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) composers[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. This was how he shared the music he conducted–and it was most certainly the impulse galvanizing the music he composed. As his 100th birthday (in 2018) approaches, we have an unprecedented opportunity to reciprocate the celebration by sounding out his marvelous notes for all the world to hear. As a kid, I could respond easily to my father’s music. I loved the Overture to Candide, with its splashy, exuberant orchestrations and its kaleidoscopic mix of catchy melodies. I loved the widely spaced clarinets that begin the “Lonely Town” ballet music from On the Town; even at the age of four, I would get a lump in my throat, hearing that wistful, melancholy sound. When I got older, I was better able to appreciate the ingenious sophistication of my father’s compositions. The fugue in the “Cool” ballet from West Side Story: wow! The intricate choral work in the “Kaddish” symphony: amazing! The wildly fl uctuating rhythms in the Profanation from the “Jeremiah” symphony: crazy! But the essential, visceral joy in my father’s notes remained as palpable to me as ever. The 7/8 jump of the opening tune in Chichester Psalms who could sit still? Not me. The Leonard Bernstein Centennial is a perfect occasion for everyone to bring their collective sense of celebration to my father’s music, which itself so deeply celebrates the best aspects of our own humanity. My brother Alexander, my sister Nina, and I invite you all to join in the festivities.

–Jamie Bernstein

Photo: Paul de Heuck, courtesy The Leonard Bernstein Offi ce, Inc. LEONARD BERNSTEIN AT 100 4 5 LEONARD BERNSTEIN AT 100

Introduction (English) early years, Bernstein made his fi rst major forays were quite diff erent. Fancy Free featured three by Koussevitzky and the Boston Symphony into composition, writing chamber music with a sailors on shore leave in a bar, showing off their Orchestra. In both works, Bernstein explored modernist edge. His Piano Sonata (1938) refl ected physical agility as they competed for the attention personal challenges in a world emerging from Leonard Bernstein–celebrated as one of the most infl uential musicians of the 20th century his ties to Copland, with links also to the music of two women. The men were tightly bound to one trauma. Facsimile concentrated on a romantic –ushered in an era of major cultural and technological transition. He led the way in of Hindemith and Stravinsky, and his Sonata for another. Fancy Free fused gymnastics, vaudeville, tangle of two men and one woman who “grappled and cartoons with modern ballet, Latin rhythms, and with abstract psychological ideas,” as Life Magazine advocating an open attitude about what constituted “good” music, actively bridging the gap Clarinet and Piano (1942) was similarly grounded swing dances. On the Town also centered around described it at the time. The ballet portrayed between classical music, Broadway musicals, jazz, and rock, and he seized new media for its in a neoclassical aesthetic. The composer Paul three sailors, and dance was again central to telling “moods of passion, jealousy and boredom that potential to reach diverse communities of listeners, young and old. Longtime conductor of Bowles praised the clarinet sonata as having a the story. Yet in the Broadway show, the sailors attack… ‘insecure people.’” Symphony No. 2, for “tender, sharp, singing quality,” as being “alive, the New York Philharmonic, renowned composer of works for the concert hall and Broadway tour New York City to fi nd romance–and just as orchestra and piano solo, was based on W. H. stage, glamorous television personality, virtuosic pianist, and committed educator, tough, integrated.” It was a prescient assessment, importantly, they are pursued aggressively by self- Auden’s The Age of Anxiety: A Baroque Eclogue, a which ultimately applied to Bernstein’s music in all Bernstein was a multi-tasker long before the term was coined. Bernstein–or “Lenny,” as he confi dent women. On the Town marked Bernstein’s book-length poem. Like Facsimile, the symphony genres. fi rst major collaboration with Betty Comden and probed isolation and loneliness in the modern was often aff ectionately called–was an extravagantly gifted musician with a common Adolph Green. It also established a life-long tension world. It was written in two large “parts”; “The Bernstein’s professional breakthrough came with touch. He maintained a life-long focus on advocating for social justice, notably civil rights at between his devotion to high art and popular Masque,” one of its internal sections, features an exceptional force and visibility, establishing him as home and peace around the world. culture. Bernstein later recalled that the Russian- infectious jazz-based piano solo. Once again, core a stunning new talent. In 1943, at age twenty-fi ve, American conductor Serge Koussevitzky, another traits of Bernstein’s style were present: confronting Bernstein’s restless creative vision defi es traditional including his precocious musicianship, affi nity for he made his debut with the New York Philharmonic, of his core mentors, said of On the Town: “Good the realities of contemporary life while negotiating a categories, with a limber affi nity to combining styles theater, talent for leadership, and delight in working replacing Bruno Walter at the last minute and boy, Lenushka, it is a noble jezz.” Betty Comden balance between popular and concert idioms. and genres in unexpected ways. He wrote music with young people. inspiring a front-page story in the New York Times. that was often thoroughly accessible on the surface added crisply to that memory: “But don’t do it During this same period, Bernstein composed Bernstein graduated from Boston Latin High In rapid succession, Bernstein produced a major yet presented rewarding challenges for performers. again.” Four Anniversaries (1948) and Five Anniversaries School, then Harvard College (Class of 1939). Two series of compositions, some drawing on his In the process, he shaped works that appealed to own Jewish heritage, as in his Symphony No. 1, Bernstein’s ascent continued in the post-war (1949–51), written for piano solo. Each segment was years later, he received a diploma in conducting musicians of all calibers. “Jeremiah,” which had its fi rst performance with the years, and the geographic range of his activities dedicated to a diff erent friend–a technique related from the Curtis Institute of Music. While an Leonard Bernstein was born in 1918 in Lawrence, composer conducting the Pittsburgh Symphony in broadened as trans-Atlantic travel resumed. In to the musical portraits of Virgil Thomson. undergraduate, Bernstein forged a signifi cant 1946, he debuted in Europe, conducting in Prague Massachusetts, and the family soon after relocated January 1944. “Lamentation,” its fi nal movement, From 1950 until 1958, when Bernstein accepted alliance with Aaron Copland, impressing the and London. That same year he met the Chilean to Boston. His parents, Samuel Bernstein and features a mezzo-soprano delivering Hebrew an appointment as Music Director of the New York older composer with performances of his Piano actress Felicia Montealegre Cohn, whom he Jennie Resnick, were Russian-Jewish immigrants texts from the Book of Lamentations. In April of Philharmonic, he focused on composing music Variations. Bernstein later recalled tossing off the married in 1951. Bernstein’s life-long devotion to the whose upward mobility was rapid. As a child, the that year, Bernstein’s Fancy Free was unveiled by for the stage, together with one fi lm score. This Israel Philharmonic Orchestra also began during young Bernstein studied piano and discovered Variations at college parties. “I could empty a room, Ballet Theatre, with choreography by the young highly productive phase yielded Peter Pan (1950), this period. the sheer fun of working in theater. He directed guaranteed, in two minutes,” he quipped. Marc Jerome Robbins. In December, Bernstein premiered Trouble in Tahiti (1952), Wonderful Town (1953), teenage friends in summer productions of The Blitzstein also became a valued mentor: the two the Broadway musical On the Town, another Two major post-war compositions were the ballet On the Waterfront (1954), Candide (1956), and Mikado, H.M.S. Pinafore, and Carmen (the latter men fi rst connected when Bernstein directed The collaboration with Robbins. While the conceptions Facsimile (1946), conceived with Jerome Robbins West Side Story (1957). In 1954, Bernstein debuted performed in drag and in Yiddish). Thus central Cradle Will Rock as a college senior. During these of these two dramatic works were closely and premiered by Ballet Theatre, and Symphony in the “Omnibus” series, inaugurating a long and traits of the adult Bernstein were apparent early on, intertwined, their plots, music, and choreography No. 2, “The Age of Anxiety” (1949), fi rst performed successful career on television. Photo: Leonard Bernstein Collection, Music Division, Library of Congress LEONARD BERNSTEIN AT 100 6 7 LEONARD BERNSTEIN AT 100

Among this remarkable series of theatrical scores, Then in 1963, Bernstein premiered his Symphony An ambitiously eclectic work, Mass: A Theatre Piece from 1600 Pennsylvania Avenue and was dedicated Bernstein’s brilliance resulted from a capacity to West Side Story stands as a towering achievement, No. 3, “Kaddish” in Tel Aviv. Based on a traditional for Singers, Players and Dancers, was composed to the Russian cellist and conductor Mstislav do both. At times, his tunes fuse popular song with ranking as one of the most famous works of all Jewish prayer for the dead, the symphony was in 1971 for the opening of the John F. Kennedy Rostropovich. The opera A Quiet Place, with a operatic flourishes, and their distinctive beauty time, regardless of genre. Bernstein’s collaborators written for narrator, soprano, boys’ choir, and SATB Center for the Performing Arts in Washington, libretto by Bernstein and Stephen Wadsworth, often emanates from unconventional harmonies included Arthur Laurents (book), Jerome Robbins choir, with orchestra. The assassination of John F. DC. Stephen Schwartz was co-lyricist, and Alvin appeared in 1983, with a major revision the and melodic intervals. Think of the soul-searching (choreography), and Stephen Sondheim (lyrics). Kennedy occurred a few weeks before the work’s Ailey the choreographer. Written for a cast of following year. Conceived as a sequel to Trouble leap that opens “Somewhere” or the gripping The show confronted urban gang violence and first performance, and Bernstein dedicated the over 200, including a rock band, marching band, in Tahiti, the opera revolved around a family that tonal ambiguities of “A Simple Song.” Some of his discrimination against new immigrants. At the same piece to the memory of a president who shared his multiple choruses, and pit orchestra, Mass had few has gathered for a funeral and grapples with one songs have entered the pantheon of America’s time, it delivered compelling entertainment. The progressive ideals. precedents. The work resounds with Bernstein’s another’s differences. Other late works include all-time greatest hits. The intimate declaration of edgy finger snaps at the opening of the show are During the 1964–65 season, Bernstein took a pacifist and ecumenical passions, highlighting youth Concerto for Orchestra (“Jubilee Games”) (1986– commitment in “One Hand, One Heart” has been among the core sound bites of the 20th century. sabbatical from the Philharmonic to free up time culture and issues of social justice. With Mass, 89), with its popular Benediction for baritone and reiterated at countless weddings, and “New York, Bernstein “went electric,” as Bob Dylan and Miles orchestra, and Missa Brevis (1988), a choral work New York” serves as an informal theme song for The Overture to Candide, which Bernstein for composition, and Chichester Psalms (1965) Davis had done a few years earlier. based on Bernstein’s The Lark. the city it celebrates. Other notable vocal works by premiered in a concert version with the New York was a major result. Yet another work targeted to Bernstein include Songfest, a cycle for six singers Philharmonic in 1957, became another of his most diverse performers and audiences, it has joined the In 1974, Dybbuk, the third ballet of Bernstein and Bernstein died in 1990. In an ongoing tribute to its and orchestra from 1977, and Arias and Barcarolles, beloved works. The Overture is often programmed ranks of Bernstein’s most-performed compositions. Robbins, received its debut with the New York esteemed maestro, the New York Philharmonic a suite of songs for mezzo-soprano and baritone as a curtain-raiser–a four-minute burst of energy While drafting Chichester Psalms, Bernstein said City Ballet. In it, they turned to their shared Jewish continues to perform the Overture to Candide that reflects on life’s odyssey through love and with a lickety-split tempo and dazzling virtuosity. he wanted the music to be “forthright, songful, heritage, drawing on a Yiddish folk drama. Then without a conductor. At the same time, ever-new marriage. It was his last major work. rhythmic, youthful,” which is precisely what he during the American Bicentennial, Bernstein opened CD and DVD releases keep his presence quite vivid When Bernstein’s leadership of the New York achieved. Chichester Psalms pulsates with hybridity. a brand-new Broadway musical: 1600 Pennsylvania in the public sphere. Viewed as a whole, Bernstein’s compositional Philharmonic began in 1958, it moved his career Responding to a commission from an Anglican Avenue (1976), with a book and lyrics by Alan output was exceptionally varied, with a core trait as a conductor to the fore. He immediately Bernstein’s songs constitute a major part of his cathedral, the work incorporated texts from the Jay Lerner. The show was written in the wake of of transcending traditional boundaries. He thrived began televising the orchestra’s “Young People’s legacy. Often conceived within larger works, they Hebrew Bible while drawing upon the rhythms and Richard Nixon’s impeachment and cast a skeptical in collaborative, creative environments. He had a Concerts,” which have touched the lives of include “New York, New York” and “Some Other harmonies of jazz. eye on residents of the White House, portraying deep love for the community-based musicianship countless viewers over the decades; he promoted Time” from On the Town; “It’s Love” from Wonderful a race-based upstairs-downstairs scenario in of the symphony orchestra, and he wrote with great the music of American composers with vigor, and In 1969, Bernstein stepped down from the New Town; “Make Our Garden Grow” from Candide; which the ruling class was white and the servants joy for the Broadway stage. Bernstein’s delicious he gained renown as an interpreter of Gustav York Philharmonic, taking on a new role as Laureate “One Hand, One Heart,” “Tonight,” “Maria,” “I Feel were black. The critical reception was harsh, and sense of humor sparkled all over the place. Yet he Mahler’s music. Under Bernstein’s direction, the Conductor. While launching a major new phase as Pretty,” and “Somewhere” from West Side Story; the show closed after only a few nights. A White also had the courage to tackle the most profound Philharmonic moved to Avery Fisher Hall at Lincoln a world-renowned guest conductor, notably with “A Simple Song” from Mass; and “Take Care of House Cantata, a work for chorus, was arranged questions of the human experience. Center, and it made highly publicized tours of the Vienna Philharmonic, Bernstein also reaffirmed This House” from 1600 Pennsylvania Avenue. posthumously from segments of 1600 Pennsylvania Europe, the Soviet Union, Latin America, and Japan. his commitment to composition, producing an “The tunes themselves… make or break a show Carol J. Oja impressive series of works that have yet to receive Avenue, and it has enjoyed considerable success. score,” Bernstein once acknowledged, and writing New York, 2015 Bernstein’s creative life continued during these the attention they deserve. Other notable compositions from Bernstein’s final memorable tunes– years, albeit at a slower pace. In 1961, a film version the kind that give singers a period include Slava! (1977), which is an energetic – of West Side Story was released, contributing thrill and capture an audience’s imagination is concert-opener. Slava! also drew upon excerpts substantially to the canonization of the work. a separate skill from composing a symphony.

