nown as “The Musical Ambassadors of the Army,” The The consummate , conductor, and Army Field Band of Washington, D.C. is the Army’s premier touring educator, is one of the most musical organization. Each of its performing components travels celebrated musicians in American history. Perhaps thousands of miles each year, carrying out the Army Field Band’s more than any other composer, his work has become Kmission: to serve and inspire the American people by telling the Army story and synonymous with the very identity of American honoring our Soldiers and Veterans at home and abroad. , and his time as Music Director of the New In addition to its primary mission, The U.S. Army Field Band’s educational outreach York Philharmonic resulted in hundreds of timeless initiative—including educational clinics, instructional videos, the Legacy Recording recordings, including the Young People’s Concerts, Series, and much more—has made it the U.S. military’s greatest supporter of music his celebrated series of televised educational concerts, education. The Legacy Recording Series provides school music programs with and lectures. reference recordings of some of the most significant musical works, while honoring Bernstein’s incomparable work and his many the lives and music of individuals who have made significant contributions to the contributions to make him a natural concert repertoire and to music education. These recordings are carefully researched partner of The U.S. Army Field Band, and the perfect to accurately reflect the original intent of the composer and are accompanied by subject of The Legacy Recording Series. Please enjoy biographical information, detailed program notes, and historical photographs to The Legacy of Leonard Bernstein. provide music educators and students with insight into the compositions. On the 100th anniversary of Leonard Bernstein’s birth, the Army Field Band proudly presents the sixteenth installment in the Legacy Recording Series: The THE MILITARY’S MOST Legacy of Leonard Bernstein. TRAVELED MUSICIANS and preserving perhaps his greatest contributions: THE LEGACY OF his dedication to music education, and his ability to connect with students. ernstein was born in 1918 to Russian- Jewish immigrants making a life for Leonard Bernstein themselves in Massachusetts. His father was intense and severely religious, a for- e stands onstage at , the at his Bmer scholar who found himself toiling in the back. Hundreds of entranced children lean forward in their seats, New England beauty supply industry to build a pure and honest reactions on their young faces. One moment he en- stable life for his family. His mother was likable thusiastically bangs out a rag on the , then leaps onto the po- and gregarious, and Leonard grew up extremely Hdium to conduct the orchestra for a few bars. He tells vivid stories and asks close to his sister, Shirley Anne, and brother, important, difficult questions about music and life. In all the hundreds of Burton. He was drawn to music from an early hours of video footage that exist of age, and when his Aunt Clara left an unwanted Leonard Bernstein, his ground- old mahogany upright piano with his family, the breaking Young People’s Concerts is course of his life was unknowingly set. His early where he seems most at home. musical education included picking out tunes Leonard Bernstein was an American from the radio, lessons with a neighborhood girl, original. Extravagant, driven, mag- and improvising and composing music to play nificently talented, and one of the for his mother. His musical exposure was elevated most accomplished American musi- at the Mishkan Tefila temple in Boston, where cians of all time. His star rose along- his family worshipped. He began studying more Bernstein rehearsing Beethoven's with the Vienna side the advent of video recording complex music when he acquired a formal teach- State Chorus and the , December 3, 1971. To be filmed by CBS for the program Beethoven's technology and television, amplify- Top: Bernstein, age 3, with parents Samuel and Jennie; Bottom: Bernstein Birthday: A Celebration in Vienna with Leonard Bernstein. ing his impact on American culture with parents Samuel and Jennie, and sister, Shirley, ca. 1935.

