Jerold Frederic Presents Concert of Gripping Music Philharmonic
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Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918
Classics 3: Program Notes Overture to Candide Leonard Bernstein Born in Lawrence, Massachusetts, August 25, 1918; died in New York, October 14, 1990 After collaborating on The Lark, a play with incidental music about Joan of Arc, Leonard Bernstein and Lillian Hellman turned their attention in 1954 to Voltaire’s novella Candide. They thought it the perfect vehicle to make an artistic statement against political intolerance in American society, just as Voltaire had done in eighteenth-century France. After bringing in poet Richard Wilbur to write the lyrics, they worked intermittently on Candide for two years. Enormous amounts of money were spent on the production, which opened in Boston on October 29, 1956. Though many critics called it brilliant, the production failed financially; after moving to New York in December, it was shut down after just seventy-three performances. Everyone had someone to blame, but many thought it failed because of audience confusion about its hybrid nature—was it an opera, operetta, or a musical? Leonard Bernstein: celebrating his The story revolves around the illegitimate Candide, who centennial loves and is loved in return by Cunegonde, daughter of nobility. They are plagued by myriad disasters, which lead them from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, Eldorado, Surinam, and finally Venice, where they are united at last. Bernstein’s often witty, sometimes tender music has been considered the work’s greatest asset, both in the initial failed production and in later successful versions. The Overture, possibly Bernstein’s most frequently performed piece, perfectly captures the mockery and satire as well as the occasional introspective moment of Voltaire’s masterful creation. -
Bernsteincelebrating More Sides of the Story
BernsteinCelebrating More Sides of the Story Wednesday 17 October 2018, 7.45pm Holy Trinity Sloane Square, SW1 Chichester Psalms Missa Brevis Choral Suite from West Side Story London Concert Choir Conductor Mark Forkgen Tickets £25 (under-25s £15) to include a programme and interval drink. Box Office (020) 7730 4500, www.cadoganhall.com and at the door A collection will be held in aid of The Royal Marsden Cancer Charity One of the most talented and successful musicians in American history, Leonard Bernstein was not only a composer, but also a conductor, pianist, educator and humanitarian. His versatility as a composer is brilliantly illustrated in this concert to celebrate the centenary of his birth. The Dean of Chichester commissioned the Psalms for the 1965 Southern Cathedrals Festival with the request that the music should contain ‘a hint of West Side Story.’ Bernstein himself described the piece as ‘forthright, songful, rhythmic, youthful.’ Performed in Hebrew and drawing on jazz rhythms and harmonies, the Psalms Music Director: include an exuberant setting of ‘O be joyful In the Lord all Mark Forkgen ye lands’ (Psalm 100) and a gentle Psalm 23, ‘The Lord is my shepherd’, as well as some menacing material cut Nathan Mercieca from the score of the musical. countertenor In 1988 Bernstein revisited the incidental music in Richard Pearce medieval style that he had composed in 1955 for organ The Lark, Anouilh’s play about Joan of Arc, and developed it into the vibrant Missa Brevis for unaccompanied choir, countertenor soloist and percussion. Anneke Hodnett harp After three contrasting solo songs, the concert is rounded off with a selection of favourite numbers from Sacha Johnson and West Side Story, including Tonight, Maria, I Feel Pretty, Alistair Marshallsay America and Somewhere. -
ARSC Journal
