML410.B566F7 1987. A somewhat anecdotal consideration of Bernstein’s life and career based heavily on interviews with colleagues, New York Philharmonic musicians, and friends. Freedland describes most aspects of Bernstein’s personality, including his large ego and homosexuality, but the book is primarily a portrait of a talented musician and cultural phenomenon. Bernstein’s work as a conductor is more closely explored than his compositions. Freedland’s greatest contribution comes from his many interview subjects, which include Irving Caeser, Johnny Green, Zubin Mehta, André Previn, and many others. 124. Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer Books, 1997. 400 p. ISBN 0-02-864655-X. ML200.5.G36 1997. A textbook on the history of American concert music. Gann’s brief section on Bernstein (pp. 62–65) describes his work as a conductor and advocate of Ameri- can music, noting that for many years he was its finest interpreter. Gann lavishes praise on Bernstein’s Young People’s Concerts and Norton Lectures, but finds his compositions less convincing. Gann believes West Side Story is his only work that shows a “distinctive compositional voice.” Gann’s account of Bernstein’s early career includes an error when he states Bernstein met Copland at Harvard while

Downloaded by [New York University] at 04:27 09 August 2016 directing The Cradle Will Rock. That is when Bernstein met Marc Blitzstein, the work’s composer. 125. Gottlieb, Jack, ed. Bernstein on Broadway. New York: Amberson Enterprises and G. Schirmer, 1981. 317 p. No ISBN. M1507.B49M92 1981. Although primarily an extensive anthology of Bernstein’s Broadway tunes, this publication includes several brief, provocative character sketches of Bernstein by associates: “Introduction” by George Abbott; “An Anecdote” by Stephen Sond- heim; “A Tale of Two Towns” by Betty Comden and Adolph Green; “Working with Lenny” by Jerome Robbins; “An Appreciation” by Hal Prince; and “A Tribute” by Roger Stevens. There is also a brief, unattributed biography on Bernstein with Biographical Sources 99

ten pictures, lists of musical numbers and the cast for each show, and photographs from each production. 126. Gottlieb, Jack. Working with Bernstein: A Memoir. New York: Amadeus Press, 2010. 256 p. ISBN 978-1574671865. ML410.B566G67 2010. Jack Gottlieb (1930–2011) was the conductor’s personal assistant for several years during Bernstein’s New York Philharmonic tenure, and later he rejoined Bernstein’s staff as an editor in the 1970s, remaining with The Leonard Bern- stein Office, Inc. until his death. Gottlieb was also one of the principal scholars on Bernstein’s music. His book is a frank, inside glimpse of the world of this globe-trotting musician, including, for example, selected logs from New York Philharmonic tours. The author reflects on meeting the many celebrities drawn to Bernstein and provides a sensitive consideration of the man’s multisided character, rich family life, and ambiguous sexuality. There is also useful commentary and analysis of Bernstein’s compositions and recordings, much of it previously published with entries elsewhere in this volume. Gottlieb states his angle baldly: “Is this book biased? You bet it is! However, I fervently hope it is not hagiog- raphic” (p. 15). The author succeeded, presenting a fairly balanced picture of Bernstein, but his natural tendency is to defend the man. Highlights include the opening essay “Introduction: A Jewish American or American Jew?” and “A Grab Bag of My Life with LB.” 127. Gradenwitz, Peter. Leonard Bernstein: The Infinite Variety of a Musician. Leam- ington Spa/Hamburg/New York: Oswald Wolff Books, 1987. 310 p. ISBN 0-85496-510-6. ML410.B566G713 1987. [First published in German as Leonard Bernstein. Unendliche Vielfalt eines Musiker. Zurich: Atlantis Musikbuch, 1984.] An important but uneven book on Bernstein and his music, annotated here and in Chapter 6 as a source on Bernstein’s music (see Item 540). Gradenwitz, an Israeli composer and journalist, knew Bernstein for more than forty years. The biographical portion of the volume is primarily found in the second chapter (pp. 19–94), which includes some errors in small details and is at times poorly organized in terms of chronology. Although it covers most of Bernstein’s life, it is most useful in describing his work in Israel in more detail than most other sources, and for some personal reminisces. Gradenwitz also includes chapters on

Downloaded by [New York University] at 04:27 09 August 2016 Bernstein as a conductor and musical pedagogue. 128. —. “Leonard Bernstein-Dramatischer Sinfoniker und sinfonischer Opernkom- ponist zum 70. Geburtstag des Musikers.” Das Orchester 36 (October 1988): 1006–11. One of the more detailed seventieth birthday tributes to Bernstein written by a longtime friend and biographer. Gradenwitz compares Bernstein to both Mendelssohn and Mahler and establishes the theatricality of his compositional output. He briefly describes each major work and makes general comments on Bernstein’s commitment to tonality. Also considered briefly are Bernstein’s conducting and pedagogical activities. The article was reprinted in: Dusella, 100 Leonard Bernstein: A Research and Information Guide

Reinhold and Helmut Loos, eds. Leonard Bernstein: Der Komponist. Musik der Zeit Dokumentation und Studien, 7. Bonn: Boosey & Hawkes, 1989, pp. 11–20 (see Item 530). 129. Green, Michelle. “America’s Maestro Bows Out.” People Weekly 34/17 (29 Octo- ber 1990): 42–47. Although marred by a few factual errors, this chatty but informative obituary demonstrates the level of coverage of Bernstein’s death in popular journals. Included with several photographs are useful quotations from Bright Sheng, Betty Comden, Adolph Green, and Bernstein himself. 130. Greenfield, Edward. “Leonard Bernstein at 70.” Gramophone 66/783 (August 1988): 257. A fine snapshot of Bernstein’s activities around his seventieth birthday, including his recent compositions (Arias and Barcarolles and “My Twelve-Tone Melody,” written for Irving Berlin’s hundredth birthday celebration at Carnegie Hall), some of his conducting projects and fondness for slow tempos, and plans for the immediate future. 131. Gruen, John. The Private World of Leonard Bernstein. New York: A Ridge Press Book, Viking, 1968. 191 p. No ISBN. ML410.B566G8. The result of John Gruen and photographer Ken Heyman accompanying Bern- stein and his family on a seven-week vacation to Italy in 1967. The book is important for a complete understanding of Bernstein’s life. Gruen and Heyman were granted intimate access to Bernstein and his family, with the results being at once revelatory, embarrassing, and whimsical. Large segments of the book also deal with Bernstein’s life and work in New York. Gruen’s interviews with Bernstein elicited many thoughts about his work and career, with an especially interesting recounting of Bernstein’s memories from 1943–44. 132. Henahan, Donal. “America’s Musician at 70.” New York Times (21 August 1988): Section 2/1, 23. A tribute to Bernstein at this late juncture in his career. Henahan states that at this point Bernstein seems to be able to do little wrong as a musician. He covers

Downloaded by [New York University] at 04:27 09 August 2016 the many contradictions in Bernstein’s career and how many areas he embraced, noting that with such a wide reach that his life would be “potholestrew n at times” (p. 1). He concludes, “A one-headed Leonard Bernstein would not be Leonard Bernstein, and American music would be markedly poorer than it is today. Cer- tainly more boring” (p. 23). 133. —. “Leonard Bernstein, 72, Music’s Monarch, Dies.” New York Times (15 Octo- ber 1990): A1, B6. There are many ways that Bernstein’s fame and importance might be measured, but surely an effective one is to read the extensive obituary that The New York Times published the morning after he died. The article begins on the first page Biographical Sources 101

and then continues on all of B6 with illustrations, touching on each aspect of his career. Additional articles appeared in the days that followed. 134. Henderson, Robert. “Bernstein: A Life Full of Firsts.” Opera 39/3 (March 1988): 279–82. In a review of recent Bernstein biographies by Freedland, Gradenwitz, and Pey- ser, Henderson offers a brief view from the other side of the Atlantic of some of Bernstein’s milestones. Although he includes several anecdotes from the books, he also gives a potent reminder of Bernstein’s importance and level of respect in Europe. 135. Hohlfeld, Horant H. Leonard Bernstein/The Gift of Music: An Intimate Portrait. Munich: Unitel GMBH in association with New York: Amberson Productions/ Hamburg: Deutsche Grammophon 00440 073 4336, 1993. English version, 2007. A worthwhile video introduction to the various aspects of Bernstein’s career, with frequent examples of Bernstein speaking and conducting from the 1940s to 1980s. As a biographical statement the film falls short because is really does not have sufficient coverage of any one aspect of Bernstein’s career and the overall organization is haphazard, sometimes moving between decades and the disciplines of composing, conducting, and musical commentary on television in a dizzying fashion, with Bernstein becoming much older and younger in an instant. Major topics such as West Side Story and his work with the New York Philharmonic are accorded just a few minutes each, but many parts of his career are at least mentioned and documented. The video Reaching for the Note (see Item 142) is more effective as a biographical film. 136. Holde, Artur. Leonard Bernstein. Berlin: Rembrandt, 1961. 64 p. No ISBN. ML410.B566H650 1961 (University of Georgia). A short biography in German that includes coverage of Bernstein’s professional career and compositions through 1961. The text (pp. 5–31) includes more information than one might think because the print is very small. Included is material on Bernstein’s training, his breakthrough as assistant conductor of the New York Philharmonic, his career as a guest conductor and with the New York City Symphony Orchestra, his early work with the New York Philharmonic, his

Downloaded by [New York University] at 04:27 09 August 2016 teaching at Brandeis University, his television broadcasts, short segments on each of his compositions and musical style, and some material on his personal life. The remainder of the volume includes thirty-seven black-and-white photographs of Bernstein and productions of his theater works and ballets. 137. Hughes, Allen. “Leonard Bernstein.” Musical America 81/1 (January 1961): 15, 110, 114. Bernstein was named Musical America’s “Musician of the Year for 1960.” A drawing of Bernstein appeared on the cover of the journal, and the issue included this short but informative article. Hughes briefly reviews Bernstein’s career to that point but concentrates on his work with the New York Philharmonic, doing 102 Leonard Bernstein: A Research and Information Guide

much to show how Bernstein was perceived as a conductor and musical personality at the time. The article was reprinted in the Musical America International Directory of the Performing Arts (1989): 18, 20, 22. 138. Kaiser, Joachim, ed. Leonard Bernsteins Ruhm: Gedanken und Informationen über das Lebenswerk eines großen Künstlers. Hamburg: Albrecht Knaus, 1988. 220 p. ISBN 3-8135-0621-5. ML410.B566L46 1988 (Rice University). A useful source demonstrating Bernstein’s fame and importance in the German-speaking world, primarily assembled from translations of previously published materials, some annotated here. The book opens with a detailed chronology of Bernstein’s life (pp. 11–31), including premieres of his compositions and the dates that he worked with various orchestras. Following is August Everding’s “Solange noch Zeit zum Träumen ist” (pp. 33–35) from “Lauda- tio auf Leonard Bernstein,” written for an award presentation. Joachim Kaiser wrote “Besessener Erzähler und Erzieher: Eine Laudatio-Sonate” (pp. 36–52), an appreciation of several aspects of Bernstein’s work. (Kaiser published largely the same article in “Leonard Bernstein und München: Laudatio zur Verleihung der Karl-Amadeus-Hartmann-Medaille,” Das Orchester 34 [September 1986]: 905–11.) “Bernsteins frühe Jahre” (pp. 53–101) is Helmut Kossodo’s translation from Robert Rice’s “The Pervasive Musician,” published in The New Yorker (11 and 18 January 1958). Following are Hermann Stiehl’s translation of Robert Chesterman’s interview (pp. 102–19) with Bernstein published in Conversations with Conductors and Christian Spiel’s translation of John Rockwell’s “Bernstein Triumphant” (pp. 120–36), published in The New York Times Magazine on 31 August 1988. Werner Burkhardt’s “ ‘Somewhere’ in ‘America’ . . . die swingende Prophetie” (pp. 137–57) is an essay on Bernstein’s dramatic works. Following are Jost Miehlbradt’s translation of Stephen Wadsworth’s A Quiet Place—Librettist’s Notes (pp. 158–73), published first with the Deutsche Grammophon recording (447 962-1) and Christian Spiel’s translation of Robert S. Clark’s “Congruent Odysseys: Bernstein and the Art of Television” (pp. 175–86), originally published in Leonard Bernstein: The Television Work. Claus-Dieter Schaumkeil prepared a detailed discography of Bernstein’s recordings (pp. 187–215) and the book also includes a bibliography. 139. Kisselgoff, Anna. “A Reductive Review of Leonard Bernstein’s Life.” New York Downloaded by [New York University] at 04:27 09 August 2016 Times (17 July 1998): E7. A review of John Neumeier’s ballet Bernstein Dances, performed at the New York State Theater as part of Lincoln Center’s 1998 Bernstein Celebration. Neumeier set the ballet entirely to Bernstein’s music including, among other pieces, the Serenade (after Plato’s Symposium), the Overture to Candide, excerpts from On the Town and Peter Pan, Facsimile, and Mass. Neumeier offers an artistic vision of Bernstein’s life, believing the most important part of his character being his confused sexual identity. Kisselgoff found the two and one-half hour ballet “tedious but not entirely hopeless.” The production is a fascinating comment on the place of Bernstein’s life and music in late twentieth-century art. Biographical Sources 103

140. Kolodin, Irving. “One for the Road.” Saturday Review 47/17 (25 April 1964): 51–52. An appraisal of Bernstein’s career to date as he prepared to begin his one-year sabbatical from the New York Philharmonic. Kolodin believes that Bernstein’s work as a composer has been best in the Broadway musical, with his finest score being his first, On the Town. As a conductor, Kolodin finds that Bernstein still gets by on his quick and facile mind, failing to do what is required to achieve true mastery of the profession, a goal that Kolodin believes a dedicated Bernstein could reach. 141. Kupferberg, Herbert. “Musician of the Year 1989: Leonard Bernstein.” Musical America International Directory of the Performing Arts (1989): 11–12, 14, 16–17. An overview of Bernstein’s career with emphasis on his activities as conductor and some coverage of his work as a composer and educator. Kupferberg notes that, at age seventy-one, Bernstein still works in the areas that have dominated his life. The article includes five photographs (in addition to more in surrounding advertisements), including one seldom seen of Bernstein in an animated conversation with Pablo Casals, his wife Marta Casals looking on. 142. Lacy, Susan. Leonard Bernstein: Reaching for the Note. New York: WinStar Home Entertainment and Fox Lorber Associates, 1998. ISBN 1572523751. ML410. B566L458 1998. A documentary produced for the American Masters series, first broadcast in the fall of 1998. It is advertised as “the definitive look at the man and his music,” and it practically fulfills this hyperbole. Lacy wrote and directed a balanced and sensitive account of Bernstein’s personal and public lives, capturing his personality and spirit. Footage and photographs of Bernstein alternate with clips of interviews from over forty family members, friends, and musical colleagues, including most of his most important collaborators. At times Lacy was careless with chronology, but it is a minor point in one of the finest biographical statements on Bernstein in any medium. A highlight of the video is the use of music, all of it composed or conducted by Bernstein and played at appropriate moments in the narrative. 143. Ledbetter, Steven, ed. Sennets & Tuckets: A Bernstein Celebration. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. Downloaded by [New York University] at 04:27 09 August 2016 A seventieth-birthday tribute to Bernstein, this useful collection of essays (some republished from other sources) includes brief biographical statements and considerations of Bernstein as composer, teacher, recording artist, television performer, international celebrity, and conductor. Appendices include a chronology of his life, a list of compositions, a discography of his own works, and a bibliography. Most essays from the book are presented here in separate annotations. Contents: John Rockwell, “Bernstein Triumphant” (pp. 5–19) Andrew L. Pincus, “[Tanglewood Beginnings]: First Summer” (pp. 23–35) Larry Stempel, “Broadway’s Mozartean Moment, or an Amadeus in Amber” (pp. 39–56) 104 Leonard Bernstein: A Research and Information Guide

Paul Hume, “Liturgy on Stage: Bernstein’s Mass” (pp. 57–62) Steven Ledbetter, “Lord of the Dance: Bernstein’s Concert Music” (pp. 63–77) Leonard Bernstein, “The Principle of Hope” (pp. 81–91) Michael Tilson Thomas, “Learning from Lenny” (pp. 93–94) John Mauceri, “Preparing for the Pit” (pp. 95–103) Carl St. Clair, “Coaching for Copland” (pp. 105–13) John McClure, “Leonard Bernstein in the Studio” (pp. 117–21) Robert S. Clark, “Congruent Odysseys: Bernstein and the Art of Television” (pp. 125–36) Humphrey Burton, “Leonard Bernstein: Video Man” (pp. 137–41) D. Kern Holoman, “Talking about Music: The Maestro and the Masses or Reflections of a Child of the Sixties” (pp. 142–47) Marcel Prawy, “Lenny’s Vienna” (pp. 151–59) Phyllis Curtin, “Britten—A Rollicking Round” (p. 163) Carol Lieberman, “Mahler: With Bernstein in Israel” (pp. 164–69) John Oliver, “Beethoven In Excelsis” (pp. 171–72) James Orleans, “Brahms: Breaking the Fetters” (pp. 173–77) 144. “Leonard Bernstein: An Exclusive Interview.” ASCAP Journal 6/1 (1972): 6–11. A fine and detailed interview with Bernstein taped in his New York apartment. The interview covers many topics, including his wide-ranging talents, the presence of faith in his compositions, his eclecticism, his compositional methods, his interest in jazz from his childhood, and comments about the works of Stravinsky, Copland, and Shostakovich. This is a very useful reflection of Bernstein’s views and beliefs at this point in his career. Included are four photographs and a drawing of Bernstein by Olga Koussevitzky. 145. Lipman, Samuel. “Lenny on Our Minds.” New Criterion 3/10 (June 1985): 1–8. In a critical appraisal of Bernstein, the pianist, conservative commentator, and publisher of The New Criterion Lipman praises most of Bernstein’s work through the time that he left the New York Philharmonic but finds many faults with his later work in each area, concluding that he failed to fulfill his great potential. 146. List, Kurt. “Leonard Bernstein: Theory and Practice.” Commentary 1/4 (Febru- ary 1946): 66–72. Downloaded by [New York University] at 04:27 09 August 2016 A fascinating early critique of Bernstein’s career and music by a composer and critic who views his subject “in relation to relevant social and cultural factors” (p. 66) from Jewish and musical standpoints. List briefly reviews Bernstein’s biography, emphasizing his relatively late commitment to music as a career. He notes Bernstein’s interest in composing both “serious” and “commercial” music, comparing the Symphony No. 1, Jeremiah and On the Town. List admits that some of the distinctions between high art and commercial arts had disappeared in the United States and notes Bernstein’s interest in working in both areas, but still clearly favors the former and advises Bernstein to choose between them. Biographical Sources 105

147. Littler, William. “Bernstein at 70: From Tanglewood to Toronto.” Music Magazine 12/1 (February–March 1989): 6–9. Bernstein’s seventieth birthday was celebrated extravagantly and reported in print throughout the world, resulting in more substantial articles than can be listed here. Littler’s piece rises above the typical for its honesty and combination of description of the elder Bernstein with appraisal of his life’s work. He especially remembers Bernstein the popularizer of classical music on television, his many talents, and his work as a guest conductor and conducting teacher. Littler suggests that Bernstein would be remembered first as a conductor because his greatest accomplishments as a composer were relatively early in his career. 148. Machart, Renaud. Leonard Bernstein. N.p.: Actes Sud/Classica Repertoire, 2007. 217 p. ISBN 978-2-7427-7214-8. ML410.B566M33 2007 (University of North Carolina–Chapel Hill). A brief biography in which the author, a journalist and artistic director of a recording archive, emphasizes psychological issues and accessible description and analysis of Bernstein’s music, with less extensive coverage of other aspects of his life and work. The nine chapters include: an overall portrait with a consideration of the man’s “Janus-like” character as he struggled between conducting and composing, his childhood through his Philharmonic debut in 1943, an overall look at both classical and theatrical aspects of his compositions, a consideration of West Side Story, a brief look at the Kaddish and Chichester Psalms, an essay on Bernstein’s identification with Mahler, important events in his life from 1969 to the premiere of Mass in 1971, compositions of the 1970s and 1980s and related pieces in his output, and his work on television and other educational activities. 149. Machlis, Joseph. American Composers of Our Time. Westport, CT: Greenwood, 1990. 237 p. ISBN 0-313-22141-3. ML390.M175 1990. [First published: New York: Thomas Y. Crowell, 1963.] A book for general readers with chapters on sixteen different composers. Mach- lis’s coverage of Bernstein (pp. 173–88) is mostly accurate and includes emphasis on his early career up to his famous debut with the New York Philharmonic. Machlis mentions each of Bernstein’s major compositions through 1963 and

Downloaded by [New York University] at 04:27 09 August 2016 describes several. His most detailed coverage is of the ballet Fancy Free. 150. Mandell, Robert. West Side Maestro: A Musical Memoir of Leonard Bernstein. Vol. 1: The Creative Spark. Leicester, UK: Pressit, 2012. 595 p. ISBN 978-1477448663. ML410.B531M271 2012 (WorldCat). The author did not write this book for academic consumption. It is self-published and has some of the usual problems one associates with the type: absence of editing, self-indulgent content, and, sometimes, a lack of focus. In addition, there is no bibliography or index, and footnotes offer only definitions and explanations, seldom documentation. That stated, however, the writer was a conductor who studied with Bernstein, served as musical assistant on his Omnibus broadcasts, 106 Leonard Bernstein: A Research and Information Guide

and kept up with him for years, and he appears to have studied Bernstein’s video and audio recordings in great detail. In the midst of the volume’s problems, Man- dell offers informed commentary about Bernstein’s conducting career, his television work (113 pages on the Young People’s Concerts alone!), the Philharmonic years, the Norton Lectures, and a multitude of Bernstein’s compositions in terms of the music and comparison of early Philharmonic recordings of pieces with his later audio and video versions. The final chapter is on Bernstein the teacher in the last years of his life. Serious Bernstein scholars will want to know what is in this book. The planned second volume will concern Bernstein’s audio recordings. 151. Matthew-Walker, Robert. “Leonard Bernstein at Seventy.” Musical Opinion 111/1328 (August 1988): 265–67. A positive consideration of Bernstein’s career that offers an excellent three-page summation of his principal accomplishments: his training; directorship of the New York City Symphony Orchestra; his conducting triumphs in the early 1950s; the New York Philharmonic years; his championship of Mahler and other specialties as a conductor; and his compositions. Matthew-Walker gives special praise to West Side Story, Mass, Serenade (after Plato’s Symposium), and the Symphony No. 2, The Age of Anxiety. He also praises Bernstein the poet, a less famous aspect of his career. 152. Mayer, Martin. “The Blinding Facility of Leonard Bernstein.” Esquire 67/2 (Feb- ruary 1967): 66–68, 70, 120, 122, 124. The title of this article effectively captures its content. Mayer presents a number of biographical details, but each as a demonstration of Bernstein’s innate musicality and intelligence. Bernstein had announced that he would leave the New York Philharmonic at the end of the 1968–69 season, and Mayer covers his work with the orchestra extensively, focusing on what he is able to accomplish on a minimum of preparation and while engaged in a whirlwind of activities. Mayer admits that this makes for a wide range of quality in Bernstein’s work. 153. Moor, Paul. “Leonard Bernstein: Ceiling Unlimited.” Harper’s Magazine 196 (February 1948): 136–45. A provocative picture of Bernstein from when he was twenty-nine years old, several months after he had resigned the directorship of the New York City

Downloaded by [New York University] at 04:27 09 August 2016 Symphony Orchestra. Moor describes Bernstein’s life to that point, presenting many of the anecdotes that have been used by later biographers, such as David Ewen (see Item 121). Some of the details are now considered incorrect, such as the notion that Bernstein’s mother joined his father in discouraging his musical career. Moor presents a balanced view of the young Bernstein as a conductor, helping one to see how he matured during his career. 154. Moses, Kurt. “Point of View: Leonard Bernstein.” American Record Guide 54/1 (January–February 1991): 4–5. An appraisal of Bernstein following his death. Moses briefly surveys Bernstein’s contributions as a composer and conductor. He finds the theater music to be the Biographical Sources 107

“more original and appealing” (p. 4), but adds that Chichester Psalms and the first two symphonies will survive. Moses then reviews Bernstein’s recorded legacy, finding special merit in his work on Beethoven, Mahler, Shostakovich, Sibelius, Ives, Copland, Diamond, Harris, Barber, Schuman, Stravinsky, Haydn, and, to a lesser extent, other composers. 155. Myers, Paul. Leonard Bernstein. London: Phaidon, 1998. 240 p. ISBN 0-7148-3701-6. ML410.B566M84 1998. A readable and somewhat less detailed biography that covers important areas chronologically. The five chapters chronicle Bernstein’s life during 1918–45, 1945–57, 1957–69, 1969–79, and 1980–90. The book’s brevity allows for little description of the many important figures that Bernstein met, but more can be read about them in other sources. Myers takes a serious look at Bernstein’s major compositions with the depth of a good music critic. The book also includes useful black-and-white photographs, a list of works, suggestions for further reading, and a selective discography. The book includes no documentation. 156. Page, Tim. “The Joy of Bernstein.” ASCAP in Action (Fall 1988): 10–13. Written for Bernstein’s seventieth birthday, this article for the most part is a simple listing of the highlights of Bernstein’s career. Page rises above the pedestrian, however, when he proposes a list of Bernstein’s most important achievements: his great importance as a television educator; his changing of the orchestral repertory through advocacy of Mahler’s music; his helping jazz and rock to gain “academic respectability” (p. 13); and his proving that an American conductor need no longer look to Europe for training or certification. 157a. Peyser, Joan. Bernstein: A Biography. New York: Beech Tree Books, 1987. 481 p. ISBN 0-688-04918-4. ML410.B566P5 1987. 157b. —. Bernstein: A Biography. Revised and updated. New York: Billboard Books, 1998. 510 p. ISBN 0-8230-8259-8. ML410.B566P5 1998.

This was the first iographyb of Bernstein that specifically dealt with personal matters. Peyser’s extensive research and eye for detail shine through as all aspects of Bernstein’s life are covered and many are placed in a useful historical context.

Downloaded by [New York University] at 04:27 09 August 2016 Bernstein’s compositions are treated unevenly, some just mentioned and others described in considerable depth. Peyser’s depiction of Bernstein’s personality, however, is one-sided to the negative. Often the writer seems to believe herself privy to Bernstein’s most private thoughts and motivations. Another problematic aspect of the book is Peyser’s reliance upon a novel as a source: Philhar- monic by Herbert Russcol and Margalit Banai (New York: Coward, McCann and Geoghegen, 1971). She states that Bernstein acknowledged in 1983 that the novel was based upon his life (p. 166), but that does not change the fact that it is a work of fiction. The second edition of Peyser’s book is quite similar to the first (much of it sounding like Bernstein was still alive), but with a short addition to the “Acknowledgements” (pp. 9–10) and an “Afterword” (pp. 479–93), where 108 Leonard Bernstein: A Research and Information Guide

Peyser defends and explains her work against some criticism that it engendered. No attempt was made to update the main segment of the book. For example, Humphrey Burton, who published a biography of Bernstein in 1994, appears in Peyser’s second edition only as a director of Bernstein’s film projects. 158. —. “The Bernstein Legacy.” Opera News 65/1 (July 2000): 22–27, 71. Peyser opens her appraisal of Bernstein and his legacy with her assertion that “Bernstein’s powerful sexuality affected his art and career as much as did his formidable musicianship” (p. 23). She then assesses his work as both a composer and conductor, finding him very influential in both areas. She suggests that his compositional influence was greater than that of any of his contemporaries, quoting several commentators who cite his embrace of all types of music, an approach often heard today. She finds his recorded legacy as a conductor to be very large indeed, but notes that his career did not lead to many American conductors being given major positions with the finest orchestras. 159. Prelude, Fugue & Riffs. A newsletter published by The Leonard Bernstein Society and Amberson, Inc., 1991–. A collection of articles on many aspects of Bernstein’s work, often written by people who knew him. Issues also include announcements of new publications and recordings and a list of performances of Bernstein’s music. An important part of each newsletter is news concerning educational initiatives associated with the family’s continuing work in Bernstein’s name, which began with Bernstein Education through the Arts (BETA) Fund, based in Nashville, and continued later under the title Artful Learning. A selected listing of important articles from each issue of the newsletter: Autumn 1991: 160. “New Releases of the Definitive Candide,” 1 161. Humphrey Burton, “Works in Progress: My LB ‘Portrait’,” 1, 5 162. “Young Conductors Remember Their Teacher,” 3 [short pieces by Carl St. Clair, Eiji Oue, and Marin Alsop, the third adapted from an article in New York Newsday, 17 October 1990] 163. “David Patrick Stearns on Candide,” 4 164. Richard Wilbur, ‘ “An Agreeable Division of Labor’,” 4 Downloaded by [New York University] at 04:27 09 August 2016 165. “Recalling Last Year’s Memorial Events,” 6 Winter 1992: 166. Charlie Harmon, “In Search of the Definitive Edition: A Trail of Scraps and Scribbles,” 1, 3 167. Mort on Gould, “Helping Fellow Artists: ASCAP Remembers LB as ‘Always a Part of Us,’ ” 4 168. Sid Ramin, “ ‘Your Line-Up Is Terrible: Arrangers Really Know the Score,” 5 169. John Forbes, “Composer-Friendly Computers,” 5 Biographical Sources 109

Spring 1992: 170. Schuyler G. Chapin, “The Television Journey,” 1, 6 171. Humphre y Burton, “Leonard Bernstein on Video: Towards the Year 2000,” 3, 6 172. Ned Rorem, “Impressions of Lenny,” 4 173. Jack Gottlieb, “Notes on Concerto for Orchestra (“Jubilee Games”),” 5 174. David Del Tredici, “A Composer Remembers,” 5 Summer 1992: 175. Harry J. Kraut, “Make Our Gardens Grow,” 1, 7 176. Scott T. Massey, “Leonard Bernstein Center for Education through the Arts,” 2 177. Charles H. Webb, “An Educational Friendship: Leonard Bernstein and the Indiana University School of Music,” 3 178. Jamie Bernstein Thomas, “Inside the Music Festival: Notes from a Tanglewood Guide,” 4 179. Daniel R. Gustin, “Tanglewood and Leonard Bernstein,” 5 180. Atsushi Kobayashi, “A Happy Set of Circumstances: The Birth of the Pacific Music Festival,” 5 Fall 1992: 181. Teddy Koleck, “Lenny and Israel,” 3 182. John G. Healey, “Leonard Bernstein & Amnesty International,” 4 183. Mathilde Krim, “Leonard Bernstein & AmFAR,” 5 Winter 1993: 184. Humphrey Burton, “Trouble in Tahiti,” 1, 7 185. Alexander Bernstein, “The Power of ‘Fun,’ ” 2 186. Stephen Wadsworth, “Creating with Lenny,” 3 [in A Quiet Place] 187. John Mauceri, “Reflections on A Quiet Place,” 4 188. Chester Ludgin, “ ‘I’m Having a Nervous Breakdown,’ ” 4 [on singing A Quiet Place] 189. Louise Edeiken, “A Silent Place,” 5 [on singing A Quiet Place] Spring 1993: 190. Hanna Rinke, “Attempting the Impossible: A Record Producer’s Col- Downloaded by [New York University] at 04:27 09 August 2016 laboration with Leonard Bernstein,” 1, 5 191. John McClure, “Bernstein vs. the Studio: Recording Lenny the Hard Way,” 3 192. Hans Weber, “I Hate Retakes,” 4 Summer 1993: 193. Jamie Bernstein Thomas, “O Happy Birthday, Dear Daddy-O,” 1, 5 194. “Leonar d Bernstein 75th Birthday Commemoration: Calendar of Official Events,” Insert, 1–6 195. Charles Harmon, “West Side Story and Candide in Full Scores,” 4–5 110 Leonard Bernstein: A Research and Information Guide

Fall 1993: 196. Roger Englander, “Behind the Scenes: The Young People’s Concerts in the Making,” 1, 5 197. Alexander Bernstein, “The Question Factory,” 3 Winter 1994: 198. Allan Kozinn, “Bernstein Archive to Be Digitized for Public Access,” 1, 5 199. John Knowles, “Developing the Young People’s Concerts Study Guide,” 3 200. “Bernstein Archives Given to the Library of Congress,” 4 201. Elizabeth H. Auman, “The Library of Congress & The Leonard Bern- stein Archive,” 5 Spring/Summer 1994: 202. Humphrey Burton, “Writing the Life of Leonard Bernstein,” 1, 5 203. Mark Putnam and Margaret Officer, “Bringing the Young People’s Concerts into Today’s Classrooms,” 3, 6 204. Benjamin Folkman, “Symphony No. 1, ‘Jeremiah’ and the American Symphony,” 4 Fall 1994: 205. “Wonderful Town: A Conversation with Comden and Green,” 1, 5 206. Harry J. Kraut, “Rights and Wrongs: A How-To Guide to Licensing for Leonard Bernstein’s Music,” 4 Winter 1995: 207. Jamie Bernstein Thomas, “My Father and the FBI,” 1, 5 208. Professor Peter Weiser, “A Friend Remembers,” 4 Spring/Summer 1995: 209. Richard Morrison, “The Day I Met Leonard Bernstein,” 1, 3 210. Kuni Hashimoto, “A Japanese Candide,” 4 Autumn 1995: 211. Burton Bernstein, “Logodaedalist,” 1, 5 212. Eric “Apex” Chalkley, “The Joy of Crosswords,” 4 Downloaded by [New York University] at 04:27 09 August 2016 Winter 1996: 213. Jan Herman, “Does West Side Story Speak to Today’s World?,” 1, 5 214. “Polyg ram and Bernstein Group Establish Joint Publishing Venture,” 4 Spring/Summer 1996: 215. Alexander Bernstein, “The Leonard Bernstein Center: Ready to Grow,” 1 216. Elizabeth Auman, “Library of Congress Prototype,” 3 217. Humphrey Burton, “Bernstein and Mitropoulos: An Author’s View,” 4 218. Shirley Bernstein, “Reminiscence: Leonard Bernstein’s New York,” 5 Biographical Sources 111

Fall 1996: 219. Craig Urquhart, “The Quiet Legacy,” 1, 5 220. Jack Gottlieb, “Mass: A Jewish Mass or a Catholic Mitzvah?,” 4 221. Marin Alsop, “Mass,” 5 Winter 1997: 222. Nina Bernstein, “www.leonardbernstein.com,” 1, 4 223. Peter Jennings, “Giving Kids Heart,” 3 224. Charlie Harmon, “Two More Theatre Works Appearing in Print,” 5 [Mass and On the Town] Spring/Summer 1997: 225. Nina Bernstein, “Candide’s Travels,” 1, 4 226. Jack Gottlieb, “Candide Goes to College,” 5 [adapted from 1968 program notes] 227. Barbara Cook, “You Want Me to Do What?,” 6 [on singing Candide] Fall 1997: 228. Warren Hoge, “Saving Bernstein Pearls Lost with a ’76 Show: A Lon- don Concert Discards the Dross,” 1, 4 [reprinted from The New York Times, 12 July 1997; on A White House Cantata, adapted from 1600 Pennsylvania Avenue] 229. “School Named after Bernstein: Leonard Bernstein Oberschule,” 2 230. Alan Fluck, “The British Leonard Bernstein Programme for Young People,” 3 231. Susan Reiter, “A Helluva Site for The Original New York Musical,” 5 [On the Town] 232. Jamie Bernstein Thomas, “Going, Going . . . Auction of Bernstein Belongings at Sotheby’s,” 6 Winter 1998: 233. Nina Bernstein and Jamie Bernstein Thomas, “Sotheby’s Auction,” 1, 3 234. Nadine Brozan, “A Conductor Cannot Help but Remember Bernstein,” 4 Spring/Summer 1998: 235. John Ardoin, “Bernstein’s Legacy Lives,” 1, 3 [reprinted from The Dal- Downloaded by [New York University] at 04:27 09 August 2016 las Morning News, December 1997] 236. Mark Eden Horowitz, “The Library of Congress,” 2 237. “Lincoln Center to Honor Bernstein,” 4 238. “Tanglewood: A Special Tribute to Leonard Bernstein,” 4 239. John Stopford, “Leonard Bernstein: A Legend on Deutsche Grammophon,” 5 240. Harry Kraut, “Saint Roger” [on Roger Stevens] Fall l998: 241. Hanna Rinke, “A Tribute to Leonard Bernstein,” 1, 4–5 242. Craig Urquhart, “On the Road with Lenny,” 2 112 Leonard Bernstein: A Research and Information Guide

243. Jack Gottlieb, “THAT TABLE: A Memory Piece about Bernstein’s Work Desk in his Dakota Studio, Sold at the Sotheby’s Auction, December 1997,” 3 244. Clive Gillinson, “Lenny and the London Symphony Orchestra,” 5 245. “Amer ican Masters: Reaching for the Note,” 6 [announcement of the video on Bernstein’s life] 246. Jamie Bernstein Thomas, “In Memoriam: Shirley Bernstein, Octo- ber 3, 1923–May 20, 1998,” 8 247. Burton Bernstein, “My Sister, Shirley,” 9 248. Stephen Schwartz, “My Agent, My Friend,” 9 Winter 1999: 249. Anthony Tommasini, “When Bernstein Saw the Future,” 1, 6–7 [on the Norton Lectures; see Item 93] 250. Charles Webb, “Bernstein and Indiana University: A Personal Remembrance,” 3 251. “Leonar d Bernstein: A Celebration, Indiana University School of Music Announces Plans for Festival Celebrating 80th Anniversary of the Birth of Leonard Bernstein,” 4–5 252. Jonathan Sheffer, “Bernstein: The Harvard Years,” 7 253. “Sid Ramin: A 80th Birthday Tribute,” 8–9 [includes short articles by John Williams, Harry Kraut, Charlie Harmon, and Bruce Coughlin] Spring/Summer 1999: 254. Jeanne Golan, “Bernstein’s First Love,” 1, 5 [Bernstein and the piano] 255. “Indiana University: A Thoroughly Bernstein Celebration,” 2, 4 256. Kazuyuki Tsuchihashi, “Pacific Music Festival: Celebrating the Pacific Music Festival,” 3 257. Laurent Campellone, “The Kaddish Symphony: Yutaka Sado in conversation with Laurent Campellone,” 4 [reprinted from Repertoire, concerns Sado’s conducting a new recording of the Kaddish] Fall 1999: 258. Jack Gottlieb, “Bernstein’s Late-Night Thoughts,” 1, 4–5 259. “MacDowell Colony Celebrates Leonard Bernstein,” 2 Downloaded by [New York University] at 04:27 09 August 2016 260. “Leonard Bernstein Music Publishing Co.: Composer Tobias Picker Joins Leonard Bernstein Music Publishing Company/About Tobias Picker,” 3 Winter 2000: 261. Tom Godell, “Notes from a Friendship: The Correspondence of Serge Koussevitzky and Leonard Bernstein,” 1, 3, 6 262. “Bernstein and the MacDowell Colony: Remarks by Steven Lawson,” 4 263. “Nina Bernstein: Remarks from the MacDowell Colony Benefit,” 5 264. Seann Alderking and Charlie Harmon, “West Side Story: New Piano Vocal Score,” 9 [from the “Editor’s Note” of the new edition] Biographical Sources 113

Spring/Summer 2000: 265. Mark Eden Horowitz, “The Leonard Bernstein Collection Online,” 1, 3 266. Donald Chan, “West Side Story: A Musical Director’s Memories,” 4 267. “The Gap and West Side Story,” 5 268. “Mass at the Vatican,” 5 Fall 2000: 269. David Mermelstein, “Measuring a Maestro for the Ages (Again),” 1, 5 [excerpted from a New York Times article, 30 July 2000] 270. “New York Philharmonic Special Editions,” 3 Winter 2001: 271. Dr. Clemens Hellsberg, “Leonard Bernstein and His Impact on the Vienna Philharmonic,” 1–2 272. “Bernstein in Paris,” 3 273. Jamie Bernstein Thomas, “Bring Bernstein to Beijing,” 4 274. John Fleming, “Orchestra, Soloist Adeptly Meet ‘West Side Story Suite’ Challenge,” 5 275. Daniel Shiffman, “LeonardBernstein.com: How Does It Make You Feel?,” 6–7 Fall/Winter 2001: 276. JoAnn Falletta, “Learning from the Master,” 1–2 277. Michael Barrett and Jamie Bernstein Thomas, “Extreme Orchestra: New Concert for Young People,” 3. 278. Jamie Bernstein Thomas, “Bernstein Beat Goes to Havana,” 4–5 Spring/Summer 2002: 279. Martin Steinberg, “Young People’s Concerts Return to TV,” 1–2 280. Ann Mayle, “West Side Story: A Teaching Diary,” 3, 15 281. Jack Gottlieb, “The Leonard Bernstein Discography: New on the Web, Breaking the Octennial Cycle,” 6–7, 15 Fall/Winter 2002: 282. Sedgwick Clark, “Bernstein’s Mahler: A Personal View,” 1–3

Downloaded by [New York University] at 04:27 09 August 2016 283. Jamie Bernstein Thomas, “Discovering Mahler,” 4 284. W. Ian Walker, “The Handshake That Changed My Life,” 5 Spring/Summer 2003: 285. Alexande r Bernstein, Jamie Bernstein, and Nina Bernstein Simmons, “The Importance of Art,” 1–2 286. “The Leonard Bernstein Center,” 3 287. Jamie Bernstein, “The Bernstein Beat,” 5 Fall/Winter 2003–04: 288. “The Big Day: Memories of a Historic Debut,” 1, 4 289. Charles Zachary Bornstein, “Discovering Bernstein through Mahler,” 2–3 114 Leonard Bernstein: A Research and Information Guide

290. William Vacchiano, William Lincer, and Jacques Margolies, “From the Stage: Three Musicians Remember,” 4–5 291. Jack Gottlieb, “Leonard Bernstein: A Jewish Legacy,” 6–8 Spring/Summer 2004: 292. Dr. Richard Benjamin, “The Leonard Bernstein School Improvement Model,” 1–2 293. Susan Hanson, “Artful Learning: The ‘Hook’ for Student Achieve- ment,” 4 Fall/Winter 2004: 294. Thomas Cabaniss, “Leonard Bernstein’s Young People’s Concerts with the New York Philharmonic Premiere on DVD,” 1–2 295. Leonard Bernstein, “I’m a Liberal, and Proud of It,” 3 296. “Leonar d Bernstein: An American Life,” 6–7 [radio series produced for WFMT Radio Network] 297. Garth Edwin Sunderland, “Songfest: A Long-Awaited Critical Edition,” 10 Spring/Summer 2005: 298. Richard Morrison, “An Accolade for One Helluva Show,” 1–3 [first published in The Times, London] 299. Jamie Bernstein, “Candide,” 4–5 300. David Mermelstein, “Bernstein & On the Waterfront,” 8 301. Joseph Carman, “Reclaiming The Dybbuk,” 9 Fall/Winter 2005: 302. “Leonar d Bernstein Center for Learning Moves to Gettysburg Col- lege,” 1–2 303. Katy Stech, “Grant Strives for Full Potential Education: Teachers at Grant Language Magnet School in Duluth Receive Training in a Teaching Method That Integrates Art and Broad Concepts into Daily Lessons,” 4–5 [reprinted from Duluth News Tribune] 304. Jack Gottlieb, “The Little Motive That Could,” 6–7 305. Michael Morgan, “Bernstein in My Life,” 8–9 306. “New York Philharmonic Announces Scholar-in-Residence Program,” 11

Downloaded by [New York University] at 04:27 09 August 2016 307. “A New Kaddish Recording,” 14 Spring/Summer 2006: 308. “Leonard Bernstein, Boston to Broadway at Harvard,” 1–2 309. “Harvard Seminar Explores Bernstein’s Boston Ties,” 3 310. Todd Gabriel, “Concerto for Orchestra,” 4–5 311. Amy Shapiro, “Bernstein and the Clarinet: Stanley [Drucker] Remem- bers Lenny,” 6–7 [reprinted from The Clarinet] Fall/Winter 2006–07: 312. Robert Carsen, “Candide Camera,” 1–3 313. Kenneth Pool, “Leonard Bernstein Center Update,” 4 314. Klaus Gertel, “Exulting Freedom in Music,” 6 Biographical Sources 115

Spring/Summer 2007: 315. Jamie Bernstein, “The Candide Ruckus in Europe,” 1–2 316. “Artful Learning Goes to College,” 3, 5 317. Jenifer Ringer, “Reviving Dybbuk,” 4 318. Carol J. Oja, “Wonderful Town and McCarthy Era Politics,” 6 319. Jamie Bernstein, “Remembering Betty [Comden]! 1919–2006,” 7 320. Garth Edwin Sunderland, “Peter Pan Editor’s Note,” 8–9 Fall/Winter 2007–08: “Special Edition: Celebrating 50 Years of West Side Story” 321. Carol Lawrence, “ ‘Maria,’ a Fairy Tale,” 3 322. Reri Grist, “West Side Story—50 Years Old?,” 4 323. Jamie Bernstein, “Stephen Sondheim,” 5 [interview on his work on the show and what he learned from Bernstein] 324. Amanda Vaill, “The True Gesture—Jerome Robbins and West Side Story,” 6 325. Sid Ramin, “Leonard Bernstein’s Orchestrator,” 7 326. Mark Horowitz, “West Side Story: Birth of a Classic,” 7 327. John Mauceri, “Experiencing West Side Story,” 8 328. Donald Chan, “Conducting West Side Story,” 8 329. Molly Fortin, “The West Side Story Project,” 9 Spring/Summer 2008: 330. Craig Urquhart, “The Best of All Possible Worlds,” 1–3 [New York City festival celebrating Bernstein’s ninetieth birthday] 331. Cynthia Reynaud, “Leonard Bernstein Center for Learning/Gettysb urg College: Spring Break in Snow Proves to Be Education,” 4 332. “Teachers Reflect on the Bernstein Model,” 5 Fall/Winter 2008–09: 333. “West Side Story: Returns to Broadway,” 1–2 334. Kenneth Lafave, “Lenny Remembered,” 3 335. Judith Clurman, “Artful Learning: Educators Unite to Study West Side Story, June 17–21, 2008,” 5 Spring/Summer 2009: 336. Craig Urquhart, “IU’s Jacobs School of Music Receives Bernstein Gift,” 1–2

Downloaded by [New York University] at 04:27 09 August 2016 [donation of contents of Bernstein’s home studio to Indiana University] 337. “West Side Story Takes over Broadway,” 3 338. Stephen Somary, “Leonard Bernstein and Felix Mendelssohn,” 4–5 339. “Leonard Bernstein’s Boston Years Web Archive,” 5 340. Albert Ihde, “Leonard Bernstein’s Peter Pan Flies Again in Santa Barbara,” 6 341. Alexander Frey, “More Peter Pan,” 7 342. Ira Glasser, “Something Came, and It Was Good,” 8 Fall/Winter 2009: 343. “The Bernstein Project,” 1–2 [a London festival] 344. Edward Seckerson and Marin Alsop, “Discussing Mass,” 3, 5 [from an article in Gramophone, August 2009] 116 Leonard Bernstein: A Research and Information Guide

345. Boris Bratt, “Mass at the Vatican,” 4 346. Jamie Bernstein, “Taking Bernstein to Venezuela,” 7 Spring/Summer 2010: 347. George Steel, “A Quiet Place at the New York City Opera,” 1–2 348. JoAnn Faletta [sic, “Falletta” is correct], “Mass in Virginia,” 3 349. Patrick Bolek, “Artful Learning Spring 2010 Update,” 5 350. Nathan Szajnberg, “Bernstein and Twentieth-Century Creativity: Hushed Wonders,” 6–7 Fall/Winter 2010: “Special Edition: Remembering Leonard Bernstein” 351. Burton Bernstein, “My Brother, Lenny,” 2 352. Alexander Bernstein, “Remembering My Father,” 3 353. Phyllis Newman, “Lenny Lying Down and Laughing,” 4 354. Patrick Bolek, “Leonard Bernstein Center Update,” 5 355. Jack Gottlieb, “Bernstein, the Reluctant Serialist,” 6–7 356. Hershey Felder, “Maestro: The Art of Leonard Bernstein,” 10 [a play about his life] 357. Tony Napoli, “Notes from a Mass Fan,” 11 358. Pamela Beal, PhD, and Tawana Waugh, “The West Side Story Project Toolkit: Crime Prevention on a New Stage,” 12 Spring/Summer 2011: 359. Steven Smith, “West Side Story Film—With Live Orchestra,” 1–2 360. Humphrey Burton, “A Quiet Place at the New York City Opera,” 4, 13 361. Christa Woodall, “Lessons Learned from Chichester Psalms,” 5 362. Barbara Haws, “The New York Philharmonic Digital Archives,” 8 363. Jamie Bernstein, “Remembering Jack Gottlieb October 12, 1930–February 23, 2011,” 9 Fall/Winter 2011: 364. Mark Horowitz, “Letters Shed New Light on Bernstein Era,” 1–4 365. Patrick Bolek, “Artful Learning Update,” 5 366. Michael Hume, “MASS Turns 40,” 6, 12 Spring/Summer 2012: 367. Blythe Gillespie, “Phoenix House Changes Lives with the West Side Downloaded by [New York University] at 04:27 09 August 2016 Story Project,” 1–3 368. “Phoenix House West Side Story Project Discussed,” 3, 6 369. Patrick Bolek, “Artful Learning Update,” 4 370. Jules Wagman, “When Lenny Taught Me Piano,” 5 Fall/Winter 2012–13: 371. Mark Adams Taylor, “Leonard Bernstein & POTUS,” 1–3, 13 372. “Bernstein Compares Eisenhower and Kennedy,” 4, 13 373. Nina Bernstein Simmons, “Meeting President Carter,” 5 374. Patrick Bolek, “Artful Learning Update,” 6–7 375. Jamie Bernstein, “Directing Trouble in Tahiti,” 11 376. Barbara Haws, “Remembering Carlos Moseley, 1914–2012,” 12 Biographical Sources 117

Spring/Summer 2013: 377. “Artful Learning Celebrates Success,” 1–3 378. Garth Edwin Sunderland, “West Side Story Film with Live Orchestra: Creating the New Orchestration and Score,” 3–5 379. Barbara Haws, “New York Philharmonic Archives Update,” 6 380. “Berlin to Celebrate Bernstein,” 8 381. “Leonard Bernstein: Young People’s Classics,” 9 382. John Minch, “West Side Story at HMP Erlstoke,” 10 Fall/Winter 2013–14: 383. Garth Edwin Sunderland, “A Quiet Place,” 1–2, 8 384. “Artful Learning National Snapshot: Professional Development, Lead- ership & Honors,” 3 385. “The Leonard Bernstein Letters,” 4 386. “Questions & Answers with Author Nigel Simeone,” 5, 8 387. [Leonard Bernstein], “Tribute to John F. Kennedy,” 6–7 388. Josh Fiegelson, “Leonard Bernstein, My Rabbi,” 9 389. “In The News: Young People’s Concerts with the New York Philhar- monic, Volume 2,” 10–11 Spring/Summer 2014: 390. Sedgwick Clark, “Leonard Bernstein: America’s Music Director,” 1–2 391. “Artful Learning Spotlight: Ann Ott-Cooper,” 3, 5 392. “Letter to Jennie,” 4–5 [one of Bernstein’s letters to his mother] 393. Craig Urquhart, “Making Magic,” 6 [on his relationship with Deutsche Grammophon] 394. Reichert, Manfred. “Ich muß alles teilen: Ein Gesprach mit Leonard Bernstein.” Neue Zeitschrift für Musik 133/11 (November 1972): 634–36. An interview with Bernstein in the early years of his extensive work in Europe following his New York Philharmonic tenure. They briefly cover other aspects of Bernstein’s career, but it is mostly about his conducting. The piece covers many of Bernstein’s familiar themes, including his need to work in different areas, the importance he placed on communicating with audiences, and others. 395. Resnick, Evelyne. Leonard Bernstein: Un chef inspire. Paris: Editions Josette Lyon, Downloaded by [New York University] at 04:27 09 August 2016 1996. 191 p. ISBN 2-906757-83-7. ML410.B566R471996x. The second volume in a series of musician’s biographies called Les Interprètes cre- ateurs, books intended to be inspired by a photograph or other object that evokes the artist’s sensibility. Resnick’s inspiration is a photograph of a pensive Bern- stein at about sixty. One should read her description of this picture first (p. 14) to discern the biography’s focus, which is as much on Bernstein’s personality as on his professional accomplishments. The book is episodic, dividing Bernstein’s life, more or less, into his roles as humanist, as pianist, as conductor, as composer, as man, and as celebrity. There are small errors in years that events occurred. 396. Rice, Robert. “The Pervasive Musician I, II.” New Yorker 33/47 (11 January 1958): 37ff; 33/48 (18 January 1958): 35ff. 118 Leonard Bernstein: A Research and Information Guide

One of the most important biographical statements on Bernstein that appeared before 1960, including many details on his life from childhood to the present. Rice approaches each of Bernstein’s activities, presenting both positive and negative perceptions of his work. Bernstein the adult is covered in the first install- ment. The second segment covers his youth, training, and professional career through the epochal 1943–44 season, followed by concluding comments on his recent activities. 397. Rockwell, John. “Bernstein Triumphant.” New York Times Magazine (31 August 1986): 14–19, 24–25. What many critics wrote about Bernstein changed during the course of the 1980s. Rockwell’s article is an excellent representative of this trend. He covers Bernstein as conductor, composer, and man, giving a sort of update on his work. He finds him one of the finest conductors in the “mainstream orchestral repertory” (p. 14), uneven as a composer but the writer of many works that sound better as the years pass, an active and energetic teacher, and a man aware of the passing years. Rockwell observed Bernstein at New York Philharmonic concerts that summer and at Tanglewood. 398. Rorem, Ned. “Leonard Bernstein (An Appreciation).” Tempo 175 (Decem- ber 1990): 6–9. Rorem wrote this essay to be delivered at the McDowell Colony in Peterbor- ough, New Hampshire, on 9 August 1987, when Bernstein received the Edward McDowell Medal. The piece has also been published in Ovation (8 [Novem- ber 1987]: 28–30), in Gottlieb’s Complete Catalog (pp. 5–8), and in Rorem’s book Settling the Score (1988, pp. 27–32). Rorem makes brief but useful comments about Bernstein’s musical style, including rhythm, counterpoint, harmony, melody, and orchestration. He categorizes some of Bernstein’s many influences, especially Copland, and concludes with comments about his personality and roles as a performer and educator who helped popularize “non-pop” music. 399. Rosen, Peter. Leonard Bernstein: Reflections. International Communication Agency/Peter Rosen Productions, 1978. DVD release: EuroArts International GmbH, 2010.

Downloaded by [New York University] at 04:27 09 August 2016 Fifty-minute documentary made by a director who has specialized in films about classical musicians. Rosen’s impetus was a 1978 Bernstein festival organized by the Israel Philharmonic with performances of a number of his works by the orchestra and visiting artists. Rosen combines biography, rehearsal and concert footage, and Bernstein speaking about his career, the creative process, his commitment to tonality, musical eclecticism, and other matters. It is a multifaceted consideration of Bernstein the musician and artist, but includes little of a personal nature. The most telling interview segment begins about ten minutes before the end when he speaks of his music that “has its roots everywhere”—he cites jazz; Hebrew liturgical music; several European canonical composers from Bach and Beethoven to Mahler; American composers like Copland, Harris, and Biographical Sources 119

Schuman; and Schoenberg and various twentieth-century musical trends. He speaks convincingly of how eclecticism is a logical response for an American artist because the United States is a culture of immigrants. The DVD release also includes Bernstein leading the Orchestre National de France in Milhaud’s Le Boeuf sur le toit. 400. “Rover Boy Genius.” Newsweek 23/15 (10 April 1944): 82, 84, 86. A representative sample of Bernstein’s treatment by the press during the 1943–44 concert season, the year of his famous debut. This unsigned article reports that Bernstein’s first performance with the New York Philharmonic in November 1943 was not a fluke, ocumentingd his success in later concerts with the Philharmonic and in Pittsburgh and Boston. A sketch of his childhood and training appears as well, but the only composition named is the Symphony No. 1, Jeremiah; Fancy Free had not yet premiered. 401. Salzman, Eric. “Quo Vadis, Leonard Bernstein?” Stereo Review 28/5 (May 1972): 56–59. An intelligent appraisal of Bernstein the conductor, composer, and artist. Salz- man finds Bernstein the conductor one of the last Romantics following the Franco-Russian tradition rather than Central European. He believes that Bern- stein is the perfect guest conductor, but also covers his tenure with the New York Philharmonic. Salzman describes Bernstein the composer as too interested in writing large and important works and possessing too good of an ear and memory, meaning that all of the music he has ever heard comes out in his own compositions. He suggests that Bernstein should work on operas. Salzman finally praises Bernstein for his earnestness and sense of commitment and for increasing the size of the classical audience. 402. Schiff, David. “Re-hearing Bernstein.” Atlantic 271/6 (June 1993): 55–68. An absorbing and readable essay on Bernstein the teacher, composer, and conductor. Schiff, a composer and music scholar, offers his impressions of Bern- stein from his earliest memories in the 1950s and then presents an illuminating appraisal of Bernstein’s work. He lauds the teacher as seen in his Omnibus shows and describes the controversial Norton Lectures as recognition of music’s uni-

Downloaded by [New York University] at 04:27 09 August 2016 versality. He believes that Bernstein’s best music is what one hears in Fancy Free, the Broadway musicals (except Candide), and many works of the 1950s when he spent most of his time composing. He finds Bernstein’s most characteristic work as a conductor in recordings of Haydn, Mahler, and Stravinsky, and believes what many called his self-indulgent nature to be the result of faithfulness to the score. 403. Schmidt, Felix. Musikerportraits: Impressionen aus den Werkstätten von Kom- ponisten und Interpreten. Hamburg: Hoffmann und Campe, 1984. 204 p. ISBN 3-455-08676-4. ML385.S395 1984. Schmidt interviewed Bernstein in Vienna in September 1977 (pp. 26–33). They cover Bernstein’s increase in European conducting activities late in his New York 120 Leonard Bernstein: A Research and Information Guide

Philharmonic years, his interest in conducting opera, his perceived competition with von Karajan (which Bernstein denies), his continuing activities in the United States, his commitment to tonality, Mahler, his work with the Vienna Philharmonic, and his feelings about Wagner. 404. Schubart, Mark A. “Triple-Note Man of the Music World.” New York Times Mag- azine (28 January 1945): 18, 39. An account of the frenzy that was Bernstein’s life from the time of his New York Philharmonic debut on 14 November 1943 to the opening of On the Town in December 1944, offering a youthful description of Bernstein the man and how he lives. Much of the information is now well known, but a seldom reported detail is that at the time Bernstein’s financial matters were in the care of Her- man Starr of the Music Publishers Holding Corporation of America. Bernstein insisted that he would write no more Broadway shows. Schubart ends with the suggestion that Bernstein must overcome his early success and find a lasting place in the musical world. 405. Secrest, Meryle. Leonard Bernstein: A Life. New York: Vintage Books, 1994. 471 p. ISBN 0-679-40731-6. ML410.B566S43 1994. A detailed description of Bernstein’s life and career based upon extensive research and many interviews with family and friends. Secrest did not benefit from the materials that Bernstein’s estate made available to Humphrey Burton, but her account is detailed. While Burton’s book often seems more of an inside glimpse into Bernstein’s life, Secrest benefits from her more objective view. Useful details concerning Bernstein’s mentors and associates are provided. Compositions are discussed with little musical comment. Direct quotations are documented in a separate section. The book includes a number of black-and-white photographs. 406. Seiler, Thomas R. Leonard Bernstein: The Last 10 Years. Zurich: Edition Stemmle, 1999. 160 p. ISBN 3-908161-98-3. ML410.S566S44 1999 (Wichita State University). Thomas R. Seiler is a German photographer and art historian who met Bern- stein in Munich in 1981. Bernstein was pleased with some photographs that Seiler took the next day, and invited him to join his entourage as unofficial photographer, which Seiler did often over the last decade when Bernstein worked in

Downloaded by [New York University] at 04:27 09 August 2016 Europe. Seiler captured Bernstein working and relaxing in a memorable set of photographs, both color and black and white. Included as well are memories of Bernstein by a variety of colleagues and friends, each identified at the end of the book. There is also a short biographical sketch of Bernstein (pp. 152–53). The book is especially helpful for its European view of Bernstein and vivid look at his rapid aging during the 1980s. 407. Shainman, Irwin. Avoiding Cultural Default and Other Essays. New York: Peter Lang, 1991. 240 p. ISBN 0-8204-1406-9. ML3795.S39 1991. A book including columns written over thirty years that appeared in The Berkshire Eagle of Pittsfield, Massachusetts. Shainman is a trumpet player and conductor Biographical Sources 121

who taught at Williams College and writes perceptively about music. His column from 14 October 1978, honoring Bernstein’s sixtieth birthday (pp. 23–26), begins with memories of New York City in the mid-1940s when Bernstein conducted the New York City Symphony Orchestra. He applauds Bernstein’s growth as a conductor, several of his compositions, and his teaching. Shainman admits that Bernstein has made his share of mistakes, but wishes him many more years “to stimulate, exasperate, educate, shock and excite us” (p. 26). 408. Shawn, Allen. Leonard Bernstein: An American Musician. Jewish Lives. New Haven: Yale University Press, 2014. 347 p. ISBN 978-0-300-14428-4. Writing a short biography of Bernstein is in some ways more daunting than being encyclopedic. The subject’s sprawling life and complicated personality almost defy brief description, but Shawn accepted the challenge and succeeded admirably. He works chronologically, breaking this plan only when he needs to finish a story, such as his fine, brief summation of Candide’s complicated history following his description of the original version. The author moves fluidly between Bernstein’s personal life, composing, conducting, and other activities, writing with authority about each after painstaking research and a number of interviews. A composer who teaches at Bennington College, Shawm writes beautifully about Bernstein’s music, providing a surprising amount of detail about some works and relating compositions to his subject’s personal life and deepest preoccupations. Shawn’s coverage of Bernstein’s performing is also a highlight, naming and describing many worthwhile concerts and recordings, commenting upon his specialties, and writing persuasively and informatively about the Young People’s Concerts. 409. Sheng, Bright. “Leonard Bernstein: Portrait of the Artist by a Young Man.” Ear Magazine 14/8 (November 1989): 34–38. A perceptive character sketch of Bernstein by one of his students, a Chinese conductor and composer who worked closely with him on several projects. Sheng describes Bernstein as a teacher evaluating one of Sheng’s compositions, and makes a few comments about Bernstein’s music. At first glance this article seems superficial, but it has much to say about Bernstein’s personality. 410. Sherman, Steve J., and Robert Sherman. Leonard Bernstein at Work: His Final Years, Downloaded by [New York University] at 04:27 09 August 2016 1984–1990. Milwaukee, WI: Amadeus Press, 2010. 170 p. ISBN 978-1-57467-190- 2. ML410.B566S47 2010. Steve J. Sherman is a leading performing arts photographer who gained close access to Bernstein at various events in the last six years of his life. He provides here a remarkable set of photographs, mostly surrounding various occasions in New York, vividly illustrating the aging conductor and his continuing commitment to fully engaged performances. Sherman’s father, Robert Sherman, a writer and broadcaster, interviewed a number of Bernstein’s family members, friends, colleagues, and members of the orchestras that he worked with to assemble short quotations that compose a telling verbal portrait of the man and musician. 122 Leonard Bernstein: A Research and Information Guide

The book includes a foreword by Bernstein’s friend Lauren Bacall, a preface by his oldest daughter, Jamie Bernstein, and an introduction by James M. Keller, program annotator for the New York Philharmonic and one of the authors of Leonard Bernstein: American Original (Item 106). 411. Simeone, Nigel, ed. The Leonard Bernstein Letters. New Haven: Yale University Press, 2013. 606 p. ISBN 978-0-300-17909-5. ML410.B566A4 2013. An intelligent and carefully chosen collection of 650 letters that allows the reader an intimate, nearly unfiltered look at Bernstein from his teens until his death. Simeone erred on the side of portraying Bernstein the composer and conductor, including more letters with colleagues and friends than family members, although his correspondence with wife Felicia Bernstein appears often. Many letters to Bernstein touch on important professional matters, including, for example, fine coverage of the creation of West Side Story and items about potential projects that never materialized. The selection of letters allows one to learn much about his relationship with such friends as Aaron Copland. Simeone divides his collection into eight chapters: 1932–41, 1941–44, 1945–49, 1950–55, 1955–57, 1957–69, 1970–78, and 1978–90. Appendices include an early outline for West Side Story that Laurents and Bernstein sent to Robbins, and the contents of many postcards that Bernstein exchanged with friend Mildred Spiegel between 1935 and 1972. 412. Struble, John Warthen. The History of American Classical Music: MacDowell through Minimalism. New York: Facts On File, 1995. 444 p. ISBN 0-8160-2927-X. ML200.S95 1995. A useful study of the topic, beginning in the late nineteenth century. Bernstein looms large here for his promotion of American music. Struble dedicates the book to Bernstein and Serge Koussevitzky for helping to make the history that he chronicles. The segment on Bernstein (pp. 234–42) is a good short biography covering his major activities and compositions. Struble notes it is too early to assess Bernstein’s compositional achievement, but his larger service to American music is beyond dispute. Appendix C is a list of fundamental repertory, but for Bernstein’s music (p. 420) it is incomplete, including the minor Seven Anniversa- ries for piano but missing all three symphonies. Downloaded by [New York University] at 04:27 09 August 2016 413. Swan, Claudia, ed. Leonard Bernstein: The Harvard Years, 1935–1939. New York: Eos Orchestra, 1999. 91 p. ISBN 0-9648083-4-X. ML410.B566L64 1999. A volume inspired by a festival in which the Eos Orchestra reconstructed Bern- stein’s incidental music for Aristophanes’s The Birds, performed at Harvard in April 1939. (Unfortunately the book includes no information on how that recon- struction occurred.) David Wright opens the book with “Bernstein at Harvard: The Artist and the Escape Artist” (pp. 3–14), a basic overview with little new information. Following are reprints of two of Bernstein’s music reviews from 1938 (pp. 24–33), the first from Modern Music (see Item 64) and the second from the Harvard Advocate. The book also includes: a 1938 letter to Helen Coates Biographical Sources 123

(pp. 32–33); Ron Gwiazda’s informative “Leonard Bernstein at the Boston Latin School” (pp. 38–45); composer Harold Shapero’s (Harvard ’41) evocative “Lenny at Harvard (Reminisce)” (pp. 47–53); Bernadette A. Meyler’s “Composing (for a) Philosophical Comedy” (pp. 71–78), concerning Bernstein’s work in the production of The Birds; and Timothy W. Boyd’s and Carolyn Higbie’s “ ‘Not So Much New Deal as Old Howard’: Leonard Bernstein and Aristophanes’ The Birds” (pp. 80–89), a more general description of the Harvard production. The book includes a number of illustrations, especially pictures from the original production and Bernstein while at Harvard. 414. “The Symphonic Form Is Dead, and Other Observations by a New Elder States- man.” Time 92/9 (30 August 1968): 53. Bernstein comments on several topics for Time in celebration of his fiftieth birthday in an unascribed interview. Bernstein speaks on being a conductor, the concert hall as a museum and how the symphonic form died about the time of Mahler, on his love for the piano and disdain for the avant-garde, on the future of musical theater and how it is not found in works like Hair, on what he likes and dislikes in pop music, and on reaching his fiftieth birthday. 415. Teachout, Terry. “How Good Was Leonard Bernstein?” Commentary 98/4 (Octo- ber 1994): 49–54. In what begins as a review of Bernstein biographies by Burton and Secrest, Teachout offers brief comment on most aspects of Bernstein’s life and work, but one should beware of some factual errors and controversial opinions stated as fact. He begins with Bernstein the man, covering his ego, homosexuality, Jewishness, and what Teachout considers Bernstein’s political naïveté, concluding with summary condemnation of the last two decades of his life. He asserts that Bernstein’s personal problems prevented him from accom- plishing all that he might have, but concludes that anyone capable of composing Fancy Free, reviving Mahler’s music, and popularizing classical music for many Americans should be praised for what he did do. The article sparked some interesting letters from readers in the January 1995 issue of Commen- tary (pp. 19–20), including Stefan Bauer-Mengelberg’s recollection of Bern- stein’s comments from the 1950s about his possibly becoming the “American

Downloaded by [New York University] at 04:27 09 August 2016 Offenbach” (p. 19). 416. Tommasini, Anthony. “Bernstein Revisited: A Master of It All.” New York Times (10 July 1998): E1, E6. As Lincoln Center celebrated Bernstein’s eightieth birthday with a massive festival, Tommasini joined in the critical reappraisal of Bernstein. As Tommasini notes, during Bernstein’s life his achievement was usually regarded in piece- meal fashion, with reviews of his conducting or composing. Since his death, Tommasini states that it has become clear that Bernstein “was one of the dominant musicians of this century.” Tommasini goes on to look briefly at each side of Bernstein’s legacy. 124 Leonard Bernstein: A Research and Information Guide

417. Trott, Donald L. “Leonard Bernstein Remembered: A Lecture/Interview with His Son, Alexander.” Choral Journal 34/4 (November 1993): 9–13. The majority of this article is a truncated version of a lecture that Alexander Bernstein presented at a contemporary music festival at Longwood College in Virginia in October 1992. He comments on his father as conductor and composer, contrasting his public and private faces with illustrations from family life. He touches on a number of aspects of his father’s personality, closing with his views on education. The article concludes with a brief interview with Trott about Bernstein Education through the Arts, a foundation his father founded late in his life. 418. Tubeuf, André. “Un américain à Paris.” Diapason Harmonie 319 (Septem- ber 1986): 32–38. A light article with a number of photographs, written on the occasion of Bern- stein conducting in the Salle Pleyel in Paris. Tubeuf writes the article as a letter to Bernstein, reviewing his career and European experience and a number of aspects of his personality. He comments, somewhat less knowingly, on the unlikely success of an American-born, Jewish musician in the United States in the 1940s. Tubeuf names a number of Bernstein’s compositions and projects. 419. —. “Hommage: Leonard Bernstein ‘A Boy Like That!’.” Diapason Harmonie 365 (November 1988): 38–39. A tribute to Bernstein for his seventieth birthday. Tubeuf’s focus is on Bernstein the popularizer as both a conductor and composer. While there is little that is profound, it is a useful glimpse into Bernstein’s French image. Included as well is a brief piece called “Bernstein Compositeur” by J. F. Zygel and a brief discography of Bernstein’s recordings by Francis Dresel. 420. Walsh, Michael. “The Best and Brightest, Leonard Bernstein: 1918–1990.” Time 136/18 (29 October 1990): 113. An obituary that focuses primarily on Bernstein’s conducting and compositions. The former, Walsh asserts, ranged from the “stunning” to the “vulgar and man- nered.” He believes Bernstein’s best compositions appeared before he took on

Downloaded by [New York University] at 04:27 09 August 2016 the New York Philharmonic in 1958. He described West Side Story as “still the greatest music-theater piece written by an American.” 421. “Wunderkind.” Time 69/5 (4 February 1957): 68–70, 72, 75. A fairly detailed article on Bernstein that appeared soon after he was named co-conductor of the New York Philharmonic with Dimitri Mitropoulos. Even at this early juncture it was stated that Mitropoulos would probably soon quit the orchestra. The article includes the usual facts and anecdotes offered about Bern- stein in the popular media in the 1950s, but critical appraisal appears as well, such as, “At 38, Bernstein must tell himself that his talents have so far produced great excitement but no great works” (p. 72). Biographical Sources 125

422. Zignani, Alessandro. “Un ritratto.” In Guido Salvetti, ed., Bernstein in Italia, 125–29. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410.B566B55 1993. An unusual psychological and musical portrait of Bernstein, including how he overcame his father’s doubts about his career in music, managed to work in several different areas, how he grew as an interpreter, the depression he suffered following his wife’s death, and then a brief chronological consideration of his personal development and how that is heard in his recordings. Zignani covers much in a brief space, nothing in any detail. 423. —. Leonard Bernstein: Un’anima divisa in due. Varese: Zecchini Editore, 2009. 279 p. ISBN 978-88-87203-88-2. ML410.B566Z54 2009. Subtitled “a spirit divided into two,” this biography approaches Bernstein’s professional and personal lives, none of it in great detail, but Zignani covers most important aspects of his life. Bernstein’s compositions are perhaps the most significant part of the volume, especially in terms of the circumstances of their creation and a bit about the music, but the author also describes his conducting career both in terms of broad outlines and with some fetching details. Material concerning Bernstein’s family life and friends is woven into this basically chronological study, and Zignani also illustrates the complexity of the musician’s sex life. This is for the most part a useful pass through Bernstein’s life, and it also includes a large discography and videography.

PARTICULAR BIOGRAPHICAL ISSUES

424. Adams, Sarah, Carol J. Oja, and Kay Kaufman Shelemay. “Leonard Bernstein’s Jewish Boston: An Introductory Note.” Journal of the Society for American Music 3/1 (February 2009): 1–2. An introductory essay to this special Bernstein issue on the Jewish community from which Bernstein hailed. Carol J. Oja and Kay Kaufman Shelemay led a Har- vard seminar of nineteen undergraduate and graduate students in the spring of 2006 that researched various aspects of this topic through interviews and archi-

Downloaded by [New York University] at 04:27 09 August 2016 val research, in the process assembling a new understanding of Bernstein’s roots in Boston. The special issue included articles derived from work in that seminar, which also were presented at the international conference “Leonard Bernstein: Boston to Broadway” that took place at Harvard in October 2006. 425. Argyropoulos, Erica Kay. “Bernstein at Brandeis: A Study of Leonard Bernstein’s Collaboration with Brandeis University, 1951–1955.” MA thesis, University of Kentucky, 2005. 96 p. A worthwhile consideration of a largely misunderstood chapter of Bernstein’s career. As Argyropoulos notes, some incorrect information about Bernstein’s work at Brandeis has been transmitted in well-known sources. The author of 126 Leonard Bernstein: A Research and Information Guide

this thesis sets the record straight through consideration of correspondence and lecture notes, other primary sources, and other materials. An important contribution was an interview with Caldwell Titcomb, a young member of the Brandeis faculty during the Bernstein years and coteacher of a seminar on Candide, where such students as Jack Gottlieb considered with the composer the problems presented by musicalizing Voltaire’s novella. Argyropoulos also offers a brief history of music in the opening years at Brandeis, descriptions of Bernstein’s lectures and courses with fascinating details, fine coverage of the famed Festival of the Creative Arts from 1952, and related appendices. 426. Baumel, Herbert. “Some Other Time.” Opera News 65/1 (July 2000): 18–21, 75. Baumel was a violin student at the Curtis Institute of Music while Bernstein studied conducting and piano. Here he remembers those days, a meeting in Italy in 1955, and Bernstein’s part in the celebration of Curtis’s fiftieth anniversary in 1975. Baumel recalls antics from their student days, including an outrageous nocturnal visit to Leopold Stokowski’s house when Bernstein was actually shy. He also describes Bernstein’s work with Reiner and his attempt to play in the Cur- tis Symphony’s percussion section for orchestral experience. Baumel remembers Bernstein fondly but also gleefully pokes holes in the Bernstein legend. 427. Bernstein, Burton. The Grove. New York: McGraw-Hill, 1961. 171 p. Library of Congress card no. 61-11647. PS3552.E7325G7 1961. This is a work of fiction, but Burton Bernstein, fourteen years his brother’s junior, based it on the lake community in Sharon, Massachusetts, where his family lived summers during the 1930s and 1940s and Leonard Bernstein directed his early productions of Gilbert and Sullivan. The story “A Voice Like a Regular Florence Nightingale” (pp. 5–25) includes a character clearly based on Leonard Bernstein and is marginally based on truth, including the story of the Bernstein’s family maid singing in the production of H.M.S. Pinafore. 428. —. Family Matters: Sam, Jennie, and the Kids. New York: Summit Books, 1982. 200 p. ISBN 0-671-42276-6. F73.9J5B47. [Originally published in The New Yorker 58 (22 March 1982): 53ff and 58 (29 March 1982): 58ff.] Burton Bernstein clarifies a number of issues concerning the family. Long a staff

Downloaded by [New York University] at 04:27 09 August 2016 writer for The New Yorker, he tells an interesting tale about his immigrant parents and their experiences with the older and younger generation at a time of rapid change in the United States. That there is one member of the family who became an international celebrity is almost incidental in the book. The essay is divided into “Sam and Jenny” (the parents) and “The Kids.” Especially useful is his portrayal of his father, discussed in many sources as an impediment to Leon- ard Bernstein’s career, and the close attachments between the Bernstein children. 429. Block, Geoffrey. “Bernstein’s Senior Thesis at Harvard: The Roots of a Lifelong Search to Discover an American Identity.” College Music Symposium 48 (2008): 52–68. Bernstein published his Harvard senior honors thesis in his anthology Findings (1982), making it easily available for scholarly interpretation (Item 97c). Block Biographical Sources 127

offered the first detailed consideration of this noteworthy essay (“The Absorp- tion of Race Elements into American Music”) by a talented undergraduate. He effectively summarizes Bernstein’s main conclusions and places them in the context of some of his later essays and lectures, showing that Bernstein’s thinking and attitudes did not change much over the years. Bernstein identified his main argument in a letter from the period to friend and mentor Aaron Copland and stated, “Whether this is tenable or not, it is my thesis, and I’m sticking to it” (p. 54). A major part of Bernstein’s argument was that the first composer to introduce vernacular elements into his music in a thoroughly “American” manner was Aaron Copland. 430. Blumenthal, Ralph. “Files Detail Years of Spying on Bernstein.” New York Times (29 July 1994): A1, A20. A detailed news report on the release of Bernstein’s FBI file, acquired through the Freedom of Information Act by the American Civil Liberties Union of Southern California. The FBI released 666 pages of reports on Bernstein dating from 1943 until the 1970s, from his involvement in a number of leftist organizations during World War II until the aftermath of the 1970 fundraiser for the Black Panthers at his New York apartment. A memo from 1954 noted that little of substance had been found, but the reports continued for another two decades under the watchful eye of J. Edgar Hoover. 431. Godell, Tom. “Bloomington: A Celebration of Bernstein.” American Record Guide 62/5 (September–October 1999): 24–26. A review of the Indiana University School of Music’s huge Bernstein Festival in April 1999, which celebrated Bernstein’s eightieth birthday eight months after the actual date. The festival included concerts, video presentations, lectures, panel discussions, and theatrical works. Godell concentrates in his review on a talk by Betty Comden and Adolph Green, a piano recital, and the productions of Mass and On the Town. His comments on Mass include interesting material on its music. 432. Grad, Karene Esther. “When High Culture Became Popular Culture: Classical Music in Postwar America, 1945–1965.” PhD dissertation, Yale University, 2006. 206 p. Downloaded by [New York University] at 04:27 09 August 2016 The argument of this dissertation is that instead of the separation between high culture and popular culture in the postwar United States, there was a popularization of high culture in America through television, the popularity enjoyed by famous musicians, the debate of what constitutes American music, and the creation of cultural centers like Lincoln Center as public mon- uments. Grad spends one chapter (pp. 12–58) describing Bernstein’s image as a star and concentrating on his early career from the Carnegie Hall debut in 1943 until his appointment as music director of the New York Philhar- monic in 1958. She references Bernstein’s story not only for his personal experience but also a symbol of “good American success story” (p. 19) during the mid-twentieth-century. 128 Leonard Bernstein: A Research and Information Guide

433. Hamilton, Heather Amlin. “A Bi-variate Examination of Leonard Bernstein’s Artful Learning™ Model.” EdD thesis, University of Bridgeport, 2010. 97 p. The Artful Learning model is inspired by Bernstein’s educational insights and developed by The Leonard Bernstein Center. Hamilton’s study evaluated the model’s impact and its implications on academic achievement at the fifth grade level in the state of Iowa, and the result was positive. The appendix offers Bern- stein’s recollections on his Omnibus broadcasts. 434. Heskes, Irene. “Leonard Bernstein: Musician and Jew.” Reconstructionist 27/14 (17 November 1961): 26–30. In this review of Bernstein’s The Joy of Music (Item 85) and biographies by John Briggs and David Ewen (Items 112 and 121), Heskes also takes the opportunity to assess Bernstein’s career to this point, especially in light of his identification as a Jew and in his service to Jewish music in the United States and Israel. The author shares the concern of many critics that Bernstein spreads himself too thin, suggesting that he has achieved his only true fulfillment in his Jewish pursuits. The article could be seen as narrow-minded and does appear in a Jewish publication, but it is a telling view of Bernstein from a coreligionist. 435. Hoban, Phoebe. “The Bernstein Bonanza.” New York 26/34 (30 August 1993): 126–33. In one of a spate of articles that appeared to coincide with Bernstein’s posthumous seventy-fifth birthday celebration, Hoban offers a fine summation on the continued marketing of Bernstein’s recordings, compositions, and name following his death. She described the work of each of his children and niece, mer- chandise such as umbrellas and mugs, compact disc releases by Sony Classical and Deutsche Grammophon, and what was then the continuing efforts of Harry Kraut, Bernstein’s long-time manager who ran Amberson publishing and Bern- stein’s estate. There is also interesting material on the Bernstein Archive, soon thereafter donated to the Library of Congress. 436. Horowitz, Joseph. “ ‘Sermons in Tones’: Sacralization as a Theme in American Classical Music.” American Music 16/3 (Autumn 1998): 311–40.