4 5 er from the New England Conserva- an environment lush with incredible tory. Subsequent piano teachers fed music and opportunities. He consumed and developed the passion he so in- new music with an unfettered appetite. stinctively wielded, almost from the Bernstein was astonished upon first hear- very beginning. ing ’s Piano Variations. Bernstein was captivated by his first At a chance meeting in 1937, Bernstein live orchestra concert, the Boston caught his attention by sitting down at Pops under . Their Copland’s own piano and playing the performance of Ravel’s Bolero made piece from memory. Thus began a life- such an impression that he began long relationship, with Copland serving attending as many concerts as pos- as one of Bernstein’s most important sible with whatever money he could mentors and friends. scrounge up. Gershwin’s Rhapsody in t was at Harvard that Bernstein first Blue was a revelation for the young delved into , which he , who purchased the score was encouraged to pursue after grad- and immediately adapted it for four uation. He possessed an uncanny hands. As he basked in these rich new abilityI with the physical elements of conducting, and musical experiences, Bernstein devel- his intuitive musical understanding and analytical oped into a skilled reader, and honed ability quickly set him apart from his contemporaries. the adaptability and improvisation He auditioned for at the Curtis Institute that proved foundational as he began of Music in , and attended on scholarship Bernstein at the piano, 1935. to compose more substantive works. in 1939. At Curtis, Bernstein would encounter some Top: Bernstein conducts Stravinsky's L'histoire du Soldat at an informal Bernstein’s father was a music lover, but was extremely displeased with his tea party. - conductor and Bernstein mentor - and son's decision to pursue music as a career. Nevertheless, Bernstein arrived his wife Natalie look down from the balcony. The inscription to Helen Coates refers humorously to L'histoire d'un éléve - the tale of the student, 1940; Bottom: at Harvard in 1935 as a vivacious and opinionated freshman, soaking up Bernstein at Harvard graduation, 1939.

6 7 of his most challenging teachers, as he immersed The concert was broadcast live on national ra- himself in studying piano, arranging, and orches- dio and headlines of his astonishing triumph tral conducting. splashed across TheNew York Times, News- In the summer of 1940, Bernstein met Serge week, Time, Look, and Vogue. Leonard Bern- Koussevitzky, director of the Boston Symphony stein became an overnight sensation. Orchestra, at the newly created Summer Insti- Bernstein’s magnetic personality and natural tute at Lake Tanglewood. Bernstein later became openness made him a media darling, and Koussevitzky's conducting assistant. he reveled in the attention. He was soon fter graduation from Curtis, Bernstein conducting the Pittsburgh Symphony, the moved to New York and earned a living Boston Symphony, and was engaged as a guest playing piano for dance classes, while conductor both nationally and internationally. composing and waiting for his big break. No American had yet penetrated the exclusive, AThat day would come after he was offered the role European-ruled world of orchestral conducting. Bernstein made history as the first American-born of Assistant Conductor of the New York Philhar- Bernstein with conductor Artur Rodziński, monic. His job was to shadow musical director Stockbridge, Massachusetts, 1943. and American- Artur Rodziński, preparing scores, attending rehearsals, and being ready to trained conductor step in should the unlikely need arise. On November 14th, 1943 (his birth- to work with top day), Bernstein woke, groggy and hungover, to the news that guest conductor orchestras all over had the flu. Rodziński was out of town and unable to get back the world, paving the to New York for the Philharmonic’s concert that evening. Bernstein spent a way for all American few frantic hours going over scores with the sick Walter before taking the stage conductors who at Carnegie Hall and conducting the orchestra completely unrehearsed. At followed him. Left: newspaper article heralding the end of the show, the entire hall, including the audience and the orchestra, Bernstein's appointment; were standing and cheering. At just 25 years old, Bernstein was the youngest Right: portrait with signature inscribed to the New York person to ever conduct a philharmonic orchestra in a subscription concert. Philharmonic, 1944.

