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Leonard Bernstein
Leonard Bernstein: The Power of Music is the “first large-scale museum exhibition to illustrate Bernstein’s life, Jewish identity, and social activism,” according to the National Museum of American Jewish History in Philadelphia, where you can catch it until Sept. 2. (A national tour will follow.) There are artifacts ranging from Bernstein’s piano (a Baldwin, though he used to invoke another manufacturer to tell people how to pronounce his name: “No one ever called a Steinway a STEEN-way!”), an annotated copy of Romeo and Juliet in which he formulated ideas for West Side Story, the mezuzah from his studio, the ketubah from his marriage to Costa Rican actress Felicia Cohn Montealegre, and his family Haggadah … which, unsurprisingly, contains additional sheet music. There are dozens of photos, hand-drawn set designs, snippets of costume fabric, personal letters, album covers, and illustrations. There’s the earliest known photograph of teen Lenny conducting; his trademark impressive swoop-y matinee-idol hair is already evident as he theatrically leads a Jewish summer-camp orchestra of seven nebbish-y boys with triangles and tiny cymbals. (The photo is grandiloquently labeled “Onota Rhythm Band and Leonard Bernstein, 1937.”) Celebrations of Bernstein’s 100th birthday are taking place all around the world, including performances of his greatest work: West Side Story in South Africa, Candide in San Francisco and Los Angeles; Fancy Free in Tuscaloosa; and six different operas and theatrical works this summer at Tanglewood, where Bernstein began his career. There’s also a traveling exhibit by the Grammy Museum and, of course, a hashtag campaign (#BernsteinAt100). -
Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe. -
National Museum of American Jewish History, Leonard Bernstein
Narrative Section of a Successful Application The attached document contains the grant narrative and selected portions of a previously funded grant application. It is not intended to serve as a model, but to give you a sense of how a successful application may be crafted. Every successful application is different, and each applicant is urged to prepare a proposal that reflects its unique project and aspirations. Prospective applicants should consult the Research Programs application guidelines at https://www.neh.gov/grants/public/public-humanities- projects for instructions. Applicants are also strongly encouraged to consult with the NEH Division of Research Programs staff well before a grant deadline. Note: The attachment only contains the grant narrative and selected portions, not the entire funded application. In addition, certain portions may have been redacted to protect the privacy interests of an individual and/or to protect confidential commercial and financial information and/or to protect copyrighted materials. Project Title: Leonard Bernstein: The Power of Music Institution: National Museum of American Jewish History Project Director: Ivy Weingram Grant Program: America's Historical and Cultural Organizations: Planning Grants 1100 Pennsylvania Ave., N.W., Rm. 426, Washington, D.C. 20506 P 202.606.8269 F 202.606.8557 E [email protected] www.neh.gov THE NATURE OF THE REQUEST The National Museum of American Jewish History (NMAJH) respectfully requests a planning grant of $50,000 from the National Endowment for the Humanities to support the development of the special exhibition Leonard Bernstein: The Power of Music (working title), opening in March 2018 to celebrate the centennial year of Bernstein’s birth. -
Articles Blog Posts
More Than Words: Designs, Dance, and Graphic Notation in the Performing Arts Society of American Archivists, August 2021 / Virtual Tour Library of Congress, Music Division Resources Articles Library of Congress Magazine Brilliant Broadway: Volume 7, No. 3, May-June 2018: Christopher Hartten, “Brilliant by Design” Library of Congress Magazine - May/June 2018 (loc.gov) Blog Posts: In the Muse Albro, Sylvia. Undated. “Conservation Treatment of Seven Engraved Music Motets.” https://www.loc.gov/preservation/conservators/musicmotets/index.html Baumgart, Emily. May 29, 2021. “Cicada Terrible Freedom.” http://blogs.loc.gov/music/2021/05/cicada-terrible-freedom/ ______. March 11, 2021. "A New LGBTQ+ Resource from the Library of Congress Music Division" https://blogs.loc.gov/music/2021/03/a-new-lgbtq-resource-from-the-library-of-congress-music- division Doyle, Kaitlin (Kate). July 9, 2016. “Discovering the Music Within Our Dance Collections: Composer Lucia Dlugoszewski and the Erick Hawkins Dance Company.” http://blogs.loc.gov/music/2016/09/discovering-the-music-within-our-dance-collections- composer-lucia-dlugoszewski-and-the-erick-hawkins-dance-company/ Hartten, Chris. September 6, 2011. “The Bad Boy of Music.” https://blogs.loc.gov/music/2011/09/the-bad-boy-of-music/ ______. February 19, 2015. “Chameleon as Composer: The Colorful Life and Works of Lukas Foss.” http://blogs.loc.gov/music/2015/02/8620/ ______. April 27, 2011. “Good as Gould.” https://blogs.loc.gov/music/2011/04/good-as-gould/ Padua, Pat. July 25, 2012. “Clark Lights Up the Library.” http://blogs.loc.gov/music/2012/07/clark- lights-up-the-library/ Smigel, Libby. -