Photo: Courtesy of The Leonard Bernstein Office, Inc LEONARD BERNSTEIN AT 100 8 9 LEONARD BERNSTEIN AT 100

Introduction (Español) incursiones importantes en el área de la composición, caricaturas con el ballet moderno, los ritmos latinos y el se basó en The Age of Anxiety: A Baroque Eclogue de W. La Obertura de Candide, que Bernstein estrenó en un escribiendo música de cámara con un toque modernista. swing. On the Town también se trataba de tres marineros y H. Auden, un libro conformado por un poema extenso. Al concierto con la Orquesta Filarmónica de Nueva York en Su Piano Sonata (1938) reflejaba los lazos con Copland, la danza era fundamental en la narración de la historia. Sin igual que Facsimile, la sinfonía exploraba los sentimientos 1957, se convirtió en otra de sus obras más apreciadas. La Leonard Bernstein–aclamado como uno de los músicos más influyentes del siglo XX junto con reminiscencias a la música de Hindemith y embargo, en el espectáculo de Broadway, los marineros de aislamiento y soledad en el mundo moderno. Fue escrita Obertura se ejecuta a menudo como pieza preliminar; una –marcó el inicio de una era de profundos cambios tecnológicos y culturales. Fue pionero Stravinsky, mientras que su Sonata for Clarinet and Piano recorren la ciudad de Nueva York para encontrar romance en dos grandes “piezas” The Masque, una de sus secciones explosión de energía de cuatro minutos de duración con un (1942) se encontraba, de forma similar, basada en una e, igualmente importante, son perseguidos agresivamente internas, presenta un pegadizo solo de piano típico del tempo vertiginoso y un virtuosismo deslumbrante. al defender una actitud abierta hacia lo que se consideraba “buena música”, siempre estética neoclásica. El compositor Paul Bowles elogió su por mujeres muy seguras de sí mismas. On the Town marcó jazz. Una vez más, se hicieron presentes las características En 1958, año en el que Bernstein comenzó a dirigir la buscando cerrar la brecha entre la música clásica, los musicales de Broadway, el jazz y el sonata para clarinete y la describió como poseedora de la primera colaboración importante de Bernstein con principales del estilo de Bernstein: el conflicto de las Orquesta Filarmónica de Nueva York, su carrera como un “carácter delicado, agudo y vocal”, y como “animada, Betty Comden y Adolph Green. También estableció una realidades de la vida contemporánea inmerso en la rock, y aprovechó capacidad de los nuevos medios de comunicación para llegar a diversos director cobró impulso. Inmediatamente comenzó a robusta, integrada”. Fue una evaluación profética que, a eterna tensión entre su devoción por el “arte” y la cultura búsqueda de un equilibro entre los lenguajes popular y de grupos de oyentes, tanto viejos como jóvenes. Director de la Orquesta Filarmónica de Nueva televisar los Young People’s Concerts de la orquesta, que la larga, se aplicó a la música de Bernstein en todos los popular. Bernstein recordó más tarde que el director ruso- concierto. durante décadas influyeron en las vidas de innumerables York por varios años, distinguido compositor de obras para la sala de conciertos y los géneros. estadounidense Serge Koussevitzky, otro de sus principales Durante el mismo período, Bernstein compuso Four espectadores; promocionó la música de compositores mentores, dijo a propósito de On the Town: “Bien hecho, escenarios de Broadway, glamoroso personaje de televisión, pianista virtuoso y educador El gran logro profesional de Bernstein se produjo con una Anniversaries (1948) y Five Anniversaries (1949–51), para estadounidenses con energía y cobró notoriedad como Lenushka, es un noble jezz”. Betty Comden añadió dedicado, Bernstein fue un personaje multifacético, mucho antes de que este término fuera fuerza y visibilidad excepcionales, y lo consolidó como piano solista. Cada segmento fue dedicado a un amigo intérprete de la música de Gustav Mahler. Bajo la dirección lacónicamente a ese recuerdo: “Pero no lo vuelvas a hacer”. un nuevo y deslumbrante talento. En 1943, a la edad diferente, usando una técnica relacionada con los retratos de Bernstein, la Filarmónica se mudó a la sala Avery Fisher acuñado. Bernstein–o “Lenny”, como lo llamaban afectuosamente–fue un músico de 25 años, hizo su debut con la Orquesta Filarmónica El ascenso de Bernstein continuó durante los años de musicales de Virgil Thomson. Hall en el Lincoln Center y realizó tours ampliamente extraordinariamente talentoso con un gran don de gentes. Mantuvo un compromiso de por de Nueva York, reemplazando a Bruno Walter a último posguerra y el alcance geográfico de sus actividades se difundidos por Europa, la Unión Soviética, Latinoamérica y De 1950 a 1958, período en el que Bernstein aceptó su momento, lo cual apareció en la primera plana del New amplió tras el restablecimiento de los viajes transatlánticos. Japón. vida con la justicia social, los derechos civiles y la paz mundial. puesto como Director Musical de la Orquesta Filarmónica York Times. Rápidamente, Bernstein produjo una serie En 1946, debutó en Europa, con presentaciones en de Nueva York, se concentró en componer música La vida creativa de Bernstein continuó durante estos La visión creativa e inquieta de Bernstein desafió adulto se manifestaron desde muy temprano en su vida: la importante de composiciones, algunas inspiradas en sus Praga y Londres. El mismo año conoció a la actriz Felicia dramática y una banda sonora. En esta fase sumamente años, aunque a un ritmo más lento. En 1961, se estrenó las categorías tradicionales, con gran afinidad por precoz habilidad musical, la afinidad por el teatro, el talento raíces judías, como la Sinfonía N.º 1 “Jeremiah”, que tuvo Montealegre Cohn, con quien contrajo matrimonio en productiva, vieron la luz obras como Peter Pan (1950), una versión cinematográfica de West Side Story, lo que la combinación de estilos y géneros de maneras para el liderazgo y el gusto por trabajar con jóvenes. su primera representación con el compositor dirigiendo la 1951. La devoción que Bernstein profesó a la Orquesta Trouble in Tahiti (1952), Wonderful Town (1953), On the contribuyó enormemente a la canonización de la obra. En imprevistas. Escribió música que a menudo resultaba Pittsburgh Symphony en enero de 1944. “Lamentation”, su Filarmónica de Israel durante el resto de su vida también Bernstein se graduó de la escuela secundaria Boston Waterfront (1954), Candide (1956) y West Side Story 1963, Bernstein estrenó su Sinfonía N.º 3, “Kaddish” en plenamente accesible en apariencia, pero que al mismo movimiento final, presenta a una mezzosoprano cantando comenzó también durante este período. Latin High School y, más adelante, de Harvard College (1957). En 1954, Bernstein debutó en la serie “Omnibus”, Tel Aviv. Basada en la plegaria tradicional judía para los tiempo presentaba desafíos enriquecedores para los textos hebreos del Libro de las Lamentaciones. En abril (promocíon 1939). Dos años más tarde, recibió un diploma Dos de sus principales composiciones del período de inaugurando una larga y exitosa carrera en la televisión. difuntos, la sinfonía fue escrita para narrador, soprano, coro instrumentistas. En el proceso, creó obras que resultaron de ese año, Fancy Free de Bernstein fue estrenada por en dirección orquestal del Curtis Institute of Music. En posguerra fueron el ballet Facsimile (1946), concebido con de niños y coro mixto (SABT) con orquesta. El asesinato de interesantes a músicos de niveles diversos. Ballet Theatre con coreografía creada por el joven Jerome En esta notable serie de obras dramáticas, West Side sus años de estudiante universitario, Bernstein forjó una Jerome Robbins y estrenado por el Ballet Theatre, y la John F. Kennedy ocurrió unas semanas antes del estreno Robbins. En diciembre, Bernstein estrenó el musical On the Story sobresale como un logro destacado, siendo Leonard Bernstein nació en 1918 en Lawrence, importante alianza con Aaron Copland, tras impresionar Sinfonía N.º 2 “The Age of Anxiety” (1949), ejecutada por de la obra, y Bernstein dedicó la pieza a la memoria de un Town, otra colaboración con Robbins. Si bien la concepción clasificada como una de las obras más célebres de todos Massachusetts, y su familia se mudó poco después a al compositor, varios años mayor que él, con sus primera vez por Koussevitzky y la Orquesta Sinfónica de presidente cuyos ideales progresistas compartía. de estas dos obras dramáticas estuvo fuertemente los tiempos en cualquier género. Los colaboradores de Boston. Sus padres, Samuel Bernstein y Jennie Resnick, ejecuciones de las Piano Variations de este último. Más Boston. En ambas obras, Bernstein exploró los desafíos interrelacionada, sus tramas, música y coreografía son Bernstein fueron Arthur Laurents (autor del libreto), Jerome Durante la temporada de 1964–65, Bernstein se tomó un eran inmigrantes judíos rusos cuyo ascenso social se adelante, Bernstein recordó haber tocado las Variations personales en un mundo que emergía de la conmoción. bastante diferentes. Fancy Free presenta a tres marineros Robbins (coreografía) y Stephen Sondheim (letras). El sabático de la Filarmónica para dedicarse a la composición produjo rápidamente. Durante su niñez, Bernstein estudió en las fiestas de la universidad. “Podía vaciar un salón Facsimile se concentró en el triángulo amoroso de que se encuentran en un bar durante su licencia y hacen espectáculo exploraba la violencia pandillera de la ciudad y y de esto surgió una gran obra, Chichester Psalms (1965). piano y descubrió el placer de trabajar en el teatro. Dirigió a en cuestión de dos minutos”, bromeaba. Marc Blitzstein dos hombres y una mujer que “forcejeaban con ideas alarde de su agilidad para competir por la atención de dos la discriminación contra los inmigrantes recientes. Al mismo Otra obra dirigida a músicos y audiencias diversos, es una sus jóvenes amigos en producciones de verano The Mikado, también se convirtió en uno de sus valiosos mentores: los psicológicas abstractas”, como Life Magazine lo describió mujeres. Los hombres mantenían un vínculo muy estrecho tiempo, brindaba un entretenimiento cautivador. El osado de las composiciones más interpretadas de Bernstein. H.M.S. Pinafore y Carmen (esta última representada en drag dos hombres se conocieron cuando Bernstein dirigió The en esa época. El ballet retrataba los “estados de pasión, entre sí. Fancy Free fusionaba la gimnasia, el vodevil y las chasquido de los dedos al comienzo del espectáculo se Mientras se esbozaba Chichester Psalms, Bernstein y en Yiddish). Así, las cualidades esenciales del Bernstein Cradle Will Rock como estudiante universitario a punto de celos y aburrimiento que atacan… a las “personas encuentra entre los extractos musicales del siglo XX. expresó que deseaba que la música fuera “franca, graduarse. Durante estos años, Bernstein hizo sus primeras inseguras”. La Sinfonía N.º 2 para orquesta y piano solista LEONARD BERNSTEIN AT 100 10 11 LEONARD BERNSTEIN AT 100