8 or two years, Bernstein served as Music Director of the New York City Bernstein’s compositional Symphony and led the orchestral and conducting departments at Tan- achievements during this glewood after the death of Serge Koussevitzky in 1951. That same year time are equally impressive. he married Felicia Montealegre, a Chilean actress and pianist whom he His first publication Fhad seen on and off for several years. Together they had three children: Jamie, was a four-hands piano Alexander, and Nina. Bernstein’s family grounded him and offered him a of Copland’s El place of normalcy and comfort amid the swirling drama of his Salón México, which Boosey hectic, jet-setting life. & Hawkes published for In 1958, Bernstein became the Music Director of the New $25. From these meager York Philharmonic. During his 11-year tenure, Bernstein led beginnings, Bernstein would thousands of concerts, more than any prior conductor. He go on to compose ballets, took the orchestra around the globe, performing in practically film scores, three , every major city in the world. six Broadway musicals, and dozens of choral and orchestral works. Bernstein with mentor and friend, Aaron Copland, 1940. While his success as a conductor and his larger-than-life personality some- times overshadowed his compositions, Bernstein’s music was often ground- breaking, particularly his contributions to the Broadway stage. Bernstein drew from many elements of his musical background. Reflecting everything from his Jewish heritage, to the American popular songbook, to elements of and Latin dance music, Bernstein’s style and sound is unique and yet dis- tinctly American. Copland once wrote of Bernstein: “He is equally at home in the world of jazz and in the world of serious music. His music melodi- Left: Bernstein with Felicia at their wedding. Bernstein's suit had previously belonged to Serge Koussevitzky, September cally and harmonically has a spontaneity and warmth that speak directly to 9, 1951; Middle: Bernstein with Felicia, Jamie, and Alexander at piano. This was their family holiday greeting card from an audience.” 1956; Top-right: skiing with brother Burton, 1958; Bottom-right: sailing at Martha's Vineyard, 1958.

10 11 n , 1990—after a lifetime of composing, conduct- ing, teaching, and making music with the greatest musicians in the world—Leonard Bernstein died at age 72. As a celebrity and cultural influence, he wielded an important political voice, Obreaking through institutional and cultural barriers through the force of his personality and incredible music-making. Bernstein is remembered all over the world as a luminary of unparalleled passion and genius, yet his story and music are inherehtly American. The rhythms and sounds of Bernstein’s music unite each individual’s disparate experience, plucking out that shared mo- ment, recalling the connected spirit and jubilant moments we measure as a nation.

Left: Bernstein soaks in the applause after his final conducted performance, Tanglewood, 1990; Right: conducting at the weeks prior to his death, Tokyo, 1990. to (1956) he Overture to Candide is one of the most popular works in music. The flashy, dazzling overture is written in form, and quotes several of the show’s prominent songs, including “Oh, Happy We,” Candide’s and Cunégonde’s broad, soaring love duet, and Cunégonde’s devilishly Tchallenging aria, “Glitter and Be Gay.” Bernstein always wanted to write “the Great American Opera.” Collaborating Left to right: from the 1974 revival productionon of Candide on Broadway; Opening pages of 's 1759 with playwright , Candide opened on Broadway in 1956. It novella Candide; The Inquisition Scene fromCandide, produced by The Theatre Group, July 12 - 25, 1966. is based on Voltaire’s 1759 satirical novel of the same name, and follows the naïve, “pure-hearted” hero Candide and his beloved Cunégonde through life in wartime and the various misfortunes they both face. Throughout the , they mature as they discover that life may not be as simple as they once believed. After many years apart, each experiencing their own calamities, they are reunited at last. Although critics and audiences alike lauded Bernstein’s work, the Broadway production of Candide was a flop, closing after only 73 performances. Bernstein was devastated. He once said, “There is more of me in this piece than anything else I’ve ever done.” Over the years, many tried to rework the operetta’s book, resulting in multiple versions of the production. In 1989, one year before his death, an ailing Bernstein poured his last energies into a recording of the overture with the London Symphony Orchestra. As a tribute to their former maestro, the New York Philharmonic still performs the overture without conductor.

