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Leonard Bernstein
Leonard Bernstein: The Power of Music is the “first large-scale museum exhibition to illustrate Bernstein’s life, Jewish identity, and social activism,” according to the National Museum of American Jewish History in Philadelphia, where you can catch it until Sept. 2. (A national tour will follow.) There are artifacts ranging from Bernstein’s piano (a Baldwin, though he used to invoke another manufacturer to tell people how to pronounce his name: “No one ever called a Steinway a STEEN-way!”), an annotated copy of Romeo and Juliet in which he formulated ideas for West Side Story, the mezuzah from his studio, the ketubah from his marriage to Costa Rican actress Felicia Cohn Montealegre, and his family Haggadah … which, unsurprisingly, contains additional sheet music. There are dozens of photos, hand-drawn set designs, snippets of costume fabric, personal letters, album covers, and illustrations. There’s the earliest known photograph of teen Lenny conducting; his trademark impressive swoop-y matinee-idol hair is already evident as he theatrically leads a Jewish summer-camp orchestra of seven nebbish-y boys with triangles and tiny cymbals. (The photo is grandiloquently labeled “Onota Rhythm Band and Leonard Bernstein, 1937.”) Celebrations of Bernstein’s 100th birthday are taking place all around the world, including performances of his greatest work: West Side Story in South Africa, Candide in San Francisco and Los Angeles; Fancy Free in Tuscaloosa; and six different operas and theatrical works this summer at Tanglewood, where Bernstein began his career. There’s also a traveling exhibit by the Grammy Museum and, of course, a hashtag campaign (#BernsteinAt100). -
A Comedy Revolution Comes to Starlight Indoors This Winter
FOR IMMEDIATE RELEASE CONTACT: Rachel Bliss, Starlight Theatre [email protected] 816-997-1151-office 785-259-3039-cell A Comedy Revolution Comes to Starlight Indoors This Winter Playing November 5-17 only! “SMART, SILLY AND “SPAMILTON IS SO “THE NEXT BEST THING CONVULSIVELY FUNNY” INFECTIOUSLY FUN THAT IT TO SEEING HAMILTON!” - The New York Times COULD EASILY RUN AS LONG - New York Post AS ITS INSPIRATION!” – The Hollywood Reporter KANSAS CITY, Mo. – As the weather cools off, the stage house heats up with the 2019-20 Starlight Indoors series, sponsored by the Missouri Lottery. Now in its fifth season, this year’s lineup of hilarious Off-Broadway hits opens November 5-17 with the North American tour of Spamilton: An American Parody, making its Kansas City premiere. Tickets are on sale now. Created by Gerard Alessandrini, the comic mastermind behind the long-running hit Forbidden Broadway, which played the 2017-18 Starlight Indoors series, Spamilton: An American Parody is a side-splitting new musical parody based on a blockbuster hit of a similar name. After numerous extensions of its run in New York, this hilarious production made a splash in Chicago, Los Angeles and London. Now, Spamilton: An American Parody brings a singing, dancing and comedy revolution to Kansas City. “Spamilton pays a hilarious tribute to its inspiration and is smart, sharp and funny to its core— everything you’d want and more from a spoof of Broadway’s most popular musical,” Caroline Gibel, director of indoor programming at Starlight, said. “The best part is, you don’t have to have seen Hamilton to enjoy Spamilton. -
Articles Blog Posts
More Than Words: Designs, Dance, and Graphic Notation in the Performing Arts Society of American Archivists, August 2021 / Virtual Tour Library of Congress, Music Division Resources Articles Library of Congress Magazine Brilliant Broadway: Volume 7, No. 3, May-June 2018: Christopher Hartten, “Brilliant by Design” Library of Congress Magazine - May/June 2018 (loc.gov) Blog Posts: In the Muse Albro, Sylvia. Undated. “Conservation Treatment of Seven Engraved Music Motets.” https://www.loc.gov/preservation/conservators/musicmotets/index.html Baumgart, Emily. May 29, 2021. “Cicada Terrible Freedom.” http://blogs.loc.gov/music/2021/05/cicada-terrible-freedom/ ______. March 11, 2021. "A New LGBTQ+ Resource from the Library of Congress Music Division" https://blogs.loc.gov/music/2021/03/a-new-lgbtq-resource-from-the-library-of-congress-music- division Doyle, Kaitlin (Kate). July 9, 2016. “Discovering the Music Within Our Dance Collections: Composer Lucia Dlugoszewski and the Erick Hawkins Dance Company.” http://blogs.loc.gov/music/2016/09/discovering-the-music-within-our-dance-collections- composer-lucia-dlugoszewski-and-the-erick-hawkins-dance-company/ Hartten, Chris. September 6, 2011. “The Bad Boy of Music.” https://blogs.loc.gov/music/2011/09/the-bad-boy-of-music/ ______. February 19, 2015. “Chameleon as Composer: The Colorful Life and Works of Lukas Foss.” http://blogs.loc.gov/music/2015/02/8620/ ______. April 27, 2011. “Good as Gould.” https://blogs.loc.gov/music/2011/04/good-as-gould/ Padua, Pat. July 25, 2012. “Clark Lights Up the Library.” http://blogs.loc.gov/music/2012/07/clark- lights-up-the-library/ Smigel, Libby. -
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 the Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr
PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2004 The Leonard Bernstein School Improvement Model: More Findings Along the Way by Dr. Richard Benjamin THE GRAMMY® FOUNDATION eonard Bernstein is cele brated as an artist, a CENTER FOP LEAR ll I IJ G teacher, and a scholar. His Lbook Findings expresses the joy he found in lifelong learning, and expounds his belief that the use of the arts in all aspects of education would instill that same joy in others. The Young People's Concerts were but one example of his teaching and scholarship. One of those concerts was devoted to celebrating teachers and the teaching profession. He said: "Teaching is probably the noblest profession in the world - the most unselfish, difficult, and hon orable profession. But it is also the most unappreciated, underrat Los Angeles. Devoted to improv There was an entrepreneurial ed, underpaid, and under-praised ing schools through the use of dimension from the start, with profession in the world." the arts, and driven by teacher each school using a few core leadership, the Center seeks to principles and local teachers Just before his death, Bernstein build the capacity in teachers and designing and customizing their established the Leonard Bernstein students to be a combination of local applications. That spirit Center for Learning Through the artist, teacher, and scholar. remains today. School teams went Arts, then in Nashville Tennessee. The early days in Nashville, their own way, collaborating That Center, and its incarnations were, from an educator's point of internally as well as with their along the way, has led to what is view, a splendid blend of rigorous own communities, to create better now a major educational reform research and talented expertise, schools using the "best practices" model, located within the with a solid reliance on teacher from within and from elsewhere. -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Bernstein Meets Broadway
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLIV, Number 1 Fall 2014 Bernstein Meets Broadway: Collaborative Art in a Time of War Michael Weinstein-Reiman, Columbia University It is impossible for me to make an exclusive choice among the vari- ous activities of conducting, symphonic composition, writing for the theater, or playing the piano. What seems right for me at any given moment is what I must do.1 I am so easily assimilated. It’s easy, it’s ever so easy! I’m Spanish, I’m suddenly Spanish! And you must be Spanish, too. Do like the natives do. These days you have to be In the majority. .2 Leonard Bernstein, 1955 Carol J. Oja’s captivating monograph, Bernstein Meets Broad- Al Ravenna, World Telegram way: Collaborative Art in a Time of War, is an expert synthesis Staff Photographer - Library of Congress. New of traditionally disparate musicological frameworks. Her text is York World-Telegram & Sun Collection. at once a superlative narrative—one that weaves together the untold stories and broad cultural contexts of a seminal work of American musical theatre, On the Town, and its antecedent, the ballet, Fancy Free—and a thoroughgoing analytical study in American history, informed by extensive ethnography, archival research, and the author’s keen music-theoretical sensibility. As such, Oja’s book is ecumenical in methodology but singular in its historiographical pursuit; it shines a spotlight on an exceptional artistic creation, told in interlaced tales of groundbreaking visionaries, their collaborations, and their impact. -
West Side Story
West Side Story West Side Story is an American musical with a book rary musical adaptation of Romeo and Juliet . He prpro-o- byby Arthur Laurents, mmususiic bbyy Leonard Bernstein,, posed that the plot focus on the conflict between an Irish libretto/lyrics by Stephen Sondheim, and conception and Catholic family and a Jewish family living on the Lower choreography byby Jerome Robbins..[1] It was inspired by East Side ofof Manhattan,,[6] during the Easter–Passover William Shakespeare's play Romeo and Juliet .. season. The girl has survivvived the Holocaust and emi- The story is set in the Upper West Side neighborhood grated from Israel; the conflict was to be centered around in New York City in the mid-1950s, an ethnic, blue- anti-Semitism of the Catholic “Jets” towards the Jewish “Emeralds” (a name that made its way into the script as collar ne neighighborhood. (In the early 1960s much of thethe [7] neineighborhood would be clecleared in anan urban renewal a reference). Eager to write his first musical, Laurents project for the Lincoln Center, changing the neighbor- immediately agreed. Bernstein wanted to present the ma- hood’s character.)[2][3] The musical explores the rivalry terial in operatic form, but Robbins and Laurents resisted between the Jets and the Sharks, two teenage street gangs the suggestion. They described the project as “lyric the- of different ethnic backgrounds. The members of the ater”, and Laurents wrote a first draft he called East Side Sharks, from Puerto Rico, are taunted by the Jets, a Story. Only after he completed it did the group realize it white gang.[4] The young protagonist, Tony, a former was little more than a musicalization of themes that had member of the Jets and best friend of the gang leader, alreadybeencoveredinin plaplaysys liklikee Abie’s Irish Rose. -
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. -
West Side Story