melodiosa, rítmica, juvenil”, y eso fue exactamente lo que retratando una escena basada en el racismo en la que música de un espectáculo”, reconoció una vez Bernstein, y Introduction (Deutsch) Seine Piano Sonata (1938) spiegelte seine Verbundenheit logró. Chichester Psalms palpita fusión. Escrita por encargo la clase dominante era de raza blanca y los sirvientes escribir melodías memorables–de las que estremecen a mit Copland wider, enthielt aber auch Verweise auf die de una catedral anglicana, la obra incorporó textos de la de raza negra. La recepción de los críticos fue dura y el los vocalistas y capturan la imaginación de la audiencia– Musik von Hindemith und Strawinsky. Ebenso gründete Biblia hebrea y se basó en ritmos y armonías del jazz. espectáculo fue cancelado luego de pocas presentaciones. es una habilidad diferente de la de componer sinfonías. Leonard Bernstein–gefeiert als einer der einflussreichsten Musiker des 20. Jahrhunderts– seine Sonata for Clarinet and Piano (1942) auf einer A White House Cantata, una obra para coro, fue La genialidad de Bernstein radicaba en su capacidad de neoklassizistischen Ästhetik. Der Komponist Paul Bowles En 1969, Bernstein dejó su puesto en la Filarmónica war Pionier in einer Ära großer kultureller und technologischer Umschwünge. Als einer der compilada póstumamente a partir de fragmentos de 1600 hacer ambas cosas. A veces, sus melodías fusionan la lobte diese Klarinettensonate als „lebhaft, tough, organisch“ de Nueva York y asumió un nuevo papel como Director Pennsylvania Avenue y gozó de un éxito considerable. canción popular con giros operáticos, y su distintiva belleza ersten Verfechter für eine größere Offenheit gegenüber den Charakteristika „guter“ Musik und von „zarter, rasanter, gesanglicher Qualität“. Sein Urteil Honorario. Al mismo tiempo que iniciaba una nueva e emana a menudo de armonías e intervalos melódicos nahm vorweg, was schließlich auf Bernsteins Musik in allen importante fase internacional como célebre director Otras de las composiciones notables del período final schloss er die Kluft zwischen klassischer Musik, Broadway-Musicals, Jazz und Rock und poco convencionales. Piensen en el vacilante intervalo que Genres zutreffen sollte. invitado y, en especial con la Filarmónica de Viena, de Bernstein fue Slava! (1977), una obertura llena de nahm die neuen Medien in die Pflicht, um verschiedene Hörerschaften zu erreichen–jung abre “Somewhere” o en las fascinantes ambigüedades Bernstein también reafirmaba su compromiso con la energía. Slava! también estaba basada en pasajes de 1600 Bernsteins beruflicher Durchbruch, der ihn als tonales de “A Simple Song”. Algunas de sus canciones und alt. Als langjähriger Dirigent des New York Philharmonic, renommierter Komponist von composición, produciendo una impresionante serie de Pennsylvania Avenue y fue dedicada al chelista y director atemberaubendes neues Talent etablierte, kam mit han ingresado en el panteón de los grandes éxitos Werken für Konzertsäle wie auch Broadway-Bühnen, als charismatische TV-Persönlichkeit, obras que aún no han recibido la atención que se merecen. ruso Mstislav Rostropovich. La ópera A Quiet Place, con außerordentlicher Wucht und Präsenz. 1943, im Alter estadounidenses de todos los tiempos. La declaración libreto de Bernstein y Stephen Wadsworth, apareció en virtuoser Pianist und engagierter Lehrer war Bernstein ein Multitasker, lange bevor dieser von 25 Jahren, gab er sein Debüt mit dem New York Una obra de un ambicioso eclecticismo, Mass: A Theatre íntima de compromiso en “One Hand, One Heart” ha sido 1983, y fue sometida a una importante revisión al año Philharmonic Orchestra, als er in letzter Minute für Bruno Piece for Singers, Players and Dancers fue compuesta en reiterada en innumerables bodas y “New York, New York” Begriff überhaupt geprägt worden ist. Bernstein–oder „Lenny“, wie er oft liebevoll genannt siguiente. Concebida como una secuela de Trouble in Walter einsprang und es damit auf die erste Seite der New 1971 para la inauguración del John F. Kennedy Center for es, informalmente, la canción de la ciudad a la que rinde wurde–war ein Musiker mit geradezu verschwenderischem Talent und besonderer Tahiti, la ópera se desarrolla en torno a una familia que se York Times schaffte. In rascher Folge schrieb Bernstein the Performing Arts en Washington, DC. Stephen Schwartz homenaje. Otras de las obras vocales destacadas de ha reunido para un funeral y cuyos miembros tratan de menschlicher Kommunikationsgabe. Zu seinen Lebzeiten setzte er sich stets für soziale eine umfangreiche Reihe von Kompositionen, von denen colaboró con la letra y Alvin Ailey fue el coreógrafo. Escrita Bernstein incluyen Songfest, un ciclo para seis vocalistas resolver sus diferencias. Otras de sus últimas obras fue einige Bezug auf seine jüdische Herkunft nahmen wie para un elenco de más de 200 intérpretes, incluida una y orquesta de 1977 y Arias and Barcarolles, una suite de Gerechtigkeit ein, besonders lagen ihm dabei Bürgerrechte und der Weltfrieden am Herzen. Concerto for Orchestra (“Jubilee Games”) (1986–89), con die Symphonie Nr. 1, „Jeremiah“, die im Januar 1944 von banda de rock, una banda de marcha, varios coros y una canciones para mezzosoprano y barítono que reflexiona su popular Benediction para barítono y orquesta y Missa Mit seiner Neigung, Stile und Genres auf unerwartete Weise und tiefe Musikalität, seine Nähe zum Theater, seine der Pittsburgh Symphony unter Bernstein als Dirigent orquesta de foso, Mass tenía pocos precedentes. La obra sobre la odisea de la vida a través del amor y el matrimonio. Brevis (1988), una obra coral basada en su propia The Lark. zu kombinieren, entzog sich Bernsteins rastlose kreative Führungsqualitäten und die Freude an der Arbeit mit jungen uraufgeführt wurde. „Lamentation“, der finale Satz der resuena con las pasiones pacifistas y ecuménicas de Fue su última gran obra. Vision den traditionellen Kategorien und Schubladen. Er Leuten. Symphonie, setzt als Besonderheit einen Mezzosopran Bernstein, destacando la cultura de los jóvenes y temas Bernstein falleció en 1990. Como un continuo homenaje a Vista como un todo, la labor compositiva de Bernstein es schrieb Musik, die an der Oberfläche für jeden zugänglich mit hebräischen Texten aus den Klageliedern Jeremias relacionados con la justicia social. Con Mass, Bernstein se su estimado maestro, la Filarmónica de Nueva York sigue Bernstein machte seinen Abschluss erst an der Boston excepcionalmente variada, y posee un deseo inherente ist, für Interpreten aber lohnenswerte Herausforderungen (Book of Lamentations) ein. Im April desselben Jahres “volcó hacia lo eléctrico”, como habían hecho Bob Dylan y interpretando la Obertura de Candide sin director. Al mismo Latin High School, dann 1939 am Harvard College. Zwei de querer trascender los límites tradicionales. Prosperó bietet. Dabei schuf er Werke, die Musiker jeder Spielstärke wurde Bernsteins Fancy Free vom New Yorker Ballet Miles Davis unos años antes. tiempo, nuevos lanzamientos en CD y DVD mantienen viva Jahre später erhielt er ein Dirigentendiplom vom Curtis en los entornos de colaboración y creativos. Profesaba ansprechen. Theatre in einer Choreografie des jungen Jerome su imagen en la esfera pública. Institute of Music. In seiner Studentenzeit fand er einen En 1974, Dybbuk, el tercer ballet de Bernstein y Robbins, un profundo amor por la maestría musical comunitaria Robbins herausgebracht. Im Dezember feierte Bernsteins Leonard Bernstein wurde 1918 in Lawrence, Massachusetts Verbündeten in Aaron Copland und beeindruckte den tuvo su estreno a cargo del Ballet de la Ciudad de Nueva Las canciones de Bernstein constituyen una parte muy de la orquesta sinfónica y escribió con gran alegría para Broadway-Musical On the Town Premiere, eine weitere geboren, die Familie zog kurz darauf nach Boston. älteren Komponisten mit der Darbietung von dessen Piano York. En él, ambos volvieron a sus raíces judías, basándose importante de su legado. A menudo concebidas dentro Broadway. El exquisito sentido del humor de Bernstein Zusammenarbeit mit Robbins. Obwohl diese beiden Seine Eltern, Samuel Bernstein und Jennie Resnick, Variations. Später erinnerte sich Bernstein daran, das en un drama folclórico yiddish. Más adelante, durante el de obras más extensas, estas incluyen “New York, New chispeaba por todas partes. Sin embargo, también tuvo Bühnenwerke konzeptionell eng miteinander verwoben waren russisch-jüdische Immigranten. Als Kind lernte Werk auf College-Partys zum Besten gegeben zu haben: Bicentenario de los Estados Unidos, Bernstein estrenó York” y “Some Other Time” de On the Town; “It’s Love” de el coraje de abordar las cuestiones más profundas de la waren, unterschieden sich Handlung, Musik und Bernstein Klavier spielen und entdeckte den Spaß an „Ich konnte unter Garantie einen Raum in zwei Minuten un nuevo musical: 1600 Pennsylvania Avenue (1976), con Wonderful Town; “Make Our Garden Grow” de Candide; experiencia humana. Choreografie doch erheblich. In Fancy Free geht es um drei der Theaterarbeit. Seine gleichaltrigen Freunde führte leer machen“, witzelte er. Auch Marc Blitzstein wurde ein libreto y letras a cargo de Alan Jay Lerner. El espectáculo “One Hand, One Heart,” “Tonight,” “Maria,” “I Feel Pretty” Matrosen auf Landgang, die in einer Bar ihre Muskelkraft Carol J. Oja er bei Sommerproduktionen von The Mikado, H.M.S. wertvoller Mentor: Die beiden Männer trafen sich zum fue escrito tras la destitución de Richard Nixon y lanzaba y “Somewhere” de West Side Story; “A Simple Song” de unter Beweis stellen, als sie in einer Bar miteinander um New York, 2015 Pinafore und Carmen (letzteres als Frau verkleidet und ersten Mal, als Bernstein in seinem letzten Jahr am College una mirada escéptica a los residentes de la Casa Blanca, Mass y “Take Care of This House” de 1600 Pennsylvania die Aufmerksamkeit zweier Mädchen konkurrieren. Fancy auf Jiddisch) an. So zeigten sich schon bald die zentralen The Cradle Will Rock inszenierte. In diesen frühen Jahren Avenue. “Las melodías en sí mismas… hacen o deshacen la Free vereinigte Akrobatik, Varieté und Cartooneskes mit Eigenschaften des erwachsenen Bernstein: seine frühreife unternahm Bernstein seine ersten großen Streifzüge als Komponist und schrieb modern anmutende Kammermusik. LEONARD BERNSTEIN AT 100 12 13 LEONARD BERNSTEIN AT 100

modernem Ballett, lateinamerikanischen Rhythmen und Magazine es seinerzeit beschrieb; das Ballett zeichnete auseinander. Gleichzeitig bot es fesselnde Unterhaltung. Das Interpreten und Hörer unterschiedlichster Coleur anspricht (1976), Buch und Liedtexte von Alan Jay Lerner. Das Stück Hand, One Heart“, „Tonight“, „Maria“, „I Feel Pretty“ und Swing-Dance. Auch On the Town drehte sich um drei „Stimmungen von Leidenschaft, Eifersucht und Langeweile, ausgefallene Fingerschnipsen im Opening gehört zu den und zu Bernsteins meistgespielten Kompositionen aufstieg. wurde unter dem Eindruck des Amtsenthebungsverfahrens „Somewhere“ aus West Side Story; „A Simple Song“ aus Matrosen, ein zentrales Mittel zur Erzählung der Geschichte die ‚unsichere Menschen‘ befallen“. Die Symphonie Nr. 2 markantesten Klangeffekten des 20. Jahrhunderts. Während er Chichester Psalms entwarf, sagte Bernstein, die gegen Richard Nixon geschrieben und warf somit einen Mass; sowie „Take Care of This House“ aus 1600 Pennsylvania war hier ebenfalls der Tanz. Aber in dem Broadway-Stück (für Orchester und Soloklavier) basierte auf W. H. Audens Musik solle „geradeheraus, liedhaft, rhythmisch, jugendlich“ skeptischen Blick auf die Bewohner des Weißen Hauses. Avenue. „Die Melodien an sich … entscheiden über Erfolg Die Ouvertüre zu Candide, die Bernstein in einer streifen die Matrosen auf der Suche nach romantischen Langgedicht The Age of Anxiety: A Baroque Eclogue (dt. sein–und genau das erreichte er. Die Chichester Das Szenario beschreibt, wie Aufstieg und Abstieg von oder Misserfolg einer Show und ihrer Musik“, gab Bernstein Konzertversion mit dem New York Philharmonic 1957 Abenteuern durch New York City–ebenso wichtig ist, Das Zeitalter der Angst: Ein barockes Hirtengedicht). Wie Psalms bringen verschiedenste kulturelle Impulse der Hautfarbe abhängen; die herrschende Klasse ist einmal zu, und das Schreiben unvergesslicher Melodien–von uraufführte, zählt ebenfalls zu seinen beliebtesten Werken. dass sie dabei von selbstbewussten Frauen nachdrücklich schon Facsimile erforscht die Symphonie Isolation und zusammen. Entstanden im Auftrag einer anglikanischen weiß und die Dienerschaft farbig. Die Kritiken waren der Art, dass sie Sänger und Hörer in ihren Bann schlagen– Oft wird die Ouvertüre als Opener ins Programm genommen verfolgt werden. On the Town markiert Bernsteins erste Einsamkeit in der modernen Welt. Sie besteht aus zwei Kathedralgemeinde, basiert das Werk auf Texten der harsch, die Show wurde nach wenigen Vorstellungen erfordert ein ganz anderes Geschick als die Komposition –ein vierminütiger Energieausbruch voller Virtuosität. große Zusammenarbeit mit Betty Comden und Adolph großen Teilen. „The Masque“, einer der Binnenabschnitte, hebräischen Bibel, während es gleichzeitig jazzige abgesetzt. Das Chorstück A White House Cantata wurde einer Symphonie. Bernsteins Brillanz lag darin, beides zu Green. Ebenso etabliert das Stück sein lebenslanges sticht mit einem ansteckenden, Jazz-basierten Klaviersolo Als Bernstein 1958 die Leitung des New York Philharmonic Rhythmen und Harmonien verwendet. posthum aus Segmenten von 1600 Pennsylvania Avenue beherrschen. Bisweilen vereinen seine Melodien populären übernahm, rückte seine Karriere als Dirigent wieder in Hin-und-Hergerissen-Sein zwischen der Hoch- und der hervor. Und erneut sind Kernelemente von Bernsteins 1969 trat Bernstein beim New York Philharmonic zurück, zusammengesetzt und war durchaus erfolgreich. Song mit opernhaften Gesten, und ihre unverwechselbare Popkultur. Später erinnerte sich Bernstein daran, was ein Stil präsent: die Konfrontation mit den Realitäten den Vordergrund. Umgehend ließ er die „Young People’s Schönheit strahlt aus den unkonventionellen Harmonien übernahm eine neue Position als Ehrendirigent. Während Zu weiteren bemerkenswerten Kompositionen aus weiterer wichtiger Mentor, der russisch-amerikanische zeitgenössischen Lebens bei gleichzeitiger Wahrung der Concerts“ des Orchesters im Fernsehen ausstrahlen, und melodischen Wendungen. Man denke nur an den er als weltberühmter Gastdirigent–insbesondere Bernsteins finaler Schaffensphase gehört Slava! (1977), ein Dirigent Serge Koussevitzky, über On the Town sagte: Balance zwischen „U-“ und „E-Musik“. wo sie über Jahrzehnte hinweg zahllose Zuschauer sehnsuchtsvollen Aufwärtssprung, der „Somewhere“ eröffnet, bei den Wiener Philharmonikern–in eine neue energiegeladenes Eröffnungsstück für Konzerte. Es stützte „Lenushka, mein lieber Junge, das ist ein nobler Jazz.“ begeisterten; nachdrücklich trat er für die Musik oder die spannungsvolle tonale Uneindeutigkeit in „A Simple In der gleichen Periode komponierte Bernstein Four große Schaffensphase eintrat, intensivierte er seine sich ebenfalls auf Ausschnitte von 1600 Pennsylvania Pointenhaft vervollständigte Betty Comden die Anekdote: amerikanischer Komponisten ein; schließlich gewann er einen Song“. Einige dieser Musikstücke haben ins amerikanische Anniversaries (1948) und Five Anniversaries (1949–51) für Kompositionstätigkeit und schrieb eine Reihe imponierender Avenue und war eine Hommage an den russischen Cellisten „Aber mach das nicht noch einmal!“ herausragenden Ruf als Interpret der Musik von Gustav Pantheon der größten Hits aller Zeiten Eingang gefunden. Klavier solo. Jeder Abschnitt war einem anderen Freund Werke, die immer noch zu entdecken sind. und Dirigenten Mstislav Rostropovich. Mit einem Libretto Mahler. Unter Bernsteins Führung zogen die Philharmoniker Die innige Liebeserklärung „One Hand, One Heart“ wurde Bernsteins Aufstieg setzte sich in den Nachkriegsjahren gewidmet–eine Anlage, die auf die musikalischen Portraits Mass: A Theatre Piece for Singers, Players and Dancers, von Bernstein und Stephen Wadsworth kam 1983 die Oper in die Avery Fisher Hall im Lincoln Center ein und gaben auf zahllosen Hochzeiten gespielt und „New York, New York“ fort und die geografische Reichweite seiner Aktivitäten von Virgil Thomson zurückgeht. ein ambitioniertes und vielseitiges Werk, komponierte A Quiet Place heraus, im Jahr darauf eine umfangreich Aufsehen erregende Tourneen in Europa, der Sowjetunion, gilt als inoffizielle Erkennungsmelodie der Stadt. Andere dehnte sich mit der Wiederaufnahme des Transatlantik- Bernstein 1971 für die Eröffnung des John F. Kennedy überarbeitete Version. Die als „Sequel“ zu Trouble in Tahiti Von 1950 bis zum Amtsantritt als Direktor des New York Lateinamerika und Japan. bemerkenswerte Vokalwerke von Bernstein sind Songfest, ein Verkehrs aus. 1946 debütierte er in Europa, dirigierte in konzipierte Oper dreht sich um familiäre Konflikte während Philharmonic 1958 konzentrierte Bernstein sich auf die Center for the Performing Arts in Washington, D.C. Als Bernstein führte sein kreatives Leben in diesen Jahren Zyklus für sechs Sänger und Orchester von 1977, sowie Arias Prag und London. Im selben Jahr lernte er die chilenische Co-Liedtexter fungierte Stephen Schwartz, Alvin Ailey einer Beerdigung. Weitere späte Werke sind das Concerto Komposition von Bühnenwerken, von einer Filmmusik and Barcarolles, eine Liedfolge für Mezzosopran und Bariton, Schauspielerin Felicia Montealegre Cohn kennen, die er 1951 fort. 1961 kam die Filmversion von West Side Story heraus, for Orchestra („Jubilee Games“) (1986–89) mit seiner abgesehen. Aus dieser hochproduktiven Phase gingen Peter als Choreograf. Geschrieben für ein über 200-köpfiges die wesentlich zum Repertoireerfolg des Werkes beitrug. die die Odyssee des Lebens durch Liebe und Heirat hindurch heiratete. Seine lebenslange Verbundenheit mit dem Israel Ensemble einschließlich Rockband, Blaskapelle, mehreren berühmten „Benediction“ für Bariton und Orchester sowie Pan (1950), Trouble in Tahiti (1952), Wonderful Town (1953), reflektiert. Es war sein letztes großes Werk. Philharmonic Orchestra begann ebenfalls in dieser Periode. Seine Symphonie Nr. 3, „Kaddish“, wurde 1963 in Tel Aviv Missa Brevis (1988), ein Chorstück, das auf Bernsteins The On the Waterfront (dt. Die Faust im Nacken; 1954), Candide Chören und Orchester, gibt es vor Mass nur Weniges, uraufgeführt. Sie basiert auf dem traditionellen jüdischen Lark von 1955 basiert. Bernsteins kompositorisches Werk ist außergewöhnlich Zwei wichtige Kompositionen nach dem Krieg waren (1956) und West Side Story (1957) hervor. 1954 debütierte das sich damit vergleichen ließe. In diesem Werk hallt Totengebet und ist für Erzähler, Sopran, Knabenchor und abwechslungsreich, doch allem wohnt der Wesenszug das Ballett Facsimile (1946), konzipiert mit Jerome Bernstein in der Serie „Omnibus“ und leitete damit eine Bernsteins leidenschaftliche pazifistische und ökumenische Bernstein starb 1990. Als Tribut an seinen geschätzten gemischten Chor mit Orchester geschrieben. Die Ermordung inne, traditionelle Grenzen zu überwinden. In kreativer Robbins und uraufgeführt vom Ballet Theatre, sowie lange und erfolgreiche Karriere im Fernsehen ein. Überzeugung nach: Es behandelt Fragen der Jugendkultur Maestro spielte das New York Philharmonic die Ouvertüre von John F. Kennedy geschah nur wenige Wochen vor der Umgebung und in Gemeinschaft blühte er auf. Er liebte das die Symphonie Nr. 2, „The Age of Anxiety“ (1949), deren und der sozialen Gerechtigkeit. „Bernstein goes electric“– von Candide in der Folge stets ohne Dirigenten. Gleichzeitig Über all diesen bemerkenswerten Theaterpartituren steht Uraufführung des Werkes, weshalb Bernstein das Stück dem gemeinschaftliche Musizieren eines Symphonieorchesters Uraufführung Koussevitzky und das Boston Symphony mit Mass folgte er quasi Bob Dylan und Miles Davis nach. erhalten immer neue CD- und DVD-Veröffentlichungen seine der alles überragende Erfolg von West Side Story, einem der Andenken des Präsidenten widmete, der seine progressiven und schrieb mit größter Freude für den Broadway. Bernsteins Orchestra übernahmen. In beiden Werken sondierte 1974 feierte Dybbuk, das dritte Ballett von Bernstein und Präsenz in der Öffentlichkeit lebendig. berühmtesten Werke aller Zeiten, unabhängig von Genres. Ideale teilte. wunderbarer Sinn für Humor war allgegenwärtig. Aber er Bernstein persönliche Herausforderungen in einer Welt, Zu Bernsteins Mitarbeitern gehörten Arthur Laurents Robbins, Premiere mit dem New York City Ballet. Darin Bernsteins Songs stellen einen wichtigen Teil seines In der Zeit von 1964 bis 1965 nahm Bernstein eine hatte auch den Mut, sich den tiefgründigsten Fragen der die nach traumatischen Erfahrungen neu entsteht. wenden sich beide ihrem jüdischen Erbe zu und beziehen (Buch), Jerome Robbins (Choreografie) und Stephen Vermächtnisses dar. Dazu gehören, oft als Auskoppelung menschlichen Existenz zu stellen. Facsimile konzentrierte sich auf ein Liebeswirrwarr, in das Auszeit vom New York Philharmonic, um wieder Zeit zum Sondheim (Liedtexte). Das Stück setzte sich mit der Gewalt sich auf ein volkstümliches jüdisches Drama. Zu Amerikas aus größeren Werken, „New York, New York“ und „Some zwei Männer und eine Frau geraten, die „mit abstrakten Komponieren zu finden; ein bedeutendes Resultat waren Carol J. Oja von Straßengangs und Diskriminierung neuer Immigranten Zweihundertjahrfeier brachte Bernstein ein brandneues Other Time“ aus On the Town; „It’s Love“ aus Wonderful psychologischen Ideen ringen müssen“, wie das Life die Chichester Psalms (1965): ein weiteres Werk, das New York, 2015 Broadway-Musical heraus: 1600 Pennsylvania Avenue Town; „Make Our Garden Grow“ aus Candide; „One LEONARD BERNSTEIN AT 100 14 15 LEONARD BERNSTEIN AT 100

