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Bernstein's Trouble in Tahiti By
Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti By: Elizabeth L. Keathley Keathley, Elizabeth. “Postwar Modernity and the Wife's Subjectivity: Bernstein's Trouble in Tahiti,” American Music, Vol. 23 No. 2 (Summer 2005): 220-257. Made available courtesy of University of Illinois Press: http://www.jstor.org/stable/4153033 ***© University of Illinois Press. Reprinted with permission. No further reproduction is authorized without written permission from University of Illinois Press. This version of the document is not the version of record. Figures and/or pictures may be missing from this format of the document. *** Abstract: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against the backdrop of repression that marked the years following World War II: in an era in which a group as mainstream as the League of Women Voters was denounced as a "communist front organization," Trouble in Tahiti's criticisms risked reprisals.[1] Keywords: Musicals | Leonard Bernstein | Trouble in Tahiti | Gender | Feminism | Post World War II era Article: Leonard Bernstein's short opera Trouble in Tahiti (1951-52) is a humorous but scathing satire on postwar consumerism and bourgeois marriage. Such critiques are now so commonplace that it may be difficult to appreciate the opera's political edge unless it is seen against -
This Year Marks Leonard Bernstein's 100Th Birthday, and Some Philly Arts
This year marks Leonard Bernstein’s 100th birthday, and some Philly arts and culture institutions are teaming up to celebrate his centenary with eye- and ear-opening firsts. We know Bernstein best for works such as West Side Story, but his 1951 opera, Trouble in Tahiti, also became an important cultural touchstone. It satirized the outwardly perfect and inwardly tumultuous family life of a suburban couple in 1950s America. But things got darker in the mid-1980s, when Bernstein revisited the same fictional family 30 years later, as a death calls them home, with 1983’s A Quiet Place. Bernstein’s last stage work In 1980, Bernstein teamed with 30-year-old writer Stephen Wadsworth in their joint inspiration for a sequel to Trouble in Tahiti, while they were both grappling with tragic losses in their own lives. The work would combine vernacular speech and music with relatable middle-class woes, performed through a mix of American musical theater and contemporary opera styles that was unusual and polarizing at the time. A Quiet Place premiered in Houston in 1983 as a one-act opera on a double bill with Trouble in Tahiti. Original conductor John Mauceri thought Bernstein and Wadsworth could revisit the two works again. They developed a new version of A Quiet Place that incorporated Trouble in Tahiti, creating one opera with the family’s complete arc, alternating between past and present and becoming a map of a changing U.S. culture from the 1950s to the ’80s. The revised A Quiet Place debuted successfully at La Scala in 1984 and went on to the Kennedy Center before returning to Europe. -
To See the 2018 Tanglewood Schedule
summer 2018 BERNSTEIN CENTENNIAL SUMMER TANGLEWOOD.ORG 1 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS MUSIC DIRECTOR “That place [Tanglewood] is very dear to my heart, that is where I grew up and learned so much...in 1940 when I first played and studied there.” —Leonard Bernstein (November 1989) SEASONHIGHLIGHTS Throughoutthesummerof2018,Tanglewoodcelebratesthecentennialof AlsoleadingBSOconcertswillbeBSOArtisticPartnerThomas Adès(7/22), Lawrence-born,Boston-bredconductor-composerLeonardBernstein’sbirth. BSOAssistantConductorMoritz Gnann(7/13),andguestconductorsHerbert Bernstein’scloserelationshipwiththeBostonSymphonyOrchestraspanned Blomstedt(7/20&21),Charles Dutoit(8/3&8/5),Christoph Eschenbach ahalf-century,fromthetimehebecameaprotégéoflegendaryBSO (8/26),Juanjo Mena(7/27&29),David Newman(7/28),Michael Tilson conductorSergeKoussevitzkyasamemberofthefirstTanglewoodMusic Thomas(8/12),andBramwell Tovey(8/4).SoloistswiththeBSOalsoinclude Centerclassin1940untilthefinalconcertsheeverconducted,withtheBSO pianistsEmanuel Ax(7/20),2018KoussevitzkyArtistKirill Gerstein(8/3),Igor andTanglewoodMusicCenterOrchestraatTanglewoodin1990.Besides Levit(8/12),Paul Lewis(7/13),andGarrick Ohlsson(7/27);BSOprincipalflute concertworksincludinghisChichester Psalms(7/15), alilforfluteand Elizabeth Rowe(7/21);andviolinistsJoshua Bell(8/5),Gil Shaham(7/29),and orchestra(7/21),Songfest(8/4),theSerenade (after Plato’s “Symposium”) Christian Tetzlaff(7/22). (8/18),andtheBSO-commissionedDivertimentoforOrchestra(also8/18), ThomasAdèswillalsodirectTanglewood’s2018FestivalofContemporary -
Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. -
Composition Catalog
1 LEONARD BERNSTEIN AT 100 New York Content & Review Boosey & Hawkes, Inc. Marie Carter Table of Contents 229 West 28th St, 11th Floor Trudy Chan New York, NY 10001 Patrick Gullo 2 A Welcoming USA Steven Lankenau +1 (212) 358-5300 4 Introduction (English) [email protected] Introduction 8 Introduction (Español) www.boosey.com Carol J. Oja 11 Introduction (Deutsch) The Leonard Bernstein Office, Inc. Translations 14 A Leonard Bernstein Timeline 121 West 27th St, Suite 1104 Straker Translations New York, NY 10001 Jens Luckwaldt 16 Orchestras Conducted by Bernstein USA Dr. Kerstin Schüssler-Bach 18 Abbreviations +1 (212) 315-0640 Sebastián Zubieta [email protected] 21 Works www.leonardbernstein.com Art Direction & Design 22 Stage Kristin Spix Design 36 Ballet London Iris A. Brown Design Boosey & Hawkes Music Publishers Limited 36 Full Orchestra Aldwych House Printing & Packaging 38 Solo Instrument(s) & Orchestra 71-91 Aldwych UNIMAC Graphics London, WC2B 4HN 40 Voice(s) & Orchestra UK Cover Photograph 42 Ensemble & Chamber without Voice(s) +44 (20) 7054 7200 Alfred Eisenstaedt [email protected] 43 Ensemble & Chamber with Voice(s) www.boosey.com Special thanks to The Leonard Bernstein 45 Chorus & Orchestra Office, The Craig Urquhart Office, and the Berlin Library of Congress 46 Piano(s) Boosey & Hawkes • Bote & Bock GmbH 46 Band Lützowufer 26 The “g-clef in letter B” logo is a trademark of 47 Songs in a Theatrical Style 10787 Berlin Amberson Holdings LLC. Deutschland 47 Songs Written for Shows +49 (30) 2500 13-0 2015 & © Boosey & Hawkes, Inc. 48 Vocal [email protected] www.boosey.de 48 Choral 49 Instrumental 50 Chronological List of Compositions 52 CD Track Listing LEONARD BERNSTEIN AT 100 2 3 LEONARD BERNSTEIN AT 100 A Welcoming Leonard Bernstein’s essential approach to music was one of celebration; it was about making the most of all that was beautiful in sound. -
Leonard Bernstein
chamber music with a modernist edge. His Piano Sonata (1938) reflected his Leonard Bernstein ties to Copland, with links also to the music of Hindemith and Stravinsky, and his Sonata for Clarinet and Piano (1942) was similarly grounded in a neoclassical aesthetic. The composer Paul Bowles praised the clarinet sonata as having a "tender, sharp, singing quality," as being "alive, tough, integrated." It was a prescient assessment, which ultimately applied to Bernstein’s music in all genres. Bernstein’s professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein Leonard Bernstein photo © Susech Batah, Berlin (DG) produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first Leonard Bernstein—celebrated as one of the most influential musicians of the performance with the composer conducting the Pittsburgh Symphony in 20th century—ushered in an era of major cultural and technological transition. January 1944. "Lamentation," its final movement, features a mezzo-soprano He led the way in advocating an open attitude about what constituted "good" delivering Hebrew texts from the Book of Lamentations. In April of that year, music, actively bridging the gap between classical music, Broadway musicals, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by jazz, and rock, and he seized new media for its potential to reach diverse the young Jerome Robbins. -
Mahler's Symphony No. 3
Sponsored by Pat Zimmerman & Paul Dinu Saturday, May 21, 2016, 7:30 pm Monday, May 23, 2016, 8 pm Mahler’s Symphony Arlene Schnitzer Concert Hal No. 3 Carlos Kalmar, conductor Susan Platts, mezzo-soprano Susan Platts Women of the Portland State Chamber Choir and Vox Femina Ethan Sperry, music director Pacific Youth Choir Mia Hall Miller, music director GUSTAV MAHLER Symphony No. 3 in D minor Part I Introduction—Forcefully and decisively Part II Tempo di menuetto—Moderately—Commodo— Scherzando—Unhurriedly—Very slow— Mysteriously—Joyous in tempo and jaunty in expression—Slow—Calm—Deeply felt Susan Platts Women of the Portland State Chamber Choir and Vox Femina Pacific Youth Choir THE CONCERT CONVERSATION, conducted one hour before each performance, will feature Music Director Carlos Kalmar and Robert McBride, host for the stations of All Classical Portland. You can also