14 15 "Glitter and Be Gay" from Candide (1956) n this scene, we find Cunégonde, a nobleman’s daughter, in Paris, separated from her sweetheart Candide after war breaks out in their home country. Reduced to serving as a courtesan to not one, but two men, she is conflicted and desperately unhappy with her circum- Istances (but delighted with the material possessions her position affords). She despises being locked up like a caged bird, but adores the diamonds, furs, and champagne lavished on her by her suitors. “Forced to bend my soul, to a sordid role…and yet of course I rather like to revel (ha ha!), I have no strong objection to champagne…” This virtuosic aria for is a delicate balancing act between two themes: lamenting, dejected, grievous sections, juxtaposed with bubbling, flighty, athletic scalar melodies. It displays supreme technical feats with high Cs, Ds, and even E-flats peppered throughout the aria.

Top left: original Broadway marquee from the opening of Candide, 1956; Top-right: Staff Sergeant Rachel Rose Farber, featured soprano soloist for The U.S. Army Field Band; Bottom-left: original autographed holograph score to the Overture to Candide; Bottom-right: as the original Cunégonde in the 1956 production of Candide.

16 Three Dance Episodes from (1945) From the 1944 production of On the Town at the Adelphi Theater on Broadway. s the first major war in the age of modern media, World War Leonard Bernstein extracted three scenes from the musical for concert II shed a light on just how influential artists could be to the performance. He wrote: war effort. Music had found a new home on broadcast media. In “The Great Lover,” Gabey, the romantic Sailor in search of the By 1940, over 96% of urban housholds in the Northeast had glamorous Miss Turnstiles, falls asleep in the subway and dreams of Aa radio. Artists and were encouraged to produce work that I his prowess in sweeping Miss Turnstiles off her feet. supported the national morale and education of the public. In keeping with this trend, ’ ballet told the In “Lonely Town: Pas de deux,” Gabey watches a scene, both story of three U.S. Sailors on 24-hour leave in New York City and their II tender and sinister, in which a sensitive high-school girl in Central search for love and adventure in The Big Apple. The ballet featured Park is lured and then cast off by a worldly sailor. music by Leonard Bernstein, and was premiered by New York’s Ballet “Times Square: 1944” is a more panoramic sequence in which Theatre in April 1944. It was so successful that the creative team all the sailors in New York congregate in Times Square for their expanded it into a musical called On the Town. and night of fun. There is communal dancing, a scene in a souvenir joined as lyricists, and Bernstein composed an III arcade, and a scene in the Roseland Dance Palace. entirely new score for the musical, using an exciting assortment of jazz-influenced styles. Just eight months later, On the Town premiered on Broadway at the Adelphi Theater. Bernstein famously collaborated on Selections from (1971) MASS with Broadway composer-lyricist Stephen Schwartz, who had recently written the hit musical Godspell, based hen Jacqueline Kennedy Onassis asked Leonard Bernstein to largely on the Gospel of St. Matthew. compose a piece for the 1971 opening of the John F. Kennedy The performance was conducted by Center for the Performing Arts in Washington, DC, Bernstein (at the time the Assistant enthusiastically accepted. He had been a long-time friend and Director of the New York Philharmonic Wadmirer of the Kennedys, and he intended to produce a grand work for the event. under Bernstein) and choreographed by This work would becomeMASS: A Theatre Piece for Singers, Players, and Dancers. legendary choreographer . A liberal Jewish social activist, Bernstein unexpectedly chose to base his new Less well-known was his consultation work on the , as practiced by the Roman from with Father Dan Berrigan. Berrigan 1570 until 1964. The Tridentine