A Leonard Bernstein Timeline  First television appearance  November 14: debut with 1955 1962 1969 1974 1980  December: led Beethoven’s (NBC) as piano NYP, Carnegie Hall,  July 7: birth of son,  February 28: birth of  April 30: death of Samuel J.  May 16: led premiere of his  December 7: received Symphony No. 9 with the accompanist for The substituting for Bruno Alexander Serge Leonard. daughter, Nina Maria Felicia. Bernstein. and Jerome Robbins’ ballet Kennedy Center Honor for Bavarian Radio Symphony and members of the NYP, Revuers, which included Walter.  November 17: premiere of  September 23: led inaugural  May 17: led last concert as Dybbuk, New York City Lifetime of Contributions to LSO, Orchestre de Paris 1918  Radio series: “AVOL Betty Comden, Adolph Ballet, State Theater, American Culture through 1944 The Lark, incidental music concert of NYP in Music Director of NYP, after Green, and Judy Holliday. New York. the Performing Arts, and Leningrad Philharmonic.  Born August 25 to Jennie Presents Leonard by LB, New York Pro Musica Philharmonic Hall (later having conducted 939  January 28: premiere of Berlin Freedom Concert (neé Charna Resnick) & Bernstein,” Station WBZ, Antiqua, Noah Greenberg, renamed Avery Fisher Hall), concerts with the orchestra Washington, DC. 1940 Symphony No. 1: Jeremiah, 1977 celebrating opening of Samuel Joseph (Shmuel Boston. conductor, Longacre Lincoln Center, New York. (831 as Music Director),  July 19: spent fi rst summer at Pittsburgh Symphony, LB,  January 19: conducted two 1983 Berlin Wall, Schauspielhaus, Yosef) Bernstein (Lawrence, Theatre, New York. more than any other 1935 Berkshire Music Center, with Jennie Tourel. 1963 excerpts from his Songfest  June 17: premiere of A Quiet East Berlin. Telecast Massachusetts). conductor in its history. Tanglewood, as a conducting worldwide.  Graduated Boston Latin  April 18: conducted 1956  November 24: led televised Gave 36 world premieres, at Inaugural Concert for Place (fi rst version), School (1929–35). student of Serge President Jimmy Carter, Houston Grand Opera, John 1928 premiere of his and Jerome  December 1: premiere of JFK memorial concert, 14 US premieres, 15 New 1990 Koussevitzky. First Kennedy Center, DeMain, conductor.  First piano lessons, with  Entered Harvard. Robbins’ ballet Fancy Free, Candide, Martin Beck Mahler’s Symphony No. 2: York premieres and led appearance as symphonic Washington, DC.  Founded Pacifi c Music Frieda Karp. Metropolitan Opera House Theatre, New York. Resurrection, with NYP, CBS more than 40 works never  Piano study with Heinrich 1986 Festival. conductor in Randall (MOH). Gebhard. Studios. before performed by the  October 11: premieres of 1930 Thompson’s Symphony 1957  April 10: led and recorded A  August 19: Koussevitzky  December 28: premiere of  December 10: led premiere NYP. Received title of Songfest, Three Meditations No. 2. Quiet Place at the VSO. Memorial concert: Britten’s  Piano lessons with Susan 1936 On the Town, Adelphi  September 26: premiere of of Symphony No. 3: Kaddish, “Laureate Conductor”. from “Mass” for Violoncello West Side Story, Winter  April 29–May 11: Leonard Four Sea Interludes, LB’s Williams at the New  First radio piano recital, 1941 Theater, New York. IPO, Tel Aviv, with Hannah and Orchestra and Slava!, 1971 Arias & Barcarolles (Carl St. England Conservatory of Boston. Garden, New York. Rovina, narrator and Jennie (latter two with Mstislav Bernstein Festival given by  May 3: received diploma in Bernstein with Felicia at their wedding. Bernstein’s suit had previously Clair, conductor) and Music. 1945  October 2: conducted  September 8: inaugurated Rostropovich as cellist and the LSO at the Barbican conducting from Curtis belonged to Serge Koussevitzky. September 9, 1951. Tourel, soloist. 1937  October 8: began three opening of Frederic R. the John F. Kennedy Center conductor, respectively), LB, Centre, including a concert Beethoven’s Symphony No. 1932 Institute of Music, 7, BSO, Tanglewood. His  November 14: met Aaron year directorship of the Mann Auditorium, Tel Aviv, 1964 for the Performing Arts, conductor, NSO, Kennedy conducted by LB in the Philadelphia (1939–41). 1951 1953 last concert.  March 30: participated in Copland. New York City Symphony. Israel, new home of the IPO.  March 6: US operatic debut Washington, DC, with Center, Washington, DC. presence of Queen fi rst piano recital at New  July 11: conducted Boston  September 9: married  February 26: premiere of premiere of Mass. Elizabeth II.  October 9: announced  First published writing on  November 19: appointed as at Metropolitan Opera England Conservatory, Pops Orchestra at 1948 Costa Rican born actress Wonderful Town, Winter 1978 music in Modern Music Music Director of the New House, conducting fi rst of retirement from public performing Brahms’s Esplanade open air concert  October–November: led Felicia Montealegre Cohn. Garden, New York. 1973  June 16: death of Felicia 1988 magazine. York Philharmonic. ten performances of Verdi’s performances because of  Rhapsody in G Minor. in Wagner’s Prelude to Die concerts of newly renamed  September: appointed  December: became fi rst Falstaff (Franco Zeffi relli,  January 19: led Concert Montealegre Bernstein. November 14: led NYP in failing health. Meistersinger, his fi rst for Peace at National all-Bernstein concert,  October: began piano 1938 Israel Philharmonic Professor of Music at American to conduct at La 1958 director).  October 14: the death of appearance with a Cathedral, Washington, with 1979 marking the 45th lessons with Helen G.  June 12: his fi rst public Orchestra in Israel during Brandeis University, Scala Opera House, Milan in  January 18: began fi rst Leonard Bernstein, 6:15 p.m. professional orchestra. 1966  February 15: led Orquesta anniversary of his debut Coates. performance as composer- the War of Independence. Waltham, Mass. (through Cherubini’s Medea, with series of annual televised members of NSO, in protest at his home, 1 West 72nd Filharmónica de la Ciudad with the NYP. pianist: Music for the Dance  Piano transcription of El 1955). Maria Callas. New York Philharmonic  March 14: debut at Vienna against President Nixon, on Street, New York. Cardiac 1934 1949 de México, México City, in Nos. 1 & 2, Music for Two Salón México by Aaron Young People’s Concerts on State Opera, conducting the eve of Nixon’s second arrest brought on by side  April 8: premiere of 1952 1954 concert for state visit by 1989  May 14: fi rst time as Pianos, with Mildred Spiegel Copland, Bernstein’s fi rst CBS TV, beginning with Verdi’s Falstaff (Luchino term in offi ce. eff ects of treatment for Symphony No. 2: The Age President Carter to  October 19–31: last concerto pianist (Grieg’s at the studio of Heinrich published work.  June 12: led premiere of  July 29: premiere of On the What Does Music Mean? Visconti, director).  June 23: led concert with mesothelioma. of Anxiety, Symphony Hall, President Lopez de Portillo. concerts with NYP. Piano Concerto, Mvt. I), Gebhard (Brookline, Mass). Trouble in Tahiti, Brandeis Waterfront (Columbia YPCs continued until 1972, Orchestra Sinfonica di Roma 1968  October 16: private funeral Boston Public Schools 1943 Boston Symphony, University, as part of the Pictures) fi lm score by LB,  Fall: guest conducted  November 15: refused with 53 diff erent programs (RAI) and choruses, at the at LB home followed by Symphony Orchestra, 1939  August: invited by Artur Koussevitzky, conductor, school’s fi rst Festival of the Astor Theater, New York.  June 6: conducted various orchestras, National Medal of Arts from led by LB. Vatican, Rome, for the tenth interment at Green-Wood Roxbury High School, T. Rodzinski to be Assistant LB as piano soloist. Creative Arts. members of NYP in including his one and only President George Bush as a  April 21: fi rst appearance as  November 14: wrote and anniversary of Paul VI’s Cemetery, Brooklyn, NY. 1961 Mahler’s Adagietto from Francis Burk, conductor. conductor, for his own Conductor of the  December 10: fi rst television  September 8: birth of performed his fi rst Omnibus elevation to the Papacy. appearance with the Berlin protest against revoked Philharmonic Symphony Symphony No. 5, at funeral Philharmonic in Mahler’s NEA grant in connection  Summer: adapted, score to The Birds at appearance as conductor daughter, Jamie Anne telecast, on the sketches of  January 19: premiered his  October 9: delivered fi rst of Society of New York of Robert Kennedy, St. with a New York City exhibit produced and sang the title Harvard. with the BSO at UN Human Maria. Movement 1 of Beethoven’s Fanfare at Inaugural Gala for six lectures entitled The Symphony No. 9. (popularly known as The Patrick’s Cathedral, New of AIDS-related art. role in his version of Carmen  June 22: graduated Rights Day Concert, Fifth Symphony, with the President John F. Kennedy. Unanswered Question, as New York Philharmonic York. (Sharon, Mass). Harvard, cum laude in Carnegie Hall, New York. Symphony of the Air.  October 19: fi lm premiere of the Charles Eliot Norton [NYP]). musica (1935–39). West Side Story (United  October: led celebrations Professor of Poetry at Artists), Rivoli Theatre, for 125th anniversary Harvard University. New York. season of NYP. Photo: Bradford Bachrach, Leonard Bernstein Collection, Music Division, Library of Congress ORCHESTRAS CONDUCTED BY BERNSTEIN 16 17 ORCHESTRAS CONDUCTED BY BERNSTEIN

Leonard Bernstein conducted more than 80 orchestras throughout his career. The following 1941 1970 1942 1945 1943 1966 1944 1950 1980 1960 1990 chart lists the orchestras Bernstein conducted three 1940 or more times and the years in which he made his YEARS OF # appearances. BALLET THEATRE ORCHESTRA • • • • 4 BOSTON POPS • • • • 4 BOSTON SYMPHONY ORCHESTRA (OR MEMBERS) • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 31 CHICAGO SYMPHONY ORCHESTRA • • • • • 5 CINCINNATI SYMPHONY ORCHESTRA • • • • • 5 CONCERTGEBOUWORKEST • • • 3 CZECH PHILHARMONIC ORCHESTRA • • • 3 DETROIT SYMPHONY ORCHESTRA • • • 3 ISRAEL PHILHARMONIC ORCHESTRA • • • • • • • • • • • • • • • • • • • • • • • • • 25 LONDON SYMPHONY ORCHESTRA • • • • • • • • • 9 LOS ANGELES PHILHARMONIC • • • • • 5 METROPOLITAN OPERA • • • • 4 NATIONAL SYMPHONY ORCHESTRA (WASHINGTON) • • • • • • • • • • • • • • 14 NBC SYMPHONY OF THE AIR • • • • • • 6 NEW YORK CITY SYMPHONY • • • 3 NEW YORK PHILHARMONIC (OR MEMBERS) • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • 40 ORCHESTRA DELLA TEATRO ALLA SCALA, MILAN • • • • • 5 ORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA • • • • • • • • • 9 ORCHESTRA SINFONICA DI ROMA DELLA RAI • • • • 4 ORCHESTRE DE PARIS • • • 3 ORCHESTRE NATIONAL DE FRANCE • • • • • • • • • • 10 PHILADELPHIA ORCHESTRA/ROBIN HOOD DELL • • • • • • • • 9 PITTSBURGH SYMPHONY ORCHESTRA • • • • • 5 RESIDENTIE ORKEST (NETHERLANDS) • • • 3 ROCHESTER PHILHARMONIC ORCHESTRA • • • 3 SAN FRANCISCO SYMPHONY • • • 3 SCHLESWIG-HOLSTEIN MUSIK FESTIVAL ORCHESTER • • • 3 SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS • • • • • • • • • 9 TANGLEWOOD MUSIC CENTER ORCHESTRA • • • • • • • • • • • • • • • • • • • • • • • • • • 26