Downloaded by [New York University] at 04:27 09 August 2016 An examination of the quasi-religious approach to European, especially German, music that can be observed in American orchestral culture since the nineteenth century. Horowitz finds the beginnings of this phenomenon in the musical journalism of John Sullivan Dwight and conductors Theodore Thomas and Anton Seidl, German-born conductors who worked in the United States. Arturo Tos- canini filled the role of conducting god in the United States for decades. Bern- stein, according to the author, defied these expectations because he worked in both concert music and theater music and had, for example, the temerity to demystify Beethoven on national television, flying in the face of serious music appreciation. Horowitz states that Bernstein, as a homosexual who also wrote music that exuded “adolescent sexuality” in West Side Story, was “insufficiently Biographical Sources 129

wholesome” to be America’s “Music Man” (p. 333), a dubious assertion given his incredible popularity as a conductor and Broadway composer. 437. Hubbs, Nadine. Queer Composition of America’s Sound: Gay Modernists, Ameri- can Music, and National Identity. Berkeley: University of California Press, 2004. 293 p. ISBN 0-520-24184-3. ML200.5.H83 2004. Bernstein’s name makes frequent appearances in this study, where the author considers the dominance of homosexuals among composers of American concert music from the 1930s forward. Her illumination of the world in which these musicians lived—where their sexual preference (and often their Jewish- ness and liberal political views) complicated the lives they tried to lead as public artists—is an important contribution, and one that must be investigated in tandem with major biographies of these composers. Among the interesting ideas that Hubbs brings to light concerning Bernstein are the strong compositional influence she states he took from the music of Paul Bowles (p. 110) along with views and speculation on Bernstein’s role as a friend, lover, and fellow musician with other members of this circle, including Aaron Copland, David Diamond, Virgil Thomson, and others. 438. —. “Bernstein, Homophobia, Historiography.” Women & Music 13 (2009): 24–42. As the most famous American classical musician of the twentieth century, every aspect of Bernstein’s biography is important. Here Hubbs argues convincingly that biographers and other scholars have downplayed Bernstein’s sexuality, in the process perpetuating a lack of understanding and knowledge concerning the role of gay musicians in American music during Bernstein’s life, and the dis- crimination they faced and hard choices they were forced to make. As Hubbs notes, the anti-Communist fervor in the years following World War II affected musicians in Bernstein’s circle as much for their sexuality as for their politics. She deals with how gays might use homophobia for their own ends—such as Bernstein’s possible “outing” of Mitropoulos in Boston in 1949 and New York in 1957 when important decisions were being made by symphony boards—and with controversies surrounding Bernstein’s marriage. Hubbs demonstrates that it is time that American music scholarship understand homophobia and write

Downloaded by [New York University] at 04:27 09 August 2016 about it honestly. 439. Jackendoff, Ray. “Leonard Bernstein’s Harvard Lectures.” High Fidelity and Musi- cal America 24/4 (April 1974): MAS-10. A short but pithy consideration of the main issue Bernstein raised in the Charles Eliot Norton Lectures by one of the main scholars who has linked musical and linguistic analysis. Jackendoff did not write a critique of Bernstein’s work, instead offering his own thoughts on how Noam Chomsky’s work relates to music. Linguists theorize on how children learn language so easily. Chomsky’s explanation was that we inherit an innate ability to learn language. Bernstein hypothesized that in the same way we inherit an innate ability to understand 130 Leonard Bernstein: A Research and Information Guide

tonality. Jackendoff expresses gratitude that Bernstein had the courage to relate music and linguistics, hoping that more people will now show interest in the concept. 440. Kaiser, Charles. The Gay Metropolis, 1940–1996. Boston: Houghton Mifflin, 1997. 404 p. ISBN 0-395-65781-4. HQ76.3.U52N486 1997. Leonard Bernstein plays a minor role in this excellent account of how homosexuals moved from the fringes of American urban society before World War II to a place of greater respect in the mid-1990s. This period corresponds with Bern- stein’s entire adult life. As one of the most famous American men living the gay life in that period, Bernstein inevitably appears, and the book as a whole raises many of the issues and controversies that he experienced. Penetrating observations concerning Bernstein include, among others: possible reasons for the popularity of West Side Story among young gay men and the show’s creation from such a perspective (pp. 89–94), Bernstein’s appearances in the gay bar scene in New York City (pp. 107, 112), his experiences with gays in Israel from the days of his earliest visits (pp. 182–184), and his weeping at a Carnegie Hall concert by gay icon Judy Garland in 1961 (p. 196). 441. Kaskowitz, Sheryl, “All in the Family: Brandeis University and Leonard Bern- stein’s ‘Jewish Boston,’ ” Journal of the Society for American Music 3/1 (Febru- ary 2009): 85–100. A brief consideration of Bernstein’s involvement with Brandeis University, where he served on the faculty between 1951 and 1956, as a fellow from 1956 to 1976, a trustee from 1976 to 1980, and a trustee emeritus from 1980 until his death. Kaskowitz notes that Bernstein’s strong personal identity as a Jew from Boston probably helped prod his interest in Brandeis, but he was also drawn to the university’s nonsectarian stance, which paralleled Bernstein’s own efforts at assimilation. Assisting Brandeis also perhaps was a blow against anti-Semitism, which Bernstein had experienced as student at Harvard and other times during his life. Kaskowitz also considers how Brandeis was founded by immigrant businessmen of the previous generation, who might have reminded the composer of his own father, meaning that perhaps his embrace of the school was partly in honor of his family and upbringing. In 1967, Bernstein established a scholarship at Brandeis

Downloaded by [New York University] at 04:27 09 August 2016 in Judaic Studies in honor of Samuel Bernstein. 442. Keiler, Allan. “Bernstein’s The Unanswered Question and the Problem of Musical Competence.” Musical Quarterly 64/2 (April 1978): 195–222. A detailed response to Bernstein’s Norton Lectures by a linguistics professor at the University of Maryland who later became a music professor at Brandeis University. Keiler applauds Bernstein’s approach to music through the field of linguistics but cites his disagreement with many details of Bernstein’s application of the method. He finds Bernstein’s lectures to include “inconsistency, faulty argument, and empty terminological morass” (p. 198). Because of the attention Biographical Sources 131

they generated, however, he attempts to show useful ways that linguistics might illuminate our understanding of music. 443. Kirk, Erin P. “Aaron Copland & Leonard Bernstein: Twentieth-Century Music through the Eyes of Masters.” PhD dissertation, Claremont Graduate University, 2010. 384 p. Both Copland and Bernstein were prolific as composers, authors, conductors, and performers. They also attained important social status and served as key figures that promoted “American” sound. Kirk concentrates on their thinking about music and how their writings and ideas influenced music during the twentieth century. In order to understand the origin of Copland’s and Bernstein’s concepts about new music, Kirk persuasively discusses the influences from Ives, Schoen- berg, Bartók, Stravinsky, Hindemith, Milhaud, and Boulanger. When describing the development of American sound, American composers such as Gershwin, Thomson, Schuman, and Harris were critical, together with Carlos Chávez, the Mexican composer. Both Copland and Bernstein were concerned with contemporary music having an audience and devoted themselves to teaching the public with music. This dissertation is especially helpful for those who look for Bern- stein’s principles and thoughts about composition. 444. Kupferberg, Herbert. Tanglewood. New York: McGraw-Hill, 1976. 280 p. ISBN 0-07-035643-2. ML200.8.B5K86. A history of Tanglewood from its founding until the mid-1970s. As a major figure in the festival’s history, Bernstein appears often, from his days as a student in the first years until his conducting and teaching in later years. Major coverage of Bernstein is found in an interview with him (pp. 133–43), his appointment in 1970 as a trio of administrative and educational leaders with Seiji Ozawa and Gunther Schuller (pp. 207–09), and description of his work with the student orchestra in the mid-1970s (pp. 256–60). The interview covers familiar ground on Bernstein’s early years at Tanglewood, his relationship with Koussevitzky, what Bernstein saw as his mentor’s Jewishness, and his continuing relationship with the festival. 445. Lanzotti, Catherine A. “The Critical Reception of Leonard Bernstein: A Review of Criticism from 1950 to 1990.” MM thesis, Wright State University, 1997. 68 p. Downloaded by [New York University] at 04:27 09 August 2016 A thesis in which Bernstein’s critical reception is considered by decade from the 1950s through the 1980s. Lanzotti finds that critics seemed to perceive Bernstein as a “promising musician” in the 1950s, as a “distinguished conductor” in the 1960s, as a “musical socialite” in the 1970s, and as a “musical guru, capable of doing and being anything” (p. 53) in the 1980s. Lanzotti considers important criticism in each decade, but moves too freely between material about Bernstein’s essentially different activities as a conductor, composer, pianist, and teacher. It is lamentable that she elected to ignore the criticism from the 1940s when Bernstein launched his career. 132 Leonard Bernstein: A Research and Information Guide

446. Levinger, Henry W. “Creative Arts Fete at Brandeis University.” Musical Courier 146/1 (July 1952): 5, 15. A detailed review of the Festival of the Creative Arts that Bernstein directed at Brandeis University, 12 to 15 June 1952. Levinger covers each event at the festival, including the premiere of Bernstein’s opera Trouble in Tahiti, which he praised as “a novel and provocative approach to the operatic problem” (p. 5), in contrast to most contemporary reviews. 447. Massey, Drew. “Leonard Bernstein and the Harvard Student Union: In Search of Political Origins.” Journal of the Society for American Music 3/1 (February 2009): 67–84. An overview of Bernstein’s work with two theatrical productions sponsored by the Harvard Student Union, a progressive political organization that included the participation of many students, but Bernstein’s work with the group seems to have mostly taken place for musical and theatrical reasons. He played a major role in the production of The Cradle Will Rock in 1939 and helped bring composer Marc Blitzstein to campus for it, and returned to Harvard in 1941 to write music for The Peace by Aristophanes, an antiwar work whose politics flew in the face of Bernstein’s father, who wanted the United States to get involved in the war and perhaps help save the lives of some of his kinsmen still in Ukraine. Massey illuminates the politics surrounding these events and Bernstein’s apparent relative lack of interest in them. 448. McCall, Sarah B. “The Musical Fallout of Political Activism: Government Inves- tigations of Musicians in the United States, 1930–1960.” PhD dissertation, Uni- versity of North Texas, 1993. 204 p. A fascinating if somewhat brief consideration of the stated topic. McCall details Bernstein’s active support of antifascist and pro-civil rights causes in the 1940s and 1950s. These associations and his leftist sympathies made him a target of investigation by the House Appropriations Committee in 1956. Bernstein was not called before the committee, but McCall excerpts some of the testimony, where Bernstein is identified only by the number “5” (pp. 56–58). McCall includes interesting documents in the appendices in which Bernstein’s name

Downloaded by [New York University] at 04:27 09 August 2016 appears. She does not cover the difficulty Bernstein had in renewing his passport in 1953. His FBI file was released the year after McCall finished her dissertation (see Item 430). 449. Mencher, Steve, and Rosanne Singer. “Serenade to Lenny.” Symphony 44/6 (November–December 1993): 23–24, 43–44. A summary of the posthumous celebrations of Bernstein’s seventy-fifth birthday in the United States, Germany, and Japan, showing how friends and family planned to carry on Bernstein’s life and legacy. Approached in some detail are: a new ballet based on Bernstein’s Serenade and five of his piano Anniversaries choreographed by John Neumeier in Neumünster, Germany; a concert in Hamburg Biographical Sources 133

on 21 August 1993 and surrounding celebrations; and the continuing work of orchestral festivals for young people that Bernstein helped found, including the Schleswig-Holstein Music Festival in Neumünster and the Pacific Music Festival in Sapporo, Japan. 450. Mugmon, Matthew Steven. “The American Mahler: Musical Modernism and Transatlantic Networks, 1920–1960.” PhD dissertation, Harvard University, 2013. 279 p. A look at the growth of interest in the music of Gustav Mahler in the United States between 1920 and 1960 through the efforts of four figures: Nadia Boulanger, Aaron Copland, Serge Koussevitzky, and Leonard Bernstein (pp. 199–241). Mugmon shows how Bernstein’s embrace and advocacy of Mahler perhaps detracted from his interest in conducting modern American music, especially by avant-garde composers, which Bernstein did not tend to favor. Bernstein compared Mahler to composers that he regarded as “French-based tonal modernism” (p. 217), disagreeing with many commentators who described him as a fore- runner of the Second Viennese School. Mugmon also considers Bernstein’s 1960 Mahler Festival with the New York Philharmonic, the influence that he drew on the topic from Copland, and how his regard for Mahler affected Bernstein’s consideration of his own Jewish identity. 451. Nerius, Ingeborg. Leonard Bernstein: Ausdruck eines großen Musikers. Munich: [no publisher], 1978. [30 p.] No ISBN. MLCM 91/01174 (M). A photographic tribute to Bernstein for his sixtieth birthday with appreciative texts and poetry. Included are fifteen black-and-white photographs, mostly of Bernstein rehearsing or performing. This source appears in bibliographies, but there is little here of biographical interest. 452. Nicolosi, Dennis John. “The Effect of an ‘Informance’ on a Middle School Stu- dent Population’s Understanding of Musical Terms Using Leonard Bernstein’s ‘Young People’s Concerts’ as a Model.” MA thesis, California State University, Long Beach, 2009. 121 p. Bernstein’s method of instruction in the Young People’s Concerts proved a successful way to help the younger generation learn to appreciate the beauty of music.

Downloaded by [New York University] at 04:27 09 August 2016 Nicolosi used this television series as a model to examine the best way to educate and entertain a middle school’s student audience while also generating interest in music program. He argues that Bernstein’s method and his use of a performance as a teaching opportunity helped change people’s viewpoint of concerts. 453. Oestreich, James R. “The Burnishing of the Bernstein Legend.” New York Times (5 April 1992): Section 2/1, 36. A consideration of the continued marketing of Bernstein’s recordings and compositions in the period after his death. Oestreich notes that recordings for most musicians fall in the years after death, but that this had not been the case for Bernstein and that more recordings would still be reissued. He also describes the 134 Leonard Bernstein: A Research and Information Guide

Bernstein family’s search through his papers for unpublished compositions and music editor Charles Harmon’s intention to publish each of Bernstein’s works in a definitive edition, a task that will take decades. 454. Oja, Carol J. “Something Called Terrorism: In a Speech Given at Harvard 22 Years Ago and Never Before Published, Leonard Bernstein Offered a Warning That Remains Timely.” American Scholar 77/4 (Fall 2008): 71–74. This is an annotation to the lecture that Bernstein gave in 1986 on the occasion of the Harvard University’s 350th anniversary. This lecture was delivered at 2:00 a.m. at Adams House, a Harvard dorm, and lasted an hour and a half. The lecture notes, housed at the Library of Congress along with the text itself, show the composer’s attitude and response to the terrorism in his time. 455. Oja, Carol J., and Kay Kaufman Shelemay. “Leonard Bernstein’s Jewish Boston: Cross-Disciplinary Research in the Classroom.” Journal of the Society for Ameri- can Music 3/1 (February 2009): 3–33. A detailed overview of the seminar from which this special issue emanated. Although the topic of the course was significant because of Bernstein’s importance as a musician and cultural figure, the research also brought to light new information regarding the Jewish immigrant experience in Boston. Following a brief biographical sketch of Bernstein, the authors describe the design and methodology of the seminar’s various research projects. An especially useful section offers telling excerpts of class interviews with Sid Ramin, Burton Bern- stein, Jamie Thomas Bernstein, Nina Bernstein Simmons, and Harold Shapero. An overview of important results from the class research follows (including some very useful biographical and contextual details) and thoughts on aspects of community-based research. The two appendices include a timeline of Bernstein’s life and a paper written by a Harvard freshman who took the seminar about marginal doodles from documents of Bernstein’s youth. 456. Paz, Gideon. “Bernstein in Israel: A Thirty-Year Love Affair Is Joyously Cele- brated.” High Fidelity/Musical America 27/9 (September 1977): MA32–33. Peter Gradenwitz was an Israeli writer who published extensively on Bernstein, providing valuable insight into his career there (see Items 127, 128, 539, 540, 541, 625).

Downloaded by [New York University] at 04:27 09 August 2016 Paz complements Gradenwitz’s work with this description of a Bernstein Festival in Israel in the spring of 1977. Included were orchestral concerts led by Bernstein and others, musical theater evenings presented by students of the Indiana University School of Music, and films featuring Bernstein the composer and lecturer. 457. Pilkington, Steve. “Leonard Bernstein: A Lodestar for the American Church Musician.” American Organist 30/2 (February 1996): 40–41. A review of Bernstein’s ability to communicate with the masses through television and his appropriation of American vernacular music in his compositions. Pilkington covers these points to show how American church musicians need to educate congregations about music and its use in service of the Gospel. Biographical Sources 135

458. Pincus, Andrew L. “[Tanglewood Beginnings]: First Summer.” In Steven Ledbet- ter, ed., Sennets & Tuckets: A Bernstein Celebration, 23–35. Boston: Boston Sym- phony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. A light but informative article on Bernstein’s early work as a conducting student at Tanglewood with reminiscences from a number of friends and acquaintances. Like most of this volume, the article is illustrated. 459. Prawy, Marcel. “Lenny’s Vienna.” In Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 151–59. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. A recounting of Bernstein’s extensive Viennese activities and appreciation of his talents as a conductor and composer by the Vienna State Opera’s director of education. Prawy suggests that it is Vienna that truly understands Bernstein, making the city, by 1981, “the world capital of Bernsteinland.” 460. Rattalino, Piero. “Bernstein e il pianoforte.” In Guido Salvetti, ed., Bernstein in Italia, 139–45. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410.B566B55 1993. Brief consideration of Bernstein as a conductor accompanying piano concertos (with a focus on his famous 1962 disagreement with Glenn Gould on tempo in Brahms’s Piano Concerto No. 1), brief mention of his compositions for piano, and coverage of his own playing of the instrument. 461. Rich, Alan. “Where Are You, Lenny, When We Need You.” New York 14/8 (23 Feb- ruary 1981): 49–50. A scathing review that begins with what Rich sees as a recent poor concert that Bernstein had conducted with the New York Philharmonic and ends with the suggestion that Bernstein wasted his talent throughout his career. Rich especially faults Bernstein for his failure to champion experimental works when he was music director of the Philharmonic and for the quality of his recent music, asking why Americans continue to hope that Bernstein will write another West Side Story when the best he had done in recent years was Mass and 1600 Pennsylvania Avenue. Downloaded by [New York University] at 04:27 09 August 2016 462. Salvetti, Guido, ed. Bernstein in Italia. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410. B566B55 1993. Bernstein pursued extensive activities in several Western European countries; this volume chronicles his work in Italy. Salvetti divides the book into two parts: “Bernstein’s Activities in Italy” and “Italian Contributions,” the latter articles on Bernstein’s work by Italians. Part One includes: Alessandro De Bei’s and Maria Grazia Sita’s chronology of Bernstein’s work in Italy with an introduction and survey of his critical reception (pp. 15–58); Roberto Giuliani’s study of Bernstein’s work with the RAI Orchestra and Chorus between 1967 and 1973 136 Leonard Bernstein: A Research and Information Guide

(pp. 59–74); Carlo Marinelli’s look at Bernstein’s four opera recordings made in Italy (pp. 75–92); and Salvetti’s consideration of Bernstein the composer through his Serenade (after Plato’s Symposium) and A Quiet Place, two works that premiered in Italy (pp. 93–114). (The opera’s initial premiere was in Houston, but the Teatro alla Scala was one of the work’s three commissioning bodies.) Part Two includes: Giordano Montecchi’s musings about relationships between American and European music in “USA versus Europa: Aile radici di una diver- sità” (pp. 117–23); a brief character sketch of Bernstein in Alessandro Zignani’s “Un ritratto” (pp. 125–29); Michelangelo Zurletti’s summary of his conducting career in “II direttore d’orchestra” (pp. 131–37); Bernstein as a pianist and composer for the piano in Piero Rattalino’s “Bernstein e il pianoforte” (pp. 139–45); and a consideration of Bernstein’s music for On the Waterfront by Ennio Simeon in his “La colonna sonora di Fronte del porto” (pp. 147–53). Some of these articles are annotated separately in appropriate parts of this source. 463. Sarna, Jonathan D. “Leonard Bernstein and the Boston Jewish Community of His Youth: The Influence of Solomon Braslavsky, Herman Rubenovitz, and Con- gregation Mishkan Tefila.” Journal of the Society for American Music 3/1 (Febru- ary 2009): 35–46. An excellent overview of the synagogue where Bernstein grew up, with emphasis upon its outstanding tradition in worship music. The Congregation Mish- kan Tefila was the first Boston synagogue to embrace Conservative Judaism; Samuel Bernstein joined in the early 1920s. The long-time rabbi was Herman Rubenovitz. Partly with an eye towards improving worship music at his synagogue, Rubenovitz attended Zionist gatherings in Europe and managed to draw cantor Izso C. Glickstein and music director Solomon Braslavsky to Boston, as well as foster the building of the second-largest organ in Boston and fine choral traditions. Mishkan Tefila provided Bernstein’s earliest musical influences, and Braslavsky was an especially important mentor—and perhaps teacher—whom Bernstein gratefully acknowledged throughout his life. Sarna shows that Bern- stein returned to the synagogue a number of times during his life, including for his marriage, performed by Rabbi Rubenovitz. 464. Seldes, Barry. Leonard Bernstein: The Political Life of an American Musician. Berkeley: University of California Press, 2009. 276 p. ISBN 978-0-520-25764-1. Downloaded by [New York University] at 04:27 09 August 2016 ML410.B566S45 2009. Seldes has related Bernstein’s extensive FBI file to the musician’s biography—an important scholarly step. Seldes organized his study chronologically in seven chapters, six that cover Bernstein’s life in various periods and the seventh titled “Understanding Bernstein,” followed by “Epilogue: A Man in Dark Times.” The composer was committed to liberal causes, and much of what Seldes writes about Bernstein and politics is insightful, but at times he perhaps overestimates the angle as an influence on Bernstein’s personal choices. The raison d’être for his “Understanding Bernstein” (168–92) is to explain why the composer never wrote a major opera (or another work of similar size or scope) that was of sufficient Biographical Sources 137

importance to engage the larger society in serious discussion. The book includes a number of errors concerning basic facts of Bernstein’s life and music, and some of his interpretations of those facts would be better served by someone with more musical knowledge. 465. Smith, Cecil. “Brandeis University Sponsors Arts Festival.” Musical America 72/9 (July 1952): 7, 22. An informative and lengthy overview of the Festival of the Creative Arts that Bernstein directed for Brandeis University from 12 to 15 June 1952. Perhaps the most important event at the festival was the premiere of Marc Blitzstein’s translation of Weill’s The Threepenny Opera, which helped renew interest in the composer and that work in the United States. Bernstein’s Trouble in Tahiti also premiered at the festival. It is reviewed in detail here, quite negatively in almost every respect. 466. Sondheim, Stephen. Finishing the Hat: Collected Lyrics (1954–1981) with Atten- dant Comments, Principles, Heresies, Grudges, Whines and Anecdotes. New York: Alfred A. Knopf, 2010. 445 p. ISBN 978-0-679-43907-3. ML54.6.S69S66 2010. 467. —. Look, I Made a Hat: Collected Lyrics (1981–2011) with Attendant Com- ments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Mis- cellany. New York: Alfred A. Knopf, 2011. 453 p. ISBN 978-0-307-59341-2. ML54.6.S69S662 2011. These attractive volumes present Sondheim’s lyrics along with his frank discussion and evaluation of his work, including successful shows and projects that resulted in songs that never saw the light of day. Bernstein was both Sondheim’s good friend and occasional collaborator, including on the following projects represented in these volumes: West Side Story (466, pp. 25–53), A Pray by Blecht (467, pp. 310–18), and the 1974 revival of Candide (467, pp. 319–22). In these segments and elsewhere Sondheim provides revealing material on Bernstein, his work, and the process of collaborating with him. 468. Soria, Dorle J. “Leonard Bernstein: His Opera ‘A Quiet Place’ Opens, with Glit- ter, in Washington.” High Fidelity/Musical America 34/12 (December 1984): MA6–7, 40. Downloaded by [New York University] at 04:27 09 August 2016 A gossipy report on A Quiet Place’s premiere in Washington. Soria also relates her role in Bernstein’s 14 November 1943 conducting debut with the New York Phil- harmonic, placing the event in a fuller context. Soria was head of the orchestra’s press department and made sure that Olin Downes, the top music critic at The New York Times, was present. 469. Stearns, David Patrick. “Bernstein Con Brio.” Ovation 7/11 (December 1986): 12–18. An engaging, chatty portrait of Bernstein in the mid-1980s with a number of famous illustrations. Stearns assumes the reader has knowledge of the man and 138 Leonard Bernstein: A Research and Information Guide

simply describes him in the present with focus on his wildly energetic lifestyle, his home near Fairfield, Connecticut, work at Tanglewood, continuing relationship with the New York Philharmonic, and his desire to write an opera on the Holo- caust. Recent compositions on which Stearns comments include Jubilee Games and A Quiet Place. The article concludes with a look at Bernstein conducting a recording session of Tchaikovsky’s Symphony No. 6 with the New York Philharmonic. 470. Steinberg, Michael P. Judaism Musical and Unmusical. Chicago: University of Chicago Press, 2007. 270 p. ISBN 978-0-226-77195-3. DS135.E83S73 2007. A look at the development of Judaism in the modern world through the theme of musicality, both literal and metaphorical, and how Jews helped develop cos- mopolitanism by loosening ties to their origins. One of the chapters in a book involves “Leonard Bernstein in Vienna” (pp. 166–76), one of the more surprising aspects of his career: an American, Jewish conductor becomes a beloved director of music central to the Viennese tradition in a city with a strong history of anti-Semitism, in the process playing a major role there in popularizing the symphonies of Gustav Mahler. Steinberg memorably covers this phenomenon and the reception of Bernstein’s musical theater works in Vienna. 471. Terkel, Studs. And They All Sang: Adventures of an Eclectic Disc Jockey. New York: New Press, 2005. 301 p. ISBN 1-59558-003-4. ML385.T33 2005. British version: And They All Sang: The Great Musicians of the 20th Century Talk about Their Music. London: Granta Books, 2005. ISBN 978-1-86207-989-7. A book of interviews with musicians by an expert in the craft. Bernstein (pp. 124–31) appears as one of three composers (along with Virgil Thomson and Aaron Copland). The segment’s basic focus was the musical theater, especially the contributions of Marc Blitzstein and the unique nature of American approaches to the genre. 472. Tommasini, Anthony. “When Bernstein Saw the Future.” New York Times (22 July 1998): E1–E2. A consideration for the present day of Bernstein’s Norton Lectures. Tommasini was a music student at Yale when Bernstein gave the lectures and remembers the academic compositional environment where tonal music was deemed unac-

Downloaded by [New York University] at 04:27 09 August 2016 ceptable and Bernstein’s thinking about twelve-tone composition as expounded in his lectures was dismissed by academics. Tommasini notes that the lectures, while not based on highly original thinking, included a call for ending the split between tonal and atonal composition, a stance he finds prescient. 473. Tromble, William Warner. “The American Intellectual and Music: An Analysis of the Writings of Susanne K. Langer, Paul Henry Lang, Jacques Barzun, John Dewey, and Leonard Bernstein—With Implications for Music Education at the College Level.” PhD dissertation, University of Michigan, 1968. 187 p. Tromble admits that Bernstein is an unusual addition to this list of figures but cites his influence on audience building and the public perception of music Biographical Sources 139

in the 1960s. Tromble considers Bernstein’s musical philosophy and thinking (pp. 129–63) as represented in The Joy of Music, The Infinite Variety of Music, and Leonard Bernstein’s Young People’s Concerts for Reading and Listening. What might be an interesting segment, however, becomes a condemnation of avant-garde composers and their music and a plea for a return to tonality. 474. Walsh, Michael. “What Becomes a Legend Most?” Time 142/9 (30 August 1993): 57. A brief but informative review of celebrations timed to coincide with Bernstein’s seventy-fifth birthday. The concerts worldwide and issues of recordings are predictable, but Walsh also considers items for sale by the Leonard Bernstein Society, including note cards, tote bags, and T-shirts. The classical musical establishment, represented by such figures as Leonard Slatkin, was critical, but Bernstein’s family defended the items. 475. Wolfe, Tom. Radical Chic & Mau-Mauing the Flak Catchers. New York: Farrar, Straus and Giroux, 1970. ISBN 0-374-2-4600-9. E185.615.W63 1970. Reprint: New York: Bantam Books, 1999. ISBN 0-553-3-8062-1. Radical Chic is Wolfe’s satirical look at a fundraising meeting Felicia Bernstein held for the Black Panthers in the Bernstein home on 14 January 1970. The event was covered unflatteringly by The New York Times, causing a scandal the Bernsteins were never allowed to forget. Many were horrified that the Bern- steins seemed cozy with a group that some regarded as terrorists, and Jews were offended because of the Black Panthers’ apparent anti-Semitism. Wolfe’s piece was first published in New York magazine in June 1970. His portrait of Bernstein borders on the vicious, but it became part of the conductor’s public image. 476. “Young Aide Leads Philharmonic, Steps In When Bruno Walter Is Ill.” New York Times (15 November 1943): 1, 40. The event that started Bernstein’s career in its coverage in The New York Times. The lead article was accompanied by a photograph of Bernstein with members of the orchestra (p. 40) and a glowing review of the event by Olin Downes (p. 40). The Times also published an editorial on the event the next day, 16 Novem- ber 1943 (p. 22). Downloaded by [New York University] at 04:27 09 August 2016 RELATIONS WITH OTHER LUMINARIES

477. Abbott, George. Mister Abbott. New York: Random House, 1963. 279 p. Library of Congress card no. 63-16153. PN2287.A23A3. George Abbott, one of the most important directors in the history of the Broad- way musical theater, directed both On the Town and Wonderful Town. His autobiography includes matter-of-fact accounts of the making of both shows. For On the Town (pp. 199–200) he describes himself as the experienced hand brought in to assist the much younger creators and includes interesting observations on Bernstein, Comden, and Green. For Wonderful Town (pp. 232–34) he recalls the 140 Leonard Bernstein: A Research and Information Guide

pleasure of again working with Bernstein, Comden, and Green, but remembers the production as an unpleasant experience because authors Joseph Fields and Jerome Chodorov disagreed with the tone of the musical score and lyrics. 478. Bañagale, Ryan Raul. “ ‘Each Man Kills the Thing He Loves’: Bernstein’s Form- ative Relationship with Rhapsody in Blue.” Journal of the Society for American Music 3/1 (February 2009): 47–66. Bernstein showed a great passion for Gershwin’s Rhapsody in Blue from the first time he heard it on the radio. Bañagale examines and provides interesting insights on the composer’s early relationship with Rhapsody in Blue, including: his first encounter with the sheet music, a whimsical arrangement of the work in 1937, Bernstein’s performances of the piece in 1938 and 1939, and his description of the piece in The Joy of Music. 479. —. “Rhapsodies in Blue: New Narratives for an Iconic American ‘Composition.’ ” PhD dissertation, Harvard University, 2011. 294 p. As an important piece that applied jazz elements, Rhapsody in Blue inspired many American composers throughout the twentieth century, including Leonard Bernstein. Although Bernstein never met Gershwin, the younger musician experienced Gershwin through this work. In the dissertation, Bañagale studied a set of arrangements prepared and performed by four musicians who used the Rhap- sody as an icon of the American national identity, and Bernstein’s essay “A New Gershwin Tune” and his recording of the work are among them. In Chapter 3, Bañagale analyzed Bernstein’s relationship with Rhapsody: his early encounter, his own orchestration, performances, and other activities related to this piece. 480. Burton, William Westwood. Conversations about Bernstein. New York: Oxford University Press, 1995. 198 p. ISBN 0-19-507947-7. ML410.B566C66 1995. Detailed interviews about Bernstein the man, conductor, and composer with composers Lukas Foss and David Diamond; writers Harold C. Schonberg and Joan Peyser; record producer (and later biographer) Paul Myers; Bernstein’s conducting protégés John Mauceri and Justin Brown; theatrical director Jonathan Miller; singers Jerry Hadley, Christa Ludwig, and Frederica Von Stade; cellist/ conductor Mstislav Rostropovich; actress Carol Lawrence; and members of the

Downloaded by [New York University] at 04:27 09 August 2016 New York, Vienna, and Israel Philharmonics. The interviews vary considerably in their depth, usefulness, and insight, but as a whole they provide glimpses of Bern- stein in a variety of roles at several different points in his career. The interviews must be read with knowledge of the speaker, certainly more than what is offered in Burton’s brief introductions. Such information can be found in the major biographies on Bernstein, such as that by Humphrey Burton (see Item 113). 481. Comden, Betty. Off Stage. New York: Simon & Schuster, 1995. 272 p. ISBN 0-671-70579-2. ML423.C78A3 1995. [Reprint: New York: Limelight Editions, 1996. ISBN 0879100842.] In a series of chapters about her well-known friends, this Broadway lyricist, who collaborated with Adolph Green and Bernstein on the scores to On the Biographical Sources 141

Town and Wonderful Town, includes a touching, personal memoir of Bernstein (pp. 139–45). Comden avoids material on their professional collaboration and speaks candidly of their friendship, remembering several of Bernstein’s birthdays that she spent with him. 482. Copland, Aaron, and Vivian Perlis. Copland, 1900 through 1942. New York: St. Martin’s/Marek, 1984. 402 p. ISBN 0-312-16962-0. ML410.C756A63 1984. Reprint: New York: St. Martin’s Griffin, 1999. ISBN 0-312-01149-0. What amounts to Copland’s autobiography was an outgrowth of the composer’s participation in the Oral History American Music Project at Yale Univer- sity, directed by Vivian Perlis. The book is told in Copland’s words with many interpolated statements from others who knew and worked with him. Bernstein contributed a lengthy statement (pp. 334–41) where he speaks of Copland’s character and their friendship, part of an interview that Perlis had with Bern- stein at his Fairfield, Connecticut, home on 22 September 1983. Bernstein’s close relationship with Copland between 1937 and 1942 is clear in the book because he is mentioned many times by Copland and other commentators. Also notable is how often Bernstein is mentioned as a conductor of Copland’s music. 483. —. Copland since 1943. New York: St. Martin’s Press, 1989. 463 p. ISBN 0-312-03313-3. ML410.C756A3 1989. Reprint: New York: St. Martin’s Press, 1990. ISBN 0-312-05066-6. This continuation of Item 482 traces Copland’s life in great detail until the year before his death. Bernstein is a constant presence as a correspondent, performer, participant in Copland’s public birthday celebrations, and one who occasionally offered unsolicited advice about Copland’s music. For one desiring an understanding of American concert music from the 1940s to the 1980s, this is a very important book. Of special interest is how Bernstein and Copland collaborated as important figures at Tanglewood over many summers. 484. Crist, Elizabeth B., and Wayne Shirley. The Selected Correspondence of Aaron Cop- land. New Haven: Yale University Press, 2006. 269 p. ISBN 978-0-300-11121-7. ML410.C756A4 2006. An informative collection of Copland’s letters, twenty-five of them to Bernstein

Downloaded by [New York University] at 04:27 09 August 2016 dating between 1938 and 1968. As is the case in the many letters between the men in Nigel Simeone’s collection (Item 411), these letters touch on personal, musical, and professional matters while illustrating their enduring friendship. The final letter in the book, from 1988, is by Ronald Caltabiano, a composer who was one of Copland’s assistants late in his life when he had Alzheimer’s, informing Bernstein how much Copland had enjoyed his telephone call. 485. Gordon, Eric A. Mark the Music: The Life and Work of Marc Blitzstein. New York: St. Martin’s, 1989. 605 p. ISBN 0-312-02607-2. ML410.B6515G7 1989. Bernstein first met Marc Blitzstein (1905–64) when he led a performance of The Cradle Will Rock in 1939 as a Harvard undergraduate. Blitzstein became one of Bernstein’s best friends and a major compositional influence, especially in the 142 Leonard Bernstein: A Research and Information Guide

areas of text setting and the mixture of popular and classical idioms. Gordon covers Blitzstein’s life with unflinching detail. Bernstein and Blitzstein saw each other often, and Bernstein helped his older friend by directing performances of his works. Especially interesting are Bernstein’s obvious love for Blitzstein’s theater music and Gordon’s suggestion that Bernstein “borrowed” some of his friend’s melodies in Wonderful Town and West Side Story. 486. Gottfried, Martin. Sondheim. New York: Harry N. Abrams, 1993. 192 p. ISBN 0-8109-3844-8. ML410.S6872G8 1993. Reprint: New York: H. N. Abrams, 2000. ISBN 0-8109-4179-1. Although some biographical material is included, this is primarily a fine consideration of Sondheim’s shows through Assassins. Gottfried’s consideration of West Side Story covers in detail the collaboration between Sondheim and Bernstein and includes insightful stylistic criticism of Sondheim’s lyrics for the show. An especially revealing point is Bernstein’s use of inner parts that Sondheim suggested for the ostinato on which “Something’s Coming” is based. The study also includes interesting comparisons between Bernstein’s and Sondheim’s music and Sondheim’s feeling that Bernstein was somewhat a mentor to him concerning the use of dissonance. 487. Guthrie, Tyrone. A Life in the Theatre. New York: McGraw-Hill, 1959. 357 p. Library of Congress card no. 59-14450. PN2598.G85A3. [Reprints: London: Hamish Hamilton, 1960. New York: Limelight Editions, 1985. ISBN 0879100468. London: Columbus, 1987. ISBN 0862873819.] Guthrie directed the original production of Candide (1956). He had a distinguished career, but Candide was not one of his successes. He describes his work on the show briefly and candidly (pp. 240–41), introducing it as a “flop” and “wildly pretentious” (p. 240). He admits the success of Bernstein’s score and praises him as a genius, although wonders how “original” or “greatly creative” (p. 240) his genius might be. He notes that Lillian Hellman’s disadvantage in the production was that they had to hire singers rather than actors. His own direction, he states, “skipped along with the effortless grace of a freight train heavy-laden on a steep gradient” (p. 241). 488. Hart, Philip. Fritz Reiner. Evanston, IL: Northwestern University Press, 1994. 329 p. ISBN 0-8101-1125-X. ML422.R38H37 1994. Reprint: Evanston, IL: North- Downloaded by [New York University] at 04:27 09 August 2016 western University Press, 1996. ISBN 0-8101-1463-1. Bernstein studied conducting with Fritz Reiner at the Curtis Institute of Music between 1939 and 1941, but spent the summer of 1940 with Serge Koussevitzky at Tanglewood. Throughout his life Bernstein acknowledged his debt to both men, but for a while in the summer of 1940 Bernstein thought he might be in Boston the following year working with Koussevitzky, despite the two-year course of study at Curtis. Hart considers this incident (pp. 64–66) by including two of Bernstein’s letters to Reiner, the first announcing the Boston plans and the second with an apology. Hart also describes Reiner’s relationship and feelings about Bernstein the remainder of his life. Biographical Sources 143

489. Heinsheimer, Hans W. Best Regards to Aida: The Defeats and Victories of a Music Man on Two Continents. New York: Alfred A. Knopf, 1968. 267 p. Library of Con- gress card no. 68-23964. ML427.H4A32. The memoirs of a music-publishing executive who worked, in order, with Uni- versal Editions, the New York office of Boosey & Hawkes, and G. Schirmer. For a number of years, Bernstein had an exclusive music publishing contract with G. Schirmer and Heinsheimer worked with him in the 1940s and 1950s. His autobiography includes a delightful character sketch of Bernstein (pp. 253–56) as a human being and the center of his own organization. Heinsheimer notes that many of Bernstein’s earlier compositions did not sell that well, but then he brought “the music to West Side Story and the age of anxiety sure was over” (p. 255). 490. Hellman, Lillian. Pentimento: A Book of Portraits. Boston: Little, Brown, 1973. 297 p. ISBN 0-316-35520-8. PS3515.E343Z498. This book includes what amounts to a memoir of Hellman’s life in the theater, entitled simply “Theatre.” She briefly considers Candide (pp. 202–05), which she remembers as the show that made her start to leave the theater. She does not account for what she calls the “deterioration” of her script because “any such account would be confused, full of those miserable, small complaints and blames that mean nothing except to the person making them” (p. 203). She knew the show was in trouble from the first read-through with the cast and “inwardly raged” (p. 203), but seems to have felt helpless. She appears to blame at least some of the debacle on Bernstein’s charm and influence with Tyrone Guthrie, the director (p. 204). 491. Jablonski, Edward. Alan Jay Lerner: A Biography. New York: Henry Holt, 1996. 345 p. ISBN 0-8050-4076-5. ML423.L3J3 1996. A fascinating moment in Bernstein’s career was the utter failure of the musical 1600 Pennsylvania Avenue (1976), written in collaboration with famed lyricist Alan Jay Lerner. The show closed after seven performances in New York. Jablon- ski complements the coverage of the event that is found in Bernstein’s biographies, providing Lerner’s side to an extent. His account includes some errors when describing Bernstein’s activities before and after the show. Downloaded by [New York University] at 04:27 09 August 2016 492. Jowitt, Deborah. Jerome Robbins: His Life, His Theater, His Dance. New York: Simon & Schuster, 2004. 619 p. ISBN 978-0-684-86986-5. GV1785.R52J69 2004. A detailed biography shows how Jerome Robbins became an important choreographer and director in ballet and musical theater. It provides, among other material, balanced and objective description about the subject’s life, including details about the creation of Fancy Free, the unusual casting of Miss Turnstiles in On the Town, how he “doctored” the choreography of Wonderful Town without credit, and the creation of West Side Story. Jowitt also provides details about how Robbins was called to testify in front of the House Committee on Un-American Activities in the 1950s, where he provided names of several friends and associates. 144 Leonard Bernstein: A Research and Information Guide

493. Laird, Paul R. The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond. Lanham, MD: Rowman & Littlefield, 2014. 453 p. ISBN 978-0-8108-9191-3. ML410.S42L36 2014. Schwartz’s sole collaboration with Bernstein was on Mass, considered in this study (pp. 45–54) in terms of how Schwartz notes that he assisted Bernstein in developing the work’s plot, his memories of working with the composer on each section with an English text, and Schwartz’s revision of the lyrics heard first at a Hollywood Bowl performance in 2004. The chapter also includes statements from interviews with Schwartz about Bernstein’s influence on his own compositions, an issue that arises elsewhere in the book. 494. Laurents, Arthur. Original Story By: A Memoir of Broadway and Hollywood. New York: Alfred A. Knopf, 2000. 436 p. ISBN 0-375-40055-9. PS3523.A827Z469 2000. A compelling autobiography by the author of West Side Story’s book who enjoyed a long career in the theater and Hollywood. Bernstein appears often in the work, especially during Laurent’s account of West Side Story’s conception (pp. 327–69). Laurents takes a few excursions into other matters in that stretch of the book, but usually related to the show. His tale, crucial reading for those interested in this subject, includes the minor disagreements that one usually finds when comparing memoirs of the same event, but what shines through is the respect that he felt for his collaborators and his pride in the show’s innovations. Laurents found Bernstein, a real friend, a “generous collaborator” and “the composer of the most electrifying theatre music ever heard on Broadway” (p. 347). 495. Lawrence, Greg. Dance with Demons: The Life of Jerome Robbins. New York: G. P. Putnam’s Sons, 2001. 622 p. ISBN 0-399-14652-0. GV1785.R52L39 2001. A comprehensive biography of Bernstein’s frequent collaborator based upon many interviews and archival material. Lawrence’s “Preface” lays out Robbins’s conundrum in the early 1950s, when Ed Sullivan is said to have blackmailed him into informing on suspected Communists by threatening to expose the choreographer’s homosexuality, making it clear that such “demons” would be Lawrence’s major emphasis. The author’s considerations of the projects on which Robbins and Bernstein collaborated is understandably weighted towards the creation of

Downloaded by [New York University] at 04:27 09 August 2016 dances and based on the memories of those who worked on them. Robbins’s well-documented harshness towards his dancers and actors constitutes a major theme in the book, and the author also explores how the choreographer’s personal life was affected by his projects. 496. Ludwig, Christa. In My Own Voice. New York: Limelight Editions, 1999. 306 p. ISBN 0-87910-281-0. ML420.L932A3 1999. A fine German mezzo-soprano who worked often with Bernstein, Ludwig first published her autobiography in German in 1994. Regina Domeraski prepared the English translation. Ludwig recalls her work with a number of famous conductors, including Bernstein (pp. 136–40). She mentions his political awareness, Biographical Sources 145

his natural teaching ability, how Bernstein convinced her she could sing the “Marschallin” in Der Rosenkavalier and his ability to adopt Viennese musical manners in conducting the work, his conducting of Mahler, and her final work with Bernstein in Candide. 497. McHugh, Dominic, ed. Alan Jay Lerner: A Lyricist’s Letters. New York: Oxford University Press, 2014. 314 p. ISBN 978-0-19-994927-4. ML423.L3A4 2014. Although their time at Harvard intersected by three years, Bernstein did not come to know Lerner until the 1940s. This volume transmits selections from the lyricist’s elegant letters and his correspondents, tied together with McHugh’s expert commentary. Bernstein’s major collaboration with Lerner was the failure 1600 Pennsylvania Avenue, and there are several letters here that Lerner wrote to the composer that illustrate the friendly manner in which they interacted. McHugh provides considerable useful information about the show in his commentary (esp. on pp. 214–16). An especially revealing letter was one that Lerner wrote to Bernstein in 1985. The composer had asked about returning to the project, asking the lyricist if he would permit someone else to work on the book. Lerner replied generously while recalling what he considered some of the problems with the show and its conception. 498. Mikotowicz, Tom. Oliver Smith: A Bio-bibliography. Bio-bibliographies in the Performing Arts, no. 43. Westport, CT: Greenwood Press, 1993. 250 p. ISBN 0-313-28709-0. PN2096.S6M55 1993. A useful source on this famous designer who worked with Bernstein on a number of projects. Mikotowicz includes short essays on Smith’s major projects in which he naturally emphasizes design elements. Of those in which Bernstein was involved, the author covers: the ballet that Jerome Robbins choreographed to Symphony No. 2, The Age of Anxiety; Candide; Facsimile; Fancy Free; Mass; On the Town; a concert presentation of Verdi’s Requiem at London’s St. Paul’s Cathedral; and West Side Story. 499. Mintz, Ouida Blatt. My Friend Lenny: A Memoir of My Life in Music, with Per- sonal Stories about Leonard Bernstein, Mike Wallace, Paul Simon, and Others. Ros- lyn Heights, NY: Bravura Books, 2000. 369 p. ISBN 0615118798. ML417.M54M8 2000 (Oberlin College).

Downloaded by [New York University] at 04:27 09 August 2016 A self-published memoir by a pianist and teacher who grew up near Bernstein and knew him her entire life. 500. Osato, Sono. Distant Dances. New York: Alfred A. Knopf, 1980. 301 p. ISBN 0-394-50891-2. GV1785.06A33 1980. Sono Osato was a ballet dancer with the Russian Ballet and Ballet Theatre whose Broadway career began with One Touch of Venus in 1943. She created the role of “Ivy Smith” in On the Town, which she recounts here in detail (pp. 229–47). Osato approaches the effort from a dancer’s perspective and has more to say about working with Jerome Robbins and coping with her first speaking role, but she writes a bit about Bernstein and dancing to his music. 146 Leonard Bernstein: A Research and Information Guide

501. Peress, Maurice. Dvorák to Duke Ellington: A Conductor Explores America’s Music and Its African American Roots. New York: Oxford University Press, 2004. 254 p. ISBN 0195098226. ML200.P47 2004. An idiosyncratic look at the stated topic as well as segments that constitute Peress’s memoirs on aspects of his life. Chapter 9, entitled “Leonard Bernstein” (pp. 79–82), covers the author’s year as one of three assistant conductors of the New York Philharmonic in 1961–62, and Chapter 14, “Bernstein’s Mass” (pp. 137–51), involves the wild tale of the work’s creation. Peress served as music director and provides many fascinating details, including how Bernstein toned down the work’s political impact. 502. Perlis, Vivian. “A Farewell to Aaron Copland and Leonard Bernstein.” Sonneck Society for American Music Bulletin 17/1 (Spring 1991): 3–4. An interesting perspective on the lives of these two men by Copland’s collaborator on his autobiography. Perlis briefly surveys their friendship and what they brought to each other. Bernstein benefited from Copland’s advice, counsel, and approval, and in turn Bernstein performed Copland’s music often and well. 503. —. “Dear Aaron, Dear Lenny: A Friendship in Letters.” In Carol J. Oja and Judith Tick, eds., Aaron Copland and His World, 151–78. Princeton, NJ: Princeton Uni- versity Press, 2005. ISBN 978-0-691-12470-4. ML410.C756A59 2005. An overview of the relationship between these two famous friends as found in their correspondence. Perlis quotes many letters and weaves together a convincing, chronological narrative that starts with their first meeting in 1937 and subsequent letters in the late 1930s, and then sections on the 1940s, 1950s, 1960s, and “Late Letters.” Bernstein emerges as the more flamboyant figure and Copland the steadier. Perlis states that several explicit passages in the correspondence clarify that they had an intimate relationship in the early 1940s (p. 152). Musical matters sometimes take center stage, such as in Copland’s fascinating commentary on Bernstein’s “Lamentation” (what became the third movement of Symphony No. 1, Jeremiah), quoted at length from an undated letter (p. 164). Perlis included facsimiles of letters in the article. 504. Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man. Downloaded by [New York University] at 04:27 09 August 2016 New York: Henry Holt, 1999. 690 p. ISBN 0-8050-4909-6. ML410.C756P6 1999. Reprint: Urbana: University of Illinois, 2000. ISBN 0-2520-6900-5. Pollack’s monumental study complements Copland’s autobiography written with Vivian Perlis by covering areas the composer did not raise, such as his sexual orientation, details of many of his friendships, and descriptions of his music. As one of Copland’s best friends, Bernstein appears prominently in the book. Pollack, more objectively than Copland and Perlis could, clarifies how Bernstein benefited from Copland’s mentoring and recommendations and how Bernstein the performer played a major role in bringing Copland’s music to a wider public, especially in other countries where he was among the first to perform it. Biographical Sources 147

505. —. Marc Blitzstein: His Life, His Work, His World. New York: Oxford University Press, 2012. 618 p. ISBN 978-0-19-979159-0. ML410.B6515P65 2012. An exhaustive study of the composer by a talented biographer who before had approached Copland and Gershwin. Bernstein and Blitzstein met in spring 1939 when Bernstein put on Blitzstein’s The Cradle Will Rock at Harvard and invited the composer to attend. Pollack reports that their friendship was closest between 1945 and Blitzstein’s death in 1964 (p. 184); indeed, Blitzstein was the godfa- ther of Bernstein’s eldest child and the next two were named at least partly for characters in Blitzstein’s works. The older composer was a profound influence on Bernstein’s music and they were known to show each other their works for comment. Bernstein makes many appearances in the book, revealing his work and interaction with this significant figure in American music, with Pollack commenting most substantively on their relationship on pp. 184–87. 506. Prince, Hal. Contradictions: Notes on Twenty-Six Years in the Theatre. New York: Dodd, Mead, 1974. 242 p. ISBN 0-396-07019-1. PN2287.P73A33. An autobiography by the famed Broadway producer and director who coproduced West Side Story. Prince provides a valuable part of the history of West Side Story (pp. 29–43), especially from the business side. Prince’s final chapter is on the adaptation of Candide in 1973 into the “Chelsea” version (produced initially on the fourth floor of the Brooklyn Academy of Music) and its subsequent move to the Broadway Theater, a run still in progress when Prince finished this book. Bernstein’s role in the production included turning over the music that was not used in the 1956 production and making some suggestions about orchestration. 507. Ramey, Phillip. Irving Fine: An American Composer in His Time. Lives in Music Series, 8. N.p.: Pendragon Press in association with the Library of Congress, 2005. 334 p. ISBN 1-57647-116-0. ML410.F4488R36 2005. A good friend and colleague, Irving Fine (1914–62) met Bernstein in the early 1930s when he spent a year at the Boston Latin School before entering Harvard, and Bernstein later followed him to Harvard. Bernstein recommended Fine as a music faculty member at Brandeis University, and Fine built the music department there. Bernstein appears often in this biography in a variety of circumstances and lights. Downloaded by [New York University] at 04:27 09 August 2016 508. Robinson, Alice M. Betty Comden and Adolph Green: A Bio-bibliography. Bio-bibliographies in the Performing Arts, 45. Westport, CT: Greenwood, 1994. 360 p. ISBN 0-313-27659-5. ML134.5.C66R6 1993. An important source concerning Bernstein’s work in the theater. Lyricists, writers, and actors Betty Comden and Adolph Green were among Bernstein’s best friends throughout his life. Their most successful collaborations were On the Town (1944) and Wonderful Town (1953), but they started other projects, including an effort with Jerome Robbins to make a musical version of The Skin of Our Teeth (1964). Robinson covers the lives and collaboration of Comden and Green in some detail in her “Biography” (pp. 1–44). Bernstein makes numerous 148 Leonard Bernstein: A Research and Information Guide

appearances concerning their joint projects and vacations (pp. 11–14, 19–20, 30–32). Robinson also provides credits, cast, synopsis, history, reviews, and brief commentary on each of Comden’s and Green’s shows, including On the Town (pp. 51–56) and Wonderful Town (pp. 95–100) and some revues that included Bernstein’s music. 509. Rodzinski, Halina. Our Two Lives. New York: Charles Scribner’s Sons, 1976. 403 p. ISBN 0-684-14511-1. ML422.R7R6. A detailed personal and musical account of the conductor Artur Rodzinski’s career written by his second wife. Rodzinski helped begin Bernstein’s career when he hired the young musician as assistant conductor of the New York Phil- harmonic in 1943, the year he himself became principal conductor. Halina Rodz- inski’s memories of Bernstein, usually generous, have been quoted in a number of sources, providing useful context for what some (including Bernstein) have said was a contentious relationship with Rodzinski. 510. Rorem, Ned. Other Entertainment. New York: Simon & Schuster, 1996. 336 p. ISBN 0-684-82249-0. ML60.R7843 1996. Rorem first met Bernstein in 1943. He mentions Bernstein often in this collection of his writings, but two pieces focus on him. “Lenny Is Dead” (pp. 273–74, published in The New York Times in 1990) is a short tribute from one who intimately understood Bernstein, his music, and his music-making. Rorem praises him as a friend who “not only championed my music, but conducted it in a manner coin- ciding with my very heartbeat” (p. 273). “Lenny on My Music” (pp. 297–98, first published in the Bernstein newsletter Prelude, Fugue & Riffs) is a review of Bern- stein’s and Gidon Kremer’s recording of Rorem’s Violin Concerto, including reminiscences on how Bernstein asked Rorem three times to change the work before conducting it. References to Bernstein appear often in Rorem’s other books as well. 511. Secrest, Meryle. Stephen Sondheim: A Life. New York: Alfred A. Knopf, 1998, 472 p. ISBN 0-67-44817-9. ML410.S6872S43 1998. Reprint: New York: Vintage Books, 2011. ISBN 9780307946843. Also a biographer of Bernstein (no. 405), Secrest considers the composer in some detail in her good biography of Sondheim, who wrote the lyrics for West Side

Downloaded by [New York University] at 04:27 09 August 2016 Story in his lone completed collaboration with Bernstein. The two men were also friends for thirty-five years and considered other projects. Secrest describes the two men’s contrasting personalities and offers useful information on their collaboration, most of it derived from her interviews with Sondheim. Secrest includes detailed information from the lyricist on why he is not fond of some of his work in West Side Story (pp. 115–17). 512. Smith, Julia. Aaron Copland, His Work and Contribution to American Music. New York: E. P. Dutton, 1955. 336 p. Library of Congress card number 55-9659. ML410.C756S5. A detailed consideration of Copland’s life and music through the mid-1950s, useful here for Smith’s report on an interview she held with Bernstein at Tanglewood Biographical Sources 149

on 13 July 1949 (pp. 288–89). Bernstein told Smith that Copland’s major contribution to American music was simplification of materials, learned from Cop- land’s Parisian experience in the 1920s and some of Virgil Thomson’s works. Bernstein states that Copland initiated this simplicity in his music in The Second Hurricane (1936) and retained it in subsequent works, influencing younger composers with his “simplicity with originality” (p. 289). Bernstein admits Copland’s influence in his music in the Symphony No. 1, Jeremiah, especially the scherzo, where he hears the rhythmic quality of El Salón México. 513. Stern, Isaac, with Chaim Potok. My First 79 Years. New York: Alfred A. Knopf, 1999. 317 p. ISBN 0-679-45130-7. ML418.S75A3 1999. Reprint: New York: Da Capo Press, 2000. ISBN 0306810069. The violinist Isaac Stern first performed with Bernstein in a concert in Rochester in 1947, and they remained close friends for life. Stern pays tribute to Bernstein a few times in his book, commenting especially on Bernstein’s quick mind and musicianship, but there is little here of a detailed nature. Stern collaborated with Bernstein on his Serenade (after Plato’s Symposium) and premiered it with Bern- stein in Venice in 1954, a process that he recounts (pp. 111–12). 514. Toobin, Jerome. Agitato: A Trek through the Musical Jungle. New York: Viking, 1975. 213 p. ISBN 0-670-11040-X. ML429.T66A3. Arturo Toscanini left the NBC Symphony, the orchestra formed for him by the RCA Corporation, in 1954. The ensemble remained in existence as the Sym- phony of the Air until 1963, managed for the last eight years by the author of this book. Toobin begins by noting how difficult this job was, but tells the story with relish and humor. One chapter (pp. 92–111) concerns Bernstein, who conducted several concerts with the orchestra during the 1955–56 season and for a while was interested in becoming its director. Toobin paints a worthwhile picture of Bernstein worrying about his relationship with the orchestra and possible role in congressional hearings about Communists in the orchestra. 515. Trotter, William R. Priest of Music: The Life of Dimitri Mitropoulos. Portland, OR: Amadeus, 1995. 495 p. ISBN 0-931340-81-0. ML422.M59T76 1995. In 1937, Mitropoulos was the first major musical figure that Bernstein met. The Downloaded by [New York University] at 04:27 09 August 2016 two had a complex relationship until the Greek conductor died in 1960. Bern- stein was profoundly influenced by the older conductor’s exuberant podium manner. Trotter presents Mitropoulos’s side of the story, some of it from letters the conductor wrote to David Diamond. Mitropoulos found Bernstein a genius but disliked his naked ambition and inability to focus on one musical profession. Trotter asserts that Bernstein played a major role in preventing Mitropou- los from succeeding Koussevitzky in Boston and also helped end Mitropoulos’s tenure at the New York Philharmonic, both times by offering information about the older conductor’s homosexuality to influential people. 516. Vaill, Amanda. Somewhere: The Life of Jerome Robbins. New York: Broadway Books, 2006. 675 p. ISBN 978-0-7679-0420-9. GV1785.R52V35 2006. 150 Leonard Bernstein: A Research and Information Guide

An extremely detailed biography of the celebrated choreographer that covers both his professional and personal lives. Vaill used access to Robbins’s papers and many interviews with those who knew and worked with him to great advantage, producing a balanced study of this complicated man who collaborated with Bernstein on several projects. Each of their ballets and musicals is covered with many stories drawn from interviews, allowing both personal and creative details to emerge. There are moments when Vaill becomes overly speculative, wondering, for example, if the lyrics of “Big Stuff,” Bernstein’s song that opens Fancy Free, might indicate whether Bernstein and Robbins had ever been lovers (pp. 98–99). (The lyrics are suggestive, like many blues songs.) Vaill’s detailed coverage is valuable, such as her consideration (pp. 401–03) of A Pray by Blecht, an abandoned show that involved Robbins, Bernstein, Sondheim, and John Guare in the late 1960s. 517. Wright, William. Lillian Hellman: The Image, the Woman. New York: Simon and Schuster, 1986. 507 p. ISBN 0-671-52687-1. PS3515.E343Z96 1986. Wright’s biography of Hellman includes a useful account of the collaboration that produced Candide (pp. 267–72). Hellman originally asked Bernstein to write incidental music for a play, as he did in 1955 for The Lark. Bernstein convinced Hellman to make Candide into a musical play, to which she agreed, despite misgivings. Wright covers their search for a lyricist (who was finally Rich- ard Wilbur), the difficult collaboration, and the trials of producing a show that finally ran only seventy-three performances. Playing the role of critic, Wright finds fault with Hellman’s book, not Bernstein’s music and Wilbur’s lyrics. 518. Zadan, Craig. Sondheim & Co. 2nd edition. New York: Harper & Row, 1986. 408 p. ISBN 0-06-015649-X. ML410.S6872Z2. [First published: New York: Macmil- lan, 1974. 2nd edition, updated. New York: Da Capo Press, 1989, 1994. ISBN 0306806010.] Stephen Sondheim was Bernstein’s good friend from the time of West Side Story. Their only other substantive professional collaborations were an abandoned attempt to make Brecht’s The Exception and the Rule into a musical in 1968 and Sondheim’s additional lyrics for Candide for the 1973 production. Zadan includes a detailed history of the genesis of West Side Story (pp. 11–31), told principally in the words of Bernstein, Sondheim, and Laurents (author of the

Downloaded by [New York University] at 04:27 09 August 2016 show’s book). Zadan also includes a long quotation from Bernstein on Sondheim as man and artist (pp. 364–66) that says as much about Bernstein as Sondheim. 519. Zeffirelli, Franco. Zeffirelli: The Autobiography of Franco Zeffirelli. London: Wei- denfield and Nicolson, 1986. 358 p. ISBN 1555840221. PN1998.A3Z4326 1986. Bernstein and Zeffirelli were good friends, and they collaborated on two completed projects: Metropolitan Opera House productions of Falstaff (1964) and Cavalleria Rusticana (1970). They planned others that failed to come to fruition. Zeffirelli mentions Bernstein several times in the book, often just concerning visits and parties in both the United States and Italy. He comments on Bernstein in greatest detail both personally and professionally concerning their production of Falstaff (pp. 189–91). His character sketch of Bernstein is that of an understanding friend. 6 Sources on Bernstein’s Compositions

GENERAL AND COLLECTIVE

520. Anderson, Martin. “A Bernstein Cornucopia.” Tempo 180 (March 1992): 44–49. An intelligent review of many recordings of Bernstein’s music as well as a few releases of Bernstein conducting American music. Anderson offers useful comments on: the three symphonies; Chichester Psalms; Serenade, after Plato’s Sym- posium; Prelude, Fugue and Riffs; On the Town; Fancy Free; Trouble in Tahiti; Symphonic Dances from West Side Story; Symphonic Suite from On the Water- front; Mass; Dybbuk; Concerto for Orchestra; Candide; and Arias and Barcarolles. Although he admits that it was too early to assess his true achievement, Ander- son suggests that Bernstein the composer will be remembered as a successor of Gershwin who lacked the self-discipline to realize his ambitions. He allows, however, that we must appreciate what Bernstein did compose.

Downloaded by [New York University] at 04:27 09 August 2016 521. Baber, Katherine A. “Leonard Bernstein’s Jazz: Musical Topic and Cultural Resonance.” PhD dissertation, Indiana University, 2011. 383 p. The importance of jazz and blues in Bernstein’s life and music is clear, but no scholar before Baber has approached the topic with such depth and from several different angles. She covers blues, swing, bop, and cool jazz in relation to several of Bernstein’s works, emphasizing On the Town, Wonderful Town, Trouble in Tahiti, Symphony No. 2, and West Side Story. Baber places Bernstein’s interest in jazz in the context of influences from Gershwin and Copland, and divides jazz’s role in Bernstein’s musical life into brief periods that correspond to major works with a strong jazz element. Baber considers the meaning of jazz in society

151 152 Leonard Bernstein: A Research and Information Guide

and in Bernstein’s music, tying the two together with useful commentary and in the process illuminating the composer’s life and beliefs in relation to aspects of politics, religion, and race in the American experience. The dissertation includes numerous musical examples and thorough documentation. 522. Banfield, Stephen. “Letter from England.” Sonneck Society for American Music Bulletin 17/1 (Spring 1991): 17–18. A fascinating perspective on Bernstein following his death, taken from an article that first appeared in the Manchester Guardian. Banfield begins by admitting that Bernstein could never have fulfilled all that was expected of him in the many areas that he approached during his career, especially in trying to reconcile serious and popular culture. The promise of his first symphony, for example, may not have been realized in the next two symphonies, but Banfield insists that the “classical” compositions will find their level. Bernstein’s true masterpiece is West Side Story, which is a “classic of popular art” that changed the Broadway musical forever. 523. Bekeny, Amanda Kriska. “The Trumpet as a Voice of Americana in the Amer- icanist Music of Gershwin, Copland, and Bernstein.” DMA thesis, Ohio State University, 2005. 172 p. Bekeny believed that twentieth-century American composers used the sonority of trumpet as a prominent voice for depicting a uniquely American character and tried to identify the significance of the trumpet in the music of Gershwin, Copland, and Bernstein, especially exploring how the use of the trumpet created the American sound for each composer. She found that with the extensive adaptation of jazz and popular style in his music, Bernstein took advantage of the many dramatic timbre changes available with the trumpet, a prominent jazz instrument. She examined the use of trumpet in On the Waterfront, Three Dance Episodes from On the Town, and Symphonic Dances from West Side Story, and discussed how to prepare to play these challenging passages. 524. Bernstein, Jeffrey Alexander. “Volume I. The Expressive Use of Musical Style and the Composer’s Voice in Leonard Bernstein’s ‘Mass’. Volume II. Telos.” PhD dissertation, University of California, Los Angeles, 2001. 248 p.

Downloaded by [New York University] at 04:27 09 August 2016 The first volume of Bernstein’s dissertation is a fifty-four-page document that offers commentary on the stated topic. Much has been written on Bernstein’s Mass, and the author clearly gave the piece considerable thought, but this is an idiosyncratic essay of limited scope. Bernstein (the author) decries how little scholarship has been offered on Mass (a reasonable assertion in 2001) and admires the work’s bold statement, but he does not believe that the composer successfully wrote in all of the popular styles that he references and states that the piece fails “to coalesce into a unified expression” (p. 4). The author includes: commentary on the music of Mass, material on the vernacular lyrics and their sentimentality, consideration of the composer’s voice with references to works by Berio and other composers, detection of the “ghost of Stravinsky” (pp. 25–29) in Sources on Bernstein’s Compositions 153

Mass, the composer’s Jewish perspective in Mass and some of his other compositions, thoughts on Bernstein’s “persona,” his desire for compositional acclaim, and his musical aesthetics. 525. “Bernstein, Leonard.” Compositores de America/Composers of the Americas 6 (1960): 15–21. Part of a series of articles on composers from the Americas published by the Pan-American Union. The entry includes brief biographical information on Bernstein, a facsimile of “Extinguish My Eyes” from Two Love Songs on Poems by Rilke, and a classified list of his works through 1960. Text is in both English and Spanish. 526. Buhles, Günter. “Der Komponist Leonard Bernstein: Vom Broadway zur Carne- gie Hall.” Das Orchester 44/10 (October 1996): 11–19. A surprisingly detailed article in what is essentially a popular journal on classical music with consideration of all sides of Bernstein’s output. After covering Bernstein’s many-sided career, Buhles turns to his musicals and Bernstein’s comfortable feeling for jazz and the model that Gershwin held for him in such shows as On the Town and West Side Story. Buhles compares Candide to Mozart and the Singspiel tradition, while Trouble in Tahiti and A Quiet Place are seen as Bernstein’s opera seria. Buhles considers each symphony separately, but all of Bernstein’s concert works are covered under “theater music in the concert hall” (p. 15). 527. Copeland, Philip Larue. “The Role of Drama and Spirituality in the Music of Leonard Bernstein.” DMA dissertation, Southern Baptist Theological Seminary, 1998. 218 p. A detailed consideration of the topic with special reference to Bernstein’s three symphonies. Following a chapter in which Copeland defines his terms and frames the problem, he investigates the influence of theater music on Bernstein’s symphonies. Chapters 3 and 4 include description, in turn, of the roles of drama and spirituality in Bernstein’s music, but the volume’s somewhat flawed organization causes considerable redundancy between chapters. Copeland’s musical analysis is usually simplistic, and his work is rendered incomplete by the paucity

Downloaded by [New York University] at 04:27 09 August 2016 of treatment on Mass, Bernstein’s most substantial religious statement. Major extramusical themes include Bernstein’s many dualities and his complex relationship with his father. Included are twenty-eight musical examples. 528. Copland, Aaron. “The New ‘School’ of American Composers.” New York Times Magazine (14 March 1948): 18, 51–54. Reprinted in: Aaron Copland. Copland on Music. Garden City, NY: Doubleday, 1960, pp. 164–75. 280 p. Library of Congress card number 60-15171. ML63.C48. Copland’s appraisal of a new generation of American composers: Robert Palmer, Alexei Haieff, Harold Shapero, Lukas Foss, Leonard Bernstein, William Bergsma, and John Cage. His words about Bernstein (p. 54) are quoted often and fairly 154 Leonard Bernstein: A Research and Information Guide

prescient. He praises Bernstein as being at home in both the worlds of jazz and “serious music,” truly filling the role that Gershwin explored. Copland notes that Bernstein’s time for composition is limited by his conducting schedule but lists his major works, except the musical On the Town. He praises the immediate melodic and harmonic appeal of Bernstein’s music and its “vibrant rhythmic invention,” but also notes its eclecticism and occasionally “facile” inspiration. He predicts that Bernstein would make his greatest contribution in the area of theater music. 529. Davis, Peter G. “West Side Glory.” New York 26/27 (12 July 1993): 56–57. A brief recounting of Bernstein’s work as a composer inspired by a celebration of his career at the end of the New York Philharmonic’s sesquicentennial. Davis describes the concerts and exhibition, but then offers several pithy comments on Bernstein’s compositional output. He notes that the traditional division of his music into Broadway and symphonic categories is too simple because the actual works in each of those areas are so different. He then provides useful comments about several of Bernstein’s works in reviews of recent recording releases and aspects of the festival. 530. Dusella, Reinhold, and Helmut Loos, eds. Leonard Bernstein: Der Komponist. Musik der Zeit Dokumentation und Studien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410.B566L46 1989. A volume devoted entirely to Bernstein’s music, separated by genres into eight different chapters, each by a different author. Each chapter is annotated separately in this source in the appropriate section. The essays include documentation and musical examples and most appear to have been written for this volume, an obvious exception being Peter Gradenwitz’s opening “Leonard Bernstein-Dramatischer Sinfoniker und sinfonischer Opernkomponist,” which first appeared in Das Orchester in 1988 (see Item 128). Dusella and Loos also include two pages of biographical dates and a works list. The volume appeared from the German branch of Bernstein’s publishing company, Boosey & Hawkes. A gap in the volume is consideration of Bernstein’s Broadway music besides Can- dide, considered in Gräwe’s essay. The other essays include: Reinhold Dusella, “Zur Kammermusik Leonard Bernsteins” (pp. 21–30) Downloaded by [New York University] at 04:27 09 August 2016 Reinmar Emans, “Die Ballette Leonard Bernsteins” (pp. 31–46) Karl Dietrich Gräwe, “ ‘Optimismus mit Trauerflor, kämpfend’: Leonard Bernstein und seine Opern” (pp. 47–60) Martella Gutierrez-Denhoff, “Drei Antworten auf eine Frage: Leonard Bern- steins Konzerte” (pp. 61–74) Thomas Röder and Klaus Meyer, “Die Symphonien Leonard Bernsteins” (pp. 75–92) Helmut Loos, “Leonard Bernsteins geistliche Musik: Chichester Psalms und Mass” (pp. 93–110) Ludwig Stoffels and Philipp Hohler, “Songfest” (pp. 111–27) Sources on Bernstein’s Compositions 155

531. Fine, Geoffrey B. “The Vocal Music of Leonard Bernstein: Jewish Interpretations and Applications.” Master of Sacred Music, Hebrew Union College, 1998. 141 pages. Fine considers Bernstein first as a Jew, showing “how he proceeded to infuse, meld, and synthesize Jewish ideas and principles into his music and life” (p. ii). He covers the Jewish foundations of Bernstein’s childhood, how the composer described his own Jewishness, positive and negative aspects of regarding him as a “Jewish hero,” analysis of Jewish elements within his symphonic music and selected vocal works, and a brief comparison of his use of Jewish materials with pieces by Ernest Bloch and Arnold Schoenberg. Fine writes from the position of a co-religionist, but he recognizes Bernstein’s struggles with his faith and his status as a non-practicing Jew. The author’s analysis ranges among a number of pieces as he points out Jewish motifs and other aspects. The thesis is worthwhile, but Fine covers many topics in what is not a lengthy document. 532. Fine, Irving. “Young America: Bernstein and Foss.” Modern Music 22/4 (May–June 1945): 238–43. One of the first published considerations of Bernstein’s music, written by a friend who had known him since they met at Boston Latin School. Fine offers a sober critique of Bernstein’s early music, including mention of most of his works to that point. Fine admits that it is difficult to describe Bernstein’s style “from the standpoint of a body of practices consistently employed” (p. 238), but offers comments on his harmonic and rhythmic tendencies, orchestration, and “dramatic effectiveness.” He notes that Bernstein seems best suited to writing theater music, but refuses to predict where such a talented musician might go. Three musical examples are included. 533. Giger, Andreas. “Bernstein’s The Joy of Music as Aesthetic Credo.” Journal of the Society for American Music 3/3 (August 2009): 311–29. The Joy of Music is Bernstein’s first book, which includes three imaginary conversations and seven scripts of his Omnibus programs. The author also found the book to be an abundant resource on the composer’s aesthetic ideas. Giger focuses on essays that help illuminate Bernstein’s musical aesthetics, showing how they help explain his compositional choices in several of his works. The author notes Downloaded by [New York University] at 04:27 09 August 2016 that Bernstein considered “the real American symphonic form” in his Symphony No. 3, Kaddish, and what Bernstein considered to be worthwhile musically in theater music can be appreciated in a small form in the song “Lonely Town” from On the Town and in a grander manner in West Side Story because it shows the sophistication of opera while remaining rooted in the American musical. 534. Gottlieb, Jack. “The Music of Leonard Bernstein: A Study of Melodic Manipula- tions.” DMA document, University of Illinois, 1964. 309 p. Gottlieb met Bernstein as a student at Brandeis in 1953, was his assistant from 1958 to 1966, and often served Bernstein and his office until his death 156 Leonard Bernstein: A Research and Information Guide

in 2011. Gottlieb’s doctoral project, which also includes two of his own compositions, is one of the first serious considerations of Bernstein’s music. Gottlieb achieves a certain analytical objectivity, but his stated purpose was “to refute . . . negative criticism” of Bernstein’s music by showing “any given work by him . . . is a consistent and inevitable outgrowth of the smallest melodic elements” (p. 2). Gottlieb goes to considerable length to prove his thesis, providing specific comment on most of Bernstein’s works composed to that time. Appendices include analysis of other aspects of Bernstein’s music and program notes for his compositions by both Bernstein and Gottlieb. 535. —. “Symbols of Faith in the Music of Leonard Bernstein.” Musical Quarterly 66/2 (April 1980): 287–95. Bernstein often approached in his compositions what he considered a modern “crisis of faith.” With musical examples, Gottlieb traces one of Bernstein’s musical representations of faith in Symphony No. 2, The Age of Anxiety; Symphony No. 1, Jeremiah; The Lark; Chichester Psalms; Mass; and Dybbuk. Gottlieb demonstrates that a motive based on a falling perfect fourth and major or minor second in The Age of Anxiety might be related to the name Jehovah in the Hebrew alphabet and identifies this motive in other works. He concludes by suggesting that Bernstein took this motive from a famous Jewish chant. 536. —. “Program Notes” from Leonard Bernstein: A Jewish Legacy. Samuel Adler, BBC Singers, Hans Peter Blochwitz, Bonita Boyd, Jack Gottlieb, Angelina Réaux, Barry Snyder, and others. Naxos 8.559407, 2003, CD booklet, pp. 6–9. Available online: www.milkenarchive.org/Uploads/Bernstein1LinerNotes.pdf (15 January 2014). Jack Gottlieb wrote many sets of program notes on Bernstein’s works. Here he offers useful information on several lesser-known works: “Israelite Chorus” from The Firstborn, Psalm 148, Rina, Bridal Suite, Simhu Na, Vayomer Elohim, Yigdal, Four Sabras, Silhouette (Galilee), and Hashkiveinu. The disc also includes excerpts from some of Bernstein’s more famous works. 537. —. Working with Bernstein: A Memoir. Milwaukee: Amadeus Press, 2010. 256 p. ISBN 978-1574671865. ML410.B566G67 2010. A source that deals in detail with both biographical and compositional issues. See

Downloaded by [New York University] at 04:27 09 August 2016 Item 126 for annotation. 538. Gow, David. “Leonard Bernstein: Musician of Many Talents.” Musical Times 101 (July 1960): 427–29. Despite the biographical nature of the title, this is primarily a consideration of Bernstein’s music. Gow begins by acknowledging that the British are naturally suspicious of talents like Bernstein whose career ranges among several different areas, but admits his varied talents. Gow shows the most interest in Bernstein’s serious music and describes his first two symphonies and the Serenade, after Plato’s Symposium. He has reservations about The Age of Anxiety because it is Sources on Bernstein’s Compositions 157

a concerto called a symphony, but admires much of the music. Gow expresses great admiration for Jeremiah and the Serenade, concluding with a description of his influences but noting that they are “thoroughly digested” (p. 429). 539. Gradenwitz, Peter. “Leonard Bernstein.” Music Review 10/1 (February 1949): 191–202. This article offers the early side of Gradenwitz’s lifelong interest in Bernstein. Gradenwitz chooses Bernstein as representative of the younger generation of American composers, briefly recounts his career, and compares him at some length to Mendelssohn as a composer who conducted. With musical examples, Gradenwitz provides pithy descriptions of Symphony No. 1, Jeremiah; Fancy Free; and Symphony No. 2, The Age of Anxiety (only three months after its Israeli premiere). He praises Bernstein for the virtuosity with which he works jazz influences into his music, believing his homogeneous style represents a “higher stage of development” in American music. 540. —. Leonard Bernstein: The Infinite Variety of a Musician. Leamington Spa: Oswald Wolff Books, 1987. 310 p. ISBN 0-85496-510-6. ML410.B566G713 1987. [First published in German as Leonard Bernstein. Unendliche Vielfalt eines Musiker. Zurich: Atlantis Musikbuch, 1984.] An important but uneven look at Bernstein and his music, annotated here and as a biography (see Item 127). Gradenwitz’s study of Bernstein’s compositions (pp. 131–251) at the time was one of the longer statements available on the subject. His first chapter on the music covers Bernstein’s juvenilia, early works, and the first two Broadway musicals. A chapter on symphonic works presents solid historical background and analysis on the three symphonies and other pieces for orchestra. “Music for the Theatre” primarily includes coverage of Candide and Trouble in Tahiti. West Side Story is accorded its own chapter. The chapter “Musical Synthesis in the Later Compositions” covers most works from Chiches- ter Psalms (1965) forward, with especially detailed remarks on Mass. Gradenwitz speaks as a lifelong observer of Bernstein and his music. Some will quibble with his analytical methods, but much in the book is insightful and useful. 541. —. The Music of Israel: From the Biblical Era to Modern Times. 2nd edition, revised and expanded. Portland, OR: Amadeus Press, 1996. 472 p. ISBN Downloaded by [New York University] at 04:27 09 August 2016 1-57467-012-3. ML345.15G73 1996. [First published: New York: Norton, 1949.] Gradenwitz dedicated the second edition of his book (first edition published in 1949) to the memory of his friend Bernstein. Bernstein appears mostly in the text as a conductor of works by other composers, but Gradenwitz devotes a short section to his music (pp. 290–94). He compares Bernstein to Mendelssohn, cites Bloch’s influence on the Symphony No. 1, Jeremiah, provides brief analysis of the symphony, and describes Bernstein’s other works with religious themes. The source is useful for placing Bernstein’s music in its Jewish context. 158 Leonard Bernstein: A Research and Information Guide

542. Helgert, Lars Erik. “Jazz Elements in Selected Concert Works of Leonard Bern- stein: Sources, Reception, and Analysis.” PhD dissertation, Catholic University of America, 2008. 397 p. Jazz is an important and obvious element that Bernstein applied in his work, which he considered as a source for American concert hall music. Helgert’s useful dissertation is a systematic study of how Bernstein used jazz elements in his output and his activities as a performer, arranger, and advocate. Helgert studied the composer’s writings, compositions, recordings, television programs, and also secondary sources, such as the newspaper articles. He selected seven concert works by Bernstein, including the Clarinet Sonata; Piano Sonata; Symphony No. 2, The Age of Anxiety; Serenade, after Plato’s Symposium; Prelude, Fugue and Riffs; Halil; and Touches. Helgert compiled a discography of recordings of Bernstein’s composition by jazz artists up to 2005. Through the list one will find, not surprisingly, many numbers from On the Town, Wonderful Town, and West Side Story. 543. Johnson, Scott. “More Unanswered Questions.” Ear Magazine 14 (November 1989): 39. Interesting musings about Bernstein’s place in American music as interest in serial music declined. Johnson notes the odd position that Bernstein the composer occupied from the 1950s to the 1970s when he was a cultural icon whose serious music was rejected by many composers who disliked his commitment to tonality and use of vernacular influences. Bernstein attempted to fashion his own “unified field theory” of music in his The Unanswered Question, recognizing the importance of how we hear music. Johnson posits that Bernstein the composer lived either too early or too late, but we must wait for the next generations to decide which. 544. Kopp, Christina Lee. “ ‘A School of New Men’: Composing an American Iden- tity in the Early Twentieth Century.” PhD dissertation, Boston University, 2006. 174 p. Focusing on Aaron Copland’s career before 1950s, Kopp pictured the formation of American identity in the first half of the twentieth century, from Ives to Cop- land, which paved the way for the later generation, including Bernstein. Unlike