Mass is highly ritualized and entirely in Latin, was an anti- activist who ordinarily with no room for variation or interpretation. In retrospect, given how had been extremely critical of the Roman far Bernstein strayed from the traditional Mass, Bernstein’s choice of form may Catholic Church during the war, whose have been intended to provoke controversy. With jazz, blues, rock, participation with the Catonsville Nine and folk influences, multi-meter rhythms, 12-tone harmonies, the at one time put him on the FBI’s Most joining of Latin and modern English texts, and its use of Christian Wanted List, and who was in fact in federal hymns, Jewish songs, and Middle Eastern dances, it is arguably the prison during the composition of MASS. most eclectic work Bernstein ever wrote. Intended as a fully staged President Nixon was advised by the FBI theatrical work, MASS debates the need for God, questions the that Bernstein’s MASS was part of a plot to nature of faith, and shakes a collective fist in the face of authority, embarrass the United States government, perfectly capturing and was urged not to attend the premiere. the turbulence of the Top: excerpt from a letter written by Jacqueline Kennedy Onassis to Bernstein expressing her gratitude for MASS. She references Robert Vietnam era in which F. (Bobby) Kennedy's funeral in the note. Bernstein famously dedi- it was conceived. cated a performance of the Adagietto from Mahler's Fifth Symphony to Bobby Kennedy the day after his death; Bottom: Bernstein with Jackie Kennedy Onassis at the premiere of MASS, 1971. 21 Following the premiere, critical reception for MASS was mixed at best. Nevertheless, in the years since, it has been hailed as the work most Fanfare representative of Bernstein’s for the Inauguration of complexity, his passion, and his (1961) ability to elevate John F. Kennedy popular music uring his tenure as Music Director of the New York Philharmonic to high art. (1958‒1969), Bernstein was pulled in many artistic directions. Top-right: Opening motif of A Simple Song from the original In fact, he only composed a handful of works during this period, holograph score of MASS; Bottom-left: Western Union tele- including two fanfares in 1961. gram to Bernstein inviting him to President-Elect Kennedy's D Inauguration; Bottom-right: thank you letter to Bernstein Fanfare for the Inauguration of John F. Kennedy premiered at President from President Kennedy for Bernstein's attendence. Kennedy’s pre-inauguration gala, along with performances by , , Nat “King” Cole, and others. Bernstein and President Kennedy had an earlier personal connection: both graduates, they became friends in the 1950s while filming a TV documentary about Harvard life. Bernstein combines syncopation and his infamous (from ) to create an exciting, dynamic, driven musical moment for brass, winds, and percussion, heralding a new era for the United States. Bernstein prepares to conduct at Kennedy's presidential inauguration, 1961. 23 Slava! A Political Overture (1977) Fanfare eonard Bernstein first met Russian cellist in 1959 on a tour of Russia with the New York Philharmonic. It was the for the 25th Anniversary of the L beginning of a friendship that would last the rest of their lives. (1961) Although Rostropovich was one of the most celebrated cellists of his day, High School of Music & Art by 1974 his political views and human rights activism had effectively ended his music career in Russia. Bernstein helped Rostropovich and his family t a mere 20 seconds, Fanfare for the 25th Anniversary of the High acquire exit visas to the United States, where they would live for many years. School of Music & Art is perhaps the shortest of Bernstein’s works. In October of 1977, when Rostropovich became the Music Director of the The High School of Music & Art was founded by New York City National Symphony Orchestra, he asked Bernstein to perform alongside him Mayor Fiorello LaGuardia as a magnet school in Harlem, a place whereA students from all