WIENER PHILHARMONIKER/STAATSOPER 1946 1947 1948 1949 1951 1952 1953 1954 1955 1956 1957 1958 1959 1961 1962 1963 1964 1965 • • 1967 • 1968 • 1969 • • 1971 • 1972 • 1973 • 1974 • 1975 • 1976 • 1977 • 1978 • 1979 • 1981 • 1982 • 1983 • 1984 • 1985 • 1986 • 1987 • 1988 • 1989 • 24 ABBREVIATIONS 18 19 ABBREVIATIONS

WOODWINDS English Español Français Deutsch STRINGS English Español Français Deutsch picc piccolo fl autín/piccolo petite fl ûte Piccolofl öte vln violin violín violon Violine fl fl ute fl auta grande fl ûte Flöte vla viola viola alto Viola ob oboe oboe hautbois Oboe vlc cello violoncelo violoncelle Violoncello corA cor anglais (English horn) corno inglés cor anglais Englischhorn db double bass/contrabass contrabajo contrebasse Kontrabass cl clarinet (in A or Bb) clarinete (en La o en Si bemol) clarinette (en la ou en si bémol) Klarinette (in A oder B) VOICES Ebcl clarinet in Eb clarinete en Mib petite clarinette Es-Klarinette bcl bass clarinet clarinete bajo clarinette basse Bassklarinette S soprano soprano soprano Sopran bn bassoon fagot basson Fagott M mezzo-soprano mezzo-soprano mezze-soprano Mezzosopran dbn doublebassoon/contrabassoon contrafagot contrebasson Kontrafagott A alto contralto alto Alt CT countertenor contratenor contreténor Countertenor BRASS T tenor tenor ténor Tenor hn horn corno cor Horn Bar baritone barítono baryton Bariton crt cornet corneta cornet Kornett BBar bass baritone bajo-barítono baryton-basse Bassbariton tpt trumpet trompeta trompette Trompete B bass bajo basse Bass trbn trombone trombón trombone Posaune LANGUAGES btrbn bass trombone trombón bajo trombone basse Bassposaune E English inglés anglais englisch PERCUSSION F French francés français französisch ant.cym antique cymbals crótalos cymbales antiques antike Zimbeln G German alemán allemand deutsch BD bass drum bombo grosse caisse große Trommel I Italian italiano italien italienisch bl block bloque block Block L Latin latín latin Latein cast castanets castañuelas castagnettes Kastagnetten S Spanish español espagnol spanisch Chin.bl Chinese blocks caja china blocs chinois chinesische Blöcke OTHERS crot crotales Crótalos crotales Crotales cymb cymbals platillos cymbale(s) Becken ampl amplifi ed amplifi cado amplifi é verstärkt dr drum tambor tambour/drum Trommel/Drum ca circa circa circa circa fl e x fl exatone fl exatono fl exatone Flexaton cel celesta celesta célesta Celesta glsp glockenspiel glockenspiel glockenspiel Glockenspiel elec. electric/electronic electric/electrónico électrique/électronique elektrisch/elektronisch perc percussion percussion percussion Schlagzeug/Percussion gtr guitar guitarra guitare Gitarre SD snare drum tambor redoblante caisse claire kleine Trommel hpd harpsichord clave clavecin Cembalo susp.cymb suspended cymbal platillo suspendido cymbale suspendue (seule) hängendes Becken hi high agudo aigu hoch tamb tambourine pandereta tambour de basque Tamburin kbd keyboard teclado clavier Keyboard tam-t tam-tam tam-tam tam-tam Tam-Tam lg large grande grand groß t.bells tubular bells campanas tubulares campanólogo cloches tubulaires Röhrenglocken lo low grave grave tief TD tenor drums redoblante caisse roulante Wirbeltrommel max. maximum máximo maximum Maximum timp timpani timbal(es) timbales Pauken med medium medio médium mittel tgl triangle triángulo triangle Triangel min minutes minutos minutes Minuten tom-t tom-toms tom-tom Tom-Toms Tom-Toms min. minimum mínimo minimum Minimum tpl.bl temple block(s) temple block temple block(s) Tempelblock(s) org organ órgano orgue Orgel vib vibraphone vibráfono vibraphone Vibraphon pft piano piano piano Klavier wdbl woodblock caja china wood-block(s) Woodblock(s) sm small pequeño petit klein xyl xylophone xilófono xylophone Xylophon synth synthesizer sintetizador synthétiseur Synthesizer tape tape cinta bande Tonband Standard order of instrumentations: fl .ob.cl.bn—hn.tpt.trbn.tuba—perc—other—vlnl.vlnll.vla.vlc.db LEONARD BERNSTEIN AT 100 20 21 LEONARD BERNSTEIN AT 100 Works LEONARD BERNSTEIN AT 100 22 23 LEONARD BERNSTEIN AT 100

Candide (Scottish Opera Version) Candide (Chelsea Version) Candide (1988) 110 min (music, not counting book) (1973) 75 min (music, not counting book) Adaptation of New York City Opera version by Orchestration for 13 players by Hershy Kay Mauceri, Miller, and Wells Text Book by Hugh Wheeler, after Voltaire. Leonard Bernstein’s comic operetta, Candide, based on Text Book by Hugh Wheeler, after Voltaire. Lyrics by Richard Wilbur, John La Touche, Voltaire’s satirical fiction of the same name, has Lyrics by Richard Wilbur, Stephen Sondheim, Stephen Sondheim, and Leonard Bernstein (E) collected an extensive performance history since its John La Touche, Lillian Hellman, Dorothy Parker, Scoring Main roles: S.2M.T.T/Bar.Bar; Ensemble of at Broadway premiere in 1956. The original version and Leonard Bernstein (E) least 6 women, 8 men, 1 person; Chorus; 2.picc.rec.1.3.bcl. featured a book by Lillian Hellman (now withdrawn) and Scoring Major roles: S.2M.T.T/Bar.Bar; ssax.1-0.2.1.0-timp.perc(1)-2pft(I=cel).elec.pft-1(=vla).0.0.1.1 lyrics by Richard Wilbur and additional lyrics by John La Minor roles: 2S.4T.6Bar.2B; chorus World Premiere December 20, 1973 Touche, Dorothy Parker, Hellman, and Bernstein. In 2(II=picc).1(=corA).2(I=Ebcl,ssax ad lib).1-2.2.2.1-timp. Chelsea Theater, Brooklyn, NY, United States 1973, Hugh Wheeler wrote a new book that also formed perc(2)-harp-strings Patricia Birch, choreographer / the basis of subsequent versions, and Stephen World Premiere May 17, 1988 Harold Prince, director / John Mauceri, conductor Sondheim joined the list of lyricists. Theatre Royal, Glasgow, United Kingdom The operetta captures Voltaire’s depiction of the Jonathan Miller, director / Scottish Opera / Candide (Royal National Theatre Version) cynicism of society expressed through Candide’s John Mauceri, conductor (1999) 98 min (music, not counting book) education in optimism, banishment from his beloved Book Adapted from Voltaire by Hugh Wheeler; Cunégonde, travels, trials, and disillusionment with Candide (Concert Version) Orchestrations by Bruce Coughlin humanity, before ending on Bernstein’s hopeful tone in (1989, rev. 1993) 130 min (music + narration) New Version by John Caird for narrator, vocal soloists, chorus, and orchestra “Make Our Garden Grow.” Text Richard Wilbur, Lillian Hellman, Dorothy Parker, Orchestrations by Leonard Bernstein and John La Touche, Stephen Sondheim, and Candide opened on Broadway on December 1, 1956 at Hershy Kay; Additional orchestrations by Leonard Bernstein the Martin Beck Theatre (Tyrone Guthrie, director / John Mauceri Samuel Krachmalnick, conductor). Scoring Main roles: S.2M.T.T/Bar.Bar: Text Richard Wilbur, Stephen Sondheim, Small roles: 2S.4T.6Bar.2B.chorus John La Touche, Lillian Hellman, Dorothy Parker, and Reeds 1 (picc/fl/cl).Reeds 2 (cl.Eflat).Reeds 3(corA/ob/ob Candide (New York City Opera Version) Leonard Bernstein (E) d’amore).Reeds 4(bs clar/cl/fl).Reeds 5(bs).Tpt.Hn. Tbn. (1982) 91 min (music, not counting book) Scoring Major roles: Narrator.S.2M.T.T/Bar.Bar; Perc.Keyb.vln.vla.Vc.Cb Text Book by Hugh Wheeler, after Voltaire. Minor roles: 2S.4T.6Bar.2B.chorus 2(II=picc).1(=corA).2(I= Lyrics by Richard Wilbur, Stephen Sondheim, World Premiere April 13, 1999 Ebcl,II=bcl).1-2.2(I=crt).2.1-timp.perc(2)-harp-strings John La Touche, and Leonard Bernstein (E) World Premiere December 12, 1989 For Chelsea and Royal National Theatre versions, please Scoring Major roles: S.2M.T.T/Bar.Bar; Barbican Centre, London, United Kingdom contact the Leonard Bernstein Office for first class Minor roles: 2S.4T.6Bar.2B; Chorus; 2(II=picc).1(=corA). London Symphony Orchestra / Leonard Bernstein, productions and Music Theatre International for stock and 2(I=Ebcl,ssax ad lib).1-2.2.2.1-timp.perc(2)-harp-strings conductor amateur productions. For all other versions, please contact World Premiere October 13, 1982 Boosey & Hawkes. New York, NY, United States Harold Prince, director / New York City Opera / John Mauceri, conductor Candide Courtesy New York Philharmonic / Chris Lee LEONARD BERNSTEIN AT 100 24 25 LEONARD BERNSTEIN AT 100

Mass: A Theatre Piece for Singers, Mass Players and Dancers (1971) 110 min

Text Liturgy of the Roman Mass (L); Additional texts by Perhaps Bernstein’s most ambitiously scaled work, Stephen Schwartz and Leonard Bernstein (E) Mass truly lives up to its name as “A Theatre Piece for Scoring Celebrant (lead solo); Soloists (ca. 20 from Street Singers, Players and Dancers.” Considering the People); SATB Robed Choir (ca. 60); Boys’ Choir (ca. 20 with tremendous success it has achieved since its premiere boyS solo); Street People (ca. 45 singer-dancers) in 1971, it’s no wonder that the Washington Post has Stage Orchestra (in costume, acting as cast members): 2(I,II called it “arguably the best thing Bernstein ever wrote.” =picc).2(II=corA).3(=3sax(SAT)/Ebcl/bcl).2(II=dbn)-4.4.3.1- The premiere of Mass, coinciding with the opening of perc(2)-2elec.guitars-bass guitar-2elec.kybds the new John F. Kennedy Center for the Performing Pit Orchestra: harp-2Allen org-timp.perc(3-4)-strings- Arts in Washington, D.C., was an event to trump all pre-recorded tape others; attendees included Rose Kennedy (the late World Premiere September 8, 1971 president’s mother), Edward Kennedy, Henry Kissinger, John F. Kennedy Center for the Performing Arts, and Aaron Copland–but not President Nixon. Washington, DC, United States Mass represents the culmination–the totality– Gordon Davidson, director / Alvin Ailey, choreographer / of who Bernstein was as a composer. It combines Maurice Peress, conductor classical, Broadway, avant-garde, and other styles into one large, cohesive work. Ultimately a work of peace, Mass (Chamber Version) (1972) 110 min Mass explores the human condition in social and religious terms. Text Liturgy of the Roman Mass (L); Additional texts by Stephen Schwartz (E)

Scoring Celebrant (lead solo), Soloists (from Street People) SATB Choir (12); Boys’ Choir (10 with boyS solo); Street People (16, plus 3 dancers) For derivative works from Mass, please see other works 1.0.1(=sax).0-1.1.1.1-stage perc(2)-harp-organ-2elec categories. gtr.2acoustic gtr.banjo.round hole steel gtr(optional).12-string gtr(optional).fender bass(or acoustic bass)-elec.pft-vln-pre- recorded tape

World Premiere December 26, 1972 Mark Taper Forum, Los Angeles, CA, United States Gordon Davidson, director / Maurice Peress, conductor (assisted by Earl Rivers) LEONARD BERNSTEIN AT 100 26 27 LEONARD BERNSTEIN AT 100

On the Town (Theatrical Version) On the Town (Concert Version) On the Town (1944) 71 min (music, not counting book) (1944 / 1992) 71 min (music + narration) Text Book and Lyrics by Betty Comden & Adolph Green Text Book and Lyrics by Betty Comden & Adolph Green (based on an idea of Jerome Robbins) (based on an idea of Jerome Robbins) Bernstein’s On the Town has been a classic since its original Broadway run in 1944, a continuation of the Scoring Major roles: 3 men, 3 women; Minor roles: 15 Scoring Major roles: 3 men, 3 women; Minor roles: men, 7 women (both with doublings) Chorus; 15 men, 7 women (both with doublings); Chorus; composer’s collaboration with choreographer Jerome Dancers; 1(=picc.).1(=corA).3(I=EIcl,II=asax,III=bcl -2.3.3.0- Dancers 1(=picc).1(=corA).3(I=Ebcl,II=asax,III=bcl).0-- Robbins. On the Town highlights the fleeting encounters timp.perc(1):SD/BD/tom-t/hi hat/susp.cymb/cowbell/tgl/ 2.3.3.0--timp.perc-pft--strings and visceral energy of youth as three young sailors find tpl.bl/tamb/ratchet/slide whistle/xyl/glsp/vib-pft-vlnABC. love and excitement while on leave in New York City World Premiere June 28, 1992 vla.vlc.db Barbican Centre, London, United Kingdom during one 24-hour period. Broadway Opening February 26, 1953 London Symphony Orchestra / Michael Tilson Thomas On the Town’s book and lyrics were written by Betty Winter Garden Theatre, New York, NY, United States For derivative works from On the Town, please see other Comden and Adolph Green. In addition to the theatrical George Abbott, director / Lehman Engel, conductor works categories. staging, the work also exists in a concert version that Production Rights was first premiered in 1992 at London’s Barbican First class production: The Leonard Bernstein Office Centre with Michael Tilson Thomas and the London Stock and amateur productions in US & Canada: Symphony Orchestra. Recent concert stagings have Tams-Witmark Music Library brought this timeless work to music halls across the globe, offering a comedic and romantic view of Stock and amateur productions in all other territories: mid-century America that never fails to bring about the Boosey & Hawkes MP Ltd. nostalgia of past generations. Boosey & Hawkes is sole agent for concert (non-dramatic) performances worldwide. LEONARD BERNSTEIN AT 100 28 29 LEONARD BERNSTEIN AT 100