Downloaded by [New York University] at 04:27 09 August 2016 Milton Babbitt, who was a contemporary of Bernstein and no longer needed the “big public,” Copland and Bernstein tried to reach them and melded popular and serious idioms in their music. Through this study one may consider the source of Bernstein’s concept of an American sound. 545. Laird, Paul R. “The Influence of Aaron Copland on Leonard Bernstein.” MA thesis, Ohio State University, 1982. 108 p. A consideration of perhaps Bernstein’s primary compositional influence. The opening section is a biographical statement on Bernstein with emphasis on his friendship with Copland, his opportunities to learn Copland’s music, and his conducting of that music. Laird explores Copland’s musical influence on Sources on Bernstein’s Compositions 159

Bernstein in terms of rhythm, melody, harmony, form, Jewish elements, and the qualities of simplicity and directness. Bernstein’s efforts at musico-dramatic unification in West Side Story are described as bringing sophisticated compositional techniques to a general audience, an aspect of the aesthetic of simplicity Bern- stein admired in Copland’s music. Among the appendices are extended excerpts from an interview that Laird conducted with Bernstein in March 1982. 546. —. “The Best of All Possible Legacies: A Critical Look at Bernstein, His Eclecti- cism, and Candide.” Ars Musica Denver 4/l (Fall 1991): 30–39. A brief consideration of Bernstein’s compositional output shortly after his death, including examination of his music’s appeal and theatricality, his use of vernacular references, and his eclecticism. The author asserts that Bernstein’s use of vernacular references can be divided into two levels: a surface level with frank imitations of jazz, folk, and pop idioms, and a deeper level where those references are used more subtly. Laird applies these varied aspects of Bernstein’s music to Candide in the version the composer recorded in 1989. Several quotations from Laird’s interview with Bernstein in 1982 are included. 547. Ledbetter, Steven. “Lord of the Dance: Bernstein’s Concert Music.” In Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 63–77. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. A useful introduction to Bernstein’s concert music. Ledbetter describes his habitual use of the rhythms and gestural quality of the dance. Although noting that Bernstein usually writes tonal music, Ledbetter describes his limited use of twelve-tone rows. He states that Bernstein’s memorable melodies are based on small cells of notes and places Bernstein the eclectic composer among other famous eclectics, such as Bach and Mozart. He notes Bernstein’s fondness for asymmetric meters, especially 7/4. His description of Bernstein’s three symphonies includes the importance of the program in each. He believes that Bernstein’s music directly reflects its creator. 548. Lubin, Abraham. “The Influence of Jewish Music and Thought in the Works of Leonard Bernstein.” Tatzlil 20/11 (1980): 35–38. A brief consideration of Bernstein’s three compositions directly related to Juda-

Downloaded by [New York University] at 04:27 09 August 2016 ism: Symphony No. 1, Jeremiah; Symphony No. 3, Kaddish; and Chichester Psalms. Emphasized is Bernstein’s early education in his Jewish home. Included are musical examples showing Bernstein’s use of Hebrew chants in the first two movements of his first symphony. The article is in Hebrew with an English summary (p. 104). 549. Montecchi, Giordano. “USA versus Europa: Alle radici di una diversità.” In Guido Salvetti, ed., Bernstein in Italia, 117–23. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410. B566B55 1993. An article conceived for European audiences in which Montecchi tries to explain the differences between art music composition in Europe and the United States, 160 Leonard Bernstein: A Research and Information Guide

noting the diversity in the American musical experience. There is actually little on Bernstein, with one of his main examples being Charles Ives. 550. Moore, James Walter. “A Study of Tonality in Selected Works by Leonard Bern- stein.” PhD dissertation, Florida State University, 1984. 167 p. Moore’s work is important for a composer who often expressed his commitment to tonality and his antagonism towards atonality and serialism. Included are analyses of varied depth for works in six different genres written between 1943 and 1971: I Hate Music!; Prelude, Fugue and Riffs; Five Anniversaries; Symphonic Suite from On the Waterfront; Chichester Psalms; and Mass. Moore finds that Bernstein regularly used twentieth-century techniques such as polytonality and non-tertian harmonies, but his compositions are “conceived in tonality” (p. 4). Moore focuses on the music, including little in the way of context. He concludes that the works show “no chronological evolution of tonal style” (p. 164). 551. Pollack, Howard. Harvard Composers: Walter Piston and His Students, from Elliott Carter to Frederic Rzewski. Metuchen, NJ: Scarecrow Press, 1992. 489 p. ISBN 0-8108-2493-0. ML390.P745 1992. Walter Piston was an important composer and theorist who taught at Harvard from 1926 to 1960. Pollack writes here about thirty-three composers who studied with Piston, a remarkably diverse group ranging from Leroy Anderson to Elliott Carter. Pollack defends his designation of this group as a “school” in the final chapter. Bernstein is considered in a chapter (pp. 104–30) with Carter, two composers who “expanded the modernist tradition.” Given Carter’s and Bern- stein’s widely disparate compositional styles, the pairing raises immediate questions, but Pollack offers an interesting and worthwhile approach to Bernstein’s music and comments on a wide variety of his works. Especially insightful are his descriptions of Bernstein’s “urban realism” and use of humor in several works. 552. Rorem, Ned. Settling the Score: Essays on Music. San Diego: Harcourt Brace Jova- novich, 1988. 366 p. ISBN 0-15-180895-3. ML60.R7845 1988. An anthology of Rorem’s writings published since 1963. Rorem mentions Bern- stein often in the book, but three places are especially important. At the end of a 1972 essay on Lee Hoiby’s opera Summer and Smoke (p. 58), Rorem calls Bern-

Downloaded by [New York University] at 04:27 09 August 2016 stein’s Mass “the only modern true opera presently in the public consciousness.” Rorem’s essay “A Medal for Lenny” (see Item 398) also appears here (pp. 27–32). In a 1974 essay, “Our Music Now,” Rorem devotes six pithy paragraphs to Bernstein (pp. 280–81), where he praises Bernstein’s dance scores, compares him favorably to Stravinsky, and discusses the Jewishness of his music and his “beguiling” melodies (p. 281). 553. Ross, Alex. “The Legend of Lenny: A Critic at Large.” New Yorker 84/41 (15 December 2008): 82ff. A critical appraisal of Bernstein published towards the end of a major New York festival that celebrated his ninetieth birthday. Ross briefly surveys Bernstein’s Sources on Bernstein’s Compositions 161

biography, focusing on various aspects and covering some of the more controversial aspects of his life and character. Ross writes in admiration of Bernstein’s ability to embrace all types of music and some of his accomplishments as a conductor and educator, writes with relish about the composer’s accomplishment in his earlier works, through about West Side Story, and clearly admires Chichester Psalms. Ross is less sanguine about the Symphony No. 3, Kaddish and Bernstein’s later works, especially Mass, which he criticizes in some detail. In the end, Ross indirectly praises Bernstein’s honesty and affirming nature as a musician and human being. 554. Salvetti, Guido. “II compositore: Un esame attraverso due ‘prime’ italiane.” In Guido Salvetti, ed., Bernstein in Italia, 93–114. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410. B566B55 1993. An unusual consideration of Bernstein’s musical style through his two works that premiered in Italy: the Serenade, after Plato’s Symposium and the opera A Quiet Place, the latter of which actually premiered in Houston but was commissioned jointly by opera companies there and in Washington, DC, and Milan. Salvetti considers the influence of jazz in Bernstein’s music, the program and historical background of the Serenade, its form, Stravinsky’s apparent influence, and a description of each movement with musical examples. He briefly covers the background of A Quiet Place, how the work reflects Bernstein’s life, how Trouble in Tahiti is worked into the later opera, and aspects of text setting and thematic relationships. 555. Schatt, Peter W. “Jazz” in der Kunstmusik: Studien zu Funktion afroamerikanischer Musik in Kompositionen des 20. Jahrhunderts. Perspektiven zu Musikpäda- gogik und Musikwissenschaft, 18. Kassel: Gustav Bosse, 1995. 228 p. ISBN 3-7649-2476-4. ML197.S243 1995. Schatt covers a number of composers from the United States and Europe. Following an introduction in which he looks at jazz’s main areas of influence on composition—melody, harmony, form, rhythm, articulation, and improvisation—he moves to individual sections on fifteen different composers. In his segment on Bernstein (pp. 190–99), Schatt describes his interest in jazz

Downloaded by [New York University] at 04:27 09 August 2016 and multifaceted career, but confines his analysis to Symphony No. 2, The Age of Anxiety, one of several works by Bernstein that includes significant jazz elements. Schatt ties Bernstein’s musical choices in the work to its program and includes musical examples. 556. Scheibler, Alexandra. “Ich glaube an den Menschen”: Leonard Bernsteins religiöse Haltung im Speigel seiner Werke. Studien und Materialien zur Musikwissenschaft, 22. Hildesheim: Olms, 2001. 282 p. ISBN 3487113449. A book version of Scheibler’s 1999 dissertation at the University of Ham- burg on Bernstein’s religious feelings and attitudes as they appear in his compositions. 162 Leonard Bernstein: A Research and Information Guide

557. Seckerson, Edward. “Music I Heard with You.” Gramophone 69/819 (August 1991): 38–39. An article based on a 1989 interview with Bernstein that took place during a break of the Candide recording session in London’s Barbican Hall. Seckerson decided to ask Bernstein only about his music and elicited a number of useful responses, especially about Candide and Mass, but there is not much in the way of hard or new information. Bernstein does note that the music he hoped to write soon (he died ten months after the interview) included a piano trio for the Stern/Ax/Ma trio and an opera on the Holocaust. 558. Smith, Helen. “ ‘Peter Grimes’ and Leonard Bernstein: An English Fisherman and His Influence on an American Eclectic.” Tempo 60/235 (January 2006): 22–30. Bernstein conducted the American premiere of Benjamin Britten’s opera Peter Grimes at Tanglewood in 1946. Helen Smith, who has published a study of all of Bernstein’s works for musical theater (Item 807), examines the possible musical influences of Peter Grimes on Trouble in Tahiti, Candide, West Side Story, Mass, and A Quiet Place. Her assertions are speculative, but she is not overly dogmatic in her claims, and most seem possible. As Smith notes, in an 1980 interview with Humphrey Carpenter, Bernstein said that he almost felt like he had written Brit- ten’s opera, allowing one to suggest that Bernstein long had the work in his head and might have been influenced by it throughout his compositional life. 559. Tawa, Nicholas E. A Most Wondrous Babble. Contributions to the Study of Music and Dance, 9. New York: Greenwood, 1987. 284 p. ISBN 0-313-25692-6. ML200.5.T36 1987. In brief commentary (pp. 200–02), Tawa concentrates on Bernstein’s compositions, simply noting that Bernstein also conducted and balanced a large ego with feelings of insecurity. A theme of Tawa’s book is the gulf between modern music and the audience, and he samples Bernstein’s thoughts on the subject. Tawa finds Bernstein’s music uneven, compelling in melodic and rhythmic elements when his eclecticism works, but some pieces he finds superficial. Among Bernstein’s best works he lists the Symphony No. 1, Jeremiah; Trouble in Tahiti; Serenade, after Plato’s Symposium; Chichester Psalms; and A Quiet Place. He finds the later

Downloaded by [New York University] at 04:27 09 August 2016 two symphonies and Mass less effective. Several of the years Tawa provides for compositions are incorrect. 560. Thomson, Virgil. American Music since 1910. Twentieth-Century Composers, 1. New York: Holt, Rinehart and Winston, 1971. 204 p. ISBN 0-03-076465-3. ML200.5.T5. A book of this experienced composer and critic’s informed opinions. Bernstein is named briefly in several contexts and the subject of a short biography and commentary (pp. 123–24). The biographical section includes errors of fact, but Thomson’s commentary demonstrates his admiration for Bernstein as a conductor. He finds Bernstein’s music “derivative,” noting that his most important Sources on Bernstein’s Compositions 163

models are Milhaud, Stravinsky, and Mahler. This is an unusual list, notable primarily for Copland’s absence. 561. Walters, Mandy. “Leonard Bernstein and Dance.” MM thesis, University of Kan- sas, 2003. 188 p. A thesis that includes consideration of “Bernstein’s original works in a historical manner with insight into dance” (p. ii). The author approaches all of his works that either were written for the dance or have inspired choreographers: Conch Town (an early ballet from which segments of West Side Story were derived); Fancy Free; On the Town; Facsimile; Symphony No. 2, The Age of Anxiety; Won- derful Town; Serenade, after Plato’s Symposium; Prelude, Fugue and Riffs; West Side Story; Chichester Psalms; Mass; Dybbuk; and Dance Suite; in addition to other miscellaneous works and John Neumeier’s ambitious Bernstein Dances, which uses excerpts from a number of Bernstein’s compositions. Walters provides material on the creation of each work and descriptions of the dances, at times quite detailed, based upon an effective mixture of primary and secondary sources. 562. Weber, J. F. “Leonard Bernstein, a Composer Discography.” Association for Recorded Sound Collections Journal 6/1 (1974): 30–39. An extensive discography of Bernstein’s works catalogued by work, including performers, recording date, timings, recording company and catalog number, release date, and date when a recording was deleted from the catalog. 563. —. Leonard Bernstein. Discography Series, 13. Utica, NY: [no publisher], 1975. A slightly updated version of the discography described earlier. 564. Wegner, Josef U. “Bald wieder Opernkomponist.” Neue Zeitschrift für Musik 147/10 (October 1986): 29–31. The result of an interview with Bernstein in January 1984 with extensive quotations from the composer. Wegner does not try to present a full picture of Bernstein. He focuses on Bernstein’s interest in faith in the modern world, applying it to his symphonies, especially the Jewishness of his first and third symphonies. The Sym- phony No. 3, Kaddish is described in the most detail. Wegner concludes with Bern- stein, commenting on his output in general, noting that he has written enough

Downloaded by [New York University] at 04:27 09 August 2016 for Broadway, and there are important genres such as the string quartet and piano sonata that he had not yet approached (and never did, except for a youthful piano sonata), but that he felt at that point he should be writing for the opera house. 565. Weiss, Edmond H. “Lenny the Klezmer.” Moment 18/1 (February 1993): 40–45, 80. A brief but intelligent description of Jewish elements in Bernstein’s music, with special attention to Symphony No. l, Jeremiah; Symphony No. 3, Kaddish; and Chichester Psalms, with references to other works. Weiss traces the role of Judaism throughout Bernstein’s life and in his personality, focusing on the contradictory relationship he had with his father and his “adolescent streak of naughtiness” 164 Leonard Bernstein: A Research and Information Guide

(p. 44). Weiss notes that Bernstein wrote more Jewish music than any other major composer except Ernest Bloch. Weiss manages enlightening descriptions of several of Bernstein’s works. 566. Zakariasen, William. “Pop Music by Classical Composers.” High Fidelity and Musical America 24 (January 1974): 96–100. A consideration of a number of composers who wrote lighter music in addition to the works for which they are famous, including Brahms, Elgar, Schoenberg, Weill, Gershwin, Blitzstein, and Bernstein, among others. Although the article is intended for popular audiences and at times anecdotal, Zakariasen places Bernstein in interesting company. He notes that Bernstein unites the classical and popular in his works, bringing to music “a democratic unity of purpose and communication.”

BY PERFORMANCE CATEGORY

Piano Music

567. Chen, Chien-Jung. “Leonard Bernstein’s ‘Touches’: A Performer’s Analysis.” DMA thesis, University of Houston, 2011. 53 p. Chen first describes the early influences on Bernstein’s compositional style, especially Copland. The author provides an overview of Bernstein’s piano works and reviews of the compositional background and critical reviews of Touches. Chen includes a detailed analysis of Touches, including the composer’s use of lyrical melodies, jazz elements, and also the short motives and intervals on which each variation is based. This thesis also contains a chart of the piece’s overall structure. 568. Harris, Conwell Ray, Jr. “Unifying Techniques in the Anniversaries of Leonard Bernstein.” DMA document, Louisiana State University, 1993. 89 p. An analysis of Bernstein’s twenty-nine Anniversaries for solo piano with reference to the following techniques of unification: repetition of melodic elements; motivic manipulation; melodic motives transformed into accompanimental material; recurring rhythmic ideas; and other techniques. Harris concisely accomplishes

Downloaded by [New York University] at 04:27 09 August 2016 these tasks, in the process identifying a number of techniques that may be observed in Bernstein’s larger works as well. Bernstein composed Anniversaries throughout his career. Harris concludes that his analysis does not document an evolving style but rather consistent use of such devices. Harris includes very little that places these works in the context of Bernstein’s career, even sometimes ignoring that Bernstein used the music of a number of his Anniversaries within larger works. 569. Livingston, Herbert. “Leonard Bernstein: Four Anniversaries.” MLA Notes 7/1 (December 1949): 141. A brief review of Bernstein’s Four Anniversaries for solo piano. Livingston provides apt descriptions of each movement but finds the musical material overall “routine” and the pieces “disappointing.” Sources on Bernstein’s Compositions 165

570. Luther, Sigrid. “The Anniversaries for Solo Piano by Leonard Bernstein.” DMA document, Louisiana State University, 1986. 123 p. A detailed and insightful consideration of the sixteen Anniversaries that Bernstein published before 1986, and two more unpublished works, “For Stephen Sond- heim” and “For Jessica Fleishman,” which James Tocco recorded in 1983 (Pro Arte 109). Luther covers the sixteen Anniversaries published in 1943, 1948, and 1954 in separate brief sections. For each work she identifies the dedicatee, often including quotations from that person (or a relative) concerning Bernstein and, in the case of composers such as Diamond and Foss, how Bernstein might have been inspired by their music. She then presents the salient features of each movement in concise analyses. Of special interest is Luther’s chapter on Five Anniversaries and how those movements relate to the Serenade, after Plato’s Symposium, where some of that music also appears. Luther includes many musical examples. 571. Magrath, Jane. “Bernstein’s ‘Anniversaries’ and Other Works for Solo Piano.” American Music Teacher 38/1 (September–October 1988): 16–21, 66. A most helpful study of Bernstein’s Seven Anniversaries, Four Anniversaries, Five Anniversaries, and Touches. (Thirteen Anniversaries appeared the year this article was published.) Magrath addresses piano teachers and students, noting that the Anniversaries could be played by anyone from high school students to professional performers; Touches is more difficult but still attainable for university pianists. For each Anniversary Magrath identifies the dedicatee and the character of the movement, condensing the information into a table as well (p. 19). Touches is described as “more austere and dissonant” but still with strong “character delin- eation” in each variation (p. 21). 572. Tocco, James. “Master Class: Playing Bernstein’s Piano Music.” Keyboard Classics 3/6 (1983): 40–41. Tocco recorded Bernstein’s complete piano music in 1983 (Pro Arte 109), and here he provides detailed advice on how to play the first of the Seven Anniver- saries (“For Aaron Copland”) with general advice on other movements as well, especially on their characters. Some of the material represents what Bernstein told Tocco about the music or its interpretation. Included in the brief article are

Downloaded by [New York University] at 04:27 09 August 2016 twelve musical examples, and “For Aaron Copland” appears complete elsewhere in the magazine. 573. Truesdell, F. Donald. “Leonard Bernstein. The Complete Works for Solo Piano.” American Music 4/1 (Spring 1986): 120–21. A positive review of pianist James Tocco’s 1983 recording (Pro Arte 109) of Bern- stein’s complete solo piano works available to that point: Seven Anniversaries, Four Anniversaries, Five Anniversaries, Two Anniversaries (later to become part of Thirteen Anniversaries), Song without Words, the transcription of Copland’s El Salón México, Touches, and Moby Dyptich. Truesdell finds the most representative work to be Touches, which he finds “totally idiomatic for the modern piano” (p. 120). Truesdell describes Tocco as having a “deep affinity for Bernstein’s 166 Leonard Bernstein: A Research and Information Guide

music” (p. 120) and also praises the sound and John Gruen’s liner notes. A doctoral document that considers Bernstein’s piano music in the context of works by his American contemporaries is: Bomi Lim Tunstall, “Stravinsky, Jazz, and the New American Sound: Piano Music of Aaron Copland, William Schuman, Leonard Bernstein, and Lukas Foss,” DMA document, Peabody Conservatory of Music, 2011.

Chamber Music

574. Carlucci, Joseph B. “An Analytical Study of Published Clarinet Sonatas by Amer- ican Composers.” DMA document, Eastman School of Music, University of Rochester, 1958. 270 p. A detailed analysis of clarinet sonatas by Daniel Gregory Mason, Edward Burl- ingame Hill, George Frederick McKay, Burnet Corwin Tuthill, Leo Sowerby, and Leonard Bernstein. Carlucci describes Bernstein’s sonata in terms of the form of the two movements, its harmonic traits, the use of ostinato, the importance of third relationships and arpeggios as melodic cells, and meter and rhythm, with the benefit of musical examples. Carlucci finds the main influences to be Hin- demith in the first movement and the second movement to be reminiscent of Copland and Stravinsky. He describes Bernstein’s sonata as a transitional work in which typical writing for the clarinet is eschewed in a favor of a musical balance between clarinet and piano. He compares the sonatas in his conclusions. 575. Del Rosso, Charles Francis. “A Study of Selected Solo Clarinet Literature of Four American Composers as a Basis for Performance and Teaching.” EdD dissertation, Columbia University, 1969. 184 p. DAl 70–4567. A consideration of four works that Del Rosso played in his doctoral recital: Copland’s Clarinet Concerto, Bernstein’s Sonata for Clarinet and Piano, Matt Doran’s Sonata for Clarinet and Piano, and Norman Dello Joio’s Concertante for Clarinet and Piano. The document includes a brief introduction of each work (for the Bernstein, pp. 9–11) and a lengthier section about each composer and work. This latter section on Bernstein and his sonata (pp. 53–81) is primarily a blow-by-blow analysis of the work with musical examples. Del Rosso also com-

Downloaded by [New York University] at 04:27 09 August 2016 ments on Bernstein’s use of the clarinet. 576. Dusella, Reinhold. “Zur Kammermusik Leonard Bernsteins.” In Reinhold Dusella and Helmut Laos, eds., Leonard Bernstein: Der Komponist, 21–30. Musik der Zeit Dokumentation und Studien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410.B566L46 1989. A brief summary of any works that could be considered chamber music: solo piano music; songs and song cycles (including Arias and Barcarolles, a work for more than one singer); the Sonata for Clarinet and Piano; juvenilia such as the Piano Trio (1937), Piano Sonata (1938), and Sonata for Violin and Piano (1939); and other pieces for smaller ensemble such as Shivaree, Three Meditations from Sources on Bernstein’s Compositions 167

Mass for Cello and Piano, and Variations on an Octatonic Scale. Dusella notes that Bernstein is best known for larger works, but there is also quite a bit of chamber music. In such a short article it is difficult to say much about this body of music, but Dusella at least approaches each work. 577. Johnson, Timothy L. “Twentieth-Century Repertoire for Trombone: A Recital Pro- gram Featuring Works by Paul Hindemith, Jacques Castérède, Leonard Bernstein, and D. F. Bachelder.” MA thesis, Moorhead (MN) State University, 1998. 68 p. Background history and analysis of four trombone works, including Bernstein’s Elegy for Mippy II from the Brass Music (pp. 46–52). Johnson’s biographical material on Bernstein includes errors, but his description of the music, with five musical examples, is useful. Johnson presents a formal outline of the work, description of principal melodic and rhythmic ideas, and mention of major “performance considerations,” including aspects of dynamics, articulation, and instructions for playing a difficultglissando . In Johnson’s “Conclusion,” he notes the influence of theater music on Bernstein’s work both in terms of musical style and in Bernstein’s instruction that the performer should tap a foot four times per measure. 578. Plessner, Lucian. “Bernstein für Gitarre.” Gitarre & Laute 16/4 (1994): 45–48. An unusual article on the process of transcribing Bernstein’s music for guitar, including specific mention of songs from Mass and West Side Story and a movement from the Divertimento for Orchestra. 579. Weeks, Douglas Gilman. “A Review and Evaluation of Selected Contemporary Literature for Unaccompanied Trombone.” Journal of the International Trombone Association 7 (January 1979): 21–22. A trombonist’s consideration of seven solo trombone works written between 1950 and 1969, the earliest of which is Bernstein’s Elegy for Mippy II. (Weeks lists the work’s date as 1950, but Bernstein wrote his set Brass Music in 1948.) Weeks describes the piece as quite playable but with demanding rhythms. The only special technique is the instruction that the player should tap a foot four times in each bar. Weeks also describes the work as having a feel of jazz and blues.

Choral Music Downloaded by [New York University] at 04:27 09 August 2016

580. Dickau, David Carl. “A Study and Performance of the Chichester Psalms of Leon- ard Bernstein.” DMA document, University of Southern California, 1986. 133 p. A consideration intended primarily for conductors of Bernstein’s most popular choral work. Following an introductory chapter, Dickau summarizes Bernstein’s musical style, emphasizing his influences from theater, jazz, Copland, his Jew- ish heritage, his worldview, and his commitment to tonality. The third chapter is a survey of Bernstein’s choral music with background and brief analysis of Hashkiveinu, the choruses from The Lark, Symphony No. 3, Kaddish, and other minor works. The material on The Lark is especially helpful, one of the most 168 Leonard Bernstein: A Research and Information Guide

detailed available. The next chapter is on Chichester Psalms, the background and a descriptive analysis, the latter primarily a blow-by-blow account most useful to a conductor. There is also analysis of Bernstein’s orchestration. The final chapter considers Dickau’s own performance of the piece. 581. Finch, Scott M. “The Prominence of Hebrew Syntax in Leonard Bernstein’s ‘Chichester Psalms.’ ” DMA thesis, University of Arizona, 2011. 101 p. Chichester Psalms has entered the standard American choral repertoire. Scholars have explored its diversity of styles, formal structure, Bernstein’s reuse of abandoned materials, and the interesting instrumentation. However, Finch looked at this piece from the perspective of Hebrew syntax, analyzing how Bernstein used Hebrew poetic forms to organize his composition. With his understanding of the Hebrew poems, Bernstein was able to highlight the themes of peace and unity that are the focus of the chosen verses in their original form with a careful and creative approach to setting these texts. 582. Gottlieb, Jack. “The Choral Music of Leonard Bernstein.” American Choral Review 10/4 (Summer 1968): 156–77. Gottlieb provides an overview of the choral music Bernstein had written through 1968 with a number of musical examples. Short background descriptions and brief analyses are provided for Symphony No. 3, Kaddish, Chichester Psalms, Hashkiveinu, and the choruses from The Lark. For each work, Gottlieb wrote detailed program notes with brief background history and analysis, including examples of principal themes. Especially useful are Gottlieb’s comparisons between the works. The article also includes discographies of Bernstein’s choral music and choral works that Bernstein conducted. 583. Howard, David L. “Patron of the Choral Art: Walter Hussey’s Commission of Choral Works in the Twentieth Century.” DMA thesis, Michigan State University, 2008. 80 p. As the dean of Chichester Cathedral from 1955 to 1977, the Rev. John Walter Atherton Hussey commissioned many works from different fields of art, including eleven choral works, among them Chichester Psalms. However, information about his life and work is limited, except for Hussey’s out-of-print book, Patron

Downloaded by [New York University] at 04:27 09 August 2016 of Art, and Howard’s dissertation is a systematic study about Hussey, telling the story from his side. In Chapter 5, Howard included many valuable excerpts from letters between Bernstein and Hussey, which provided the background of the creation of Chichester Psalms. 584. Krones, Hartmut. “Psalmenvortonungstraditionen in Leonard Bernsteins Chich- ester Psalms.” In Otto Kolleritsch, ed., Die neue Musik in Amerika: Über Tradition- slosigkeit und Traditionslastigkeit. Vienna: Universal-Edition, 1994, pp. 91–112. ISBN 3-7024-0207-1. ML55.S392 Bd. 27. An attempt to place Bernstein’s Chichester Psalms into the tradition of Hebrew psalmody. Krones considers the history of the work’s composition and the Sources on Bernstein’s Compositions 169

importance of Bernstein’s Jewish background, a factor in other compositions such as Symphony No. 3, Kaddish and Dybbuk. He then briefly reviews the music of Jewish psalmody from the nineteenth century, including several musical examples. He finds elements of this tradition in each movement of Chichester Psalms, but the similarities are superficial. Surely of more importance in Bern- stein’s composition of this work was his use of musical material removed from West Side Story and sketches from the abandoned attempt to turn Thornton Wilder’s play The Skin of Our Teeth into a musical, and Bernstein’s penchant for writing tonal music throughout his career. 585. Laird, Paul R. “Leonard Bernstein: Eclecticism and Vernacular Elements in Chich- ester Psalms.” Sonneck Society for American Music Bulletin 25/1 (Spring 1999): 1, 5–8. Based upon an excerpt from a 1982 interview with Bernstein, eclecticism is called the most important factor in Bernstein’s music, especially in his appropriation of vernacular elements from jazz, blues, and the Broadway idiom. Bernstein’s style is briefly described, followed by background on the composition of Chichester Psalms in 1965. The work is analyzed by movement for its inclusion of vernacular elements. Four musical examples are included. Chichester Psalms emerges as an effective introduction to Bernstein’s output. 586. —. The Chichester Psalms by Leonard Bernstein. Ed. Michael J. Budds. CMS Sourcebooks on American Music, 4. Hillsdale, NY: Pendragon Press, 2010. 249 p. ISBN 978-1-57647-152-4. ML410.B566L35 2010. A detailed consideration of this single work for soloist, choir, and orchestra. The chapter on historical background includes the entire extant correspondence between Bernstein and Dean Walter Hussey of Chichester Cathedral, who commissioned the piece. Consideration of each of the three movements includes description of its meaning within the composer’s life and output, a musical analysis, study of sketches, and how Bernstein dealt with Hebrew textual accents as he placed the psalm texts primarily onto music once intended for another purpose. The book also includes a discography with reviews of most recordings, a list of Bernstein’s expression marks in his conducting scores for the work, and a selected listing of public performances between 2003 and 2010. Downloaded by [New York University] at 04:27 09 August 2016 587. Moore, Gary W. “A Conductor’s Analysis of Psalm Settings by J. S. Bach, W. A. Mozart, Anton Bruckner and Leonard Bernstein.” Master of Church Music thesis, Southwestern Baptist Theological Seminary, 1970. 183 p. An analysis of each work that Moore directed for his master’s conducting recital. His treatment of Chichester Psalms (pp. 142–78) includes a short biography of Bernstein, the work’s historical background, comments on the texts used, a formal analysis of each movement, some harmonic analysis, statements on rhythmic elements and how one should conduct difficult passages, brief consideration of contrapuntal devices and texture, melodic analysis, and a few statements about orchestration. 170 Leonard Bernstein: A Research and Information Guide

588. Nash, Ethan Daniel. “Jewish Choral Music: A Conductor’s Guide to Bloch’s ‘Avo- dath Hakodesh,’ Bernstein’s ‘Chichester Psalms’ and Other Works.” DMA thesis, University of Hartford, 2007. 275 p. Nash worked on two Jewish works in this thesis, Ernest Bloch’s Avodath Hakodesh and Bernstein’s Chichester Psalms. In order to know the Hebrew better, Nash spends one chapter introducing the characteristics of the Hebrew language and another chapter on pronunciation. Chapter 6 concerns Bernstein’s Chichester Psalms, and includes consideration of the compositional background. Nash also describes the composer’s Jewish identity as seen in some of his Jewish-related music. The author compared the occasions of performance between Chichester and Bloch’s Avodath Hakodesh. While Bloch’s could be performed in either a concert setting or a liturgical one, Bernstein’s is purely a concert piece. The psalms used in Chichester are not a typical part of the Jewish liturgy. 589. —. “Understanding and Performing Bernstein’s Chichester Psalms.” Choral Jour- nal 49/8 (2008): 8–31. An informative, useful consideration of Bernstein’s choral work. Nash opens with how the composer’s sabbatical project in 1964–65, The Skin of Our Teeth, fell apart and some of the music became part of Chichester Psalms. After a brief section on Bernstein’s Jewish identity, Nash provides an analysis of each movement and concludes with performance practice issues and a detailed pronunciation guide for the Hebrew text. Nash interviewed Abraham Kaplan, conductor of the choir that premiered the work in New York, who offered the fascinating tidbit that he worked out an English translation for the piece and showed it to Bernstein, but after a long work session the composer decided that choirs would just have to sing Chichester Psalms in Hebrew. 590. Winnick, William. “Pivot Analysis in Bernstein’s Chichester Psalms: A Guide for Singers.” Choral Journal 24/7 (March 1984): 17–19, 22. Despite the presence of Bernstein’s most popular choral work in the title, this article offers nothing concerning Chichester Psalms except that it includes intervals that are difficult to sing. Winnick explains a method to help choir members learn the work. Downloaded by [New York University] at 04:27 09 August 2016 Film Score

591. Bushard, Anthony J. “Fear and Loathing in Hollywood: Representations of Fear, Paranoia, and Individuality vs. Conformity in Selected Film Music of the 1950s.” PhD dissertation, University of Kansas, 2006. 550 p. This dissertation is a detailed consideration of its titular themes as they appear in three iconic films of the 1950s: The Day The Earth Stood Still (1951), with music by Bernard Herrmann; High Noon (1952), its score by Dimitri Tiomkin; and On the Waterfront (1954), Bernstein’s only film score. After exploring his major themes in American culture of the 1950s and cogent looks at the first two Sources on Bernstein’s Compositions 171

films and their music, Bushard approachesOn the Waterfront with a useful synopsis, essay on the film’s creation and historical background, and then a musical analysis with forty-four musical examples. The main point of the analysis is to trace the three main motives—identified by Bushard as “Pain,” “Dignity,” and “Love”—through the entire score, and how Bernstein’s music offers commentary upon, and adds to, the film’s interpretation on the film’s representation of fear, paranoia, and the conflict between individuality and conformity. 592. —. “ ‘He Could’ve Been a Contender’: Thematic Integration in Leonard Bern- stein’s Score for On The Waterfront (1954).” Journal of Film Music 2/1 (Fall 2007): 43–46. Bushard covers some of the most striking examples of thematic coherence in the score of On the Waterfront. His analysis demonstrates the effectiveness of Bern- stein’s score and his efforts at thematic integration; not only do melodies suit each scene, but also the development of appropriate motives enhances the overall dramatic continuity. Bushard also provides some interesting insights through the study of the sketches in the Library of Congress. 593. —. “From On the Waterfront to West Side Story, or There’s Nowhere Like Some- where.” Studies in Musical Theatre 3/1 (2009): 61–75. Bernstein’s only film score came in 1954, three years before the iconic musical that was the composer’s most famous work. Bushard traces what he identifies as the three main motives found in the film score, demonstrates how they are interrelated, and comments on how Bernstein makes use of the motives for dramatic purposes. He also catalogs similarities between these motives and themes from West Side Story, such as the rising minor seventh that opens the film’s “love theme” and also appears in West Side Story in the song “Somewhere.” The author shows how the composer adopted similar musical approaches to these two violent stories taking place in urban landscapes. 594. —. Leonard Bernstein’s On the Waterfront: A Film Score Guide. Scarecrow Film Score Guides, 14. Lanham, MD: Scarecrow Press, 2013. 214 p. ISBN 978–0810881372. ML410.B566B93 2013. A fine distillation and amplification of the section of his dissertation (see no. 591)

Downloaded by [New York University] at 04:27 09 August 2016 concerning On the Waterfront. Bushard contextualizes and analyzes Bernstein’s only film score, an effort that has been praised for its inherent musical quality, but condemned by some for the way they believe it distracts from the film itself. Chapter 1 is a consideration of the composer’s life until 1954, when he wrote the score, with possible reasons as to why Bernstein never worked in the genre again. The second chapter deals with his musical language and penchant for basing larger works on small motives. The next two chapters provide historical and critical context: the Cold War, McCarthyism, conformity, suburbanization, the threat of nuclear war, and the contemporary conditions in Hollywood. Bushard’s analysis in Chapter 5 proceeds through the film in running order with close attention to important motives and their various appearances and associating 172 Leonard Bernstein: A Research and Information Guide

sections with other works in Bernstein’s output, all made clear with a generous number of musical examples. 595. Evans, Mark. Soundtrack: The Music of the Movies. New York: Hopkinson and Blake, 1975. 303 p. ISBN 0–911974–19–9. ML2075.E9. In a chronological survey of film scores, Evans includes Bernstein’s On the Water- front in a chapter entitled “Outstanding Scores of the 1950s.” His consideration of On the Waterfront (pp. 122–25) places it in the context of other movies that “featured innovative, jazz-influenced music” (p. 122). He notes that Bernstein approached the project like he might have an opera and produced “themes that lean towards complexity” (p. 124). He also includes musical description (with no examples) to demonstrate the violence of the score and how some motives return. Evans mentions experiences that Bernstein found to be painful when sound engineers were deciding upon volume levels of parts of the soundtrack. 596. Hamilton, William. “On the Waterfront.” Film and TV Music 14 (September–October 1954): 3–14. A brief but admirable consideration of Bernstein’s score with many musical examples. Hamilton describes Bernstein’s approach to the score as bold, so bold that a few loose ends remain, including intended allusions in various cues to other cues that never really happen, but Hamilton admits that these problems are clearer on paper than when watching the movie. He names the major themes and provides musical examples, demonstrating how some are related. The article concludes with extended examples in three- or four-line scores from the following cues: “Kangaroo Court,” “Coda-Accident,” “Roof Morning,” “After Sermon,” and “Walk and End Title.” 597. Huntley, John. “Music in Films.” Musical Times 98 (December 1957): 662–63. A short article on film scores from the 1930s to the 1950s with significant comment on Bernstein’s score to On the Waterfront. After naming major British film composers, Huntley raises the question of integrating music and film to Holly- wood products, praising Virgil Thomson and Aaron Copland for their ability to bring serious music to a film score and remain necessarily in the background. He faults Bernstein for being “aggressive in the extreme” in On the Waterfront, especially in the love scenes. He finds effective the music in the final scene, however. Downloaded by [New York University] at 04:27 09 August 2016 598. Keller, Hans. “On the Waterfront.” The Score and I. M.A. Magazine 12 (June 1955): 81–84. A positive review of Bernstein’s film score, placing it far above the average Hol- lywood effort and even above the film efforts of Aaron Copland and Hans Eisler, whom Keller identifies as similar composers outside the Hollywood mainstream. Keller finds that Bernstein achieves a successful synthesis of Hollywood and its Romantic models and the modern strains of Stravinsky and Schoenberg. He praises Bernstein’s score for its selective eclecticism, fine contrapuntal sense dis- ciplined by a panchromatic harmonic style, and innovative sense of instrumentation for a Hollywood score. Sources on Bernstein’s Compositions 173

599. Lias, Stephen. “A Comparison of Leonard Bernstein’s Incidental Music for the Film On the Waterfront and the Subsequent Symphonic Suite from the Film, and an Original Composition: Symphony No. 1—‘Music for the Theater.’ ” DMA document, Louisiana State University, 1997. 246 p. Lias (pp. 1–95) provides a detailed consideration of Bernstein’s score with comments on each of the film’s twenty-seven musical cues. He places each cue within its dramatic context and describes how music serves the story. He then shows if and where each cue appears in the Symphonic Suite. Lias reveals how Bernstein composed each cue from melodic cells and how themes return. He relates musical gestures to other works, some more convincing than others. Bernstein composed each cue as a separate musical entity, capturing the mood but failing to consider the dialogue. Lias concludes that Bernstein wrote a fine score that enhances the film, but he also ignored some basic precepts of film music composition. The document includes numerous musical examples, a plot synopsis, tables on the musical contents of the suite and film score, and a glossary of names and terms. 600. Prendergast, Roy M. Film Music: A Neglected Art: A Critical Study of Music in Films. 2nd edition. New York: Norton, 1992. 329 p. ISBN 0-393-02988-3. ML2075.P73 1991. [First published: New York: Norton, 1977.] In a detailed study of music from many films, Prendergast criticizes Bernstein’s score for On the Waterfront as beautiful music that often fails to complement the film’s action or dialogue (pp. 130–37). He finds the major problem being Bernstein’s stated desire to write cues as compositions. Prendergast calls it “linear music . . . drawing too much attention to itself” (p. 132). He praises two scenes, especially “Walk and End Title,” allowing that it almost “redeems many of the bad musical moments that seem to predominate in this film” (p. 133). Prender- gast includes three musical examples. 601. Rapf, Joanna E., ed. On the Waterfront. Cambridge: Cambridge University Press, 2003. 190 p. ISBN 0-521-79400-5. PN1997.O43O52 2003. Especially: Burl- ingame, Jon. “Leonard Bernstein and On the Waterfront: Tragic Nobility, a Lyrical Song, and Music of Violence,” 124–47. Burlingame provides an excellent explanation of how Bernstein came to work on the film, his creative process, the way that he tried to make the music fit the Downloaded by [New York University] at 04:27 09 August 2016 action, and his subsequent reaction to the project. Burlingame considers each musical cue, noting where the composer reused themes and describing emotional impact and orchestration. Among the interesting details that Burlingame cites are: how many of the details of orchestration Bernstein provided in his short score; despite his misgivings concerning the dubbing process, how much of his score survived in the film; two cues disappeared from the final version; and, at Bernstein’s suggestion, John Latouche wrote lyrics to the film’s “love theme,” a song that had little commercial success. 602. Schudack, Achim. Filmmusik in der Schule-Studien zu Kazan/Bernsteins On the Waterfront: Ein Beispiel interdisziplinärer Filmanalyse und integrativen 174 Leonard Bernstein: A Research and Information Guide

Musikunterrichts. Forum Musikpädagogik, 11. Augsburg: Verlegt bei Dr. Bernd Wißner, 1995. 239 p. ISBN 3-928898-77-9. ML2075.S43 1995. A detailed look at dramaturgy and music in On the Waterfront and how that material might be applied in the area of music education. Schudack studies the film itself from a variety of angles, placing it in historical context and describing it as a cultural document. His approach to the music is similar, beginning with the context of film music in the 1950s and this work in Bernstein’s career. He describes the musical features of each music cue in the film and then shows how themes are shared between cues. This latter section is the only one with musical examples. He then describes how the music serves the drama in each of the cues and the dramaturgy of the film as a whole. 603. Simeon, Ennio. “La colonna sonora di Fronte del porto.” In Guido Salvetti, ed., Bernstein in ltalia, 147–53. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88–7802–420–1. ML410.B566B55 1993. A brief look at Bernstein’s score for On the Waterfront with concentration on his desire to create memorable musical moments in the film and how this effort can contradict the realities of filmmaking. Simeon concludes with the statement that music, dialogue, and sound effects are all inseparable parts of a film’s soundtrack, but these parts are realized in a strict division of labor, making it difficult for a music specialist such as Bernstein to see the bigger picture. 604. Tuohy, John William. On the Waterfront: The Making of a Great American Film. Lexington, KY: Author, 2013. 416 p. ISBN: 9781482053319. PN1997.O432T86 2013 (Carnegie Mellon University). A self-published book in need of editing and proofreading in which the author looks at the famous film from a variety of angles. Tuohy briefly approaches Bern- stein’s participation in the project (pp. 330–33), finding fault with what he calls errors by the composer that perhaps stemmed from his lack of experience in the medium, such as failing to compose around the dialogue and providing music that was poorly suited to what occurs at that moment in the film. After considerable criticism, he concludes that Bernstein’s music usually provides the emotional quality needed at a given moment. The book includes many illustrations. Downloaded by [New York University] at 04:27 09 August 2016 Songs and Song Cycles

605. Evans, Richard Patrick. “Autobiography in the Arias and Barcarolles of Leonard Bernstein.” DMA document, Florida State University, 1998. 84 p. A fine introduction to one of Bernstein’s last completed works. Evans demonstrates sound bibliographic knowledge, useful archival work in the Bernstein Collection at the Library of Congress, and effective analysis of this song cycle. The first two chapters include explorations of Bernstein’s important personal relationships and his major struggles, some of which appear in the Arias and Bar- carolles. Evans paints an effective picture of Bernstein but offers few new insights. In his analytical chapter, he describes the song cycle effectively, emphasizing text/ Sources on Bernstein’s Compositions 175

music relationships and placing each movement in the context of Bernstein’s life. Evans includes several musical examples. Another doctoral document that includes similar coverage of two of Bernstein’s song cycles is: Ursula Kuhar, “Per- sonal and Cultural Contexts of Leonard Bernstein’s Songfest and Arias and Bar- carolles,” DMus document, Indiana University, 2011. 606. Hume, Paul. “Leonard Bernstein: La Bonne Cuisine.” MLA Notes 6/4 (September 1949): 640. A brief, appreciative review of Bernstein’s song cycle La Bonne Cuisine, written for Jennie Tourel. Hume notes the cycle’s difficulty but finds the songs “wonderful settings.” He dislikes Bernstein’s liberal translations of the texts into English. 607. Ikach, Yugo Sava. “A Study of Selected Songs by Leonard Bernstein Which Reflect His Contribution to the Evolution of Art Song in America.” DMA thesis, West Virginia University, 2003. 101 p. Ikach examined a selection of Bernstein’s vocal works, including I Hate Music!, La Bonne Cuisine, “So Pretty,” and songs from theater, to demonstrate the appearance of American popular music styles and jazz in concert vocal music in twentieth-century America. The author first considers the definition of the American art song, offering that it should be something not only for the concert hall but also for cabaret (p. 2). Popular music and jazz are two major influences, and Bernstein is one of the representative composers. Analyses of the characteristics of popular music and jazz in these works illustrate how Bernstein applied these idioms in his vocal works. 608. Kimball, Carol. “Listener’s Gallery: Leonard Bernstein: Arias & Barcarolles; Songs & Duets.” NATS Journal 47/2 (November–December 1990): 45. An appreciative review from a singer’s viewpoint of a disc of several of Bern- stein’s songs (Koch International Classics 3–7000; see Item 609). Kimball praises the singability of Bernstein’s songs and his ability “for creating what might be termed art songs in the vernacular,” even in his Broadway repertory. 609. Seckerson, Edward. “Bernstein. Songs and Duets.” Gramophone 68/805 (June 1990): 93.

Downloaded by [New York University] at 04:27 09 August 2016 A detailed review of Koch International Classics 3–7000, the first recording of Bernstein’s Arias and Barcarolles that also included songs from On the Town, Wonderful Town, Peter Pan, and Songfest, all sung beautifully by Judy Kaye and William Sharp. Seckerson considers each movement of Arias and Barcarolles, providing insightful musical description and perspectives on Bernstein’s text setting ability and successful evocation of the bittersweet nature of love. 610. Wass, David M. “An Analysis of Text and Music of Selected Songs by Leonard Bernstein.” MM thesis, Butler University, 1980. 118 p. A music theory thesis with comment on the “sound, harmony, melody, and text influence” (p. 6) of I Hate Music!, La Bonne Cuisine, Silhouette, Two Love Songs (on texts by Rainer Maria Rilke), and “A Simple Song” and “I Go On” from Mass. 176 Leonard Bernstein: A Research and Information Guide

By “sound,” Wass means timbre, dynamics, and texture. Wass excludes Bernstein’s many other songs because they are not “ ‘serious’ compositions” (p. 5), with important accompaniments, challenging melodic lines, and texts that “rise above the common sentiments expressed in ‘pop’ music.” These are dubious assertions when dealing with an output like Bernstein’s, but Wass leaves himself with a representative body of works for analysis. The analyses are fairly pedestrian. 611. Woolston, Rachelle M. “The Voice of Children in Art Song: A Study of Six Cycles involving a Child’s Perspective.” DMA thesis, University of Cincinnati, 2012. 186 p. This document explores the song cycle repertory based on children’s themes, which includes Bernstein’s I Hate Music!. In this work, for which Bernstein wrote both lyrics and music, the adult poet acts as a child. Woolston states that Bern- stein tried to construct a ten-year-old girl, Barbara, and allowed her to express her thoughts and opinions about science, music, and life in general. He combined insightful and humorous revelations from Barbara’s youthful perspective with a subtle message that children are people, too, and should earn respect from others. This thesis also includes a detailed compositional background for I Hate Music! and an overall analysis of this piece.

Symphonic Music

612. Bernard, Andrew. “Two Musical Perspectives of Twentieth-Century Pacifism: An Analytical and Historical View of Britten’s War Requiem and Bernstein’s Kaddish Symphony.” DMA dissertation, University of Washington, 1990. 712 p. An unusual dissertation that includes fine textual analysis of the Symphony No. 3, Kaddish. Bernard opens his section on the work with a detailed look at Bernstein’s life and political beliefs (pp. 155–75). He then covers the multifaceted Kaddish prayer (pp. 175–82) before his spirited analysis (pp. 182–221) of the symphony. His analytical techniques are based upon Jack Gottlieb’s dissertation (1964), but the textual analysis explains much of the work’s unusual theology for a non-Jewish listener. Bernard also briefly places the work in the context of Bernstein’s output (pp. 221–26). The second volume is an extended treatment of related twentieth-century history, but music plays only a tangential role. Cop-

Downloaded by [New York University] at 04:27 09 August 2016 land and Blitzstein are described usefully as Bernstein’s musical and political models (pp. 577–85), and Appendix 3 is a textual commentary on Bernstein’s Kaddish (pp. 680–702). 613. Boelzner, David Ernest. “The Symphonies of Leonard Bernstein: An Analysis of Motivic Character and Form.” MA thesis, University of North Carolina at Chapel Hill, 1977. 205 p. An important thesis written at a time when there was little like this available on Bernstein’s symphonies. For each piece, Boelzner covers the historical background and associated literary and programmatic ideas. In his description of the works, Boelzner shows that Bernstein’s preference for tonality comes from his melodic Sources on Bernstein’s Compositions 177

structures, which grow from distinctive motives, associations that Bernstein wishes to be heard. (This annotation was prepared from Boelzner’s abstract.) 614. Butterworth, Neil. The American Symphony. Aldershot, UK: Ashgate, 1998. 338 p. ISBN 1-85928-459-0. ML1225.B985 1998. Butterworth considers symphonies by American composers since the 1790s, with specific coverage of Bernstein’s three symphonies (pp. 162–72). For each work, Butterworth offers a brief history, describes the program (quoting Bernstein’s notes for the first two symphonies), and includes a concise description of each work with musical examples. Butterworth calls the Jeremiah “a significant contribution to the establishment of the American Symphony in the mid-twentieth century,” but finds The Age of Anxiety and the Kaddish more problematic. Using the index to trace Bernstein’s name through the book offers interesting commentary on the many American symphonies for which he conducted the premiere. 615. Davis, Peter G. “Bernstein as Symphonist.” New York Times, 26 November 1978: Section 2/17–18. A most worthwhile review of Bernstein’s release of his three symphonies with the Israel Philharmonic Orchestra (Deutsche Grammophon 2530 968, 2530 969, 2709 077) and Songfest (2531 044), with the symphonies also available in a boxed set. Davis admits that Bernstein is a “composer with very earnest ambitions,” but on the whole he finds much of the music “more entertaining than uplifting.” He admits that Bernstein has a sure hold on the dramatic aspects of the works. Of the symphonies, he believes that The Age of Anxiety is the most successful, with the Jeremiah and Kaddish “more problematical.” He praises Songfest as one of Bernstein’s “most satisfying compositions.” 616. Downes, Edward. “Bernstein: Serenade for Violin Solo, Strings and Percussion. Isaac Stern, Violin; Symphony of the Air, Cond. Leonard Bernstein. 12” LP. Columbia ML 5144.” Musical Quarterly 43/2 (April 1957): 266–68. A carefully considered review of the Serenade’s first recording. Downes recalls the mixed reviews at the American premiere, noting that he found it facile and too reminiscent of works by other composers. Downes, however, admits that the piece “improves with rehearing” (p. 266), a judgment he qualifies with a detailed

Downloaded by [New York University] at 04:27 09 August 2016 description of each of the five movements. Downes does not find the program based upon Plato’s Symposium useful, but believes several of the movements to be worthwhile, especially the slow fourth movement. 617. Durgin, Cyrus. “Koussevitzky Gives Premiere of New Bernstein Symphony.” Musical America 69/6 (15 April 1949): 4. A positive review of the premiere of Bernstein’s Symphony No. 2, The Age of Anx- iety by the Boston Symphony on 8 April 1949. Bernstein served as piano soloist. Durgin finds it a “remarkable score” that well expresses its programmatic intent and the time in which Bernstein lived. He especially likes the opening for two clarinets, the variations, “The Dirge,” and the evocation of jazz in the last movement. 178 Leonard Bernstein: A Research and Information Guide

618. Eckert, David C. “An Instrumental Conducting Recital Document.” MM thesis, University of Texas at San Antonio, 2012. 97 p. This is a conducting recital document that includes Bernstein’s Slava! overture, which Eckert considered as a composition incorporating folk elements and jazz. Eckert briefly introduced the background of using jazz elements in the beginning of twentieth century in the academic field and surveyed Bernstein’s ideas about the influence of jazz on American music. The author also provided details about where the composer received the commission for the work, the meaning of “slava,” what elements and ideas that Bernstein borrowed, and an analysis of the piece. 619. Eisenstein, Judith K. “The Jeremiah Symphony.” Reconstructionist 10/4 (31 March 1944): 20–21. A delightful report of an informal talk that Bernstein did on his first symphony at the New York 92nd Street YMHA, followed by his own performance of it at the piano. The composer also sang the solo part in the third movement. Besides the personal glimpses that Eisenstein provides of a young Bernstein, the brief article’s most useful material involves the composer’s candid identification of the material from Jewish religious services he references in the piece and his statement that he used themes from two earlier compositions that he discarded because they were “lousy,” using that material in a new work where he addressed his desire to create something about Jeremiah, a prophet whose texts he remembered admiring as a boy. 620. Epstein, David M. “Leonard Bernstein: Serenade for Solo Violin, String Orchestra, Harp, & Percussion.” MLA Notes 15/4 (September 1958): 657. A short review of the work’s published score with a number of pithy musical comments. Epstein praises Bernstein’s craftsmanship, his writing for solo violin, and treatment of the lyrical primary theme. He finds Bernstein’s harmonic sense especially fine in the slow introduction of the fifth movement, but wonders if the jazz writing in the movement fits with the remainder of the work. 621. Gentry, Philip Max. “The Age of Anxiety: Music, Politics, and McCarthyism, 1948–1954.” PhD dissertation, University of California, Los Angeles, 2008. 262 p.

Downloaded by [New York University] at 04:27 09 August 2016 Gentry examines the convergence of music and politics during McCarthyism between 1948 and 1954, arguing that it should be seen as a framework for understanding a broad range of musical production. The author covers music from academic to popular fields and provides a detailed discussion examining the interface between music and McCarthyism. The source is particularly useful for those who are keen to study Bernstein’s work in the first half of the 1950s to see how the composer responded musically to political issues; Gentry considers Bernstein’s Symphony No. 2, The Age of Anxiety, as a case study in Chapter 2, including material on the relationship between this symphony and the Popular Front, the environment for the artistic creation in the beginning of the Cold War, and the concept of an “American sound” in the symphony. Sources on Bernstein’s Compositions 179

622. —. “Leonard Bernstein’s The Age of Anxiety: A Great American Symphony during McCarthyism.” American Music 29/3 (Fall 2011): 308–31. Considered by the composer himself as his “most American work,” The Age of Anxiety, Bernstein’s second symphony, was composed in the same year as the Cultural and Scientific Conference for World Peace at the Waldorf-Astoria in New York City conference and represented a musical response to McCarthyism. Starting with this conference, Gentry introduces the historical and cultural background of this symphony, especially the “age of anxiety” that many considered McCarthyism to be. Gentry also analyzes Bernstein’s different influences in this symphony, including Copland, Stravinsky, and Gershwin. He examines both the populist elements and the academic techniques in The Age of Anxiety and includes detailed musical analysis. 623. Goodfriend, James. “Bernstein Collected.” Stereo Review 41/5 (November 1978): 138–39. A review of Deutsche Grammophon’s release of Bernstein’s three symphonies and Chichester Psalms (2530 968–70). Goodfriend’s essay is most notable for some interesting opinions on the music, including the suggestion that Bernstein was most successful when composing music and less successful when writing words about losing and finding faith, the programmatic background of each of the three symphonies. Goodfriend objects most to Bernstein’s text in the Kad- dish, which he believes drowns out some worthwhile music. Goodfriend finds the melodies in Chichester Psalms too austere, wishing that Bernstein had included something like his best Broadway melodies. The work, of course, includes melodies that did not appear in Broadway shows. 624. Gottlieb, Jack. “Leonard Bernstein: Kaddish Symphony.” Perspectives of New Music 4/1 (Autumn–Winter 1965): 171–75. Gottlieb was Bernstein’s assistant when he wrote this review, hardly making him an objective critic, but he does make worthwhile points about one of Bernstein’s most controversial works. He believes the symphony’s harsh criticism was as much a condemnation of Bernstein’s “extra-compositional” activities as it was a condemnation of the quality of the music. Gottlieb describes the work’s positive

Downloaded by [New York University] at 04:27 09 August 2016 reception in Israel, its combination of traditional and contemporary compositional techniques, its theatrical nature, and how the most important theme of the third movement is derived from earlier material. The final point is meant to demonstrate that, although eclectic, the symphony is in itself an organic whole. 625. Gradenwitz, Peter. “Neue Musik in Israel.” Das Orchester 37/10 (October 1989): 989–91. A report on new music from Israel by a number of composers. Gradenwitz was one of Bernstein’s friends among music scholars and critics and the author of a book and several articles on the composer. Here Gradenwitz mentions Bernst ein’s Concerto for Orchestra and Arias and Barcarolles, but really comments in any 180 Leonard Bernstein: A Research and Information Guide

detail only on the first. He notes that some movements were originally called Jubilee Games. He describes each movement briefly, noting that the theme of the second movement (“Mixed Doubles”) was heard first in the ballet Dybbuk. Grad- enwitz compares the movement to its model in Bartók’s Concerto for Orchestra. 626. Gran, Charles Lawrence. “Volume 1. Remembering the Future: Orchestral Engagements with Popular Music. Volume 2. Heart’s Express.” PhD dissertation, University of California, Los Angeles, 2004. 87 p. Gran examines the relationship between pop music, modernism, postmodernism, and technology in this dissertation in Volume 1 and references “Mambo” from the Symphonic Suite from West Side Story as an example of how pop fits into an orchestral work. Although “Mambo” is not “rock” music (p. 29), it achieves success as an engagement of pop mechanics in an orchestral composition. From the viewpoint of pop music, this dissertation provides an unusual consideration of Bernstein’s “Mambo.” 627. Gutierrez-Denhoff, Martella. “Drei Antworten auf eine Frage: Leonard Bern- steins Konzerte.” In Reinhold Dusella and Helmut Loos, eds., Leonard Bernstein: Der Komponist, 61–74. Musik der Zeit Dokumentation und Studien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410.B566L46 1989. A consideration of Bernstein’s three works that could be considered concertos: Symphony No. 2, The Age of Anxiety (1949), Serenade, after Plato’s Sympo- sium (1954), and Halil (1981). Gutierrez-Denhoff describes The Age of Anxiety briefly in familiar terms, including, for example, the pianist’s role in the work. Gutierrez-Denhoff considers the Serenade by movement, for each providing Bernstein’s program note and a brief description with musical examples. Halil is briefly described, again with examples, as an essay on the struggle between tonality and atonality. Gutierrez-Denhoff borrows her title (“three answers to one question”) from Ives’s famous The Unanswered Question, the title Bernstein also used in his Norton Lectures. She sees these programmatic concertos as three varied answers to an unspecified question. 628. Hall, David. “Bernstein’s ‘Songfest’: Superb.” Stereo Review 42/3 (March 1979): 96. Songfest was Bernstein’s Bicentennial project and it has unfortunately become

Downloaded by [New York University] at 04:27 09 August 2016 one of his neglected works. In this rave review of the work’s premiere recording (Deutsche Grammophon 2531 044), Hall calls it “one of the finest things Bern- stein has done as a composer of art music.” As is often the case in longer reviews in Stereo Review, there is considerable information. Hall effectively describes each song, naming what he finds the most effective moments and comparing it to other pieces in Bernstein’s output. 629. Harrison, Jay S. “Jay S. Harrison Covers the New York Music Scene.” Musical America 84/5 (May 1964): 28–35. One of the events Harrison covered was the New York premiere of Bernstein’s Symphony No. 3, Kaddish (pp. 31–32). He found the work uneven, musically Sources on Bernstein’s Compositions 181

satisfying in many ways but unsuccessful dramatically. Harrison was one of the critics disturbed by the text, and although he does not use the word “blasphemous,” it is clear that is what he considers it. He found the music “derivative” (p. 32) in places, but praises Bernstein’s themes and his choral writing, and other aspects. Harrison also mentions briefly a new production of West Side Story at the New York City Center. 630. Hurwitz, David. Bernstein’s Orchestral Music: An Owner’s Manual. Unlocking the Masters Series No. 22. New York: Amadeus Press/Hal Leonard, 2011. 142 p. ISBN 978–1574671933. ML410.B566H87 2011. One must always consider a source’s intended audience, and this slender volume is not meant for serious scholars. Hurwitz is a classical music critic, executive editor of www.classicstoday.com, and author of several books. His guide to Bernstein’s orchestral music is aimed at an unprofessional audience. Although it includes some useful, nontechnical descriptions of this repertory, there are errors, half-truths, important missing pieces of information, and unsubstanti- ated opinions. An accompanying CD includes examples from Bernstein’s works. 631. Knussen, Oliver. “Recordings: Bernstein’s Songfest.” Tempo 128 (March 1979): 21–22. A brief review of the premiere recording of Songfest (Deutsche Grammophon 2531 044), including useful commentary about the music. Knussen places the work’s concept between Britten’s Spring Symphony and Henze’s Voices. He finds the most committed movements to be those that deal with African Americans, women, and homosexuals and notes that the cycle is both personal and fresh, offering considerable detail about some movements. Knussen praises the recording for some striking individual performances but thinks on the whole it sounds too “studied” (p. 22). 632. Lehrman, Leonard Jordan. “Part 1: ‘Karla’—A One-Act Opera in Three Scenes Based on Bernard Malamud’s ‘Notes from a Lady at a Dinner Party’ (Original Composition). Part II: Leonard Bernstein’s ‘Serenade’ after Plato’s ‘Symposium’: An Analysis.” DMA document, Cornell University, 1977. 269 p. Lehrman notes that the Serenade, after Plato’s Symposium is one of Bernstein’s only mature orchestral works that he did not later revise. He finds that the work holds up well to analysis, as does the program, which many have criticized. He

Downloaded by [New York University] at 04:27 09 August 2016 compares the Serenade to Plato’s Symposium, finding that the use of the jazz idiom in the finale, “Alcibiades,” is consistent with the rest of the piece and Bernstein’s own feelings about the meaning of jazz. Lehrman cites as Bernstein’s musical influences in the piece Ravel, Stravinsky, and Blitzstein, and believes that he was also drawn to the question of sexual preference in Plato’s life. (This annotation was prepared from Lehrman’s abstract.) 633. L[owens], I[rving]. “Bernstein: Symphonies (3); Chichester Psalms.” High Fidelity and Musical America 28/12 (December 1978): 107–08. A review of the Israel Philharmonic Orchestra (Deutsche Grammophon 2530 969) recording of Bernstein’s three symphonies and Chichester Psalms. Lowens 182 Leonard Bernstein: A Research and Information Guide

finds The Age of Anxiety the best of the symphonies: “The interplay between orchestra and piano is fascinating” (p. 107). He believes the finale of the Jeremiah is the only “top-drawer Bernstein” (p. 108) of the piece. Lowens finds the Kaddish disappointing, even in its revised version. He objects to the melodramatic text, but likes the “eloquent” (p. 107) finale. There are some useful quotations from Bern- stein on what he tries to do in the revision. Lowens describes Chichester Psalms as ‘ “easy’ Bernstein” and “perhaps his most quintessentially Jewish piece” (p. 108). 634. Marcus, Leonard. “Bernstein: Symphony No. 3 (“Kaddish”).” High Fidelity 14/8 (August 1964): 73–74. A negative review of Bernstein’s third symphony in its original form and initial recording (Columbia KL 6005). Marcus allows that the work has its “dramatic peaks,” but finds Bernstein’s eclecticism in the work a problem because he has “incorporated” the many styles rather than “used” them (p. 74). Marcus believes that the spoken text reigns supreme in this piece, and overall the work is a “major expression by a minor composer” (p. 74). Although many early reviewers found the text blasphemous, Marcus does not because he believes it to be more about man than God. 635. Matalon, Samuel. “International: Israel/For God and for Country.” Musical America 84/2 (February 1964): 58. A brief report on the premiere of Symphony No. 3, Kaddish in Tel Aviv by the Israel Philharmonic conducted by the composer. Matalon heard no Jewish music in the symphony but was impressed by Bernstein’s varied use of orchestral resources, sense of lyricism, and the large climaxes. He criticizes Bernstein’s use of a speaker, whose large role “relegates the music to a secondary position.” 636. McDonald, Anthony Terrell. “A Conductor’s Analysis of Serenade for Solo Violin, String Orchestra, Harp and Percussion by Leonard Bernstein.” DMA document, Stanford University, 1982. 302 p. McDonald’s goal was to present all information necessary for a conductor approaching this piece. The first chapter includes the work’s historical background with biographical information and a summary of Bernstein’s style. In the second chapter, McDonald considers the programmatic relationship between

Downloaded by [New York University] at 04:27 09 August 2016 the Serenade and Plato’s Symposium. Chapter 3 is a harmonic analysis, and the final chapter presents a method for conducting the piece. McDonald believes the piece merits further consideration and finds it neoclassical in character. (This annotation was prepared from McDonald’s abstract.) 637. Moore, David W. “Bernstein on Bernstein.” American Record Guide 42/1 (Novem- ber 1978): 16–18. A detailed review of Deutsche Grammophon’s three-LP set of Bernstein’s three symphonies and Chichester Psalms (2530 969). Moore offers useful and interesting critiques of the three symphonies in terms of their music, influences, programs, and how they exist in a problematic world between genres. These Sources on Bernstein’s Compositions 183

recordings were made with the Israel Philharmonic, and Moore makes worthwhile comparisons between this set and Bernstein’s earlier releases with the New York Philharmonic. Chichester Psalms also appears in the set, and Moore comments in detail on that work and its recordings. He concludes with thoughts on Bernstein and his contribution to music, noting that Bernstein’s eclecticism and frequent synthesis of genres have charted a course for music of the time. 638. Netanel, Deborah Kramer. “The Kaddish: A Jewish Prayer in Western Art Music.” DMA thesis, University of Cincinnati, 2003. 129 p. The Kaddish is a prayer of sanctification and an important part of the Jewish liturgy. It has inspired many composers, and Netanel chose works that relate to the Kaddish from Salamone Rossi, Maurice Ravel, Leonard Bernstein, and the document’s author. In Chapters 1 and 2, Netanel introduced the background of Kaddish and the development of Hazzanut, or cantorial music. In Chapter 5 the author considers Bernstein’s Symphony No. 3, Kaddish, especially the creation of the concept and ideas behind the music. 639. Porter, Andrew. “Musical Events: Grand, Small, and Important.” New Yorker 53/46 (2 January 1978): 51–52. A lengthy review of the New York premiere of Songfest by the New York Philhar- monic, conducted by the composer. The singers named are all on the disc of the work that Bernstein made with the National Symphony (Deutsche Grammophon 2531 044). Porter describes each movement in some detail, much of it based on program notes, but also with his own interesting insights. Porter admires the work in a number of details but lists several orchestral song cycles that he believes to be superior. Nevertheless, he argues that the piece is not superficial or pretentious, as some critics had suggested, noting that beneath the surface there is much to admire. The article was reprinted in Porter’s Music of Three More Sea- sons (New York: Albert A. Knopf, 1981), 67–70. 640. —. “Musical Events: Fluting.” New Yorker 58/10 (26 April 1982): 112. The first work that Porter considers in this column is Bernstein’s Halil for flute and orchestra. It is an appreciative review. Porter recalls Bernstein’s description of the piece’s genesis: he wrote a pleasant melody and started to work with it,

Downloaded by [New York University] at 04:27 09 August 2016 finding a symphonic form through it. Porter praises the melody and what Bern- stein does with it. Porter tacitly admits that some would find the piece too sentimental, but also states, “Bernstein may wear his heart on his sleeve, but he’s a composer who does have a heart.” The column also appears in Porter’s Musical Events: A Chronicle, 1980–1983 (London: Grafton Books, 1988): 234–35. 641. Rapoport, Azaria. “Israeli Fans Affectionately Dub Bernstein’s Socko New Sym- phony ‘The Dialogues of Lenny With God.’ ” Variety 233/4 (18 December 1963): 2, 62. Despite the show business title, this is an interesting article on the mounting of the world premiere of Bernstein’s Symphony No. 3, Kaddish in Tel Aviv. 184 Leonard Bernstein: A Research and Information Guide

642. Rasmussen, Karen. “Transcendence in Leonard Bernstein’s Kaddish Symphony.” Quarterly Journal of Speech 80/2 (May 1994): 150–73. Rasmussen’s stated purpose “is to explore the rhetorical functioning of musical form through an examination of the interrelationships between linguistic and musical elements in Leonard Bernstein’s Third Symphony, the Kaddish.” She was drawn to the work because it mixes a spoken text with music. She finds that transcendence takes place in both textual and musical elements. The textual element moves from a faith founded in creation to one grounded in salvation, and finally to one with humans and God recreating each other. The musical element moves from atonality to “shallow, unsatisfying tonal modality” and finally to a “revitalized affirmation of tonality” (p. 167). Rasmussen’s primary sources for musical analysis are Gottlieb’s article in American Choral Review (Item 582) and Boelzner’s thesis, “The Symphonies” (Item 613). 643. R[edlich], H[ans] E. “Old Musical Posers and New World Solutions.” Music Review 13/2 (May 1952): 157–58. In its original form, Bernstein’s Symphony No. 2, The Age of Anxiety at best was given mixed reviews. Here, in a review of the score that Schirmer had just released, Redlich tears into the symphony, its composer, and Bernstein’s program note, which he describes as “incredibly naïve and intolerably self-congr atulatory” (p. 156). Redlich’s pan of the music spares no section of the piece, which he finally dismisses as “outstanding in its utter absence of originality” (p. 157). Redlich also attacks Peter Gradenwitz’s laudatory article on Bernstein, which appeared in The Music Review in 1949 (Item 539). 644. Röder, Thomas, and Klaus Meyer. “Die Symphonien Leonard Bernsteins.” In Reinhold Dusella and Helmut Loos, eds., Leonard Bernstein: Der Komponist, 75–92. Musik der Zeit Dokumentation und Studien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410.B566L46 1989. A detailed article on Bernstein’s three symphonies. Röder and Meyer consider his symphonies significant representatives of his compositional thought and output. They place them in the larger picture of the twentieth-century symphony, and then describe each piece with musical examples. They effectively

Downloaded by [New York University] at 04:27 09 August 2016 compare Bernstein’s Jeremiah to the content of his senior honors thesis at Har- vard. The Age of Anxiety is compared to Auden’s poem and looked at in terms of variation form and theatricality. Röder and Meyer argue both sides of whether the Kaddish is a symphony and then analyze the interaction between music and speaker. 645. Rogers, Harold. “National: Massachusetts/The Best of Bernstein.” Musical Amer- ica 84/3 (March 1964): 14. Rogers effectively summarizes the objection many Jews and Christians had to the text of the Symphony No. 3, Kaddish, but personally he found it “one of the most dramatic prayers ever to be uttered in a concert hall.” He describes the music as Sources on Bernstein’s Compositions 185

eclectic, representing “Mr. Bernstein at his finest and most serious.” He describes the score’s varied effects. 646. Schiller, David Michael. “Assimilating Jewish Music: Sacred Service, A Survivor from Warsaw, Kaddish.” PhD dissertation, University of Georgia, 1996. 276 p. A fine dissertation on three compositions by Bloch, Schoenberg, and Bernstein, which became the book annotated ahead. 647. Schiller, David M. Bloch, Schoenberg, and Bernstein: Assimilating Jewish Music. New York: Oxford University Press, 2003. 207 p. ISBN 0-19-816711-3. ML3776. S35 2003. Schiller places Bernstein and the Symphony No. 3, Kaddish (1963) in the company of Ernest Bloch’s Sacred Service (1933) and Arnold Schoenberg’s A Survivor from Warsaw (1947) as musical reactions to the process of Jews assimilating in European and American societies and, in the case of the two works written after World War II, as reactions to the Holocaust. Schiller’s consideration of Bern- stein and the Kaddish opens with a description of how the composer dealt with his Jewishness in a Gentile society and how each of his three symphonies are in some way a reaction to the Holocaust. Schiller covers the theological background of the Kaddish prayer and how it relates to the narration in Bernstein’s symphony. Schiller sees the symphony as Bernstein’s method of dealing with the difficult relationship he had with his father, and approaches his analysis of the work through the varied lenses of religious meaning, musical influences and intentions, and sexual politics. 648. Smith, Mary Margaret. “The Swing Era Clarinetists and Their Contributions to Twentieth-Century Clarinet Repertoire.” DMA thesis, Ohio State University, 2010. 111 p. This is a study of Benny Goodman, Artie Shaw, and Woody Hermann as Swing Era clarinetists who commissioned works from major composers, a list that includes Bernstein’s Prelude, Fugue and Riffs, composed for Herman. Smith touches briefly on what Bernstein had to say about jazz (pp. 8–9) and provides a brief but useful description of Prelude, Fugue and Riffs (pp. 81–91), which includes especially penetrating remarks on the composer’s use of solo clarinet. Downloaded by [New York University] at 04:27 09 August 2016 649. Stoffels, Ludwig, and Philipp Hohler. “Songfest.” In Reinhold Dusella and Helmut Laos, eds., Leonard Bernstein: Der Komponist, 111–27. Musik der Zeit Dokumen- tation und Studien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410.B566L46 1989. One of the most detailed essays available on Songfest. Stoffels and Hohler begin with historical background and comment on the wide diversity of poets that Bern- stein set in the cycle. They then describe each movement in turn in terms of text and music, but without musical examples. Stoffels and Hohler look at the music of the cycle in its entirety, including the groupings of the songs and the identification of melodic ideas shared between the movements and compositional method. 186 Leonard Bernstein: A Research and Information Guide

650. Stuessy, Clarence Joseph, Jr. “The Confluence of Jazz and Classical Music from 1950 to 1970.” PhD dissertation, Eastman School of Music/University of Roches- ter, 1977. 512 p. A study of the incorporation of jazz elements into concert music by representative composers: Larry Austin, Milton Babbitt, Leonard Bernstein, Morton Gould, Werner Heider, Meyer Kupferman, Rolf Liebermann, and Gunther Schuller. Stuessy offers a brief biography of Bernstein (pp. 91–92) and covers his Prel- ude, Fugue and Riffs (pp. 182–204). His analysis of the work is one of the most detailed available, including melodic, formal, harmonic, and rhythmic elements. He finds the third the most important interval in the piece, with some emphasis on quartal harmonies. The most obvious jazz influence in the piece is the instrumentation, essentially a big band, and several jazz instrumental techniques. 651. Syswerda, Todd Elton. “Composition and Analysis of Symphony No. 1 by Todd Syswerda and Analysis of Symphony No. 3 by Leonard Bernstein.” DA dissertation, University of Northern Colorado, 2002. 146 p. Because Syswerda conceived his Symphony No. 1 as a religious work for orchestra and chorus, he elected to include in his document analysis of Bernstein’s Sym- phony No. 3, Kaddish, which he found analogous to his own piece. The author provides an interesting list of non-operatic sacred works for chorus and orchestra written after 1950 (pp. 6–8), further contextualizing his own symphony and the Kaddish. Syswerda wrote an intelligent formal and harmonic analysis of the Kaddish (pp. 3–79) with dozens of musical examples, emphasizing Bernstein’s manipulation of his many themes, which Syswerda labels alphabetically from A to O. He also deals with Bernstein’s use of tone rows, providing a matrix for each. His harmonic analysis includes description of Bernstein’s emphasis on polyphonic procedures and how the conflict between atonality and tonality is a major part of the work’s dramatic impact. 652. Tawa, Nicholas. The Great American Symphony: Music, The Depression, and War. Bloomington: Indiana University Press, 2009. 237 p. ISBN 978-0-253-35305-4. ML1255.T39 2009. A study of the symphony in the United States from the 1930s, dividing important composers into periods: the 1930s, the war years, postwar, and after 1990. Downloaded by [New York University] at 04:27 09 August 2016 Tawa places Bernstein in the war years despite the fact that his symphonies date between 1942 and 1963, and the Kaddish certainly reflects the angst of its own time. The coverage of Bernstein (pp. 109–18) begins with biographical material with attempts to pay at least lip service to each aspect of his career. Tawa has the most to say about the Jeremiah, which he clearly considers Bernstein’s best symphony. The Age of Anxiety he finds much less convincing, and spends little space on the Kaddish. 653. Thoresby, Christina. “Britten Premiere: Venice Festival Gives New Opera Based on Henry James Story ‘The Turn of the Screw.’ ” Musical America 74/13 (1 November 1954): 5, 14. Sources on Bernstein’s Compositions 187

A review of the festival that included the premiere of Bernstein’s Serenade, after Plato’s Symposium, conducted by the composer with the solo violin part played by Isaac Stern. Like many critics, Thoresby wonders why Bernstein included the names of the Greek philosophers in the movement titles, but she finds the music vital and charming, especially the contrapuntal development of the themes. She believes that the slow opening of the last movement is too long. 654. Ward, Robert. “Leonard Bernstein: ‘Jeremiah’ Symphony and ‘The Age of Anxi- ety’ Symphony No. 2 for Piano and Orchestra.” Music Library Association Notes 7/4 (Second Series, September 1950): 626–27. Ward offers a sober, composer’s view on these two works after the publication of their scores. He finds the Jeremiah the better piece, admiring Bernstein’s use of simple techniques in the service of the programmatic titles. Ward praises the “polished and sure-handed” (p. 627) writing in The Age of Anxiety and the “dazzling” piano part, but he does not find that the work amounts to much in the end. Ward appreciates Bernstein’s willingness to take major gambles as a composer.