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon orable profession. But it is also the most unappreciated, underrat Los Angeles. Devoted to improv There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere. -
Bernstein Meets Broadway
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIV, Number 1 Fall 2014 Bernstein Meets Broadway: Collaborative Art in a Time of War Michael Weinstein-Reiman, Columbia University It is impossible for me to make an exclusive choice among the vari- ous activities of conducting, symphonic composition, writing for the theater, or playing the piano. What seems right for me at any given moment is what I must do.1 I am so easily assimilated. It’s easy, it’s ever so easy! I’m Spanish, I’m suddenly Spanish! And you must be Spanish, too. Do like the natives do. These days you have to be In the majority. .2 Leonard Bernstein, 1955 Carol J. Oja’s captivating monograph, Bernstein Meets Broad- Al Ravenna, World Telegram way: Collaborative Art in a Time of War, is an expert synthesis Staff Photographer - Library of Congress. New of traditionally disparate musicological frameworks. Her text is York World-Telegram & Sun Collection. at once a superlative narrative—one that weaves together the untold stories and broad cultural contexts of a seminal work of American musical theatre, On the Town, and its antecedent, the ballet, Fancy Free—and a thoroughgoing analytical study in American history, informed by extensive ethnography, archival research, and the author’s keen music-theoretical sensibility. As such, Oja’s book is ecumenical in methodology but singular in its historiographical pursuit; it shines a spotlight on an exceptional artistic creation, told in interlaced tales of groundbreaking visionaries, their collaborations, and their impact. -
To See the 2018 Tanglewood Schedule
summer 2018 BERNSTEIN CENTENNIAL SUMMER TANGLEWOOD.ORG 1 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS MUSIC DIRECTOR “That place [Tanglewood] is very dear to my heart, that is where I grew up and learned so much...in 1940 when I first played and studied there.” —Leonard Bernstein (November 1989) SEASONHIGHLIGHTS Throughoutthesummerof2018,Tanglewoodcelebratesthecentennialof AlsoleadingBSOconcertswillbeBSOArtisticPartnerThomas Adès(7/22), Lawrence-born,Boston-bredconductor-composerLeonardBernstein’sbirth. BSOAssistantConductorMoritz Gnann(7/13),andguestconductorsHerbert Bernstein’scloserelationshipwiththeBostonSymphonyOrchestraspanned Blomstedt(7/20&21),Charles Dutoit(8/3&8/5),Christoph Eschenbach ahalf-century,fromthetimehebecameaprotégéoflegendaryBSO (8/26),Juanjo Mena(7/27&29),David Newman(7/28),Michael Tilson conductorSergeKoussevitzkyasamemberofthefirstTanglewoodMusic Thomas(8/12),andBramwell Tovey(8/4).SoloistswiththeBSOalsoinclude Centerclassin1940untilthefinalconcertsheeverconducted,withtheBSO pianistsEmanuel Ax(7/20),2018KoussevitzkyArtistKirill Gerstein(8/3),Igor andTanglewoodMusicCenterOrchestraatTanglewoodin1990.Besides Levit(8/12),Paul Lewis(7/13),andGarrick Ohlsson(7/27);BSOprincipalflute concertworksincludinghisChichester Psalms(7/15), alilforfluteand Elizabeth Rowe(7/21);andviolinistsJoshua Bell(8/5),Gil Shaham(7/29),and orchestra(7/21),Songfest(8/4),theSerenade (after Plato’s “Symposium”) Christian Tetzlaff(7/22). (8/18),andtheBSO-commissionedDivertimentoforOrchestra(also8/18), ThomasAdèswillalsodirectTanglewood’s2018FestivalofContemporary -
Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. -
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. -
LEONARD BERNSTEIN Born August 25, 1918 in Lawrence, Massachusetts; Died October 14, 1990 in New York City
LEONARD BERNSTEIN Born August 25, 1918 in Lawrence, Massachusetts; died October 14, 1990 in New York City. Serenade after Plato’s “Symposium” (1954) PREMIERE OF WORK: Venice, Italy, September 12, 1954 Teatro La Fenice Leonard Bernstein, conductor Isaac Stern, soloist APPROXIMATE DURATION: 30 minutes By 1954, when the Serenade was written, Leonard Bernstein had firmly established himself on the American musical scene as both conductor and composer. He had served as assistant conductor of the New York Philharmonic, Music Director of the New York City Symphony and Musical Advisor to the Israel Philharmonic. As a composer, he had won the New York Music Critics Circle Award for his “Jeremiah” Symphony, and had completed his Second Symphony (The Age of Anxiety), the ballets Fancy Free and Facsimile, and the scores for two Broadway shows (On the Town and Wonderful Town). During the mid-1950s, he was on the staffs of Brandeis University and the Tanglewood Music Festival, and much in demand as a guest conductor in Europe and America, having created a sensation in December 1953 when he became the first American to conduct at La Scala. Bernstein’s Serenade, commissioned by the Koussevitzky Foundation, was dedicated “To the Beloved Memory of Serge and Natalie Koussevitzky.” On August 8, 1954, the day after he completed the score, Bernstein wrote the following description of its literary origin: “There is no literal program for this Serenade, despite the fact that it resulted from a re-reading of Plato’s charming dialogue, The Symposium. The music, like the dialogue, is a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at the banquet.