Trouble in Tahiti Trouble in Tahiti Trouble in Tahiti / A Quiet Place (1951) 40 min (arr. 2009) 40 min Reduced orchestration by Garth Edwin Sunderland Text Libretto by the composer; German version by Paul Esterházy (E,G) Scoring 1.1.1.1-1.1.1.0-perc(1, opt. 2)-pft-strings:(1.1.1.1.1) Bernstein’s Trouble in Tahiti and A Quiet Place have served as the composer’s only forays into the bona fide operatic tradition. Running approximately 40 minutes in one act, Trouble in Tahiti, premiered in 1952, is a Scoring M,BBar,Jazz trio (S or M,hT,hBar) World Premiere July 7, 2009 2(II=picc).2.corA.2.bcl.2(II=dbn)-2.2.2.1-timp.perc - Bayerische Staatsoper, Munich, Germany commentary on American society that follows a couple from the suburbs struggling in commitment and harp-strings(1.1.1.1.1) communication. A Quiet Place, first premiered in 1983, continues the story of the family first presented in Beth Clayton / Rodney Gilfry / Angela Brower / Trouble in Tahiti, acting as a sequel. A revision of A Quiet Place in 1984 incorporated Trouble in Tahiti into the World Premiere June 12, 1952 Jeffrey Behrens / Todd Boyce / Schorsch Kamerun, second act as flashbacks. Brandeis University, Waltham, MA, United States director / Mahler Chamber Orchestra / Kent Nagano Nell Tangeman / David Atkinson / Constance Brigham / Robert Kole / Claude Heater / A Quiet Place A Quiet Place Trouble in Tahiti Elliot Silverstein, director / Leonard Bernstein (arr. 1999) 40 min (1983, rev. 1984) 150 min (arr. 2013) 100 min Reduced ensemble orchestration by Bernard Yannotta This version incorporates Trouble in Tahiti. This version does not incorporate Trouble in Tahiti. * This opera has also been incorporated into A Quiet Place. Scoring fl-cl-tpt-trbn-perc(1 or 2)-pft-db Text Stephen Wadsworth and Adapted libretto and reduced orchestration Leonard Bernstein (E) by Garth Edwin Sunderland

Scoring Major roles: S.M.T.Bar.2BBar; Scoring Major roles: S.T.Bar.B; Minor roles: M.A.2T.Bar.B; Minor roles: 2M.2T.Bar.B.jazz trio (S or M.hT.hBar); Vocal Quartet(SATB); 1(=picc.afl).1(=corA).3(I=Ebcl,III=bcl). Chorus (in pit)3(II=afl,III=picc).2.corA.3(III=Ebcl).bcl.2.dbn- 1(=dbn)-2.1.1.0-perc(2)-pft(=cel)-strings:(min.1.1.1.1.1 or 4.3.3.1-timp.perc(3-4)-elec.bass-pft(=synth)-harp-strings max.4.3.3.3.1)

World Premiere June 19, 1984 (revised version) La Scala, Milan, Italy Stephen Wadsworth, director / John Mauceri, conductor LEONARD BERNSTEIN AT 100 30 31 LEONARD BERNSTEIN AT 100

West Side Story

The gem of Broadway musicals, West Side Story’s commentary on love and prejudice is relevant to any time and place. This groundbreaking collaboration among Bernstein, Jerome Robbins (conception and choreography), Arthur Laurents (book), and Stephen Sondheim (lyrics) captured the fiber of American society through its best and worst characteristics. West Side Story first appeared on Broadway in 1957 and garnered outstanding reviews. The 1961 soundtrack to the feature film version continues to hold the record for number of weeks at No. 1 on Billboard’s chart (54).

West Side Story exists in a number of arrangements suitable for concert performance. The Symphonic Dances from West Side Story is among the most performed orchestral works of the 20th century, and is consistently seen on programs worldwide.

West Side Story Boosey & Hawkes is sole agent for concert performances (1957) 80 min (music, not counting book) of individual numbers worldwide. For all other productions of the complete work, please contact Music Theatre Text Book by Arthur Laurents; Lyrics by Stephen International. For West Side Story Film with Live Orchestra, Sondheim (E) please contact IMG Artists, Inc. Scoring Roles: Jets: 10 male, 6 female; Sharks: 10 male, For derivative works from West Side Story, please see 6 female; 4 adults (non-singing); Reed I(=picc,fl,asax,cl). other works categories. Reed II(=Ebcl,cl).Reed III(=bcl,tsax,cl,ob,corA).Reed IV(=cl,fl.picc,bsax).Reed V(bn)- 2.3.2.0-perc -gtr-pft- bass-strings

Broadway Opening December 26, 1957 Winter Garden Theatre, New York, NY, United States Jerome Robbins, choreographer and director / Max Goberman, conductor LEONARD BERNSTEIN AT 100 32 33 LEONARD BERNSTEIN AT 100

Wonderful Town (Concert Version) Wonderful Town (1953) 66 min (music, not counting narration) Text Book by Joseph Fields and Jerome Chodorov; Lyrics by Betty Comden and Adolph Green (E) A musical that first saw performances in 1953, Wonderful Town was a collaboration between Joseph Fields and Jerome Chodorov (book), Betty Comden and Adolph Green (lyrics), and Leonard Bernstein (music). A lighthearted Scoring Major roles: 4 men, 2 women; Minor roles: 15 men look at two small-town sisters determined to make it in New York City, the musical won a Tony Award for Best (with doubling), 3 women; Chorus; Dancers Reed I(=fl,Ebcl,Bbcl,asax).Reed II(=Bbcl,bcl,asax,barsax). Musical for the 1952–53 season, as well as separate Tonys for the music and book. Reed III(=ob,corA,Bbcl,tsax).Reed IV(picc,fl,Bbcl,tsax). The first productions of Wonderful Town were wildly successful in Boston and Philadelphia, breaking box office Reed V(Bbcl,asax,bsax,bn)-0.4.3.0-traps.perc(1)- records, and advance sales had skyrocketed a month prior to the New York City performances. Wonderful Town pft(=cel(opt))-strings would end up being the last collaboration between Bernstein, Comden, and Green, and as Bernstein biographer A spoken narration is available for concert performances. Humphrey Burton puts it, “the final fruit of a brief but glorious Broadway partnership.”

Wonderful Town (Theatrical Version) Production Rights (1953) 66 min (music, not counting book) First class production: The Leonard Bernstein Office

Text Book by Joseph Fields and Jerome Chodorov; Lyrics Stock and amateur productions in US & Canada: by Betty Comden and Adolph Green (E) Tams-Witmark Music Library

Scoring Major roles: 4 men, 2 women; Minor roles: 15 men Stock and amateur productions in all other territories: (with doubling), 3 women; Chorus; Dancers Boosey & Hawkes MP Ltd.

Reed I(=fl,Ebcl,Bbcl,asax).Reed II(=Bbcl,bcl,asax,barsax). Boosey & Hawkes is sole agent for concert (non-dramatic) Reed III(=ob,corA,Bbcl,tsax).Reed IV(picc,fl,Bbcl,tsax). performances worldwide. Reed V(Bbcl,asax,bsax,bn)-0.4.3.0-traps.perc(1)- pft(=cel(opt))-strings

Broadway Opening January 19, 1953 February 26, 1953; Winter Garden Theatre, New York, NY, United States; George Abbott, director / Lehman Engel, conductor LEONARD BERNSTEIN AT 100 34 35 LEONARD BERNSTEIN AT 100

The Lark for French and Latin chorus Peter Pan The Lark and Incidental Music to the play by Jean Anouilh Songs, choruses, and incidental music (1955) 11 min for the play by J. M. Barrie for unaccompanied mixed choir or septet of solo voices (1950) 55 min (SSMTTBB) and percussion ad libitum Peter Pan Text Leonard Bernstein (E) Text Medieval French folk songs (French choruses); Scoring Main roles: 3S.Bar.TTBB chorus Roman Mass (Latin choruses) On a few occasions, Bernstein composed incidental 1(=picc).1.3(1=Ebcl,bcl).1-1.0.0.0-perc(2)-kybd(pft/ music for stories that had not originally featured Broadway Opening November 17, 1955 cel)-strings musical components. One was a 1950 musical reimagin- Longacre Theatre, New York, NY, United States Staged version must be licensed with the play from ing of J. M. Barrie’s Peter Pan. Having only been Joseph Anthony, director / New York Pro Musica Antiqua / Samuel French (original Barrie) or Dramatists Play Noah Greenberg commissioned to write dance and mood music to Services (Caird adaptation) accompany the play, Bernstein could not hold back World Premiere April 24, 1950 from writing a few numbers and choruses. Peter Pan Imperial Theatre, New York, NY, United States ended up a success, with the New York Times com- John Burrell and Wendy Toye, directors / menting on its “melodic, colorful and dramatic score Ben Steinberg, conductor that is not afraid to be simple in spirit.”

Jean Anouilh’s 1952 play, The Lark, is based on the trial Peter Pan and execution of Joan of Arc. An English adaptation Concert staging adapted by Nina Bernstein from was made by Lillian Hellman, and Bernstein composed the novel Peter and Wendy by J. M. Barrie incidental music for the accompaniment. The music (1950) 65 min now exists in an arrangement for mixed choir or a Text Leonard Bernstein; narration adapted by septet of solo voices. Nina Bernstein (E)

Scoring Main roles: 3S.Bar; TTBB chorus 1(=picc).1.3(1=Ebcl,bcl).1-1.0.0.0-perc(2)-kybd(pft/ cel)-strings LEONARD BERNSTEIN AT 100 36 37 LEONARD BERNSTEIN AT 100

Ballet Facsimile: Choreographic Essay for Orchestra Overture to On the Town Suite No. 2 from Dybbuk A Musical Toast (1946) 19 min (1944) 6 min (1974) 16 min (1980) 2 min for orchestra for orchestra Scoring 2(II=picc).2.2(=Ebcl).2-4.2.crt.2.1-timp. for orchestra For more information about choreographing works by perc(2)-pft(concertante)-strings Scoring 1.1.2.bcl.0-2.3.3.0-perc-pft-strings Scoring Bar, B soloists Scoring 2.2picc.2.corA.2.Ebcl.bcl.2.dbn-4.3.3.1-timp. Leonard Bernstein, including orchestral and chamber 2.picc.2.corA.2.Ebcl.bcl.2.dbn-4.3.3.1-timp.perc(3)-harp- perc(5) -harp-pft-organ(optional)-elec.guitar(optional)- works, please visit www.boosey.com/licensing. Ballets are World Premiere March 5, 1947 pft/cel-strings strings available to be performed in concert. Vassar College, Poughkeepsie, NY, United States Three Dance Episodes from On the Town Rochester Philharmonic Orchestra / Leonard Bernstein (1945) 10 min World Premiere April 17, 1975 World Premiere October 11, 1980 Dybbuk for orchestra Avery Fisher Hall, New York, NY, United States Avery Fisher Hall, New York, NY, United States (1974) ca. 48 min Scoring 1(=picc).1(=corA).3(I=Eb,II=asax,III=bcl).0-2.3.3.0- New York Philharmonic / Leonard Bernstein New York Philharmonic / Zubin Mehta choreography by Jerome Robbins timp.perc(2)-pft-strings Three Dance Variations from Fancy Free Text Bible (various); Liturgy: Havdalah, Kaddish (H) Full Orchestra The movements “The Great Lover Displays Himself”, Symphonic Suite from On the Waterfront (1944) 7 min (1955) 22 min Scoring Bar, B soloists “Lonely Town: Pas de Deux”, and “Times Square: 1944” for orchestra for orchestra 2.picc.2.corA.2.Ebcl.bcl.2.dbn-4.3.3.1-timp.perc(3)-harp- can be performed separately. Candide Suite Scoring 2(II=picc).2.2.2-4.3.3.1-timp.perc(2-3)-pft-strings Scoring 2.picc.2.2.Ebcl.bcl.asax.2.dbn-4.3.3.1-timp(2). pft/cel-strings World Premiere February 3, 1946 (arr. 1998) 18 min perc(3-4)-harp-pft-strings World Premiere August 16, 1974 Civic Auditorium, San Francisco, CA, United States arranged for orchestra by Charlie Harmon Suite from 1600 Pennsylvania Avenue Auckland, New Zealand San Francisco Symphony / Leonard Bernstein World Premiere August 11, 1955 (arr. 2003) 18 min New York Philharmonic / Leonard Bernstein Scoring 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp. Tanglewood Music Festival, Boston, MA, United States arranged for orchestra by Charlie Harmon perc(3/4)-harp-strings Orchestral Suite from A Quiet Place Boston Symphony Orchestra / Leonard Bernstein *Only the original choreography by Jerome Robbins is (arr. 1991) 25 min Scoring 2(II=picc).2.2(II=bcl).2-2.2.2.1-timp.perc(3)- permitted for performance. World Premiere January 14, 1999 For On the Waterfront Film with Live Orchestra, please Ordway Theatre, St. Paul, MN, United States arranged for orchestra by Sid Ramin and Michael Tilson harmonium-strings contact Boosey & Hawkes. Thomas with assistance of Michael Barrett Fancy Free Minnesota Orchestra / Eiji Oue World Premiere April 25, 2003 (1944) 27 min Scoring 3(II=afl,III=picc).2.corA.3(III=Ebcl).bcl. New York, NY, United States Slava! A Political Overture choreography by Jerome Robbins Overture to Candide (Concert Version) asax.2.dbn-4.3.3.1-timp.perc(5-6)-elec.keyboard-harp- New York Pops / Charles Prince (1977) 4 min (1956) 4 min strings for orchestra Scoring 2(II=picc).2.2.2-4.3.3.1-timp.perc(2-3)-pft-strings Scoring 2.picc.2.2.Ebcl.bcl.2.dbn-4.2.3.1-timp.perc(2)- World Premiere September 19, 1991 Divertimento Scoring 2.picc.2.corA.2.Ebcl.bcl. World Premiere April 18, 1944 harp-strings Barbican Centre, London, United Kingdom (1980) 14 min ssax.2.dbn-4.3.3.1-perc(4-5)-elec.guitar-pft-strings Metropolitan Opera House, New York, NY, United States London Symphony Orchestra / Michael Tilson Thomas for orchestra Ballet Theatre Orchestra / Leonard Bernstein World Premiere January 26, 1957 *This work requires additional technological components Carnegie Hall, New York, NY, United States Scoring 3(III=picc).picc.2.corA.2.Ebcl. *Only the original choreography by Jerome Robbins is and/or amplification. New York Philharmonic / Leonard Bernstein Symphonic Dances from West Side Story bcl.2.dbn-4.3.3.1(=baritone euph)-timp.perc(5)-harp-pft- permitted for performance. World Premiere October 11, 1977 (1960) 23 min strings John F. Kennedy Center for the Performing Arts, for orchestra Two Meditations from Mass World Premiere September 25, 1980 Washington, DC, United States (1971) 8 min Scoring 2.picc.2.corA.Ebcl.asax.2.bcl.2.dbn-4.3.3.1-timp. Symphony Hall, Boston, MA, United States National Symphony Orchestra / Mstislav Rostropovich for orchestra perc(4)-harp-pft-strings Boston Symphony Orchestra / Seiji Ozawa

Scoring Perc(2)-organ-harp-pft-strings World Premiere February 13, 1961 Carnegie Hall, New York, NY, United States New York Philharmonic / Lukas Foss LEONARD BERNSTEIN AT 100 38 39 LEONARD BERNSTEIN AT 100