Theater Music

655. Acevedo-Muñoz, Ernesto R. West Side Story as Cinema: The Making and Impact of an American Masterpiece. Lawrence: University Press of Kansas, 2013. 204 p. ISBN 978-0-7006-1921-4. PN1997.W456A93 2013. A scholarly analysis of the film and one of the most significant sources available on the subject. Acevedo-Muñoz includes: worthwhile description of the film’s planning and making (based largely on notes, correspondence, and other primary materials); detailed analysis for the viewer involving camera angles, musical staging, themes, and subtexts; pithy assessment of the film from a variety of viewpoints; and consideration of the film’s representation of Puerto Ricans. Acevedo-Muñoz’s major contribution about the film’s music concerns the order and context of the songs and detailed description of staging. Bernstein is not a major presence in the volume; the film and its makers, especially director Rob- ert Wise, dominate. There is brief, but not terribly informative, musical analysis (pp. 125–28), and the author shows little understanding of how the music was

Downloaded by [New York University] at 04:27 09 August 2016 brought to film or the roles of such figures as orchestrators Sid Ramin and Irwin Kostal, but readers would be hard-pressed to find more authoritative material on the film itself. 656. Amberg, George. Ballet in America: The Emergence of an American Art. New York: Duell, Sloan and Pearce, 1949. 244 p. No ISBN. GV1787.A43. Reprint: New York: Da Capo Press, 1983. ISBN 0306761548. An account of the early history of ballet in the United States that provides detailed commentary on the early work of Jerome Robbins (pp. 127–45). Amberg’s penetrating descriptions of Fancy Free and Facsimile demonstrate how they fit into the contemporary ballet world. He does not cover Robbins’s Broadway work. 188 Leonard Bernstein: A Research and Information Guide

Amberg provides the entire, extensive “libretto” for Fancy Free (pp. 132–39), noting Robbins’s unusual literary gifts for a dancer, and the segment on the largely unknown Facsimile, based upon Amberg’s viewing of the work a number of times, is eloquent. Amberg says little of substance about Bernstein’s music. 657. André, Don A. “Leonard Bernstein’s Mass as Social and Political Commentary on the Sixties.” DMA document, University of Washington, 1979. 179 p. André seeks to describe the social and political background against which Bern- stein conceived Mass and how those conditions are reflected in the work. Chap- ter 1 is a brief review of the turmoil of the Sixties, including assassinations, the civil rights movement, the Vietnam War, and other topics. In Chapter 2, André considers Bernstein’s activism and how it is seen in some of his other works. He also comments on the importance of eclecticism in his style. Chapter 3 is a useful analysis of Mass as a drama, with the major subject matter placed in a musical (with twelve musical examples) and historical context. In Chapter 4, André briefly compares Mass to Vaughan Williams’s Dona nobis pacem and Britten’s War Requiem and introduces his own American Requiem, the compositional part of his document. 658. Atkinson, Brooks. “First Night at the Theatre: Jean Arthur and Boris Karloff in an Excellent Version of Barrie’s ‘Peter Pan.’ ” New York Times (25 April 1950): 27. The distinguished Times critic loved this version of J. M. Barrie’s famous play, praising every aspect of the production and each major actor. He describes Bern- stein’s songs and incidental score (assisted by the orchestrations of Hershy Kay and musical coordination of Trude Rittman) as “melodic, colorful and dramatic” and appropriately “simple in style.” Atkinson credits Bernstein with “amiable lyrics” and mentions the instrumental music for melodramatic scenes and “rather artless but agreeable ballets.” 659. —. “‘Wonderful Town’: Rosalind Russell as the Head Clown in a Big Broadway Musical Show.” New York Times (8 March 1953): Section 2/1. Atkinson’s glowing review of the musical, placed in a prominent position in the Sunday newspaper. Atkinson begins with his great appreciation for the work of Rosalind Russell, but offers lavish praise to the show’s other elements as well. He says more about the music than is often found in such reviews. He calls Bern-

Downloaded by [New York University] at 04:27 09 August 2016 stein’s score a “solid achievement . . . a gay, unhackneyed musical saga that is both melodic and modern and relishes the insanities of Village life.” He praises Bernstein’s ability to parody various musical styles and finds the ballet music “particularly gutsy and dry-humored.” Atkinson reviewed the show again when Carol Channing took over the lead role, again praising specific aspects of Bern- stein’s music: “Still at the Top: ‘Wonderful Town’ in Its Fifteenth Month,” New York Times (9 May 1953): Section 2/1. 660. —. “Theatre: ‘Trouble in Tahiti,’ Draper, ’27 Wagons.’ ” New York Times (20 April 1955): 40. Trouble in Tahiti had a short Broadway run in 1955 as part of a triple bill, here reviewed positively by Atkinson. He admits that Bernstein “cannot exhaust the Sources on Bernstein’s Compositions 189

subject” in such a short work, but he finds it “a sober, thoughtful look at life that is sleek only on the surface.” He praises the cast of John Tyers and Alice Ghostley. 661. —. “Musical ‘Candide’: Lillian Hellman and Leonard Bernstein Turn Voltaire Satire into Fine Play.” New York Times (9 December 1956): Section 2/5. Candide may have been a commercial failure in its original production, but that was not the fault of Brooks Atkinson, who called it “the first musical of the season that has distinction.” He recognizes that Bernstein had more latitude in his part than book writer Lillian Hellman did, who had to work with Voltaire’s story. Atkinson has nothing but praise for Bernstein’s score, calling it “jubilant . . . now poking fun at the characters or at traditional musical forms, but again taking the side of the characters in melodies or dances that are more simpa- tico” than the writer of the original material could possibly have been. Even in his praise, Atkinson seems to recognize the disjunction between score and book that plagued the show. This was Atkinson’s second review of the show. The first, where he states many of the same points, was “The Theatre: ‘Candide,’ ” New York Times (3 December 1956): 40. 662. —. “ ‘West Side Story’: Moving Music Drama on Callous Theme.” New York Times (6 October 1957): Section 2/1. A review of the original Broadway production. Atkinson calls the show “an organic work of art.” He speaks of how the work is derived from Romeo and Juliet, but notes that author Arthur Laurents did not follow the model “slavishly.” He finds Robbins’s choreography and Bernstein’s music brilliant in the way that it captures the ugliness and violence of the situation, but believes that the show “would be unbearable were it not for Tony and Maria.” The review demonstrates how the show was praised and why some were uncomfortable with it. This followed Atkinson’s first review of the show, where he expressed similar feelings: “Theatre: The Jungles of the City,” New York Times (27 September 1957): 14. 663. —. “Man of Notes: Leonard Bernstein’s Musical Career Deprives Broadway of Able Writer.” New York Times (8 May 1960): Section 2/1. As the Times’s chief drama critic, Brooks Atkinson did not wish that Bernstein remain music director of the New York Philharmonic. In this article he laments

Downloaded by [New York University] at 04:27 09 August 2016 that Bernstein has no time to write for the theater: “Let’s not speculate on how many vibrant scores the Philharmonic has deprived us of. The thought is too melancholy.” Atkinson also takes the opportunity to survey in some detail Bern- stein’s four Broadway scores to that point, finding Candide the best, but also admiring his work for the shows that take place in New York City. The article was brought on by West Side Story’s return to Broadway after ten months of touring. 664. —. Broadway. Revised edition. New York: Macmillan, 1974. 564 p. ISBN 0-02-504180-0. PN2277.N5A78 1974. [First published: New York: Macmillan, 1970.] A history of the Broadway theater, both straight and musical plays, by the noted New York Times critic. As would be expected, Bernstein makes only limited 190 Leonard Bernstein: A Research and Information Guide

appearances, but the main segment on his Broadway work (pp. 459–60, through West Side Story) includes some of the most oft-quoted lines on Bernstein’s struggle between composing and conducting. Atkinson unaccountably labels the song “New York, New York” from On the Town “joyless” (p. 350), but his summary of Bernstein’s Broadway contribution is most helpful, especially his ironic comparison of Candide to the Metropolitan Opera House’s simultaneous production of an old operetta. 665. Baker, David J. “Song at Twilight.” Opera News 65/1 (July 2000): 32–37, 73. A worthwhile reconsideration of Bernstein’s only full-length opera, A Quiet Place. Baker recalls the original version and revision, and reviews the libretto, score, and a videotape of the 1986 Viennese production. He admits that the story makes some squirm, but believes that the revision of the work deals with the plot more effectively. Baker covers the story and libretto in more detail than the music, but he finds much of what Bernstein did in the music convincing, especially when seen and heard in the videotaped performance. He offers rich comment from librettist Stephen Wadsworth about the project and working with Bernstein, approaching the latter through statements from some of the singers as well. 666. Banfield, Stephen. Sondheim’s Broadway Musicals. Ann Arbor: University of Michigan Press, 1993. 453 p. ISBN 0-472-10223-0. ML410.S6872B3 1993. This virtuosic study of each of Sondheim’s musicals through Into the Woods includes an excellent segment on West Side Story (pp. 31–38), especially the process by which Bernstein and Sondheim wrote the songs. Because writing lyrics began as a joint process, Banfield sorts out who wrote which songs and provides examples from earlier drafts to show how songs changed. In places he notes how tunes changed to accommodate words. The movement of songs between West Side Story and Candide is also shown. He describes with relish the score’s eclecticism and shows how the score is a fusion of ballet, film score, and stage musical. 667. Barnes, Clive. “Stage: ‘By Bernstein,’ Musical Cabaret: Old and New Songs Not Heard Before.” New York Times (24 November 1975): 31. The Chelsea Westside Theater mounted this revue of Bernstein songs that had

Downloaded by [New York University] at 04:27 09 August 2016 been cut from shows or had been written for projects that were abandoned. Betty Comden and Adolph Green wrote the book to tie the numbers together. Barnes is a bit nonplussed about the quality of some of the songs, noting that some did not emanate from Bernstein’s “top drawer,” but others he finds most worthwhile and by a composer who writes theater music that is “unusually literate with a style and character very much of its own.” Barnes lauds most aspects of the performances and the production. 668. —. “ ‘1600 Pennsylvania Avenue’ Arrives.” New York Times (5 May 1976): 48. A review of the show’s original production, amply demonstrating why it ran only seven performances. Barnes directs most of his venom at Alan Jay Lerner’s book, Sources on Bernstein’s Compositions 191

finding that the essential contrast of the whites upstairs at the White House and the blacks downstairs “works most terribly.” He also describes the book as patron- izing to blacks, women, and American Indians, but names a few decent scenes. Barnes found Bernstein’s contribution “more distinguished,” naming a few good songs such as “The President Jefferson Sunday Luncheon Party March” and the ballad “I Love This Land.” Overall he finds that the music “does everything it possibly can do to bolster the crumbling fabric of the edifice, Mr. Lerner’s jerry-built concept.” 669. Bender, William. “A Mass for Everyone, Maybe.” Time 98/12 (20 September 1971): 41–43. A mixed review for Mass, representative of the premiere’s critical reception. Bender compares the work to a medieval morality play, but conceived for the atomic age. He finds the work confused, “catchy rather than compelling” (p. 41), but also provocative, as one expects from Bernstein. He admits that Mass includes an interesting mixture of the performing arts and a wide assortment of music that greatly appealed to the audience. The review also includes two color pictures and a box with Bernstein’s thoughts on the work’s possible offensiveness and genre. 670. Berlinski, Herman. “Bernstein’s ‘Mass.’ ” Sacred Music 99/1 (Spring 1972): 3–8. A scathing review of Mass printed in the music journal of the Roman Catholic Church in the United States. The Church was disturbed by a theatrical setting of their sacred texts. This article is a shrill attempt to discredit Bernstein’s Mass on a variety of levels, ironically written by a Jew who raises his own religion in places. A useful source to discover the conservative religious establishment’s reaction to Mass. 671. Berman, Marshall. On the Town: One Hundred Years of Spectacle in Times Square. Brooklyn: Random House, 2006. 264 p. ISBN 978-1-84467-397-1. F128.65. T5B47 2006. A postcard with a montage of a photograph of the building and a cartoon of a woman with “the outfit of a chorus girl in dishabille” is where Berman starts a book that concerns how movies, graphic arts, literature, popular music, television,

Downloaded by [New York University] at 04:27 09 August 2016 and the Broadway musical theater have reflected the changes of Times Square, the center of the popular culture in New York City. In Chapter 3, “A Human Eye,” he talks about the creation of Fancy Free and On the Town, which both strongly relate to the city, and provides analysis about “the other” characters who appear in On the Town. 672. Berson, Misha. Something’s Coming, Something Good: West Side Story and the American Imagination. New York: Applause Theatre and Cinema Books, 2011. 360 p. ISBN 978-1557837660. ML410.B566B57 2011. The level of seriousness with which West Side Story is regarded, even by those working within popular culture, may be seen in this volume by Seattle Times 192 Leonard Bernstein: A Research and Information Guide

theater critic Misha Berson. One should not mistake this for a scholarly trea- tise, made manifest by a bibliography including almost nothing of an academic nature, but Berson covers much ground. Fifteen chapters address the show’s opening, an overview of its competition in the late 1950s, reviews, creators and genesis, the role of the blacklist from the McCarthy Era in the lives of its writers, the book and characters, staging, auditions, casting, rehearsals, music, and lyrics of each number (with little technical description), dance and the choreographed numbers, the show’s relationship to Romeo and Juliet, its depiction of juvenile delinquency in society and comparison to other period films, the making of the film and its differences from the stage version, various recordings (including those in jazz and rock veins), the show in other countries, bigotry in West Side Story, its role in the rise of director/choreographer, other youth musicals in Broadway history, and the show in popular culture. The reader should not expect profundity, but Berson comments on many issues surrounding Bernstein’s most famous work. 673. “Black & Blue Ballet.” Time 43/21 (22 May 1944): 57. An article on the original production of Fancy Free that gives an indication of the ballet’s popular success, with an illustration. Bernstein’s name is only mentioned as the score’s composer; most of the article involves choreographer Jerome Robbins’s work. 674. Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press, 1997. 410 p. ISBN 0-19-510791-8. ML1711.8.N3B56. 2nd edition: Enchanted Evenings from Show Boat to Sond- heim and Lloyd Webber. New York: Oxford University Press, 2009. ISBN 9780199741502. An excellent book with considerations of the creation, dramaturgy, and score of important “book” musicals. Block’s essay and documentation (pp. 245–73, 341–43, 381–88) on West Side Story are among the finest available, especially effective in tracing Bernstein’s possible borrowing of motives from concert music, analysis of the score for unifying elements (linked here to the order in which the songs were composed), comparing the show’s plot to Shakespeare’s Romeo and Juliet, and showing changes in the plot through various drafts of

Downloaded by [New York University] at 04:27 09 August 2016 Laurents’s libretto. 675. Bordman, Gerald. American Musical Theatre: A Chronicle. 2nd edition. New York: Oxford University Press, 1992. 821 p. ISBN 0-19-507242-1. ML1711.B67 1992. [First published: New York: Oxford University Press, 1978. Expanded edition, 1986. Third edition, 2001. Fourth edition coauthored by Richard Norton, 2010.] A standard text in the field with coverage of Broadway musicals by season, starting in 1867–68. Shows appear in the order that they opened. Bord- man writes critically, offering reasons why shows succeeded or failed. He provides a plot synopsis for each musical, naming the major characters and Sources on Bernstein’s Compositions 193

who played each. If new creative personalities or actors emerge with a show, he offers a short biographical statement, including for Robbins, Bernstein, and Comden and Green with his description of On the Town (pp. 544–45). Wonderful Town, Candide, West Side Story, and 1600 Pennsylvania Avenue are also considered. 676. Bowman, David. “Bernstein: Songs from West Side Story.” Music Teacher 71 (July 1992): 20–25. A detailed analysis of three songs from West Side Story: “America,” “Cool,” and “One Hand, One Heart.” Bowman approaches the songs in terms of American dance rhythms, counterpoint, orchestration, and harmony. He describes the various types of Latin American and Caribbean dances heard in “America,” and looks in depth at the fugue in “Cool.” His description of “One Hand, One Heart” concentrates on melody, harmony, orchestration, and inclusion of the tritone, the interval that Bernstein uses to unify the entire score. 677. Boynton, Andy, and Bill Fischer. Virtuoso Teams: The Extraordinary Stories of Extraordinary Teams. 2nd edition. Harlow, UK: Financial Times Prentice Hall, 2009. 304 p. ISBN 978-0-273-72183-3. HD66.B69 2005. This book, the second edition of Virtuoso Teams: Lessons from Teams That Changed Their Worlds (2005) by the same authors, addresses the business world and talks about “virtuoso teams” that were catalysts for major changes and breakthrough performances in their own field. Compared to traditional teams, which are typically made up of members according to their availabilities and experiences, virtuoso teams usually consist of elite experts in their particular fields and are particularly organized for ambitious projects. The authors study two creative teams outside the mainstream business world, and one of them is the creative team of West Side Story in Chapter 2, “Stretch the Customer, Stretch Ourselves: The Impolite Team behind West Side Story.” They concentrate on the progress of the creation of the West Side Story, including the initial idea, the creators’ ambition to change Broadway, the financial challenges, and casting, and cover the film’s success at the Oscars. 678. Bryer, Jackson R., and Richard A. Davison, eds. The Art of the American Musical: Conversations with the Creators. New Brunswick, NJ: Rutgers University Press, Downloaded by [New York University] at 04:27 09 August 2016 2005. 308 p. ISBN 0-8135-3613-8. ML1711.A77 2005. An interesting series of interviews with Broadway composers, lyricists, book writers, directors, and choreographers that includes Betty Comden and Adolph Green, Arthur Laurents, and Stephen Sondheim, each of whom worked with Bernstein and comment here briefly on him and their collaboration. Comden offers that Bernstein was concerned only about whether something “was good,” not about whether it was “pop or serious” (p. 54). Laurents clearly enjoyed working with Bernstein (p. 143), and Sondheim comments on what it was like to write lyrics for West Side Story with a composer who also believed himself to be a lyricist (pp. 192–93). 194 Leonard Bernstein: A Research and Information Guide

679. Burkat, Leonard. “Current Chronicle: United States: Boston.” Musical Quarterly 39/1 (January 1953): 94–98. A short review and description of Trouble in Tahiti, which Burkat saw at Tangle- wood in the summer of 1952. He begins perceptively by acknowledging Bern- stein’s debt to Kurt Weill and Marc Blitzstein, especially the latter composer. He describes Blitzstein’s style through illusions to The Cradle Will Rock and Regina, both works that Bernstein knew well. He describes the plot of Trouble in Tahiti in detail, offering praise for both the music and Bernstein’s libretto. 680. Burton, Humphrey. “Bernstein’s West Side Story: A Session Report.” Gramophone 62/743 (April 1985): 1195–96. An article on the recording sessions for Deutsche Grammophon 415 253, Bern- stein’s version of West Side Story with opera singers Kiri Te Kanawa, José Car- reras, and others. Burton explains why the singers were chosen, a controversial decision, but this article presents Bernstein’s side. Much of the piece includes the singers gushing about working with Bernstein, but a complete view of the recording should include reading this article. Burton notes that West Side Story has been translated into Japanese, Serbo-Croatian, Finnish, Russian, and twice into Hungarian, among other languages. 681. Cole, Hugo. “Bernstein: Mass, a Theater Piece for Singers, Players, and Dancers.” Tempo 103 (1972): 57–58. A review of Bernstein’s recording of Mass (CBS 77256). Cole primarily comments on the music, praising Bernstein’s sense of “economy of musical means” (p. 58) and the score’s rhythmic vitality. He finds Bernstein’s use of popular idioms more successful than the evocations of classical music, such as Stravinskian elements in the “Credo” and echos of Mahler in “Meditation No. 1.” The only movement Cole finds completely disappointing is the final chorus. Cole realizes that many find the work in bad taste, but he suggests that as time passes the “quality of musical invention” (p. 58) will become clearer. 682. Conrad, Jon Alan. “Candide: The Most Confused of All Possible Worlds.” Opus 3/1 (December 1986): 23–25, 62.

Downloaded by [New York University] at 04:27 09 August 2016 The history of Candide is convoluted. Conrad takes up the problem in a review of the recording of the 1986 New York City Opera version (New World 340). He cannot unravel all of the issues in an article of this length, but he addresses several and hints at other complexities, especially in discussions of individual songs as they have existed in the three “official” versions (1956 and 1974 Broad- way productions and the New York City Opera version). Conrad finds the score to Candide to be one of Bernstein’s supreme compositional achievements and praises the City Opera version for bringing more of the music to disc and several fine performances. A doctoral document that considers the history of Candide is: Karen Olsen Ganz, “The Metamorphosis of Leonard Bernstein’s Candide,” DMA thesis, New England Conservatory of Music, 2004. Sources on Bernstein’s Compositions 195

683. —. “Bernstein on Disc, Part II: The Conductor.” Opera Quarterly 9/1 (Autumn 1992): 1–23. A detailed review of the recordings of Bernstein’s principal theater works: On the Town, Trouble in Tahiti, Wonderful Town, Candide, West Side Story, Mass, and A Quiet Place. Conrad gathered an impressive array of recordings, including some that are not well known. He offers brief critical comment on each work, but for the most part remains focused on the performance quality, spirit, and at times recording quality, making this an important read for someone interested in these recordings. 684. —. “Glitter and Be Gay.” Musical Times 136/1829 (July 1995): 346–47. A review of Boosey & Hawkes’s publication of full orchestral scores for Can- dide and West Side Story, with a number of penetrating observations concerning problems in assembling musical texts for the works and how their varied histories are reflected in the scores. Bernstein recorded both of these works in the 1980s, helping make possible these “final” versions, but both also transmit little-known information that is part of unwritten performance practice. Anyone interested in these musicals is likely to learn something from this short review. 685. Cottle, William Andrew, Sr. “Social Commentary in Vocal Music in the Twentieth Century as Evidenced in Leonard Bernstein’s Mass.” DA dissertation, University of Northern Colorado, 1978. 146 p. Cottle views Mass as a document of social commentary, placing it within the varied contexts of humanism, Gebrauchsmusik, Socialist-Realist theater, and works by artists such as Hindemith, Weill and Brecht, Tippett, and Britten. He also considers the influence of Copland, Gershwin, and Blitzstein on Bernstein. His first two chapters are introductions to social commentary in European and American vocal music. Chapter 3 is Cottle’s analysis of Mass from textual, musical, and dramatic perspectives. It is not a lengthy analysis for such a long work but includes interesting insights. In Chapter 4, Cottle comments on matters related to Mass: the function of religion in the twentieth century, Vatican II, a catalog of social concerns from the 1960s, and the work’s pluralistic musical influences. 686. Crist, Elizabeth B. “Mutual Responses in the Midst of an Era: Aaron Copland’s Downloaded by [New York University] at 04:27 09 August 2016 The Tender Land and Leonard Bernstein’s Candide.” Journal of Musicology 23/4 (Fall 2006): 485–527. Copland wrote The Tender Land in 1951–52 and it premiered in 1954, while Bern- stein collaborated with Lillian Hellman and others on Candide over the next few years, with the premiere in December 1956. Crist looks at these works through the lens of American politics, placing them in the context of their creators’ experiences with McCarthyism. She begins by showing how the two composers had become considered Communist “dupes” and summarizes their experiences with investigations and blacklists. She covers the creation of The Tender Land, mostly in light of American political and social realities, demonstrating how the work 196 Leonard Bernstein: A Research and Information Guide

reflected both the 1930s and 1950s. Crist has less to say on the writing of Candide. She examines revisions in both works, some of which show reactions to contemporary political realities. She compares two excerpts, Copland’s “The Promise of Living” and Bernstein’s “Make Our Garden Grow,” as pieces that speak to the benefits of communal action, a socialist notion. Crist also looks at Cunegonde’s deleted song “Get You Up,” which carried a similar message. 687. —. “The Best of All Possible Worlds: The Eldorado Episode in Leonard Bern- stein’s ‘Candide.’ ” Cambridge Opera Journal 19/3 (November 2007): 223–48. The complex history of Candide rivals that of any other example of American musical theater; its full explication would be an epic tome indeed. Here Crist provides an excellent account of how the Eldorado scene changed, especially while Bernstein and Lillian Hellman wrote the show between 1954 and 1956. This utopia was supposed to be the title hero’s destination at the end of Act 1, a place where life was not as perfect as it seemed, providing opportunity for the kind of social satire from the McCarthy era that the writers originally intended. The scene was removed from the 1956 version of the musical. Crist shows that Bernstein had to compromise on what he had hoped would be one of the show’s more operatic scenes, and Hellman had to abandon the satirical edge she had hoped to bring to that part of the show. In the process, the romantic element between Candide and Cunegonde became more prominent and Candide started to more resemble a conventional Broadway musical. 688. Cunningham, Carl. “Opera Everywhere: Houston Grand Opera: Bernstein ‘A Quiet Place’ (premiere).” High Fidelity/Musical America 33/10 (October 1983): MA19–21. A mixed review of the opera’s controversial premiere. Cunningham summarizes this story of a deeply troubled family and notes that both the critical reaction and box office for the nine performances were disappointing. He finds that Wad- sworth’s attempt to imitate everyday speech leaves the characters uncommu- nicative but calls Bernstein’s score “unquestionably the work of a mature master composer in full command of his creative talent.” He praises both the production and singers. 689. Danuser, Hermann, Dietrich Kämper, and Paul Terse, eds. Amerikanische Musik Downloaded by [New York University] at 04:27 09 August 2016 seit Charles lves. Laaber: Laaber Verlag, 1987. 439 p. ISBN 3-89007-117-1. ML200.5.A6 1987. A detailed study of twentieth-century American music that includes chapters written by specialists, interpretations of five different works, German translations of twelve important writings by American composers, and short biographies of fifty-one important American composers. Bernstein’s most prominent appearances in the book include Karl Dietrich Gräwe’s article “Ein Mozart für Amerika: ‘West Side Story’ von Leonard Bernstein” (pp. 163–76) and Gräwe’s short biography (pp. 307–10), in which he covers each important aspect of Bernstein’s career. In his article on West Side Story, Gräwe places the show in the Sources on Bernstein’s Compositions 197

context of Mozart’s Singspielen and operas, other Broadway shows, and works such as Verdi’s operas, building a case through the use of musical examples to show how Bernstein’s music serves the drama. 690. Dash, Irene G. Shakespeare and the American Musical. Bloomington: Indiana University Press, 2010. 229 p. ISBN 978-0-253-35414-3. ML2054.D37 2010. Inspired by her love and experiences with musical theater, Dash approaches five musicals that have been successful transformations of Shakespeare’s plays. The author explains how the plots in these shows differ from Shakespeare’s origi- nals and how new issues are raised for the modern audience. In Chapter 3, “The Challenge of Tragedy: West Side Story and Romeo and Juliet,” she reports on the show’s creation: how the four collaborators came together, how they decided what material to keep and delete, their exploration of the theme of racial prejudice, and other aspects. She also provides a comparison between Shakespeare’s Romeo and Juliet and the book and lyrics of West Side Story, such as the opening prologues, the character of the Prince in Romeo and Officer Krupke in West Side Story, the ball scenes, mock weddings, and the different endings. 691. Davis, Peter G., and David Hamilton. “Three Faces of Lenny: The Religious Composer. Mass—Few Creative Acts in Recent Times Take So Many Risks and Achieve So Much” and “Mass and the Press.” High Fidelity/Musical America 22/2 (February 1972): 73–76. Two reactions to Mass after release of the original cast recording. Davis takes issue with the many negative reviews published about the work. He tells Mass’s plot and places major musical segments in context, praising Bernstein’s sincerity and honesty and admitting that the work is “a sitting duck for the cynical” (p. 74). Hamilton surveys the piece’s critical reception, taking issue with many points made by such critics as Harold Schonberg and noting their failure to acknowl- edge “Bernstein’s craftsmanship” (p. 75). The third article in this “Three Faces of Lenny” is a review by Dale Harris of Bernstein’s Der Rosenkavalier recording and the fourth a review of an On the Town recording by Miles Kreuger (see Item 748). 692. DeFotis, Constance. “From the Work and Writings of Clytus Gottwald, Founder and Director of the Schola Cantorum Stuttgart.” DMA thesis, College-Conservatory of Music, University of Cincinnati, 1988. 200 p. Downloaded by [New York University] at 04:27 09 August 2016 Clytus Gottwald (b. 1925) is a German musicologist and choral director who played a major role in the musical life of Stuttgart and German musicology. One of his articles addressed aspects of Mass: “Leonard Bernsteins Messe oder die Konstruktion der Blasphemie,” Melos/Neue Zeitschrift für Musik 2 (1976): 281–84. Defotis’s thesis includes translation of this (pp. 115–27) and three other articles by Gottwald. Gottwald looks at Mass from several angles, including aesthetics and as a representative of American pluralism. Gottwald accuses Bern- stein of producing blasphemy in his criticism of religious institutions, because the real problems exist in modern society. Gottwald addresses Mass in detail in terms of both text and music. 198 Leonard Bernstein: A Research and Information Guide

693. De Sesa, Gary. “A Comparison between a Descriptive Analysis of Leonard Bern- stein’s ‘Mass’ and the Musical Implication of the Critical Evaluations Thereof.” PhD thesis, New York University, 1985. 331 p. De Sesa’s stated aim is “to compare a scholarly musical analysis of the work with the critical evaluations it received following its performance, in order to deter- mine which criticisms might be supported by analysis and which seemed insup- portable” (p. viii). The best part of the study is the analysis, bolstered by detailed musical description, textual interpretation, and over 150 musical examples. The remainder of the study, in which De Sesa brings scholarly scrutiny to the essays of a number of critics, at times seems overwrought. Criticism written in newspapers and periodicals is, for the moment, hardly a final word on the piece, and some does not bear scholarly scrutiny. De Sesa does provide a useful list of over 150 reviews of Mass. 694. Downes, Olin. “Wonderful Time: Bernstein’s Musical Is Brilliant Achievement.” New York Times (10 May 1953): Section 2/7. An unusual article that appeared over two months after the show had opened and following Brooks Atkinson’s review (see Item 659) and Howard Taubman’s article on Bernstein and the show’s score (see Item 823). Downes rhapsodizes about the show, naming all of the different musical types in the score and praising Bern- stein’s ability to write dance music: “This is an opera of which dance is warp and woof, an opera made of dance, prattle, and song; and speed.” Downes asserts that, if great American opera ever appears, he believes it will owe more to the likes of Wonderful Town than those emulating Bartók, Hindemith, and Stravinsky. 695. Drew, David. “Wonderful Town (A Musical Comedy).” The Score and I.M.A. Magazine 12 (June 1955): 77–80. A rather pretentious essay in which Drew applies the standards of successful popular music as defined by T. W. Adorno to Bernstein’s Wonderful Town. Drew describes Gershwin as a worthy model in popular song mostly for his “unfettered creative imagination and in the concentrated application of innate musicianship” and close attention to song structure (p. 78). Drew finds that Bernstein usually fails to meet these standards in On the Town, but comes closer in Won-

Downloaded by [New York University] at 04:27 09 August 2016 derful Town. He believes “Wrong Note Rag” to be a commercial sell-out, but finds more success in the four sentimental songs: “Ohio,” “A Quiet Girl, “A Little Bit in Love,” and “It’s Love.” 696. Dyer, Richard. “Our Critics Abroad: Boston.” Opera 40/6 (June 1989): 686–89. Dyer opens this review of a 1989 production by the Opera Company of Boston calling Mass a “mess,” and then offers a succinct two-paragraph explanation of what some critics did not like about the work: it confronts issues the work lacks the profundity to address, the English text reeks of the 1960s, and the music is eclectic to the point of confusion. Despite his feelings about Mass, Dyer has nothing but praise for director Sarah Caldwell, the company, and the staging. Sources on Bernstein’s Compositions 199

697. Emans, Reinmar. “Die Ballette Leonard Bernsteins.” In Reinhold Dusella and Helmut Loos, eds., Leonard Bernstein: Der Komponist, 31–45. Musik der Zeit Dokumentation und Studien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410.B566L46 1989. An article on Bernstein’s ballets poses an immediate challenge: Does one consider only pieces that Bernstein wrote as ballets or also pieces that he called “dances” and works not written as ballets but to which ballets have been produced, such as Symphony No. 2, The Age of Anxiety? Emans steers a middle course and includes Fancy Free, On the Town (which included extensive ballets and from which Bern- stein published Three Dance Episodes), Facsimile, Symphonic Dances from West Side Story (published as an orchestral suite, but most of the music danced to in the show), and Dybbuk. Emans considers each work separately and includes material on historical background, orchestration, scenarios, and other important matters, such as numerology in Dybbuk. 698. Everett, William A. “Candide and the Tradition of American Operetta.” Studies in Musical Theatre 3/1 (2009): 53–59. Several commentators have compared Bernstein’s score for Candide to operettas because of his habitual references to European dances and the huge demands that he makes on vocalists. In this article a prominent expert on the American operetta in the 1920s demonstrates that when Candide opened in 1956 1920s operettas were being revived in live productions and their music was heard frequently in studio recordings, films, and broadcast media. In addition to comparisons between operetta and Candide named earlier, Everett points to the appearance of “splendid vocal ensemble” (p. 56) in Candide as one hears in operettas, Bern- stein’s intentional parody of “Indian Love Call” from Rose Marie in his “You Were Dead, You Know,” the common bond of sociopolitical commentary in Candide and such operettas as The Merry Widow, and how part of Candide takes place in what seems like a mythical Central European land, like the “Ruritania” found in many operettas. 699. Fleming, Shirley. “At JFK Center: Bernstein’s ‘Mass” and Ginastera’s ‘Beatrix Cenci’ Launch the Nation’s Most Expensive Arts Center.” High Fidelity/Musical America 24/11 (December 1971): MA10–11. Downloaded by [New York University] at 04:27 09 August 2016 A brief description and review of the work’s premiere that offers what seems a minority opinion from critics of the time. Fleming calls Mass “the best Broadway musical to open in some seasons” and appreciates its entertainment value. She might have preferred a more profound work, but delights in the work’s fun and theatricality. 700. Flinn, Denny Martin. Musical!: A Grand Tour. New York: Schirmer Books, 1997. 556 p. ISBN 0-02-864610-X. ML171l.F57 1997. Flinn began his career as a dancer who performed in an international touring company of West Side Story. He believes that Jerome Robbins played a pivotal 200 Leonard Bernstein: A Research and Information Guide

role in the American musical’s integration of dramatic, musical, and dance elements, seen best in West Side Story. Bernstein’s role in the work is explained well in the chapter “Jerome Robbins and West Side Story,” but Flinn also shows it was Robbins’s show. Although musical comment is not Flinn’s strength, Bernstein is mentioned usefully elsewhere in the study as well. 701. Friedman, Matthew. “Transatlantic: A Genealogy of Modern American Musical Theatre from ‘Jonny Spielt Auf’ to ‘West Side Story.’ ” MA thesis, Concordia Uni- versity (Canada), 2004. 123 p. Friedman considers West Side Story as a fruit of an operatic renovation project initiated by modernist composers during the Weimar Republic in Germany that continued in the United States. The author traces the genealogy of modern American musical theatre from the 1920s to West Side Story, including its motion picture adaptation in 1961. In order to show the process of this cultural transfer, Friedman starts with the historical background of German operatic reform and American modernism, through The Cradle Will Rock, reaching West Side Story in Chapter 4. He believes that the release of the film West Side Story normalized a unique trajectory of modernism from Germany to the United States and discusses the important role that the film version played in this cultural transfer. 702. Garebian, Keith. The Making of “West Side Story.” Toronto: ECW Press, 1995. 160 p. ISBN 1-55022-211-2. ML410.B47G37 1995. One of Garebian’s major intentions is “to offset the popular elevation of Bern- stein’s music to the detriment of the other elements in the Broadway production” (p. 153). Garebian describes the show as a rich collaboration, finding fault with individual elements (such as Laurent’s book) but concluding that West Side Story was a groundbreaking show that made possible even “grittier” works. Garebian includes biographical material on its principal creators, focusing in the case of Bernstein on his Broadway work. Garebian’s description of the music draws heavily on Joseph P. Swain’s The Broadway Musical (Item 820). Garebian’s own musical descriptions are unconvincing. 703. Gargrave, Wayne Eric. “The Use of the Saxophone in the Dramatic Music of Leonard Bernstein: A Guide for Informed Performance.” DMA thesis, University of North Carolina at Greensboro, 2006. 350 p. Downloaded by [New York University] at 04:27 09 August 2016 A consideration of Bernstein’s writing for the saxophone in On the Town, Won- derful Town, West Side Story, Mass, and A White House Cantata (the published version of 1600 Pennsylvania Avenue). Gargrave covers elements of style and performance practice, and advocates for players to know the scores and how to play in the many styles that Bernstein approached. Included are chapters on each show where the author proceeds through each major number and describes the saxophone parts, dispensing performance advice, but with little attention towards other types of information on the shows or their scores. There are many musical examples, and appendices include saxophone parts from each score and interviews with noted saxophonists and Sid Ramin, one of the orchestrators of Sources on Bernstein’s Compositions 201

West Side Story. A later doctoral document on saxophones in West Side Story is: Aaron Thomas Patterson, “Use of Saxophones in West Side Story: An Analysis of the Original Scores,” DMA thesis, Manhattan School of Music, 2014. 704. Genné, Beth. “ ‘Freedom Incarnate’: Jerome Robbins, Gene Kelly, and the Danc- ing Sailor as an Icon of American Values in World War II.” Dance Chronicle 24/1 (2001): 83–103. This article concerns the stereotypes for sailors during the World War II and has a detailed discussion about the social and historical implications of using dancing sailors on stage during the war. Genné finds that the image of the dancing sailor has a long history in America, providing an opportunity for “unacceptable public behavior” because these sailors on leave were treated as cultural heroes at that time. She uses Jerome Robbins’s Fancy Free and Gene Kelly’s Anchors Aweigh for her case studies. 705. Gibbs, Wolcott. “Voltaire Today.” New Yorker 32/43 (15 December 1956): 52, 54. A mixed review of Candide’s original production, indicative of the show’s reception. Gibbs finds much to admire, including Bernstein’s music and Wilbur’s lyrics, but he offers few details about the score. He believes that the show was more entertainment than satire, however, and found few of the characters “fascinating.” 706. Goemanne, Noel. “Open Forum: The Controversial Bernstein Mass: Another Point of View.” Sacred Music 100/1 (Spring 1973): 33–36. A reaction to Herman Berlinski’s review of Mass in a previous issue of Sacred Music (see Item 670). Goemanne, a church musician, insists that the work was never intended to be liturgical and that comparison of it with great masses of the past is irrelevant. Goemanne believes that, for the Roman Catholic Church, Mass demonstrates what is wrong with their church music as heard in “folk Masses.” The author, however, finds the message of the work useful because “shocking as it may be, it is . . . a true picture of things happening in our churches these days” (p. 35). 707. Goodfriend, James. “Opening of the Kennedy Center.” Stereo Review 27/6 (December 1971): 72–76. A review of the Kennedy Center’s opening performances, including extensive

Downloaded by [New York University] at 04:27 09 August 2016 comment on Mass and Bernstein (pp. 73–75). Goodfriend describes the work in some detail and dwells at length on its eclectic nature. He finds wonderful moments in Mass but believes that as a whole the piece does not work, especially Bernstein’s attempts at rock, which he compares to Blitzstein’s inability to write jazz when needed in Regina. Goodfriend believes that Mass illustrates Bernstein’s failure to find “his way” as a serious composer (p. 75). 708. Gottfried, Martin. Broadway Musicals. New York: Abradale Press/Harry N. Abrams, 1984. 352 p. ISBN 0-8109-8060-6. ML1711.8.N3G68 1979. A lavishly produced book with sections on the elements of the musical, directing shows and famous directors, noted composers, and a segment on important 202 Leonard Bernstein: A Research and Information Guide

creators in the modern era. The book is worth consulting, if only for its 395 illustrations, including many scenes from shows. Bernstein appears often, and in one segment (pp. 288–93) Gottfried covers the five shows for which Bern- stein wrote scores. His description of basic facts about the shows is useful, but his musical commentary is weak in places. Photographs from Bernstein’s shows appear throughout the book. 709. Gräwe, Karl Dietrich. “ ‘Optimismus mit Trauerflor, kämpfend’: Leonard Bern- stein und seine Opern.” In Reinhold Dusella and Helmut Loos, eds., Leonard Bernstein: Der Komponist, 47–60. Musik der Zeit Dokumentation und Stu- dien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410. B566L46 1989. Striding boldly where many writers fear to tread, Gräwe decides that the three works in Bernstein’s output that are “operas” include: Candide (1956), Trouble in Tahiti (1952), and A Quiet Place (1983). No scholar will quarrel with the final two designations because the composer himself called those works “operas,” but what makes Candide an opera over Bernstein’s other Broadway musicals? In reference to Candide, Gräwe addresses aspects of genre and the influence of various musical styles on the score. Gräwe describes Trouble in Tahiti and A Quiet Place briefly, including the types of music that Bernstein evokes and his use of quotation and pastiche in the latter opera. 710. Green, Stanley. “West Side Story—The Film Version.” Hi Fi/Stereo Review 8 (January 1962): 65. Although ostensibly a review of the recording from the film track (Columbia OS 2070), Green covers the role of the music in the film as well. He finds Hol- lywood’s treatment of the property better than that of Broadway, believing that the reordering of some songs and new lyrics to “America” serve the story better. 711. —. The World of Musical Comedy. 3rd edition, revised and enlarged. South Brun- swick, NJ: A. S. Barnes,1974. 556 p. ISBN 0-498-01409-6. ML171l.G74 1974. [First published: New York: Ziff-Davis, 1960; New York: Grosset & Dunlap, 1962. Revised and enlarged edition: South Brunswick, NJ: A. S. Barnes, 1969.] A book with separate sections on various Broadway creators. The chapter on

Downloaded by [New York University] at 04:27 09 August 2016 Bernstein (pp. 289–95) begins with a brief biography and then includes a solid but somewhat superficial look at Bernstein’s work in On the Town, Wonderful Town, Candide, and West Side Story. Brief efforts are made to describe the scores musically, especially the two earliest shows that were not as well known in the 1970s. Green includes four photos from original productions. 712. Greenfield, Edward. “Bernstein. West Side Story.” Gramophone 62/743 (April 1985): 1269. A positive review of Bernstein’s recording of the musical (issued as Deutsche Grammophon 415 253). Greenfield finds that the instrumental numbers come alive with the fine studio orchestra assembled for the project and praises most of Sources on Bernstein’s Compositions 203

the singers as well for beauty of tone and musicality, and even for adopting convincing accents for the project. Greenfield admits that the recording might not please real Broadway lovers or real opera lovers, but finds it perhaps the “greatest ever” crossover. The compact disc version also included Bernstein’s Symphonic Suite from On the Waterfront, recorded by the composer with the Israel Philhar- monic Orchestra in 1982. 713. Gruen, John. “In Love with the Stage.” Opera News 37/3 (September 1973): 16–23. An article on Bernstein’s composition and conducting of stage works written to coincide with the production of Carmen he led that opened the 1972–73 Metro- politan Opera season. The article is by the author of The Private World of Leon- ard Bernstein (see Item 131). For Gruen, Bernstein recalls the youthful musical theater productions he directed and his extracurricular activities at Harvard, offers comment on his own theatrical compositions, and describes his operatic conducting experience. He mentions his regard for Blitzstein’s works and how they influenced his own Broadway scores and Mass. He was especially interested in how Blitzstein tried to write musical theater works with “a particularly Amer- ican accent” (p. 18) and how he set American vernacular English. 714. Guernsey, Otis L., Jr. Broadway Song & Story: Playwrights/Lyricists/Composers Discuss Their Hits. New York: Dodd, Mead, 1985. 447 p. ISBN 0-396-08753-1. PN2277.N5B64 1985. An important book that covers Broadway plays and musicals from a variety of angles: transcribed symposia of principal creators talking about important works, interviews with noted writers and composers, and creators commenting on significant issues in the field. In the first section, both On the Town and West Side Story are subjects of symposia, the latter an event organized in 1985 by the Dram- atists Guild that frequently is referenced in the literature on West Side Story. Bern- stein, Betty Comden, Adolph Green, Jerome Robbins, and Oliver Smith describe the genesis of On the Town and Bernstein, Arthur Laurents, Robbins, and Stephen Sondheim consider the history of West Side Story. Both are revealing documents. 715. Haagensen, Erik. “1600 Pennsylvania Avenue: The Show That Got Away.” Show Music 8 (Fall 1992): 25–32. Downloaded by [New York University] at 04:27 09 August 2016 The author of this article directed a workshop production of this musical at Indiana University in 1992, a version also presented at the Kennedy Center in Washington, DC. While researching the production, Haagensen worked with the show’s original materials and provided a useful version of how it developed before the 1976 Broadway production, and why it failed. There was an original version of the show that might have functioned as an artistic whole, except that it was highly critical of the United States at the time of its Bicentennial. The creators then lost control of the process in the rewriting and ended up with the mess that bombed on Broadway. Haagensen brought an expert’s eye to this topic and explained the process convincingly. 204 Leonard Bernstein: A Research and Information Guide

716. Harbert, Elissa Glyn. “Remembering the Revolution: Music in Stage and Screen Representations of Early America during the Bicentennial Years.” PhD dissertation, Northwestern University, 2013. 512 p. Bernstein’s 1600 Pennsylvania Avenue, produced in the year of the American Rev- olution Bicentennial in 1976, was the composer’s last musical. Although the show failed, the score was praised. Bernstein used different styles in the score to illustrate the development of American music, and the musical itself offered the audience the opportunity to reconsider the history of the United States and national identity through the points of view of Bernstein and book writer/lyricist Alan Jay Lerner. In the Chapter 3, Harbert presents useful archival materials and other primary sources concerning the show’s historical background, creation, production, and the reception. Harbert notes that 1600 acted as a reflection of Bernstein’s and Lerner’s memory of American culture, instead of a representation of history. 717. Hausfeld, Susan Elizabeth. “A Study of Mass by Leonard Bernstein.” MA thesis, Ohio State University, 1977. 98 p. A look at Leonard Bernstein and Mass from several perspectives. Bernstein’s life and work through Mass are surveyed, followed by a summary of Mass’s critical reception. The work’s structure is compared to the Roman Mass, added texts are cited, and the work’s various types of music are briefly analyzed. Hausfeld names important composers who appear to be influences on Bernstein and cites motives and other musical materials that link sections of Mass. She also approaches the work for its social commentary and place in American musical theater. 718. Hayes, Malcolm. “First Performances: A Quiet Place.” Tempo 168 (March 1989): 45–46. A Quiet Place was Bernstein’s second opera. Its critical reception was mixed, ranging from savage condemnation to great praise. Hayes reviewed the British premiere at the Corn Exchange Theatre in Cambridge in December 1988. He found the work to be a fine expansion on Trouble in Tahiti, with the risky but fascinating contrast between the chromaticism of Acts 1 and 3 and the jazzy rhythms and harmonies and lyricism of the earlier opera, which is Act 2 of the new opera. He pays A Quiet Place an almost perfect British compliment, noting

Downloaded by [New York University] at 04:27 09 August 2016 that it would work well at Glyndebourne. 719. Helgert, Lars. “Songs from Leonard Bernstein’s Stage Works as Jazz Repertoire.” American Music 27/3 (Fall 2009): 356–68. Helgert provides a detailed list of the songs from Bernstein’s works recorded as jazz repertoire in this article, from Billie Holliday’s With Toots Camarata and His Orchestra in 1944 to Jane Monheit’s The Lovers, the Dreamers, and Me in 2009. Hel- gert found that the acceptance of Bernstein’s works among jazz musicians and critics grows more and more positive in these six decades, and, given the sheer volume of these recordings and the quality of the musicians who have performed them, many of Bernstein’s songs have attained a prominent position in jazz repertoire. Sources on Bernstein’s Compositions 205

720. —. “The Songs of Leonard Bernstein and Charles Stern in 1942: Toward the Origins of Bernstein as a Dramatic Composer.” American Music Research Center Journal 21 (2012): 41–66. An effective recounting of a nearly unknown episode in Bernstein’s career. Charles Stern graduated from Harvard in 1941—two years behind Bernstein—and met the composer when he returned to Harvard that year to write incidental music for a production of Aristophanes’s play The Peace. They briefly became an aspir- ing entertainment team, with Stern singing his own satirical lyrics with Bernstein at the piano, but their collaboration ended when Stern was drafted in mid-1942. Helgert interviewed Stern and provides a history of his work with Bernstein, with further documentation of their work from items in the Boston Globe. The article also includes analysis of the four songs that they wrote, contextualizing the music within Bernstein’s larger output and providing all of the lyrics. 721. Herrera, Brian Eugenio. “Latin Explosion: Latinos, Racial Formation and Twentieth-Century U.S. Popular Performance.” PhD dissertation, Yale Univer- sity, 2008. 308 p. Herrera examined the ubiquity of Latino influence in twentieth-century Amer- ican popular performance and used West Side Story as a case study in Chapter 3. Starting from a production of West Side Story in a high school in 2000, Herrera discussed how and why West Side Story became a foundational fiction of Puerto Rican-ness on stage through these years. In order to answer these questions, Her- rera studies the show from different aspects: the historical background of the original production, the social issue of youth criminality, and how they used songs for the purpose of “racializing the Sharks” (p. 201). Nonetheless, no matter how people conceived West Side Story, it remains the seminal moment from which Puerto Ricans became “a distinctly American ethnic group” in the United States (p. 168), and Herrera’s study provides us a new aspect to see the show. 722. Heumann, Scott F. “The New Bernstein.” Opera 34/10 (October 1983): 1117–20. The premiere of A Quiet Place in Houston was the subject of many reviews. This pithy consideration of the work and its performance is by a critic who saw three performances. Heumann generally praises the singers and production and offers

Downloaded by [New York University] at 04:27 09 August 2016 penetrating commentary on the libretto and music. He finds Stephen Wad- sworth’s libretto “virtually unique in attempting to reflect contemporary Amer- ican speech and social concerns” (p. 1118). He praises Bernstein’s treatment of the text and names a number of musical highlights, especially the double-duet/ quartet in the second scene. He cites a number of structural flaws in the opera, however, and looks hopefully to its revision. 723. Hewes, Henry. “Broadway Postscript: Sister Rosalind.” Saturday Review 36/11 (14 March 1953): 36. A rave review of Wonderful Town’s original production. Hewes calls the show “the most competent, original, and adult musical comedy to reach this dreary 206 Leonard Bernstein: A Research and Information Guide

metropolis in a long, long time.” He describes the show as “a series of clever collaborations,” such as the song “Conversation Piece,” which could easily be used in another context. These collaborations are then tied together by the delightful presence of Rosalind Russell. He finds Bernstein’s score only “mildly tuneful,” but an effective caricature of various musical styles throughout. 724. Hobe. “Play on Broadway: Wonderful Town.” Variety 189/13 (4 March 1953): 58. A positive review of the original production. The critic notes that the show is not “brilliant,” but the delightful presence of Rosalind Russell makes it “a can’t-miss item.” Most aspects of the show are praised. Bernstein’s music is called “amusing,” and he is praised for writing easy tunes that Rosalind Russell can sing. As is often the case in Variety reviews, much of the musical criticism has to do with which songs might be hits. “Hobe” was the nom de plume for Hobe Morri- son, a Variety critic for many years. 725. —. “Broadway Shows: Candide.” Variety 205/1 (5 December 1956): 78. A fairly lengthy review of the original production, reporting an admirable book, score, and production but with limited commercial appeal. Bernstein’s music is “inspired” but too “esoteric,” too difficult to grasp on a single hearing. It is called the stuff of a good light opera or “a record album gem.” Subsequent foreign and touring productions of the show were also reviewed in Variety. 726. —. “Broadway Shows: West Side Story.” Variety 208/5 (2 October 1957): 72. A perceptive and detailed review of the original production, praising the energy and realism of the show but to an extent questioning its commercial appeal because of the violent subject matter. Bernstein’s score is lauded as dance music but is said to have little in the way of pop tunes or ballads. The songs reported to have possible commercial appeal are “Maria,” “Tonight,” “One Hand, One Heart,” “I Feel Pretty,” “America,” and “Gee, Officer Krupke.” Subsequent foreign and touring productions of the show were also reviewed in Variety. 727. —. “1600 Pennsylvania Avenue.” Variety 283/1 (12 May 1976): 462, 465. A useful review of this disappointing show on which Bernstein collaborated with Alan Jay Lerner. In the opinion of this critic, Bernstein’s music merits little praise

Downloaded by [New York University] at 04:27 09 August 2016 because it “only hints at the melodic richness” of his other shows and at times seems “slightly self-derivative.” Some major changes made since the show was out-of-town are named, particularly cut musical numbers, but little in the show is praised. Lerner’s book is dismissed as “inept.” 728. Hume, Paul. “Liturgy on Stage.” In Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 57–62. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. A brief consideration of Mass, including its background, the controversy surrounding its premiere, its place in contemporary settings of the Roman Catho- lic liturgy, and the use of the texts in a dramatic work. Hume avoids specific Sources on Bernstein’s Compositions 207

comment about the work or its score, choosing to focus on the broad themes of the work and Bernstein’s interest in the twentieth century’s “crisis in faith.” 729. Hurley, Joyce Vertelle. “A Case for Unity in Leonard Bernstein’s Mass.” MM thesis, University of South Carolina, 1978. 51 p. A study intended to demonstrate that Mass includes sufficient devices of musical unification to refute the claim of some critics that the piece is (in Hurley’s words) “a hodge-podge of diverse styles” (p. 3). Her conclusions about the work’s critical reception appear to be based upon a limited review of the literature. Hurley first considers how Mass is unified by its dramatic properties, including plot, message, conflict, symbolism, and the dramatic impact and progression. The meat of the document is found in the proof of musical unity, considered in the following: terms; compositional technique; repetition of melodic ideas, intervals, and rhythms; imitation; meter; use of percussion; and the recapitula- tion of materials in the “Fraction.” Unifying devices tend to be listed rather than explained. 730. Hutchinson, Peter. “Austria: Vienna.” Opera 19/5 (May 1968): 375. A brief, positive review of the German-language premiere of West Side Story at the Vienna Volksoper. Marcel Prawy translated the text and served as production supervisor, and the entire production was directed by Alan Johnson, who played “A-rab” in the original Broadway production. Hutchinson called the production a “smash hit.” 731. Hutton, Geoffrey W. “The Boldest Experiment of All . . .” Music and Dance 51 (November 1960): 23–24. An article written to coincide with West Side Story’s premiere in Melbourne, Aus- tralia. Hutton notes that past Broadway musicals have featured either a more developed book, more expressive dance, or more ambitious music, but West Side Story is the first to include all three. He finds Bernstein’s score “halfway to some contemporary American opera” (p. 23), but in the vocal demands Bernstein had to tread lightly. Hutton makes several other striking observations about the show. 732. Ibee. “Plays on Broadway: On the Town.” Variety 157/4 (3 January 1945): 162.

Downloaded by [New York University] at 04:27 09 August 2016 A poor review of the original production bemoaning problems in the story, direction, cast, singers, and sets. Also cited are the lack of pretty chorus girls or any real “class.” A few songs are praised, but Bernstein is not mentioned. 733. Jacobson, Robert. “Reports: U.S., New York.” Opera News 38/14 (9 February 1974): 33. A positive review of the “Chelsea” version of Candide directed by Hal Prince after its move to the Broadway Theater. Jacobson believes that in this production the show “found its form,” describing it as a “morality play in the Brecht/Weill tradition.” He delights in Prince’s staging and the irreverent tone and believes that the young cast brought Bernstein’s score to life. 208 Leonard Bernstein: A Research and Information Guide

734. —. “Reports: U.S. Houston.” Opera News 48/3 (September 1983): 52–53. An example of a negative review of the premiere of A Quiet Place. Jacobson finds no reason to care about any of the characters, derides Wadsworth’s libretto as repetitive and verbose, sees no sense of theater in the opera, and describes Bern- stein’s music as “empty as its text” (p. 53). He found the production values high but the singers only competent. 735. Jaensch, Andreas. Leonard Bernsteins Musiktheater: Auf dem Weg zu einer amerikanischen Oper. Kassel: Bärenreiter, 2003. 411 p. ISBN 3-7618-1618-9. ML410. B566J34 2003. A major consideration of Bernstein’s Broadway and operatic works in the context of the development of American opera. Jaensch opens with a brief history of American musical comedy and popular song with musical analysis, followed by coverage of On the Town, Wonderful Town, West Side Story, Candide, Mass, and 1600 Pennsylvania Avenue, including their creations and music, and placing each in the context of Bernstein’s career. Following a chapter on Bernstein’s eclecticism and compositional style, Jaensch devotes one hundred pages to Trou- ble in Tahiti and A Quiet Place, one of the larger statements available on these works. He then places them alongside other American operas by Gershwin, Weill, Blitzstein, Menotti, and Barber. The appendices include a useful table of what scenes are included in four versions of Candide librettos and a revealing interview with John Mauceri (in English) on his role as music director at the various premieres of A Quiet Place and his candid comments on the piece. 736. Jenkins, Speight. “Reports: U.S., Washington.” Opera News 36 (October 1971): 20–21. A positive review of Mass’s premiere. Jenkins finds the work a logical step in Bernstein’s career path as a composer, mixing aspects of his Broadway and concert music output. He notes the sounds of the music of other composers, especially Carl Orff in Bernstein’s use of choir and percussion. He compares the work’s message to Godspell and Jesus Christ Superstar as part of the current mood, and finds it appropriate for the time: “If this will make Mass sound dated in a few years, it still has something to say today” (p. 20). He praises both the

Downloaded by [New York University] at 04:27 09 August 2016 performance and performers. 737. Jones, Robert T. “New York City Opera: ‘Candide.’ ” High Fidelity/Musical Amer- ica 33/2 (February 1983): MA22–24. The 1982 New York City Opera production is an important milestone in the complex history of Candide, the first to take the work into the opera house. Jones has nothing but praise for the adaptation and the production, describing an unqualified comic and musical success. He notes that conductor (and Bernstein disciple) John Mauceri, with the composer’s permission, included music that had never before been heard, even in the Broadway premiere. Hal Prince directed this version as he did the “Chelsea” version of 1973. Sources on Bernstein’s Compositions 209

738. Kastendieck, Miles. “Bernstein’s ‘Mass’ in New York.” Christian Science Monitor 64/199 (20 July 1972): 4. A down-to-earth assessment of Mass written as a review of its New York run at the Metropolitan Opera House. Kastendieck finds the work dramatic and effective as a portrayal of faith lost and found. He describes the work as “more artfully conceived than divinely inspired,” noting that the music holds one’s attention but the listener stays “detached.” He attributes this to the work’s lack of emotional depth. 739. Keathley, Elizabeth L. “Postwar Modernity and the Wife’s Subjectivity: Bern- stein’s ‘Trouble in Tahiti.’ ” American Music 23/2 (Summer 2005): 220–56. Bernstein composed Trouble in Tahiti in 1951–52, before the beginning of what might be called the modern feminist movement. He was responsible for both the music and libretto, meaning that Dinah, the complicated female of the work’s troubled couple, is solely his creation. Bernstein based aspects of the story on his own life, especially the troubled marriage between his parents. Keathley places Dinah, already a complex character, within the context of American politics in the early 1950s, Betty Friedan’s Feminine Mystique (published eleven years after Bernstein’s opera premiered), accepted gender roles during the period, women of the 1950s and psychiatry, and Bernstein’s urge to write socially relevant music like that favored by left-wing artists of the 1930s. She makes powerful use of musical analysis in her study, with an especially memorable interpretation of Dinah’s solo scene, “What a Movie!” 740. Kerner, Leighton. “Music: Truth in Tahiti.” Village Voice 28/27 (5 July 1983): 79. One of the most positive reviews of the controversial Houston premiere of A Quiet Place. Kerner hails the event as a “huge success” and the work as a “powerful new opera.” He spends much of the review telling the story, but throughout sprinkles useful musical comments, including the appearance of a twelve-tone row and quotations from Trouble in Tahiti and other works. Kerner admits that the opera is difficult to sing but also praises the lyricism of some passages. 741. —. “Music: The Fearsome Garden.” Village Voice 29/34 (21 August 1984): 102–03. Downloaded by [New York University] at 04:27 09 August 2016 A positive review of the revision of A Quiet Place, which Kerner heard in the opera’s Washington, DC, premiere. Kerner loved the original version of the opera (see Item 740). He believes that the changes weakened the work to an extent, but still finds it “among the five or six strongest American operas” (p. 102). He provides a number of details concerning the changes, much of which had to do with reordering the new material and the flashbacks to Trouble in Tahiti. Kerner explains why he preferred the original version. 742. Kim, Chan Ji. “I. Composer and Choreographer: A Study of Collaborative Com- positional Process. II. ‘The Lotus Flower,’ Ballet Music for Chamber Ensemble and Two-Channel Audio.” PhD dissertation, University of Florida, 2006. 168 p. 210 Leonard Bernstein: A Research and Information Guide

The relationship between composers and choreographers is critical to the creation of ballets. Kim selected five partnerships in the twentieth century to discuss collaboration and the balance of creativity between composing and choreo- graphing, including Bernstein and Jerome Robbins. The author describes West Side Story in Chapter 2, including its historical background, and also provides a table of collaborations by Bernstein and Robbins. 743. Knapp, Raymond. The American Musical and the Formation of National Iden- tity. Princeton, NJ: Princeton University Press, 2005. 361 p. ISBN 0-691-11864-7. ML1711.K6 2005. Although mentioned elsewhere in this wide-ranging and intelligent study, Bern- stein’s major place in the book is found in Knapp’s analytical material on West Side Story (pp. 204–215). Knapp places the show within a useful racial context, describing how the score’s various types of music represent the two gangs, using the songs “America” and “Cool” as examples. His ensuing description of Bern- stein’s use of motives that integrate the score is especially worthwhile, with a number of musical examples to illustrate his points. Knapp posits that Bern- stein’s manipulation of motives owed something to Webern’s processes and those of his followers. He also shows how some motives might be related to Tchaik- ovsky’s Romeo and Juliet. Knapp then traces motives through the songs “Maria,” “Tonight,” “Somewhere,” and “A Boy Like That.” 744. —. The American Musical and the Performance of Personal Identity. Princeton, NJ: Princeton University Press, 2006. 470 p. ISBN 978-0-691-12524-4. ML2054. K6 2006. In his epilogue, where he looks at “operatic ambitions” in the American musical, Knapp places Candide alongside Sweeney Todd and Evita. His effective essay on Candide covers a lot of ground: the importance of original cast albums and how they changed our perceptions of Broadway history and even perhaps how composers wrote shows, resonances between the scores of Candide and West Side Story, an overview of the show’s convoluted history, including the importance of Hal Prince when he brought Hugh Wheeler and Stephen Sondheim aboard for the 1973 revisions, the essential brutality of the story and how it contrasts with Bernstein’s ebullient music and the genre itself, and allusions to operas and

Downloaded by [New York University] at 04:27 09 August 2016 various types of music and songs in the score. 745. Knussen, Oliver. “Recordings: Bernstein, Dybbuk.” Tempo 119 (December 1976): 34. In a typically worthwhile review from Tempo, Knussen notes that Bernstein might not be a major composer of “serious” music, but admits that “everything he writes is entertaining, often surprisingly beautiful and always resourceful.” He finds some of Bernstein’s best music in his most controversial works, including the Symphony No. 3, Kaddish and Mass. He is surprised at the importance of numerology in Dybbuk, given Bernstein’s usual dismissal of serialism, and calls the ballet one of Bernstein’s most austere works to date. He offers some telling Sources on Bernstein’s Compositions 211

musical description and concludes that some of the ballet’s score is not of sufficient musical interest to exist apart from the dance. 746. Kolodin, Irving. “Music to My Ears: Metropolitan Menu on the American Plan—Bernstein on TV.” Saturday Review 35/48 (29 November 1952): 31. An oft-quoted review of the 1952 television production of Trouble in Tahiti. Kolodin praises Bernstein’s talents as both librettist and composer, but believes his talent might be stretched too thin because of the one-dimensional characters: “Two emptier, duller people never lived; and if they did knock their heads together nothing would result but a muddled thud.” Kolodin praises Bernstein’s paraphrases of popular music in the score and wonders if Bernstein suggests that it is the “poverty of American cultural life that produces such unhappy homes.” 747. —. “The Bernstein-Ginastera Premieres at Kennedy Center.” Saturday Review 54/39 (25 September 1971): 74–75. Kolodin offers a balanced appraisal of Mass following its first performance. He praises the composer for combining all of the various aspects of his career into a single work where “he has achieved a fusion of them more varied and expressive than in any prior work he has written” (p. 74). Kolodin finds that the various elements of the work mix well and are combined with a fine sense of timing. He is ready to place Mass as “a permanent addition to the American theater repertory” (p. 74). Kolodin notes a major resemblance between Mass and Blitzstein’s Airborne Symphony, a piece that Bernstein knew well. Kolodin made some additional interesting comments about Mass in his review of the recording (“Bern- stein’s ‘Mass’ Revisited,” Saturday Review 54/52 [25 December 1971]: 55). 748. Kreuger, Miles. “The Broadway Composer: On the Town—A Cohesive Score That Transcends the Sum of Its Parts.” High Fidelity/Musical America 22/2 (Febru- ary 1972): 78–79. A highly informative review of a reissue (Columbia S 31005) of the 1961 recording (Columbia OS 2028) that included several members of the original cast. Kreuger is an expert on Broadway and includes in this review a vivid evocation of New York’s wartime appeal, a history of the show and the movie and their recordings, and a stirring approbation of the merits of this recording. Downloaded by [New York University] at 04:27 09 August 2016 749. Laird, Paul R. “Choreographers, Directors and the Fully Integrated Musi- cal.” In William A. Everett and Paul R. Laird, eds., The Cambridge Companion to the Musical, 197–211. Cambridge: Cambridge University Press, 2002; 2nd edition (2008), pp. 220–34. ISBN of 1st edition: 0-521-79189-8 (hardback), 0-521-79639-3 (paperback); ISBN of 2nd edition: 978-0-521-86238-7 (hardback) 978-0-52168084-4 (paperback). ML2054.C35 2008. ML2054.C35 2008. An essay that changed little between editions. The chapter’s organization is based around various choreographers/directors, including Jerome Robbins, who collaborated with Bernstein on On the Town and West Side Story. Included are material and commentary on Robbins’s work on each show, including as 212 Leonard Bernstein: A Research and Information Guide

choreographer for On the Town and as director/choreographer for West Side Story. A secondary focus is how Robbins worked with Bernstein and other collaborators on the integration of dance and music into the dramatic narrative. 750. Lansdale, Nelson. “Talent on the Town.” Theatre Arts 34 (July 1950): 46–49, 95–96. An article inspired by Jerome Robbins’s ballet version of Symphony No. 2, The Age of Anxiety at the New York City Ballet. Lansdale notes that the three main collaborators—Bernstein, Robbins, and set designer Oliver Smith—had already worked together on Fancy Free, On the Town, and Facsimile. He provides basic biographical details on the three, describing the great success each had enjoyed in the last several years. For Bernstein he reviews the compositional history of The Age of Anxiety and offers a fine synopsis of the highlights of his career to that point. He was less than impressed with the ballet. 751. Laufe, Abe. Broadway’s Greatest Musicals. New York: Funk & Wagnalls, 1973. 502 p. LC card number 72007574. ML1711.8.N3L4 1973. [Revised edition: New York: Funk & Wagnalls, 1977. ISBN 0308103173.] A detailed study of musicals from 1884 to the early 1970s. Four major shows occupy separate chapters; the remainder of the book concerns various half decades. Laufe describes a show’s plot and its source, names many of the songs during a plot synopsis, and covers the cast and its work. Useful comments about music appear in this narrative. Laufe includes no detailed musical analysis but helps one to imagine what songs sound like. Of Bernstein’s shows, he covers in detail Wonderful Town (pp. 168–73) and West Side Story (pp. 221–27). On the Town is omitted; Candide is listed with notable shows that suffered short runs. 752. Laurents, Arthur. Mainly on Directing: Gypsy, West Side Story, and Other Musicals. New York: Knopf, 2009. 192 p. ISBN 978-0307270887. ML1711.5.L38 2009. Bernstein’s name is only mentioned several times in this book, but it includes Laurents’s explanation (pp. 145–72) of the 2009 revival of West Side Story that he directed, where the Sharks often spoke Spanish and Laurents tried to emphasize acting with the cast, as opposed to the dancing and singing that he felt had usually been privileged in casting the show. The essay (and entire book) features the author’s strong theatrical vision, blunt honesty, and delightful prose, qualities that make what

Downloaded by [New York University] at 04:27 09 August 2016 he has to say about one of his most famous creations revelatory and provocative. 753. Leonard Bernstein Conducts West Side Story: The Making of the Recording. “A Pro- duction of BBC Television, London in association with UNITEL Film-und Fernsehproduktionsgesellschaft mbH & Co., Munich and Video Music Pro- ductions, Inc., New York.” Munich: UNITEL, 1985; Hamburg: Polydor Interna- tional GmbH, 1988. Deutsche Grammophon 072 206–3. Singers include Kiri Te Kanawa, José Carreras, and Tatiana Troyanos. Although this video recording includes primarily rehearsals and final takes for Deutsche Grammophon’s audio recording of West Side Story, there are also comments from Bernstein and the principal singers. Bernstein expresses his feelings Sources on Bernstein’s Compositions 213

about his most famous work. The video is a fine example of a mature Bern- stein working in the studio with excellent musicians and John McClure, who supervised hundreds of Bernstein’s recordings. The recording was first issued on phonodisc. It proved popular with the public, but many critics were hostile because opera singers were used to sing Broadway music, and José Carreras, as Tony, could not sing convincing American English. 754. “Leonard Bernstein Discusses His Mass with High Fidelity.” High Fidelity/Musi- cal America 22/2 (February 1972): 68–70. A somewhat rambling but telling interview in which Bernstein speaks on the genesis of Mass, its form and religious nature (Jewish vs. Roman Catholic), its eclecticism, its meaning, his reaction to the criticism, and the experience of the premiere. Although Bernstein is never at a loss for words and in some interviews seems too glib, here there seems to be a refreshing, and in places disarming, honesty. Bernstein admits that the eclecticism of the work is one of its most important elements and speculates on why many have found the work meaningful. 755. Leonard, Lawrence. “Here’s a Musical That Bridges the Gap!” Melody Maker 33 (13 December 1959): 6. An article by the conductor of the West Side Story production then touring Eng- land, set to open at the Her Majesty’s Theatre in London on the day this article appeared. In a popular forum, Lawrence surveys the musical’s score, showing how it bridges the gap between popular and classical music. One assertion of interest is his comparison of the jazz fugue theme from “Cool” to one of the main themes in Beethoven’s Grosse Fuge, another of the allusions to classical repertory in the score. Lawrence overstates the case a bit, but both themes do include a prominent rising diminished seventh surrounded by half-step motion. 756. Lieberson, Goddard. “West Side Story Told Again.” Music Journal 26/8 (Octo- ber 1968): 21, 51–52. A brief essay on West Side Story as a serious work succeeding in a commercial, popular medium by the producer of many Broadway original cast albums. The article is educational in intent but includes a few interesting insights. 757. Lin, Hsun. “Convergences between Leonard Bernstein’s On the Town (1944) and Downloaded by [New York University] at 04:27 09 August 2016 Wonderful Town (1953) and His Contemporary Concert Music.” PhD dissertation, University of Kansas, 2013. 267 p. As an American composer, Bernstein sought out the “American voice” in all of his works, and merging traits from concert hall music and the popular idioms from the Broadway musical theater became a personal signature of his compositions. Through examining the large-scale concert works before Wonderful Town, one may see how Bernstein absorbed techniques from the concert hall and adapted them to his works for the musical theater. On the Town and Wonderful Town are the two musicals that Bernstein wrote before Candide and West Side Story, and unlike their successors, these two have drawn less scholarly attention. 214 Leonard Bernstein: A Research and Information Guide

Through this document, one may find useful information about the creation of On the Town and Wonderful Town, both the original runs and the revivals, how the composer applied motivic elements to unify these two shows, and the musical influence of his earlier concert music. 758. Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009. 421 p. ISBN 978-0521349550. ML160.L69173 2009. Locke acknowledges (p. 7) that some might be surprised with how he links West Side Story with exoticism, a quality more associated with the likes of Saint-Saëns’s Samson et Dalila or Debussy’s Prélude à l’après-midi d’un faun, but the author builds an elegant case that the Broadway show bears strong markers of exoticism in its treatment of the darker-skinned Puerto Ricans (especially Maria) and the rich use of Latin American musical references in the score (pp. 268–75). Locke compares aspects of the show’s exoticism to earlier operas and musicals, such as Carmen and The Desert Song. 759. Loos, Helmut. “Leonard Bernsteins geistliche Musik: Chichester Psalms und Mass.” In Reinhold Dusella and Helmut Loos, eds., Leonard Bernstein: Der Kom- ponist, 93–110. Musik der Zeit Dokumentation und Studien, 7. Bonn: Boosey & Hawkes, 1989. 141 p. ISBN 3-87090-207-8. ML410.B566L46 1989. What constitutes sacred music in Bernstein’s output could be the subject of a lengthy article indeed. Many of his works deal with what Bernstein called our “crisis of faith,” but only some of those include sacred texts. Mass, which primarily includes sacred texts, is most productively described as a theatrical work, not as sacred. Loos’s pairing of Chichester Psalms and Mass, therefore, invites more comment than is possible here. His useful consideration of Chichester Psalms (with musical examples) includes the realization that the piece opens with the same three notes (transposed) as Mahler’s Symphony No. 8 (p. 95). Loos describes Mass in terms of form, texts, and eclectic musical style. At the essay’s end, Loos mentions Bernstein’s Missa brevis, but he fails to name the sacred Hebrew choruses. 760. Lowens, Irving. “Choral Performances: Washington.” American Choral Review 14/3 (July 1972): 37–38. Lowens reviews the premiere of Mass, briefly surveying its critical reception

Downloaded by [New York University] at 04:27 09 August 2016 and offering his own comments. He finds effective the portrayal of the Roman Mass as a dramatic conception and believes the work’s flaws appear in the music instead of the text. The score includes much from the Broadway idiom, which Lowens believes to be “spectacularly wrong” (p. 38) in places. With discipline, Lowens believes the piece could be edited into a successful composition, but doubts that Bernstein could accomplish this. 761. L[yons], J[ames]. “Trouble in Tahiti Successful Despite Flaws.” Musical America 72/15 (1 December 1952): 21. A review of the opera’s television premiere, 16 November 1952, on NBC-TV. Lyons acknowledges that the work was criticized roundly in its premiere at Brandeis Sources on Bernstein’s Compositions 215

University the previous summer, but suggests that some were expecting a work fit for the Metropolitan Opera. Lyons suggests Trouble in Tahiti is of an entirely different nature in a new genre—opera for television—that must be allowed to evolve. Lyons finds aspects to praise and hopes for more operas written for television. 762. Mandelbaum, Ken. Not since Carrie: Forty Years of Broadway Musical Flops. New York: St. Martin’s Press, 1991. 372 p. ISBN 0-312-08273-8. ML1711.8.N3M13 1991. This book is a useful study of Broadway musicals that have failed commercially, including some with admirable qualities. Mandelbaum defines a flop as a show that played less than 250 performances in its original run. Two of Bernstein’s shows qualify for inclusion: Candide (1956) and 1600 Pennsylvania Avenue (1976). Both appear in the chapter “Heartbreakers and Cream” on shows that “were particularly glorious—and sometimes foolhardy—in their ambition” (p. 306). Mandelbaum notes that 1600 Pennsylvania Avenue (pp. 323–27) was hampered by “a practically impossible concept” (p. 326) and poor direction, but also describes “the greatest score in post-war Broadway history that ever went unrecorded” (p. 326). (Much of the score was later recorded as A White House Cantata.) His consideration of Candide (pp. 334–37) includes recognition of the score’s quality and the interesting suggestion that Lillian Hellman’s original book is far superior to that by Hugh Wheeler used in later productions. 763. Marchand, Rebecca Giacosie. “The Impact of the Second Vatican Council on the Concert Mass in the United States.” PhD dissertation, University of California, Santa Barbara, 2007. 263 p. Although Bernstein’s Mass cannot in any sense be considered a “concert Mass,” Marchand included it in her study as one of three major works, alongside Lou Harrison’s Mass for St. Cecilia (1983–86) and Paul Creston’s Missa “Cum Jubilo” (1968). She included Bernstein’s work because it “provides . . . a commentary on the liturgical mass and the context in which it existed in the decade following Vatican II” (p. 99). Marchand’s segment on Bernstein’s Mass (pp. 99–152) provides an wide panoply of perspectives, including Bernstein’s intentions with the piece, how he deals with liturgical aspects of the genre (with commentary on the composer’s “errors” in his use of liturgical texts, even though Marchand seems to understand that the work is for the theater and not a religious service), and

Downloaded by [New York University] at 04:27 09 August 2016 description of the many styles of music that Bernstein references in the piece. 764. Martin, John. “Ballet by Robbins Called Smash Hit: ‘Fancy Free’ about Trou- bles of Sailors and Their Girls, in Metropolitan Premiere.” New York Times (19 April 1944): 27. A glowing review of the ballet’s world premiere. Martin speaks mostly of the choreography and dancing, but does write about the music as well, noting that Bernstein’s use of jazz was proportionate to its appearance in the dancing, and states that the music “is not in the least self-conscious . . . It is a fine score, humorous, inventive, and musically interesting.” Martin pronounces the whole ballet “just exactly ten degrees north of terrific.” 216 Leonard Bernstein: A Research and Information Guide

765. mcclung, bruce d., and Paul R. Laird. “Musical Sophistication on Broadway: Kurt Weill and Leonard Bernstein.” In William A. Everett and Paul R. Laird, eds., The Cambridge Companion to the Musical, 167–78. Cambridge: Cambridge University Press, 2002; 2nd edition (2008), pp. 190–201. ISBN of 1st edition: 0-521-79189-8 (hardback), 0-521-79639-3 (paperback); ISBN of 2nd edition: 978-0-521-86238-7 (hardback) 978-0-52168084-4 (paperback). ML2054. C35 2008. An essay that changed little between editions. Weill and Bernstein are paired as two theater composers who came first from the classical world, bringing to their Broadway scores sophisticated musical techniques and unified symphonic concepts that are unusual for the genre. Opening with consideration of Bern- stein conducting Weill’s The Threepenny Opera (in a new Marc Blitzstein translation) at the 1952 Brandeis University Festival of the Creative Arts, mcclung and Laird proceed through first Weill’s and then Bernstein’s shows, offering material about their creations and receptions and commentary about the composer’s contributions. 766. McMillin, Scott. The Musical as Drama: A Study of the Principles and Conventions behind Musical Shows from Kern to Sondheim. Princeton, NJ: Princeton Univer- sity Press, 2006. 230 p. ISBN 978-0-691-12730-9. ML2054.M353 2006. Subjective evaluation of the Broadway musical theater, its shows, and history has been the driving force behind much of the scholarship concerning the genre, and such interpretation from informed commentators like Scott McMillin is worth the reader’s time. He approaches West Side Story several times in this volume, offering useful material on: the effectiveness of its book scenes (pp. 48–49), Maria as an example of a “real” person within a musical (pp. 54–58, including an analysis of “Tonight” in its traditional AABA form with interesting modulations), an interpretation of “A Boy Like That/I Have a Love” as a “shared tune” (p. 72), the use of ensemble scenes in Candide and West Side Story (pp. 91–93), and commentary on dance, orchestration, and music in West Side Story (pp. 139–45). 767. Mellers, Wilfred. “West Side Story Revisited.” In Robert Lawton-Peebles, ed., Approaches to the American Musical, 127–36. Exeter: University of Exeter Press, 1996. ISBN 0-85989-405-3. ML17ll.A671996 (University of Kansas). Downloaded by [New York University] at 04:27 09 August 2016 An elegantly written consideration of the score to West Side Story in which Mellers posits relationships between songs and offers interesting contexts. With no musical examples included, one must know the score well or have ready access to a copy. The major problem with the article is that Mellers places great importance on the key of each song. In Broadway musicals, however, songs are routinely transposed to fit a specific singer’s range, a practice that did occur in West Side Story (see Peyser, Item 157b, p. 267). 768. Miller, Scott. From Assassins to West Side Story: The Director’s Guide to Musi- cal Theatre. Portsmouth, NH: Heinemann, 1996. 242 p. ISBN 0-435-08699-5. MT955.M595 1996. Sources on Bernstein’s Compositions 217

Miller considers sixteen musicals, describing for each how the story is told through words, song, and dance and noting character motivation and symbolism. His commentary is practical and literate, useful for the theatrical director, and interesting for anyone who loves musicals. Shows appear in alphabetical order, making West Side Story last (pp. 220–37). Among the issues he addresses for the show are: the nature of the tragedy; its relation to the story of Romeo and Juliet; its timelessness; unification in the music and lyrics; and then, at length, the way the story is told through various elements. He warns directors of the extreme importance of dance and cites other useful sources. His musical analysis is not extensive but quite intelligent. 769. Milnes, Rodney. “Towards the Great American Opera.” Opera 39/10 (Octo- ber 1988): 1167–73. In a sprawling review of recordings of A Quiet Place, Candide, and Sondheim’s Into the Woods, Milnes offers thoughtful comments on these and other works by Bernstein. No admirer of operas by Philip Glass and John Adams, Milnes finds Trouble in Tahiti and A Quiet Place fine examples of twentieth-century Ameri- can opera and qualifies his comments with brief musical references. His favorite recording of Candide is by the 1956 original cast for reasons that he explains in detail. The only problem with this review is that it is popular journalism: Milnes knows this music well and one wishes for even more detail and documentation. 770. Minear, Paul S. Death Set to Music: Masterworks by Bach, Brahms, Penderecki, Bernstein. Atlanta: John Knox Press, 1987. 173 p. ISBN 0-8042-1874-9. ML2900. M5 1987. A theological consideration of death as a concept is treated in Bach’s St. Matthew Passion, Brahms’s A German Requiem, Penderecki’s St. Luke Passion, and Bern- stein’s Mass. Minear’s first chapter summarizes Christian theology concerning death. For each of the works, he provides the libretto and a brief essay. He compares Mass (pp. 145–59) to the other works from various theological perspectives, finding significance in Bernstein’s interpretation of Biblical texts and his treatment of the themes of death and resurrection. There is little detailed musical criticism, but Minear bases his analysis on musical moods and styles. 771. Monush, Barry. Music on Film: West Side Story. Milwaukee, WI: Limelight Downloaded by [New York University] at 04:27 09 August 2016 Editions, an Imprint of the Hal Leonard Corporation, 2010. 172 p. ISBN 978-0-87910-378-1. PN1997.W456M66 2010. Published in a small format, this is a readable and useful account of the most important aspects of the film version of West Side Story. Monush’s consideration of the stage musical includes worthwhile tidbits. The author approaches the film’s creation through the collaboration of director Robert Wise and writer Ernest Lehman, also covering the reordering of musical numbers for the film, how song lyrics had to be changed for Hollywood, the work of Wise and Jerome Robbins as codirectors and Robbins’s eventual dismissal, the casting (mostly through biographical information on the actors), a brief history of the dubbing 218 Leonard Bernstein: A Research and Information Guide

of singing in Hollywood musicals and the work of Marni Nixon and others on the film (but little else on the film’s music), the premiere with a wide survey of reviews, the film’s enormous success at the Oscars, and the film’s impact on the careers of some who worked on it in the “Afterstory,” along with the unusual success of the film’s novelization by Irving Shulman. The book has a number of photographs. 772. Mordden, Ethan. Coming Up Roses: The Broadway Musical in the 1950s. New York: Oxford University Press, 1998. 262 p. ISBN 0-19-511710-7. ML1711.8.N3M77 1998. An informative and entertaining book full of provocative opinions and reasoned judgments. Mordden handles Bernstein as one of the creators of three shows: Wonderful Town, Candide, and West Side Story. References to the scores of each show do not dominate the proceedings, but the music of each is described. Mor- dden finds Wonderful Town (pp. 96–99) a good reworking of earlier ideas, such as its “1930s” music. Candide (pp. 170–85) is the subject of an entire chapter. Mordden describes it as the finest musical of the decade, but “strange” and misunderstood. West Side Story appears in the final chapter with Gypsy (238–54), two shows that pushed Broadway into a new era. 773. —. Anything Goes: A History of American Musical Theatre. Oxford: Oxford Uni- versity Press, 2013. 346 p. ISBN 978-0-19-989283-9. ML1711.M732 2013. One of the most prolific authors writing on this topic, Mordden combines deep knowledge of the genre with the ability to comment usefully on several aspects of a show. His musical commentary is not detailed, but he does offer worthwhile material about a score. Mordden offers many opinions, but they tend to be based on solid information. Some contemporary shows he covers in comparisons, such as Candide and The Most Happy Fella, and others, such as On the Town (which Mordden describes especially well), he considers separately but peppers his prose with references to similar moments in other musicals. Mordden also gives West Side Story fairly lengthy consideration, but includes a bit less to Wonderful Town. 1600 Pennsylvania Avenue is reduced to memories of a wonderful, wasted score that included such gems as “Duet for One,” sung by Patricia Routledge. 774. “Music: Lennie’s Brainchildren.” Time 59/25 (23 June 1952): 44, 46, 49. Downloaded by [New York University] at 04:27 09 August 2016 An article on Bernstein’s activities during the past year that includes a brief review of Trouble in Tahiti and the Festival of Creative Arts at Brandeis University. The reviewer praises Bernstein for his “imaginative stab at welding popular music into artistic form,” but finds the overall effect of the opera too “disjointed” (p. 46). 775. Nagel, Julie Jaffee. Melodies of the Mind: Connections between Psychoanalysis and Music. New York: Routledge, 2013. 139 p. ISBN 978-0415692786. ML3830. N335 2013. West Side Story figures prominently in this study of interplay between musical and psychoanalytic concepts, considering how music provides nonverbal Sources on Bernstein’s Compositions 219

stimulus for various emotions. Along with other case studies from Prokofiev’s Peter and the Wolf, Mozart’s Piano Sonata in A Minor, K. 310, Verdi’s Otello, and Donizetti’s Lucia di Lammermoor, Nagel looks at Bernstein’s use of the tritone in “Gee, Officer Krupke” (pp. 33–47) and polyphony in the “Tonight Quintet” (pp. 100–06). For Nagel the tritone “deconstructs the psychoanalytic concept of splitting” (p. 46), negotiating territory between such dichotomies as love and hate or good and bad. For her, the “Tonight” ensemble’s polyphony, which brings the competing forces of the plot together in the quintet, is a parallel for the way one’s mind deals with “psychic complexities and ambiguities” (p. 106). 776. Negrón-Muntaner, Frances. “Feeling Pretty: West Side Story and Puerto Rican Identity Discourses.” Social Text 18/2, no. 63 (2000): 83–106. A prominent Puerto Rican scholar places the film of West Side Story against various discourses of cultural theory, evaluating it for the way that it portrays Puerto Ricans, its early role in bringing characters identified as Puerto Ricans into a mainstream American film, and how the film cannot be seen as an accurate portrayal of Puerto Ricans or their culture. Negrón-Muntaner also looks at the film through the lenses of gender and queer scholarship. Bernstein appears in the article as a composer who only superficially thought about what it meant to portray Puerto Ricans in music. 777. The New York Musicals of Comden & Green. New York: Applause, 1997. 288 p. ISBN 1-55783-242-0. ML48.N49 1997. The librettos (or “books”) for Betty Comden’s and Adolph Green’s three musical tributes to New York City: On the Town, Wonderful Town, and Bells Are Ringing. Bernstein wrote the music for the first two shows; Jule Styne composed the music for Bells Are Ringing. A discography is included. 778. Nichols, Lewis. “The Play.” New York Times (29 December 1944): 11. A glowing review of the On the Town’s original production. Nichols calls it “the freshest and most engaging musical show to come this way since the golden days of ‘Oklahoma!’.” He praises Comden’s and Green’s book as “literate” and Rob- bins’s dances as “perfect,” and noted that Bernstein composed both songs in a Tin Pan Alley style, but others “a bit removed . . . ballet music and songs, background