LEONARD BERNSTEIN, A COMPOSER DISCOGRAPHY" Compiled by J. F. Weber Sonata for clarinet and piano (1941-42; first performed 4-21-42) David Oppenheim, Leonard Bernstein (recorded 1945) (78: Hargail set MW 501, 3ss.) Herbert Tichman, Ruth Budnevich (rec. c.1953} Concert Hall Limited Editions H 18 William Willett, James Staples (timing, 9:35) Mark MRS 32638 (released 12-70, Schwann) Stanley Drucker, Leonid Hambro (rec. 4-70) (10:54) Odyssey Y 30492 (rel. 5-71) (7) Anniversaries (for piano) (1942-43) (2,5,7) Leonard Bernstein (o.v.) (rec. 1945) (78: Hargail set MW 501, ls.) (1,2,3) Leonard Bernstein (rec. c.1949) (4:57) (78: RCA Victor 12 0683 in set DM 1278, ls.) Camden CAL 214 (rel. 5-55, del. 2-58) (4,5) Leonard Bernstein (rec. c.1949) (3:32) (78: RCA Victor 12 0228 in set DM 1209, ls.) (vinyl 78: RCA Victor 18 0114 in set DV 15, ls.) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 (6,7) Leonard Bernstein (rec. c.1949) (2:18) Camden CAL 214 (rel. 5-55, del. 2-58); CAL 351 Jeremiah symphony (1941-44; f.p. 1-28-44) Nan Merriman, St. Louis SO--Leonard Bernstein (rec. 12-1-45) ( 23: 30) (78: RCA Victor 11 8971-3 in set DM 1026, 6ss.) Camden CAL 196 (rel. 2-55, del. 6-60) "Single songs from tpe Broadway shows and arrangements for band, piano, etc., are omitted. Thanks to Jane Friedmann, CBS; Peter Dellheim, RCA; Paul de Rueck, Amberson Productions; George Sponhaltz, Capitol; James Smart, Library of Congress; Richard Warren, Jr., Yael Historical Sound Recordings; Derek Lewis, BBC. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins. -
BEYOND the BASICS Supplemental Programming for Leonard Bernstein at 100
BEYOND THE BASICS Supplemental Programming for Leonard Bernstein at 100 BEYOND THE BASICS – Contents Page 1 of 37 CONTENTS FOREWORD ................................................................................. 4 FOR FULL ORCHESTRA ................................................................. 5 Bernstein on Broadway ........................................................... 5 Bernstein and The Ballet ......................................................... 5 Bernstein and The American Opera ........................................ 5 Bernstein’s Jazz ....................................................................... 6 Borrow or Steal? ...................................................................... 6 Coolness in the Concert Hall ................................................... 7 First Symphonies ..................................................................... 7 Romeos & Juliets ..................................................................... 7 The Bernstein Beat .................................................................. 8 “Young Bernstein” (working title) ........................................... 9 The Choral Bernstein ............................................................... 9 Trouble in Tahiti, Paradise in New York .................................. 9 Young People’s Concerts ....................................................... 10 CABARET.................................................................................... 14 A’s and B’s and Broadway .................................................... -
THE LARK L'alouette JEAN ANOUILH After Centuries of Abuse
THE LARK L’Alouette JEAN ANOUILH After centuries of abuse, repudiation, prejudice, misunderstanding, and indifference, Joan has been vindicated. The facts are now commonly known. No one in his right mind any longer questions her belief in her sacred mission, her dedication, and her accomplishments. After the Canonization and Shaw’s very credible interpretation, what was left? Only occasional variations on the theme, such as those by Bertolt Brecht and Maxwell Anderson. Before Anouilh, one could well have wondered, as some did, whether another first-rate drama, faithful to the truth about Joan, was possible. But for Anouilh another path opened. Perhaps we had become so absorbed in a cool analysis of the facts that we had lost the spirit of Joan, the sense of wonder and joy in the legend. Anouilh attempted to recapture what we might have been in danger of losing. He wrote The Lark in 1953. The translation used here was made in 1955 for the London premiere by the English poet and playwright Christopher Fry. The American dramatist Lillian Hellman adapted the play for the New York production later in the same year. NOTE The following note by Jean Anouilh appeared in the program of the French production of The Lark: The play that follows makes no attempt to explain the mystery of Joan. The persistent effort of so-called modern minds to explain mysteries is, in any case, one of the most naive and foolish activities indulged in by the puny human brain since it became overstocked with shallow political and scientific notions, and can yield nothing, in the long run, but the nostalgic satisfaction of the small boy who discovers at last that his mechanical duck was made up of two wheels, three springs and a screw. -