Solo Instrument(s) Prelude, Fugue and Riffs Sonata for Clarinet and Orchestra & Orchestra (1949) 9 min (1941–42; arr. 1994) 11 min for solo clarinet and jazz ensemble arranged for clarinet and orchestra by Sid Ramin

Scoring Jazz Ensemble:2asax(I=cl).2tsax.barsax- Scoring Solo clarinet-timp.perc-pft-strings 5tpt.4trbn-pft-perc(2)-solo db Three Meditations from Mass World Premiere July 23, 1994 (1977) 15 min World Premiere October 16, 1955 Sapporo, Japan for cello and orchestra Omnibus: The World of Jazz, New York, NY, United States Richard Stoltzman, clarinet / Pacific Music Festival Scoring solo cello-organ-pft-harp-perc(3)-strings Benny Goodman, clarinet / ABC-TV Studio Band / Orchestra / Michael Tilson Thomas Leonard Bernstein World Premiere October 11, 1977 John F. Kennedy Center of Performing Arts, Washington, Prelude, Fugue and Riffs DC, United States (arr. 1997) 9 min Mstislav Rostropovich, cello / National Symphony arranged for clarinet and orchestra by Lukas Foss Orchestra / Leonard Bernstein Scoring 0.0.1.0-2.3.4.0-perc(3)-pft-strings Symphony No. 2: The Age of Anxiety (optional: tuba may double trbn 4) (1949) 36 min World Premiere November 4, 1997 for piano and orchestra Jerusalem, Israel Scoring Piano solo-2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp. Richard Stoltzman, clarinet / Jerusalem Symphony perc(4)-cel-2harps(II ad lib)-pianino-strings Orchestra / Lukas Foss

World Premiere April 8, 1949 Serenade (after Plato’s Symposium) Symphony Hall, Boston, MA, United States (1954) 30 min Leonard Bernstein, piano / Boston Symphony Orchestra / for solo violin, harp, percussion, and strings Serge Koussevitzky Scoring harp-timp.perc(5)-strings

Halil: Nocturne World Premiere September 9, 1954 (1981) 16 min Teatro La Fenice, Venice, Italy for flute and small orchestra Isaac Stern, violin / Israel Philharmonic Orchestra / Scoring Flute solo-picc.afl-timp.perc(5)-harp-strings Leonard Bernstein

World Premiere May 27, 1981 Sultan’s Pool, Jerusalem, Israel Jean-Pierre Rampal, flute / Israel Philharmonic Orchestra / Leonard Bernstein LEONARD BERNSTEIN AT 100 40 41 LEONARD BERNSTEIN AT 100

Voice(s) & Orchestra Suite No. 1 from Dybbuk Opening Prayer from Concerto for Orchestra Arias and Barcarolles So Pretty Concert Suite No. 1 from West Side Story (1974) 31 min (1986) 6 min (1988) 31 min (1968, arr. 1995) 2 min (arr. 1992) 20 min for tenor, bass-baritone, and orchestra for baritone and orchestra for mezzo-soprano, baritone, strings, and percussion for voice and orchestra for soprano, tenor, and orchestra orchestrated with the assistance of Bright Sheng orchestrated by Sid Ramin Symphony No. 1: Jeremiah Text Bible (various); Liturgy: Havdalah, Kaddish (H) Text Three-Fold Benediction from the Bible, Numbers Concert Suite No. 1 contains arrangements of the 6:24–26 (H) Scoring perc(2)-strings Text Betty Comden and Adolph Green (E) following numbers: “Maria”, “One Hand, One Heart”, (1942) 24 min Scoring Bar, B soloists “Somewhere”, “Balcony Scene”. for mezzo-soprano and orchestra 2.picc.2.corA.2.Ebcl.bcl.2.dbn.-4.3.3.1-timp.perc(3)-harp- Scoring Baritone solo-2.2.corA.2.bcl.2.dbn-4.3.3.1- World Premiere September 22, 1989 Scoring 1.0.CorA.1.1-0.0.0.0-harp-strings Text Lamentations (H) pft/cel-strings harp-strings Tilles Center for the Performing Arts, Long Island Scoring 2.1(=corA).3(III=bcl).1-2.3.2.0-timp.perc(2)-elec. University, NY, United States Songfest guitar-pft(=cel)-strings(vln,vlc,db) Scoring mezzo-soprano-2.picc.2.corA.2.Ebcl.bcl(or World Premiere April 3, 1975 World Premiere December 15, 1986 Susan Graham, mezzo-soprano / Kurt Ollmann, baritone / (1977) 41 min Ebcl=bcl).2.dbn-4.3.3.1-timp.perc(3 -4)-pft-strings Avery Fisher Hall, New York, NY, United States Carnegie Hall, New York, NY, United States New York Chamber Symphony / Gerard Schwartz Paul Sperry, tenor / Bruce Fifer, bass-baritone / New York Kurt Ollmann, baritone / New York Philharmonic / for soprano, mezzo-soprano, alto, tenor, baritone, bass, Concert Suite No. 2 from West Side Story World Premiere January 28, 1944 Philharmonic / Leonard Bernstein Leonard Bernstein and orchestra (arr. 1992) 15 min Syria Mosque, Pittsburgh, PA, United States Arias and Barcarolles for soloists (S,3M,T,2Bar), chorus, and orchestra Performance note: This work is the same as Benediction Text Various (E,S) Jennie Tourel, mezzo-soprano / Pittsburgh Symphony (arr. 1993) 31 min Concerto for Orchestra (“Jubilee Games”) from Concerto for Orchestra. This work should be referred Concert Suite No. 2 contains arrangements of the Orchestra / Leonard Bernstein for mezzo-soprano, baritone, and chamber orchestra Scoring Full version: 3(III=picc).2.corA.2.Ebcl. (1986–89) 30 min to as Opening Prayer when it is played as a concert following numbers: “I Feel Pretty”, “Jet Song”, arranged for chamber orchestra by Bruce Coughlin bcl.2.dbn-4.3.3.1-timp.perc(4-5)-harp-pft(=cel,elec. Lamentation for mezzo-soprano and orchestra is also for baritone and orchestra “America”, “Tonight Quintet”. opener. When this work closes a concert, it should be pft)-fender bass-strings available separately. Scoring 1(=picc).1(=corA).1(=Ebcl,asax).1-2.1.0.0-perc(2)- Text Three-Fold Benediction from the Bible, Numbers referred to as Benediction. Scoring Full version: 3(=picc).1.4(II=Ebcl,III=bcl,IV=asax). strings(8.8.6.6.3 or 1.1.1.1.1) World Premiere October 11, 1977 6:24–26 (H) tsax.ssax(=bsax).1-2.3.2.0-timp.perc(4)-spanish The Story of My Life John F. Kennedy Center for the Performing Arts, Afterthought: Study for the Ballet Facsimile World Premiere September 26, 1993 guitar(=elec.guitar)-pft(=cel)-strings(vln,vlc,db) (1952) ca. 4 min Scoring 3(III=picc).afl.2.corA.2.asax.Ebcl. Washington, DC, United States (1945) 4 min Barbican Centre, London, United Kingdom orchestrated for voice and orchestra by Glen Daum bcl.2.2.cbssn-4.3.3.1-timp.perc(4-5)-pft--live baritone or Clamma Dale, soprano / Rosalind Elias, mezzo-soprano / Alternate (reduced) wind version: 3(I,II,III=picc).1.3(I=Ebcl, for voice and orchestra Frederica von Stade, mezzo-soprano / Thomas Hampson, pre-recorded tape-harp-mandolin-strings Nancy Williams, mezzo-soprano / Neil Rosenshein, tenor / III=bcll).asax(optional).2-2.3.2.0-timp.perc(4)-spanish Text Betty Comden and Adolph Green (E) baritone / London Symphony Orchestra / Michael Tilson Text Leonard Bernstein (E) John Reardon, bass / Donald Gramm, bass-baritone / guitar(=elec.guitar)-pft(=cel)-strings(vln,vlc,db) World Premiere April 24, 1989 (final version) Thomas Scoring 2.1.1.bcl.1-2.0.3.0-timp.perc(2)-piano-strings National Symphony Orchestra / Leonard Bernstein Fredric R. Mann Auditorium, Tel Aviv, Israel Scoring 2.2.2.2-4.1.0.0-timp-harp-strings Performance Notes: The two Concert Suites cannot be José Eduardo Chama, baritone / Israel Philharmonic performed together. For orchestral concerts, an World Premiere October 24, 1948 Silhouette (Galilee) A Simple Song from Mass Orchestra / Leonard Bernstein Songfest instrumental number from West Side Story, such as New York, NY, United States (1951, orch. 1995) 2 min (1971) 5 min (arr. 1996) 41 min Symphonic Dances, can be played alongside with: either The original version of this work, “Jubilee Games”, Nell Tangeman, soprano / Robert Cornman, piano for voice and orchestra for vocal soloist and orchestra for soprano, mezzo-soprano, alto, tenor, baritone, bass, a) up to three individual songs from West Side Story, or b) consisting of movements I and III of the final version, was orchestrated by Sid Ramin and chamber ensemble one of the Concert Suites from West Side Story, plus up to Text Liturgy of the Roman mass (L); Additional texts by premiered by Leonard Bernstein and the Israel Text Leonard Bernstein, incorporating an arranged for chamber ensemble by Charlie Harmon, two individual songs in a single concert. Stephen Schwartz and Leonard Bernstein (E) Philharmonic Orchestra on September 13, 1986 at Avery Arabic folk song (E) Sid Ramin, and George Steel Scoring Full version: fl(off- and onstage)-perc:cyms/SD/ Fisher Hall, New York, NY. BD(traps)/vib-Celebrant’s guitar(acoustic)-2elec.gtr-elec. Scoring 2.0.1.1-perc(2)-harp-strings Text Various (E,S) bass gtr-harp-big Allen org-little Allen org-strings Scoring Reduced version: 2(II+picc).2(II=cora).2(I+Ebcl,II+ Chamber version: fl(off- and onstage)-perc:cyms/SD/ bcl).2-2.2.2.0-timp.perc(2)-pft-strings BD(traps)/vib-Celebrant’s guitar(acoustic)-2elec.gtr-elec. bass gtr-harp-org-solo vln-string quintet(optional) LEONARD BERNSTEIN AT 100 42 43 LEONARD BERNSTEIN AT 100

Voice(s) & Orchestra continued Ensemble & Chamber Fanfare (for the Inauguration of John F. Kennedy) Piano Trio without Voice(s) (1961) 1 min (1937) ca. 17 min Bernstein’s Blues for ensemble for violin, cello, and piano (arr. 2003) 14 min Scoring 1.picc(both fl ad lib).2.2.0-3.4.4.0-timp.perc(3) World Premiere Harvard University, Cambridge, MA, A suite of four songs arranged for voice and orchestra by Shivaree (orch. Sid Ramin) United States Sid Ramin Madison Trio (1969) 3 min World Premiere January 19, 1961 Scoring 2.2.2.2.asax.tsax.barisax-2.2.2.1-timp-perc(trap for double brass ensemble and percussion John F. Kennedy Inauguration Gala set)-gtr-pft-strings Variations on an Octatonic Scale Scoring Ensemble I: 4hn.3tpt.2trbn-perc(2) Washington, DC, United States (1989) 6 min Ensemble II: 2hn.1tpt.1trbn.tuba-perc(2) Nelson Riddle & Leonard Bernstein, conductors “Take Care of This House” from 1600 for recorder and cello * Shivaree is used as part of “Kyrie” in Mass. Pennsylvania Avenue Brass Music (Complete) World Premiere July 2, 1997 (1976) 4 min (1948) 8 minutes St. Catherine’s Church, Port Erin, Isle of Man for solo voice and orchestra Presto Barbaro from On the Waterfront for various instruments John Turner, recorder / Jonathan Price, cello (arr. 1965) 3 min Text Alan Jay Lerner (E) transcribed for brass, percussion, and piano (optional) by World Premiere April 8, 1959 Scoring 1.1.2.bcl.1-2.2.2.1-perc(2):timp/xyl/bells-harp- Frank Erickson Carnegie Hall, New York, NY Members of the New York Philharmonic guitar-pft-strings Ensemble & Chamber World Premiere January 19, 1977 Halil: Nocturne Brass Music for various instruments (includes Rondo for with Voice(s) Washington, DC, United States (1987) 16 min Lifey, Elegy for Mippy I, Elegy for Mippy II, Waltz for Mippy (Inaugural concert for President Jimmy Carter) for flute, piano, and percussion III and Fanfare for Bima) Frederica von Stade, soprano / National Symphony Piccola Serenata Orchestra / Leonard Bernstein Fanfare (for the 25th Anniversary of the High School Brass Music: Fanfare for Bima (1979, arr. 2001) 1 min of Music and Art, New York City) (1948) ca. 1 min arranged for voice and chamber ensemble by Sid Ramin Ain’t Got No Tears Left (1961) 1 min for brass quartet (trumpet, horn, trombone, and tuba or 3 min for brass and percussion bass trombone) Text Leonard Bernstein (E) for voice and orchestra Scoring 3.4.3.1-timp.perc(3):BD/SD/cyms Scoring 2.0.2(=bcl).0-perc:glsp/sm.tgl-harp-strings orchestrated by Bruce Coughlin Dance Suite World Premiere March 24, 1961 (1990) ca. 6 min Two Love Songs Text Leonard Bernstein (E) Students of High School of Music and Art / for brass quintet (arr. 1995) 5 min Scoring 1.corA.1.asax.bcl-2.3.3.0-perc(1)-pft-strings Alexander Richter World Premiere January 14, 1990 orchestrated for voice, flutes, clarinets, percussion, harp, Metropolitan Opera House, New York, NY, United States and strings by Sid Ramin American Ballet Theatre / Empire Brass Scoring 2.0.2.0-0.0.0.0-perc(2)-harp-strings LEONARD BERNSTEIN AT 100 44 45 LEONARD BERNSTEIN AT 100

Chorus & Orchestra A White House Cantata Olympic Hymn (1997) 90 min (1981) 6 min Scenes from 1600 Pennsylvania Avenue in Concert for chorus and orchestra for solo voices, chorus, and orchestra Celebrations from Mass Text Guenter Kunert (G), based on “Proud” from (1999) 25 min Text Book and lyrics by Alan Jay Lerner (E) 1600 Pennsylvania Avenue for baritone, boy soprano, mixed chorus, children’s chorus, Scoring Major roles: S.M.T.B.Bar; Chorus (SATB); Scoring 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(5)-pft- and orchestra 3(II,III=picc).1.3(II=dbcl,ssax).1-2.2.2.1-perc(2)-harp- strings gtr(=elec.gtr)-banjo-pft(=synth)-strings Text Liturgy of the Roman Mass (L); Additional texts by World Premiere September 23, 1981 Stephen Schwartz and Leonard Bernstein (E) World Premiere July 8, 1997 Baden-Baden, Germany Scoring 2(I,II=picc).2(II=corA).3(II=Ebcl,III=bcl).2-4.4.3.1- Barbican Centre, London, United Kingdom Youth Choir with the Südwestfunk Orchestra / timp.perc(6-8)-pedal org-elec.gtr(=acoustic gtr)-bass Nancy Gustafson / Dietrich Henschel / Jacqueline Miura / David Shallon gtr- harp-strings Thomas Young / London Voices / London Symphony Orchestra / Kent Nagano Reenah Symphony No. 3: Kaddish (1947) 2 min (1963, rev. 1977) 40 min Chichester Psalms for wordless chorus (optional) and chamber orchestra (1965) 19 min for orchestra, mixed chorus, boys’ choir, speaker, and Scoring 2(I=picc).0.2.0-0.1.1.0-perc-harp-strings soprano solo for mixed choir (or male choir), boy solo, and orchestra