enjoy the Concert Conversation in the comfort of your own home. Visit the website allclassical.org to watch the video on demand. Oregon Symphony | 23 Biographies SUSAN PLATTS choir competitions, including the Tolosa ritish-born Canadian mezzo-sopra- International Choral Contest in Spain in no Susan Platts brings a uniquely November 2014; the International Choral Brich and wide-ranging voice to con- Kathaumixw in Powell River, Canada, in cert and recital repertoire for alto and mez- June 2014; and the Seghizzi International zo-soprano. She is particularly esteemed Competition for Choral Singing in Gorizia, for her performances of Gustav Mahler’s Italy, where they became the first Ameri- works. can choir ever to win the Grand Prize in In May of 2004, as part of the Rolex the competition’s 52-year history. -
Curriculum Guide
OVER 100 YEARS OF KEEPING OUR PROMISE TO CHICAGO’S YOUTH CURRICULUM GUIDE 2021-2022 HOLY TRINITY HIGH SCHOOL MISSION Holy Trinity High School, a Catholic school in the Holy Cross tradition, challenges and nurtures students academically, spiritually and personally, as they prepare to lead lives of leadership and service. HOLY CROSS VALUES Discipline: Students are responsible, respectful, and tireless in working to achieve their goals and serve others. Integrity: Students are truthful, faithful and committed to living the values of Holy Cross and the Catholic Church. Excellence: Students exemplify a tireless desire to achieve to the best of their God given talents and abilities. Family: Students are interdependent and dependable, recognizing and celebrating their role in their family, and the family of Holy Cross, and look always to put family’s interests above their own. Zeal: Students live passionately, inspired by their faith and willing to lead others in the pursuit of justice. 2 Approved 02/05/2021 TABLE OF CONTENTS ACADEMIC PROGRAM 4 1. Honors Courses 4 2. Advanced Placement 4 3. Dual Credit 5 4. Holy Trinity Honors Programs: 6 a. B-STEM Honors 6 b. Moreau Honors Program 7 5. School Counseling Program 8 6. Resource Learning Center (RLC) 9 7. Big Brothers Big Sisters of Metropolitan Chicago (BBBSMC) 9 CHRISTIAN SERVICE LEARNING 10 GRADUATION REQUIREMENTS 10 1. Credits Required for Graduation 10 SCHEDULING AND COURSE SELECTION 12 1. Sample Four-Year Plan 13 GRADING SYSTEM 14 1. Schoology 15 ACADEMIC POLICIES 15 1. Academic Probation 15 2. Failures 16 3. Incompletes 16 4. Transcripts and Records 16 5. -
Leonard Bernstein Professional Breakthrough Came with Exceptional Force and Visibility, Establishing Him As a Stunning New Talent
which ultimately applied to Bernstein’s music in all genres. Bernstein’s Leonard Bernstein professional breakthrough came with exceptional force and visibility, establishing him as a stunning new talent. In 1943, at age twenty-five, he made his debut with the New York Philharmonic, replacing Bruno Walter at the last minute and inspiring a front-page story in the New York Times. In rapid succession, Bernstein produced a major series of compositions, some drawing on his own Jewish heritage, as in his Symphony No. 1, "Jeremiah," which had its first performance with the composer conducting the Pittsburgh Symphony in January 1944. "Lamentation," its final movement, features a mezzo-soprano delivering Hebrew texts from the Book of Lamentations. In April of that year, Bernstein’s Fancy Free was unveiled by Ballet Theatre, with choreography by the young Jerome Robbins. Leonard Bernstein photo © Susech Batah, Berlin (DG) In December, Bernstein premiered the Broadway musical On the Town, another collaboration with Robbins. While the conception of these two dramatic works was Leonard Bernstein—celebrated as one of the most influential musicians of the closely intertwined, their plots, music, and choreography were quite different. 20th century—ushered in an era of major cultural and technological transition. He Fancy Free featured three sailors on shore leave in a bar, showing off their led the way in advocating an open attitude about what constituted "good" music, physical agility as they competed for the attention of two women. The men were actively bridging the gap between classical music, Broadway musicals, jazz, and tightly bound to one another. -
Psalms Devotionals