five boroughs could hone their skills in instrumental on a program of Bernstein’s own music, specifically asking for a “rousing new overture.” music, vocal music, and art. A sister school, the High School of Performing Arts, catered to dancers. In 1984, the two schools merged to create the Bernstein and Rostropovich both conducted on the program. It consisted Fiorello H. LaGuardia High School of Music & Art and Performing Arts, of Suite from “” and three world premieres: Songfest, Three which is located near in . Meditations from “MASS” for and Orchestra, and Slava! A Political Overture. The overture was finished so close to the performance, it had to be included on Left: original a separate insert in the program. Its thematic material manuscript score for Slava! A was taken from 1600 Pennsylvania Avenue, a musical Political Overture; Bernstein wrote the previous year. Right: The High School of Music & In the original version of Slava, the name of Art circa 1935. Rostropovich’s dog “Pooks” was shouted by the ensemble at the end. The shouted word was soon changed to the title “Slava,” Rostropovich’s own nickname. 24 25 Prologue, Allegro moderato (00:00)—The growing rivalry between two Symphonic teenage street gangs, the Jets and Sharks. “Somewhere,” Adagio (04:28)—In a visionary dance sequence, the two (1961) Dances from gangs are united in friendship. Scherzo, Vivace leggiero (08:25)—In a dream ballet, they break through nspired by Shakespeare’s , Leon- the city walls and suddenly find themselves in a world of space, air, and ard Bernstein’s musical West Side Story depicts a sun. love story that takes place amidst conflict between Puerto Rican and white gangs in New York City. Mambo, Presto (09:56)—Reality again; competitive dance between Originally,I the story was set in the Lower East Side of the gangs. Manhattan, and centered on the romance between a Jew Cha-cha, Andantino con grazia (12:24)—The star-crossed lovers, and a Catholic from feuding families. The subject was Tony and Maria, see each other for the later changed to ethnic gang warfare in New York City, first time and dance together. and ultimately the setting became the gang-dominated areas of the . Bernstein collaborated Meeting Scene, Meno mosso (13:23)— with choreographer Jerome Robbins, lyricist , and play- Music accompanies their first spoken words. wright . West Side Story opened on Broadway on September “Cool” Fugue, Allegretto (14:08)—An elaborate 26, 1957 and was hailed as a landmark in American theater. dance sequence in which the Jets practice con- In 1961, shortly after the completion of a film adaptation of the musical, trolling their hostility. work began on an instrumental suite, Symphonic Dances from West Side Story. Rumble, Molto allegro (18:03)—Climactic gang As composer and pianist described, “These dances are the battle during which the two gang leaders are killed. product of many different orchestrators with a thorough editing job by the Finale, Adagio (20:04)—Love music developing composer.” Most well-known among these orchestrators was , to into a procession, which recalls, in tragic reality, whom Bernstein dedicated the work. The New York Philharmonic premiered the vision of “Somewhere.” the completed work on February 13, 1961.The printed score includes the Top: Bernstein rehearses with the cast of West Side Story, 1957; Bottom: following description: Bernstein with program at the opening of West Side Story, National The- atre, Washington, DC, 1957. 