Text Kaddish-Prayer (H) and speaker’s text by the Text from Psalms 108,100,23,2,131,133 (H) composer (E) Scoring Full version: 3tpt.3trbn-timp.perc(5)-2harp- Scoring Speaker; Soprano Solo; Boys’ Choir; 4(III=afl,IV=p strings icc).2.corA.2.Ebcl.bcl.asax.2.dbn-4.4(IV=Dtpt).3.1-timp. Chamber version: organ-perc -harp perc(4)-harp-cel-pft-strings World Premiere July 15, 1965 (with mixed chorus) / World Premiere December 10, 1963 July 31, 1965 (with male chorus) Fredric R. Mann Auditorium, Tel Aviv, Israel Mixed chorus: Philharmonic Hall, New York, NY, Hannah Rovina, speaker / Jennie Tourel, soprano / Israel United States Philharmonic Orchestra / Leonard Bernstein John Bogart, boy alto / The Camerata Singers / New York Philharmonic / Leonard Bernstein

Male chorus: Chichester Cathedral, Chichester, United Kingdom Cathedral Chorus & Orchestra LEONARD BERNSTEIN AT 100 46 47 LEONARD BERNSTEIN AT 100

Piano(s) Touches Band Songs in a Theatrical Style (1981) 9 min for piano “Another Love” (Date Unknown) Symphonic Dances from West Side Story World Premiere May 28, 1981 Divertimento “I Know a Fellow” (1940s) (arr. 1998) 23 min Fort Worth, TX, United States for wind band (arr. Clare Grundman) arranged for two pianos by John Musto Contestants of the Sixth Van Cliburn International Piano “In Our Time” (1940s) Competition Symphonic Dances from West Side Story “It’s Gotta be Bad to be Good” (1940s) Seven Anniversaries for symphonic band (arr. Paul Lavender) “Screwed on Wrong” (1980) (1943) 11 min Four Sabras for piano (ca. 1950s) 6 min A Musical Toast for symphonic band (arr. Clare Grundman) Music for Two Pianos Four Anniversaries Songs Written for Shows (1948) 6 min (1937) 6 min Symphonic Suite from On the Waterfront for piano World Premiere June 12, 1938 for symphonic band (arr. Guy Duker) Brookline, MA, United States “My New Friends” from The Madwoman of Central Park Five Anniversaries Leonard Bernstein & Mildred Spiegel, pianos Symphonic Suite from On the Waterfront West (1979) (1949–51) 7 min for symphonic band (trans. Jay Bocook) “Up, Up, Up” from The Madwoman of Central Park West for piano Piano Sonata (1979) (1938) 15 min Slava! A Political Overture “Ain’t Got No Tears Left” cut from On the Town (1940s) Thirteen Anniversaries World Premiere 1938 for symphonic band (arr. Clare Grundman) (1988) 23 min “Lonely Me” cut from On the Town (1940s) Boston, MA, United States for piano Leonard Bernstein, piano Suite from Mass “Say When” cut from On the Town (1940s) for brass quintet and concert band (arr. Mike Sweeney) “Spring Will Come Again” from The Skin of Our Teeth Bridal Suite (1964 – never produced) (1960) 10 min Profanation from Symphony No. 1: Jeremiah for piano four-hands for symphonic band (trans. Frank Bencriscutto) “Like Everybody Else” cut from West Side Story (1957) “The Story of My Life” cut from Wonderful Town (1952)

Three Dance Episodes from On the Town for symphonic band (arr. Paul Lavender)

LEONARD BERNSTEIN AT 100 48 49 LEONARD BERNSTEIN AT 100

Vocal Two Love Songs Choral “if you can’t eat you got to” from Songfest Instrumental Brass Music: Elegy for Mippy II for voice and piano (1973, rev. 1977) 2 min (1948) 2 min I. Extinguish My Eyes for tenor solo, men’s voices, and optional string bass and for trombone solo II. When My Soul Touches Yours percussion Arias and Barcarolles Missa Brevis Sonata for Clarinet Brass Music: Waltz for Mippy III (1988) 31 min (1988) ca. 10 min Text E. E. Cummings (E) (1942) 10 min Afterthought: Study for the Ballet Facsimile (1948) ca. 2 min original version for four singers and piano four-hands for a cappella mixed chorus (or octet of solo voices) and World Premiere 1973 (1954) 4 min World Premiere April 21, 1942 for tuba and piano countertenor solo with incidental percussion Text Leonard Bernstein, Jennie Bernstein, Yankev- for voice and piano Harvard University, Cambridge, MA, United States Institute of Modern Art, Boston, MA, United States The Krokodillos Yitskhok Segal (E,Yid) Text Based on the Latin Choruses and “Spring Song” David Glazer, clarinet / Leonard Bernstein, piano Three Meditations from Mass from The Lark (1955) World Premiere May 9, 1988, Equitable Center La Bonne Cuisine (1971) 16 min The Lark (Incidental Music from the Play) Auditorium, New York, NY, United States (1947) 4 min World Premiere April 21, 1988 Sonata for Violin for cello and piano (1955) 11 min Louise Edeiken, Joyce Castle, John Brandstetter, and four “recipes” for voice and piano Atlanta, GA, United States (1940) ca. 16 min for SATB chorus with countertenor solo or septet of solo World Premiere (first two Meditations) Mordechai Kaston, singers / Leonard Bernstein and Atlanta Symphony Orchestra & Chorus / Robert Shaw World Premiere 1940 voices a cappella (with ad lib percussion) March 28, 1972 Michael Tilson Thomas, piano I Hate Music! Cambridge, MA, United States Institute of International Education, (1943) 7 min Text French choruses based on Medieval folk songs; Canon in Five Parts Raphael Hillyer, violin / Leonard Bernstein, piano New York, NY, United States A Cycle of Five Kid Songs for voice and piano Latin choruses from the Roman Mass My Twelve Tone Melody from Symphony No. 3: Kaddish Stephen Kates, cello / Leonard Bernstein, piano (1988) (1963) 1 min Brass Music: Rondo for Lifey for voice and piano Vayomer Elohim (Let There Be Light) for five-part boy choir with keyboard accompaniment Simchu Na (1948) 2 min (c. 1974) 1 min (1947) ca. 3 min World Premiere December 18, 1979 for trumpet and piano for voice and keyboard for SATB chorus and piano (arr. Bernstein) Piccola Serenata Brick Presbyterian Church, New York, NY, Unites States (1979) 1 min Maala Roos, conductor Original melody and text Matityahu Weiner (H) Brass Music: Elegy for Mippy I for voice and piano Yevarechecha from Opening Prayer (1948) 2 min (1987) ca. 2 min Concert Selections for Soloists Warm-up (Alleluia from Mass) for horn and piano Silhouette (Galilee) transcribed for voice and organ and Choruses from Mass (1970) ca. 2 min (1951) 2 min (ed. 2007) 35 min for mixed chorus for voice and piano edited for soloists, chorus, and ensemble by Doreen Rao Text Leonard Bernstein Scoring 2(II=picc)-pft-organ-elec.gtr-bass gtr-timp. So Pretty World Premiere December 7, 1969 perc(5-6)-strings (1968) 2 min Philharmonic Hall, New York, NY, United States for voice and piano Camerata Singers / Abraham Kaplan Haskiveinu (1945) 6 min Psalm 148 Yigdal for cantor (tenor), SATB chorus and organ (1935) 5 min (1950) ca. 2 min for voice and piano Text Prayer text from Sabbath Evening service (H) for chorus and piano World Premiere May 11, 1945 Text from Sabbath Evening service (H) Park Avenue Synagogue, New York, NY, United States David Putterman, cantor / Max Helfman LEONARD BERNSTEIN AT 100 50 51 LEONARD BERNSTEIN AT 100

Chronological List of Compositions 1957 Harvard Choruses 1971 Mass (including “Two 1981 Halil (withdrawn) Meditations” Moby Diptych West Side Story for orchestra) (withdrawn) 1935 Psalm 148 1948 Rondo for Lifey “Meditation No. 3” from Touches 1958 The Firstborn, Elegy for Mippy I Mass (withdrawn) Olympic Hymn Chronology 1937 Piano Trio incidental Elegy for Mippy II music: “Teusret’s 1972 “Two Meditations” from 1982 A Quiet Place 1938 Piano Sonata Waltz for Mippy III Song” (withdrawn), Mass (cello and piano) (original version, 1939 The Birds Fanfare for Bimba “Israelite Chorus” withdrawn) (incidental music) Four Anniversaries 1973 “if you can’t eat 1960 Symphonic Dances you got to” 1982 Candide 1940 Sonata for Violin 1949 Two Love Songs from West Side Story (New York City and Piano The Age of Anxiety 1974 Dybbuk, ballet; Bridal Suite Opera Version) Four Studies (Symphony No. 2) Suite I and Suite II Prelude, Fugue 1961 Fanfare for the Vayomer Elohim 1984 A Quiet Place (revised 1941 The Peace (incidental and Riff s Inauguration of version) music, withdrawn) 1975 By Bernstein John F. Kennedy 1950 Peter Pan (withdrawn) 1986 Sean Song 1942 Sonata for Clarinet Fanfare for the 25th Yigdal Candide and Piano Anniversary of High 1986-88 Jubilee Games (Chelsea Version) Jeremiah 1951 Five Anniversaries School of Music and (withdrawn) 1976 1600 Pennsylvania Opening Prayer (Symphony No. 1) Silhouette (Galilee) Art, NYC Avenue (withdrawn) 1987 The Race to Urga 1943 Seven Anniversaries 1952 Trouble in Tahiti 1963 Kaddish (Symphony I Hate Music! No. 3; rev. 1970) 1977 “Three Meditations” (songs) (withdrawn) 1953 Wonderful Town from Mass 1944 Fancy Free, ballet and 1964 The Skin of Our Teeth 1988 Candide (Scottish 1954 Serenade (after Plato’s Songfest Three Dance (withdrawn) Opera Version) Symposium) Slava! Variations Missa Brevis On the Waterfront 1965 Chichester Psalms CBS Music (withdrawn) Fancy Free, suite My Twelve-Tone (fi lm score and (withdrawn) 1968 So Pretty 1979 Up! Up! Up! Melody Symphonic Suite) On the Town (including The Exception and the My New Friends Arias and Barcarolles Rule (withdrawn) Piccola Serenata Three Dance 1955 The Lark 1989 Thirteen Anniversaries Tucker (unfi nished Episodes) Get Hep! (withdrawn) 1969 Shivaree Variations on an Salome (incidental songs, withdrawn) 1945 Hashkiveinu The Caucasian Chalk Octatonic Scale music, withdrawn) Afterthought Circle (songs, 1980 Alarums and Flourishes Concerto for 1956 Candide (original withdrawn) (withdrawn) Orchestra, “Jubilee 1946 Fascimile Divertimento Games” version withdrawn) 1970 Warm-Up 1947 La Bonne Cuisine A Musical Toast Dance Suite Simchu Na Reenah LEONARD BERNSTEIN AT 100 52 53 LEONARD BERNSTEIN AT 100

CD Track Listing 5 Prelude, Fugue and Riffs 9 Halil, Nocturne for Solo 13 Facsimile, Choreographic 17 Concerto for Orchestra Riffs (4:32) Flute, String Orchestra and Essay for Orchestra (1:24) (“Jubilee Games”) Vienna Philharmonic Percussion New York Philharmonic / I. Free-Style Events (1:13) 1 Three Dance Episodes Orchestra / Leonard (1:23) Leonard Bernstein Israel Philharmonic Orchestra from On the Town Bernstein Jean-Pierre Rampal / Israel SONY 727988 / Leonard Bernstein III. Times Square: 1944 DG 445486 Philharmonic © 2008 Sony BMG DG 429231 (Allegro) (4:54) © 1994 Deutsche Orchestra / Leonard Masterworks 1991 Deutsche Israel Philharmonic Orchestra Grammophon GmbH Bernstein Grammophon GmbH, 14 Symphony No. 2: / Leonard Bernstein DG 447955 Hamburg 6 Suite from A Quiet Place The Age of Anxiety DG 447955 © 1982 Polydor International Act I: Postlude (5:02) Part I C. The Seven Stages 18 Concerto for Orchestra © 1982 Polydor International GmbH, Hamburg Austrian Radio Symphony (Variations VIII to XIV) (3:42) (“Jubilee Games”) GmbH, Hamburg Orchestra / Leonard 10 Peter Pan Philippe Entremont / New III. Diaspora Dances (1:29) 2 Symphonic Suite from Bernstein Pirate Dance (1:45) York Philharmonic / Leonard Israel Philharmonic Orchestra On the Waterfront DG 419761 Amber Chamber Orchestra / Bernstein / Leonard Bernstein Presto Barbaro (3:43) © 1987 Polydor International Alexander Frey SONY 60558 DG 429231 New York Philharmonic / GmbH, Hamburg KIC-CD-7596 © 1999 Sony Music 1991 Deutsche Leonard Bernstein © 2005 Koch International Entertainment Inc. Grammophon GmbH, 7 Divertimento SMK 47530 Classics Hamburg II. Waltz (2:16) 15 Serenade © 1992 Sony Music Israel Philharmonic Orchestra 11 Peter Pan III. Erixymachus (1:29) 19 29 Anniversaries Entertainment Inc. / / Leonard Bernstein Dream With Me (4:43) Gidon Kremer / Israel For Craig Urquhart (0:53) Sony Classical GmbH DG 447955 Linda Eder / Amber Chamber Philharmonic Orchestra / Alexander Frey 3 Symphony No. 1: © 1982 Polydor International Orchestra / Alexander Frey Leonard Bernstein KIC-CD-7426 Jeremiah GmbH, Hamburg KIC-CD-7596 DG 447957 1999 Koch International I. Prophecy (2:31) © 2005 Koch International 1979 Polydor International Classics 8 Three Meditations New York Philharmonic / Classics GmbH, Hamburg from Mass 20 29 Anniversaries Leonard Bernstein III. Presto—Fast and 12 Chichester Psalms 16 Serenade For Lukas Foss (1:50) SONY 727988 primitive—Molto adagio (1:46) I. Psalm 108 (Verse 2) & IV. Agathon (2:19) Alexander Frey © 2008 Sony BMG Mstislav Rostropovich / Israel Psalm 100 (Complete) (3:36) Gidon Kremer / Israel KIC-CD-7426 Masterworks Philharmonic Orchestra / New York Philharmonic / Philharmonic Orchestra / 1999 Koch International 4 Symphony No. 1: Leonard Bernstein Leonard Bernstein / Leonard Bernstein Classics Jeremiah DG 447955 Camerata Singers DG 447957 II. Profanation (1:07) © 1982 Polydor International SONY 727988 1979 Polydor International New York Philharmonic / GmbH, Hamburg © 2008 Sony BMG GmbH, Hamburg Leonard Bernstein Masterworks SONY 727988 © 2008 Sony BMG Masterworks LEONARD BERNSTEIN AT 100 54