Downloaded by [New York University] at 04:27 09 August 2016 music and raucously tinny versions of the blues.” Nichols questions whether any of the songs will do well on the Hit Parade, but he admires the music’s humor and spirit. Nichols notes that George Abbott has done a “perfect” job of directing. 779. Oja, Carol J. “West Side Story and The Music Man: Whiteness, Immigration, and Race in the US during the 1950s.” Studies in Musical Theatre 3/1 (2009): 13–30. Oja places West Side Story and The Music Man side by side in American culture of the period. The shows opened three months apart and offer starkly contrasting visions of American ethnicity, nostalgia, the role of everyday citizens in society, perceptions about youth, and concerns about outsiders. The author presents rich details about each show gleaned from press coverage in The New York Times, 220 Leonard Bernstein: A Research and Information Guide

and also uses as a lens for cultural analysis views advanced by cultural historian Leo Marx in his book The Machine in the Garden: Technology and the Pastoral Ideal in America (1964). While still considering many aspects of both shows, Oja demonstrates the complexity of the United States at the end of the 1950s, finally comparing Bernstein’s show to “Blue State” America and The Music Man to the typical “Red States” in the early twenty-first century. 780. —. Bernstein Meets Broadway: Collaborative Art in a Time of War. New York: Oxford University Press, 2014. 399 p. ISBN 978-0-19-986209-2. ML410. B566O43 2014. A detailed and multifaceted study of Fancy Free and On the Town, placing each work in a number of worthwhile contexts. Although the majority of the book concerns the Broadway show, Oja also deals expertly with the ballet that spawned On the Town in her first chapter, looking at its creation, contexts, and music. Sub- sequent chapters include considerations of: The Revuers, the nightclub act that made possible the careers of Betty Comden and Adolph Green and whose material foreshadowed scenes in On the Town; the show’s creation; Sono Osato, the Japanese-American dancer who played Ivy Smith; the show’s notable employ- ment of racial minorities and its role in desegregating Broadway; biographies of five African Americans who were on stage or in the pit; the music, largely in terms of the styles that Bernstein evoked and earlier drafts of material; and the show’s portrayal of, and relation to, New York’s rich nightclub scene. 781. “The Opulent Optimist.” Opera News 21 (11 February 1957): 24. A review of Candide in a major opera journal, unusual for Broadway musicals of the period. The review is ascribed only to “E M.” The author praises the many talents involved in Candide, but notes that they seemed “to pull in different directions.” He likes the score’s variety, including “a hilarious coloratura aria, ‘Glitter and Be Gay,’ that may well tarnish Marguerite’s Jewel Song for all who hear it.” 782. Our Story Jets and Sharks Then and Now: As Told by Cast Members from the Movie West Side Story. Parker, CO: Outskirts Press, 2011. 300 p. ISBN 978-1432779450. ML410.B566O87 2011 (Fordham University). Although Bernstein is seldom mentioned in this book, the cast members whose

Downloaded by [New York University] at 04:27 09 August 2016 stories appear provide a lively picture of the story’s visceral nature and its appeal to young dancers and audiences. They describe making the film, experiencing the long, but exhilarating, rehearsals with Jerome Robbins, and their shock at his firing by the producers for his lack of concern with the reality of the film’s budget. Several of the cast members were also involved in the Broadway production and offer fascinating stories on that process as well. Many have documented Robbins’s brutal perfectionism, but this source approaches it from the dancer’s perspective. 783. Pearlmutter, Alan. “Bernstein’s Mass Revisited.” Music Educators Journal 61/1 (September 1974): 35–39. A plan for using Mass to teach musical concepts such as various genres, syncopation, canon, variation, irregular meter, and hemiola. Pearlmutter also notes that Sources on Bernstein’s Compositions 221

the work’s images of confusion and hope can be related to students’ lives through discussion. 784. —. “Leonard Bernstein’s Dybbuk: An Analysis including Historical, Religious, and Literary Perspectives of Hasidic Life and Lore.” DMA dissertation, Peabody Institute of John Hopkins University, 1985. 345 p. One of the finest studies of a single work by Bernstein that combines detailed consideration of Hasidism, the Kabbalah, S. Ansky (author of the play on which the ballet is based), and the Yiddish theater with musical description and analysis. Pearlmutter briefly describes previous musical works based on the play, including Copland’s Vitebsk. His approach to Bernstein’s Dybbuk includes narrative and motivic analyses, and a description of Bernstein’s use of the Kabbalah and numerology in composing the work. The dissertation includes 136 musical examples and ten appropriate appendices. Pearlmutter brilliantly contextualizes one of Bernstein’s less accessible works. 785. Peters, Brooks. “Making Your Garden Growl: Lillian Hellman and Candide.” Opera News 65/1 (July 2000): 38. A brief retelling of Hellman’s role in the Candide collaboration, focusing on her inability to work with others and her disapproval of the 1973 Hal Prince–Hugh Wheeler version. 786. Porter, Andrew. “Musical Events: How to Live in Grace.” New Yorker 58/37 (1 November 1982): 152–53. Porter’s review of the 1982 New York City Opera production of Candide. Porter covers the performance history of Candide well, mentioning less famous productions from 1968 and 1971. He comments negatively about the 1973 version that Hal Prince brought to Broadway, demonstrating his preference for opera singers and full orchestra. He does not believe that the 1982 production helps Candide’s cause, disliking how much of the 1973 version it retains and the way musical numbers have been moved around. He also decries the staging and most of the singing. Porter calls for a new critical edition based on all of the music Bernstein wrote for Candide, but admits the difficulty of that assignment. The remainder of the column concerns a Metropolitan Opera House Idomeneo production. The

Downloaded by [New York University] at 04:27 09 August 2016 column reappeared in Porter’s Musical Events: A Chronicle, 1980–1983 (London: Grafton Books, 1988): 329–33. 787. —. “Musical Events: Harmony and Grace.” New Yorker 59/21 (11 July 1983): 88–89. Porter’s overwhelmingly positive review of Bernstein’s major opera, A Quiet Place. Porter summarizes the plot, admitting that it is a bit “mawkish,” but then shows how well Bernstein and librettist Stephen Wadsworth set the story. He compares the work to Tippett’s The Knot Garden, but also shows how the piece is very unusual in the repertory. He praises Bernstein’s ability to portray the rhythms of speech: “The melodic lines are sharp-eared as Janácek’s in their transformations of speech rhythms and speech inflections into music” (p. 88). Porter 222 Leonard Bernstein: A Research and Information Guide

finds effective the musical and emotional relationships between Trouble in Tahiti and A Quiet Place, overall judging this to be a fine opera on a contemporary American subject. The review also appears in Porter’s Musical Events: A Chroni- cle, 1980–1983 (London: Grafton Books, 1988): 474–78. 788. —. “Musical Events: Love in a Garden.” New Yorker 60/28 (27 August 1984): 60–62. Porter’s evaluation of the revised version of A Quiet Place, which he saw in its Kennedy Center premiere in Washington, DC. His overall opinion of the piece remains positive: “It’s a bold, ambitious, and very interesting opera, containing some of Bernstein’s most richly wrought music” (p. 60). He also finds striking Bernstein’s attempt to render accurately in music the incomplete and disorderly thoughts of the characters. Porter is less convinced by the new version, believing some good music has been lost and that perhaps Trouble in Tahiti should be sung the night before A Quiet Place instead of both works appearing together. The review was reprinted in Porter’s Musical Events: A Chronicle, 1983–1986 (New York: Summit Books, 1989): 197–99. 789. Ratner, Carl Joseph. “Chicago Opera Theater: Standard Bearer for American Opera, 1976–2001.” DM dissertation, Northwestern University, 2005. 553 p. The author interviewed composers, critics, performers, funders, and the former and present leaders of Chicago Opera Theater, and also consulted performance programs, articles, and reviews. Throughout the research, Ratner found that programming American operas benefited the Chicago Opera Theater because these operas attracted the attention of important donors, foundations, and the press. In 1999, the company produced There Is a Garden: The Musical Genius of Leonard Bernstein, created by Angelina Réaux, who carefully assembled songs, symphonic pieces, and musical theater excerpts surrounding Trouble in Tahiti to create a collage of the works, with excerpts from West Side Story, Candide, Peter Pan, and 1600 Pennsylvania Avenue. 790. Richmond, Carolyn. “New York, New York!: On the Town con Francisco Ayala (Comedia Musical apócrifa).” Hispania 89/4 (December 2006): 829–40. Although this article appears in searches for material on Bernstein and On the

Downloaded by [New York University] at 04:27 09 August 2016 Town, Richmond uses the musical as a metaphor for the time that famed Spanish writer Francisco Ayala (1906–2009) spent in the New York from the 1950s to the 1970s. It is a worthwhile consideration of its topic, but has little to offer those working on the composer or this show. 791. Rimer, J. Thomas. “Bernstein’s A Quiet Place and Adams’s Nixon in China.” Amer- ican Music 12/3 (Fall 1994): 338–41. A thoughtful comparison between the operas by Bernstein and John Adams, both American operas introduced in splashy premieres in the 1980s by the Houston Grand Opera. Rimer admits the differences in the composers’ musical styles, but notes that both imitated American speech and used fairly traditional harmonies. Sources on Bernstein’s Compositions 223

He also compares the composers’ close work with their librettists and similarities of the emotions explored in each opera. His specific comments about A Quiet Place explore the use of Trouble in Tahiti as a flashback and what he sees as Bern- stein’s sense of restraint in the score. He believes the opera worthy of revival. 792. Robbins, Robert J. “An Immortal Bernstein Score Updated.” Crescendo Interna- tional 20 (December 1983): 3. A positive review of Mass in its return to the Opera House of the Kennedy Center for the Performing Arts. This was a new production directed by Tom O’Horgan, who directed Hair and Jesus Christ Superstar on Broadway. Robbins focuses primarily on the production, but does note that it included new lyrics by Bernstein. Robbins found that the score “has lost none of the boldness and freshness of its predecessor a decade ago, and the music ranks alongside West Side Story as one of the composer’s most immortal scores.” 793. “Romeo and Juliet, Done in Gang Style: ‘West Side Story’ Is a Fine Dancing Show.” Life 43/12 (16 September 1957): 103–04, 106, 108. A photographic essay and brief review of West Side Story that appeared shortly before its Broadway opening, portraying vividly the frenzied activity and offering some interesting photographs of the action on stage and behind-the-scenes work. 794. Roost, Alisa C. “The Other Musical Theatre: Political Satire in Broadway Musi- cals from ‘Strike Up the Band’ (1927) to ‘Anyone Can Whistle’ (1964).” PhD dissertation, City University of New York, 2001. 367 p. Combining textual analysis with cultural and historical background, Roost surveyed politically oriented musicals from Strike Up the Band to Anyone Can Whis- tle, among them, Candide (pp. 264–271). The musical takes place in Voltaire’s time, which the creators of Candide compared with the United States of the 1950s. Based on these parallels, Roost analyzes how McCarthyism was mocked in the show, especially in the trial sequence, demonstrating that Bernstein sometimes created his theatrical projects with political commentary, identifying West Side Story as another example. 795. Rothbart, Peter. The Synergy of Film and Music: Sight and Sound in Five Holly- wood Films. Lanham, MD: Scarecrow Press, 2012. 180 p. ISBN 978-0810887596. Downloaded by [New York University] at 04:27 09 August 2016 ML2075.R67 2012. The filmof West Side Story serves as Rothbart’s initial case study in this book, where he uses intelligent but nontechnical musical description to describe how music serves the drama. A composer and music professor at Ithaca College School of Music, Rothbart could have delved deeply into musical analysis, but he writes here for the more general audience, seldom venturing beyond tracing leitmotifs and describing such approachable concepts as dissonance and counterpoint. Most of his chapter on the film is a blow-by-blow description of the music, arranged by cue and including time indices for each important moment. Rothbart includes a number of worthwhile comments, and he successfully ties 224 Leonard Bernstein: A Research and Information Guide

the music to the action and subtexts, but a major drawback is his insistence that Bernstein was the intellectual force behind the film score. The score is based upon Bernstein’s Broadway score, but its application in the film was the work of musical supervisors Saul Chaplin and Johnny Green (who also conducted) and orchestrators Sid Ramin and Irwin Kostal. 796. Salzman, Eric. “The Bernstein Mass on Record.” Stereo Review 28/3 (March 1972): 82. An intelligent consideration of Mass in its recorded form. As usual, Salzman writes mostly about the music and has much useful to say. He briefly compares the work to the modern trends in musical theater and notes the similarity of the story with Schoenberg’s Moses and Aaron. He finds a major problem in the constant textual and musical allusions to contemporary issues and musical styles. Salzman believes that the best music is in the instrumental movements and the worst music in Bernstein’s attempts at rock, but suggests that the work’s “assurance and a deep desire to communicate” might make Mass last. 797. —. “Bernstein’s Fancy Free: Witty and Perfectly Made.” Stereo Review 45/1 (July 1980): 66–67. A useful review of a recording of the ballet Fancy Free and, to a lesser extent, the Serenade, after Plato’s Symposium, the other work on the recording (Deutsche Grammophon 2531 196). Salzman describes Fancy Free as a combination of jazz and blues, Stravinsky, Shostakovich, Copland, Gershwin, and pure Bernstein, but also finds a touch of minimalism in the ostinatos and sense of economy. 798. Sargeant, Winthrop. “Musical Events: Whither?” New Yorker 34/9 (19 April 1958): 138–39. A brief review of Trouble in Tahiti in a production by the New York City Opera. Sargeant finds the plot “tedious,” the music a “mass of clichés,” and the score devoid of “a single melody of distinction.” He suggests that Bernstein withdraw the piece. 799. —. “Musical Events: Missa cum Laude.” New Yorker 48/20 (8 July 1972): 58. Mass ran for several weeks at the Metropolitan Opera House in New York in the summer of 1972. Sargeant writes a rave review here, high praise from a critic

Downloaded by [New York University] at 04:27 09 August 2016 that often savaged Bernstein the conductor during his tenure with the New York Philharmonic. Sargeant cannot understand the rage of the religious establishment about Mass, noting that it is a theatrical work and obviously not intended as a religious setting. He finds Bernstein’s use of some of Mahler’s compositional methods in the piece, and declares it “a stunning and absorbing modern composition that can reach the heart of any musical audience.” 800. Schonberg, Harold C. “Bernstein’s New Work Reflects His Background on Broad- way.” New York Times (9 September 1971): 58. Schonberg’s review of the music of Mass, part of the extensive coverage found in The New York Times following the opening of the Kennedy Center in Washington, Sources on Bernstein’s Compositions 225

DC. Schonberg describes the work in some detail. He finds the best part of the music to be that sounding like Bernstein’s Broadway works, showing him to be a composer of “skillful lightweight music.” He notes that Bernstein’s serious music has always been of lesser quality, and calls that music in Mass “pretentious and thin.” Schonberg also produced one of the most famous quotations from the reviews of Mass: “It is a show-biz Mass, the work of a musician who desperately wants to be with it.” 801. Schwarte, Michael. “Parodie und Entlehnung in Leonard Bernsteins Candide. Bemerkungen zu einem musikgeschichtlichen Gattungs-Chamäleon. ” In Axel Beer and Laurenz Lütteken, eds., Festschrift Klaus Hortschansky zum 60. Geburt- stag, 567–80. Tutzing: Verlegt bei Hans Schneider, 1995. ISBN 379520822X. ML55.H646 1995. A consideration of Candide’s proper genre classification and Bernstein’s use of parody and borrowing in the score, which Schwarte believes makes Bernstein a species of musical chameleon. He begins with background history of the original production and the final production that Bernstein recorded in 1989. On the show’s genre, Schwarte mostly quotes Bernstein. Schwarte finally presents his findings on Bernstein the parodist and borrower in a table that lists each number in the show and its model (pp. 579–80). Schwarte includes: Glinka, Mozart, Ross- ini, chorales, Sullivan, a “Bohemian flair,” Mahler, polka, rumba, waltz, Gounod, Ravel, Satie, Wagner, and so forth. 802. Selznick, Daniel. “Reviews, Resident: 1600 Pennsylvania Avenue.” Variety 348/4 (17 August 1992): 42, 53. Although usually only reviews of original productions from Variety have been included here, this is an exceptionally informative review written for a limited revival of the show by the Indiana University School of Music at the Kennedy Center in Washington, DC. Selznick has much to say about what is good and bad about the show, covering both Bernstein’s music and Lerner’s book, in the case of the latter illuminating the great problems that Lerner faced. He speaks of the “undeniable quality” (p. 42) of the music and cites what he considers the best numbers. 803. Sheppard, W. Anthony. “Bitter Rituals for a Lost Nation: Partch’s Revelation in Downloaded by [New York University] at 04:27 09 August 2016 the Courthouse Park and Bernstein’s Mass.” Musical Quarterly 80/3 (Fall 1996): 461–99. Sheppard offers one of the more serious and detached scholarly works involving Mass. He juxtaposes two reactions by these very different composers to what they perceived as a lost nation. For most of the article the works are considered separately, but telling comparisons are made. Sheppard surveys how Bernstein used the Roman Catholic text and the diverse religious reaction to the work. He places the composer’s musical eclecticism in an interesting light, noting that vernacular styles like rock and blues do not appear as worship music in Mass. Sheppard explores in detail the possible influence that Daniel and Philip Berrigan might 226 Leonard Bernstein: A Research and Information Guide

have had on Mass’s composition. J. Edgar Hoover and others assumed this influence, but Sheppard shows that it was probably minimal. 804. Silverberg, Carol E. “If It’s Good Enough for Shakespeare: The Bard and the American Musical.” PhD dissertation, State University of New York at Bingham- ton, 2009. 244 p. Although some might consider that Shakespeare’s work was too sophisticated for Broadway or Hollywood, Silverberg argued that with a proper adaptation, a Shakespeare musical or film could obtain success. The author chose five musicals that were successful adaptations of Shakespeare’s works, which included West Side Story (Chapter 3), and considered the stage version, the film adaptation, and major revivals. When comparing West Side Story and Romeo and Juliet, Silverberg pointed out that none of Shakespeare’s dialogue was spoken and only a few hints at Shakespeare’s words appear. 805. Simeone, Nigel. Leonard Bernstein: West Side Story. Landmarks in Music since 1950. London: Ashgate Press, 2009, 177 p. ISBN 978-0754664840. ML410. B566S56 2009. An indispensable but brief volume on what has become regarded as one of Broad- way’s most important and influential shows. Simeone includes: a concise but useful survey of Bernstein’s Broadway activities before West Side Story; a fascinating chapter on its genesis; a chapter on the musical manuscripts; consideration of the score with especially interesting material on the orchestration and essays on each song with analysis and other angles; a chapter on the show’s reception in both the United States and the first English production; and a brief, informative chapter on the original cast recording. Extra materials include appendices with a list of the musical manuscripts, what appears on the original cast recording, bibliography, selected discography, videography and items online, and a compact disc with the original cast recording and Bernstein conducting the New York Philharmonic in the Symphonic Dances. 806. Smith, Cecil. “Barrie’s Peter Pan with Bernstein Songs.” Musical America 70/6 (May 1950): 4. A brief review of the Broadway revival of J. M. Barrie’s Peter Pan, for which Bern-

Downloaded by [New York University] at 04:27 09 August 2016 stein wrote incidental music and six songs. Smith praises the production, actors, and Bernstein’s incidental music, which he finds rhythmically vital and appropriate. Smith feels the songs have “the most trifling merit” and interrupt the flow of the play. 807. Smith, Helen. There’s a Place for Us: The Musical Theatre Works of Leonard Bernstein. London: Ashgate Press, 2011. 318 p. ISBN 978-1409411697. ML410. B566S65 2011. Featuring impressive research and clear writing, Smith’s book provides fine coverage of On the Town, Trouble in Tahiti, Wonderful Town, Candide, West Side Story, Mass, 1600 Pennsylvania Avenue, and A Quiet Place. This is primarily a Sources on Bernstein’s Compositions 227

musical analysis, and her inclusion of all five Broadway musicals, the ubiquitous “theater piece” (Mass), and the two operas give this an encyclopedic feel and makes the source unique in the Bernstein bibliography. Smith covers the creation of each show to varying extents, usually describes a score’s overall structure, looks at various types of numbers in each, and identifies the Urmotiv for individual works. Smith offers excellent understanding of each show, places most in effective contexts of Bernstein’s career, and compares them to other works in a similar genre, looking at his influences and larger compositional interests. Richly endowed with musical examples and informative tables, Smith presents useful material on each show with material appropriate for scholars of all levels. 808. Smith, Marian Manta. “Six Miles to Dawn: An Analysis of the Modern American Musical Comedy.” PhD thesis, Cornell University, 1971. 207 p. A thesis of remarkable perception written before many books on this topic had appeared. Smith, a speech and drama educator, looks at which characteristics in musicals might be called modern, which have become clichés, and which techniques look promising for further development. Her history also traces the integration of music, drama, and dance in the musical, from Show Boat through Of Thee I Sing, Porgy and Bess, Pal Joey, Oklahoma!, The Golden Apple, The Most Happy Fella, My Fair Lady, West Side Story, and Fiddler on the Roof. Smith describes West Side Story (pp. 159–67) as a musical united by dance, showing, among other ideas, that dance functions as communication for inarticulate characters. Musical analysis is not Smith’s strength, but her dramatic analysis is excellent. 809. Snyder, Linda June. “Leonard Bernstein’s Works for the Musical Theatre: How the Music Functions Dramatically.” DMA thesis, University of Illinois at Urbana-Champaign, 1982. 285 p. A fine consideration of aspects of six of Bernstein’s theatrical works: Trouble in Tahiti, Candide, West Side Story, On the Town, Wonderful Town, and 1600 Penn- sylvania Avenue. Snyder tries to accomplish a great deal in a limited space (the text of the thesis is only 106 pages; most of the remainder includes extensive musical examples), but what is here is worthwhile, especially for the first three shows. There are places where stylistic points could be defined more carefully, such as Bernstein’s use of Latin music in West Side Story, and exactly what the

Downloaded by [New York University] at 04:27 09 August 2016 author means by “jazz” in several places, but Snyder offers an excellent introduction to Bernstein’s musical service of the drama. 810. Snyder, Louis. “Surefire Plot, ‘Fantastic Movement’ in ‘Dybbuk’ Debut: Leonard Bernstein Score Is Exciting.” Christian Science Monitor 66/127 (24 May 1974): F6. Snyder admires the sense of collaboration that Robbins and Bernstein achieved in the work, and finds the score of interest in terms of tonal colors, rhythmic patterns, and dramatic excitement. Because the ballet is essentially abstract, Sny- der finds effective Bernstein’s use of variations. The score is “eminently danceable,” fulfilling its most important requirement. On the same page is a lukewarm review of Robbins’s part of the collaboration by Nancy Goldner. 228 Leonard Bernstein: A Research and Information Guide

811. Stearns, Daniel Patrick. “Candide Redux.” Opera News 56/2 (August 1991): 12–14. A concise review of Candide’s checkered history, with useful comments from the composer. Stearns interviewed Bernstein in London during his recording of the work in December 1989. Stearns traces Candide from the 1956 version, weighted down by Lillian Hellman’s book, through a version Bernstein worked on in 1971, the 1973 “Chelsea” production that did not involve Bernstein, the New York City Opera and 1988 Scottish Opera versions that John Mauceri worked on, and finally what Bernstein recorded in 1989. By necessity Stearns leaves out many details, but he outlines the overall story. 812. Stempel, Larry. “Broadway’s Mozartean Moment, OR an Amadeus in Amber.” Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 39–56. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. Stempel compares Bernstein’s scores to Candide and West Side Story and their role in Broadway history to what Mozart seems to have done for the Singspiel in The Magic Flute. Whereas Mozart helped create German opera through his work in a lighter genre, however, Stempel does not believe that Bernstein’s scores led Broadway into a new realm. He does assert, however, that the works, especially West Side Story, brought an unusual compositional sophistication to the genre through unifying intervals and motives, a wide diversity of musical influences, and careful work with collaborators. 813. —. “The Musical Play Expands.” American Music 10/2 (Summer 1992): 136–69. An important article on the American musical play following Rodgers and Ham- merstein’s innovations, with focus on three plays that Stempel considers of different types, all playing simultaneously at the end of 1957: My Fair Lady, the “play-musical”; The Most Happy Fella, a “Broadway opera”; and West Side Story, a “Broadway ballet-opera.” Stempel reviews the groundbreaking use of music and dance in West Side Story, noting that Robbins’s work as director and choreographer blurred the lines between acting and dance. He cites Bernstein’s break with Broadway tradition by writing all of the show’s music, including the dances,

Downloaded by [New York University] at 04:27 09 August 2016 conceiving each from the start as dance material. Stempel includes brief analysis of musical unification. He concludes that the three shows led to a new name for Broadway musicals: the “American musical theater.” 814. —. Showtime: A History of the Broadway Musical Theater. New York: W. W. Nor- ton, 2010. 826 p. ISBN 978-0-393-92906-5. ML1711.8N3S73 2010. In what is probably the most encyclopedic history of the American musical theater available in one volume, the author makes more than one reference to Bernstein’s Omnibus program on “The American Musical Comedy” (broadcast 7 October 1956) and covers in most detail the shows Candide and West Side Story. The latter appears in his chapter entitled “Opera, in Our Own Way,” the Sources on Bernstein’s Compositions 229

last four words borrowed from Bernstein’s television script. Stempel opens his excellent coverage on West Side Story (pp. 397–407) with detailed reference to the telecast. He considers the show a “Broadway opera,” despite its huge reliance on dance and the fact that Maria speaks her final, dramatic monologue without even underscoring. For Stempel, Candide (pp. 430–33) demonstrates how inap- propriate musical comedy can be for communicating vicious satire, noting how Lillian Hellman’s strident pokes at the kinds of congressional hearings associated with McCarthyism did not work in the original version. 815. Stith, Nathan. “Creating ‘West Side Story’: An Investigation of the Sociopolitical Backgrounds and Collaborative Relationships of Jerome Robbins, Arthur Lau- rents, Leonard Bernstein and Stephen Sondheim in the Creation of the Original Broadway Production of ‘West Side Story.’ ” MA thesis, University of Colorado at Boulder, 2011. 171 p. Unlike most of the studies about West Side Story, which focus on the show and the production, Stith was interested in the lives of the creators and their working relationships. The author studied the sociopolitical similarities of Jerome Robbins, Arthur Laurents, Leonard Bernstein, and Stephen Sondheim, including their faith, their sexuality, and their political ideology, and discussed how these similarities influenced the collaboration and the creation of West Side Story, especially how their paternal relationships seem to have had major impacts upon them. Stith also examined their Jewish background and how they received their Jewish heritage. 816. Stöckl, Rudolf. “Nürnberg. Liebe zwischen Jets und Sharks: Deutsche Erstaufführung der ‘West Side Story.’ ” Neue Zeitschrift für Musik 133/12 (1972): 724–26. A review of West Side Story’s first German performance that provides fascinating commentary on the show’s appeal in Europe. A good bit of the plot is told in the review. Stöckl compares Bernstein’s music to that of Gershwin and comments upon the variety of musical styles in the score. He concludes by calling the work an “American folk opera” (p. 726) and notes that it will find success in Europe as well. 817. Suskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Downloaded by [New York University] at 04:27 09 August 2016 Era of the Musical Theatre, Oklahoma! (1943) to Fiddler on the Roof (1964). New York: Schirmer Books/Macmillan, 1990. 810 p. ISBN 0-02-872625-1. ML1711.8.N3S9 1990. Suskin’s book is most useful and realized well, but it does not substitute for reading full reviews in newspapers. He lists Broadway musicals in alphabetical order, names the principal creators and actors and when the show opened and in which theater, and then quotes representative comments from reviews that appeared in each New York City paper. Sometimes the reviews are followed by Suskin’s brief summary of the show’s merits. Each concludes with a “Broadway Scoreboard” offering totals of the number of critical opinions in the following categories: 230 Leonard Bernstein: A Research and Information Guide

“rave,” “favorable,” “mixed,” “unfavorable,” and “pan,” how many performances the show had, and whether it made money. Bernstein’s first four shows (On the Town, Wonderful Town, Candide, and West Side Story) appear in the book. 818. —. Show Tunes: The Songs, Shows, and Careers of Broadway’s Major Composers. Revised and expanded 3rd edition. New York: Oxford University Press, 2000. ISBN 978-0-19-512-599-3. A list of Bernstein’s music for theatrical works, both incidental music for stages and musicals, including information about publication and performances and a short description of the history of its productions is part of Suskin’s coverage of Bernstein (pp. 211–19). Besides well-known works, such as On the Town, Wonderful Town, Trouble in Tahiti, West Side Story, Candide, A Quiet Place, Mass, and 1600 Pennsylvania Avenue, Suskin also provides information about The Lark, The First Born, A Pray by Blecht (an abandoned project), and The Madwoman of Central Park West. 819. —. The Sound of Broadway Music: A Book of Orchestrators & Orchestrations. Oxford: Oxford University Press, 2009. 664 p. ISBN 978-0-19-530947-8. ML455. S87 2009. In the first major book on its topic, Suskin explains many aspects of Broadway orchestration through biographical information on most of the important practi- tioners of the art, tracing the process of assembling a score from song composition through what is heard from the pit, and then with entries of who was responsible for the orchestration of hundreds of shows. Although composers take a backseat to orchestrators in this book, Suskin interviewed Sid Ramin—who worked on West Side Story with Irwin Kostal—and wrote about him extensively. Bernstein, therefore, makes a number of appearances in the book in terms of his supervision of the West Side Story orchestrations and as a composer capable of doing his own work, but not having time to do all of the work in his Broadway shows. 820. Swain, Joseph P. The Broadway Musical: A Critical and Musical Survey. New York: Oxford University Press, 1990. 384 p. ISBN 0-19-505434-2. ML171l.S95 1990. 2nd edition, revised and expanded: Lanham, MD: Scarecrow Press, 2002. In one of the first books to offer detailed analysis of Broadway musical scores, Swain

Downloaded by [New York University] at 04:27 09 August 2016 approached a number of important shows in individual chapters with many musical examples. His consideration of West Side Story (pp. 205–46) covers the show’s tragic elements and includes an analysis of each song, with special attention to Bernstein’s unification of the score through the use of the tritone and other motives. Swain makes many useful points, but some of his analytical terminology is inaccurate, especially his use of the term “tone cluster.” Swain also calls the lowered seventh degree of the scale a unifying device, but it could also be called a blues effect. 821. Swed, Mark. “Music Theater.” Opera News 53/5 (November 1988): 60–61. While ostensibly a review of a 1988 revival of Mass at Tanglewood by the Indiana University School of Music, Swed offers little about the production and mostly Sources on Bernstein’s Compositions 231

describes the work and its music. He finds that the score had aged well, offering a “prescient postmodernism” (p. 61) with its broad eclecticism and tunefulness. He places Mass in context with Bernstein’s other works on the modern crisis of faith. Swed finds most of the problems in the “dopey” (p. 61) English texts that Stephen Schwartz added to the Latin Mass text, failing to mention that Bernstein also took some lyric credit. 822. Tangeman, Robert S. “Leonard Bernstein: Trouble in Tahiti, an Opera in Seven Scenes.” Music Library Association Notes 10/4 (Second Series, September 1953): 670–71. A review of the opera’s score written without benefit of having seen a production. Tangeman, however, gives the work close and detailed consideration and praises it on several levels. Because the best-known production at that point had been on television, he makes a case that the work really was conceived for television, citing its length, the small number of characters, and some of Bernstein’s stage directions. He writes about the music in detail, providing an excellent introduction to the work. 823. Taubman, Howard. “Tunesmith of ‘Wonderful Town.’ ” New York Times (5 April 1953): Section 2/1, 3. An article based on an interview with Bernstein concerning the writing of Won- derful Town, his thoughts on what he would like ultimately to do in the musical theater, and Taubman’s review of some of the show’s tunes. Bernstein notes that he wrote the score quickly, but spent fifteen weeks doing nothing else, and expresses pride in his work. Taubman allows that there is reason for this pride, focusing particularly on “Conversation Piece,” “Quiet Girl,” and “The Wrong Note Rag.” Taubman also explains Bernstein’s desire to make a singular contribution to the American musical theater, but notes that Bernstein hesitates to call it opera. 824. —. “A Foot in Each Camp: Bernstein’s Score of ‘West Side Story’ Falters between Musical and Opera.” New York Times (13 October 1957): Section 2/9. One of the Times’s musical critics considers the score of a show that claims to be “serious musical theatre.” Taubman allows that Broadway has made an attempt in the last fifteen years to integrate music and drama both in the musical comedy and

Downloaded by [New York University] at 04:27 09 August 2016 by producing operas in Broadway theaters. He finds in West Side Story the same problems that plagued previous shows that moved in this direction (such as The Most Happy Fella and Candide), which include a serious, searching side, but also seek to entertain. He points out Bernstein’s failure in songs such as “Gee, Officer Krupke,” where the desire to entertain overshadows the need for more serious music. 825. Taylor, Millie. Musical Theatre, Realism and Entertainment. Farnham, UK: Ashgate, 2012. 194 p. ISBN 9780754666707. ML2054.T39 2012. The iconic nature of West Side Story makes it a favorite target for commentary from many musical theater scholars. In this study, Millie Taylor, a musical theater director and scholar, approaches questions about “how pleasure is stimulated in 232 Leonard Bernstein: A Research and Information Guide

audiences by different parts of the musical theatre text and different sub-genres of musical theatre performance” (pp. 1–2), an important question intelligently approached here in essays involving a number of shows. Chapter 6 is “Illusions of Realism in West Side Story and Actor-Musician Performances” (pp. 111–28), an essay in which she explores her thinking about how an audience negotiates the unreal aspects of musical theater with their appreciation for a plot and the role of music in three segments of the show: Tony and “Something’s Coming”; the pivotal duet between Maria and Anita, “A Boy Like That/I Have a Love”; and the “Tonight Quintet.” 826. “The Theater: New Musical in Manhattan.” Time 70/15 (7 October 1957): 48–49. A detailed review with two photographs of the Broadway premiere of West Side Story. The anonymous reviewer is most excited about the dance element, suggesting that Robbins might have found the musical theater’s future, but noting that the show is most successful when dealing with the gangs. The moments between the lovers are called “sentimental” (p. 48). Bernstein’s music is praised for the way it underscores the violence. 827. Thomas, Christopher J. “Candide. Leonard Bernstein.” Opera Quarterly 4/4 (Winter 1986/87): 94–96. A review of the compact disc release of the New York City Opera version of Candide, conducted by John Mauceri (New World 340/341). Thomas offers some useful history of the show’s numerous productions to that point. He is not keen on the singers on the recording, with the exceptions of David Eisler in the title role and Joyce Castle as the Old Lady, nor does he believe that Candide is “the best of all possible operas.” 828. Tobias, Tobi. “Bringing Back Robbins’s ‘Fancy.’ ” Dance Magazine 54/1 (Janu- ary 1980): 60–77. On the occasion of the first performance of Fancy Free by the New York City Ballet in January 1980, Dance Magazine ran this lengthy, fascinating retrospective on the ballet’s premiere in 1944. It includes reprints of reviews by two major critics and a long interview with Jerome Robbins with material interspersed from interviews with three of the principal dancers. The article’s level of the detail is

Downloaded by [New York University] at 04:27 09 August 2016 impressive and includes many fetching tidbits, such as Janet Reed, who danced a pas de deux with Robbins in the premiere, remembering the two of them working in a dance studio with Bernstein simultaneously improvising music. 829. Wakeling, Dennis W. “Recordings: A Quiet Place. Leonard Bernstein.” Opera Quarterly 6/3 (Spring 1989): 162–65. A substantial review of the second version of the opera in which Wakeling deals more with the music than the recording. He finds the opera’s premise to be good and the authors sincere, but notes problems in the libretto and music. Wad- sworth’s libretto is in the American vernacular, but Wakeling believes the characters insufficiently articulate for the audience to follow the story and also finds Sources on Bernstein’s Compositions 233

the new words of the opera stylistically too different from Trouble in Tahiti in Act 2. Wakeling describes Bernstein’s music as too dry and lacking in memorable melodies. He recommends a second revision. 830. Watson, Brian P. “Leonard Bernstein’s Mass: Analysis and Commentary.” MM thesis, Wichita State University, 1982. 63 p. An investigation of Mass from several different perspectives, mostly based upon existing research. Watson concentrates on the following: the work’s role in the history of compositions offering social commentary; how Mass’s message can be compared with the Soviet doctrine of Socialist Realism in its “accessibility, eclecticism, conflict, and ideological message” (p. 9); the inclusion of Jewish elements; how the work can be compared with the writings of Martin Buber; and its role as a nonliturgical mass. Watson’s analysis is based heavily upon the repetition of motives and description of Bernstein’s rhythmic procedures. He concludes by noting that above all the work is an affirmation of faith. 831. Wells, Elizabeth A. West Side Story: Cultural Perspectives on an American Musical. Lanham, MD: Scarecrow Press, 2011. 312 p. ISBN 978-0-8108-7666-8. ML410. B566W45 2011. The cultural importance of West Side Story at this point transcends that of a Broad- way musical that became a successful film. Although it is misleading to equate directly the show and film, the title West Side Story, representing both versions, has become an icon of American culture. Perhaps nowhere is this status clearer than in a book like Elizabeth A. Wells’s study of West Side Story from several points of view. After introducing her topic and describing her various approaches in the first chapter, the author launches into wide-ranging and authoritative discussions of the show in terms of its genesis, Bernstein’s music, the various levels of Hispanic participation and meaning that one finds in the show, the varying roles of women associated with each gang, the show’s portrayal of gangs and how that squares with history and reality, a history of reception and revisions, and some final thoughts that help put the show in past and current perspectives. This book is an updating of Wells’s doctoral dissertation, “West Side Story’s: Changing Perspectives on an American Musical,” completed at Eastman School of Music in 2004. 832. Wolf, Stacy. Changed for Good: A Feminist History of the Broadway Musical. New Downloaded by [New York University] at 04:27 09 August 2016 York: Oxford University Press, 2011. 306 p. ISBN 978-0-19-537824-5. ML2054. W64 2011. An important study of Broadway history from the perspectives of gender-based and queer scholarship. Bernstein’s musicals make an appearance in a section on the female collaborative duet in musicals of the 1950s, moments in shows when Wolf finds creators moving away from the dynamic of heterosexual love and instead showing the importance of relationships between women. Two of the duets that are analyzed are “Ohio” in Wonderful Town and “A Boy Like That/I Have a Love” from West Side Story. Wolf is especially insightful when dealing with the song texts and dramatic contexts. 7 Sources on Bernstein’s Allied Pursuits

CONDUCTING

833. Ames, Evelyn. A Wind from the West: Bernstein and the New York Philharmonic Abroad. Boston: Houghton Mifflin, 1970. 169 p. Library of Congress card number 74-92605. ML200.8N52A47. An account of the New York Philharmonic’s 1968 tour of Europe and Israel as told by the wife of the orchestra’s president. Evelyn Ames, author of several books, wrote a readable firsthand account of music-making and sightseeing. She was with Bernstein during much of the trip and provides personal glimpses into his personality and work as a conductor. Although certainly a one-sided account, the book is a worthwhile read for those interested in Bernstein the conductor and man. 834. Applebaum, Samuel, and Sada Applebaum. “With the Artists: Leonard Bern- stein.” Violins and Violinists Magazine 19/2 (March–April 1958): 66–68.

Downloaded by [New York University] at 04:27 09 August 2016 An interview in which Bernstein talks about orchestral balance, the conductor’s role and how he forces his will on the orchestra, what Bernstein learned from his teachers, and the conductor’s need for a sense of style. Although the content at first seems simplistic, there are precious few such sources where Bernstein addresses only conducting. At the end Applebaum states, “To be continued,” but no further material appeared in later issues. 835. The Art of Conducting: Great Conductors of the Past. Hamburg: Teldec Classics International GmbH, 1994. Teldec Video 4509–95038–3. This nearly two-hour video includes archival footage of sixteen great conductors in rehearsal and performance. Bernstein is the last considered. Presented in a

234 Sources on Bernstein’s Allied Pursuits 235

six-and-a-half minute segment are excerpts of Bernstein conducting the London Symphony Orchestra in rehearsal and performance of Shostakovich’s Symphony No. 5 and leading the Vienna Philharmonic Orchestra in a performance of Mahl- er’s Symphony No. 4. Isaac Stern and John Eliot Gardiner make brief comments on Bernstein the conductor. This is an excellent source for comparing Bernstein with other conductors. 836. Bamberger, Bradley. “Bernstein Ten Years Later.” Gramophone 78/919 (July 2000): 8–11. A retrospective on Bernstein’s life with concentration on his work in the recording studio. Bamberger admits from the beginning that Bernstein was a controversial figure, but also asks, “Don’t we all wish that someone like him was still around?” (p. 8). Bamberger briefly encapsulates Bernstein’s conducting and recording career and then cuts a wide swath across his recording catalog, mentioning many composers and repertories in which Bernstein specialized. Bamberger includes quotations from figures in the recording industry, including John McClure, for many years Bernstein’s record producer. Bamberger also offers a list of some of Bernstein’s finest recordings. 837. Canarina, John. The New York Philharmonic: From Bernstein to Maazel. New York: Amadeus Press, 2010. 482 p. ISBN: 978-1-57467-188-9. ML28.N5N384 2010. Recognizing Howard Shanet’s monumental history of the orchestra (Item 865) that covers through Boulez’s tenure in the early 1970s, Canarina chose also to include coverage of Bernstein’s and Boulez’s periods as music director and bring the story to the present. The author spent a year as an assistant conductor of the Philharmonic under Bernstein and directed orchestral activities at Drake Univer- sity for many years, so he writes knowledgeably about the orchestra and shows his deep understanding of musical issues. Bernstein, of course, is a major presence in the study as the Philharmonic’s music director and later laureate conductor for life. 838. Chesterman, Robert, ed. Conversations with Conductors. London: Robson Books, 1976. 128 p. ISBN 0-903895-44-7. ML402.C66 1976b. A book including pithy interviews with Bruno Walter, Sir Adrian Boult, Bern- stein, Ernest Ansermet, Otto Klemperer, and Leopold Stokowski. Chesterman’s interview (pp. 53–72) with Bernstein took place in April 1967. Although Bern-

Downloaded by [New York University] at 04:27 09 August 2016 stein certainly wanders from Chesterman’s questions, he makes useful comments concerning his 1943 debut, his teachers Reiner and Koussevitzky, his mentor Mitropoulos (and Bernstein’s take on the state in which he left the New York Philharmonic when Bernstein succeeded him), the ideal orchestral sound, Mahler, his own versatility, and his podium manner. 839. Curtin, Phyllis, Carol Lieberman, John Oliver, and James Orleans. “Conductor.” In Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 163–77. Bos- ton: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. Four brief, informative appreciations of Bernstein the conductor by, in order: a singer who performed in Peter Grimes with Bernstein at Tanglewood in 1946; a 236 Leonard Bernstein: A Research and Information Guide

violinist from the Israel Philharmonic; the director of the Tanglewood Festival Chorus; and a double bass player in the Boston Symphony. Each article carries a separate title (see Item 143). 840. Galkin, Elliott W. A History of Orchestral Conducting in Theory and Practice. New York: Pendragon, 1988. 893 p. ISBN 0-918728-44-4. ML457.G3 1986. This encyclopedic study includes mentions of Bernstein in conjunction with technical matters, such as use of a baton and breathing. In Chapter 12, Calkin places Bernstein as the polar opposite of Herbert von Karajan among contemporary conductors. His appreciative section on Bernstein (pp. 748–64) covers his experience and training with Mitropoulos, Reiner, and Koussevitzky and a summary of Bernstein’s career and conducting style. There are excursions into matters that might not belong here, such as the beating of more than one meter simultaneously, but this source is important for those who want a complete picture of Bernstein the conductor. 841. Gelles, George. “Leonard Bernstein Film Festival: Thirteen by the Maestro—An Unlucky Number?” High Fidelity and Musical America 22/12 (December 1972): MA19. Bernstein actively filmed his live performances and these documents are often cited as a major part of his legacy. Six of these films were run at the Eisenhower Theater of the Kennedy Center in Washington, DC, as a festival in the late summer of 1972. In this blistering review Gelles takes exception to the quality of the productions recorded on videotape, the notion of watching a concert on film, and what he considers the banality of Bernstein’s filmed introductions to each performance. Gelles praises some of the performances, especially those of Mahler’s works. 842. Giuliani, Roberto. “Leonard Bernstein nei programmi e nella programmazione RAI.” In Guido Salvetti, ed., Bernstein in Italia, 59–74. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410.B566B55 1993. A brief recounting of Bernstein’s work with the RAI Orchestra and Chorus in Rome, the most famous being the concert at the Vatican before Pope Paul VI on 23 July 1973. Giuliani includes as an appendix a survey of Bernstein’s music that

Downloaded by [New York University] at 04:27 09 August 2016 has been broadcast by the RAI. 843. Graeme, Roland. “Bernstein on Disc, Part I: The Conductor.” Opera Quarterly 8/4 (Winter 1991/92): 8–34. A systematic critical appraisal of Bernstein’s opera recordings: Cherubini’s Medea, Bellini’s La sonnambula, Verdi’s Falstaff, Strauss’s Der Rosenkavalier, Bizet’s Car- men, Stravinsky’s Oedipus Rex, Beethoven’s Fidelio, Wagner’s Tristan und Isolde, Puccini’s La bohème, and a disc of scenes from operas by Wagner, Boito, and R. Strauss. Graeme writes an honest review, citing good and bad aspects of the recordings, but he sets the tone for the review from the outset when he laments how few operas Bernstein recorded when compared with Solti or von Karajan. Sources on Bernstein’s Allied Pursuits 237

844. Greenfield, Edward. “Leonard Bernstein.” Gramophone 68/811 (December 1990): 1164–65. Greenfield’s obituary on Bernstein is for the most part a survey of his recording career from the 1940s until his death. The article is not overly detailed but includes many interesting insights. There is little on his work with the New York Philharmonic, but his last two decades when Bernstein recorded with Deutsche Grammophon are covered in more depth. Following the article is a brief tribute to Bernstein by Hanna Rinke, his Deutsche Grammophon producer. 845. Gutman, David. “Bernstein on Record.” Gramophone 69/819 (August 1991): 41–42. Gutman divides Bernstein’s recordings into three periods, those made preceding his work with the New York Philharmonic; those made during his New York music directorship (1958–69); and those from afterwards. Gutman finds Bern- stein one of the last great romantics whose music-making was profoundly subjective. He passes brief judgment on Bernstein’s conducting of Haydn, Mozart, Beethoven, Schumann, Mendelssohn, Liszt, Franck, Brahms, Elgar, Mahler, Sibelius, Nielsen, Bloch, Britten, Vaughan Williams, Milhaud, Ravel, Musorgsky, Shostakovich, Stravinsky, Copland, Harris, Ives, and his own music. 846. Hunt, John. American Classics: The Discographies of Leonard Bernstein and Eugene Ormandy. Published by the author, 2009. Distributed by Travis & Emery, London, UK. 383 p. ISBN: 978-1901395242. ML156.2H865 2009x. A full discography of Bernstein’s work as a conductor indexed by composer, appearing in the same volume as a similar resource for Eugene Ormandy, long-time conductor of the Philadelphia Orchestra. Hunt has self-published more than forty discographies, and here he makes a major contribution to our understanding of Bernstein as a recording artist, including his work on 78s, LPs, CDs, and various video formats. Hunt did not include Bernstein’s work as a “pre- senter and educator in the many talks and lectures given for television” (p. 5). There is, however, a list of the “Young People’s Concerts” from between 1958 and 1972 that are available commercially. Hunt’s coverage includes every recording that could be found from North American and European recording catalogs in

Downloaded by [New York University] at 04:27 09 August 2016 various formats, and privately released recordings of concerts and radio broadcasts. The organization of entries is by composer and compositions (in an idiosyncratic order that is cumbersome for heavily represented composers) with date and place of recording, orchestra and other performers, and the various catalog numbers under which it has been released, but without dates of release. 847. Jacobson, Robert. “State of Ecstasy.” Opera News 48/2 (August 1983): 8–12, 14. A detailed article on Bernstein’s multimedia project of conducting Tristan und Isolde in the spring of 1983. Jacobson describes the history of Bernstein’s involvement with the opera and quotes him at length. A fascinating picture of his work on a major project. 238 Leonard Bernstein: A Research and Information Guide

848. Lebrecht, Norman. The Maestro Myth: Great Conductors in Pursuit of Power. New York: Carol, 1991. 380 p. ISBN 1-55972-109-1. ML402.L4 1992. An idiosyncratic but fascinating and thoroughly readable study of the power of conductors and how their use of that power has contributed to the decline of their profession. Lebrecht considers the conductor as hero and believes that the profession “like most forms of heroism, rests on the use and abuse of power for personal benefit” (p. 11). Bernstein is considered as the lionized music director of the New York Philharmonic from 1958 to 1969 (pp. 77–92), replaced by Boulez, who, like Bernstein, was one of the few successful composers of their time who also had conducting careers. He appears again as a frequent guest conductor of the Vienna Philharmonic (pp. 195–202), triumphing as a Jew in what many regard as a center of anti-Semitism. 849. Marinelli, Carlo. “II direttore d’opera: Quattro registrazioni italiane.” In Guido Salvetti, ed., Bernstein in Italia, 75–92. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410. B566B55 1993. Brief consideration and review of Bernstein’s four operatic recordings made in Italy, the first two from live performances at the Teatro alla Scala in Milan: Cherubini’s Médée with Marias Callas (1953); Bellini’s La sonnambula, also with Callas (1955); Beethoven’s Fidelio with the RAI Orchestra and Chorus in Rome (1970); and Puccini’s La bohème with the Santa Cecilia Orchestra and Chorus in Rome (1987). Marinelli provides an interesting Italian perspective on these projects. 850. Matheopoulos, Helena. Maestro: Encounters with Conductors Today. London: Hutchinson, 1982. 536 p. ISBN 0-09-149010-3. ML402.M37 1982b. A book based upon interviews with twenty-three different conductors. Matheo- poulos spent two days with Bernstein in September 1979. She listened to Bern- stein move rapidly between unrelated topics, so she presents his thoughts with little editing in an effort to capture his personality on paper. The result is a fascinating view of Bernstein the person and some insight into Bernstein the conductor and musician. Downloaded by [New York University] at 04:27 09 August 2016 851. McClure, John. “For the Record: Leonard Bernstein in the Studio.” In Steven Led- better, ed., Sennets & Tuckets: A Bernstein Celebration, 117–21. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. McClure was a record producer with Columbia Masterworks who made nearly two hundred recordings with Bernstein starting in the late 1950s. They continued to work together after McClure left CBS. In this short piece McClure primarily describes the work they did together while Bernstein conducted the New York Philharmonic, but he also comments on Bernstein the man and musician. Sources on Bernstein’s Allied Pursuits 239

852. North, James H. New York Philharmonic: The Authorized Recordings, 1917–2005. Lanham, MD: Scarecrow Press, 2006. 472 p. 978-0810858541. ML156.7.N49N67 2006. The New York Philharmonic Archives hold most of the orchestra’s audio and video recordings, including those of live performances. It is this precious collection that served as the primary source for North’s catalog of more than 1,500 recordings made by the New York Philharmonic between 1917 and 2005. The introduction is a short history of New York Philharmonic recordings, including their relationships with different recording companies, especially long-term partner Columbia/CBS/Sony. North also considers the history of various formats (78s, 33s, compact discs, etc.) and how companies have cataloged them. Bernstein’s extraordinary legacy of recordings made with the orchestra between 1943 and 1989 appears on pp. 41–269 in North’s chronological listing, among the names of the many other conductors with whom the orchestra worked during that period. Information specific to Bernstein in the appendices include: a list of his compositions recorded by the orchestra (p. 302); the hundreds of works that Bernstein recorded, indexed by composer (pp. 344–56); his recordings as solo harpsichordist, narrator, and pianist (pp. 381–82); and a list of his recorded Young People’s Concerts (pp. 423–33). 853. Page, Christopher Jarrett. “Leonard Bernstein and the Resurrection of Gustav Mahler.” PhD dissertation, University of California, Los Angeles, 2000. 435 p. A detailed consideration of the rise of interest in Mahler’s music following his death in 1911, with emphasis on Bernstein’s role in the phenomenon. Page includes material on Bernstein’s championing Mahler’s music with the New York City Symphony, Israel Philharmonic, New York Philharmonic, and other orchestras in concerts and the recording studio. 854. Phillips, Harvey E. The Carmen Chronicle: The Making of an Opera. New York: Stein and Day, 1973. 288 p. ISBN 0-8128-1609-9. ML410.B62P5. In 1972 Bernstein conducted a new production of Bizet’s Carmen at the Met- ropolitan Opera House, resulting in Bernstein’s first recording with Deutsche Grammophon. The cast included Marilyn Horne as Carmen and James

Downloaded by [New York University] at 04:27 09 August 2016 McCracken as Don José. Hart observed many of the rehearsals and spoke with everyone involved, allowing him to write a detailed account of mounting the production. Bernstein is present throughout, making this a revealing portrait of his work in rehearsals. 855. Pincus, Andrew L. Scenes from Tanglewood. Boston: Northeastern University Press, 1989. 287 p. ISBN 1-55553-049-4. ML200.8.B5P56 1989. Views and history from Tanglewood between 1976 and 1988 by the music critic of the Berkshire, Massachusetts Eagle. Bernstein appears in the book tangen- tially a number of times. Pincus considers Bernstein in detail in one section 240 Leonard Bernstein: A Research and Information Guide

(pp. 150–65) as annual conductor in the 1980s of the Koussevitzky Memorial Concert, leader of two weeks of master classes for student conductors in Kous- sevitzky’s mansion Seranak, consummate partier, and recipient of a huge Tan- glewood tribute in August 1988 for his seventieth birthday. Pincus makes it clear that at Tanglewood Bernstein was a larger-than-life figure. 856. —. Tanglewood: The Clash between Tradition and Change. Boston: Northeastern University Press, 1998. 210 p. ISBN 1-55553-346-9. ML38.L393T362 1998. A sequel to Pincus’s Scenes from Tanglewood (Item 855), which chronicled the festival from 1975 to 1988. Here he approaches the next decade, identifying the major issues facing the festival at this point in its history and placing it in the larger context of American musical life. Bernstein is the subject of one chapter entitled “The Riderless Horse” (pp. 61–79) in which Pincus summarizes briefly Bernstein’s lifelong affiliation with Tanglewood and details his late work there. Pincus paints Bernstein in broad strokes as heir to Koussevitzky’s cape, master conductor and partier, and an inspired teacher who educates through digressions. 857. Robinson, Paul. Bernstein. London: Macdonald, 1982. 152 p. ISBN 0-356-09165-1. ML410.B566R6 1982. This volume appeared in the series “The Art of the Conductor,” intended as “a critical evaluation of Bernstein’s artistic expression” (p. 2). The first three chapters are a brief biography with emphasis on Bernstein’s work as a conductor, but all sides of his work are covered. Robinson mentions Bernstein’s major compositions, critically evaluating most. His coverage of Bernstein’s conducting is incomplete, considering only his interpretations of music before 1800, Bee- thoven, Mahler, and a brief summary of the totality of his recordings. Surely Bernstein’s work with twentieth-century music, especially by Americans, should be considered in this book. Robinson includes a discography of Bernstein’s recordings through 1982. 858. Roddy, Joseph. “Who Lives at Carnegie Hall?” High Fidelity 9 (February 1959): 32–36, 132. An appraisal of the New York Philharmonic during Bernstein’s first season as music director. Roddy reviews the orchestra’s history with emphasis on the glory

Downloaded by [New York University] at 04:27 09 August 2016 years under Toscanini and the problems with Mitropoulos’s recent tenure, noting that in recent years most New York music lovers had considered the Philhar- monic inferior to both the Boston Symphony and Philadelphia Orchestra, which regularly played in Carnegie Hall. Roddy states that in less than a year many of the problems with the Philharmonic have disappeared and credits much of the improvement to Bernstein and the rapport he has forged with the players. 859. —. “How to Think about Leonard Bernstein.” Look 32/1 (January 9, 1968): 74–77. An appraisal of Bernstein’s work with the New York Philharmonic late in his tenure as music director. Roddy recounts the disappointment in some quarters Sources on Bernstein’s Allied Pursuits 241

following Bernstein’s appointment and how Bernstein confounded many of those feelings. He also writes usefully about Bernstein’s relationship with the orchestra. 860. Schonberg, Harold C. “New Job for the Protean Mr. Bernstein.” New York Times (22 December 1957): 120. The man who became one of Bernstein’s severest critics during his tenure at the New York Philharmonic profiles him in detail after he had been named music director starting the next fall. Schonberg touches many bases—the unhappy state of the orchestra, Bernstein’s intention of programming through themes and with pedagogical intentions, Bernstein at that moment in his career (with frequent, unattributed quotations from friends and enemies), summary dismissals of his work as a serious composer and a severe critique of his Broadway work, praise for his sight-reading abilities and overall musicianship, and an attempt at a personal glimpse into Bernstein’s life and character—in the process producing a multilayered look at the composer/conductor. 861. —. “What Bernstein Is Doing to the Philharmonic.” Harper’s Magazine 218/1308 (May 1959): 43–48. A sober assessment of Bernstein’s first full season as music director of the New York Philharmonic. Schonberg begins by listing all of the positive sides: happy and better-paid orchestra, fine concert attendance, excitement in New York City and around the country, and so forth. He then suggests that Bernstein simply does too much and wonders how long he can maintain that level of activity. He also questions if Bernstein can move past his easy ability at popularization and become a complete conductor. 862. —. The Great Conductors. New York: Simon and Schuster, 1967. 384 p. Library of Congress card number 67-19821. ML402.S387G7. One of Bernstein’s severest critics while he was conductor of the New York Phil- harmonic was the author of this book, for many years a music critic for The New York Times. Schonberg’s short essay on Bernstein (pp. 351–58) reads like his reviews. He admits Bernstein’s gifts as a musician and communicator about music while questioning his dedication to the art of conducting and interpretive

Downloaded by [New York University] at 04:27 09 August 2016 abilities. 863. —. “End of His Formal Duties May Bring Busier Life.” New York Times (19 May 1969): 54. In a piece subtitled “An Appraisal,” Schonberg expressed his grudging admiration for what Bernstein had accomplished during his tenure with the New York Philharmonic and how he believed that the conductor had improved in his interpretive abilities. Schonberg named the composers and repertories where he believed Bernstein was most effective and notes that he was then respected throughout the world as a conductor. The critic is dismissive of Bernstein’s serious compositions but praises his work as a theater composer. On the same page, 242 Leonard Bernstein: A Research and Information Guide

Donal Henahan reported in detail on the celebration of Bernstein’s last concert as music director. 864. Seckerson, Edward. “Leonard Bernstein at 70: The New York Years.” Gramophone 66/783 (August 1988): 258–59. An appreciation of Bernstein’s many recordings made while music director of the New York Philharmonic, including comments on his conducting of Mahler, Shostakovich, Nielsen, Copland, Harris, Schuman, Vaughan Williams, Sibelius, Haydn, Stravinsky, and his own music. Seckerson is an admirer of Bernstein the composer and makes some especially interesting comments here about Sym- phony No. 2, The Age of Anxiety and Mass (the latter not recorded with the Phil- harmonic). The article also includes worthwhile comments by members of the New York Philharmonic and John McClure, Bernstein’s favorite record producer. 865. Shanet, Howard. Philharmonic: A History of New York’s Orchestra. Garden City, NY: Doubleday, 1975. 787 p. ISBN 0-385-08861-2. ML200.8.N52P545. A formidable book on the orchestra’s history; its later history is covered in a book by John Canarina (Item 837). Shanet, once Bernstein’s assistant conductor, provides a detailed picture of Bernstein’s years with the orchestra, a time of stunning growth and the beginning of the orchestra’s television presence. Shanet suggests that Bernstein’s tenure with the orchestra was in some ways unparalleled in American symphonic history. 866. Shulman, Ivan. “Symphony No. 2 by Charles Ives: An Historic Review and Con- sideration of Performance Practice.” MM thesis, California State University-Long Beach, 2008. 132 p. Bernstein played a major role in the performance history of Ives’s Symphony No. 2, conducting the premiere with the New York Philharmonic in 1951, making two commercial recordings, and leading the work in concerts with the Philharmonic thirty-three times (p. 31). Shulman describes Bernstein’s role in the premiere and Ives’s mostly silent reaction to it after hearing it on the radio (pp. 13–16), Bernstein’s recordings of the symphony (pp. 30–32), and the cuts that he observed in the piece (pp. 46–48), and compares the performing scores of Bernstein and Eugene Ormandy (pp. 49–53, 63–72). Bernstein’s name also

Downloaded by [New York University] at 04:27 09 August 2016 appears elsewhere in the thesis, given his influence on the work of other conductors who have worked with the piece. 867. Zurletti, Michelangelo. “Il direttore d’orchestra.” In Guido Salvetti, ed., Bernstein in Italia, 131–37. Quaderni della sagra musicale malatestiana, 2. Milan: Guerini Studio, 1993. 153 p. ISBN 88-7802-420-1. ML410.B566B55 1993. Brief consideration of Bernstein’s conducting career. Zurletti starts with Bern- stein’s 1987 recording of La bohème in Rome and comments about some of the trademarks of his conducting, such as his rhythmic sense and ability to conduct a great range of musical styles. He covers Bernstein’s training and considers from which director Bernstein learned the most, but leaves Mitropoulos out of the Sources on Bernstein’s Allied Pursuits 243

deliberations. The three composers that Zurletti feels Bernstein brought to public in a definitive manner were Schumann, Mahler, and Brahms, surely a Euro- pean interpretation.

EDUCATOR AND COMMENTATOR

868. A[rdoin], J[ohn]. “Bernstein Discusses Creative Performer.” Musical America 80/3 (February 1960): 260. A brief review of a television program Bernstein hosted on 31 January 1960 in which he approached the work of the creative performer. Guests included Glenn Gould, Eileen Farrell, and Igor Stravinsky. Ardoin describes the program in some detail, providing period commentary on Bernstein’s popular television work. 869. Bartram, Kevin B. “Lessons from a Master: Using the ‘Bernstein Formula’ in Music Classrooms.” Music Educators Journal 90/4 (March 2004), 19–24. Teaching was an important facet in Bernstein’s life. His Young People’s Concerts provide a superb example of his abilities as a teacher and communicator. Bartram tried to figure out the “Bernstein Formula” through examining this program, which includes: begin with music, end with music, state the objective in the form of a question, answer the question in stages, move from the general to the specific and back, use analogies and metaphors, and audience participation is key. This article also provides a general structure of the Young People’s Concerts and also some analyses. 870. Bernstein, Leonard, Michael Tilson Thomas, John Mauceri, and Carl St. Clair. “Teacher.” In Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 79–113. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. Consideration of Bernstein the conducting teacher at Tanglewood. Bernstein’s piece is a reprint of his speech “The Principle of Hope,” delivered at Tanglewood in 1970 and published in the Music Educators Journal 59 (February 1973): 33–37 and in Findings (pp. 273–84). In short pieces with separate titles (see Item 143), Thomas, Mauceri, and St. Clair describe their experiences with Bernstein as teacher and mentor. Downloaded by [New York University] at 04:27 09 August 2016 871. Bösing, Raphael Maria. Leonard Bernstein als religiöser Humanist, Dirigent, Kom- ponist und Musikpädagoge: Studien zu fächerübergreifenden Aspekten des Musi- kunterrichts. Beiträge zur Europäischen Musikgeschichte, 7. Frankfurt: Peter Lang Europäischer Verlag der Wissenschaften, 2003. 295 p. ISBN: 3-631-50405-5. ML410.B566B67 2003 (University of North Carolina–Chapel Hill). This is a publication of the author’s dissertation completed at Münster Uni- versity in 2002. The author’s primary theme is Bernstein’s interest in musical instruction, but the book also includes a great deal of coverage of biographical and compositional issues. Bösing opens with a brief biography and consideration of Bernstein’s “religious humanism” (on the religious and political man), 244 Leonard Bernstein: A Research and Information Guide

and then includes looks at a number of compositions with musical examples. Most of the remainder concerns Bernstein as a pedagogue, but with forays into other aspects of his life that Bösing then ties in with the central theme. 872. Burton, Humphrey. “Leonard Bernstein: Video Man.” In Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 137–41. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. A brief essay on Burton’s work as producer of many of Bernstein’s videotaped performances as conductor, concluding with Bernstein’s own reminisces of his early days of working live on television in the 1950s. The essay was first published in Leonard Bernstein: The Television Work, the catalog from a 1985 exhibition at the Museum of Broadcasting (see Item 883). Burton was once head of music and art at BBC-TV. 873. Chapin, Schuyler G. “Leonard Bernstein: The Television Journey.” Television Quarterly 25/2 (Spring 1991): 13–19. An informative essay on Bernstein’s television career, including especially his work on Omnibus and the Young People’s Concerts. Chapin admits to basing the article heavily on the volume Leonard Bernstein: The Television Work (Item 883), but he also brings his personal experience with Bernstein as producer of a number of his later films. Of particular interest is the background information Chapin includes concerning Omnibus, his detailed description of some shows in both of the series named earlier, and his account of the production process for a Young People’s Concert. 874. Clark, John W. “Television: Short Takes.” Musical America 80/6 (May 1960): 25. A brief review of Bernstein’s broadcast of Copland’s opera The Second Hurricane on a CBS-TV Young People’s Concert on 24 April 1960. Clark’s approval of the event is complete. 875. Clark, Robert S. “Congruent Odysseys: Bernstein and the Art of Television.” In Steven Ledbetter, ed., Sennets & Tuckets: A Bernstein Celebration, 125–36. Boston: Boston Symphony Orchestra, 1988. ISBN 0-87923-775-9. ML55.B383 1988. A survey of Bernstein’s work as a television commentator, composer of works that have been televised, and conductor who has made many videos. Clark, an

Downloaded by [New York University] at 04:27 09 August 2016 editorial director of High Fidelity, finds the first of these roles the most important. He traces Bernstein’s growth as a television performer during the 1950s and his continuing mastery of the medium as seen in the Young People’s Concerts until 1972. Clark also briefly considers some of Bernstein’s other television projects, including Beethoven’s Birthday: A Celebration in Vienna and the Norton Lectures. The essay was first published in Leonard Bernstein: The Television Work (see Item 883), the catalog from a 1985 exhibition at the Museum of Broadcasting. 876. DiMauro, Philip. “Bernstein Led Kid ‘Concerts.’ ” Variety 339/3 (25 April 1990): 111, 116. A short but informative article about Bernstein’s work in the Young People’s Con- certs. The article is more detailed than one often finds in Variety, being part of a Sources on Bernstein’s Allied Pursuits 245

special section called AT&T: 50 Years in the Arts. One often reads how successful these events were, but precious few details are included. Here four shows are described, giving the reader a true impression of Bernstein’s teaching techniques and appeal. 877. Gelleny, Sharon Ann. “Leonard Bernstein on Television: Bridging the Gap between Classical Music and Popular Culture.” Journal of Popular Music Studies 11–12 (1999–2000): 48–67. An overview of Bernstein’s television work considering mostly the Young People’s Concerts, but touching on other series. Gelleny offers four reasons for Bernstein’s success on television: he assumed that classical music could be of interest on television and did not talk down to the audience; he believed that “all music is one” (p. 51) and referred to, and performed, popular music and jazz as well as classical music; he moved outside the classical music canon, actively programming Amer- ican music, for example; and his programs provided racial and gender diversity with African American soloists and female conductors. Gelleny considers visual approaches to the program as provided by director Roger Englander, how Bern- stein’s work countered FCC commissioner Newton Minow’s 1961 accusation that television programming was a “vast wasteland,” and critical responses to Bernstein’s work. She provides a list of Bernstein’s programs. Gelleny also wrote an MA thesis at McMaster University entitled “Leonard Bernstein’s Young Peo- ple’s Concerts: A Critical Overview” (1991). 878. Hiemenz, Jack. “Bernstein on Television: Pros and Cons.” High Fidelity/Musical America 30 (April 1980): MA 14–15. Hiemenz surveys the place of classical music on both commercial and public television, noting that most of what is available on commercial networks usually includes Bernstein as conductor, commentator, or both. He finds Bernstein pompous and fatuous, noting that the conductor must be very cynical about audiences to believe that all of the musical explanations and emphatic podium manner are necessary. 879. Holoman, D. Kern. “Talking about Music: The Maestro and the Masses OR Reflections of a Child of the Sixties.” In Steven Ledbetter, ed., Sennets & Tuck- ets: A Bernstein Celebration, 142–47. Boston: Boston Symphony Orchestra, 1988. Downloaded by [New York University] at 04:27 09 August 2016 ISBN 0-87923-775-9. ML55.B383 1988. Thoughts from a musicologist and musician who grew up watching Bernstein’s television broadcasts, reading The Joy of Music, and listening to recordings of the New York Philharmonic. Holoman reflects on the “spell of television” and the wide audience it offers. 880. Horowitz, Joseph. “Is Bernstein Passé on Television? Only in America.” New York Times (5 April 1992): Section 2/36. An article on the prospects for Bernstein’s Young Peoples Concerts on television at the time this article appeared. Horowitz spoke with Harry Kraut, Bernstein’s long-time manager, who went to great lengths to purchase the rights to the 246 Leonard Bernstein: A Research and Information Guide

concerts from CBS-TV and was arranging for their worldwide release on videotape. There had been no interest in their broadcast in the United States yet, but German and Japanese television networks had made offers. The article concludes with a consideration of the place of classical music on American television. 881. Kopfstein-Penk, Alicia. “Leonard Bernstein’s ‘Young People’s Concerts’: Context and Canons.” PhD dissertation, Catholic University of America, 2012. 542 p. Bernstein’s Young People’s Concerts were a distinctive contribution to the art of music education in both the United States and other countries, remaining perhaps the most famous effort of the type and a major part of Bernstein’s legacy. Kopfstein-Penk provides a multifaceted look at the series and useful contexts through which to view it. Following extensive archival research, her dissertation includes: a description of the script-writing process and broadcast procedures; consideration of what constituted highbrow, middlebrow, and lowbrow art and to which level Bernstein pitched his scripts; a look at the history of television and the performing arts and social contexts (such as the Cold War); and Bern- stein’s use of modern music, the avant-garde, and American music in the broadcasts. Kopfstein-Penk included extensive appendices related to the shows, such as Nielsen ratings and excellent summaries of many of the shows by script committee member Elizabeth Finkler. A version of this dissertation will appear in book form from Rowman and Littlefield in 2015. 882. La Rochelle, Réal. Leonard Bernstein: L’oeuvre télévisuelle. Quebec City: Presses de l’Université Laval, 2010. 219 p. 978-2-7637-9197-5. ML410.B566L3 2010g (Columbia University). Although the title suggests that this book covers only Bernstein’s television work, the author has much to say about Bernstein the man, conductor, and composer as well, up to and including more than a page on his unfortunate nicotine habit. In 1995 La Rochelle interviewed Robert Saudek, a former television executive who went to the Ford Foundation and launched the Omnibus broadcasts and later worked with Bernstein on other shows during a career spent trying to bring the arts to the masses. The interview appears in English in an appendix, and La Rochelle quotes it in French extensively elsewhere in the study. Most chapters involve Bernstein’s television career in some manner, but also tie other aspects of

Downloaded by [New York University] at 04:27 09 August 2016 his career into the topic, sometimes in an idiosyncratic manner. Another appendix includes Bernstein’s videography. 883. Leonard Bernstein: The Television Work. Museum of Broadcasting, 1985. 72 p. No ISBN. ML410.B566L460 1985 (University of Georgia). A catalog from the exhibition of the same name that was at the Museum of Broadcasting from 27 September to 14 November 1985. Included, in addition to many photographs and a complete listing of Bernstein’s television broadcasts, are: “An Introduction” by William Schuman; “A Personal Note” by Robert Saudek (Bernstein’s television director for two series); “Congruent Odysseys: Bernstein and the Art of Television” by Robert S. Clark (see Item 875); “No Balloons or Tap Sources on Bernstein’s Allied Pursuits 247

Dancers: A Look at the Young People’s Concerts” by Roger Englander (producer and director for the series); “Leonard Bernstein: Video-Man” by Humphrey Bur- ton (see Item 872); and “Tributes” by selected celebrities. The catalog of Bern- stein’s television work is excellent. 884. MacInnis, John Christian. “Leonard Bernstein’s and Roger Englander’s Educa- tional Mission: Music Appreciation and the 1961–1962 Season of Young People’s Concerts.” MM thesis, Florida State University, 2009. 92 p. This thesis is an examination of the 1961–62 season of the Young People’s Con- certs (YPCs), with emphasis on contributions made by director/producer Roger Englander in collaboration with Bernstein. By concentrating on the 1961–62 season, MacInnis demonstrates how Bernstein and Englander brought music appreciation to television and how the Young People’s Concerts achieved ideals of audience engagement by way of innovative applications of new technology through the teamwork of Bernstein and Englander. The author also includes perspectives about content of the concerts, intentions, and audience orientation (Bernstein aimed his material at a thirteen-year-old), Bernstein’s desire to feature American and modern music, references to popular music, his “middle-brow” approach and Bernstein’s desire to avoid what he called the “music appreciation racket,” their avoidance of gimmicks to entertain children, and how the Young People’s Concerts enhanced the audience’s engagement with the performing arts. 885. “Music: Lennie’s Kindergarten.” Time 71/11 (17 March 1958): 70. A brief article on Bernstein’s Young People’s Concerts with the New York Philhar- monic during the 1957–58 season, showing the media’s attention to these events. Several moments in various concerts are described. 886. Nicolosi, Dennis John. “The Effect of an ‘Informance’ on a Middle School Stu- dent Population’s Understanding of Musical Terms using Leonard Bernstein’s ‘Young People’s Concerts’ as a Model.” MA thesis, California State University, Long Beach, 2009. 121 p. Bernstein’s method of instruction in the Young People’s Concerts proved a successful way to help the younger generation learn to appreciate the beauty of music. Nicolosi used this television series as a model to examine the best way to educate

Downloaded by [New York University] at 04:27 09 August 2016 and entertain a middle school’s student audience while also generating interest in music program. He argues that Bernstein’s method and his use of a performance as a teaching opportunity helped change people’s viewpoint of concerts. 887. Peynado, Franklin. “Leonard Bernstein: Music Educator.” MAT thesis, Florida Atlantic University, 1995. 88 p. A systematic but undetailed look at each of Bernstein’s educational activities from the viewpoint of a professional music educator. Peynado surveys Bern- stein’s life through 1942 to document his early interest in music education and briefly surveys his conducting career. After speculating on what might have been Bernstein’s philosophy of music education, Peynado covers the following 248 Leonard Bernstein: A Research and Information Guide

“educational ventures”: Omnibus, activities at Brandeis and as a visiting lecturer, work with the New York Philharmonic and the Young People’s Concerts, the Nor- ton Lectures at Harvard, and the Bernstein Education through the Arts Fund. A doctoral document in which Bernstein is placed in an historical continuum in his educational activities is: Thomas T. Takayama, “A Historical Survey of the Pedagogoical Activity and Influence of Three Orchestral Conductors (Walter Damrosch, Leopold Stokowski, and Leonard Bernstein) with Teaching Implica- tions for the Future,” DA thesis, University of Mississippi, 2000. 888. Rees, James Lester. “Leonard Bernstein’s Informative Speaking in the 1965–1966 Young People’s Concerts.” MA thesis, Syracuse University, 1966. 287 p. An interesting thesis written for the degree Master of Arts in Rhetoric and Public Address, which includes detailed analysis of Bernstein’s speaking techniques in three broadcasts. Rees observed Bernstein and the show’s staff preparing a script, rehearsing with the teleprompter, and during shows. Rees interviewed Bernstein and spoke with him on other occasions. He approaches Bernstein’s education and experience as a speaker, shows how he relates to young people, describes two script conferences in detail, and analyzes Bernstein’s use of rhetorical devices and audiovisual aids. In appendices Rees includes scripts for three telecasts and a complete list of Bernstein’s broadcasts through the 1965–66 season. 889. Rozen, Brian D. “Leonard Bernstein’s Educational Legacy.” Music Educators Jour- nal 78/1 (September 1991): 43–46. [Excerpts printed in Educational Digest 57 / 4 (December 1991): 70–71.] An article encouraging music educators to see what they could learn from Bern- stein’s teaching. Rozen describes Bernstein’s work as a conducting teacher and brief stints as a college professor, but spends most of the piece offering reasons for Bernstein’s success on television and as a writer, citing his love for music and potential learners, his ability to communicate, aspects of his musicianship, and the continuing legacy of his books and videos. 890. Rozen, Brian D. “The Contributions of Leonard Bernstein to Music Education: An Analysis of His 53 Young People’s Concerts.” PhD thesis, Eastman School of Music/University of Rochester, 1997. 194 p.

Downloaded by [New York University] at 04:27 09 August 2016 An educational analysis of Bernstein’s Young People’s Concerts, broadcast between 1958 and 1972. Following overviews of the literature and Bernstein’s life, Rozen divides Bernstein’s educational activities into three parts: university professor, conducting teacher, and teacher of music appreciation. In the first area, Rozen sorted out Bernstein’s activities at Brandeis University between 1951 and 1956 (pp. 40–43). Rozen’s analysis of the Young People’s Concerts is based upon viewing videotapes of each show. He describes in detail Bernstein’s teaching techniques and segments of many shows. Appendices include a listing of the shows according to type and dates for each of the 114 scrapbooks of Bernstein’s life in the Library of Congress, among other tables. Sources on Bernstein’s Allied Pursuits 249

891. Snowden, James Wyn. “The Role of the Symphony Orchestra Youth Concert in Music Education.” PhD thesis, University of Colorado, 1975. 130 p. A survey of the contributions of five figures in this field—Theodore Thomas, Wal- ter Damrosch, Leopold Stokowski, Lillian Baldwin, and Leonard Bernstein—and the application of American music educator James L. Mursell’s teaching philos- ophies to orchestral youth concerts. The segment on Bernstein (pp. 34–39) is a survey of his work on Omnibus and the Young People’s Concerts with anecdotes about their success with the public. Snowden names representative shows and briefly describes the Norton Lectures. 892. Thomas, Naomi. “Bernstein’s Unanswered Question: A Journey from Linguistic Deep Structure to the Metaphysics of Music.” MA thesis, Florida Atlantic Univer- sity, 2004. 78 p. The author considered Bernstein’s investigation of the aesthetic-expressive surface of music and language in his The Unanswered Question: Six Talks at Har- vard. By emphasizing the philosophical threads woven throughout the lectures, Thomas explored the intriguing and profound inferences of Bernstein’s work, especially the bond between linguistics and tonality. Downloaded by [New York University] at 04:27 09 August 2016 8 A Selected List of Video Recordings Featuring Leonard Bernstein and His Music

Leonard Bernstein became known as a television figure in 1954. Many of his efforts have been made available in video-recording formats. He appeared as conductor and commentator on such series as Omnibus (1954–61), Lincoln Presents (1958–59), Ford Presents (1959–62), and the Young People’s Concerts (1958–72). He then recorded his Charles Eliot Norton Lectures at Harvard University in 1973 in both video and audio formats, in addition to other television shows. Useful lists of these activities may be found in Jack Gottlieb’s Complete Catalog (Item 927) and in Leonard Bernstein: The Tel- evision Work (Item 883). As described in Chapter 9 (see Item 931), the Paley Center for Media (formerly the Museum of Television & Radio) houses an excellent collection of video recordings that document Bernstein’s efforts in the area. Bernstein began to explore filming musical performances in late 1969. He established Amberson Enterprises, the company still associated with Bernstein’s name, first as a video production company with Schuyler Chapin as executive producer. For their first production, they televised and recorded Verdi’s Requiem in St. Paul’s Cathedral in London.