Spring/Summer 2010 a Quiet Place at New York City Opera
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2010 A Quiet Place at New York City Opera by George Steel eonard Bernstein himself Lsaid that all of his works - symphonies, piano pieces, songs, all of it - were theatrical. But his works for the stage have a special place in the history of American music. So I am overjoyed to say that New York City Opera will open its 2010-11 season with A Quiet Place, Bernstein's final completed stage work, with a libretto by Stephen Wadsworth. It is undoubtedly one of Bernstein's greatest musical achievements. As a composer, LB always sought "undiscovered country." It is so typical of him that a late work like A Quiet Place would be full of struggle and experimenta tion. Every note he wrote "cost," as he would say: he paid in sweat and blood (or really cigarettes and Tums) for music that seems inevitable and even, paradoxically, effortless. He completed A Quiet Place through Herculean effort and self-sacrifice. It is an amazing work - and one that we need more than ever. It is not afraid to challenge and to break new ground - and it reaches in some ways further than other Bernstein Music by Libretto by works to integrate his many Leonard Bernstein Stephen Wadsworth musical languages. Bernstein had an uncanny Pro,lwud l1y Houston Grand Opera, The John F. Kennedy Center for the Performing Arts and 1eatro al/a Scala understanding of the theatrical power of music, and all his talent and experience are on display in (continued on page 2) Poster from the Houston Grand Opera premiere production 3 Mass in Virginia 5 Artful Learning Spring 8 In the News Inside .. -
Austin Symphonic Band Broadway Romance
Community In Concert AUSTIN SYMPHONIC BAND PRESENTS BROADWAY ROMANCE February 22, 2014, 8 PM Grace Covenant Church, Austin Texas ASB Board of Directors and Officers Musical Director: Richard Floyd President: Keith Chenoweth Past President: Ron Boerger President Elect: Sally Grant Board of Directors: Scott Hastings Donald McDaniel Bruce Wagner Rob Ward Secretary: Marilyn Good Treasurer: Sharon Kojzarek Librarian: Karen VanHooser Assistant Director: Bill Haehnel Concert Coordinator: Kevin Jedele Transportation Manager: Chuck Ellis Marketing Director: Thomas Edwards Webmaster: David Jones Archivist: Tim DeFries Business Manager: Dan L Wood Thanks to our Austin hosts: Matt Atkinson, Connally High School Director of Bands Rehearsal Space/Equipment Use Austin Symphonic Band PO Box 6472 Austin, Texas 78762 (512) 345-7420 Web site: www.austinsymphonicband.org [email protected] This project is funded and supported in part by the City of Austin through the Economic Development Department/Cultural Arts Division believing an investment in the Arts is an investment in Austin’s future. Visit Austin at NowPlayingAustin.com. Music Director In 1983 Richard Floyd was appointed State Director of Music Activities for the University Interscholastic League at the University of Texas at Austin where he coordinated all facets of secondary school music competition for some 3500 performing organizations throughout Texas. He has served as Music Director and Conductor of the Austin Symphonic Band since 1986. Prior to his appointment at the University of Texas, he served on the faculty at the University of South Florida as Professor of Conducting, and at Baylor University. Mr Floyd became UIL State Director of Music Emeritus in 2013. Mr Floyd has toured extensively as a clinician, adjudicator, and conductor including appearances in 41 states and 9 foreign countries. -
Celebrating Bernstein Flyer.Pdf