26 27 CREDITS c o m m a n d COL Jim R. Keene . . . . Commander & Conductor Music Director Colonel Jim R. Keene CONCERT CSM Leslie Nock . . . . . Command Sergeant Major Producers Dan Merceruio LTC Domingos Robinson . . . . Deputy Commander Lieutenant Colonel Domingos Robinson BAND Sergeant Major Mark Bowling Audio Engineer Sergeant First Class Donald Dillenbeck Piccolo Piano Assistant Audio Engineers Staff Sergeant Madeline Brumback SFC Katayoon Hodjati * SGM Daniel Bowlds SGM Mark Bowling † SSG Darren Lael Staff Sergeant Jonathan Pusztai SFC Thaddeus Crutcher MSG Aaron Kadrmas * Mastering Andreas Meyer, Swan Studios/Meyer Media SSG Sergio Acosta SFC Russo SSG Pamela Daniels SFC Todd Sturniolo SFC Robert Marino Project Manager Sergeant First Class David Parks SSG Sean Owen Graphic Design Master Sergeant Brian Spurgeon SSG Jennifer Zhou SFC Brian Sacawa * Bass Trombone Percussion SGM William Elliott ** Chief Editor Sergeant First Class Phillip Johnson SFC Christopher Blossom SFC Wesley Ballenger III /English Horn SFC David Parks SGM Thomas Enokian ** Editorial Staff Sergeant First Class John Blair MSG Daniel Brimhall SSG Daniel Goff Euphonium SGM Scott C. Vincent Sergeant First Class Brian Eldridge SSG Erika Grimm * MSG Chris Sarangoulis * MSG Brian Spurgeon * Sergeant First Class Brian Sacawa SSG Sarah Schram-Borg SFC Lauren Curran SFC Glenn Robertson Sergeant First Class Todd Sturniolo MSG Michael Klima * SSG Andrew Emerich Sergeant First Class Ward Yager E-flat SFC Nicholas Althouse SSG Derek Stults SFC Brian Eldridge MSG Matthew Nelson * Liner Notes Sergeant First Class Lauren Curran SFC Phillip Johnson SFC Ward Yager SSG Scott Devereaux Vocal Soloist Staff Sergeant Tiffany Hoffer B-flat Clarinet SSG Chase Garner SSG Rachel Rose Farber Staff Sergeant Sarah Schram-Borg MSG Reis McCullough ** SSG Ryan Brewer MSG Michael Sears * SSG Tiffany Hoffer String Bass/Electric Bass MSG Shari Smith SSG Kevin Paul SSG Joel Ciaccio SFC Lauren Angert SFC John Blair Harp acknowledgements MSG Robert Cherry * SSG Grace Bauson SFC Marlena Dillenbeck SSG Maytum SFC Jennifer Everhart SSG J. Greg Miller The United States Army Field Band would like to thank the SFC Joel Klenke following individuals and organizations for their assistance SSG Lori Roy SSG Erik Franklin Mr. David Flyr with this project: Alto/ COL–Colonel • LTC–Lieutenant Colonel SFC Chad Martin * • Dan Merceruio • Loras Schissel, Senior CSM–Command Sergeant Major SSG Kevin Walko SGM–Sergeant Major • MSG–Master Sergeant Musicologist, The Library of • David Flyr, guest French Horn SFC–Sergeant First Class • SSG–Staff Sergeant Congress † Element Leader ** Group Leader * Section Leader PERSONNEL 28 29 c o n c e r t sponsorship a n d e n d n o t e s educational o u t r e a c h Resources and references utilized in the production of this compact disc can be found at: All performances by The United States Army Field Band are free of charge but are arranged with the www.ArmyFieldBand.com/media/audio-recordings/the-legacy-of-leonard-bernstein help of a concert sponsor. If you are interested in sponsoring a concert by The United States Army Field Band, or if you are an educator and would like one of the Army Field Band’s chamber groups to perform a live or online clinic, masterclass, or chamber recital at your school, please us at our website or at: ArmyFieldBand.com THE UNITED STATES ARMY FIELD BAND ATTN: SUPPORT AND OPERATIONS 4214 FIELD BAND DRIVE, SUITE 5330 FORT MEADE, MARYLAND 20755 PDF Booklet Online COLONEL JIM R. KEENE, COMMANDER AND CONDUCTOR

THE LEGACY OF Leonard Bernstein

1. Overture to Candide (4:34) ...... Leonard Bernstein trans. Walter Beeler 2. "Glitter and Be Gay" from Candide (6:11) ...... Leonard Bernstein trans. SFC (Ret.) Robert Lichtenberger, lyrics by Staff Sergeant Rachel Rose Farber, soprano Three Dance Episodes fromOn the Town ...... Leonard Bernstein 3. The Great Lover (1:52) trans. Paul Lavender 4. Lonely Town: Pas de Deux (3:31) 5. Times Square: 1944 (5:44) Selections from MASS ...... Leonard Bernstein 6. A Simple Song (4:39) arr. Douglas Richard 7. Gloria Tibi (1:52) 8. Secret Songs / God Our Father (5:08) 9. In Nomine Patris / De Profundis (3:39) 10. Fanfare for the Inauguration of John F. Kennedy (0:39) ...... Leonard Bernstein 11. Slava! A Political Overture (3:26) ...... Leonard Bernstein trans. 12. Fanfare for the 25th Anniversary of the High School for Music & Art (0:29) . . Leonard Bernstein 13. Symphonic Dances from West Side Story (22:55) ...... Leonard Bernstein trans. Paul Lavender