Read Psalm 1 For the LORD knows the way of the righteous, but the way of the wicked will perish. Psalms 1:6 When our family moved to Memphis from Missouri, all I had to go on for directions was Mapquest. So as we were getting closer to our new home, I turned off on the exit that the website had given, which I soon regretted. We must have arrived in the same Memphis ghetto that inspired Elvis to write his song. It was congested and difficult to get the U- haul through some of traffic that we were encountering. After finally arriving at our apartment, my brother-in-law who was following us in his car suggested that next time I just look at a map instead of blindly trusting a website. Have you ever just taken someone’s word on the right way to go? Unfortunately, we live in a society of know-it-alls. In an effort to appear more important or smarter than they really are, some people are willing to simply say whatever comes into their head. I would like to tell you this is an epidemic amongst the lost only, but there are plenty of believers who get wrapped up in self-importance and can lead us astray. Believers have to remember that when man is confused, God is not. Surround yourself with godly people who can give you counsel, but remember that ultimately God’s going to reveal His will for your life to you. This verse says that God knows the way of the righteous and it literally means He "approves" it. -
Leonard Bernstein 1918–1990 a Quiet Place
LEONARD BERNSTEIN 1918–1990 A QUIET PLACE Opera in three acts · Opéra en trois actes Music by · Musique de Leonard Bernstein Libretto by · Livret de Stephen Wadsworth (1953) Libretto and orchestration adapted by · Livret et orchestration adaptés par Garth Edwin Sunderland Dede ...................................... CLAUDIA BOYLE soprano François ................................ JOSEPH KAISER tenor · ténor Junior ........................... GORDON BINTNER baritone · baryton Sam ............................. LUCAS MEACHEM baritone · baryton Funeral Director · Directeur funéraire . RUPERT CHARLESWORTH tenor · ténor Bill ............................... DANIEL BELCHER baritone · baryton Susie .................................. ANNIE ROSEN mezzo-soprano Doc .................................... STEVEN HUMES bass · basse Mrs. Doc ................................ MAIJA SKILLE mezzo-soprano Analyst · Analyste ........................... JOHN TESSIER tenor · ténor Mourners · Cortège funèbre OSM Chorus · Chœur de l’OSM Chorus Master · Chef de chœur: Andrew Megill* Orchestre symphonique de Montréal KENT NAGANO Leonard Bernstein 2 Vocal advisor and casting · Conseiller vocal et distribution: Jean-Pierre Brossmann CONTENTS · TABLE Répétiteur for the soloists · pour les solistes: Donald Wages Cue points · Points de repérage 4 First performance by Kent Nagano and Ensemble Modern in November 2013, in Berlin. The OSM presented this version in Montreal on 15 August 2014. Création à Berlin en novembre 2013 par Kent Nagano et Ensemble Modern. Kent Nagano on -
May 2018 Volume 46, No
May 2018 Volume 46, No. 4 Spring Orgy® Period 95.3 FM N WHRB PROGRAM GUIDE Wednesday, May 2 noon COMMONWEALTH HIP HOP Spring Orgy® Period Hip hop is the defining trend in modern world music. But world rap music is, at present, divided. Commonwealth nations have an enduring history of English, and this colors their music May, 2018 to a substantial degree. Nations never colonized by the English Empire make hip hop that sounds substantially different. We explore the hip hop traditions of countries like Jamaica, Canada, Tuesday, May 1 India, South Africa, Northern Ireland and Nigeria. In some cases, this will involve examining the way American rap music 12:00 am ORCHID TAPES and foreign rap cultures influenced each other. In others, it means 5:00 am THE DISCOGRAPHY OF FRED HERSCH Fred Hersch is one of the greatest jazz pianists of his taking a closer look at how the English language has shaped generation. Yet what makes him especially interesting is his world history, even for songs and artists using other languages. extraordinary versatility. With collaborators including Stan Getz, 5:00 am PROFESSOR LONGHAIR AND THE Bill Frisell, Dawn Upshaw, Joshua Bell, and Audra McDonald, NEW ORLEANS BLUES Hersch refuses to limit himself and his playing to one genre. We Down in New Orleans, the Blues is done differently. explore many of Hersch’s solo albums, as well as albums he has Certainly, any one alive can tell you what it is to have the Blues, collaborated on, in a celebration of his virtuosic and technical but it takes a different kind of touch to weave the feeling with abilities rhumba, paint it bold with calypso and lay it down with mambo.