Downloaded by [New York University] at 04:27 09 August 2016 Later a number of Bernstein’s recordings were made in cooperation with UNITEL and Deutsche Grammophon. A sampling of Bernstein’s video legacy as conductor, commentator, and composer is listed ahead. Brief annotations have been included in some cases.

FILMS THAT INVOLVED BERNSTEIN AND DOCUMENTARIES ON BERNSTEIN

893. American Masters—Legends of Broadway. 2004. This volume includes “Leonard Bernstein: Reaching for the Note” (see Item 142) as one of the three DVDs. ASIN B0002KQNTK. Leonard Bernstein: Reaching for the Note was first independently released as a DVD in 1998. ASIN 6305154996.

250 Video Recordings Featuring Bernstein 251

894. Beethoven: The Piano Concertos. 197 minutes. Bernstein recorded Concertos Nos. 3, 4, and 5 with Krystian Zimmerman and the Vienna Philharmonic in 1989. In Bernstein’s honor after his death, the pianist and orchestra recorded Concertos No. 1 and 2 without a conductor in 1991. ASIN B000V9B7PW. 895. Bernstein: Brahms’s Symphonies. 235 minutes. Bernstein recorded these four symphonies between 1981 and 1984 with the Vienna Philharmonic to honor the sesquicentennial of the composer’s birth in 1983. ASIN B000RP4LW6. 896. Bernstein in Australia: Tchaikovsky, Symphony No. 6, “Pathétique.” 48 minutes. Kultur D1345. Produced in 1974 with the New York Philharmonic. ISBN 0-7697-8090-3. 897. Bernstein in Japan: Schumann, Symphony No. 1/Shostakovich, Symphony No. 5. 90 minutes. Kultur D1355. Produced in 1979 with the New York Philharmonic. ISBN 0-7697-8065-2. 898. Bernstein in London: Verdi, Requiem. 93 minutes. Kultur D1344. Produced in 1970 with the London Symphony and soloists Martina Arroyo, Josephine Veasey, Plácido Domingo, and Ruggero Raimondi. ISBN 0-7697-8064-4. 899. Bernstein in Paris: Berlioz, Requiem. 98 minutes. Kultur D1354. Produced in 1975 in the Church of St-Louis des Invalides with the two orchestras of Radio France, Radio France Chorus, and tenor Stuart Burrows. ISBN 0-7697-8092-X. 900. Bernstein in Paris: The Ravel Concerts. 87 minutes. Kultur D1337. Produced in 1975. Includes Ravel’s Alborada del gracioso, Piano Concerto in G Major, Shéhérazade, La valse, Tzigane, and Bolero. ISBN 0-7697-8046-6. 901. Bernstein in Vienna: Beethoven, The Ninth Symphony. 78 minutes. Kultur D1343. Produced in 1970 with the Vienna Philharmonic. Soloists include Gwyneth Jones, Shirley Verrett, Plácido Domingo, and Martti Talvela. ISBN 0-7697-8044-X. 902. Bernstein on Beethoven: A Celebration/Piano Concerto No. 1. 125 minutes. Kul- tur D2300. Produced in 1970 with the Vienna Philharmonic. Includes Bern- stein on Beethoven: A Celebration in Vienna, a documentary portrait prepared for Beethoven’s two hundredth birthday and televised by CBS, in which Bern- stein illustrated his musical analysis with excerpts from his performances of the Downloaded by [New York University] at 04:27 09 August 2016 Piano Concerto No. 1, Fidelio, and the “Ode to Joy” from Symphony No 9. ISBN 0-7697-8063-6. 903. Candide/Leonard Bernstein. 147 minutes. Originally manufactured and mar- keted by PolyGram Video. A concert production of Bernstein’s recording of the final version of Candide (CD: Deutsche Grammophon 429 734–2, 1991), filmed at London’s Barbican Centre, 13 December 1989. Included are some comments by Bernstein from the podium, the most useful of which is the admission that the Spanish rhymes in the song “I Am So Easily Assimilated” were conceived by his wife, Felicia Bernstein. ASIN B000FKO1QE. 252 Leonard Bernstein: A Research and Information Guide

904. A Journey to Jerusalem. 84 minutes. Produced by Audio Brandon Films. A documentary of a trip to Israel by Bernstein and Isaac Stern in 1967. Not yet available as a DVD. 905. Leonard Bernstein Conducts West Side Story: The Making of the Recording. Munich: UNITEL, 1985; Hamburg: Polydor International GmbH, 1988. CD: Deutsche Grammophon 072 206–3. Singers include Kiri Te Kanawa, José Carre- ras, Tatiana Troyanos, and Marilyn Horne. ASIN B0009DBXXG. 906. Leonard Bernstein: Mahler, the Symphonies. 953 minutes. Complete on nine DVDs plus Bernstein rehearses Symphonies No. 5 and 9 (54:40), Four Ways to Say Farewell—Gustav Mahler’s Ninth Symphony (53:48), and Gustav Mahler: Das Lied von der Erde: A Personal Introduction by Leonard Bernstein. Produced between 1972 and 1977 with the Israel Philharmonic, London Symphony, and Vienna Philharmonic. ASIN B000BDIY3G. 907. Leonard Bernstein: Omnibus. 449 minutes. Omnibus was a series hosted by Alastair Cooke, featuring diverse live broadcasts on science, the arts, and the humanities from 1952 to 1961. This collection includes seven episodes featuring lectures and performances by Bernstein, including Beethoven’s Fifth Symphony (1954), The World of Jazz (1955), The Art of Conducting (1955), The American Musical Comedy (1956), Introduction to Modern Music (1957), The Music of Johann Sebas- tian Bach (1957), and What Makes Opera Grand?(1958) in four DVDs. ASIN B002OVB9Z8. 908. Leonard Bernstein Place: A Musicale in Celebration of Leonard Bernstein’s 75th Birthday. A concert produced at Alice Tully Hall, Lincoln Center, New York, on 25 August 1993. 87 minutes. Kultur Video 1398. Performers include members of Bernstein’s family and many of his famous friends and colleagues. 909. Leonard Bernstein: Reflections. 70 minutes. A biographical film by Peter Rosen made in 1978 (see Item 399). ASIN B002C8BQOM. 910. Leonard Bernstein’s Chichester Psalms/Symphony No. 1: Jeremiah/Symphony No. 2: The Age of Anxiety. 90 minutes. Kultur D1335. Produced in 1977 with the Israel Philharmonic. ISBN 0-7697-8091-1. 911. Leonard Bernstein’s Young People’s Concerts with the New York Philharmonic, Kul- Downloaded by [New York University] at 04:27 09 August 2016 tur D1503. ISBN 0-7697-1503-6. “What Does Music Mean?” “What Makes Music Symphonic?” “What Is Classical Music?” “What Is Orchestration?” “What Is a Melody?” “What Is a Sonata?” “Humor in Music” “What Is American Music?” “What Is Sonata Form?” “What Is a Mode?” Video Recordings Featuring Bernstein 253

“Who Is Gustav Mahler?” “Jazz in the Concert Hall” “A Tribute to Sibelius” “Berlioz Takes a Trip” “Two Ballet Birds”

912. Leonard Bernstein’s Young People’s Concerts, volume II. Kultur D4370. ISBN 978-0-7697-5047-7. “Young Performers No. 1” “Unusual Instruments of the Present, Past, and Future” “Overtures and Preludes” “Aaron Copland Birthday Party” “Young Performers No. 2” “The Road to Paris” “Young Performers No. 3” “The Sound of a Hall” “Young Performers No. 4” “A Tribute to Teachers” “Young Performers No. 5” “The Genius of Paul Hindemith” “Farewell to Nationalism” “Young Performers No. 6” “Young Performers No. 7” “Young Performers No. 8” “Charles Ives: American Pioneer” “Alumni Reunion” “Forever Beethoven” “Young Performers No. 9” “Fantastic Variations” “Bach Transmogrified” “The Anatomy of a Symphony Orchestra” “A Copland Celebration” “Thus Spoke Richard Strauss” “Liszt and the Devil” Downloaded by [New York University] at 04:27 09 August 2016 “Holst: The Planets”

913. Leonard Bernstein: Teachers and Teaching: An Autobiographic Essay. 60 minutes. Coproduced by UNITEL and The Amberson Group, Inc., 1988. Leonard Bern- stein Society 2018. Bernstein recounts key figures in his own education, including Reiner, Copland, and Koussevitzky. Not yet available as a DVD. 914. Leonard Bernstein: The Gift of Music. 85 minutes. Produced by UNITEL and released by Deutsche Grammophon, 1993 (see Item 135). ASIN B000RP4LX0. 915. Leonard Bernstein: The Love of Three Orchestras. 88 minutes, Kultur Video 1443. A consideration of Bernstein’s work with the New York Philharmonic, Vienna Philharmonic, and Israel Philharmonic. Not yet available as a DVD. 254 Leonard Bernstein: A Research and Information Guide

916. Little Drummer Boy: Essay on Mahler by Leonard Bernstein. 85 minutes. A video documentary/essay on Gustav Mahler from 1985. ASIN B000QCQ71S. 917. The Unanswered Question: Six Talks at Harvard by Leonard Bernstein. 793 minutes. Bernstein’s 1973 Harvard Norton Lectures on 6 DVDs. ASIN B00005TPL8. Volume 1: “Musical Phonology” Volume 2: “Musical Syntax” Volume 3: “Musical Semantics” Volume 4: “The Delights and Dangers of Ambiguity” Volume 5: “The Twentieth-Century Crisis” Volume 6: “The Poetry of the Earth”

FILMS AND THEATRICAL WORKS WITH BERNSTEIN’S MUSIC

918. Candide. 116 minutes. Released in 2005, this version included soloists from opera and Broadway. Patti LuPone and Kristin Chenoweth represented Broadway while Paul Groves and Stanford Olsen have distinguished operatic backgrounds. ASIN B0007WFXZI. 919. Mass at the Vatican City. 118 minutes. A semi-staged performance, which was produced for the Vatican’s Jubilee 2000 celebration. Dancers are omitted in this version. ASIN B0002S641Y. 920. On the Town. MGM, 1949. 98 minutes. Directed by Stanley Donen and Gene Kelly, produced by Arthur Freed. ASIN B00143XE1E. 921. On the Town. Uni/Deutsche Grammophon, 1993. 110 minutes. A concert version directed by Michael Tilson Thomas with the London Symphony and singers Frederica von Stade, Tyne Daly, Thomas Hampson, and so forth. The project also resulted in a CD: Deutsche Grammophon 437 516–2. ASIN 630289260. Not yet available as a DVD. 922. On the Waterfront. Columbia, 1954. 108 minutes. Directed by Elia Kazan and produced by Sam Spiegel. ASIN 6303402070. 923. Trouble in Tahiti. 45 minutes. A live-action cast performing on an animated set,

Downloaded by [New York University] at 04:27 09 August 2016 conducted by the composer. ISBN 0-7697-8045-8. 924. Trouble in Tahiti. 2001. 72 minutes. Directed by Tom Cairns, from Kultur White Star. ISBN 978-0-7697-0838-6. 925. West Side Story. United Artists, 1961. 151 minutes. Directed by Robert Wise and Jerome Robbins. ASIN 0792837614. 926. Wonderful Town: Concert Version. 76 minutes. Produced in 2005 with Simon Rattle conducting the Berlin Philharmonic with singers Kim Criswell, Thomas Hampson, Wayne Marshall, and others. ASIN B0009SQC2S. 9 Research Aids Composition Catalog, Archives and Libraries, and Web Sites

COMPOSITION CATALOG

927. Gottlieb, Jack, ed. Leonard Bernstein, August 25, 1918 —October 14, 1990, a Com- plete Catalog of His Works Celebrating His 80th Birthday Year: 1998–99. Volume 1: Life, Musical Compositions & Writings. Leonard Bernstein Music, Publisher; Boosey & Hawkes, Selling Agent, 1998. 96 p. ISBN 0-913932-82-5. ML134. B512G7 1998. This is the most complete published catalog of Bernstein’s works, appearing in its first edition in 1978. This version includes: an appreciation of Bern- stein by Ned Rorem, a detailed calendar of Bernstein’s life, a list of all of the orchestras Bernstein conducted and the years he worked with each, a classified inventory of compositions, a chronological list of compositions, a list of films in which Bernstein’s music appeared, inventories of Bernstein’s original television scripts and other writings, books by and about Bernstein, dis- Downloaded by [New York University] at 04:27 09 August 2016 sertations on Bernstein and his music, a list of his honors, online resources on Bernstein, and addresses of firms from which Bernstein music and other materials can be ordered. For each composition, Gottlieb provides title and subtitle, dedication, information on first performances, a list of numbers, and the scoring. Published catalogs have been superseded by what is now available online at www.leonardbernstein.com/composer.htm, described ahead under “Web Sites.”

255 256 Leonard Bernstein: A Research and Information Guide

REPRESENTATIVE ARCHIVES AND LIBRARIES WITH PRIMARY MATERIALS

928. The Genevieve P. Demme Archives and Resource Center. Houston Grand Opera. 510 Preston Street. Houston, Texas. 77002-1594. Phone: (713) 546-0238. Brian Mitchell ([email protected]), Archivist. Bernstein’s opera A Quiet Place premiered at the Houston Grand Opera in 1982. The archive was not established until 1989, but its holdings on the opera include a VHS video recording, an audiocassette, photographs, and other files with details concerning the production. Research is by appointment only. 929. The Library of Congress, Music Division. The James Madison Building. 101 Independence Avenue, S.E., Room LM 113. Washington, D.C. 20540-4710. Phone: (202) 707-5507. Mark Eden Horowitz ([email protected]), Archivist. All but relatively few of Bernstein’s papers are in the Bernstein Collection, which includes about 400,000 items stored in 1,227 boxes. The collection’s immense size is a tribute to the Bernstein family’s retention of materials, with Bernstein himself assisted in this endeavor by his long-time secretary, Helen Coates. The Bernstein Collection allows one to trace the man’s professional life in dazzling detail, and to approach his personal life to an extent unusual for public figures. The assembly of the Bernstein Collection is described online at http://rs6.loc. gov/ammem/lbhtml/lbabout.html. Bernstein began to donate his papers to the Library of Congress as early as 1953. For the next fourteen years he gave many of his most important musical manuscripts to the library, and between 1965 and 1983 he donated 104 scrapbooks. (There are also five scrapbooks at Brandeis University, presented in 1973.) The flood of donations of Bernstein materials to the Library of Congress followed his death in 1990. The bulk of his papers were under the control of the Springate Corporation, at one time known as The Leon- ard Bernstein Foundation, Inc. After Helen Coates left the library ninety-four items in her will in 1991, Springate added to the collection six hundred more items that had been in Coates’s possession. Then, in 1993, Springate donated the major share of the remaining materials, the vast bulk of what is now the Bern- stein Collection. There have since been additional donations by members of the family. The collection’s Finding Aid may be accessed at http://memory.loc.gov/

Downloaded by [New York University] at 04:27 09 August 2016 ammem/collections/bernstein/lbrelated.html. The Bernstein Collection divides into a number of distinct categories of materials: correspondence, writings, personal materials, music, photographs, datebooks, schedules, address books and message books, iconography, programs, fan mail, press materials, business papers, and scrapbooks. The Leonard Bernstein Collection is online as part of the American Memory Program, encoded by the Library of Congress National Digital Library Program, described ahead with other web sites (see Item 937). Ahead the various categories of the Bernstein Collection are described briefly; more details may be found on the web site. Research Aids 257

Correspondence The Bernstein Collection includes 17,559 items of correspondence from over 3,300 individuals or organizations arranged in alphabetical order by correspondent’s name, and then chronologically within folders. In addition, the Collection includes 300 condolence letters that Bernstein received upon the death of this father, 700 letters that Bernstein and others sent to his secretary, Helen Coates, and in December 2010 the Bernstein estate donated another 1,800 letters of a personal nature that they decided could now be accessed by researchers. An inventory of letters is available online in the Finding Aid, including the name of the correspondent and number of communications. Many letters are found in other locations in the collection, especially in Fan Mail and Personal Business Papers, but also Photographs and Writings.

Writings This part of the Collection includes 9,256 items that are inventoried in the Finding Aid, dating from between 1928 to 1991 (the latter a letter published posthumously in The New York Times). They are divided into four subseries: General Writings Chronology, Television Scripts, Norton Lectures/The Unanswered Question, and Book Materials. These categories are not mutually exclusive, meaning that the General Writings Chro- nology includes materials related to television scripts and the Norton Lectures. Included in Bernstein’s Writings are a wide variety of materials, from essays written for school to drafts of lectures, scripts, books, and so forth.

Personal Materials The Bernstein estate held little back from its donation to the Library of Con- gress, as may be appreciated from this category, which includes items dating between 1935 and 1990. Among the memorabilia are: his transcripts from Harvard, Social Security card, marriage certificate, passports, license plates, powers of attorney, a dolphin research center adoption certificate from 1988, and counts of cigarettes smoked in 1989. Downloaded by [New York University] at 04:27 09 August 2016 Music The segment of this category inventoried in the “Finding Aid” are the hol- ographs dating from between 1935 and 1990, including music written in Bernstein’s hand, ranging from sketches to fair copies. The materials are organized by work and then sections of each work, such as separate folders for each song in a show. There are a surprising number of unknown and obscure pieces. Other materials that do not yet appear in the “Finding Aid” but that can be accessed by request include manuscripts prepared by copy- ists and colleagues, photoreproductions (some of Bernstein’s manuscripts), and other published and printed music. 258 Leonard Bernstein: A Research and Information Guide

Photographs There are 17,439 items in this part of the collection. An “item” might be a single photograph or group of related images. The photographs date from between 1915 and 1993 and are organized chronologically. They can also be accessed in an index to names and an index to places, events, and activities. Many photographs are available online through American Memory, with links conveniently provided within the “Finding Aid.” Datebooks The collection includes over fifty datebooks from between 1944 and 1990, offering detailed scheduling information for each year, including both professional and personal events. Most of the writing in these books was by Bernstein or Helen Coates. Schedules This segment of the collection includes ninety-one schedules concerning travel and conducting activities from between 1983 and 1992. Address Books and Message Books There are six address books from various periods and three telephone message books dating from 1988 to 1989. Iconography This category includes drawings of Bernstein, comic strips in which he appeared, caricatures, and other such images, some by famous artists and designers. Programs The collection includes 2,800 programs dating from between 1925 and 1993, included among them events that Bernstein simply attended. Many programs are also found in the scrapbooks, including a number not represented here. They are organized chronologically and include concerts as well as programs for other types of events, such as films, stage works, memorial services, and graduation ceremonies. Downloaded by [New York University] at 04:27 09 August 2016 Fan Mail The collection includes fan mail dating from between 1938 and 1990 from people of all ages and from many different countries, filed by year received and then alphabetically by the name of the correspondent. On some letters Bernstein wrote comments that were used to write a reply. Press Materials This segment of the collection includes press clippings, many provided by clippings services, dating from between 1930 and 1994. They are grouped Research Aids 259

under the following categories: magazines, clippings by year, clippings by subject, clippings concerning television and radio transcripts of news items, clippings from press books, and press kits and miscellany. Business Papers This is a complicated section of the Collection. It is divided between Amber- son Business Papers (1949–94) and Personal Business Papers (1944–90). As the Finding Aid reports, “the distinction between the two subseries is not always clear.” Amberson Enterprises, Inc., founded in 1959 (even though papers in its files go back to 1949), was Bernstein’s management company. The New York Philharmonic managed many of his business affairs until he left the orchestra in 1969, so at that time Amberson began to take a larger role in his affairs and distinction between Amberson papers and personal papers became more important. For more on this aspect of Bernstein’s papers, see the Finding Aid. The Business Papers are filed alphabetically by name or subject. Scrapbooks The collection includes 130 scrapbooks covering the years 1933 to 1987, including programs, press clippings, photographs, and other items. Some are quite fragile and all have been microfilmed on a total of sixty-three reels. Similar materials are available elsewhere in the collection, but the Scrap- books were the loving work of Helen Coates during the many years that she worked for Bernstein, and they offer an extraordinarily detailed look at his many activities. Most cover several months and some even a year, but during busy periods a scrapbook might not even cover a month: no. 26, for example, covers only 4–28 May 1958. 930. Metropolitan Opera Archives. 30 Lincoln Center Plaza. New York, NY 10023. (212) 870-4510. John Pennino ([email protected]) and John Tomasicchio, Archivists. Bernstein led three operas at the Metropolitan Opera House: Falstaff (ten performances in 1964, one at the Metropolitan Theater in Boston), Cavalleria rusticana (five performances in 1970), andCarmen (six performances in 1972). He also

Downloaded by [New York University] at 04:27 09 August 2016 led the Leonore Overture No. 3 at the Centennial Gala II on 22 October 1983. The archive includes contract information, correspondence, reviews, and materials on those productions, such as photographs, programs, designs, and so forth. The archive is open only to serious researchers by appointment. Information about performances and performers at the Met, along with reviews and photographs of productions, may be accessed online through the MetOpera Database: http://69.18.170.204/archives/frame.htm. 931. The Paley Center for Media. Collection available at two locations: 25 West 52nd Street. New York, NY. 10019. (212) 621-6600, and 465 North Beverly Drive. Bev- erly Hills, CA. 90210. (310) 786-1000. Web site: www.paleycenter.org/. 260 Leonard Bernstein: A Research and Information Guide

Many of Bernstein’s television, film, and video projects are listed by Gottlieb in his Complete Catalog (Item 927, pp. 64–67) and there is an even more informative list in Leonard Bernstein: The Television Years (pp. 49–71). A selected inventory of those videos currently available appears in Chapter 8. Many of Bernstein’s video projects are not available for sale or rental. One can study in detail Bernstein’s media legacy at The Paley Center for Media, which has similar installations in both New York and Los Angeles. Their collection includes more than 200 radio and television titles that involve Bernstein. Included are most of Bernstein’s Omnibus, Ford Presents, and Young People’s Concerts broadcasts as well as other shows for which he wrote his own narration, such as the fascinating CBS News Special: Inside Pop—The Rock Revolution (broadcast 25 April 1967). The broadcast opens with Bernstein explaining for parents what he likes and dislikes about rock, with many taped illustrations and a performance by singer Janis Ian. (For letters that Ian wrote Bernstein about this appearance and how it helped her career, see Simeone, Item 411, nos. 527, 533.) There are a number of copies of shows on which Bernstein conducted, some broadcast on public television, such as those on Great Performances and Bernstein’s series of conducting Beethoven’s symphonies and other works with the Vienna Philharmonic in the early 1980s. A number of the films made by Amberson Productions are available at the archive, such as Beethoven’s Birthday: A Celebration in Vienna (broadcast on CBS-TV, 24 December 1971). Several tapes of productions of Bernstein’s theater works are available, including On the Town, Trouble in Tahiti, Wonderful Town, and Mass. Another small category is broadcast interviews with Bernstein, such as a 20/20 segment from 5 March 1987. Some material about Bernstein and his video work is available on The Paley Center’s web site. A true understanding of Bernstein the man and performer cannot be attained without studying his video work. His combination of musical gifts, ability as a public speaker, genial manner, and clear enthusiasm for what he was doing made him a remarkable pedagogical presence in these shows, which added greatly to his level of celebrity. The programs that reached the widest audiences were those on CBS-TV and ABC-TV: Omnibus (1954–61), Lincoln Presents (1958–59), Ford Presents (1959–62), and the Young People’s Concerts (1958–72). In the first three of these series, Bernstein describes musical compositions and concepts for the general audience in a fresh and engaging manner, using those explanations to Downloaded by [New York University] at 04:27 09 August 2016 introduce performances of complete musical segments, such as a symphonic movement or opera aria, sometimes after demonstrating themes or instrumental effects from the piano or with the orchestra. He uses a similar approach in the Young People’s Concerts, simplifying the material for adolescents. A comparison of two shows aimed at older and younger audiences—the Young People’s Concert “What Is a Concerto?” (broadcast 28 March 1959) and “Roman- ticism in Music” from Ford Presents (broadcast 22 January 1961)—demonstrates Bernstein’s varied approaches. In “What Is a Concerto?,” Bernstein uses plain, even colloquial, language and defines each term simply with rich examples. He defines the term concerto at some length, allowing for the various types of pieces Research Aids 261

heard in the concert. The audience sees the orchestra become larger as the number of soloists decreases with each successive, later work, a somewhat artificial construction but effective here. Bernstein leads from the harpsichord a Vivaldi concerto grosso movement and the finale of Bach’s Brandenburg Concerto No. 5, and later conducts the last movement of Mendelssohn’s Violin Concerto in E Minor and the last two movements of Bartók’s Concerto for Orchestra. As the show progresses, Bernstein’s explanations become shorter, but he continues to emphasize the program’s major issues. In “Romanticism in Music,” Bernstein ranges further and assumes more previous knowledge, perhaps more than could be expected from today’s television audience or even the audience to which he spoke. He makes reference to history, paint- ing, dance, and poetry. He emphasizes the artist as creator and proposes what he calls the “Four Freedoms of Romanticism” in the areas of tonality, rhythm, form, and sonority, primarily sticking to musical discussion once he reaches the “Four Freedoms.” In one segment he directly compares “Dido’s Lament” from Purcell’s Dido and Aeneas with Isolde’s death music from Wagner’s Tristan and Isolde, effective contrast for a general audience. Other musical examples include excerpts from a Chopin nocturne, Berlioz’s Romeo and Juliet, Verdi’s Aida (sung by Leontyne Price), the quartet from Act 3 of Wagner’s Meistersingers, and Rich- ard Strauss’s Don Juan. Bernstein addresses the television audience directly; there is no live audience. Bernstein’s mastery of the medium is impressive, both when interacting with young people or performing for the camera alone. 932. The Museum of the City of New York. 1220 Fifth Avenue. New York, NY 10029. (917) 492-3380. Morgen Stevens-Garmon ([email protected]), Theater Col- lections Archivist. The Museum of the City of New York Collection on Broadway Productions, ca. 1890–present, includes a large Theater Collection of programs, souvenir books, press clippings, promotional materials, photographs from productions and of actors and show creators, sheet music, lyric sheets, scripts, actors’ résumés, and other materials. The archive is an especially fine source for photographs. Mate- rials are organized by shows and the names of major figures, but there is little further organization and one simply sifts through the materials. There is no question that such a search is worthwhile, however, as will be described ahead in Downloaded by [New York University] at 04:27 09 August 2016 the case of Bernstein’s shows. One must schedule an appointment to work at the archive and request materials in advance. The Collection on Broadway Productions has materials concerning Bernstein’s five major Broadway shows: On the Town, Wonderful Town, Candide, West Side Story, and 1600 Pennsylvania Avenue. Holdings are related to both original productions and revivals in the New York area. Copies of Playbill and souvenir programs exist for all productions, including additional copies from later in a run when cast members changed, such as Wonderful Town when Carol Channing replaced Rosalind Russell. The archive also includes materials filed under “Leon- ard Bernstein” and Trouble in Tahiti, which ran on Broadway for a time in 1955. 262 Leonard Bernstein: A Research and Information Guide

Press clippings are for the most part in photocopies and include materials from print media as well as transcriptions of radio and television reviews from New York stations. For some shows, such as 1600 Pennsylvania Avenue, the number of reviews is especially large, in this case demonstrating that the show received positive reviews and some dreadful pans. Promotional materials include lists of critics who wish to attend opening nights, press kits, handbills, posters, and other advertisements. Photographic holdings include black-and-white prints and color slides from on stage and behind the scenes. Many publicity shots of actors appear as well. Sheet music usually includes single songs issued in conjunction with the show or its movie version, but other materials appear, such as a piano/vocal score for West Side Story and the original vocal part for the character “Ozzie” for On the Town. There is quite a bit of sheet music for Wonderful Town, including some with Pat Kirkwood (a British actress who played the lead role in London in 1955) listed as star instead of Rosalind Russell. Few of Bernstein’s musicals include lyric sheets among the holdings, but it is apparent that Betty Comden donated some of the lyrics from On the Town in her hand (including “Come Up to my Place”) in addition to the statement of principles that she wrote with Adolph Green and Bernstein as they started to work on the show, a document that has been quoted in a number of sources (see Burton, Item 113, p. 130). Scripts appear for several shows, not always in a final version, and sometimes script books for single characters, such as Comden’s book for her character “Claire” in On the Town. For West Side Story the archive holds a typescript of the movie synopsis. Other important artifacts include Betty Comden’s original contract for playing “Claire” in On the Town (for $200 per week) and a souvenir book and photographs that show singer Mary Costa as “Cunegonde,” probably from the London production, where she played this lead female role. The New York souvenir book features Barbara Cook in the role. 933. New York Philharmonic Archive. 10 Lincoln Center Plaza. New York, NY. 10023. Fax: (212) 875-5930. Barbara Haws, Archivist/Historian. Bernstein led 1,244 concerts and made more than 200 recordings with the New York Philharmonic (NYP) and served as its music director between 1958 and 1969; thereafter he was “laureate conductor.” The New York Philharmonic Downloaded by [New York University] at 04:27 09 August 2016 Archive’s holdings regarding Bernstein include: New York Philharmonic documents related to Bernstein’s work with the orchestra, Bernstein’s personal collection of conducting scores and other music, his commercial recordings with the NYP, and recordings of most of the orchestra’s radio broadcasts. Administrative documents related to Bernstein include the following types of materials: correspondence, season planning papers, statements of fees, rehearsal schedules, programs, program corrections, press clippings, press releases, tel- egrams, tour papers, statements of royalties paid by Columbia Records to the NYP, letters requesting interviews, copies of Bernstein’s speeches, fan mail, audi- tion papers, papers regarding the purchase of the boat Bernstein was given by the Research Aids 263

orchestra in 1969, box office records,Young People’s Concerts materials including scripts, copies of “thank you” notes to contributors, materials related to gala concerts such as Bernstein’s five hundredth and one thousandth concerts with the orchestra and so forth, and materials on continuing Bernstein festivals following his death. There are as well Bernstein materials unrelated to the NYP, such as press clippings from his work in Vienna and papers regarding Bernstein’s tenure with the New York City Symphony Orchestra. Bernstein’s music collection at the NYP Archive does not include scores of his own music, which have been given to the Library of Congress. The collection includes well over 3,000 scores, including orchestral scores and parts, operas scores, other vocal music, piano music, miniature scores, and so forth. Bernstein marked his scores in blue, and in many cases it is possible to see how his interpretation changed during the course of his lifetime. In his marked score to Mahl- er’s Symphony No. 1, for example, one finds blue pencil used to mark discrete sections, lengths of phrases, cues, tempo changes with metronome markings, and instructions (in German). Bernstein glued handwritten music into the score to mark his changes in orchestration, including deleted or added doublings. Sometimes character markings, such as sostenuto, are in red pencil. According to Barbara Haws, Philharmonic archivist, Bernstein conducted from both full orchestral scores and miniature scores. The NYP Archives have been transformed into a valuable online presence by a multimillion dollar grant from The Leon Levy Foundation, creating the NYP Leon Levy Digital Archives (archives.nyphil.org). The era where they began the process of digitalization was 1943 to 1970, partly because that encompasses the period when Bernstein was music director, and they now have 1.3 million pages online that represent all of their document holdings from that period. When one searches “Leonard Bernstein,” the database finds 571 programs, 699 scores, 2,913 orchestral parts, 2,180 photographs, and 546 business documents, all of which may be viewed online in clear images. It is now possible, for example, to study Bernstein’s markings in hundreds of scores and thousands of orchestral parts and ascertain minute details of running the orchestra while he was music director without leaving one’s home. Detailed studies on Bernstein and the New York Philharmonic cannot be too far in the future. Downloaded by [New York University] at 04:27 09 August 2016 934. The New York Public Library for the Performing Arts at Lincoln Center. 40 Lincoln Center Plaza. New York, NY. 10023-7498. Theatrical Division: (212) 870-1639. Music Division: (212) 870-1625. The Billy Rose Theatre Collection of the New York Public Library includes extensive holdings on Bernstein’s Broadway shows. The collection encompasses: books and periodicals; scripts and prompt books; programs; personal archives and scrapbooks; clipping files; set, costume, and lighting designs; prints, photographs, and posters; and films and videotapes among the Theatre on Film and Tape Archive. Materials are organized by names of figures and titles of shows. Collections of special importance for Bernstein materials include the papers 264 Leonard Bernstein: A Research and Information Guide

of Betty Comden and Adolph Green and Harold Prince. The Jerome Robbins Dance Division holds materials related to Bernstein’s collaborations with the famed choreographer. The Special Collections Music Division includes two important types of primary sources on Leonard Bernstein: the Margaret Carson Collection of papers from Bernstein’s longtime publicist, and letters in papers of other figures, especially those of composer William Schuman. Margaret Carson’s publicity firm was The Carson Office, located at 101 West 55th Street, 9b. Her associates included Josephine Hemsing and Bob Gallo. All three are represented in the collection’s extensive correspondence. Carson worked with Bernstein and his estate from at least 1973 until the early 1990s. According to Burton’s biography (Item 113, pp. 418, 484, 517), Carson or her associates traveled with Bernstein on occasion. The collection includes more than twenty boxes. It is clear from the material surveyed that The Carson Office kept Bernstein’s schedule (at least late in his life); collected press clippings from all over the world; compiled travel schedules; handled arrangements for critics attending various events; distributed biographies and photographs of Bernstein for concert promoters and the press; handled requests for interviews and pictures; and did other tasks. Letters from Bernstein appear in many collections; the New York Public Library has representative samples. At least one of his letters appears in the papers of the following individuals or organizations: Carlos Chávez; Jacob Druckman; composer Rudolf Forst; Minna Lederman, editor of Modern Music; singer Rosina Lhevinne; Otto Luening; Ashley Pettis of the NYPL Music Division and for a time director of the Composer’s Forum; Vincent Persichetti; Claire Reis of the League of Composers; Wallingford Riegger; William Schuman; Alexander Smal- lens; Arturo Toscanini; Thor Wood, an official at the NYPL for the Performing Arts; Denis Vaughan; and the League of Composers. A number of these letters are of interest because they link Bernstein with other well-known figures. Claire Reis, longtime president of the League of Compos- ers, for example, was an important figure in American music, a point Bernstein touched on in a thank-you note from 2 December 1964 for an event she pre-

Downloaded by [New York University] at 04:27 09 August 2016 sented in his honor. At other times he thanked her for supporting the New York City Symphony Orchestra (31 August 1945) and for writing him about his Bach program on Omnibus (8 April 1957). Bernstein sent a more revealing letter to Ashley Pettis of the NYPL Music Division, also at the time director of Compos- ers’ Forum. He had invited Bernstein to present a thirty-minute program for the forum. Helen Coates replied for the composer on 13 August 1947, declining the invitation because Bernstein did not feel he could schedule enough music to fill the time. The request was for chamber music, and Bernstein thought his most representative works included his first symphony, Fancy Free, and Facsimile, all for orchestra. The song cycle I Hate Music! is dismissed in the letter as “not . . . Research Aids 265

sufficiently representative” and the Sonata for Clarinet and Piano as “really a late student work.” A note at the bottom indicates that Pettis then extended the invitation to Lukas Foss. The most revealing correspondence involving Bernstein in the NYPL Music Division is found in the papers of composer William Schuman, Bernstein’s good friend from the late 1930s. The files include both Bernstein’s letters and Schuman’s carbons or handwritten copies. The letters date from throughout their friendship, becoming less chatty as time passes, when both men became occupied in busy positions. An early letter dates from October 1941 in which Bernstein writes Schuman with elation after being excused from service in the armed forces, officially because of asthma, but also because the doctor felt he had an important career ahead of him.1 In an undated letter Bernstein writes in the hope that Schuman was not offended by his 1942 article about Schuman in Modern Music (see Item 67), stating that editor Minna Lederman changed his meaning in the editing process. Schuman’s early thoughts about Bernstein the composer are found in a letter from 8 April 1943 to Carl Engel, president of G. Schirmer (Schuman’s publisher), where he praises the competence of Bernstein as a composer but questions his originality. Other important letters include Bernstein’s detailed report to Schuman (14 November 1948) about his conducting in Israel close to the front and Israel’s adulation for him. At the bottom of the letter, referring to his New York Philharmonic debut in 1943, he adds, “Five years ago today, hey, I got famous!” In letters from the early 1950s, Bernstein advocates for Israeli musicians by recommending them to the Juilliard School (of which Schuman was president) and calls the premiere of Trouble in Tahiti at the Brandeis festival in 1952 “the Brandeis fiasco” (11 August 1952).2 After becoming music director of the New York Philharmonic, Bernstein writes Schuman about programming his music, noting during the 1958 tour of Latin America that he needed to take Schuman’s Symphony No. 6 off some of the programs because it represented too much blowing for the brass players at high altitudes (this letter appears in: Simeone, Item 411, no. 417). From the 1960s the letters show a continuing sense of camaraderie and friendship, but there are fewer letters, especially from Bernstein; the folder dated

Downloaded by [New York University] at 04:27 09 August 2016 1963 to 1969 includes only two communications from him to Schuman. They worked closely together in the 1960s, with Bernstein at the Philharmonic and Schuman president of Lincoln Center, and they often attended receptions together and were invited to events honoring the other. Schuman sent Bernstein a private tribute on 18 October 1967, when, after sneaking into a rehearsal, he wrote, “Never do I take your extraordinary gifts for granted.” Opportunities to honor one another abounded in the 1970s and 1980s, but the number of extant letters from Bernstein to Schuman continues to slow, with only one from the 1970s, an official appeal on behalf of Amnesty International. On 11 February 1974, Schuman sent Bernstein hearty congratulations on his 266 Leonard Bernstein: A Research and Information Guide

score for Dybbuk, citing its “wonderful moments.” He also sent some touching messages about their long friendship and inability to find time to meet. In the 1980, Bernstein chaired the committee celebrating Schuman’s seventieth birthday. Later in the decade each honored the other at various events or in publications, and correspondence from these events survives, such as Schuman writing the introduction for the exhibition catalog in 1985 when the Museum of Broadcasting honored Bernstein with an exhibition. The final item is from 1986, when Bernstein was asked to speak at Potsdam College when Schuman received an honorary doctorate. 935. The State Historical Society of Wisconsin Archives. 816 State Street. Madison, WI. 53706. (608) 264-6535. As has been demonstrated by Geoffrey Block in his Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim (Item 674, pp. 245–73), Stephen Banfield in his Sondheim’s Broadway Musicals (Item 666, pp. 31–38), and in other sources, this is an important archive for materials on the genesis of West Side Story. Stephen Sondheim’s papers from 1946 to 1965 are there. Materials related to Bernstein appear in other important collections as well, including, for example, those of Marc Blitzstein (1918–2004), Kermit Bloomgarden (1938–77), Moss Hart and Kitty Carlisle (1922–62, 1988), Leonard Lehrman (1970–2004), Herman Levin (1943–81), and Richard Schickel (1953–2006), among others. The web site for the archive is www.wisconsinhistory.org/Content.aspx?dsNav=N:1133.

WEB SITES

936. www.leonardbernstein.com The official web site of The Leonard Bernstein Estate, associated with Amberson, Inc., the company that Bernstein founded to manage his business affairs. In addition to a complete listing of Bernstein’s works, the site has links to the newsletter Prelude, Fugue & Riffs, and many other features. 937. http://memory.loc.gov/ammem/lbhtml/lbhome.html The Library of Congress’s American Memory program includes an evolving elec-

Downloaded by [New York University] at 04:27 09 August 2016 tronic window into its huge Bernstein Collection, described earlier in the archival portion (Item 929). Available on the site are many letters, photos, and other features. 938. www.boosey.com Bernstein’s primary publisher is Boosey & Hawkes. The company’s web site includes a great deal of information about his works and has placed the scores of many of them online for perusal. 939. http://archives.nyphil.org Bernstein is a huge presence on this valuable web site from the New York Phil- harmonic Archives, described earlier (Item 933). Research Aids 267

940. http://ibdb.com Offered by The Broadway League, the Internet Broadway Database (IBDB) archive is the most accessible source for detailed Broadway theatre information, both historical and for current productions. It can be searched by shows, people, theaters, characters, awards, songs, grosses, and seasons. 941. www.westsidestory.com This site presents many useful materials about West Side Story, including archival materials (letters, journal, photos, interviews), lyrics, a list of current productions, and licensing information. 942. www.brandeis.edu/arts/festival The web site for the arts festival that Bernstein helped found at Brandeis in 1952; he was associated with the school in some way for almost forty years. Bernstein and his activities receive coverage here, the site of what is now known as the Leonard Bernstein Festival of the Creative Arts.

NOTES

1 This was not Bernstein’s permanent release from serving in the military during World War II. He wrote Serge Koussevitzky in August 1943 (see Simeone, Item 411, no. 151) to tell his mentor that he had been excused permanently from military service by a doctor who also believed in maintaining the country’s cultural life, despite the war. 2 Bernstein also disparaged the success of Trouble in Tahiti at Brandeis in a letter to David Dia- mond dated 21 July 1952 (see Simeone, Item 411, no. 322). Downloaded by [New York University] at 04:27 09 August 2016 This page intentionally left blank Downloaded by [New York University] at 04:27 09 August 2016 Index of Compositions and Arrangements

Works by Leonard Bernstein D A Dance Suite 16, 561 Divertimento for Orchestra 56, 578 Anniversaries (as a group) 449, 528, 570, Dybbuk 9, 15, 27, 301, 317, 520, 535, 561, 584, 571 625, 697, 745, 784, 810, 934 Arias and Barcarolles 21, 101, 130, 520, 576, Dybbuk Suite No. 1 52 605, 608, 609, 625 Dybbuk Suite No. 2 53

B E Ballets (as a group) 136, 516, 658, 697, 742 “Elegy for Mippy I” (See Brass Music) The Birds 413 “Elegy for Mippy II” (See Brass Music) La Bonne Cuisine 18, 606, 607, 610 The Exception and the Rule 517 Brass Music 12, 577, 579 Broadway shows (as a group) 663, 664, 675, 683, 700, 707, 711, 713, 751, 772, 809, F 820, 932, 934 Facsimile (and Facsimile: A Choreographic By Bernstein 33, 36, 667 Essay) 10, 26, 48, 73, 139, 498, 561, 656, Bye Bye Jackie 107, 929 697, 750, 934 Fancy Free 25, 26, 28, 46, 48, 108, 149, 400, 402, C 415, 492, 498, 516, 520, 539, 561, 656, 671, 673, 697, 704, 750, 764, 780, 797, Candide 6, 30, 33, 37, 41, 50, 84, 85i, 104, 105, 828, 934 139, 160, 163, 195, 210, 225, 226, 227, “Fanfare for Bima” (See Brass Music) 299, 312, 315, 402, 408, 425, 467, 487, Fanfare for the Inauguration of JFK, 61 490, 496, 498, 506, 517, 518, 520, 526, Fanfare for the 25th Anniversary of High School 530, 540, 546, 557, 558, 661, 663, 664, of Music and Art, NYC 62 666, 675, 682, 683, 686, 687, 698, 705, Five Anniversaries 5, 45, 550, 570, 571, 573 709, 711, 725, 733, 735, 737, 744, 751, Four Anniversaries 4, 569, 571 757, 762, 766, 769, 772, 773, 781, 785, 786, 789, 794, 801, 807, 809, 811, 812, H Downloaded by [New York University] at 04:27 09 August 2016 814, 817, 818, 824, 827, 903, 918, 932, 932 CBS Music 58 Halil, Nocturne 58, 96 Chamber music (as a group) 530 Hashkiveinu 22, 536, 580, 582 Chichester Psalms 23, 57, 88, 104, 148, 154, 361, 520, 530, 535, 540, 548, 550, 553, 559, I 561, 563, 580, 581, 582, 583, 584, 585, 586, 587, 588, 589, 590, 623, 633, 637, I Hate Music! 17, 550, 607, 610, 611, 934 759, 910 Concerto for Orchestra 15, 59, 173, 310, 520, j 625, 931 Concertos (as a group) 530 Jubilee Games 59, 173, 469, 625

269 270 Index of Compositions and Arrangements

L 722, 734, 735, 740, 741, 769, 787, 788, 791, 807, 818, 829, 928 The Lark 24, 37, 517, 535, 580, 582, 818 R M “Rondo for Lifey”(See Brass Music) Mass 9, 10, 17, 32, 37, 54, 55, 63, 103, 119, 139, 143, 148, 151, 220, 221, 224, 268, 344, 345, 348, 357, 366, 431, 461, 493, 498, S 501, 520, 524, 527, 530, 535, 540, 550, El Salón México 2, 42, 46, 89f, 512, 573 552, 553, 557, 558, 559, 561, 576, 578, Serenade (After Plato’s Symposium) 5, 45, 83, 610, 657, 669, 670, 681, 683, 685, 691, 139, 151, 462, 513, 520, 538, 542, 554, 692, 693, 696, 699, 703, 706, 707, 713, 559, 561, 570, 616, 627, 632, 636, 653, 717, 728, 729, 735, 736, 738, 745, 747, 797 754, 759, 760, 763, 770, 783, 792, 796, Seven Anniversaries 3, 571 798, 799, 800, 803, 807, 818, 821, 830, Seven Variations on an Octatonic Theme 59 864, 919, 931 Shivaree 63, 576 Missa Brevis 24, 37, 759 Silhouette 536, 610 Moby Diptych 9, 573 1600 Pennsylvania Avenue 34, 41, 54, 228, 461, A Musical Toast 57 491, 497, 668, 675, 703, 715, 716, 727, My Twelve-Tone Melody 130 735, 762, 773, 789, 802, 807, 818, 932, 932 O The Skin of Our Teeth 23, 33, 508, 584, 589 Slava! 54, 618 On the Town 1, 28, 33, 47, 48, 70, 103, 119, 139, Sonata for Clarinet and Piano 11, 13, 575, 576, 140, 146, 224, 231, 404, 431, 477, 481, 934 492, 498, 500, 508, 520, 521, 523, 526, Songfest 20, 104, 530, 605, 609, 615, 628, 631, 528, 533, 542, 561, 609, 664, 671, 675, 639, 649 691, 695, 697, 703, 711, 714, 732, 735, Songs (as a group) 608, 509, 610 748, 749, 750, 751, 757, 773, 777, 778, Song Without Words 573 780, 790, 807, 809, 818, 920, 921, 931, Symphonic Dances from West Side Story 51, 932 520, 523, 697 On the Waterfront 6, 35, 49, 85e, 119, 300, 462, Symphonic Suite from On the Waterfront 49, 523, 550, 591, 592, 593, 594, 595, 596, 550, 712 597, 598, 599, 600, 601, 602, 603, 604, Symphonies (as a group) 412, 520, 527, 530, 712, 922 613, 614, 623, 633, 637, 644 “Opening Prayer” 59 Symphony No. 1: Jeremiah 3, 42, 68, 104, 146, Operas (as a group) 530, 683, 709 204, 400, 503, 512, 535, 539, 541, 548, Overture to Candide 50, 139 559, 565, 910 Symphony No. 2: The Age of Anxiety 10, 43, 78, 151, 498, 535, 539, 542, 555, 561, 614, Downloaded by [New York University] at 04:27 09 August 2016 P 615, 617, 621, 627, 633, 643, 644, 652, Peter Pan 5, 33, 36, 139, 320, 340, 341, 609, 658, 654, 697, 750, 864, 910, 789, 806 Symphony No. 3: Kaddish 44, 103, 257, 533, Piano Sonata 2, 576 548, 553, 564, 565, 580, 582, 584, 612, Piano Trio 14, 576 614, 615, 629, 634, 635, 638, 641, 642, Prelude, Fugue and Riffs 60, 159, 510, 520, 542, 644, 645, 647, 651, 652, 745 550, 561, 648, 936 T Q Thirteen Anniversaries 9, 571, 573 A Quiet Place 9, 39, 40, 138, 186, 187, 188, 189, Three Dances Variations from Fancy Free 46 347, 360, 383, 462, 468, 469, 526, 554, Three Dance Episodes from On the Town 47, 558, 559, 665, 683, 688, 709, 717, 718, 70, 523, 697 Index of Compositions and Arrangements 271

Three Meditations from Mass 55 Alice in Wonderland (Dragon) 76 Touches: Chorale, Eight Variations and American Requiem (André) 657 Coda 8 André, Don, American Requiem 657 Trouble in Tahiti 37, 40, 184, 375, 446, 465, Assassins (Sondheim) 486, 768 520, 521, 526, 540, 554, 558, 559, 660, 679, 683, 709, 718, 739, 740, 741, 746, B 761, 769, 774, 787, 788, 789, 791, 798, 807, 809, 818, 822, 829, 923, 924, 931, Bach, J. S., Brandenburg Concerto No. 5 931; 932, 934 Cantata, BWV 140 76; St. Matthew Two Anniversaries (see Thirteen Anniversaries) Passion 85k, 770 573 Bartók, Béla, Concerto for Orchestra 59, 625, Two Love Songs 19, 525, 610 931; Music for Strings, Percussion and Celesta 71 V Beatrix Cenci (Ginastera) 699 Beethoven, Ludwig van, Fidelio 843, 849, 902; Variations on an Octatonic Melody 15 Grosse Fuge 755; Piano Concerto No. 1 in G 902; Symphony No. 3 (“Eroica”) W 89i; Symphony No. 5 56, 85f, 907; Symphony No. 7 93c; Symphony No. 9 “Waltz for Mippy III” (see Brass Music) 97i, 901, 902 West Side Story 23, 31, 33, 37, 51, 85i, 97e, 104, Bellini, Vincenzo, La sonnambula 843, 849 105, 119, 124, 135, 148, 151, 195, 213, Bells Are Ringing (Styne, Comden, and Green) 264, 266, 267, 274, 280, 322, 326, 327, 7, 777 328, 329, 333, 335, 337, 358, 359, 367, Berg, Alban, Lulu 71; Violin Concerto 93e; 368, 378, 382, 411, 420, 436, 440, 461, Wozzeck 71, 93e 467, 485, 486, 489, 492, 494, 498, 506, Berlioz, Hector, Requiem 899; Romeo and Juliet 511, 518, 520, 521, 522, 523, 526, 533, 931 540, 542, 545, 553, 558, 561, 578, 584, Bizet, Georges, Carmen 713, 854 593, 626, 629, 655, 662, 663, 664, 666, The Black Crook 85i 672, 672, 674, 675, 676, 677, 678, 680, Blitzstein, Marc, Airborne Symphony 747; The 683, 684, 689, 690, 697, 700, 701, 702, Cradle Will Rock 124, 447, 485, 505, 703, 710, 711, 712, 714, 721, 726, 730, 679, 701; Regina 80, 679, 707 731, 735, 742, 743, 744, 749, 751, 752, Bloch, Ernest, Sacred Service 646, 647 753, 755, 756, 757, 758, 766, 767, 768, Bock, Jerry, and Sheldon Harnick, Fiddler on 771, 772, 773, 775, 776, 779, 782, 789, the Roof 808, 817 792, 793, 794, 795, 804, 805, 807, 808, La Bohème (Puccini) 85l, 843, 849 809, 812, 813, 814, 815, 816, 817, 818, Bolero (Ravel) 900 819, 820, 824, 825, 826, 831, 832, 905, Boris Godunov (Musorgsky) 54 925, 932, 935, 941 Brahms, Johannes, Piano Concerto No. 1, 98, A White House Cantata 34, 41, 228, 703, 762 460; Symphony No. 4, 89i, 93c, Wonderful Town 1, 29, 33, 205, 318, 477, 481, 894 Downloaded by [New York University] at 04:27 09 August 2016 485, 492, 508, 521, 542, 609, 659, 675, Brandenburg Concerto No. 5 (J. S. Bach) 683, 694, 695, 711, 723, 724, 735, 751, 931 757, 772, 773, 777, 807, 809, 817, 818, Britten, Benjamin, Peter Grimes 558, 839; 823, 832, 926, 931, 932 Spring Symphony 631; War Requiem 612, 657 Works by Other Composers C A Cantata, BWV 140 (J. S. Bach) 76 Adams, John, Nixon In China 791 Carmen (Bizet) 713, 854 Aida (Verdi) 489, 931 Carpenter, John Alden, Violin Concerto 66 Airborne Symphony (Blitzstein) 747 Cavalleria Rusticana (Mascagni) 519, 930 Alborada del gracioso (Ravel) 900 Chávez, Carlos, Sinfonía india 71 272 Index of Compositions and Arrangements

Cherubini, Luigi, Medea 843 Harnick, Sheldon, and Jerry Bock, Fiddler on Comden, Betty, Jules Styne and Adolph Green, the Roof 808, 817 Bells Are Ringing 7, 777 Harris, Roy, Symphony No. 3, 66 Concerto for Orchestra (Bartók) 59, 625, 931 Hart, Lorenz and Richard Rodgers, Pal Joey Copland, Aaron, Our Town 5; Piano Variations 808 2, 8, 87; El Salón México 2, 42, 46, 89f, Haydn, Franz Joseph, Symphonies 49, 82 – 88, 512, 573; The Second Hurricane 512, 92 – 104 933 874; Statements 71; Symphonic Ode 71; Henze, Hans Werner, Voices 631 Vitebsk 784 Hill, Edward Bulingame, Symphony No. 3, 65 The Cradle Will Rock (Blitzstein) 124, 447, 485, L’Histoire du soldat (Stravinsky) 72 505, 679, 701 HMS Pinafore (Gilbert and Sullivan) 427

D I Dido and Aeneas (Purcell) 931 Into the Woods (Sondheim) 666, 769 Dona nobis pacem (Vaughan Williams) 657 Ives, Charles, The Unanswered Question Donizetti, Gaetano, Lucia di Lammermoor 775 93 – 93f, 442, 543, 627, 892, 917, Don Juan (R. Strauss) 931 929 Dragon, Carmen, Alice in Wonderland 76 Dvorák, Antonín, Symphony No. 9 (“From the J New World”) 89i Jesus Christ Superstar (Lloyd Webber and Rice) F 736, 792

Falstaff (Verdi) 519, 843, 930 K Fiddler on the Roof (Bock and Harnick) 808, 817 Karla (Lehrman) 632 Fidelio (Beethoven) 843, 849, 902 Kern, Jerome and Oscar Hammerstein II, Show Four Saints in Three Acts (Thomson) 79 Boat 674, 808, 935 Khachaturian, Aram, Masquerade 76 G The Knot Garden (Tippett) 787

Gershwin, George, Of Thee I Sing 85i, 808; L Porgy and Bess 808; Rhapsody in Blue 72, 89d, 478 Latouche, John and Jerome Moross, The Gilbert, William S. and Arthur Sullivan, HMS Golden Apple 808 Pinafore 427; The Mikado 85i Lehrman, Leonard, Karla 632 Ginastera, Alberto, Beatrix Cenci 699 Lerner, Alan Jay and Frederick Loewe, My Fair Godspell (Schwartz) 493, 736 Lady 41, 808, 813 The Golden Apple (Moross and Latouche) 808 Lloyd Webber, Andrew, and Tim Rice, Jesus

Downloaded by [New York University] at 04:27 09 August 2016 Green, Adolph, Betty Comden, and Jules Christ Superstar 736, 792 Styne, Bells Are Ringing 7, 777 Loesser, Frank, The Most Happy Fella 773, 808, Grosse Fuge (Beethoven) 755 813, 824 Gypsy (Styne and Sondheim) 752, 772 Loewe, Frederick, and Alan Jay Lerner, My Fair Lady 41, 808, 813 H Lucia di Lammermoor (Donizetti) 775 Lulu (Berg) 71 Hair (MacDermot, Ragni and Rado) 414, 792 Hammerstein, Oscar II and Jerome Kern, Show M Boat 674, 808, 935 Hammerstein, Oscar II and Richard Rodgers, MacDermot, Galt, Gerome Ragni, and James South Pacific 85i Rado, Hair 414, 792 Index of Compositions and Arrangements 273

Mahler, Gustav, Symphony No. 1 933; Piano Concerto No. 1 (Beethoven) 902 Symphony No. 4 835; Symphony Piano Concerto No. 1 (Brahms) 98, 460 No. 5 76, 906; Symphony No. 8 759; Piano Concerto No. 1 (Ravel) 900 Symphony No. 9 93e, 906 Piano Sonata in A Minor, K. 310 (Mozart) Mascagni, Pietro, Cavalleria Rusticana 519, 775 930 Piano Variations (Copland) 2, 8, 87 Masquerade (Khachaturian) 76 Piston, Walter, Symphony No. 1, 97a Medea (Cherubini) 843 Porgy and Bess (Gershwin) 808 The Meistersingers of Nuremberg (Wagner) Prokofiev, Sergei, Peter and the Wolf 97a, 775; 931 Violin Concerto 65 Mendelssohn, Felix, Violin Concerto in E Puccini, La Bohème 85l, 843, 849 Minor 931 Purcell, Henry, Dido and Aeneas 931 The Mikado (Gilbert and Sullivan) 85i Moross, Jerome, and John Latouche, The R Golden Apple 808 Moses and Aaron (Schoenberg) 796 Radetzky March (J. Strauss, Sr.) 56 The Most Happy Fella (Loesser) 773, 808, 813, Rado, James, Galt MacDermot and Gerome 824 Ragni, Hair 414, 792 Mozart, Wolfgang Amadeus, Piano Sonata in Ragni, Gerome, Galt MacDermot and James A Minor, K. 310 775; Symphony No. 40 Rado, Hair 414, 792 93a, 93b Ravel, Maurice, Alborada del gracioso 900; Music for Strings, Percussion and Celesta Bolero 900; Piano Concerto No. 1 900; (Bartók) 71 Shéhérazade 900; Tzigane 900; La valse Musorgsky, Modest, Boris Godunov 54 900 My Fair Lady (Lerner and Loewe) 41, 808, Regina (Blitzstein) 80, 679, 707 813 Requiem (Berlioz) 899 Requiem (Verdi) 498, 898 N Revelation in the Courthouse Park (Partch) 803 Rhapsody in Blue (Gershwin) 72, 89d, 478 Nash, Ogden, and Kurt Weill, One Touch of Rice, Tim, and Andrew Lloyd Webber, Jesus Venus 500 Christ Superstar 736, 792 Nixon in China (Adams) 791 The Rite of Spring (Stravinsky) 93f Les Noces (Stravinsky) 71 Rodgers, Richard and Lorenz Hart, Pal Joey 808 O Rodgers, Richard and Oscar Hammerstein II, Oklahoma!, 85i, 778, 808, 817; South Oedipus Rex (Stravinsky) 93f, 843 Pacific 85i Of Thee I Sing (Gershwin) 85i, 808 Romeo and Juliet (Berlioz) 931 Oklahoma! (Rodgers and Hammerstein) 85i, Rorem, Ned, Violin Concerto 510 778, 808, 817 Der Rosenkavalier (R. Strauss) 496, 691, 843 One Touch of Venus (Weill and Nash) 500 Downloaded by [New York University] at 04:27 09 August 2016 Otello (Verdi) 775 S Our Town (Copland) 5 Sacred Service (Bloch) 646, 647 P El Salón México (Copland) 2, 42, 46, 89f, 512, 573 Pal Joey (Rodgers and Hart) 808 Satie, Eric, Socrate 71 Partch, Harry, Revelation in the Courthouse Schoenberg, Arnold, Moses and Aaron 796 Park 803 Schuman, William, Symphony No. 2 66; Perséphone (Stravinksy) 71 Symphony No. 6 934 Peter Grimes (Britten) 558, 839 Schumann, Robert, Symphony No. 1 897 Peter and the Wolf (Prokofiev) 97a, 775 Schwartz, Stephen, Godspell 493, 736 Petrushka (Stravinsky) 93c The Second Hurricane (Copland) 512, 874 274 Index of Compositions and Arrangements

Sessions, Roger, Symphony 71 Symphony No. 8 (Mahler) 759 Shéhérazade (Ravel) 900 Symphony No. 9 (Beethoven) 97i, 901, 902 Shostakovich, Dmitri, Symphony No. 5 835, 897 Symphony No. 9 (“From the New World”) Show Boat (Kern and Hammerstein) 674, 808, (Dvorák) 89i 935 Symphony No. 9 (Mahler) 93e, 906 Siegfried (Wagner) 100 Symphony No. 40 (Mozart) 93a, 93b Sinfonía india (Chávez) 71 Socrate (Satie) 71 T Sondheim, Stephen, Assassins 486, 768; Into the Woods 666, 769; Tchaikovsky, Pyotr Il’yich, Symphony No. 6 Sondheim, Stephen, and Jules Styne, Gypsy (“Pathétique”) 89i, 469, 896 752, 772 Thomson, Virgil, Four Saints in Three Acts 79 La sonnambula (Bellini) 843, 849 The Threepenny Opera (Weill) 465, 765 South Pacific (Rodgers and Hammerstein) 85i Tippett, Michael, The Knot Garden 787 Spring Symphony (Britten) 631 Tristan and Isolde (Wagner) 85j, 843, 847, 931 Statements (Copland) 71 Tzigane (Ravel) 900 St. Matthew Passion (J. S. Bach) 85k, 770 Strauss, Johann, Sr., Radetzky March 56 Strauss, Richard, Don Juan 931; Der U Rosenkavalier 496, 691, 843 The Unanswered Question (Ives) 93 – 93f, 442, Stravinsky, Igor, L’Histoire du soldat 72; 543, 627, 892, 917, 929 Les Noces 71; Oedipus Rex 93f, 843; Perséphone 71; Petrushka 93c; The Rite of Spring 93f V Styne, Jules, Betty Comden and Adolph Green, Bells Are Ringing 7, 777 La valse (Ravel) 900 Styne, Jules, and Stephen Sondheim, Gypsy Vaughan Williams, Ralph, Dona nobis pacem 752, 772 657 Sullivan, and Gilbert, HMS Pinafore 427; The Verdi, Aida 489, 931; Falstaff 519, 843, 930; Mikado 85i Otello 775; Requiem 498, 898 Symphonic Ode (Copland) 71 Violin Concerto (Berg) 93e Symphonies 49, 82 – 88, 92 – 104 (Haydn) 933 Violin Concerto (Carpenter) 66 Symphony (Sessions) 71 Violin Concerto (Prokofiev) 65 Symphony No. 1 (Mahler) 933 Violin Concerto (Rorem) 510 Symphony No. 1 (Piston) 97a Violin Concerto No. 2 (Mendelssohn) 931 Symphony No. 1 (Schumann) 897 Vitebsk (Copland) 784 Symphony No. 2 (Schuman) 66 Voices (Henze) 631 Symphony No. 3 (“Eroica”) (Beethoven) 89i Symphony No. 3 (Harris) 66 W Symphony No. 3 (Hill) 3, 65 Symphony No. 4 (Brahms) 89i, 93c, 894 Wagner, Richard, The Meistersingers of Downloaded by [New York University] at 04:27 09 August 2016 Symphony No. 4 (Mahler) 835 Nuremberg 931; Siegfried 100; Tristan Symphony No. 5 (Beethoven) 56, 85f, 907 and Isolde 85j, 843, 847, 931 Symphony No. 5 (Mahler) 76, 906 War Requiem (Britten) 612, 657 Symphony No. 5 (Shostakovich) 835, 897 Weill, Kurt, The Threepenny Opera Symphony No. 6 (Schuman) 934 465, 765 Symphony No. 6 (“Pathétique”) (Tchaikovsky) Weill, Kurt, and Ogden Nash, One Touch of 89i, 469, 896 Venus 500 Symphony No. 7 (Beethoven) 93c Wozzeck (Berg) 71, 93e Index of Authors, Editors, and Titles

A Alsop, Marin. “Discussing Mass” (with Edward Seckerson) 344; “Mass” 221; “Young Aaron Copland, His Work and Contribution to Conductors Remember their Teacher” American Music (J. Smith) 512 162 “Aaron Copland & Leonard Bernstein: “Alumni Reunion” (Bernstein, video) 912 Twentieth-Century Music Through the Amberg, George. Ballet in America: The Eyes of Masters” (Kirk) 443 Emergence of an American Art 656 “Aaron Copland: An Intimate Sketch” Findings “Un américain à Paris” (Tubeuf) 418 (Bernstein) 97h American Classics: The Discographies of “Aaron Copland Birthday Party” (video) 912 Leonard Bernstein and Eugene Aaron Copland: The Life and Work of an Ormandy (Hunt) 846 Uncommon Man (Pollack) 504 American Composers of our Time (Machlis) Abbott, George. Mister Abbott 477 148 “The Absorption of Race Elements into “The American Intellectual and Music” American Music” Findings (Bernstein) (Tromble) 473 97c “The American Mahler: Musical Modernism “A.C. (An Acrostical Sonnet, on his 80th and Transatlantic Networks Birthday)” (Bernstein) 95 1920 – 1960” (Mugmon) 450 “An Accolade for One Helluva Show” American Masters-Legends of Broadway (video) (Morrison) 298 893 Acevedo-Muñoz, Ernesto R. West Side Story as “American Masters: Reaching for the Note” 245 Cinema: The Making and Impact of an The American Musical and the Formation of American Masterpiece 655 National Identity (Knapp) 743 Adams, Sarah, Carol J. Oja, and Kay Kaufman The American Musical and the Performance of Shelemay. “Leonard Bernstein’s Jewish Personal Identity (Knapp) 744 Boston: An Introductory Note” 424 “American Musical Comedy” (Bernstein) 85i “An Affair to Remember” (K. Ames) 101 American Musical Theatre: A Chronicle “The Ageless Mozart” The Infinite Variety of (Bordman) 675 Music (Bernstein) 89e American Music in the Twentieth Century “The Age of Anxiety: Music, Politics, and (Gann) 124 McCarthyism 1948 – 1954” (Gentry) American Music Since 1910 (Thomson) 560 621 The American Symphony (Butterworth) 614 Agitato: A Trek through the Musical Jungle Downloaded by [New York University] at 04:27 09 August 2016 “America’s Maestro Bows Out” (Green) 129 (Toobin) 514 “America’s Musician at 70” (Henahan) 132 “An Agreeable Division of Labor” (Wilbur) Amerikanische Musik seit Charles Ives 164 (Danuser, Kämper, and Terse, eds.) 689 Alan Jay Lerner: A Biography (Jablonski) Ames, Evelyn. A Wind from the West: Bernstein 491 and the New York Philharmonic Abroad Alan Jay Lerner: A Lyricist’s Letters (McHugh) 833 497 Ames, Katrine. “An Affair to Remember” 101 Alderking, Seann and Charlie Harmon. “West “An Analysis of Text and Music of Selected Side Story: New Piano-Vocal Score” 264 Songs by Leonard Bernstein” (Wass) 610 “All in the Family: Brandeis University “An Analytical Study of Published Clarinet and Leonard Bernstein’s ‘Jewish Sonatas by American Composers” Boston’ ”(Kaskowitz) 441 (Carlucci) 574

275 276 Index of Authors, Editors, and Titles

“The Anatomy of a Symphony Orchestra” Atkinson, Brooks. Broadway 664; “First Night (Bernstein, video) 912 at the Theatre: Jean Arthur and Boris Anderson, Martin. “A Bernstein Cornucopia” Karloff in an Excellent Version of 520 Barrie’s ‘Peter Pan,’ ’’ 658; “Man of André, Don A. “Leonard Bernstein’s Mass as Notes: Leonard Bernstein’s Musical Social and Political Commentary on Career Deprives Broadway of Able the Sixties” 657 Writer” 663; “Musical ‘Candide’: Lillian “The Anniversaries for Solo Piano by Leonard Hellman and Leonard Bernstein Turn Bernstein” (Luther) 570 Voltaire Satire Into Fine Play” 661; Anything Goes: A History of American Musical “Theatre: ‘Trouble in Tahiti,’ Draper, Theatre (Mordden) 773 ‘27 Wagons’ ” 660; “ ‘West Side Story’: Applebaum, Sada. “With the Artists: Leonard Moving Music Drama On Callous Bernstein” (with Samuel Applebaum) Theme” 662; “ ‘Wonderful Town’: 834 Rosalind Russell as the Head Clown in Applebaum, Samuel, and Sada Applebaum. A Big Broadway Musical Show” 659 “With the Artists: Leonard Bernstein” “Attempting the Impossible: A Record 834 Producer’s Collaboration with Leonard Ardoin, John. “Bernstein Discusses Creative Bernstein” (Rinke) 190 Performer” 868; “Bernstein’s Legacy Auman, Elizabeth H. “The Library of Lives” 235; “Leonard Bernstein at Congress & The Leonard Bernstein Sixty” 102; “Bernstein at Seventy” 103 Archive” 201; “Library of Congress Argyropoulos, Erica Kay. “Bernstein at Prototype” 216 Brandeis: A Study of Leonard “Austria: Vienna” (Hutchinson) 730 Bernstein’s Collaboration with “Autobiography in the Arias and Barcarolles of Brandeis University 1951 – 1955” 425 Leonard Bernstein” (R. Evans) 605 “Artful Learning Celebrates Success” 377 Avoiding Cultural Default and Other Essays “Artful Learning: Educators Unite to Study (Shainman) 407 West Side Story, Jun 17 – 21, 2008” (Clurman) 335 B “Artful Learning Goes To College” 316 “Artful Learning National Snapshot: Baber, Katherine A. “Leonard Bernstein’s Jazz: Professional Development, Musical Topic and Cultural Resonance” Leadership & Honors” 384 521 “Artful Learning Spotlight: Ann Ott-Cooper” “Bach Transmogrified” (Bernstein, video) 912 391 “Bald weider Opernkomponist” (Wegner) 564 “Artful Learning Spring 2010 Update” (Bolek) “Ballet by Robbins Called Smash Hit: ‘Fancy 349 Free’ about Troubles of Sailors and “Artful Learning: The ‘Hook’ for Student Their Girls, in Metropolitan Premiere” Achievement” (Hanson) 293 (Martin) 764 “Artful Learning Update” (Bolek) 365, 369, 374 Ballet in America: The Emergence of an “The Art of Conducting” (Bernstein) 85h American Art (Amberg) 656 Downloaded by [New York University] at 04:27 09 August 2016 The Art of Conducting: Great Conductors of the “Die Ballette Leonard Bernsteins” (Emans) Past (video) 835 530, 697 The Art of Pedaling (Gebhard) 87 Baker, David J. “Song at Twilight” 665 The Art of the American Musical: Conversations Bamberger, Bradley, “Bernstein Ten Years with the Creators (Bryer and Davison) Later” 836 678 Bañagale, Ryan Raul. “Each Man Kills the “The Arts Belong to the People” (Bernstein) 69 Thing He Loves” 478; “Rhapsodies in “Assimilating Jewish Music: Sacred Service, Blue” 479 A Survivor from Warsaw, Kaddish” Banfield, Stephen. “Letter from England” 522; (Schiller) 646 Sondheim’s Broadway Musicals 666 “At JFK Center: Bernstein’s ‘Mass’ and Barnes, Clive. “‘1600 Pennsylvania Avenue’ Ginastera’s ‘Beatrix Cenci’ Launch the Arrives” 668; “Stage: ‘By Bernstein,’ Nation’s Most Expensive Arts Center” Musical Cabaret: Old and New Songs (S. Fleming) 699 Not Heard Before” 667 Index of Authors, Editors, and Titles 277

Barrett, Michael and Jamie Bernstein Thomas. During His New York Philharmonic “Extreme Orchestra: New Concert for Years 1943 – 1976 (with Barbara B. Young People” 277 Haws) 106; “Logodaedalist” 211; “Barrie’s Peter Pan With Bernstein Songs” (C. “My Brother, Lenny” 351; “My Sister, Smith) 806 Shirley” 247 Bartram, Kevin B. “Lessons from a Master: Bernstein, Jamie. “Bernstein Beat” 287; Using the ‘Bernstein Formula’ in Music “Bernstein Beat Goes to Havana” Classrooms” 869 278; “Bring Bernstein to Beijing” Baumel, Herbert. “Some Other Time” 426 273; “Candide” 299; “The Candide Beadle, Jeremy. “New Views on Bernstein” 104 Ruckus in Europe” 315; “Directing Beal, Pamela and Tawana Waugh. “The West Trouble in Tahiti” 375; “Discovering Side Story Project Toolkit: Crime Mahler” 283; “Extreme Orchestra: Prevention on a New Stage” 358 New Concert for Young People” (with The Beatles (Stokes) 94 Michael Barrett) 277; “Going, Going “Beauty and Truth Revisited” (Bernstein) 99 … Auction of Bernstein Belongings “Beethoven In Excelsis” (Oliver) 143 at Sotheby’s” 232; “The Importance “Beethoven’s Fifth Symphony” (Bernstein) of Art” (with Alexander Bernstein 85f and Nina Bernstein Simmons) 285; Beethoven: The Piano Concertos (video) 894 “In Memoriam: Shirley Bernstein, “Behind the Scenes: The Young People’s October 3, 1923-May 20, 1998” 246; Concerts in the Making” (Englander) “Inside the Music Festival: Notes from 196 a Tanglewood Guide” 178; “My Father Bekeny, Amanda Kriska. “The Trumpet as a and the FBI” 207; “O Happy Birthday, Voice of Americana in the Americanist Dear Daddy-O” 193; “Remembering Music of Gershwin, Copland, and Betty [Comden]! 1919 – 2006” 319; Bernstein” 523 “Remembering Jack Gottlieb October Bender, William. “A Mass for Everyone, 12, 1930 – February 23, 2011” 363; Maybe” 669 “Sotheby’s Auction” (with Nina Benjamin, Richard. “The Leonard Bernstein Bernstein) 233; “Stephen Sondheim” School Improvement Model” 292 323; “Taking Bernstein to Venezuela” Berlinski, Herman. “Bernstein’s ‘Mass’ ” 670 346 “Berlin to Celebrate Bernstein” 380 Bernstein, Jeffrey Alexander. “Volume I. The “Berlioz Takes a Trip” (Bernstein) 90, 911 Expressive Use of Musical Style and (video) the Composer’s Voice in Leonard Berman, Marshall. On the Town: One Hundred Bernstein’s ‘Mass’. Volume II. Telos” Years of Spectacle in Times Square 671 524 Bernard, Andrew. “Two Musical Perspectives Bernstein, Leonard. “A.C. (An Acrostical of Twentieth-Century Pacifism: An Sonnet, on his 80th Birthday)” 95; Analytical and Historical View of “Aaron Copland Birthday Party” 912 Britten’s War Requiem and Bernstein’s (video); “Aaron Copland: An Intimate Kaddish Symphony” 612 Sketch” 97h; “The Absorption of Race Downloaded by [New York University] at 04:27 09 August 2016 Bernheimer, Martin. “Perpetual Promise” 105 Elements into American Music” 97c; Bernstein (P. Robinson) 857 “The Ageless Mozart” 89e; “Alumni Bernstein, Alexander. “The Importance Reunion” 912 (video); “American of Art” (with Jamie Bernstein and Musical Comedy”85i; “The Anatomy Nina Bernstein Simmons) 285; “The of a Symphony Orchestra” 912 (video); Leonard Bernstein Center: Ready “The Art of Conducting” 85h; “The to Grow” 215; “The Power of ‘Fun’ ” Arts Belong to the People” 69; “Bach 185; “The Question Factory” 197; Transmogrified” 912 (video); “Beauty “Remembering My Father” 352 and Truth Revisited” 99; “Beethoven’s Bernstein, Burton. Family Matters: Sam, Fifth Symphony” 85f; “Berlioz Takes Jennie, and the Kids 428; The Grove a Trip” 90, 911 (video); ; “Charles 427; Leonard Bernstein: American Ives: American Pioneer” 912 (video); Original: How a Renaissance Man “Colloquy in Boston” 84; “A Copland Transformed Music and the World Celebration” 912 (video); “The 278 Index of Authors, Editors, and Titles

Delights and Dangers of Ambiguity” in Getting a Start” 75; “New Music 93d, 917 (video); “Dialogue and … in Boston” 97a; “Ni commencement, Encore” 97d; “The Essence of Music ni fins … ” 97k; “A Nice Gershwin Study” 74; “Excerpts from a West Side Tune” 82; “A Note on Variety” 77; Story Log” 97e; “Fantastic Variations” “The Occult” 97b; “Overtures and 912 (video); “Farewell to Nationalism” Preludes” 912 (video); “The Poetry of 912 (video); Findings 97; “Folk Music the Earth” 93f, 917 (video); “Preface” in the Concert Hall” 90; “Forecast to Mehegan’s Tonal and Rhythmic and Review: Boston Carries On” 64; Principles 86; “Prelude to a Musical” 80; “Forecast and Review: The Latest from “The Principle of Hope” 143; Program Boston” 66; “Forecast and Review: note for Facsimile 73; Program note for Season of Premieres in Boston” 65; Halil 96; Program note for Serenade, “Forever Beethoven” 912 (video); “The after Plato’s Symposium 83; Program Future of the Symphony Orchestra” note for Symphony No. 1: Jeremiah 68; 97j; “Four Symphonic Analyses” 89i; Program note for Symphony No. 2: “The Genius of Paul Hindemith” The Age of Anxiety 78; Program note 912 (video); “Holst: The Planets” 913 for Three Dance Episodes from On the (video); “Humor in Music” 90, 911 Town 70; “Rhythm” 89f; “The Road (video); “I’m a Liberal, and Proud of to Paris” 912 (video); “Romanticism It” 295; “Imaginary Conversations: in Music” 89g; “Sabbatical Report, Bull Session in the Rockies” 85b; A” 89h; “Something to Say … ” 89j; “Imaginary Conversation: The “The Sound of a Hall” 912 (video); Muzak Muse, An” 89b; “Imaginary “Symphony or Musical Comedy” Conversations: Whatever Happened to 81; “Teacher” (with Michael Tilson that Great American Symphony?” 85c; Thomas, John Mauceri, and Carl The Infinite Variety of Music 89 – 89j; St. Clair) 870; “Thus Spoke Richard “The Infinite Variety of Music” 89c; Strauss” 912 (video); “Tribute to John “Introduction” to Gebhard’s The F. Kennedy” 387; “A Tribute to Sibelius” Art of Pedaling 87; “Introduction” to 90, 911 (video); “A Tribute to Teachers” The Infinite Variety of Music 89a; “An 912 (video); “A Tribute to Teachers” Introduction” to Schwartz’s Gershwin: 97f; “The Truth About a Legend” 98; His Life and Music 91; “Introduction” “The Twentieth Century-Crisis” 93e, to Stokes’s The Beatles 94; 917 (video); “Two Ballet Birds” 911 “Introduction: The Happy Medium” (video); The Unanswered Question: 85a; “Introduction to Modern Music” Six Talks at Harvard 93 – 93f; “Unusual 85j; “Interlude: Upper Dubbing, Calif.” Instruments of the Present, Past, 85e; “Jazz Forum: Has Jazz Influenced and Future” 912 (video); “Wagner’s the Symphony” (with Gene Krupa) Music Isn’t Racist” 100; “What Does 72; “Jazz in the Concert Hall” 911 Music Mean?” 90, 911 (video); “What (video); “Jazz in Serious Music” 89d; I Thought … And What I Did” 88; “Jennie Tourel−1910 – 1973” 92; The “What Is American Music?” 911 Downloaded by [New York University] at 04:27 09 August 2016 Joy of Music 85 – 85l; Leonard Bernstein’s (video); “What Is a Concerto?” 90; Young People’s Concerts 90; “Letter to “What Is a Melody” 90, 911 (video); Franz Endler, A” 97i; “Letter to Jennie” “What Is a Mode?” 90, 911 (video); 392; “Liszt and the Devil” 912 (video); “What is a Sonata?” 911 (video); “What “Mahler: His Time Has Come” 97g; Is Classical Music?” 90, 911 (video); “Music and Miss Stein” 79; “The “What Is Impressionism?” 90; “What is Music of Johann Sebastian Bach” 85k; Orchestration?” 90, 911 (video); “What “Music that Sings” 76; “Musical Atoms: is Sonata Form?” 90, 911 (video); A Study of Intervals” 90; “Musical “What Makes Music American?” 90; Phonology” 93a, 917; “Musical “What Makes Music Symphonic?” Semantics” 93c, 917 (video); “Musical 90, 911 (video); “What Makes Opera Syntax” 93b, 917 (video); “Neglected Grand?” 85l; “Who Is Gustav Mahler?” Works: A Symposium” 71; “The Negro 911 (video); “Why Don’t You Run in Music: Problems He Has to Face Upstairs and Write a Nice Gershwin Index of Authors, Editors, and Titles 279