BernsteinCelebrating More Sides of the Story Wednesday 17 October 2018, 7.45pm Holy Trinity Sloane Square, SW1 Chichester Psalms Missa Brevis Choral Suite from West Side Story London Concert Choir Conductor Mark Forkgen Tickets £25 (under-25s £15) to include a programme and interval drink. Box Office (020) 7730 4500, www.cadoganhall.com and at the door One of the most talented and successful musicians in American history, Leonard Bernstein was not only a composer, but also a conductor, pianist, educator and humanitarian. His versatility as a composer is brilliantly illustrated in this concert to celebrate the centenary of his birth. The Dean of Chichester commissioned the Psalms for the 1965 Southern Cathedrals Festival with the request that the music should contain ‘a hint of West Side Story.’ Bernstein himself described the piece as ‘forthright, songful, rhythmic, youthful.’ Performed in Hebrew and Music Director: drawing on jazz rhythms and harmonies, the Psalms Mark Forkgen include an exuberant setting of ‘O be joyful In the Lord all ye lands’ (Psalm 100) and a gentle Psalm 23, ‘The Lord Nathan Mercieca is my shepherd’, as well as some menacing material cut countertenor from the score of the musical. Richard Pearce In 1988 Bernstein revisited the incidental music in organ medieval style that he had composed in 1955 for The Lark, Anouilh’s play about Joan of Arc, and developed Daniel de-Fry it into the vibrant Missa Brevis for unaccompanied choir, harp countertenor soloist and percussion. After three contrasting solo songs, the concert is Sacha Johnson and rounded off with a selection of favourite numbers from Alistair Marshallsay West Side Story, including Tonight, Maria, I Feel Pretty, percussion America and Somewhere. -
Leonard Bernstein Professional Breakthrough Came with Exceptional Force and Visibility, Establishing Him As a Stunning New Talent
which ultimately applied to Bernstein’s music in all genres. Bernstein’s Leonard Bernstein professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first performance with the composer conducting the Pittsburgh Symphony in January 1944. "Lamentation," its final movement, features a mezzo-soprano delivering Hebrew texts from the Book of Lamentations. In April of that year, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by the young Jerome Robbins. Leonard Bernstein photo © Susech Batah, Berlin (DG) In December, Bernstein premiered the Broadway musical On the Town, another collaboration with Robbins. While the conception of these two dramatic works was Leonard Bernstein—celebrated as one of the most influential musicians of the closely intertwined, their plots, music, and choreography were quite different. 20th century—ushered in an era of major cultural and technological transition. He Fancy Free featured three sailors on shore leave in a bar, showing off their led the way in advocating an open attitude about what constituted "good" music, physical agility as they competed for the attention of two women. The men were actively bridging the gap between classical music, Broadway musicals, jazz, and tightly bound to one another. -
Willa Cather's the Song of the Lark
Willa Cather’s The Song of the Lark DIALOGUE 10 Edited by Michael J. Meyer Willa Cather’s The Song of the Lark Edited by Debra L. Cumberland Amsterdam - New York, NY 2010 Cover Photograph: Paul C. Mims Cover Design: Pier Post The paper on which this book is printed meets the requirements of “ISO 9706:1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN: 978-90-420-3203-3 E-Book ISBN: 978-90-420-3204-0 ©Editions Rodopi B.V., Amsterdam - New York, NY 2010 Printed in the Netherlands CONTENTS Acknowledgements xiii Series Editors’ Preface xv Introduction xix Genius and the (Un)Dead Girls: Consumption, Artistry, and the Female Body in The Song of the Lark 1 Meghan L. Burke Anatomy Is All: The Pathology of Voice in The Song of the Lark 21 Cecilia Björkén-Nyberg Künstlerroman Revised: Doubleness and Catharsis in Willa Cather’s The Song of the Lark 39 Erica D. Galioto Immeasurable Yearnings: The Artistic Legacy of the Landscape in Cather’s The Song of the Lark 67 Danielle Russell Place, Inspiration, and the Railroad in Willa Cather’s The Song of the Lark 91 Annette R. Dolph A Place Apart: Transcending Social Topographies in The Song of the Lark 107 Tony R. Magagna The Kingdom of Culture: Culture, Ethnology and the “Feeling of Empire” in The Song of the Lark 127 Eric Aronoff Locating Mexicans in The Song of the Lark 149 Sarah Clere “You Are What You Read”: Wharton’s Undine Spragg and Cather’s Thea Kronborg 165 Julie Olin-Ammentorp A Tale of Two Sisters: The Influence of “Goblin Market” on Cather’s The Song of the Lark 183 Debra Cumberland “The Inevitable Hardness of Human Life”: The Song of the Lark as Naturalism 205 Richard S.