The United States Air Force Academy Bluebards Theatre Troupe Credits Proudly Presents Officer in Charge Lt Col Michelle Ruehl Master Carpenter Jandy Viloria Audio Technician Stan Sakamoto WEST Stage Crew RATTEX Dramaturg Dr. Marc Napolitano SIDE Support Team Flute/piccolo Erica Drakes STORY Bassoon Micaela Cuneo Based on a Conception of Trombone Sam Voss JEROME ROBBINS Violin Jared Helm French Horn Claire Badger Trumpet Josiah Savoie Trombone Braxton Sesler Percussion Matt Fleckenstein Musicians Piano Megan Getlinger Music by Lyrics by Trumpet Sean Castillo Clarinet Rose Bruns Trumpet Tom McCurdy Violin Kat Kowar Violin Matt Meno Entire Original Production Violin Nishanth Kalavakolanu Book by Directed and Choreographed by Bluebards offers its thanks to DFENG, RATTEX, and the Falcon Theater Founda- tion; without their support, this production would not have been possible. The videotaping or other video or audio recording of this production12 is strictly prohibited. 1 Who’s Who in the Cast and Crew “WEST SIDE STORY” not sing or dance, he decided to try out for the spring musical! After Based on a Conception of JEROME ROBBINS taking a year off to search the moon for the secret to great singing and dancing, Kevin has returned to Bluebards (unfortunately, people on the moon dance differently than the people of Earth). He is an avid reader who enjoys nerding-out with fellow nerds about the nerdiest subjects. Book by ARTHUR LAURENTS Kevin would like to thank the cast/crew, with a special nod to Lt Col Music by LEONARD BERNSTEIN Ruehl for ensuring USAFA’s drama nerds have a home in Bluebards. -
New Studio on Broadway: Music Theatre and Acting
® ® 2019 CELEBRATING JIMMY NEDERLANDER James M. Nederlander or “Jimmy,” Chairman of The Nederlander Organization, was the visionary theatrical impresario who built one of the largest private live entertainment companies in the world known for producing and presenting world-class entertainment since 1912. Jimmy started working in the theatre at age 7 sweeping floors for his father, David Tobias (D.T.) Nederlander, in Detroit, Michigan. During a career that spanned over 70 years, Jimmy amassed a network of premier legitimate theatres including nine on Broadway: the Brooks Atkinson, Gershwin, Lunt-Fontanne, Marquis, Minskoff, Nederlander, Neil Simon, Richard Rodgers, and the world famous Palace; in Los Angeles: The Pantages; in London: the Adelphi, Aldwych, and Dominion; and in Chicago: the Auditorium, Broadway Playhouse, Cadillac Palace, and CIBC Theatres, and the Oriental Theatre which this year was renamed the James M. Nederlander Theatre in Jimmy’s honor. He produced over one hundred acclaimed Broadway musicals and plays including Annie, Applause, La Cage aux Folles, Les Liaisons Dangereuses, Me and My Girl, Nine, Noises Off, Peter Pan, Sweet Charity, The Life and Adventures of Nicholas Nickelby, The Will Rogers Follies, Woman of the Year, and many more. “Generous,” “loyal” and “trusted” are just a few of the accolades his friends use to describe him. Jimmy was beloved by the industry and the recipient of many distinguished honors including an Honorary Doctorate of Fine Arts from the University of Connecticut (2014), the Exploring the Arts Foundation Award (2014), the United Nations Foundation Champion Award (2012), The Broadway League’s Schoenfeld Vision for Arts Education Award (2011), the New York Pop’s Man of the Year (2008), and the special Tony Award for Lifetime Achievement (2004). -
Reflection and Emergence: Celebrating 20 Years of the Academy for the Love of Learning and Leonard Bernstein’S 100Th
Reflection and Emergence: Celebrating 20 years of the Academy for the Love of Learning and Leonard Bernstein’s 100th 201 AUGUST 25 8 1 Copyright © 2018 Academy for the Love of Learning, Inc. © Kate Russell About the Academy 2018 marks both The Academy for the Love of Learning’s 20th anniversary and the centennial of the birth of the 20th century musical giant Leonard Bernstein. The Academy shares a deep history with Leonard Bernstein, and ultimately was birthed from an intense collaboration between Bernstein and Academy founder and President Aaron Stern during the fnal decade of Bernstein’s life. Stern, then Dean of the American Conservatory of Music in Chicago, had a profound discovery about learning while observing how music students learned music. From that discovery, Stern recognized that a restoration of the human capacity to learn was essential not only to the revitalization of music, but all of education and more generally, Western culture itself. From this, Stern began to develop a body of work, pedagogy and learning methodologies that are now at the center of the Academy for the Love of Learning. Stern’s approach to learning found its counterpart in Bernstein’s vision for a better world and a lifelong commitment to sharing that vision through music. Stern’s clear conviction that by “taking the lid of learning, we can learn ourselves to a better world, individually and collectively” touched and inspired Bernstein deeply toward the end of his life. Bernstein invested in Stern enormously during that last decade of his life. Following Bernstein’s death in 1990, Stern developed further and implemented peripatetically the methodologies he frst began to explore while at the Conservatory.