Tune?” 85d; “The World of Jazz” 85g; “Bernstein at 70: From Tanglewood to “Young American−William Schuman” Toronto” (Littler) 147 67; “Young Performers No. 1” 912 “Bernstein at Seventy” (Ardoin) 103 (video); “Young Performers No. 2” 912 “Bernstein Beat” (Jamie Bernstein) 287 (video); “Young Performers No. 3” 912 “Bernstein Beat Goes to Havana” (J. Thomas) (video); “Young Performers No. 4” 912 278 (video); “Young Performers No. 5” 912 “The Bernstein Bonanza” (Hoban) 43 (video); “Young Performers No. 6” 912 “Bernstein Collected” (Goodfriend) 623 (video); “Young Performers No. 7” 912 “Bernstein Compares Eisenhower and (video); “Young Performers No. 8” 912 Kennedy” 372 (video); “Young Performers No. 9” 912 “Bernstein Con Brio” (Stearns) 469 (video) “A Bernstein Cornucopia” (Anderson) 520 “Bernstein, Leonard” Compositores de “Bernstein Discusses Creative Performer” Américas/Composers of the Americas (Ardoin) 868 525 “Bernstein e il pianoforte” (Rattalino) 460 Bernstein, Nina. “Candide’s Travels” 225; “The Bernstein és Budapest (Elöd) 119 Importance of Art” (with Alexander “Bernstein für Gitarre” (Plessner) 578 Bernstein and Jamie Bernstein) 285; “The Bernstein-Ginastera Premieres at “Meeting President Carter” 373; Kennedy Center” (Kolodin) 747 “Remarks from the MacDowell Colony Bernstein in Australia: Tchaikovsky, Symphony Benefit” 263; “Sotheby’s Auction” (with No. 6 “Pathétique” (video) 896 Jamie Bernstein Thomas) 233; “www. “Bernstein in Israel: A thirty-year love affair is leonardbernstein.com,“ 222 joyously celebrated” (Paz) 456 Bernstein, Shirley. Making Music: Leonard Bernstein in Italia (Salvetti) 462 Bernstein 108; “Reminiscence: Leonard Bernstein in Japan: Schumann, Symphony Bernstein’s New York” 218 No. 1/Shostakovich, Symphony No. 5 Bernstein: A Biography (Peyser) 157a, 157b (video) 897 “Bernstein: A Life Full of Firsts” (Henderson) Bernstein in London: Verdi, Requiem (video) 134 898 Bernstein: Brahms’s Symphonies (video) 895 “Bernstein in My Life” (Morgan) 305 “Bernstein, Homophobia, Historiography” “Bernstein in Paris” 272 (Hubbs) 438 Bernstein in Paris: Berlioz, Requiem (video) “Bernstein, the Reluctant Serialist” (Gottlieb) 899 355 Bernstein in Paris: The Ravel Concerts (video) “Bernstein and Indiana University: A Personal 900 Remembrance” (Webb) 250 Bernstein in Vienna: Beethoven, The Ninth “Bernstein and Mitropoulos: An Author’s Symphony (video) 901 View” (H. Burton) 217 “Bernstein led kid ‘Concerts’ ’’ (DiMauro) 876 “Bernstein & On the Waterfront” “The Bernstein Legacy” (Peyser) 158 (Mermelstein) 300 “Bernstein: Mass, a Theater Piece for Singers, “Bernstein and the Clarinet: Stanley [Drucker] Players, and Dancers” (Cole) 681 Downloaded by [New York University] at 04:27 09 August 2016 Remembers Lenny” (Shapiro) 311 “The Bernstein Mass on Record” (Salzman) “Bernstein and the MacDowell Colony” 796 (Lawson) 262 Bernstein Meets Broadway: Collaborative Art in “Bernstein and Twentieth Century Creativity: a Time of War (Oja) 780 Hushed Wonders” (Szajnberg) 350 Bernstein on Beethoven: A Celebration/Piano “Bernstein Archives Given to the Library of Concerto No. 1 (video) 902 Congress” 200 Bernstein on Beethoven: A Celebration in “Bernstein Archive to be Digitized for Public Vienna (video) 902 Access” (Kozinn) 198 “Bernstein on Bernstein” (D. Moore) 637 “Bernstein as Symphonist” (P. Davis) 615 Bernstein on Broadway (Gottlieb) 125 “Bernstein at Brandeis: A Study of Leonard “Bernstein on Disc, Part I: The Conductor” Bernstein’s Collaboration with (Graeme) 843 Brandeis University 1951 – 1955” “Bernstein on Disc, Part II: The Composer” (Argyropoulos) 425 (Conrad) 683 280 Index of Authors, Editors, and Titles

“Bernstein on Record” (Gutman) 845 “Bernstein vs. The Studio: Recording Lenny “Bernstein on Television: Pros and Cons” the Hard Way” (McClure) 191 (Hiemenz) 878 “Bernstein. West Side Story” (Greenfield) 712 “The Bernstein Project” 343 Berson, Misha. Something’s Coming, Something Bernstein Remembered (Fluegel, ed.) 122 Good: West Side Story and the American “Bernstein Revisited: A Master Of It All” Imagination 672 (Tommasini) 416 “Besessener Erzähler und Erzieher: Eine “Bernstein’s ‘Anniversaries’ and Other Works Laudatio-Sonate” (Kaiser) 138 for Solo Piano” (Magrath) 571 “The Best and Brightest, Leonard Bernstein: “Bernstein’s A Quiet Place and Adams’s Nixon 1918 – 1990” (Walsh) 420 in China” (Rimer) 791 “The Best of All Possible Legacies: A Critical “Bernstein: Serenade for Violin Solo, Strings Look at Bernstein, His Eclecticism, and and Percussion” (E. Downes) 616 Candide” (Laird) 546 “Bernstein’s Fancy Free: Witty and Perfectly “The Best of All Possible Worlds” (Urquhart) Made” (Salzman) 797 330 “Bernstein’s First Love” (Golan) 254 “The Best of All Possible Worlds: The “Bernstein’s Late-Night Thoughts” (Gottlieb) Eldorado Episode in Leonard 258 Bernstein’s ‘Candide’“ (Crist) 687 “Bernstein’s Legacy Lives” (Ardoin) 235 Best Regards to Aida (Heinsheimer) 489 “Bernstein’s Mahler: A Personal View” (Clark) Betty Comden and Adolph Green: A Bio- 282 Bibliography (A. Robinson) 508 “Bernstein’s ‘Mass’ ” (Berlinski) 670 “The Big Day: Memories of a Historic Debut” “Bernstein’s ‘Mass’ in New York” (Kastendieck) 288 738 “Bitter Rituals for a Lost Nation: Partch’s “Bernstein’s Mass Revisited” (Pearlmutter) 783 Revelation in the Courthouse Park “Bernstein’s New Work Reflects His Background and Bernstein’s Mass” (Sheppard) on Broadway” (Schonberg) 800 803 “Bernstein. Songs and Duets” (Seckerson) 609 “A Bi-Variate Examination of Leonard “Bernstein: Songs from West Side Story” Bernstein’s Artful Learning™ Model” (Bowman) 676 (H. Hamilton) 433 Bernstein’s Orchestral Music: An Owner’s “Black & Blue Ballet” 673 Manual (Hurwitz) 630 “The Blinding Facility of Leonard Bernstein” “Bernstein’s Senior Thesis at Harvard: The (Mayer) 152 Roots of a Lifelong Search to Discover Bloch, Schoenberg, and Bernstein: Assimilating an American Identity” (Block) 429 Jewish Music (Schiller) 647 “Bernstein’s ‘Songfest’: Superb” (Hall) 628 Block, Geoffrey. “Bernstein’s Senior Thesis “Bernstein’s The Joy of Music as Aesthetic At Harvard: The Roots of a Lifelong Credo” (Giger) 533 Search to Discover an American “Bernstein’s The Unanswered Question and Identity” 429; Enchanted Evenings: The the Problem of Musical Competence” Broadway Musical from Show Boat to (Keiler) 442 Sondheim 674 Downloaded by [New York University] at 04:27 09 August 2016 Bernstein Story (Elöd) 118 “Bloomington: A Celebration of Bernstein” “Bernstein’s Unanswered Question: A Journey (Godell) 431 from Linguistic Deep Structure to the Blumenthal, Ralph. “Files Detail Years of Metaphysics of Music” (N. Thomas) 892 Spying on Bernstein” 430 “Bernstein’s West Side Story: A Session Report” Blyth, Alan. “Leonard Bernstein Talks to Alan (H. Burton) 680 Blyth” 109 “Bernstein: Symphonies (3); Chichester Boelzner, David Ernest. “The Symphonies Psalms” (Lowens) 633 of Leonard Bernstein: An Analysis of “Bernstein: Symphony No. 3 (“Kaddish”)” Motivic Character and Form” 613 (Marcus) 634 “The boldest experience of all … ” (Hutton) 731 “Bernstein Ten Years Later” (Bamberger) 836 Bolek, Patrick. “Artful Learning Spring 2010 “Bernstein: The Harvard Years” (Sheffer) 252 Update” 349; “Artful Learning Update” “Bernstein Triumphant” (Rockwell) 138, 143, 365, 369, 374; “Leonard Bernstein 397 Center Update” 354 Index of Authors, Editors, and Titles 281

Bordman, Gerald. American Musical Theatre: Brozan, Nadine. “A Conductor Cannot Help A Chronicle 675 But Remember Bernstein” 234 Bornstein, Charles Zachary. “Discovering Bryer, Jackson R., and Richard A. Davison, Bernstein Through Mahler” 289 eds. The Art of the American Musical: Bösing, Raphael Maria. Leonard Bernstein Conversations with the Creators 678 als religiöser Humanist, Dirigent, Buhles, Günter. “Der Komponist Leonard Komponist und Musikpädagoge: Studien Bernstein: Vom Broadway zur Carnegie zu fächerübergreifenden Aspekten des Hall” 526 Musikunterrichts 871 Burkat, Leonard. “Current Chronicle: United Botstein, Leon. “The Tragedy of Leonard States: Boston” 679 Bernstein” 110 Burkhardt, Werner. “ ‘Somewhere’ in ‘America’ Bowman, David. “Bernstein: Songs from West … die swingende Prophetie” 668 Side Story” 676 “The Burnishing of the Bernstein Legend” Boynton, Andy, and Bill Fischer. Virtuoso (Oestreich) 453 Teams: The Extraordinary Stories of Burton, Humphrey. “Bernstein and Extraordinary Teams 677 Mitropoulos: An Author’s View” “Brahms: Breaking the Fetters” (Orleans) 143 217; “Bernstein’s West Side Story: “Brandeis University Sponsors Arts Festival” A Session Report” 680; Leonard (C. Smith) 465 Bernstein 113; “Leonard Bernstein on Brandon, Henry. “A Conversation with Video: Towards the Year 2000” 171; Leonard Bernstein” 111 “Leonard Bernstein: Video Man” Bratt, Boris. “Mass at the Vatican” 345 143, 872; “Trouble in Tahiti” 184; Briggs, John. Leonard Bernstein: The Man, His “Works in Progress: My LB ‘Portrait’ ” Work, and His World 112 161; “Writing the Life of Leonard “Bring Bernstein to Beijing” (J. Thomas) 273 Bernstein” 202; “A Quiet Place at the “Bringing Back Robbin’s ‘Fancy’“ (Tobias) 828 New York City Opera” 360 “Bringing the Young People’s Concerts into Burton, William Westwood. Conversations Today’s Classrooms” (Putnam and About Bernstein 480 Officer) 203 Bushard, Anthony J. “Fear and Loathing “The British Leonard Bernstein Programme in Hollywood: Representations of for Young People” (Fluck) 230 Fear, Paranoia, and Individuality vs. “Britten−A Rollicking Round” (Curtin) 143 Conformity in Selected Film Music “Britten Premiere: Venice Festival gives new of the 1950s” 591; “From On The opera based on Henry James story ‘The Waterfront to West Side Story, or Turn of the Screw’ ’’ (Thoresby) 653 There’s Nowhere Like Somewhere” Broadway (Atkinson) 664 593; “ ‘He Could’ve Been a Contender’: “The Broadway Composer: On the Town−A Thematic Integration in Leonard Cohesive Score That Transcends the Bernstein’s Score for On The Waterfront Sum of Its Parts” (Kreuger) 748 (1954)” 592; Leonard Bernstein’s On the Broadway/Leonard Bernstein Place (video) Waterfront: A Film Score Guide 594 908 Butterworth, Neil. The American Symphony 614 Downloaded by [New York University] at 04:27 09 August 2016 The Broadway Musical: A Critical and Musical Survey (Swain) 820 Broadway Musicals (Gottfried) 708 C “Broadway Postscript: Sister Rosalind” (Hewes) 723 Cabaniss, Thomas. “Leonard Bernstein’s Broadway’s Greatest Musicals (Laufe) 751 Young People’s Concerts with the New “Broadway Shows: Candide” (Hobe) 725 York Philharmonic Premiere on DVD” Broadway Shows: West Side Story” (Hobe) 726 294 “Broadway’s Mozartean Moment, or An Campellone, Laurent. “The Kaddish Amadeus in Amber” (Stempel) 143, Symphony: Yutaka Sado in 812 conversation with Laurent Broadway Song & Story: Playwrights/ Campellone” 257 Lyricists/Composers Discuss Their Hits Canarina, John. The New York Philharmonic: (Guernsey) 714 From Bernstein to Maazel 837 282 Index of Authors, Editors, and Titles

“Candide” (Jamie Bernstein) 299 Clark, Robert S. “Congruent Odysseys: Candide (video) 918 Bernstein and the Art of Television” “Candide and the Tradition of American 143, 875 Operetta” (Everett) 698 Clark, Sedgwick. “Bernstein’s Mahler: “Candide Camera” (Carsen) 312 A Personal View” 282; “Leonard “Candide Goes to College” (Gottlieb) 226 Bernstein: America’s Music Director” “Candide. Leonard Bernstein” (C. Thomas) 390 827 Clurman, Judith. “Artful Learning: Educators Candide/Leonard Bernstein (video) 903 Unite to Study West Side Story, June “Candide Redux” (Stearns) 811 17 – 21, 2008” 335 “The Candide Ruckus in Europe” (Jamie “Coaching for Copland” (St. Clair) 143 Bernstein) 315 Cole, Hugo. “Bernstein: Mass, a Theater Piece “Candide’s Travels” (N. Bernstein) 225 for Singers, Players, and Dancers” 681 “Candide: The Most Confused of All Possible “Colloquy in Boston” (Bernstein) 84 Worlds” (Conrad) 682 “La colonna sonora di Fronte del porto” Carlucci, Joseph B. “An Analytical Study (Simeon) 603 of Published Clarinet Sonatas by Comden, Betty. Off Stage 481 American Composers” 574 Coming Up Roses: The Broadway Musical in the Carman, Joseph. “Reclaiming The Dybbuk” 301 1950s (Mordden) 772 The Carmen Chronicle: The Making of an “A Comparison between a Descriptive Analysis Opera (Phillips) 854 of Leonard Bernstein’s ‘Mass’ and the Carsen, Robert. “Candide Camera” 312 Musical Implication of the Critical “A Case for Unity in Leonard Bernstein’s Mass” Evaluations Thereof” (De Sesa) 693 (Hurley) 729 “A Comparison of Leonard Bernstein’s Castiglione, Enrico. Una vita per la musica 114 Incidental Music for the Film On Chalkey, Eric “Apex.” “The Joy of Crosswords” the Waterfront and the Subsequent 212 Symphonic Suite from the Film” Chan, Donald. “Conducting West Side Story” (Lias) 599 328; “West Side Story: A Musical “I. Composer and Choreographer: A Study of Director’s Memories” 266 Collaborative Compositional Process. Changed for Good: A Feminist History of the II. ‘The Lotus Flower,’ Ballet Music for Broadway Musical (Wolf) 832 Chamber Ensemble and Two-Channel Chapin, Schuyler. Leonard Bernstein: Notes Audio” (Kim) 742 from a Friend 115a; Musical Chairs: “Composer-Friendly Computers” (Forbes) A Life in the Arts 115b; “The Television 169 Journey” 170, 873 “A Composer Remembers” (Del Tredici) 174 “Charles Ives: American Pioneer” (Bernstein, “Composition and Analysis of Symphony video) 912 No. 1 by Todd Syswerda and Analysis Chen, Chien-Jung. “Leonard Bernstein’s of Symphony No. 3 by Leonard ‘Touches’: A Performer’s Analysis” 567 Bernstein” (Syswerda) 651 Chesterman, Robert, ed. Conversations with Compositores de Américas/Composers of the Downloaded by [New York University] at 04:27 09 August 2016 Conductors 838 Americas 525 “Chicago Opera Theater: Standard Bearer for “Il compositore: Un esame attraverso due American Opera 1976 – 2001” (Ratner) ‘prime’ italiane” (Salvetti) 554 789 “Concerto for Orchestra” (Gabriel) 310 The Chichester Psalms by Leonard Bernstein “Conducting West Side Story” (Chan) 328 (Laird) 586 “Conductor” (Curtin, Lieberman, Oliver, and “The Choral Music of Leonard Bernstein” Orleans) 839 (Gottlieb) 582 “A Conductor Cannot Help But Remember “Choral Performances: Washington” (Lowens) Bernstein” (Brozan) 234 760 “A Conductor’s Analysis of Psalm Settings “Choreographers, Directors and the Fully by J. S. Bach, W. A. Mozart, Anton Integrated Musical” (Laird) 749 Bruckner and Leonard Bernstein” (G. Clark, John W. “Television: Short Takes” 874 Moore) 587 Index of Authors, Editors, and Titles 283

“A Conductor’s Analysis of Serenade for Solo Bernstein and Stephen Sondheim in Violin, String Orchestra, Harp and the Creation of the Original Broadway Percussion by Leonard Bernstein” Production of ‘West Side Story’ ” (McDonald) 636 (Stith) 815 “The Confluence of Jazz and Classical Music “Creating with Lenny” (Wadsworth) 186 from 1950 to 1970” (Stuessy) 650 “Creative Arts Fete at Brandeis University” “Congruent Odysseys: Bernstein and the Art (Levinger) 446 of Television” (R. Clark) 143, 875 Crist, Elizabeth B. “The Best of All Possible Conrad, Jon Alan. “Bernstein on Disc, Part II: Worlds: The Eldorado Episode in The Conductor” 683; “Candide: The Leonard Bernstein’s ‘Candide,’“ 687; Most Confused of All Possible Worlds” “Mutual Responses in the Midst of an 682; “Glitter and Be Gay” 684 Era: Aaron Copland’s The Tender Land Contradictions: Notes on Twenty-six Years in the and Leonard Bernstein’s Candide 686; Theatre (Prince) 506 The Selected Correspondence of Aaron “The Contributions of Leonard Bernstein to Copland (with Wayne Shirley) 484 Music Education” (Rozen) 890 “The Critical Reception of Leonard Bernstein: “Convergences between Leonard Bernstein’s A Review of Criticism from 1950 to On the Town (1944) and Wonderful 1990” (Lanzotti) 445 Town (1953) and His Contemporary Cunningham, Carl. “Opera Everywhere: Concert Music” (Lin) 757 Houston Grand Opera: Bernstein ‘A Conversations About Bernstein (W. Burton) 480 Quiet Place’ (premiere)” 688 Conversations with Conductors (Chesterman) Current Biography 107 838 “Current Chronicle: United States: Boston” “A Conversation with Leonard Bernstein” (Burkat) 679 (Brandon) 111 Curtin, Phyllis. “Britten−A Rollicking Cook, Barbara. “You Want Me to do What” Round” 143; “Conductor” (with Carol 227 Lieberman, John Oliver, and James Copeland, Philip Larue. “The Role of Drama Orleans) 839 and Spirituality in the Music of Leonard Bernstein” 527 D Copland, Aaron. “The New ‘School’ of American Composers” 528 Dance with Demons: The Life of Jerome Robbins Copland, Aaron and Vivian Perlis. Copland (G. Lawrence) 495 1900 through 1942, 482; Copland Since Danuser, Hermann, Dietrich Kämper, and 1943, 483 Paul Terse, eds. Amerikanische Musik Copland 1900 through 1942 (Copland and seit Charles Ives 689 Perlis) 482 Dash, Irene G. Shakespeare and the American “A Copland Celebration” (Bernstein, video) Musical 690 912 “David Patrick Stearns on Candide” Copland Since 1943 (Copland and Perlis) 483 163 Cott, Jonathan. “The Rolling Stone Interview: Davis, Peter G. “Bernstein as Symphonist” Downloaded by [New York University] at 04:27 09 August 2016 Leonard Bernstein” 116; Dinner With 615; “Mass and the Press” (with David Lenny: The Last Long Interview with Hamilton) 691; “Three Faces of Lenny: Leonard Bernstein 116 The Religious Composer. Mass – Few Cottle, William Andrew, Sr. “Social Creative Acts in Recent Times Take Commentary in Vocal Music in the So Many Risks and Achieve So Much” Twentieth Century as Evidenced in (with David Hamilton) 691; “West Side Leonard Bernstein’s Mass” 685 Glory” 529 Coughlin, Bruce. “Sid Ramin: A 80th Birthday Davison, Richard A., ed. The Art of the American Tribute” (with John Williams, Harry Musical: Conversations with the Creators Kraut, and Charlie Harmon) 253 (with Jackson R. Bryer) 678 “Creating ‘West Side Story’: An Investigation “The Day I Met Leonard Bernstein” of the Sociopolitical Backgrounds and (Morrison) 209 Collaborative Relationships of Jerome “Dear Aaron, Dear Lenny: A Friendship in Robbins, Arthur Laurents, Leonard Letters” (Perlis) 502 284 Index of Authors, Editors, and Titles

Death Set to Music: Masterworks by Bach, Drew, David. “Wonderful Town (A Musical Brahms, Penderecki, Bernstein (Minear) Comedy)” 695 770 Durgin, Cyrus. “Koussevitzky Gives Premiere DeFotis, Constance. “From the Work and Of New Bernstein Symphony” 617 Writings of Clytus Gottwald, Founder Dusella, Reinhold and Helmut Loos, eds. and Director of the Schola Cantorum Leonard Bernstein: Der Komponist 530 Stuttgart” 692 Dusella, Reinhold. “Zur Kammermusik “The Delights and Dangers of Ambiguity” The Leonard Bernsteins” 530, 576 Unanswered Question (Bernstein) 93d, Dvorák to Duke Ellington: A Conductor 917 (video) Explores America’s Music and Its Del Rosso, Charles Francis. “A Study of African American Roots (Peress) 501 Selected Solo Clarinet Literature of Dyer, Richard. “Our Critics Abroad: Boston” Four American Composers as a Basis 696 for Performance and Teaching” 575 Del Tredici, David. “A Composer Remembers” E 174 Denby, David. “The Trouble with Lenny” 117 “Each Man Kills the Thing He Loves” De Sesa, Gary. “A Comparison between a (Bañagale) 478 Descriptive Analysis of Leonard Eckert, David C. “An Instrumental Conducting Bernstein’s ‘Mass’ and the Musical Recital Document” 618 Implication of the Critical Evaluations Edeiken, Louise. “A Silent Place” 189 Thereof” 693 “An Educational Friendship: Leonard “Developing the Young People’s Concerts Study Bernstein and the Indiana University Guide” (Knowles) 199 School of Music” (Webb) 177 “Dialogue and … Encore” Findings “The Effect of an ‘Informance’ on a Middle (Bernstein) 97d School Student Population’s Dickau, David Carl. “A Study and Performance Understanding of Musical Terms Using of the Chichester Psalms of Leonard Leonard Bernstein’s ‘Young People’s Bernstein” 580 Concerts’ as a Model” (Nicolosi) 452 DiMauro, Philip. “Bernstein led kid ‘Concerts’ ” Eisenstein, Judith K. “The Jeremiah 876 Symphony” 619 Dinner With Lenny: The Last Long Interview Elöd, Juhász. Bernstein Story 118; Bernstein és with Leonard Bernstein (Cott) 116 Budapest 119 “Directing Trouble in Tahiti” (Jamie Bernstein) Emans, Reinmar. “Die Ballette Leonard 375 Bernsteins” 530, 697 “Il direttore d’opera: Quattro registrazioni Enchanted Evenings: The Broadway Musical from italiane” (Marinelli) 849 Show Boat to Sondheim (Block) 674 “Il direttore d’orchestra” (Zurletti) 462 “End of His Formal Duties May Bring Busier “Discographie” in Leonard Bernsteins Ruhm Life” (Schonberg) 863 (Schaumkeil) 138 Englander, Roger. “Behind the Scenes: The “Discovering Bernstein Through Mahler” Young People’s Concerts in the Making” Downloaded by [New York University] at 04:27 09 August 2016 (Bornstein) 289 196 “Discovering Mahler” (J. Thomas) 283 Epstein, David M. “Leonard Bernstein: “Discussing Mass” (Seckerson and Alsop) 344 Serenade for Solo Violin, String Distant Dances (Osato) 500 Orchestra, Harp, & Percussion” 620 “Does West Side Story Speak to Today’s Epstein, Helen. Music Talks: Conversations with World?” (Herman) 213 Musicians 120 Downes, Edward. “Bernstein: Serenade for “The Essence of Music Study” (Bernstein) 74 Violin Solo, Strings and Percussion” 616 Evans, Mark. Soundtracks: The Music of the Downes, Olin. “Wonderful Time: Bernstein Movies 595 Musical Is Brilliant Achievement” 694 Evans, Richard Patrick. “Autobiography in the “Drei Antworten auf eine Frage: Leonard Arias and Barcarolles” 605 Bernsteins Konzerte” (Gutiérrez- Everding, August. “Solange noch Zeit zum Denhoff) 530, 627 Träumen ist” 138 Index of Authors, Editors, and Titles 285

Everett, William A. “Candide and the Tradition “First Night at the Theatre: Jean Arthur and of American Operetta” 698 Boris Karloff in an Excellent Version of Ewen, David. Leonard Bernstein 121 Barrie’s ‘Peter Pan’“ (Atkinson) 658 “Excerpts from a West Side Story Log” Findings “First Performances: A Quiet Place” (Hayes) (Bernstein) 97e 718 “Experiencing West Side Story” (Mauceri) 327 Fischer, Bill. Virtuoso Teams: The “Extreme Orchestra: New Concert for Young Extraordinary Stories of Extraordinary People” (Barrett and J. Thomas) 277 Teams (with Andy Boynton) 677 “Exulting Freedom in Music” (Gertel) 314 Fleming, John. “Orchestra, soloist adeptly meet ‘West Side Story Suite’ challenge” F 274 Fleming, Shirley. “At JFK Center: Bernstein’s Falletta, JoAnn. “Learning from the Master” ‘Mass’ and Ginastera’s ‘Beatrix Cenci’ 276; “Mass in Virginia” 348 Launch the Nation’s Most Expensive Family Matters: Sam, Jennie, and the Kids (B. Arts Center” 699 Bernstein) 428 Flinn, Denny Martin. Musical!: A Grand Tour “Fantastic Variations” (Bernstein, video) 700 912 Fluck, Alan. “The British Leonard Bernstein “A Farewell to Aaron Copland and Leonard Programme for Young People” 230 Bernstein” (Perlis) 502 Fluegel, Jane, ed. Bernstein Remembered “Farewell to Nationalism” (Bernstein, video) 122 912 Folkman, Benjamin. “Symphony No. “Fear and Loathing in Hollywood: 1, ‘Jeremiah’ and the American Representations of Fear, Paranoia, Symphony” 204 and Individuality vs. Conformity in “A Foot in Each Camp: Bernstein’s Score of Selected Film Music of the 1950s” ‘West Side Story’ Falters Between (Bushard) 591 Musical and Opera” (Taubman) 824 “Feeling Pretty: West Side Story and Puerto Forbes, John. “Composer-Friendly Rican Identity Discourses” Computers” 169 (Negrón-Muntaner) 776 “Forecast and Review: Boston Carries On” Felder, Hershey. “Maestro: The Art of Leonard (Bernstein) 64 Bernstein” 356 “Forecast and Review: Season of Premieres in Fiegelson, Josh. “Leonard Bernstein, My Boston” (Bernstein) 65 Rabbi” 388 “Forecast and Review: The Latest from “Files Detail Years of Spying on Bernstein” Boston” (Bernstein) 66 (Blumenthal) 430 “Forever Beethoven” (Bernstein, video) 912 Film Music: A Neglected Art: A Critical Study of “For the Record: Leonard Bernstein in the Music in Films (Prendergast) 600 Studio” (McClure) 143, 851 Filmmusik in der Schule−Studien zu Kazan/ Fortin, Molly. “The West Side Story Project” Bernsteins On the Waterfront 329 (Schudack) 602 “Four Symphonic Analyses” The Infinite Downloaded by [New York University] at 04:27 09 August 2016 Finch, Scott M. “The Prominence of Hebrew Variety of Music (Bernstein) 89i Syntax in Leonard Bernstein’s Freedland, Michael. Leonard Bernstein 123 ‘Chichester Psalms” 581 “Freedom Incarnate’: Jerome Robbins, Gene Findings (Bernstein) 97 Kelly, and the Dancing Sailor as an Fine, Geoffrey B. “The Vocal Music of Leonard Icon of American Values in World War Bernstein: Jewish Interpretations and II” (Genné) 704 Applications” 531 Frey, Alexander. “More Peter Pan” 341 Fine, Irving. “Young America: Bernstein and Friedman, Matthew. “Transatlantic: Foss” 532 A Genealogy of Modern American Finishing the Hat: Collect Lyrics (1954 – 1981) Musical Theatre from ‘Johnny Spielt with Attendant Comments, Principles, Auf’ to ‘West Side Story,’“ 701 Heresies, Grudges, Whines and “A Friend Remembers” (Weiser) 208 Anecdotes (Sondheim) 466 Fritz Reiner (Hart) 488 286 Index of Authors, Editors, and Titles

From Assassins to West Side Story: The Gershwin: His Life and Music (C. Schwartz) 91 Director’s Guide to Musical Theatre Gertel, Klaus. “Exulting Freedom in Music” (Miller) 768 314 “From On The Waterfront to West Side Story, Gibbs, Wolcott. “Voltaire Today” 705 or There’s Nowhere Like Somewhere” Giger, Andreas. “Bernstein’s The Joy of Music as (Bushard) 593 Aesthetic Credo” 533 “From the Stage: Three Musicians Remember” Gillespie, Blythe. “Phoenix House Changes (Vacchiano, Lincer, and Margolies) 290 Lives with the West Side Story Project” “From the Work and Writings of Clytus 367 Gottwald, Founder and Director of the Gillinson, Clive. “Lenny and the London Schola Cantorum Stuttgart” (DeFotis) Symphony Orchestra” 244 692 Giuliani, Roberto. “Leonard Bernstein nei “The Future of the Symphony Orchestra” programmi e nella programmazione Findings (Bernstein) 97j RAI” 842 “Giving Kids Heart” (Jennings) 223 G Glasser, Ira. “Something Came, and It was Good” 342 Gabriel, Todd. “Concerto for Orchestra” 310 Glenn Gould By Himself and His Friends Galkin, Elliott W. A History of Orchestral (McGreevy, ed.) 98 Conducting in Theory and Practice 840 “Glitter and Be Gay” (Conrad) 684 Gann, Kyle. American Music in the Twentieth Godell, Tom. “Bloomington: A Celebration Century 124 of Bernstein” 431; “Notes From a Ganz, Karen Olsen. “The Metamorphosis of Friendship: The Correspondence Leonard Bernstein’s Candide” 682 of Serge Koussevitzky and Leonard “The Gap and West Side Story” 267 Bernstein” 261 Garebian, Keith. The Making of “West Side Goemanne, Noel. “Open Forum: The Story”, 702 Controversial Bernstein Mass: Another Gargrave, Wayne Eric. “The Use of the Point of View” 706 Saxophone in the Dramatic Music “Going, Going … Auction of Bernstein of Leonard Bernstein: A Guide for Belongings at Sotheby’s” (J. Thomas) Informed Performance” 703 232 The Gay Metropolis (Kaiser) 440 Golan, Jeanne. “Bernstein’s First Love” 254 Gebhard, Heinrich. The Art of Pedaling 87 Goodfriend, James. “Bernstein Collected” 623; Gelleny, Sharon Ann. “Leonard Bernstein on “Opening of the Kennedy Center” 707 Television: Bridging the Gap between Gordon, Eric. Mark the Music: The Life and Classical Music and Popular Culture” Work of Marc Blitzstein 485 877 Gottfried, Martin. Broadway Musicals 708; Gelles, George. “Leonard Bernstein Film Sondheim 486 Festival: Thirteen by the Maestro-An Gottlieb, Jack. Bernstein on Broadway 125; Unlucky Number?” 841 “Bernstein, the Reluctant Serialist” 355; The Genevieve P. Demme Archives and “Bernstein’s Late-Night Thoughts” Downloaded by [New York University] at 04:27 09 August 2016 Resource Center, Houston Grand 258; “Candide Goes to College” Opera 928 226; “The Choral Music of Leonard “The Genius of Paul Hindemith” (Bernstein, Bernstein” 582; Leonard Bernstein, video) 912 August 25, 1918−October 14, 1990, Genné, Beth. “Freedom Incarnate’: Jerome A Complete Catalog of His Works Robbins, Gene Kelly, and the Dancing Celebrating His 80th Birthday Year: Sailor as an Icon of American Values in 1998 – 99. Volume 1: Life, Musical World War II” 704 Compositions & Writings 927; “The Gentry, Philip Max. “The Age of Anxiety: Leonard Bernstein Discography: New Music, Politics, and McCarthyism On The Web, Breaking the Octennial 1948 – 1954” 621; “Leonard Bernstein’s Cycle” 281; “Leonard Bernstein: The Age of Anxiety: A Great American Kaddish Symphony” 624; “Leonard Symphony during McCarthyism” 622 Bernstein: A Jewish Legacy” 291; “The Index of Authors, Editors, and Titles 287

Little Motive That Could” 304; “Mass: Greenfield, Edward. “Bernstein. West Side A Jewish Mass or a Catholic Mitzvah” Story” 712; “Leonard Bernstein” 844; 220; “The Music of Leonard Bernstein: “Leonard Bernstein at 70” 130 A Study of Melodic Manipulations” Grist, Reri. “West Side Story – 50 years old?” 534; “Notes on Concerto for Orchestra 322 (“Jubilee Games”)” 173; “Program The Grove (B. Bernstein) 427 Notes” from Leonard Bernstein: Gruen, John. “In Love with the Stage” 713; A Jewish Legacy 536; “Symbols of Faith The Private World of Leonard Bernstein in the Music of Leonard Bernstein” 131 535; “THAT TABLE: A memory piece Guernsey, Otis L., Jr. Broadway Song & Story: about Bernstein’s work desk in his Playwrights/Lyricists/Composers Discuss Dakota studio” 243; Working With Their Hits 714 Bernstein: A Memoir 126, 537 Gustav Mahler: Das Lied von der Erde: Gould, Morton. “Helping Fellow Artists: A Personal Introduction by Leonard ASCAP Remembers LB as ‘Always a Bernstein (video) 906 Part of Us” 167 Gustin, Daniel R. “Tanglewood and Leonard Gow, David. “Leonard Bernstein: Musician of Bernstein” 179 Many Talents” 538 Guthrie, Tyrone. A Life in the Theatre 487 Grad, Karene Esther. “When High Culture Gutiérrez-Denhoff, Martella. “Drei Antworten Became Popular Culture: Classical Music auf eine Frage: Leonard Bernsteins in Postwar America 1945 – 1965” 432 Konzerte” 530, 627 Gradenwitz, Peter. “Leonard Bernstein− Gutman, David. “Bernstein on Record” 845 Dramatischer Sinfoniker und sinfonischer Opernkomponist zum H 70. Geburtstag des Musikers” 128; “Leonard Bernstein” 539; Leonard Haagensen, Erik. “1600 Pennsylvania Avenue: Bernstein: The Infinite Variety of a The Show That Got Away” 715 Musician 127, 540; The Music of Israel Hall, David. “Bernstein’s ‘Songfest’: Superb” 541; “Neue Musik in Israel” 625 628 Graeme, Roland. “Bernstein on Disc, Part I: Hamilton, David. “Three Faces of Lenny: The Conductor” 843 The Religious Composer. Mass – Few Gran, Charles Lawrence. “Volume 1. Creative Acts in Recent Times Take Remembering the Future: Orchestral So Many Risks and Achieve So Much” Engagements with Popular Music. (with Peter G. Davis) 691; “Mass and Volume 2. Heart’s Express” 626 the Press” (with Peter G. Davis) 691 “Grant Strives For Full Potential Education: Hamilton, Heather Amlin. “A Bi-Variate Teachers at Grant Language Magnet Examination of Leonard Bernstein’s School in Duluth Receive Training Artful Learning™ Model” 433 in a Teaching Method that Integrates Hamilton, William. “On the Waterfront” Art and Broad Concepts into Daily 596 Lessons” (Stech) 303 “The Handshake That Changed My Life” Downloaded by [New York University] at 04:27 09 August 2016 Gräwe, Karl Dietrich. “Ein Mozart für (Walker) 284 Amerika: ‘West Side Story’ von Hanson, Susan. “Artful Learning: The ‘Hook’ Leonard Bernstein” 689; “ ‘Optimismus for Student Achievement” 293 mit Trauerflor, kämpfend’: Leonard “A Happy Set of Circumstances: The Birth of Bernstein und seine Opern” 530, 709 the Pacific Music Festival” (Kobayashi) The Great American Symphony: Music, The 180 Depression, and War (Tawa) 652 Harbert, Elissa Glyn. “Remembering the The Great Conductors (Schonberg) 862 Revolution: Music in Stage and Screen Green, Michelle. “America’s Maestro Bows Representations of Early America Out” 129 during the Bicentennial Years” 716 Green, Stanley. The World of Musical Comedy Harmon, Charlie. “In Search of the Definitive 711; “West Side Story−The Film Edition: A Trail of Scraps and Version” 710 Scribbles” 166; “Sid Ramin: A 80th 288 Index of Authors, Editors, and Titles

Birthday Tribute” (with John Williams, Hellsberg, Clemens. “Leonard Bernstein Harry Kraut, and Bruce Coughlin) and his impact on the Vienna 253; “Two More Theatre Works Philharmonic” 271 Appearing in Print” 224; “West Side “A Helluva Site for The Original New York Story and Candide in Full Scores” 195; Musical” (Reiter) 231 “West Side Story: New Piano-Vocal “Helping Fellow Artists: ASCAP Remembers Score” (with Seann Alderking) 264 LS as ‘Always a Part of Us” (Gould) 167 Harris, Conwell Ray, Jr. “Unifying Techniques Henahan, Donal. “America’s Musician at 70” in the Anniversaries of Leonard 132; Music’s Monarch, Dies” 133 Bernstein” 568 Henderson, Robert. “Bernstein: a life full of Harrison, Jay S. “Jay S. Harrison Covers the firsts” 134 New York Music Scene” 629 “Here’s a musical that bridges the gap!” Hart, Philip. Fritz Reiner 488 (Leonard) 755 Harvard Composers: Walter Piston and His Herman, Jan. “Does West Side Story Speak to Students, from Elliott Carter to Frederic Today’s World?” 213 Rzewski (Pollack) 551 Herrera, Brian Eugenio. “Latin Explosion: “Harvard Seminar Explores Bernstein’s Boston Latinos, Racial Formation and Ties” 309 Twentieth-Century U.S. Popular Hashimoto, Kuni. “A Japanese Candide” 210 Performance” 721 Hausfeld, Susan Elizabeth. “A Study of Mass by Heskes, Irene. “Leonard Bernstein: Musician Leonard Bernstein” 717 and Jew” 434 Haws, Barbara B. Leonard Bernstein: American Heumann, Scott F. “The New Bernstein” 722 Original: How a Renaissance Man Hewes, Henry. “Broadway Postscript: Sister Transformed Music and the World Rosalind” 723 During His New York Philharmonic Hiemenz, Jack. “Bernstein on Television: Pros Years 1943 – 1976 (with Burton and Cons” 878 Bernstein) 106; “New York “A Historical Survey of the Pedagogical Philharmonic Archives Update” 379; Activity and Influence of Three “The New York Philharmonic Digital Orchestral Conductors (Walter Archives” 362; “Remembering Carlos Damrosch, Leopold Stokowski, and Moseley” 376 Leonard Bernstein) with Teaching Hayes, Malcolm. “First Performances: A Quiet Implications for the Future” Place” 718 (Takayama) 887 Healey, John G. “Leonard Bernstein & The History of American Classical Music: Amnesty International” 182 MacDowell through Minimalism “ ‘He Could’ve Been a Contender’: Thematic (Struble) 412 Integration in Leonard Bernstein’s A History of Orchestral Conducting in Theory Score for On The Waterfront (1954)” and Practice (Galkin) 840 (Bushard) 592 Hoban, Phoebe. “The Bernstein Bonanza” Heinsheimer, Hans W. Best Regards to Aida: 435 The Defeats and Victories of a Music Hobe [Hobe Morrison]. “Broadway Shows: Downloaded by [New York University] at 04:27 09 August 2016 Man on Two Continents 489 Candide” 725; Broadway Shows: West Helgert, Lars Erik. “Jazz Elements in Selected Side Story” 726; “Play on Broadway: Concert Works of Leonard Bernstein: Wonderful Town” 724; “1600 Sources, Reception, and Analysis” Pennsylvania Avenue” 727 542; “Songs for Leonard Bernstein’s Hoge, Warren. “Saving Bernstein Pearls Lost Stage Works as Jazz Repertoire” 719; with a ‘76 Show: A London Concert “The Songs of Leonard Bernstein and Discards the Dross” 228 Charles Stern in 1942: Toward the Höhler, Philipp (with Ludwig Stoffels). Origins of Bernstein as a Dramatic “Songfest” 530, 649 Composer” 720 Hohlfeld, Horant H. Leonard Bernstein/The Hellman, Lillian. Pentimento: A Book of Gift of Music: An Intimate Portrait 135 Portraits 490 Holde, Artur. Leonard Bernstein 136 Index of Authors, Editors, and Titles 289

Holoman, D. Kern. “Talking about Music: The “If It’s Good Enough for Shakespeare: The Maestro and the Masses or Reflections Bard and the American Musical” 804 of a Child of the Sixties” 143, 879 “I Hate Retakes” (H. Weber) 192 “Holst: The Planets” (Bernstein, video) 913 Ihde, Albert. “Leonard Bernstein’s Peter Pan “Hommage: Leonard Bernstein “A Boy Like Flies Again in Santa Barbara” 340 That!” (Tubeuf) 419 Ikach, Yuga Sava. “A Study of Selected Songs Horowitz, Joseph. “Is Bernstein Passé on by Leonard Bernstein Which Reflect Television? Only in America” 880; His Contribution in the Evolution of “Sermons in Tones’: Sacralization as a Art Song in America” 607 Theme in American Classical Music” 436 “Imaginary Conversations: Bull Session in the Horowitz, Mark Eden. “The Leonard Bernstein Rockies” (Bernstein) 85b Collection Online” 265; “Letters Shed “Imaginary Conversation: The Muzak Muse, New Light on Bernstein Era” 364; “The An” The Infinite Variety of Music Library of Congress” 236; “West Side (Bernstein) 89b Story: Birth of a Classic” 326 “Imaginary Conversations: Whatever Howard, David L. “Patron of the Choral Art: Happened to that Great American Walter Hussey’s Commission of Choral Symphony?” (Bernstein) 85c Works in the Twentieth Century” 583 “I’m a Liberal, and Proud of It” (Bernstein) “How good was Leonard Bernstein?” 295 (Teachout) 415 “I’m Having a Nervous Breakdown” (Ludgin) “How to think about Leonard Bernstein” 188 (Roddy) 859 “An Immortal Bernstein score updated” Hubbs, Nadine. “Bernstein, Homophobia, (Robbins) 792 Historiography” 438; Queer “The Impact of the Second Vatican Council on Composition of America’s Sound: Gay the Concert Mass in the United States” Modernists, American Music, and (Marchand) 763 National Identity 437 “The Importance of Art” (A. Bernstein, Jamie Hughes, Allen. “Leonard Bernstein” 137 Bernstein, and N. Simmons) 285 Hume, Michael. “MASS Turns 40” 366 “Impressions of Lenny” (Rorem) 172 Hume, Paul. “Leonard Bernstein: La Bonne “Indiana University: A Thoroughly Bernstein Cuisine” 606; “Liturgy on Stage: Celebration” 255 Bernstein’s Mass” 143, 728 The Infinite Variety of Music (Bernstein) 89 “Humor in Music” (Bernstein) 90, 911 (video) “The Infinite Variety of Music” The Infinite Hunt, John. American Classics: The Variety of Music (Bernstein) 89c Discographies of Leonard Bernstein and “The Influence of Aaron Copland on Leonard Eugene Ormandy 846 Bernstein” (Laird) 545 Huntley, John. “Music in Films” 597 “The Influence of Jewish Music and Thought Hurley, Joyce Vertelle. “A Case for Unity in in the Works of Leonard Bernstein” Leonard Bernstein’s Mass” 729 (Lubin) 548 Hurwitz, David. Bernstein’s Orchestral Music: “In Love with the Stage” (Gruen) 713 An Owner’s Manual 630 “In Memoriam: Shirley Bernstein, October 3, Downloaded by [New York University] at 04:27 09 August 2016 Hutchinson, Peter. “Austria: Vienna” 730 1923-May 20, 1998” (J. Thomas) 246 Hutton, Geoffrey W. “The boldest experience In My Own Voice (Ludwig) 496 of all … ” 731 “In Search of the Definitive Edition: A Trail of Scraps and Scribbles” (Harmon) 166 I “Inside the Music Festival: Notes from a Tanglewood Guide” (J. Thomas) 178 Ibee. “Plays on Broadway: On the Town” 732 “An Instrumental Conducting Recital “Ich glaube an den Menschen”: Leonard Document” (Eckert) 618 Bernsteins religiöse Haltung im Speigel “Interlude: Upper Dubbing, Calif.” (Bernstein) seiner Werke (Scheibler) 556 85e “Ich muß alles teilen: Ein Gesprach mit “International: Israel/For God and for Leonard Bernstein” (Reichert) 394 Country” (Matalon) 635 290 Index of Authors, Editors, and Titles

“In the News: Young People’s Concerts With Jennings, Peter. “Giving Kids Heart” 223 the New York Philharmonic, Volume “The Jeremiah Symphony” (Eisenstein) 619 2” 389 Jerome Robbins: His Life, His Theater, His “Introduction: The Happy Medium” Dance (Jowitt) 492 (Bernstein) 85a “Jewish Choral Music: A Conductor’s Guide to “Introduction” to Gebhard’s The Art of Bloch’s ‘Avodath Hakodesh,’ Bernstein’s Pedaling (Bernstein) 87 ‘Chichester Psalms’ and Other Works” “Introduction to Modern Music” (Bernstein) (Nash) 588 85j Johnson, Scott. “More Unanswered Questions” “Introduction” to Stokes’s The Beatles 543 (Bernstein) 94 Johnson, Timothy L. “Twentieth-Century “Introduction” to The Infinite Variety of Music Repertoire for Trombone: A Recital (Bernstein) 89a Program Featuring Works by Paul Irving Fine: An American Composer in His Hindemith, Jacques Castérède, Time (Ramey) 507 Leonard Bernstein, and D. F. “Is Bernstein Passé on Television? Only in Bachelder” 577 America” (J. Horowitz) 880 Jones, Robert T. “New York City Opera: “Israeli Fans Affectionately Dub Bernstein’s ‘Candide’ ” 737 Socko New Symphony ‘The Dialogues Journey to Jerusalem (video) 904 of Lenny With God’ ” (Rapoport) 641 Jowitt, Deborah. Jerome Robbins: His Life, His “IU’s Jacobs School of Music Receives Theater, His Dance 492 Bernstein Gift” (Urquhart) 336 “The Joy of Bernstein” (T. Page) 156 “The Joy of Crosswords” (Chalkey) 212 J The Joy of Music (Bernstein) 85 Judaism Musical and Unmusical (Steinberg, Jablonski, Edward. Alan Jay Lerner: Michael P.) 470 A Biography 491 Jackendoff, Ray. “Leonard Bernstein’s Harvard Lectures” 439 K Jacobson, Robert. “Reports: U.S., Houston” 734; “Reports: U.S., New York” 733; “The Kaddish: A Jewish Prayer in Western Art “State of Ecstasy” 847 Music” (Netanel) 638 Jaensch, Andreas. Leonard Bernsteins “The Kaddish Symphony: Yutaka Sado Musiktheater: Auf dem Weg zu einer in conversation with Laurent amerikanischen Oper 735 Campellone” (Campellone) 257 “A Japanese Candide” (Hashimoto) 210 Kaiser, Charles. The Gay Metropolis 440 “Jay S. Harrison Covers the New York Music Kaiser, Joachim. “Besessener Erzähler und Scene” (Harrison) 629 Erzieher: Eine Laudatio-Sonate” 138; “Jazz Elements in Selected Concert Works of “Leonard Bernstein und München: Leonard Bernstein: Sources, Reception, Laudatio zur Verleihung der Karl- and Analysis” (Helgert) 542 Amadeus-Hartmann-Medaille” 138 Downloaded by [New York University] at 04:27 09 August 2016 “Jazz Forum: Has Jazz Influenced the Kaiser, Joachim, ed. Leonard Bernsteins Ruhm Symphony” (Krupa and Bernstein) 72 138 “Jazz” in der Kunstmusik: Studien zu Funktion Kämper, Dietrich (with Hermann Danuser afro-amerikanischer Musik in and Paul Terse, eds.). Amerikanische Kompositionen des 20. Jahrhunderts Musik seit Charles Ives 689 (Schatt) 555 Kaskowitz, Sheryl. “All in the Family: Brandeis “Jazz in Serious Music” The Infinite Variety of University and Leonard Bernstein’s Music (Bernstein) 89d ‘Jewish Boston’ ” 441 “Jazz in the Concert Hall” (Bernstein, video) Kastendieck, Miles. “Bernstein’s ‘Mass’ in New 911 York” 738 Jenkins, Speight. “Reports: U.S., Washington” Keathley, Elizabeth L. “Postwar Modernity 736 and the Wife’s Subjectivity: Bernstein’s “Jennie Tourel−1910 – 1973” (Bernstein) 92 ‘Trouble in Tahiti’ ” 739 Index of Authors, Editors, and Titles 291

Keiler, Allan. “Bernstein’s The Unanswered Kraut, Harry J. “Make Our Gardens Grow” Question and the Problem of Musical 175; “Rights and Wrongs: A How-To Competence” 442 Guide to Licensing Leonard Bernstein’s Keller, Hans. “On the Waterfront” 598 Music” 206; “Saint Roger” 240; “Sid Kerner, Leighton. “Music: The Fearsome Ramin: A 80th Birthday Tribute” (with Garden” 741; “Music: Truth in Tahiti” John Williams, Charlie Harmon, and 740 Bruce Coughlin) 253 Kim, Chan Ji. “I. Composer and Kreuger, Miles. “The Broadway Composer: Choreographer: A Study of On the Town−A Cohesive Score That Collaborative Compositional Process. Transcends the Sum of Its Parts” 748 II. ‘The Lotus Flower,’ Ballet Music for Krim, Mathilde. “Leonard Bernstein & Chamber Ensemble and Two-Channel AmFAR” 183 Audio” 742 Krones, Hartmut. Kimball, Carol. “Listener’s Gallery: Leonard “Psalmenvortonungstraditionen in Bernstein: Arias & Barcarolles; Songs & Leonard Bernsteins Chichester Psalms” Duets” 608 584 Kirk, Erin P. “Aaron Copland & Leonard Krupa, Gene (with Leonard Bernstein). Bernstein: Twentieth-Century Music “Jazz Forum: Has Jazz Influenced the Through the Eyes of Masters” 443 Symphony” 72 Kisselgoff, Anna. “A Reductive Review of Kuhar, Ursula. “Personal and Cultural Leonard Bernstein’s Life” 139 Contexts of Leonard Bernstein’s Knapp, Raymond. The American Musical and Songfest and Arias and Barcarolles” 605 the Formation of National Identity Kupferberg, Hubert. “Musician of the Year 743; The American Musical and the 1989: Leonard Bernstein” 141; Performance of Personal Identity 744 Tanglewood 444 Knowles, John. “Developing the Young People’s Concerts Study Guide” 199 L Knussen, Oliver. “Recordings: Bernstein, Dybbuk” 745; “Recordings: Bernstein’s Lacy, Susan. Leonard Bernstein: Reaching for Songfest” 631 the Note 142 Kobayashi, Atsushi. “A Happy Set of Lafave, Kenneth. “Lenny Remembered” 334 Circumstances: The Birth of the Pacific Laird, Paul R. “The Best of All Possible Legacies: Music Festival” 180 A Critical Look at Bernstein, His Koleck, Teddy. “Lenny and Israel” 181 Eclecticism, and Candide” 546; The Kolodin, Irving. “The Bernstein-Ginastera Chichester Psalms by Leonard Bernstein Premieres at Kennedy Center” 747; 586; “Choreographers, Directors and “Music to My Ears: Metropolitan the Fully Integrated Musical” 749; “The Menu on the American Plan− Influence of Aaron Copland on Leonard Bernstein on TV” 746; “One for the Bernstein” 545; “Leonard Bernstein: Road” 140 Eclecticism and Vernacular Elements “Der Komponist Leonard Bernstein: Vom in Chichester Psalms” 585; “Musical Downloaded by [New York University] at 04:27 09 August 2016 Broadway zur Carnegie Hall” (Buhles) Sophistication on Broadway: Kurt Weill 526 and Leonard Bernstein” (with bruce Kopfstein-Penk, Alicia. “Leonard Bernstein’s d. mcclung) 765; The Musical Theater ‘Young People’s Concerts’: Context and of Stephen Schwartz: From Godspell to Canons” 881 Wicked and Beyond 493 “Kopp, Christina Lee. “ ‘A School of New Men’: Lansdale, Nelson. “Talent on the Town” 750 Composing an American Identity in Lanzotti, Catherine A. “The Critical Reception the Early Twentieth Century” 544 of Leonard Bernstein: A Review of “Koussevitzky Gives Premiere Of New Criticism from 1950 to 1990” 445 Bernstein Symphony” (Durgin) 617 “Latin Explosion: Latinos, Racial Formation Kozinn, Allan. “Bernstein Archive to be and Twentieth-Century U.S. Popular Digitized for Public Access” 198 Performance” (Herrera) 721 292 Index of Authors, Editors, and Titles

“Laudatio auf Leonard Bernstein” (Everding) Leonard Bernstein, August 25, 1918−October 138 14, 1990, A Complete Catalog of His Laufe, Abe. Broadway’s Greatest Musicals 751 Works Celebrating His 80th Birthday Laurents, Arthur. Mainly on Directing: Gypsy, Year: 1998 – 99. Volume 1: Life, Musical West Side Story, and Other Musicals Compositions & Writings (Gottlieb) 752; Original Story By: A Memoir of 927 Broadway and Hollywood 494 “Leonard Bernstein: A Celebration, Indiana Lawrence, Carol. “ ‘Maria,’ A Fairy Tale” 321 University School of Music Announces Lawrence, Greg. Dance with Demons: The Life Plans for Festival Celebrating 80th of Jerome Robbins 495 Birthday of the Birth of Leonard Lawson, Steven. “Bernstein and the Bernstein” 251 MacDowell Colony” 262 “Leonard Bernstein: A Jewish Legacy” “Learning from Lenny” (M. Thomas) 143 (Gottlieb) 291 “Learning from the Master” (Falletta) 276 “Leonard Bernstein: A Legend on Deutsche Lebrecht, Norman. The Maestro Myth: Great Grammophon” (Stopford) 239 Conductors in Pursuit of Power 848 “Leonard Bernstein: A Lodestar for the Ledbetter, Steven, ed. Sennets & Tuckets: American Church Musician” A Bernstein Celebration 143 (Pilkington) 457 Ledbetter, Steven. “Lord of the Dance: Leonard Bernstein als religiöser Bernstein’s Concert Music” 143, 547 Humanist, Dirigent, Komponist Lederman, Minna. Stravinsky in the Theatre 77 und Musikpädagoge: Studien zu “The Legend of Lenny: A Critic at Large” fächerübergreifenden Aspekten des (Ross) 553 Musikunterrichts (Bösing) 871 Lehrman, Leonard Jordan. “Part 1: ‘Karla’ – Leonard Bernstein: American Original: How a A One-Act Opera in Three Scenes Renaissance Man Transformed Music Based on Bernard Malamud’s ‘Notes and the World During His New York from a Lady at a Dinner Party’ Philharmonic Years 1943 – 1976 (B. (Original Composition). Part II: Bernstein and Haws) 106 Leonard Bernstein’s ‘Serenade’ after “Leonard Bernstein: America’s Music Plato’s ‘Symposium’: An Analysis” 632 Director” (Clark) 390 “Lenny and Israel” (Koleck) 181 “Leonard Bernstein: An American Life” 296 “Lenny and the London Symphony Orchestra” Leonard Bernstein: An American Musician (Gillinson) 244 (Shawm) 408 “Lenny Lying Down and Laughing” “Leonard Bernstein: An Appreciation” (Newman) 353 (Rorem) 398 “Lenny on Our Minds” (Lipman) 145 “Leonard Bernstein & AmFAR” (Krim) 183 “Lenny Remembered” (Lafave) 334 “Leonard Bernstein & Amnesty International” “Lenny’s Vienna” (Prawy) 143, 459 (Healey) 182 “Lenny the Klezmer” (Weiss) 565 “Leonard Bernstein and Dance” (Walters) 561 Leonard, Lawrence. “Here’s a musical that “Leonard Bernstein and Felix Mendelssohn” bridges the gap!” 755 (Somary) 338 Downloaded by [New York University] at 04:27 09 August 2016 Leonard Bernstein (Ewen) 121 “Leonard Bernstein and His Impact on the Leonard Bernstein (Freedland) 123 Vienna Philharmonic” (Hellsberg) 271 “Leonard Bernstein” (Gradenwitz) 539 “Leonard Bernstein & POTUS” (M. A. Taylor) “Leonard Bernstein” (Greenfield) 844 371 Leonard Bernstein (H. Burton) 113 “Leonard Bernstein and the Boston Jewish Leonard Bernstein (Holde) 136 Community of His Youth: The “Leonard Bernstein” (Hughes) 137 Influence of Solomon Braslavsky, Leonard Bernstein (J. F. Weber) 563 Herman Rubenovitz, and Leonard Bernstein (Machart) 149 Congregation Mishkan Tefila” (Sarna) Leonard Bernstein (Myers) 155 463 Leonard Bernstein (Secrest) 405 “Leonard Bernstein and the Harvard Student “Leonard Bernstein, A Composer Union: In Search of Political Origins” Discography” (J. F. Weber) 562 (D. Massey) 447 Index of Authors, Editors, and Titles 293

“Leonard Bernstein and the Resurrection of “Leonard Bernstein Film Festival: Thirteen by Gustav Mahler” (C. J. Page) 853 the Maestro-An Unlucky Number?” “Leonard Bernstein: An Exclusive Interview” (Gelles) 841 144 “Leonard Bernstein: Four Anniversaries” “Leonard Bernstein at 70” (Greenfield) 130 (Livingston) 569 “Leonard Bernstein at Seventy” (Matthew- Leonard Bernstein: Four Ways to Say Farewell Walker) 151 (video) 906 “Leonard Bernstein at 70: The New York Years” “Leonard Bernstein: His opera ‘A Quiet Place’ (Seckerson) 864 opens, with glitter, in Washington” “Leonard Bernstein at Sixty” (Ardoin) 102 (Soria) 468 Leonard Bernstein at Work: His Final Years “Leonard Bernstein: ‘Jeremiah’ Symphony and 1984 – 1990 (S. Sherman and R. ‘The Age of Anxiety’ Symphony No. 2 Sherman) 410 for Piano and Orchestra” (Ward) 654 Leonard Bernstein: Ausdruck eines großen “Leonard Bernstein: Kaddish Symphony” Musikers (Nerius) 451 (Gottlieb) 624 “Leonard Bernstein, Boston to Broadway at “Leonard Bernstein: La Bonne Cuisine” Harvard” 308 (Hume) 606 “Leonard Bernstein: Ceiling Unlimited” “The Leonard Bernstein Letters” 385 (Moor) 153 The Leonard Bernstein Letters (Simeone, ed.) “The Leonard Bernstein Center” 286 411 “Leonard Bernstein Center for Education Leonard Bernstein: L’oeuvre télévisuelle (La Through the Arts” (S. Massey) 176 Rochelle) 882 “Leonard Bernstein Center for Learning/ Leonard Bernstein: Mahler, the Symphonies Gettysburg College: Spring Break (video) 906 in Snow Proves To Be Education” “Leonard Bernstein: Music Educator” (Reynaud) 331 (Peynado) 887 “Leonard Bernstein Center for Learning “Leonard Bernstein: Musician and Jew” Moves to Gettysburg College” 302 (Heskes) 434 “The Leonard Bernstein Center: Ready to “Leonard Bernstein: Musician of Many Grow” (A. Bernstein) 215 Talents” (Gow) 538 “Leonard Bernstein Center Update” (Bolek) “Leonard Bernstein Music Publishing Co.: 354 Composer Tobias Picker joins Leonard “Leonard Bernstein Center Update” (Pool) 313 Bernstein Music Publishing Company/ “The Leonard Bernstein Collection Online” About Tobias Picker” 260 (M. Horowitz) 265 “Leonard Bernstein, My Rabbi” (Fiegelson) “LeonardBernstein.com: How Does It Make 388 You Feel?” (Shiffman) 275 “Leonard Bernstein nei programmi e nella Leonard Bernstein conducts West Side Story: programmazione RAI” (Giuliani) 842 The Making of the Recording (video) Leonard Bernstein: Notes from a Friend 753, 905 (Chapin) 115a Leonard Bernstein: Der Komponist (Dusella Leonard Bernstein: Omnibus (video) 907 Downloaded by [New York University] at 04:27 09 August 2016 and Loos, eds.) 530 “Leonard Bernstein on Television: Bridging “The Leonard Bernstein Discography: New the Gap between Classical Music and On The Web, Breaking the Octennial Popular Culture” 877 Cycle” (Gottlieb) 281 “Leonard Bernstein on Video: Towards the “Leonard Bernstein Discusses His Mass with Year 2000” (H. Burton) 171 High Fidelity” 754 Leonard Bernstein Place: A Musicale in “Leonard Bernstein−Dramatischer Sinfoniker Celebration of Leonard Bernstein’s 75th und sinfonischer Opernkomponist Birthday (video) 908 zum 70. Geburtstag des Musikers” 128 “Leonard Bernstein: Portrait of the Artist by a “Leonard Bernstein: Eclecticism and Young Man” (Sheng) 409 Vernacular Elements in Chichester Leonard Bernstein: Reaching for the Note (Lacy) Psalms” (Laird) 585 142 294 Index of Authors, Editors, and Titles

Leonard Bernstein: Reflections (Rosen, video) Leonard Bernsteins Musiktheater: Auf dem Weg 399, 909 zu einer amerikanischen Oper (Jaensch) “Leonard Bernstein Remembered: A Lecture/ 735 Interview with His Son, Alexander” Leonard Bernstein’s On the Waterfront: A Film (Trott) 417 Score Guide (Bushard) 594 “Leonard Bernstein’s and Roger Englander’s “Leonard Bernstein’s Orchestrator” (Ramin) Educational Mission: Music 325 Appreciation and the 1961 – 1962 “Leonard Bernstein’s Peter Pan Flies Again in Season of Young People’s Concerts” Santa Barbara” (Ihde) 340 (MacInnis) 884 “Leonard Bernsteins Ruhm (Kaiser) 138 “Leonard Bernstein’s Boston Years Web “Leonard Bernstein’s ‘Serenade’ after Plato’s Archive” 339 ‘Symposium’: An Analysis” (Lehrman) Leonard Bernstein’s Chichester Psalms/ 632 Symphony No. 1: Jeremiah/Symphony “Leonard Bernstein’s The Age of Anxiety: No. 2: The Age of Anxiety (video) 910 A Great American Symphony during “The Leonard Bernstein School Improvement McCarthyism” (Gentry) 622 Model” (Benjamin) 292 “Leonard Bernstein’s ‘Touches’: A Performer’s “Leonard Bernstein’s Dybbuk: An Analysis Analysis” (Chen) 567 including Historical, Religious, and Leonard Bernstein’s Trouble in Tahiti (video) Literary Perspectives of Hasidic Life 184 and Lore” (Pearlmutter) 784 “Leonard Bernstein’s Works for the Musical “Leonard Bernstein’s Educational Legacy” Theatre: How the Music Functions (Rozen) 889 Dramatically” (L. J. Snyder) 809 “Leonard Bernstein: Serenade for Solo Violin, Leonard Bernstein’s Young People’s Concerts String Orchestra, Harp, & Percussion” (Bernstein) 90, 911 (video) (D. Epstein) 620 “Leonard Bernstein’s ‘Young People’s “Leonard Bernstein 75th Birthday Concerts’: Context and Canons” Commemoration: Calendar of Official (Kopfstein-Penk) 881 Events” 194 “Leonard Bernstein’s Young People’s Concerts “Leonard Bernstein 72, Music’s Monarch, with the New York Philharmonic Dies” (Henahan) 133 Premiere on DVD” (Cabaniss) 294 Leonard Bernsteins geistliche Musik: “Leonard Bernstein Talks to Alan Blyth” Chichester Psalms und Mass” (Loos) (Blyth) 109 530, 759 Leonard Bernstein: Teachers and Teaching: An “Leonard Bernstein’s Harvard Lectures” Autobiographic Essay (video) 913 (Jackendoff) 439 “Leonard Bernstein. The Complete Works for “Leonard Bernstein’s Informative Speaking Solo Piano” (Truesdell) 573 in the 1965 – 1966 Young People’s Leonard Bernstein: The Gift of Music (video) Concerts” (Rees) 888 914 “Leonard Bernstein’s Jazz: Musical Topic and Leonard Bernstein/The Gift of Music: An Cultural Resonance” (Baber) 521 Intimate Portrait (Hohlfeld) 135 Downloaded by [New York University] at 04:27 09 August 2016 “Leonard Bernstein’s Jewish Boston: An Leonard Bernstein: The Harvard Years Introductory Note” (Adams, Oja, and 1935 – 1939 (Swan) 413 Shelemay) 424 Leonard Bernstein: The Infinite Variety of a “Leonard Bernstein’s Jewish Boston: Musician, (Gradenwitz) 127, 540 Cross-Disciplinary Research in the Leonard Bernstein: The Last 10 Years (Seiler) Classroom” (Oja and Shelemay) 406 455 Leonard Bernstein: The Love of Three “Leonard Bernstein’s Mass: Analysis and Orchestras (video) 915 Commentary” (Watson) 830 Leonard Bernstein: The Man, His Work, and “Leonard Bernstein’s Mass as Social and His World (Briggs) 112 Political Commentary on the Sixties” “Leonard Bernstein: Theory and Practice” (André) 657 (List) 146 Index of Authors, Editors, and Titles 295

Leonard Bernstein: The Political Life of An Lincer, William (with William Vacchiano and American Musician (Seldes) 464 Jacques Margolies). “From the Stage: Leonard Bernstein: The Television Work 883 Three Musicians Remember” 290 “Leonard Bernstein: Trouble in Tahiti, an “Lincoln Center to Honor Bernstein” 237 opera in seven scenes” (Tangeman) 822 Lipman, Samuel. “Lenny on Our Minds” 145 Leonard Bernstein: un’ anima divisa in due List, Kurt. “Leonard Bernstein: Theory and (Zignani) 422 Practice” 146 Leonard Bernstein: Un chef inspiré (Resnick) “Listener’s Gallery: Leonard Bernstein: Arias & 395 Barcarolles; Songs & Duets” (Kimball) “Leonard Bernstein und München: Laudatio 608 zur Verleihung der Karl-Amadeus- “Liszt and the Devil” (Bernstein, video) 912 Hartmann-Medaille” (Kaiser) 138 Little Drummer Boy: Essay on Mahler by “Leonard Bernstein: Video Man” (H. Burton) Leonard Bernstein (video) 916 143, 872 “The Little Motive That Could” (Gottlieb) 304 Leonard Bernstein: West Side Story (Simeone) Littler, William. “Bernstein at 70: From 805 Tanglewood to Toronto” 147 “Leonard Bernstein: Young People’s Classics” “Liturgy on Stage: Bernstein’s Mass” (Hume) 381 143, 728 “Lessons from a Master: Using the ‘Bernstein Livingston, Herbert. “Leonard Bernstein: Four Formula’ in Music Classrooms” Anniversaries” 569 (Bartram) 869 Locke, Ralph P. Musical Exoticism: Images and “Lessons Learned from Chichester Psalms” Reflections 758 (Woodall) 361 “Logodaedalist” (B. Bernstein) 211 “Letter from England” (Banfield) 522 Look, I Made a Hat: Collected Lyrics “Letter to Franz Endler, A” Findings (1981 – 2011) with Attendant (Bernstein) 97i Comments, Amplifications, Dogmas, “Letter to Jennie” (Bernstein) 392 Harangues, Digressions, Anecdotes, and “Letters Shed New Light on Bernstein Era” Miscellany (Sondheim) 467 (Horowitz) 364 Loos, Helmut. “Leonard Bernsteins geistliche Levinger, Henry W. “Creative Arts Fete at Musik: Chichester Psalms und Mass” Brandeis University” 446 530, 759 Lias, Stephen. “A Comparison of Leonard Loos, Helmut. (with Reinhold Dusella) eds. Bernstein’s Incidental Music for Leonard Bernstein: Der Komponist 530 the Film On the Waterfront and the “Lord of the Dance: Bernstein’s Concert Subsequent Symphonic Suite from the Music” (Ledbetter) 143, 547 Film” 599 Lowens, Irving. “Bernstein: Symphonies “The Library of Congress” (M. Horowitz) 236 (3); Chichester Psalms” 633; “Choral “The Library of Congress, Music Division” 929 Performances: Washington” 760 “The Library of Congress & The Leonard Lubin, Abraham. “The Influence of Jewish Bernstein Archive” (Auman) 201 Music and Thought in the Works of “Library of Congress Prototype” (Auman) 216 Leonard Bernstein” 548 Downloaded by [New York University] at 04:27 09 August 2016 Lieberman, Carol. “Conductor” (with Phyllis Ludgin, Chester. “I’m Having a Nervous Curtin, John Oliver, and James Breakdown” 188 Orleans) 839; “Mahler: With Bernstein Ludwig, Christa. In My Own Voice 496 in Israel” 143 Luther, Sigrid. “The Anniversaries for Solo Lieberson, Goddard. “West Side Story Told Piano by Leonard Bernstein” 570 Again” 756 Lyons, James. “Trouble in Tahiti Successful A Life in the Theatre (Guthrie) 487 Despite Flaws” 761 Lillian Hellman: The Image, The Woman (Wright) 517 M Lin, Hsun. “Convergences between Leonard Bernstein’s On the Town (1944) and “MacDowell Colony Celebrates Leonard Wonderful Town (1953) and His Bernstein” 259 Contemporary Concert Music” 757 Machart, Renaud. Leonard Bernstein 149 296 Index of Authors, Editors, and Titles

Machlis, Joseph. American Composers of our “Mass” (Alsop) 221 Time 148 “Mass: A Jewish Mass or a Catholic Mitzvah” MacInnis, John Christian. “Leonard Bernstein’s (Gottlieb) 220 and Roger Englander’s Educational “Mass and the Press” (Davis and Hamilton) Mission: Music Appreciation and the 691 1961 – 1962 Season of Young People’s “Mass at the Vatican” (Bratt) 345 Concerts” 884 “Mass at the Vatican” 268 Maestro: Encounters with Conductors Today Mass at the Vatican City (video) 919 (Matheopoulos) 850 Massey, Drew. “Leonard Bernstein and the The Maestro Myth: Great Conductors in Pursuit Harvard Student Union: In Search of of Power (Lebrecht) 848 Political Origins” 447 “Maestro: The Art of Leonard Bernstein” Massey, Scott T. “Leonard Bernstein Center for (Felder) 356 Education Through the Arts” 176 Magrath, Jane. “Bernstein’s ‘Anniversaries’ and “A Mass for Everyone, Maybe” (Bender) 669 Other Works for Solo Piano” 571 “Mass in Virginia” (Falletta) 348 “Mahler: His Time Has Come” Findings “MASS Turns 40” (Hume) 366 (Bernstein) 97g “Master Class: Playing Bernstein’s Piano “Mahler: With Bernstein in Israel” Music” (Tocco) 572 (Lieberman) 143 Matalon, Samuel. “International: Israel/For Mainly on Directing: Gypsy, West Side Story, God and for Country” 635 and Other Musicals (Laurents) 752 Matheopoulos, Helena. Maestro: Encounters “Make Our Gardens Grow” (Kraut) 175 with Conductors Today 850 “Making Magic” (Urquhart) 393 Matthew-Walker, Robert. “Leonard Bernstein Making Music: Leonard Bernstein (S. at Seventy” 151 Bernstein) 108 Mauceri, John. “Experiencing West Side Story” The Making of “West Side Story” (Garebian) 327; “Preparing for the Pit” 143; 702 “Reflections on A Quiet Place” 187; “Making Your Garden Growl: Lillian and “Teacher” (with Leonard Bernstein, Hellman and Candide” (Peters) 785 Michael Tilson Thomas, and Carl Mandelbaum, Ken. Not Since Carrie: Forty St. Clair) 870 Years of Broadway Musical Flops 762 Mayer, Martin. “The Blinding Facility of Mandell, Robert. West Side Maestro: A Musical Leonard Bernstein” 152 Memoir of Leonard Bernstein 150 Mayle, Ann. “West Side Story: A Teaching “Man of Notes: Leonard Bernstein’s Musical Diary” 280 Career Deprives Broadway of Able McCall, Sarah B. “The Musical Fallout of Writer” (Atkinson) 663 Political Activism: Government Marc Blitzstein: His Life, His Work, His World Investigations of Musicians in the (Pollack) 505 United States 1930 – 1960” 448 Marchand, Rebecca Giacosie. “The Impact mcclung, bruce d., and Paul R. Laird. “Musical of the Second Vatican Council on the Sophistication on Broadway: Kurt Concert Mass in the United States” 763 Weill and Leonard Bernstein” 765 Downloaded by [New York University] at 04:27 09 August 2016 Marcus, Leonard. “Bernstein: Symphony No. 3 McClure, John. “Bernstein vs. The Studio: (“Kaddish”)” 634 Recording Lenny the Hard Way” 191 Margolies, Jacques (with William Vacchiano McDonald, Anthony Terrell. “A Conductor’s and William Lincer). “From the Stage: Analysis of Serenade for Solo Violin, Three Musicians Remember” 290 String Orchestra, Harp and Percussion “ ‘Maria,’ A Fairy Tale” (C. Lawrence) 321 by Leonard Bernstein” 636 Marinelli, Carlo. “Il direttore d’opera: Quattro McGreevy, John, ed. Glenn Gould By Himself registrazioni italiane” 849 and His Friends 98 Mark the Music: The Life and Work of Marc McHugh, Dominic, ed. Alan Jay Lerner: Blitzstein (Gordon) 485 A Lyricist’s Letters 497 Martin, John. “Ballet by Robbins Called McMillin, Scott. The Musical as Drama: Smash Hit: ‘Fancy Free’ about A Study of the Principles and Troubles of Sailors and Their Girls, in Conventions behind Musical Shows from Metropolitan Premiere” 764 Kern to Sondheim 766 Index of Authors, Editors, and Titles 297

“Measuring a Maestro for the Ages (Again)” “More Peter Pan” (Frey) 341 (Mermelstein) 269 “More Unanswered Questions” (S. Johnson) “Meeting President Carter” (N. Simmons) 373 543 Mellers, Wilfred. “West Side Story Revisited” Morgan, Michael. “Bernstein in My Life” 767 305 Melodies of the Mind: Connections between Morrison, Richard. “An Accolade for One Psychoanalysis and Music (Nagel) 775 Helluva Show” 298; “The Day I Met Mencher, Steve and Rosanne Singer. “Serenade Leonard Bernstein” 209 to Lenny” 449 Moses, Kurt. “Point of View: Leonard Mermelstein, David. “Bernstein & On the Bernstein” 154 Waterfront” 300; “Measuring a Maestro A Most Wondrous Babble (Tawa) 559 for the Ages (Again)” 269 “Ein Mozart für Amerika: ‘West Side Story’ “The Metamorphosis of Leonard Bernstein’s von Leonard Bernstein” (Gräwe) 98 Candide” (Ganz) 682 Mugmon, Matthew Steven. “The American Metropolitan Opera Archives 930 Mahler: Musical Modernism and Meyer, Klaus (with Thomas Röder). “Die Transatlantic Networks 1920 – 1960” Symphonien Leonard Bernsteins” 530 450 Mikotowicz, Tom. Oliver Smith: A Bio- The Museum of Television and Radio. Now Bibliography 498 The Paley Center for Media. Miller, Scott. From Assassins to West Side The Museum of the City of New York 932 Story: The Director’s Guide to Musical Musical!: A Grand Tour (Flinn) 700 Theatre 768 The Musical as Drama: A Study of the Milnes, Rodney. “Towards the great American Principles and Conventions behind opera” 769 Musical Shows from Kern to Sondheim Minch, John. “West Side Story at HMP (McMillin) 766 Erlstoke” 382 “Musical ‘Candide’: Lillian Hellman and Minear, Paul S. Death Set to Music: Leonard Bernstein Turn Voltaire Satire Masterworks by Bach, Brahms, Into Fine Play” (Atkinson) 661 Penderecki, Bernstein 770 Musical Chairs: A Life in the Arts (Chapin) Mintz, Ouida Blatt. My Friend Lenny: 115b A Memoir of My Life in Music, with “Musical Events: Fluting” (Porter) 640 Personal Stories about Leonard “Musical Events: Grand, Small, and Bernstein, Mike Wallace, Paul Simon, Important” (Porter) 639 and Others 499 “Musical Events: Harmony and Grace” Mister Abbott (Abbott) 477 (Porter) 787 Montecchi, Giordano. “USA versus Europa: “Musical Events: How to Live in Grace” alle radici di una diversità” 549 (Porter) 786 Monush, Barry. Music on Film: West Side Story “Musical Events: Love in a Garden” (Porter) 771 788 Moor, Paul. “Leonard Bernstein: Ceiling “Musical Events: Missa cum Laude” (Sargeant) Unlimited” 153 798 Downloaded by [New York University] at 04:27 09 August 2016 Moore, David W. “Bernstein on Bernstein” “Musical Events: Whither?” (Sargeant) 799 637 Musical Exoticism: Images and Reflections Moore, Gary W. “A Conductor’s Analysis (Locke) 758 of Psalm Settings by J. S. Bach, W. A. “The Musical Fallout of Political Activism: Mozart, Anton Bruckner and Leonard Government Investigations of Bernstein” 587 Musicians in the United States Moore, James Walter. “A Study of Tonality in 1930 – 1960” (McCall) 448 Selected Works by Leonard Bernstein” “Musical Phonology” The Unanswered 550 Question (Bernstein) 93a, 917 Mordden, Ethan. Anything Goes: A History of (video) American Musical Theatre 773; Coming “The Musical Play Expands” (Stempel) 813 Up Roses: The Broadway Musical in the “Musical Semantics” The Unanswered Question 1950s 772 (Bernstein) 93c, 917 (video) 298 Index of Authors, Editors, and Titles

“Musical Sophistication on Broadway: Napoli, Tony. “Notes from a Mass Fan” 357 Kurt Weill and Leonard Bernstein” Nash, Ethan Daniel. “Jewish Choral Music: (McClung and Laird) 765 A Conductor’s Guide to Bloch’s “Musical Syntax” The Unanswered Question ‘Avodath Hakodesh,’ Bernstein’s (Bernstein) 93b, 917 (video) ‘Chichester Psalms’ and Other Works” “Musical Theater” (Swed) 821 588; “Understanding and Performing The Musical Theater of Stephen Schwartz: Bernstein’s Chichester Psalms” 589 From Godspell to Wicked and Beyond “National: Massachusetts/The Best of (Laird) 493 Bernstein” (Rogers) 645 Musical Theatre, Realism and Entertainment “Neglected Works: A Symposium” (Bernstein) (Taylor) 825 71 “Music and Miss Stein” (Bernstein) 79 “The Negro in Music: Problems He Has to “Musician of the Year 1989: Leonard Face in Getting a Start” (Bernstein) 75 Bernstein” (Kupferberg) 141 Negrón-Muntaner, Frances. “Feeling Pretty: “Music I Heard with You” (Seckerson) 557 West Side Story and Puerto Rican “Music in Films” (Huntley) 597 Identity Discourses” 776 “Music: Lennie’s Brainchildren” 774 Nerius, Ingeborg. Leonard Bernstein: Ausdruck “Music: Lennie’s Kindergarten” 885 eines großen Musikers 451 The Music of Israel (Gradenwitz) 541 Netanel, Deborah Kramer. “The Kaddish: “The Music of Johann Sebastian Bach” A Jewish Prayer in Western Art Music” (Bernstein) 85k 638 “The Music of Leonard Bernstein: A Study of “Neue Musik in Israel” (Gradenwitz) 625 Melodic Manipulations” (Gottlieb) “The New Bernstein” (Heumann) 722 534 “New Job for the Protean Mr. Bernstein” Music on Film: West Side Story (Monush) 771 (Schonberg) 860 Music Talks: Conversations with Musicians (H. “A New Kaddish Recording” 307 Epstein) 120 Newman, Phyllis. “Lenny Lying Down and “Music that Sings” (Bernstein) 76 Laughing” 353 “Music: The Fearsome Garden” (Kerner) 741 “New Music in Boston” Findings (Bernstein) “Music to My Ears: Metropolitan Menu on 97a the American Plan−Bernstein on TV” “New Releases of the Definitive Candide” 160 (Kolodin) 746 “The New ‘School’ of American Composers” “Music: Truth in Tahiti” (Kerner) 740 (Copland) 528 Musikerportraits (Schmidt) 403 “New Views on Bernstein” (Beadle) 104 “Mutual Responses in the Midst of an Era: “New York, New York!: On the Town con Aaron Copland’s The Tender Land and Francisco Ayala (Comedia Musical Leonard Bernstein’s Candide” (Crist) apócrifa)” (Richmond) 790 686 “New York City Opera: ‘Candide’“ (Jones) 737 “My Agent, My Friend” (S. Schwartz) 248 The New York Musicals of Comden & Green 777 “My Brother, Lenny” (B. Bernstein) 351 “New York Philharmonic Announces Scholar- Myers, Paul. Leonard Bernstein 155 in-Residence Program” 306 Downloaded by [New York University] at 04:27 09 August 2016 “My Father and the FBI” (J. Thomas) 207 New York Philharmonic Archive 933 My First 79 Years (Stern and Potok) 513 “New York Philharmonic Archives Update” My Friend Lenny: A Memoir of My Life in (Haws) 379 Music, with Personal Stories about “The New York Philharmonic Digital Leonard Bernstein, Mike Wallace, Paul Archives” (Haws) 362 Simon, and Others (Mintz) 499 The New York Philharmonic: From Bernstein to “My Sister, Shirley” (B. Bernstein) 247 Maazel 837 “New York Philharmonic Special Editions” 270 N New York Philharmonic: The Authorized Recordings (North) 852 Nagel, Julie Jaffee. Melodies of the Mind: The New York Public Library for the Connections between Psychoanalysis Performing Arts 934 and Music 775 “A Nice Gershwin Tune” (Bernstein) 82 Index of Authors, Editors, and Titles 299

Nichols, Lewis. “The Play” 778 Oliver Smith: A Bio-Bibliography (Mikotowicz) Nicolosi, Dennis John. “The Effect of an 498 ‘Informance’ on a Middle School “One for the Road” (Kolodin) 140 Student Population’s Understanding “On the Road with Lenny” (Urquhart) of Musical Terms Using Leonard 242 Bernstein’s “Young People’s Concerts” On the Town (concert video) 921 as a Model” 452, 886 On the Town (film video) 920 “Ni commencement, ni fins … ” Findings On the Town: One Hundred Years of Spectacle (Bernstein) 97k in Times Square (Berman) 671 North, James H. New York Philharmonic: The On the Waterfront (film video) 922 Authorized Recordings 852 “On the Waterfront” (Hamilton) 596 “A Note on Variety” (Bernstein) 77 “On the Waterfront” (Keller) 598 “Notes From a Friendship: The On the Waterfront (Rapf) 601 Correspondence of Serge Koussevitzky “On the Waterfront: The Making of a Great and Leonard Bernstein” (Godell) 261 American Film (Tuohy) 604 “Notes from a Mass Fan” (Napoli) 357 “Open Forum: The Controversial Bernstein “Notes on Concerto for Orchestra (“Jubilee Mass: Another Point of View” Games”)” (Gottleib) 173 (Goemanne) 706 Not Since Carrie: Forty Years of Broadway Opening Night on Broadway: A Critical Musical Flops (Mandelbaum) 762 Quotebook of the Golden Era of the “Nürnberg. Liebe zwischen Jets und Sharks” Musical Theatre (Suskin) 817 (Stöckl) 816 “Opening of the Kennedy Center” (Goodfriend) 707 O “Opera Everywhere: Houston Grand Opera: Bernstein ‘A Quiet Place’ (premiere)” “The Occult” Findings (Bernstein) 97b (Cunningham) 688 Oestreich, James R. “The Burnishing of the “ ‘Optimismus mit Trauerflor, kämpfend’: Bernstein Legend” 453 Leonard Bernstein und seine Opern” Off Stage (Comden) 481 (Gräwe) 530, 709 “O Happy Birthday, Dear Daddy-O” “The Opulent Optimist” 781 (J. Bernstein) 193 “Orchestra, soloist adeptly meet ‘West Side Oja, Carol J. Bernstein Meets Broadway: Story Suite’ challenge” (J. Fleming) Collaborative Art in a Time of War 274 780; “Leonard Bernstein’s Jewish Original Story By: A Memoir of Broadway and Boston: Cross-Disciplinary Research Hollywood (Laurents) 494 in the Classroom” (with Kay Kaufman Orleans, James. “Brahms: Breaking the Fetters” Shelemay) 455; “Leonard Bernstein’s 143; “Conductor” (with Phyllis Curtin, Jewish Boston: An Introductory Note” Carol Lieberman, and John Oliver) (with Sarah Adams and Kay Kaufman 839 Shelemay) 424; “Something Called Osato, Sono. Distant Dances 500 Terrorism: In a speech given at Harvard Other Entertainment (Rorem) 510 Downloaded by [New York University] at 04:27 09 August 2016 22 years ago and never before published, “The Other Musical Theatre: Political Satire in Leonard Bernstein offered a warning Broadway Musicals from ‘Strike Up the that remains timely” 454; “West Side Band’ (1927) to ‘Anyone Can Whistle’ Story and The Music Man: Whiteness, (1964)” (Roost) 794 Immigration, and Rice in the US during Oue, Eiji. “Young Conductors Remember their the 1950s” 779; “Wonderful Town and Teacher” 162 McCarthy Era Politics” 318 “Our Critics Abroad: Boston” (Dyer) 696 “Old Musical Posers and New World Our Story Jets and Sharks Then and Now: As Solutions” (Redlich) 643 Told by Cast Members from the Movie Oliver, John. “Beethoven In Excelsis” 143; West Side Story 782 “Conductor” (with Phyllis Curtin, Our Two Lives (Rodzinski) 509 Carol Lieberman, and James Orleans) “Overtures and Preludes” (Bernstein, video) 1839 912 300 Index of Authors, Editors, and Titles

P Peynado, Franklin. “Leonard Bernstein: Music Educator” 887 “Pacific Music Festival: Celebrating the Pacific Peyser, Joan. Bernstein: A Biography 157a, Music Festival” (Tsuchihashi) 256 157b; “The Bernstein Legacy” 158 Page, Christopher Jarrett. “Leonard Bernstein Philharmonic: A History of New York’s and the Resurrection of Gustav Orchestra (Shanet) 865 Mahler” 853 Phillips, Harvey E. The Carmen Chronicle: The Page, Tim. “The Joy of Bernstein” 156 Making of an Opera 854 The Paley Center for Media 931 “Phoenix House Changes Lives with the West “Parodie und Entlehnung in Leonard Side Story Project” (Gillespie) 367 Bernsteins Candide” (Schwarte) 801 “Phoenix House West Side Story Project “Part 1: ‘Karla’ – A One-Act Opera in Three Discussed” 368 Scenes Based on Bernard Malamud’s Pilkington, Steve. “Leonard Bernstein: ‘Notes from a Lady at a Dinner Party’ A Lodestar for the American Church (Original Composition). Part II: Musician” 457 Leonard Bernstein’s ‘Serenade’ after Pincus, Andrew L. Scenes from Tanglewood Plato’s ‘Symposium’: An Analysis” 855; Tanglewood: The Clash (Lehrman) 632 between Tradition and Change 856; “Patron of the Choral Art: Walter Hussey’s “[Tanglewood Beginnings]: First Commission of Choral Works in the Summer” 143, 458 Twentieth Century” (Howard) 583 “Pivot Analysis in Bernstein’s Chichester Patterson, Aaron Thomas. “Use of Saxophones Psalms: A Guide for Singers” in West Side Story: An Analysis of (Winnick) 590 Original Scores” 703 “The Play” (Nichols) 778 Paz, Gideon. “Bernstein in Israel: A thirty-year “Play on Broadway: Wonderful Town” (Hobe) love affair is joyously celebrated” 456 724 Pearlmutter, Alan. “Bernstein’s Mass Revisited” “Plays on Broadway: On the Town” (Ibee) 732 783; “Leonard Bernstein’s Dybbuk: Plessner, Lucian. “Bernstein für Gitarre” 578 An Analysis including Historical, “The Poetry of the Earth” (Bernstein) 93f, 917 Religious, and Literary Perspectives of (video) Hasidic Life and Lore” 784 “Point of View: Leonard Bernstein” (Moses) Pentimento: A Book of Portraits (Hellman) 490 154 Peress, Maurice. Dvorák to Duke Ellington: Pollack, Howard. Aaron Copland: The Life A Conductor Explores America’s Music and Work of an Uncommon Man 504; and Its African American Roots 501 Harvard Composers: Walter Piston and Perlis, Vivian. Copland 1900 through His Students, from Elliott Carter to 1942 (with Aaron Copland) 482; Frederic Rzewski 551; Marc Blitzstein: Copland Since 1943 (with Aaron His Life, His Work, His World 505 Copland) 483; “Dear Aaron, Dear “Polygram and Bernstein Group Establish Lenny: A Friendship in Letters” 502; Joint Publishing Venture” 214 “A Farewell to Aaron Copland and Pool, Kenneth. “Leonard Bernstein Center Downloaded by [New York University] at 04:27 09 August 2016 Leonard Bernstein” 503 Update” 313 “Perpetual Promise” (Bernheimer) 105 “Pop Music by Classical Composers” “Personal and Cultural Contexts of Leonard (Zakariasen) 566 Bernstein’s Songfest and Arias and Porter, Andrew. “Musical Events: Fluting” Barcarolles” (Kuhar) 605 640; “Musical Events: Grand, Small, “The Pervasive Musician I, II” (Rice) 396 and Important” 639; “Musical Events: “ ‘Peter Grimes’ and Leonard Bernstein: An Harmony and Grace” 787; “Musical English Fisherman and His Influence Events: How to Live in Grace” 786; on an American Eclectic” (H. Smith) “Musical Events: Love in a Garden” 558 788 “Peter Pan Editor’s Note” (Sunderland) 320 “Postwar Modernity and the Wife’s Peters, Brooks. “Making Your Garden Growl: Subjectivity: Bernstein’s ‘Trouble in Lillian Hellman and Candide” 785 Tahiti’ ” (Keathley) 739 Index of Authors, Editors, and Titles 301

“The Power of ‘Fun’ ” (A. Bernstein) 185 A Quiet Place−Librettist’s Notes (Wadsworth) Prawy, Marcel. “Lenny’s Vienna” 143, 459 138 “Preface” to Mehegan’s Tonal and Rhythmic “Quo Vadis, Leonard Bernstein?” (Rorem) Principles (Bernstein) 86 401 Prelude, Fugue & Riffs (newsletter) 159 – 393 “Prelude to a Musical” (Bernstein) 80 R Prendergast, Roy M. Film Music: A Neglected Art: A Critical Study of Music in Films Radical Chic & Mau-Mauing the Flak Catchers 600 (Wolfe) 475 “Preparing for the Pit” (Mauceri) 143 Ramey, Phillip. Irving Fine: An American Priest of Music: The Life of Dimitri Mitropoulos Composer in His Time 507 (Trotter) 515 Ramin, Sid. “Leonard Bernstein’s Prince, Hal. Contradictions: Notes on Twenty- Orchestrator” 325; “Your Line-Up is six Years in the Theatre 506 Terrible: Arrangers Really Know the “The Principle of Hope” (Bernstein) 143 Score” 168 The Private World of Leonard Bernstein Rapf, Joanna E., ed. On the Waterfront 601 (Gruen) 131 Rapoport, Azaria. “Israeli Fans Affectionately Program note for Facsimile (Bernstein) 73 Dub Bernstein’s Socko New Symphony Program note for Halil (Bernstein) 96 ‘The Dialogues of Lenny With God’ ” Program note for Serenade, after Plato’s 641 Symposium (Bernstein) 83 Rasmussen, Karen. “Transcendence in Leonard Program note for Symphony No. 1: Jeremiah Bernstein’s Kaddish Symphony” 642 (Bernstein) 68 Ratner, Carl Joseph. “Chicago Opera Theater: Program note for Symphony No. 2: The Age of Standard Bearer for American Opera Anxiety (Bernstein) 78 1976 – 2001” 789 Program note for Three Dance Episodes from Rattalino, Piero. “Bernstein e il pianoforte” 460 On the Town 70 “Recalling Last Year’s Memorial Events” 165 “Program Notes” from Leonard Bernstein: “Reclaiming The Dybbuk” (Carman) 301 A Jewish Legacy (Gottlieb) 536 “Recordings: A Quiet Place” (Wakeling) 829 “The Prominence of Hebrew Syntax in “Recordings: Bernstein, Dybbuk” (Knussen) Leonard Bernstein’s ‘Chichester 745 Psalms’ ” (Finch) 581 “Recordings: Bernstein’s Songfest” (Knussen) “Psalmenvortonungstraditionen in Leonard 631 Bernsteins Chichester Psalms” (Krones) Redlich, Hans F. “Old Musical Posers and New 584 World Solutions” 643 Putnam, Mark and Margaret Officer. “A Reductive Review of Leonard Bernstein’s “Bringing the Young People’s Concerts Life” (Kisselgoff) 139 into Today’s Classrooms” 203 Rees, James Lester. “Leonard Bernstein’s Informative Speaking in the Q 1965 – 1966 Young People’s Concerts” 888 Downloaded by [New York University] at 04:27 09 August 2016 Queer Composition of America’s Sound: Gay “Reflections on A Quiet Place” (Mauceri) Modernists, American Music, and 187 National Identity (Hubbs) 437 “Re-hearing Bernstein” (Schiff) 402 “The Question Factory” (A. Bernstein) Reichert, Manfred. “Ich muß alles teilen: Ein 197 Gesprach mit Leonard Bernstein” 394 “Questions & Answers with Author Nigel Reiter, Susan. “A Helluva Site for The Original Simeone” 386 New York Musical” 231 “The Quiet Legacy” (Urquhart) 219 “Remarks from the MacDowell Colony “A Quiet Place” (Sunderland) 383 Benefit” (N. Bernstein) 263 “A Quiet Place at the New York City Opera” “Remembering Betty [Comden]! 1919 – 2006” (Burton) 360 (J. Bernstein) 319 “A Quiet Place at the New York City Opera” “Remembering Carlos Moseley” (Haws) (Steel) 347 376 302 Index of Authors, Editors, and Titles

“Remembering Jack Gottlieb October 12, La Rochelle, Réal. Leonard Bernstein: L’oeuvre 1930 – February 23, 2011” télévisuelle 882 (J. Bernstein) 363 Rockwell, John. “Bernstein Triumphant” 143, “Remembering My Father” (A. Bernstein) 352 397 “Remembering the Revolution: Music in Stage Roddy, Joseph. “How to think about Leonard and Screen Representations of Early Bernstein” 859; “Who Lives at Carnegie America during the Bicentennial Years” Hall?” 858 (Harbert) 716 Röder, Thomas and Klaus Meyer. “Die “Reminiscence: Leonard Bernstein’s New York” Symphonien Leonard Bernsteins” 530, (S. Bernstein) 218 644 “Reports: U.S., Houston” (Jacobson) 734 Rodzinski, Halina. Our Two Lives 509 “Reports: U.S., New York” (Jacobson) 733 Rogers, Harold. “National: Massachusetts/The “Reports: U.S., Washington” (Jenkins) 736 Best of Bernstein” 645 Resnick, Evelyne. Leonard Bernstein: Un chef “The Role of Drama and Spirituality in inspiré 395 the Music of Leonard Bernstein” “A Review and Evaluation of Selected (Copeland) 527 Contemporary Literature for “The Role of the Symphony Orchestra Unaccompanied Trombone” (Weeks) Youth Concert in Music Education” 579 (Snowden) 891 “Reviews, Resident: 1600 Pennsylvania “The Rolling Stone Interview: Leonard Avenue” (Selznick) 802 Bernstein” (Cott) 116 “Reviving Dybbuk” (Ringer) 317 “Romanticism in Music” The Infinite Variety of Reynaud, Cynthia. “Leonard Bernstein Center Music (Bernstein) 89g for Learning/Gettysburg College: “Romeo and Juliet, Done in Gang Style: ‘West Spring Break in Snow Proves To Be Side Story’ is a Fine Dancing Show” Education” 331 793 “Rhapsodies in Blue” (Bañagale) 479 Roost, Alisa C. “The Other Musical Theatre: “Rhythm” The Infinite Variety of Music Political Satire in Broadway Musicals (Bernstein) 89f from ‘Strike Up the Band’ (1927) to Rice, Robert. “The Pervasive Musician I, II” ‘Anyone Can Whistle’ (1964)” 794 396 Rorem, Ned. “Impressions of Lenny” 172; Rich, Alan. “Where Are You, Lenny, When We “Leonard Bernstein: An Appreciation” Need You” 461 398; Other Entertainment 510; Settling Richmond, Carolyn. “New York, New York!: the Score: Essays on Music 552 On the Town con Francisco Ayala Rosen, Peter. Leonard Bernstein: Reflections (Comedia Musical apócrifa)” 790 399, 909 (video) “Rights and Wrongs: A How-To Guide to Ross, Alex. “The Legend of Lenny: A Critic at Licensing Leonard Bernstein’s Music” Large” 553 (Kraut) 206 Rothbart, Peter. The Synergy of Film and Rimer, J. Thomas. “Bernstein’s A Quiet Place Music: Sight and Sound in Five and Adams’s Nixon in China” 791 Hollywood Films 795 Downloaded by [New York University] at 04:27 09 August 2016 Ringer, Jenifer. “Reviving Dybbuk” 317 “Rover Boy Genius” 400 Rinke, Hanno. “Attempting the Impossible: Rozen, Brian D. “Leonard Bernstein’s A Record Producer’s Collaboration Educational Legacy” 889 with Leonard Bernstein” 190; Rozen, Brian David. “The Contributions “A Tribute to Leonard Bernstein” 241 of Leonard Bernstein to Music “Un ritratto” (Zignani) 423 Education” 890 “The Road to Paris” (Bernstein, video) 912 Robbins, Robert J. “An Immortal Bernstein S Score Updated” 792 Robinson, Alice M. Betty Comden and Adolph “Sabbatical Report, A” The Infinite Variety of Green: A Bio-Bibliography 508 Music (Bernstein) 89h Robinson, Paul. Bernstein 857 “Saint Roger” (Kraut) 240 Index of Authors, Editors, and Titles 303

Salvetti, Guido, ed. Bernstein in Italia 462; “Il Schwarte, Michael. “Parodie und Entlehnung compositore: Un esame attraverso due in Leonard Bernsteins Candide” 801 ‘prime’ italiane” 554 Schwartz, Charles. Gershwin: His Life and Salzman, Eric. “The Bernstein Mass on Music 91 Record” 796; “Bernstein’s Fancy Free: Schwartz, Stephen. “My Agent, My Friend” 248 Witty and Perfectly Made” 797; “Quo Seckerson, Edward. “Bernstein. Songs and Vadis, Leonard Bernstein?” 401 Duets” 609; “Discussing Mass” (with Sargeant, Winthrop. “Musical Events: Missa Marin Alsop) 344; “Leonard Bernstein cum Laude” 799; “Musical Events: at 70: The New York Years” 864; “Music Whither?” 798 I Heard with You” 557 Sarna, Jonathan D. “Leonard Bernstein and Secrest, Meryle. Leonard Bernstein 405; the Boston Jewish Community of Stephen Sondheim 511 His Youth: The Influence of Solomon Seiler, Thomas R. Leonard Bernstein: The Last Braslavsky, Herman Rubenovitz, and 10 Years 406 Congregation Mishkan Tefila” 463 Seldes, Barry. Leonard Bernstein: The Political “Saving Bernstein Pearls Lost with a ‘76 Show: Life of An American Musician 464 A London Concert Discards the Dross” The Selected Correspondence of Aaron Copland (Hoge) 228 (Crist and Shirley) 484 Scenes from Tanglewood (Pincus) 855 Selznick, Daniel. “Reviews, Resident: 1600 Schatt, Peter W. “Jazz” in der Kunstmusik: Pennsylvania Avenue” 802 Studien zu Funktion afro- Sennets & Tuckets: A Bernstein Celebration amerikanischer Musik in Kompositionen (Ledbetter, ed.) 143 des 20. Jahrhunderts 555 “Serenade to Lenny” (Mencher and Singer) 449 Schaumkeil, Claus-Dieter. “Discographie” in “ ‘Sermons in Tones’: Sacralization as a Leonard Bernsteins Ruhm 138 Theme in American Classical Music” Scheibler, Alexandra. “Ich glaube an den (Horowitz) 436 Menschen”: Leonard Bernsteins religiöse Settling the Score: Essays on Music (Rorem) 552 Haltung im Speigel seiner Werke 556 Shainman, Irwin. Avoiding Cultural Default Schiff, David. “Re-hearing Bernstein” 402 and Other Essays 407 Schiller, David Michael. “Assimilating Jewish Shakespeare and the American Musical (Dash) Music: Sacred Service, A Survivor 690 from Warsaw, Kaddish” 646; Bloch, Shanet, Howard. Philharmonic: A History of Schoenberg, and Bernstein: Assimilating New York’s Orchestra 865 Jewish Music, 647 Shapiro, Amy. “Bernstein and the Clarinet: Schmidt, Felix. Musikerportraits 403 Stanley [Drucker] Remembers Lenny” Schonberg, Harold C. “Bernstein’s New 311 Work Reflects His Background on Shawm, Allen. Leonard Bernstein: An American Broadway” 800; “End of His Formal Musician 408 Duties May Bring Busier Life” 863; Sheffer, Jonathan. “Bernstein: The Harvard The Great Conductors 862; “New Job Years” 252 for the Protean Mr. Bernstein” 860; Shelemay, Kay Kaufman. “Leonard Bernstein’s Downloaded by [New York University] at 04:27 09 August 2016 “What Bernstein is Doing to the Jewish Boston: Cross-Disciplinary Philharmonic” 861 Research in the Classroom” (with “School Named After Bernstein: Leonard Carol J. Oja) 455; “Leonard Bernstein’s Bernstein Oberschule” 229 Jewish Boston: An Introductory Note” “’A School of New Men’: Composing an (with Sarah Adams and Carol J. Oja) American Identity in the Early 424 Twentieth Century” (Kopp) 544 Sheng, Bright. “Leonard Bernstein: Portrait of Schubart, Mark A. “A Triple-Note Man of the the Artist by a Young Man” 409 Music World” 404 Sheppard, W. Anthony. “Bitter Rituals for a Schudack, Achim. Filmmusik in der Schule− Lost Nation: Partch’s Revelation in the Studien zu Kazan/Bernsteins On the Courthouse Park and Bernstein’s Mass” Waterfront 602 803 304 Index of Authors, Editors, and Titles

Sherman, Robert (with Steve Sherman). Smith, Marian Monta. “Six Miles to Dawn: Leonard Bernstein at Work: His Final An Analysis of the Modern American Years 1984 – 1990, 410 Musical Comedy” 808 Sherman, Steve J., and Robert Sherman. Smith, Mary Margaret. “The Swing Era Leonard Bernstein at Work: His Final Clarinetists and Their Contributions Years 1984 – 1990, 410 to Twentieth-Century Clarinet Shiffman, Daniel. “LeonardBernstein.com: Repertoire” 648 How Does It Make You Feel?” 275 Smith, Steven. “West Side Story Film – With Shirley, Wayne. The Selected Correspondence Live Orchestra” 359 of Aaron Copland (with Elizabeth B. Snowden, James Wyn. “The Role of the Crist) 484 Symphony Orchestra Youth Concert in Showtime: A History of the Broadway Musical Music Education” 891 Theater (Stempel) 814 Snyder, Linda June. “Leonard Bernstein’s Show Tunes: The Songs, Shows, and Careers of Works for the Musical Theatre: How Broadway’s Major Composers (Suskin) the Music Functions Dramatically” 818 809 Shulman, Ivan. “Symphony No. 2 by Snyder, Louis. “Surefire plot, ‘fantastic Charles Ives: An Historic Review movement’ in ‘Dybbuk’ debut: Leonard and Consideration of Performance Bernstein Score Is Exciting” 810 Practice” 866 “Social Commentary in Vocal Music in the “Sid Ramin: A 80th Birthday Tribute” Twentieth Century as Evidenced in (Williams, Kraut, Harmon, and Leonard Bernstein’s Mass” (Cottle) Coughlin) 253 685 “A Silent Place” (Edeiken) 189 “Solange noch Zeit zum Träumen ist” Silverberg, Carol E. “If It’s Good Enough (Everding) 138 for Shakespeare: The Bard and the Somary, Stephen. “Leonard Bernstein and American Musical” 804 Felix Mendelssohn” 338 Simeone, Nigel, ed. The Leonard Bernstein “Some Other Time” (Baumel) 426 Letters 411; Leonard Bernstein: West “Something Called Terrorism: In a speech Side Story 805 given at Harvard 22 years ago and Simeon, Ennio. “La colonna sonora di Fronte never before published, Leonard del porto” 603 Bernstein offered a warning that Simmons, Nina Bernstein. See Nina Bernstein. remains timely” (Oja) 454 Singer, Rosanne (with Steve Mencher). “Something Came, and It was Good” (Glasser) “Serenade to Lenny” 449 342 “Six Miles to Dawn: An Analysis of the Something’s Coming, Something Good: Modern American Musical Comedy” West Side Story and the American (Marian Monta Smith) 808 Imagination (Berson) 672 “1600 Pennsylvania Avenue” (Hobe) 727 “Something to Say … ” The Infinite Variety of “‘1600 Pennsylvania Avenue’ Arrives” (Barnes) Music (Bernstein) 89j 668 “ ‘Somewhere’ in ‘America’ … die swingende Downloaded by [New York University] at 04:27 09 August 2016 “1600 Pennsylvania Avenue: The Show That Prophetie” (Burkhardt) 138 Got Away” (Haagensen) 715 Somewhere: The Life of Jerome Robbins (Vaill) Smith, Cecil. “Barrie’s Peter Pan With 516 Bernstein Songs” 806; “Brandeis Sondheim (Gottfried) 486 University Sponsors Arts Festival” Sondheim, Stephen. Finishing the Hat: Collect 465 Lyrics (1954 – 1981) with Attendant Smith, Helen. “ ‘Peter Grimes’ and Leonard Comments, Principles, Heresies, Bernstein: An English Fisherman and Grudges, Whines and Anecdotes His Influence on an American Eclectic” 466; Look, I Made a Hat: Collected 558; There’s a Place for Us: The Musical Lyrics (1981 – 2011) with Attendant Theatre Works of Leonard Bernstein 806 Comments, Amplifications, Dogmas, Smith, Julia. Aaron Copland, His Work and Harangues, Digressions, Anecdotes, and Contribution to American Music 512 Miscellany 467 Index of Authors, Editors, and Titles 305

Sondheim & Co (Zadan) 518 “Stephen Sondheim” (Jamie Bernstein) 323 Sondheim’s Broadway Musicals (Banfield) 666 Stephen Sondheim (Secrest) 511 “Song at Twilight” (Baker) 665 Stern, Isaac (with Chaim Potok). My First “Songfest” (Stoffels and Höhler) 530, 649 79 Years 513 “Songfest: A Long-Awaited Critical Edition” Stith, Nathan. “Creating ‘West Side Story’: (Sunderland) 297 An Investigation of the Sociopolitical “Songs for Leonard Bernstein’s Stage Works as Backgrounds and Collaborative Jazz Repertoire” (Helgert) 719 Relationships of Jerome Robbins, “The Songs of Leonard Bernstein and Charles Arthur Laurents, Leonard Bernstein Stern in 1942: Toward the Origins of and Stephen Sondheim in the Creation Bernstein as a Dramatic Composer” of the Original Broadway Production (Helgert) 720 of ‘West Side Story,’“ 815 Soria, Dorle J. “Leonard Bernstein: His opera Stoffels, Ludwig and Philipp Höhler. “Songfest” ‘A Quiet Place’ opens, with glitter, in 530, 649 Washington” 468 Stokes, Geoffrey. The Beatles 94 “Sotheby’s Auction” (J. Thomas and N. Stökl, Rudolf. “Nürnberg. Liebe zwischen Jets Bernstein) 233 und Sharks” 816 “The Sound of a Hall” (Bernstein, video) 912 Stopford, John. “Leonard Bernstein: A Legend The Sound of Broadway Music: A Book of on Deutsche Grammophon” 239 Orchestrators & Orchestrations (Suskin) “Stravinsky, Jazz, and the New American 819 Sound: Piano Music of Aaron Copland, Soundtracks: The Music of the Movies (M. William Schuman, Leonard Bernstein, Evans) 595 and Lukas Fass” (Tunstall) 573 “Stage: ‘By Bernstein,’ Musical Cabaret: Old Stravinsky in the Theatre (Lederman) 77 and New Songs Not Heard Before” Struble, John Warthen. The History of (Barnes) 667 American Classical Music: MacDowell The State Historical Society of Wisconsin through Minimalism 412 Archives 935 “A Study and Performance of the Chichester “State of Ecstasy” (Jacobson) 847 Psalms of Leonard Bernstein” (Dickau) St. Clair, Carl. “Coaching for Copland” 143; 580 “Teacher” (with Michael Tilson “A Study of Mass by Leonard Bernstein” Thomas, John Mauceri, and Carl (Hausfeld) 717 St. Clair) 870; “Young Conductors “A Study of Selected Solo Clarinet Literature Remember their Teacher” 162 of Four American Composers as a Stearns, David Patrick. “Bernstein Con Brio” Basis for Performance and Teaching” 469; “Candide Redux” 811; “David (Del Rosso) 575 Patrick Stearns on Candide” 163 “A Study of Selected Songs by Leonard Stech, Katy. “Grant Strives For Full Potential Bernstein Which Reflect His Education: Teachers at Grant Language Contribution in the Evolution of Art Magnet School in Duluth Receive Song in America” (Ikach) 607 Training in a Teaching Method that “A Study of Tonality in Selected Works by Downloaded by [New York University] at 04:27 09 August 2016 Integrates Art and Broad Concepts Leonard Bernstein” (J. Moore) 550 into Daily Lessons” 303 Stuessy, Clarence Joseph, Jr. “The Confluence Steel, George. “A Quiet Place at the New York of Jazz and Classical Music from 1950 City Opera” 347 to 1970” 650 Steinberg, Martin. “Young People’s Concerts Sunderland, Garth Edwin. “Peter Pan Editor’s Return to TV” 279 Note” 320; “A Quiet Place” 383; Steinberg, Michael P. Judaism Musical and “Songfest: A Long-Awaited Critical Unmusical 470 Edition” 297; “West Side Story Film Stempel, Larry. “Broadway’s Mozartean with Live Orchestra: Creating the New Moment, or An Amadeus in Amber” Orchestration and Score” 378 143, 812; “The Musical Play Expands” “Surefire plot, ‘fantastic movement’ in 813; Showtime: A History of the ‘Dybbuk’ debut: Leonard Bernstein Broadway Musical Theater 814 Score Is Exciting “ (L. Snyder) 810 306 Index of Authors, Editors, and Titles

Suskin, Steven. Opening Night on Broadway: “Taking Bernstein to Venezuela” (Jamie A Critical Quotebook of the Golden Bernstein) 346 Era of the Musical Theatre 817; Show “Talent on the Town” (Lansdale) 750 Tunes: The Songs, Shows, and Careers of “Talking about Music: The Maestro and the Broadway’s Major Composers 818; The Masses or Reflections of a Child of the Sound of Broadway Music: A Book of Sixties” (Holoman) 143, 879 Orchestrators & Orchestrations 819 Tangeman, Robert S. “Leonard Bernstein: Swain, Joseph P. The Broadway Musical: Trouble in Tahiti, an opera in seven A Critical and Musical Survey 820 scenes” 822 Swan, Claudia. Leonard Bernstein: The Harvard Tanglewood (Kupferberg) 444 Years 1935 – 1939, 413 “Tanglewood and Leonard Bernstein” (Gustin) Swed, Mark. “Musical Theater” 821 179 “The Swing Era Clarinetists and Their “Tanglewood: A Special Tribute to Bernstein” Contributions to Twentieth-Century 238 Clarinet Repertoire” (Mary Margaret “[Tanglewood Beginnings]: First Summer” Smith) 648 (Pincus) 143, 458 “Symbols of Faith in the Music of Leonard Tanglewood: The Clash between Tradition and Bernstein” (Gottlieb) 535 Change (Pincus) 856 “The Symphonic Form is Dead, And Other Taubman, Howard. “A Foot in Each Camp: Observations by a New Elder Bernstein’s Score of ‘West Side Story’ Statesman” 414 Falters Between Musical and Opera” “Die Symphonien Leonard Bernsteins” (Röder 824; “Tunesmith of ‘Wonderful Town’ ” and Meyer) 530, 644 823 “The Symphonies of Leonard Bernstein: An Tawa, Nicholas E. The Great American Analysis of Motivic Character and Symphony: Music, The Depression, and Form” (Boelzner) 613 War 652; A Most Wondrous Babble 559 “Symphony No. 1, ‘Jeremiah’ and the American Taylor, Mark Adams. “Leonard Bernstein & Symphony” (Folkman) 204 POTUS” 371 “Symphony No. 2 by Charles Ives: An Taylor, Millie. Musical Theatre, Realism and Historic Review and Consideration of Entertainment 825 Performance Practice” (Shulman) 866 “Teacher” (L. Bernstein, M. Thomas, Mauceri, “Symphony or Musical Comedy” (Bernstein) St. Clair) 870 81 “Teachers Reflect on The Bernstein Model” 332 The Synergy of Film and Music: Sight and Teachout, Terry. “How good was Leonard Sound in Five Hollywood Films Bernstein?” 415 (Rothbart) 795 “The Television Journey” (Chapin) 170, 873 Syswerda, Todd Elton. “Composition and “Television: Short Takes” (J. Clark) 874 Analysis of Symphony No. 1 by Todd Terkel, Studs. And They All Sang: Adventures of Syswerda and Analysis of Symphony an Eclectic Disc Jockey 471 No. 3 by Leonard Bernstein” 651 Terse, Paul (with Hermann Danuser and Szajnberg, Nathan. “Bernstein and Twentieth Dietrich Kämper, eds.). Amerikanische Downloaded by [New York University] at 04:27 09 August 2016 Century Creativity: Hushed Wonders” Musik seit Charles Ives 689 350 “THAT TABLE: A memory piece about Bernstein’s work desk in his Dakota studio” (Gottlieb) 243 T “The Theater: New Musical in Manhattan” 826 “Theatre: ‘Trouble in Tahiti,’ Draper, ‘27 Takayama, Thomas T. “A Historical Survey of Wagons’“ (Atkinson) 660 the Pedagogical Activity and Influence There’s a Place for Us: The Musical Theatre of Three Orchestral Conductors Works of Leonard Bernstein (H. Smith) (Walter Damrosch, Leopold Stokowski, 806 and Leonard Bernstein) with Teaching And They All Sang: Adventures of an Eclectic Implications for the Future” 887 Disc Jockey (Terkel) 471 Index of Authors, Editors, and Titles 307

Thomas, Christopher J. “Candide. Leonard “A Triple-Note Man of the Music World” Bernstein” 827 (Schubart) 404 Thomas, Jamie Bernstein. See Jamie Bernstein. Tromble, William Warner. “The American Thomas, Michael Tilson. “Learning from Intellectual and Music” 473 Lenny” 143; “Teacher” (with Leonard Trott, Donald L. “Leonard Bernstein Bernstein, John Mauceri, and Carl Remembered: A Lecture/Interview St. Clair) 870 with His Son, Alexander” 417 Thomas, Naomi. “Bernstein’s Unanswered Trotter, William R. Priest of Music: The Life of Question: A Journey from Linguistic Dimitri Mitropoulos 515 Deep Structure to the Metaphysics of “Trouble in Tahiti” (H. Burton) 184 Music” 892 Trouble in Tahiti (video) 923 Thomson, Virgil. American Music Since 1910, Trouble in Tahiti (video 2001) 924 560 “Trouble in Tahiti Successful Despite Flaws” Thoresby, Christina. “Britten Premiere: Venice (Lyons) 761 Festival gives new opera based on “The Trouble with Lenny” (Denby) 117 Henry James story ‘The Turn of the “The True Gesture – Jerome Robbins and West Screw’ ” 653 Side Story” (Vaill) 324 “Three Faces of Lenny: The Religious Truesdell, F. Donald. “Leonard Bernstein. The Composer. Mass – Few Creative Acts Complete Works for Solo Piano” 573 in Recent Times Take So Many Risks “The Trumpet as a Voice of Americana in and Achieve So Much” (Davis and the Americanist Music of Gershwin, Hamilton) 691 Copland, and Bernstein” (Bekeny) “Thus Spoke Richard Strauss” (Bernstein, 523 video) 912 “The Truth About a Legend” (Bernstein) 98 Tobias, Tobi. “Bringing Back Robbins’s Tsuchihashi, Kazuyuki. “Pacific Music Festival: ‘Fancy,’“ 828 Celebrating the Pacific Music Festival” Tocco, James. “Master Class: Playing 256 Bernstein’s Piano Music” 572 Tubeuf, André. “Hommage: Leonard Bernstein Tommasini, Anthony. “Bernstein Revisited: “A Boy Like That!” 419; “Un américain A Master Of It All” 416; “When à Paris” 418 Bernstein Saw the Future” 249, 472 “Tunesmith of ‘Wonderful Town’ ” (Taubman) Toobin, Jerome. Agitato: A Trek through the 823 Musical Jungle 514 Tunstall, Bomi Lim. “Stravinsky, Jazz, and the “Towards the great American opera” (Milnes) New American Sound: Piano Music 769 of Aaron Copland, William Schuman, “The Tragedy of Leonard Bernstein” (Botstein) Leonard Bernstein, and Lukas Foss” 573 110 Tuohy, John William. “On the Waterfront: “Transatlantic: A Genealogy of Modern The Making of a Great American Film American Musical Theatre from 604 ‘Johnny Spielt Auf’ to ‘West Side “The Twentieth Century Crisis” The Story’“ (Friedman) 701 Unanswered Question (Bernstein) 93e Downloaded by [New York University] at 04:27 09 August 2016 “Transcendence in Leonard Bernstein’s “Twentieth-Century Repertoire for Trombone: Kaddish Symphony” (Rasmussen) A Recital Program Featuring Works by 642 Paul Hindemith, Jacques Castérède, “Tribute to John F. Kennedy” (Bernstein) Leonard Bernstein, and D. F. Bachelder 387 “ (T. Johnson) 577 “A Tribute to Leonard Bernstein” (Rinke) “Two Ballet Birds” (Bernstein, video) 911 241 “Two More Theatre Works Appearing in “A Tribute to Sibelius” (Bernstein) 90, 911 Print” (Harmon) 224 (video) “Two Musical Perspectives of Twentieth- “A Tribute to Teachers” (Bernstein) 911 Century Pacifism: An Analytical (video) and Historical View of Britten’s War “A Tribute to Teachers” Findings (Bernstein) Requiem and Bernstein’s Kaddish 97f Symphony” (Bernard) 612 308 Index of Authors, Editors, and Titles

U W The Unanswered Question: Six Talks at Harvard Wadsworth, Stephen. “Creating with Lenny” by Leonard Bernstein (videos) 917 186; A Quiet Place−Librettist’s Notes 138 Una vita per la musica (Castiglione) 114 Wagman, Jules. “When Lenny Taught Me “Understanding and Performing Bernstein’s Piano” 370 Chichester Psalms” (Nash) 589 “Wagner’s Music Isn’t Racist” (Bernstein) “Unifying Techniques in the Anniversaries of 100 Leonard Bernstein” (C. Harris) 568 Wakeling, Dennis W. “Recordings: A Quiet “Unusual Instruments of the Present, Past, and Place” 829 Future” (Bernstein, video) 912 Walker, W. Ian. “The Handshake That Urquhart, Craig. “The Best of All Possible Changed My Life” 284 Worlds” 330; “IU’s Jacobs School of Walsh, Michael. “The Best and Brightest, Music Receives Bernstein Gift” 336; Leonard Bernstein: 1918 – 1990” 420; “Making Magic” 393; “On the Road with “What becomes a legend most?” 474 Lenny” 242; “The Quiet Legacy” 219 Walters, Mandy. “Leonard Bernstein and “USA versus Europa: alle radici di una Dance” 561 diversità” (Montecchi) 549 Ward, Robert. “Leonard Bernstein: ‘Jeremiah’ “Use of Saxophones in West Side Story: Symphony and ‘The Age of Anxiety’ An Analysis of Original Scores” Symphony No. 2 for Piano and (Patterson) 703 Orchestra” 654 “The Use of the Saxophone in the Dramatic Wass, David M. “An Analysis of Text and Music of Leonard Bernstein: A Guide for Music of Selected Songs by Leonard Informed Performance” (Gargrave) Bernstein” 610 703 Watson, Brian P. “Leonard Bernstein’s Mass: Analysis and Commentary” 830 Waugh, Tawana (with Pamela Beal). “The V West Side Story Project Toolkit: Crime Prevention on a New Stage” 358 Vacchiano, William and William Lincer, Webb, Charles H. “Bernstein and Indiana Jacques Margolies. “From the Stage: University: A Personal Remembrance” Three Musicians Remember” 290 250; “An Educational Friendship: Vaill, Amanda. Somewhere: The Life of Leonard Bernstein and the Indiana Jerome Robbins 516; “The True University School of Music” 177 Gesture – Jerome Robbins and West Weber, Hans. “I Hate Retakes” 192 Side Story” 324 Weber, J. F. Leonard Bernstein 563; “Leonard Virtuoso Teams: The Extraordinary Stories of Bernstein, A Composer Discography” Extraordinary Teams (Boynton and 562 Fischer) 677 Weeks, Douglas Gilman. “A Review and “The Vocal Music of Leonard Bernstein: Evaluation of Selected Contemporary Jewish Interpretations and Literature for Unaccompanied

Downloaded by [New York University] at 04:27 09 August 2016 Applications” (G. Fine) 531 Trombone” 579 “The Voice of Children in Art Song: A Study Wegner, Josef U. “Bald weider of Six Cycles involving a Child’s Opernkomponist” 564 Perspective” (Woolston) 611 Weiser, Peter. “A Friend Remembers” 208 “Voltaire Today” (Gibbs) 705 Weiss, Edmond H. “Lenny the Klezmer” “Volume 1. Remembering the Future: 565 Orchestral Engagements with Popular Wells, Elizabeth A. West Side Story: Cultural Music. Volume 2. Heart’s Express” Perspectives on an American Musical (Gran) 626 831 “Volume I. The Expressive Use of Musical “West Side Glory” (Davis) 529 Style and the Composer’s Voice in West Side Maestro: A Musical Memoir of Leonard Bernstein’s ‘Mass’. Volume II. Leonard Bernstein (Mandell) 150 Telos” (Jeffrey Bernstein) 524 West Side Story (video) 925 Index of Authors, Editors, and Titles 309

“West Side Story – 50 years old?” (Grist) “What is Sonata Form?” (Bernstein) 90, 911 322 (video) “West Side Story: A Musical Director’s “What I Thought … And What I Did” Memories” (Chan) 266 (Bernstein) 88 “West Side Story and Candide in Full Scores” “What Makes Music Symphonic?” (Bernstein) (Harmon) 195 90, 911 (video) “West Side Story and The Music Man: “What Makes Opera Grand?” (Bernstein) 85l Whiteness, Immigration, and Rice in “When Bernstein Saw the Future” the US during the 1950s” (Oja) 779 (Tommasini) 249, 472 West Side Story as Cinema: The Making and “When High Culture Became Popular Culture: Impact of an American Masterpiece Classical Music in Postwar America (Acevedo-Muñoz) 655 1945 – 1965” (Grad) 432 “West Side Story: A Teaching Diary” (Mayle) “When Lenny Taught Me Piano” (Wagman) 280 370 “West Side Story at HMP Erlstoke” (Minch) “Where Are You, Lenny, When We Need You” 382 (Rich) 461 “West Side Story: Birth of a Classic” “Who is Gustav Mahler?” (Bernstein) 911 (Horowitz) 326 (video) West Side Story: Cultural Perspectives on an “Who Lives at Carnegie Hall?” (Roddy) 858 American Musical (Wells) 831 “Why Don’t You Run Upstairs and Write a “West Side Story Film – With Live Orchestra” Nice Gershwin Tune?” (Bernstein) (S. Smith) 359 85d “West Side Story Film with Live Orchestra: Wilbur, Richard. “An Agreeable Division of Creating the New Orchestration and Labor” 164 Score” 378 Williams, John. “Sid Ramin: A 80th Birthday “ ‘West Side Story’: Moving Music Drama On Tribute” (with Harry Kraut, Charlie Callous Theme” (Atkinson) 662 Harmon, and Bruce Coughlin) 253 “West Side Story: New Piano-Vocal Score” A Wind from the West: Bernstein and the New (Alderking and Harmon) 264 York Philharmonic Abroad (E. Ames) “The West Side Story Project” (Fortin) 329 833 “The West Side Story Project Toolkit: Crime Winnick, William. “Pivot Analysis in Prevention on a New Stage” (Beal and Bernstein’s Chichester Psalms: A Guide Waugh) 358 for Singers” 590 “West Side Story: Returns to Broadway” 333 “With the Artists: Leonard Bernstein” “West Side Story Revisited” (Mellers) 767 (Applebaum and Applebaum) 834 “West Side Story Takes Over Broadway” 337 Wolf, Stacy. Changed for Good: A Feminist “West Side Story−The Film Version” (S. History of the Broadway Musical 832 Green) 710 Wolfe, Tom. Radical Chic & Mau-Mauing the “West Side Story Told Again” (Lieberson) 756 Flak Catchers 475 “What becomes a legend most?” (Walsh) 474 “Wonderful Time: Bernstein Musical Is “What Bernstein is Doing to the Brilliant Achievement” (O. Downes) Downloaded by [New York University] at 04:27 09 August 2016 Philharmonic” (Schonberg) 861 694 “What Does Music Mean?” (Bernstein) 90, 911 “Wonderful Town (A Musical Comedy)” (video) (Drew) 695 “What Is a Melody” (Bernstein) 90, 911 “Wonderful Town: A Conversation with (video) Comden and Green” 205 “What Is American Music?” (Bernstein, video) “Wonderful Town and McCarthy Era Politics” 911 (Oja) 318 “What Is a Mode?” (Bernstein) 90, 911 (video) Wonderful Town: Concert Version (video) 926 “What is a Sonata?” (Bernstein) 911 (video) “ ‘Wonderful Town’: Rosalind Russell as “What Is Classical Music?” (Bernstein) 90, 911 the Head Clown in A Big Broadway (video) Musical Show” (Atkinson) 659 “What is Orchestration?” (Bernstein) 90, 911 Woodall, Christa. “Lessons Learned from (video) Chichester Psalms” 361 310 Index of Authors, Editors, and Titles

Woolston, Rachelle M. “The Voice of Children “Young Performers No. 4” (Bernstein) 912 in Art Song: A Study of Six Cycles (video) involving a Child’s Perspective” 611 “Young Performers No. 5” (Bernstein) 912 Working With Bernstein: A Memoir (Gottlieb) (video) 126, 537 “Young Performers No. 6” (Bernstein) 912 “Works in Progress: My LB ‘Portrait’“ (H. (video) Burton) 161 “Young Performers No. 7” (Bernstein) 912 “The World of Jazz” (Bernstein) 85g (video) The World of Musical Comedy (S. Green) “Young Performers No. 8” (Bernstein) 912 711 (video) Wright, William. Lillian Hellman: The Image, “Young Performers No. 9” (Bernstein) 912 The Woman 517 (video) “Writing the Life of Leonard Bernstein” “Your Line-Up is Terrible: Arrangers Really (H. Burton) 202 Know the Score” (Ramin) “Wunderkind” 421 168 “You Want Me to do What” (Cook) Y 227

“Young Aide Leads Philharmonic, Steps In Z When Bruno Walter Is Ill” 476 “Young America: Bernstein and Foss” (I. Fine) Zadan, Craig. Sondheim & Co 518 532 Zakariasen, William. “Pop Music by Classical “Young American−William Schuman” Composers” 566 (Bernstein) 67 Zeffirelli, Franco. Zeffirelli: The Autobiography “Young Conductors Remember their Teacher” of Franco Zeffirelli 519 (St. Clair, Oue, Alsop) 162 Zeffirelli: The Autobiography of Franco Zeffirelli “Young People’s Concerts Return to TV” (Zeffirelli) 519 (Steinberg) 279 Zignani, Alessandro. Leonard Bernstein: un’ “Young Performers No. 1” (Bernstein) 912 anima divisa in due 422; “Un ritratto” (video) 423 “Young Performers No. 2” (Bernstein) 912 “Zur Kammermusik Leonard Bernsteins” (video) (Dusella) 530, 576 “Young Performers No. 3” (Bernstein) 912 Zurletti, Michelangelo. “Il direttore (video) d’orchestra” 462, 867 Downloaded by [New York University] at 04:27 09 August 2016 Index of Subjects

For compositions and additional references to composers, see “Index of Compositions and Arrangements.” For authors, see “Index of Authors, Editors, and Titles.”

A B Abbott, George 28, 29, 125, 477, 778 Babbitt, Milton 544, 650 ABC-TV 60 Bacall, Lauren 410 Adams, Edith (Edie) 29 Bach, Johann Sebastian 7, 76, 85k, 89e, 97g, Adams, John 106, 769, 791 399, 547, 587, 770, 907, 912, 931 Adelphi Theater, NYC, Bachelder, D.F. 577 Adorno, T. W. 695 Baldwin, Lillian 891 African American music 97c ballet 73, 139, 492, 495, 498, 500, 516, 530, 561, African Americans in music, Bernstein on 75 656, 671, 673, 697, 704, 742, 745, 750, Aiken, Conrad 20 764, 780, 784, 797, 810, 828 Ailey, Alvin 32 ballets of Bernstein 25 – 7, 46, 48, 52, 53, 301, Amberson, Inc. 115b, 929, 931, 936 317 American Ballet Theatre (see also Ballet Ballet Theatre (see also American Ballet Theatre), 16 Theatre), 25, 26 American Memory Program 929, 937 band arrangements of Bernstein’s music 50, American music 97, 97c, 106, 412, 415, 429, 54, 56, 57, 60 – 3 432, 436, 437, 438, 443, 478, 479, 501, Barber, Samuel 154, 735 523, 543, 544, 559, 607, 652, 689, 877, Barbican Centre, London 41, 557, 903 881, 911 barcarolle 30 AmFAR (American Foundation for AIDS Barrie, J. M. 36 Research), 183 Bartók, Béla 71, 443, 694 Amnesty International 182, 934 Barzun, Jacques 473 Anderson, Leroy 551 Bawtree, Michael 33 Anouilh, Jean 37 BBC-TV 753, 872 Ansermet, Ernest 838 The Beatles 94 Ansky, Shlomo 27, 784 Beethoven, Ludwig van 85f, 89i, 93c, 93d, 97i, Anthony, Joseph 37 104, 109, 154, 399, 755, 843, 845, 849, Aristophanes 413, 447, 720 857, 875, 894, 902, 907, 912 Arroyo, Martina 898 Bell, Marion 18 Downloaded by [New York University] at 04:27 09 August 2016 Artful Learning 176, 215, 286, 293, 302, 303, Bellini, Vincenzo 843, 849 313, 316, 331, 335, 349, 354, 365, 369, Berg, Alban 71, 85j, 93e 374, 377, 384, 391, 417, 433, 887 Bergsma, William 528 Arthur, Jean 36 The Berkshire Eagle (MA), 407, 855 ASCAP, 167 Berlin, Irving 130 Atkinson, Brooks 694 Berlin Philharmonic 926 Atlanta Symphony Orchestra 24 Berlioz, Hector 89g, 90, 93d, 104, 899, 911, atonality and Bernstein 85j, 472, 550, 627, 642, 931 651, 627, 642, 651 Bernstein (Simmons), Nina (daughter), 9, 455 Auden, W. H. 43, 78, 644 Bernstein (Thomas), Jamie (daughter), 410, Austin, Larry 650 455 Australia, Bernstein in 731, 896 Bernstein, Alexander (son), 417 Avery Fisher Hall, NYC, 57 Bernstein, Burton (brother), 12, 85b, 455 311 312 Index of Subjects

Bernstein, Felicia Montealegre (wife), 4, 9, 20, 404, 420, 440, 461, 466, 467, 477, 481, 30, 38, 411, 475, 903 485, 486, 487, 490, 491, 492, 494, 495, Bernstein, Jennie (mother), 21, 392 497, 498, 500, 506, 508, 511, 516, 517, Bernstein, Samuel (father), 441, 463 518, 540, 561, 655, 659, 661, 662, 663, Bernstein, Shirley (sister), 3, 44, 246, 247, 248 664, 666, 668, 671, 672, 674, 675, 676, Bernstein Center for Education through the 677, 678, 680, 682, 683, 684, 686, 687, Arts, see Artful Learning 689, 690, 691, 694, 695, 698, 700, 701, Bernstein Collection (Library of Congress), 702, 705, 708, 709, 710, 711, 712, 713, 97e, 265, 605, 929 714, 715, 716, 721, 723, 724, 725, 726, Bernstein family 40, 427, 428, 739, 908 727, 729, 730, 731, 732, 733, 735, 737, Berrigan, Daniel 803 742, 743, 744, 748, 751, 752, 753, 755, Berrigan, Philip 803 756, 757, 758, 762, 765, 766, 767, 768, Billy Rose Theatre Collection (New York 771, 772, 773, 775, 776, 777, 778, 779, Public Library), 934 780, 781, 782, 785, 789, 790, 792, 793, biographies of Bernstein 101 – 58, 394 – 423, 795, 800, 801, 802, 804, 805, 807, 808, 871, 909, 914 809, 811, 812, 813, 814, 815, 816, 817, birthday tribute for Bernstein 99, 102, 103, 818, 819, 820, 823, 824, 825, 826, 827, 130, 132, 139, 143, 147, 151, 156, 193, 831, 832, 903, 905, 907, 925, 926, 931, 194, 236, 237, 238, 251, 255, 330, 407, 932, 935, 940, 941 416, 431, 435, 449, 474, 553, 864 Brooklyn Academy of Music 506 Bizet, Georges 843, 854 Brown, Justin 480 Black Panthers 430, 475 Bruckner, Anton 587 Blitzstein, Marc 36, 71, 80, 124, 447, 465, 471, Buber, Martin 830 485, 505, 566, 612, 632, 679, 685, 701, Burgos, Julia de 20 713, 735, 747, 765, 935 Burrows, Stuart 899 Bloch, Ernest 531, 646, 647, 845 Burton, Helena 15 Bloomgarden, Kermit 935 Burton, Humphrey 15, 157, 405, 480, 883 blues influence on Bernstein 25, 28, 47, 56, 797 Boito, Arrigo 843 C Boosey & Hawkes 489, 684, 938 Boston Latin School 413, 507, 532 Caeser, Irving 123 Boston Opera Company 696 Cage, John 528 Boston Symphony Orchestra 43, 48, 56, 65, 66, Cairns, Tom 924 83, 93, 97a, 97i, 400, 515, 617, 839, 858 Caldwell, Sarah 696 Boulanger, Nadia 97k, 443, 450 Callas, Maria 114, 849 Boulez, Pierre 837, 848 Caltabiano, Ronald 484 Boult, Sir Adrian 838 Carlisle, Kitty 935 Bowles, Paul 3, 437 Carpenter, Humphrey 558 Bradstreet, Anne 20 Carpenter, John Alden 66 Brahms, Johannes 89i, 93c, 98, 143, 566, 770, Carreras, José 680, 753, 905 845, 867, 895 Carnegie Hall, NYC, 12, 130, 432, 440, 858 Downloaded by [New York University] at 04:27 09 August 2016 Brandeis University 39, 136, 425, 441, 442, Carson, Margaret 934 446, 465, 507, 534, 761, 765, 774, 890, Carter, Elliott 551 929, 942 Carter, Jimmy 373 Brando, Marlon 35 Casals, Pablo 141 Braslavsky, Solomon 463 Castérède, Jacques 577 Brecht, Bertolt 685, 733 Castle, Joyce 827 Britten, Benjamin 558, 631, 657, 685, 845 catalog of Bernstein’s works 927 The Broadway League 940 CBS-TV, 874, 880, 902 Broadway musicals 28 – 34, 47, 50, 51, 70, 84, chamber music of Bernstein 10 – 16, 530, 574 – 9 85c, 85i, 97e, 105, 106, 119, 124, 125, Channing, Carol 659, 932 135, 138, 140, 143, 148, 195, 224, 264, Chaplin, Saul 795 298, 299, 318, 321, 322, 323, 324, 325, Charles Eliot Norton Lectures, see Norton 326, 327, 328, 329, 333, 337, 382, 402, Lectures Index of Subjects 313

Charma, José Eduardo 59 Dello Joio, Norman 575 Chávez, Carlos 71, 443, 934 Deutsche Grammophon 239, 393, 435, 615, Chenoweth, Kristin 918 623, 628, 633, 637, 639, 680, 712, 753, Cherubini, Luigi 843, 849 797, 844, 854, 903, 905, 921 Chichester Cathedral 23, 583, 586 Dewey, John 473 Chodorov, Jerome 29, 477 Diamond, David 4, 154, 437, 480, 515, 570 Chomsky, Noam 93, 439 discography 114, 138, 143, 155, 281, 419, 423, Chopin, Frédéric 89g, 93c, 93d, 931 543, 562, 563, 586, 777, 805, 846, 852, chorales 801 857 choral music of Bernstein 22 – 4, 580 – 90 Domingo, Plácido 898, 901 Cliburn, Van 8 Donen, Stanley 920 Coates, Helen 4, 9, 11, 55, 413, 929, 934 Donizetti, Gaetano 775 Cobb, Lee J. 35 Doran, Matt 575 Columbia Records Masterworks Division Downes, Olin 468, 476 (Columbia/CBS/Sony), 115b, 851, 933 Dragon, Carmen 76 Comden, Betty 5, 7, 21, 28, 29, 33, 125, 129, Druckman, Jacob 934 205, 319, 431, 477, 481, 508, 667, 675, Dumont, Émile 18 678, 714, 777, 778, 780, 932, 934 Dvorák, Antonín 89i Communists 438, 495, 514, 686 Dwight, John Sullivan 436 Composer’s Forum 934 compositional process of Bernstein 45, 89j E concertos of Bernstein 45, 530 Congregation Mishkan Tefila, Boston 463 eclecticism of Bernstein 20, 32, 37, 102, 399, Cook, Barbara 932 546, 585, 598, 634, 735, 803 Cooke, Alistair 907 Edinburgh Festival 38 Copland, Aaron 2, 3, 4, 5, 8, 11, 42, 46, 48, 71, The Ed Sullivan Show 94 72, 79, 87, 89d, 89f, 95, 97, 97c, 97h, educator and commentator, Bernstein as 97k, 124, 143, 144, 154, 398, 399, 411, 868 – 92 429, 437, 443, 450, 471, 482, 483, 484, Ehrman, Elizabeth B. 5 502, 503, 504, 505, 512, 521, 523, 544, Eisenhower, Dwight David 21, 372 545, 560, 567, 572, 573, 574, 575, 580, Eisler, Hans 598, 827 597, 598, 612, 622, 685, 686, 784, 797, Eisner, Alfred 3 845, 864, 874, 912, 913 Elgar, Edward 566, 845 Cornell, Katharine 38 Empire Brass 16 Corso, Gregory 20 Endler, Franz 97i Costa, Mary 932 Engel, Carl 934 Cothran, Tom 20 Englander, Roger 877, 884 Coughlin, Bruce 21 Europe, Bernstein’s work in 394, 403, 833 (see Creston, Paul 763 also various European countries) Criswell, Kim 926 exoticism and Bernstein 758 critics, Bernstein and 42, 102, 397, 434, 445, Downloaded by [New York University] at 04:27 09 August 2016 461, 553, 625, 629, 634, 639, 640, 643, 653, 669, 691, 693, 696, 699, 729, 746, F 753, 786, 787, 788, 799, 800, 824, 858, 859, 860, 861, 862, 863, 878, 934 Faison, George 34 cummings, e. e. 20 Fallon, Larry 13 Curtis Institute of Music 11, 108, 426, 488 Farrell, Eileen 868 Federal Bureau of Investigation (FBI), 207, D 430, 448, 464 Ferlinghetti, Lawrence 20 Daly, Tyne 921 Festival of the Creative Arts, Brandeis Damrosch, Walter 887, 891 University 39, 425, 446, 465, 765, 774, Davidson, Gordon 32 942 Debussy, Claude 93d, 758 Fields, Joseph 29, 477 314 Index of Subjects

film score by Bernstein 35, 49, 85e, 119, 300, Green, Johnny 123, 795 462, 591 – 604, 712, 922 Greenberg, Noah 37 Fine, Irving 507 Groves, Paul 918 Fleischmann, Jessica 9, 570 Grundman, Clare 50, 54, 56, 57 Ford Foundation 882 Guare, John 516 Ford Presents 89e, 89f, 89g, 931 guitar transcription of Bernstein’s music 578 Forst, Rudolf 934 Guthrie, Tyrone 30, 487, 490 Foss, Lukas 5, 51, 60, 480, 528, 532, 570, 573, 934 H France, Bernstein’s work in 148, 272, 418, 419, 899, 900 Hadley, Jerry 480 Franck, Cesar 845 Haieff, Alexei 528 Freed, Arthur 920 Hampson, Thomas 921, 926 Friedan, Betty 739 Harris, Roy 66, 154, 399, 443, 845, 864 Fry, Christopher 38 Harrison, Lou 763 Fryer, Robert 29 Hart, Moss 935 Harvard Student Union 447 G Harvard University 2, 3, 14, 65, 93, 97, 97a, 97d, 124, 308, 309, 413, 424, 429, 447, Gallo, Bob 934 454, 455, 505, 507, 644, 713, 720, 917 galop 46 Hasidism 784 Gardiner, John Eliot 835 Haws, Barbara 933 Garland, Judy 440 Haydn, Franz Joseph 104, 154, 402, 845, 864 gavotte 30 Hazzanut, or cantorial music 638 Gebhard, Heinrich 1, 2, 87 Heider, Werner 650 Gebrauchsmusik 685 Hellman, Lillian 30, 37, 80, 487, 490, 517, 661, Gellhorn, Sandy 5 686, 687, 762, 785, 811, 814 Genevieve P. Demme Archives, Houston Hemsing, Josephine 934 Grand Opera 928 Henze, Hans Werner 631 Germany, Bernstein in 138, 406, 451, 816 Herman, Woody 60, 648 Gershwin, George 72, 85d, 85i, 89d, 91, 97c, Herrmann, Bernard 591 443, 478, 479, 505, 520, 521, 523, 526, High School of Music and Art, NYC, 62 528, 566, 622, 685, 695, 735, 797, 816 Hill, Edward Burlingame 65, 574 Ghostley, Alice 660 Hillyer, Raphael 10 Gilbert and Sullivan 427 Hindemith, Paul 443, 574, 577, 694, 912 Ginastera, Alberto 699, 747 Hoiby, Lee 552 Glass, Philip 769 Holiday, Billie 719 Glazer, David 11 Holliday, Judy 12 Glinka, Mikhail 801 Hollywood Bowl 493 Glyndebourne Opera Company 718 Holst, Gustav 912 Goetz, Ellen 9 Hoover, J. Edgar 430, 803 Downloaded by [New York University] at 04:27 09 August 2016 Goodman, Benny 648 Hope, Constance 9 Gottlieb, Jack 1, 6, 16, 38, 42, 55, 57, 68, 90, Horne, Marilyn 854, 905 363, 425, 612, 642 Horowitz, Mark Eden 929 Gottwald, Clytus 692 House Appropriations Committee 448 Gould, Glenn 98, 868 House Committee on Un-American Activities Gould, Morton 650 35, 492 Gounod, Charles 801 Houston Grand Opera 40, 791, 928 Great Britain, Bernstein’s activities in, see Hovhaness, Alan 76 London, Bernstein’s activities in Howard, Ken 34 Great Performances 931 Hughes, Langston 20 Green, Adolph 7, 28, 29, 33, 125, 129, 205, 431, humanism 685, 871 477, 481, 508, 667, 675, 678, 714, 777, Hungary, Bernstein in 118, 119 778, 780, 932, 934 Hussey, Walter 23, 583, 586 Index of Subjects 315

I Kazan, Elia 35, 85e, 922 Keller, James M. 410 Impressionism in music 90 Kelly, Gene 704, 920 Indiana University Jacobs School of Music Kennedy, Jacqueline 32 177, 250, 251, 255, 336, 431, 456, 715, Kennedy, John F. 44, 61, 372 802, 821 Kennedy Center 20, 32, 40, 707, 792, 800, 802, Internet Broadway Database (IBDB) Archive 841 940 Khachaturian, Aram 76 interviews with Bernstein 109, 111, 116, 119, Kirkwood, Pat 932 131, 138, 144, 394, 399, 403, 414, 444, Klemperer, Otto 838 471, 482, 512, 545, 546, 557, 558, 564, Kostal, Irwin 31, 40, 51, 655, 795, 819 585, 713, 714, 754, 811, 823, 834, 838, Kostelanetz, André 57 850, 888, 931 Koussevitzky, Natalie 3 Israel, Bernstein’s activities in 127, 143, 181, Koussevitzky, Olga 144 434, 456, 541, 624, 625, 635, 641, 833, Koussevitzky, Serge 3, 12, 43, 48, 97, 97f, 261, 904 412, 444, 450, 488, 617, 838, 840, 855, Israel Philharmonic Orchestra 44, 45, 58, 59, 856, 913 96, 399, 480, 615, 635, 637, 839, 853, Koussevitzky Foundation 45 906, 910, 915 Kraut, Harry 435 Italy, Bernstein’s work in 114, 422, 423, 460, Kremer, Gidon 510 462, 554, 842, 849, 867 Krenek, Ernst 701 Ives, Charles 154, 443, 549, 845, 866, 912 Krupa, Gene 72 Kupferman, Meyer 650 J Kyle, Susanna 5

Jacoby, Elliot 28 L Janácek, Leos 787 Japan, Bernstein in 180, 210, 897 Lang, Paul Henry 473 jazz influence on Bernstein 12, 14, 25, 28, 39, Langer, Susanne K. 473 43, 45, 60, 399, 521, 542, 555, 567, 573, Latin American music and Bernstein 4, 31, 46, 579, 580, 595, 607, 618, 620, 632, 648, 676, 758, 809 650, 719, 764, 797, 907, 911 Latouche, John 30, 33, 601 jazz influence on symphonic music 72 Laurents, Arthur 31, 411, 494, 662, 678, 714, 815 Jewish influence on Bernstein 6, 7, 22, 27, 42, Lawrence, Carol 480 44, 52, 53, 68, 126, 146, 220, 291, 399, League of Composers 934 415, 424, 434, 441, 450, 455, 463, 470, Lederman, Minna 67, 934 524, 531, 535, 536, 541, 548, 552, 564, Lehman, Ernest 771 565, 580, 581, 584, 588, 619, 638, 646, Lehrman, Leonard 935 647, 784, 815, 830 Leiber, Jerry 33 Johnson, Alan 730 Lemont, Jessie 19 Jones, Gwyneth 901 Leonard Bernstein Center for Education, see Downloaded by [New York University] at 04:27 09 August 2016 Jordan, June 20 Artful Learning Juilliard Musical Foundation 12 leonardbernstein.com 222, 275, 927, 936 Juilliard Quartet 10 Leonard Bernstein Festival of the Creative Arts Juilliard School 934 942 Leonard Bernstein Foundation 929 K Leonard Bernstein Oberschule 229 Leon Levy Foundation 933 Kabbalah 27, 52, 784 Lerner, Alan Jay 34, 41, 491, 497, 668, 716, 727, Kapell, William 9 802 Karloff, Boris 36 Levin, Herman 935 Kates, Stephen 55 Lhevinne, Rosina 934 Kay, Hershy 28, 30, 32, 34, 36, 41, 658 Library of Congress 97e, 200, 201, 216, 236, Kaye, Judy 609 265, 454, 592, 605, 890, 929, 933, 937 316 Index of Subjects

Liebermann, Rolf 650 Monheit, Jane 719 Lieberson, Goddard 9 Moseley, Carlos 376 Lincoln Center 139, 237, 416, 432, 908, 934 Moses, Gilbert 34 Lincoln Presents 89c, 931 Mozart, Wolfgang Amadeus 85i, 89e, 93a, 93b, Liszt, Franz 89g, 845, 912 93c, 108, 111, 526, 547, 587, 689, 775, London, Bernstein in 244, 498, 557, 811, 835, 801, 812, 845 892, 898, 906 MTV 16 London Symphony Orchestra 41, 244, 835, Mursell, James L. 891 898, 906, 921 Museum of the City of New York 932 Ludwig, Christa 480, 496 Music Publishers Holding Corporation of Luening, Otto 934 America 404 LuPone, Patti 918 music study, Bernstein on 74 Musorgsky, Modest 845 M Myers, Paul 480

Maazel, Lorin 837 N MacArthur, Edwin 18 MacDowell Colony 259, 262, 263, 398 Nagano, Kent 41 Mahler, Gustav 76, 93d, 93e, 97g, 104, 105, nationalism 97c, 97d, 912 106, 109, 111, 114, 117, 128, 143, 151, National Symphony Orchestra 20, 55, 639 154, 156, 282, 283, 289, 399, 402, 403, NBC Symphony 514 414, 415, 450, 470, 496, 560, 681, 759, NBC-TV, 761 799, 801, 835, 838, 845, 853, 857, 864, Neumeier, John 139, 449, 561 867, 906, 911, 916, 933 Newman, Phyllis 7 Margaret Carson Collection (New York Public New York City Ballet 27 Library), 934 New York City Opera 30, 347, 360, 682, 786, marketing of Bernstein 435, 453, 474, 880 798, 811, 827 Marshall, Wayne 926 New York City Symphony Orchestra 46, 69, Marx, Leo 779 136, 151, 153, 407, 853, 933, 934 Mason, Daniel Gregory 574 New York Critics Circle Award 42 Mauceri, John 55, 480, 737, 811, 827 New York Philharmonic 12, 17, 23, 25, 50, 51, mazurka 56 53, 57, 68, 75, 88, 97f, 106, 107, 111, McCarthy and McCarthyism 318, 594, 621, 112, 123, 126, 135, 136, 137, 140, 145, 622, 672, 686, 687, 794, 814 148, 149, 150, 151, 152, 270, 294, 306, McClure, John 753, 836, 864 362, 379, 389, 394, 397, 400, 401, 403, McCracken, James 854 404, 410, 420, 421, 432, 450, 461, 468, McKay, George Frederick 574 469, 476, 480, 501, 509, 515, 529, 637, meaning in music 85b 639, 663, 799, 805, 833, 837, 844, 845, Mehegan, John 4, 86 848, 851, 852, 853, 858, 859, 860, 861, Mehta, Zubin 57, 123 862, 863, 864, 865, 866, 879, 885, 887, Mendelssohn, Felix 128, 338, 539, 541, 845, 931 897, 911, 915, 929, 933, 934 Downloaded by [New York University] at 04:27 09 August 2016 Menotti, Gian Carlo 735 New York Philharmonic Archive 933, 939 Merrill, Edys 17 New York Pro Musica Antiqua 37 Metropolitan Museum of Art, NYC, 63 New York Public Library 11, 67, 934 Metropolitan Opera (House), NYC, 25, 519, Nielsen, Carl 845, 864 664, 738, 761, 786, 799, 854 Nixon, Marni 771 Metropolitan Opera Archives 930 Norton Lectures 93, 124, 150, 249, 402, 439, 442, Milhaud, Darius 89d, 443, 560, 845 472, 543, 627, 875, 887, 891, 892, 917, 929 Millay, Edna St. Vincent 20 Miller, Jonathan 480 O Minow, Newton 877 Mitchell, Brian 928 obituaries of Bernstein 129, 133, 154, 420, 844 Mitropoulos, Dimitri 97b, 217, 421, 438, 515, Odrich, Ron 13 838, 840, 858, 867 Offenbach, Jacques 415 Index of Subjects 317

O’Hara, Frank 20 popular music and Bernstein 1, 74, 85d, 91, O’Horgan, Tom 792 116, 522, 544, 566, 607, 610, 626, 671, Olsen, Stanford 918 681, 695, 707, 721, 735, 746, 755, 774, Omnibus (ABC-TV), 85, 85f, 85g, 85h, 85i, 877, 884 85j, 85k, 85l, 90, 150, 402, 433, 533, Potsdam College 934 873, 882, 887, 891, 907, 931 Powell, Jane 76 operas by Bernstein 39, 40, 660, 665, 679, 683, Prawy, Marcel 730 686, 688, 709, 718, 722, 734, 735, 739, Previn, André 123 740, 741, 746, 761, 769, 774, 786, 787, Price, Leontyne 931 788, 789, 791, 798, 807, 809, 818, 822, Prince, Hal (Harold), 30, 125, 506, 733, 737, 824, 827, 829, 923, 924, 928, 931, 932 744, 785, 786, 934 operetta 30, 84, 85i, 664, 698 Prokofiev, Serge 65, 97a, 775 Oppenheim, David 11 Puccini, Giacomo 843, 849, 867 orchestration 11, 28, 29, 30, 31, 32, 33, 34, 36, Purcell, Henry 931 39, 40, 41, 48, 51, 61, 62, 90, 325, 655, 658, 676, 805, 819, 911 Q Orchestre National de France 399 Orff, Carl 736 Quayle, Anthony 38 Ormandy, Eugene 846, 866 Osato, Sono 500, 780 R Ozawa, Seiji 56, 120, 444 Radio France Orchestras 899 P Raimondi, Ruggero 898 RAI Orchestra and Chorus (Rome), 462, 842, Pacific Music Festival 180, 256, 849 449 Ramin, Sid 11, 19, 31, 34, 40, 41, 51, 61, 62, Palestine 27 455, 655, 703, 795, 819 Palestine Symphony Orchestra 97d Rampal, Jean-Pierre 58 The Paley Center for Media 892, 931 Rattle, Simon 926 Palmer, Robert 528 Ravel, Maurice 632, 638, 801, 845, 900 Park Avenue Synagogue, NYC, 22 Réaux, Angelina 789 Parker, Dorothy 30 Reed, Janet 828 Paul VI, Pope 842 Reiner, Fritz 426, 488, 838, 913 Penderecki, Krzysztof 770 Reis, Clare 934 Pennino, John 930 Richter, Alexander 62 Perle, Shirley Gabis Rhoads 9 Riddle, Nelson 61 Persichetti, Vincent 934 Riegger, Wallingford 934 Pettis, Ashley 11, 934 Rilke, Rainer Maria 19, 610 Peyser, Joan 480 Rinke, Hanna 844 Philadelphia Orchestra 846, 858 Riso, Cesarina 6 Philharmonic Hall 19 Rittman, Trude 36, 658 Downloaded by [New York University] at 04:27 09 August 2016 piano and Bernstein 254, 370, 414 Robbins, Jerome 25, 26, 27, 28, 31, 56, 125, piano music of Bernstein 1 – 9, 460, 567 – 73 324, 411, 492, 495, 516, 656, 662, 673, Pierson, Thomas 33 675, 700, 704, 714, 742, 749, 750, 778, Piston, Walter 97a, 97f, 551 782, 810, 813, 815, 826, 828, 925, 934 Pittsburgh Symphony Orchestra 42, 400 Rochester Philharmonic 48, 70, 73 Poe, Edgar Allen 9, 20 rock 32, 156, 626, 672, 707, 796, 803, 931 politics and Bernstein 116, 295, 318, 415, 430, Rodgers and Hammerstein 813 437, 438, 447, 448, 454, 464, 496, 501, Rodzinski, Artur 509 514, 594, 612, 621, 622, 647, 657, 685, Roman Catholic Church 670, 706, 728, 763, 686, 687, 690, 721, 739, 794, 815, 830, 803 831, 871 Romney, Richard Adams “Twig,” 43 polka 801 Rorem, Ned 510, 552, 927 Polygram 214 Rosen, Peter 909 318 Index of Subjects

Rossi, Salamone 638 Smallens, Alexander 934 Rossini, Gioachino 801 Smit, Leo 9 Rostropovich, Mstislav 54, 55, 480 Smith, Oliver 498, 714, 750 Routledge, Patricia 34, 773 Socialist Realism 830 Royal, Ted 28 Socialist-Realist theater 685 Rubenovitz, Herman 463 Solti, Georg 843 Rudolf, Elizabeth 5 Sondheim, Stephen 9, 31, 33, 125, 323, 466, rumba 801 467, 486, 511, 516, 518, 570, 666, 678, Russell, Rosalind 29, 659, 723, 724, 932 714, 744, 815, 935 Russian Ballet 500 songs and song cycles of Bernstein 17 – 21, 605 – 11 S Sony Classical 435 Sowerby, Leo 574 Saddler, Donald 29 speech rhythms 28, 39, 40, 787, 791 Saint-Saëns, Camille 758 Spender, Stephen 85b San Francisco Symphony Orchestra 47 Spiegel, Mildred 1, 411 Santa Cecilia Orchestra and Chorus (Rome), Spiegel, Sam 35, 922 849 spirituality and Bernstein 527, 535, 556, 623, Satie, Erik 71, 801 645, 651, 691, 692, 706, 728, 754, 759, Saudek, Robert 882, 883 770 Schickel, Richard 935 Springate Corporation 929 Schirmer, G. 489, 643, 934 Starokadomsky, Mikhail 65 Schleswig-Holstein Music Festival 449 Starr, Herman 404 Schoenberg, Arnold 85, 93e, 399, 443, 531, State Historical Society of Wisconsin Archives 566, 598, 646, 647, 796 935 Schonberg, Harold C. 480, 691 Stein, Gertrude 20, 79 Schubert, Franz 94 Stern, Aaron 9 Schuller, Gunther 85j, 444, 650 Stern, Charles 720 Schuman, William 3, 66, 67, 72, 154, 399, 443, Stern, Isaac 45, 122, 513, 835, 904 573, 864, 883, 934 Stevens, Roger 38, 125, 240 Schumann, Robert 89g, 93d, 845, 867, 897 Stevens-Garmon, Morgen 932 Schwartz, Stephen 32, 493, 821 Stokowski, Leopold 426, 838, 887, 891 Scottish Opera 30, 811 Strauss, Richard 89g, 843, 912, 931 Segal, Yankev-Yitskhok 21 Stravinsky, Igor 27, 53, 71, 72, 77, 89d, 93c, 93f, Seidl, Anton 436 104, 144, 154, 402, 443, 524, 552, 560, serialism 550, 745, 550, 745 573, 574, 598, 622, 632, 681, 694, 797, Sessions, Roger 71 843, 845, 864, 868 sexuality of Bernstein 104, 126, 139, 157a, Styne, Jule 7, 777 157b, 158, 415, 437, 438, 440, 632, 647, Sullivan, Arthur 801 (see also Gilbert and 815, 832 Sullivan) Shakespeare, William 85l, 672, 674, 690, 768, Swain, Joseph P. 702 Downloaded by [New York University] at 04:27 09 August 2016 804 symphonic music of Bernstein 42 – 9, 68, 70, Shanet, Howard 837 73, 78, 83, 85c, 143, 530, 540, 547, Shapero, Harold 413, 455, 528 612 – 54, 757 Sharp, William 609 Symphony of the Air 514 Shaw, Artie 648 Shaw, Robert 24, 37, 76 T Sheng, Bright 21, 129 Shostakovich, Dmitri 144, 154, 797, 835, 845, Talvela, Martti 901 864, 897 Tanenbaum, Yadin 58 Shulman, Irving 771 Tanglewood 120, 143, 178, 179, 238, 397, 444, Sibelius, Jean 65, 90, 154, 845, 864, 911 458, 469, 483, 512, 558, 679, 821, 839, Simmons, Nina Bernstein (daughter), see 855, 856, 870 Bernstein, Nina Tanglewood Festival Chorus 839 Slatkin, Leonard 474 Taubman, Howard 694 Index of Subjects 319

Tchaikovsky, Pyotr 89i, 469, 743 Vienna 109, 143, 403, 459, 471, 496, 665, 730, Teatro alla Scala, Milan 40, 462, 849 901, 902, 931, 933 Teatro La Fenice, Venice 45 Vienna Philharmonic 97i, 271, 403, 480, 835, Te Kanawa, Kiri 680, 905 848, 894, 895, 901, 902, 906, 915, 931 theater music of Bernstein 471, 493, 530, 540, Vienna State Opera 459 655 – 832 (see also Broadway musicals) Vienna Volksoper 730 thesis, Bernstein’s undergraduate 97, 97d, 429, Vivaldi, Antonio 931 644 Voltaire 30, 425, 661, 794 Thomas, Jamie Bernstein (daughter), see von Karajan, Herbert 403, 840, 843 Bernstein, Jamie von Stade, Frederica 480, 921 Thomas, Michael Tilson 921 Thomas, Theodore 436, 891 W Thompson, Randall 97f Thomson, Virgil 79, 437, 443, 471, 512, 597 Wadsworth, Stephen 40, 665, 688, 722, 734, Tiomkin, Dimitri 591 787, 829 Tippett, Michael 685, 787 Wager, Michael 38 Titcomb, Caldwell 425 Wagner, Richard 85j, 89e, 89g, 93d, 100, 403, Tocco, James 573 801, 843, 847, 931 Tomasicchio, John 930 Walker, Don 28, 29 tonality and Bernstein 44, 58, 89a, 93a, 93e, Walter, Bruno 76, 476, 838 93f, 96, 403, 472, 473, 550, 580, 584, waltz 4, 7, 16, 25, 30, 46, 56, 801 613, 627, 642, 651 Washington, George 89b Tony Awards 29 Webern, Anton 85j Toscanini, Arturo 436, 514, 858, 934 Weill, Kurt 465, 566, 679, 685, 733, 735, Tourel, Jennie 17, 18, 19, 92, 606 765 Town Hall, NYC, 17, 18, 19 westsidestory.com 941 tresillo 4 Wheeler, Hugh 30, 744, 762, 785 Troyanos, Tatiana 905 Whitman, Walt 20 Tunick, Jonathan 32 Wilbur, Richard 30, 517, 705 Tuthill, Burnet Corwin 574 Wilder, Thornton 584 twelve-tone composition and Bernstein 9, 44, Wise, Robert 771, 925 58, 71, 93e, 130, 472, 547, 740 Wood, Thor 934 Tyers, John 660 Works Project Administration 69 Universal Editions 489 World War II, 25 University of Chicago 89j writings of Bernstein 64 – 100 Urquhart, Craig 9 Y V Yiddish theater 27, 784 Van Cliburn International Piano Competition Young People’s Concerts (CBS-TV), 90, 97f, 8 124, 150, 196, 199, 203, 294, 381, 389, Downloaded by [New York University] at 04:27 09 August 2016 Vatican 268, 345, 842, 919 408, 452, 473, 846, 852, 869, 873, 874, Vatican II, 685, 763 875, 876, 877, 880, 881, 883, 884, 885, Vaughan, Denis 934 886, 887, 888, 890, 891, 911, 912, 931, Vaughan Williams, Ralph 657, 845, 864 933 Veasey, Josephine 898 Vengerova, Isabelle 108 Z Verdi, Giuseppe 85l, 89g, 689, 775, 843, 898, 931 Zeffirelli, Franco 519 Verrett, Shirley 901 Zimmermann, Krystian 894 videography 423, 805, 882, 883 Downloaded by [New York University] at 04:27 09 August 2016