Finale: Part 1 - Leonard Bernstein, The New York Philharmonic Orchestra - Leonard Bernsteins Young
In addition, the Philharmonic will present a Young People's Concert - the series that Bernstein famously brought to national attention through the television broadcasts - titled Inspirations and Tributes: "Celebrating Leonard Bernstein ," conducted by Leonard Slatkin and featuring pianist Makoto Ozone on November A number of other events - ranging from a marathon of Bernstein's Mahler recordings to a partnership with Harvard and University of Michigan to explore Bernstein as an educator and conductor - complement the concerts throughout the centennial season.
Bernstein served as the Philharmonic's Music Director from towhen he was named Laureate Conductor, a title he held until his death in Something of his spirit still remains in this Orchestra. I think that the New York Philharmonic has a natural sense of his music - they capture the outsized nature of Lenny's personality, and bring an energy, power, and feeling that few other orchestras can match.
The first thing he asked me was why I did so much of his music. My reply was that I loved it. October and Bernstein wrote that the subject of his Jeremiah Symphony, dedicated to his father, is "not one of literalness, but Rent Party Blues - The Roaring Seven Jazzband - Hot Dance emotional quality. Bernstein conducted the Philharmonic's first performance of his Serenade after Plato's Symposium in Julywith Zino Francescatti as soloist.
Bernstein greatly admired Gershwin as both a composer and performer, and his incorporation of blues and Finale: Part 1 - Leonard Bernstein in his music. The riffs in Bernstein's Prelude, Fugue, and Riffs are what give the classical work its feeling of improvisation. Bernstein said that he hoped audiences would "feel in [this piece] some of the Finale: Part 1 - Leonard Bernstein beauty of jazz that I felt when I was writing the piece," and that he considers the work "a serious piece of American music.
Gershwin performed it with the Orchestra seven more times; Bernstein later championed the work, performing it with the Orchestra 37 times, in each case leading it from the piano. Ozone in New York after the tour, featuring works by Gershwin and Bernstein. The New York Timescalled Mr. The New York Philharmonic Orchestra - Leonard Bernsteins Young performance "thrilling, virtuosic and unabashedly personal.
Episode 6: Humor in Music. Summary: Using excerpts from Shostakovitch, Mahler, Haydn and others Bernstein demonstrates how a "serious" composition can take an unexpected humorous turn. Prokofiev's Classical Symphony is played in its entirety.
Episode 7: What is a Concerto? Summary: Leonard Bernstein discusses the development of the concerto form from Bach to Bartok. From the classical period, he conducts Mozart's Sinfonia Concertante and, finally, the fourth and fifth movements of Bartok's neo-classical Concerto for Orchestra.
Episode 8: Who is Gustav Mahler? Summary: Leonard Bernstein celebrates Mahler's centennial by Finale: Part 1 - Leonard Bernstein excerpts from he composer's Fourth Symphony in G and discussing his career as a composer and conductor.
Soprano Reri Grist joins the orchestra in a performance of the last movement of the Fourth Symphony. Episode 9: Young Performers No. Episode The Second Hurricane. Episode Overtures and Preludes. Episode Aaron Copland Birthday Party. The New York Philharmonic Orchestra - Leonard Bernsteins Young Young Performers No. Episode Folk The New York Philharmonic Orchestra - Leonard Bernsteins Young in the Concert Hall. Summary: Bernstein discusses folk music and its influence on orchestra music, and conducts excerpts from Mozart, Chaves, and Ives, and "Songs of the Auvergne" sung by Marni Nixon.
Episode What is Impressionism? Summary: Bernstein focuses on Impressionism in music, discussing the methods and styles of Debussy and Ravel. He conducts three movements from La Mer and the final dance of Daphnis et Finale: Part 1 - Leonard Bernstein. Episode The Road to Paris. Episode Happy Birthday, Igor Stravinsky. Paul's Cathedral, with the London Symphony Orchestra. Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since Finale: Part 1 - Leonard Bernstein s.
It led to the popularization of " radical chic " as a critical term. Hastily written in places, the work represented a fusion not only of different religious traditions Latin liturgy, Hebrew The New York Philharmonic Orchestra - Leonard Bernsteins Youngand plenty of contemporary English lyrics but also of different musical styles, including classical and rock music. In the present day, it is perhaps seen as less blasphemous and more a piece of its era: in it was even performed in the Vatican.
However, these lectures were not televised until The lectures are presently available in both book and DVD form. This appears to be the only surviving Norton lectures series available to the general public in video format. My feeling was that he was onto something, but I couldn't really judge how significant it was. A major period of upheaval in Bernstein's personal life began in when he decided that he could no longer conceal his bisexuality and he left his wife Felicia for a period to live with the writer Tom Cothran.
The next year she was diagnosed with lung cancer and eventually Bernstein moved back in with her and cared for her until she died on June 16, Bernstein is reported to have often spoken of his terrible guilt over his wife's death. However, his public standing and many of his close friendships appear to have remained unaffected, and he resumed his busy schedule of musical activity.
There has been speculation about why Karajan never invited Bernstein to conduct his orchestra. Karajan did conduct the New York Philharmonic during Bernstein's tenure. One oddity of the recording is that the trombone section fails to enter at the climax of the finale, as a result of an audience member collapsing just behind Secrets - The Runaways - The Best Of The Runaways trombones a few seconds earlier.
For the rest of the s he continued to Za Ljubav - Dino Dvornik - Priroda & Društvo, teach, compose, and produce the occasional TV documentary. Two Lovers (Special DJ Dance Remix) - Mandy Winter - Two Lovers (Special DJ Dance Remix) in the U. In addition to conducting in New York, Vienna and Israel, Bernstein was a regular guest conductor of other orchestras in the s.
Bernstein served as artistic director and taught conducting there until Bernstein was also at the time a committed supporter of nuclear disarmament. A TV documentary showing the making of the recording was made at the same time and is available on DVD. In his later years, Bernstein's life and work was celebrated around the world as it has been since his death. The Israel Philharmonic celebrated his involvement with them at Festivals in Israel and Austria in In Bernstein's 70th birthday was celebrated by a lavish televised gala at Tanglewood featuring many performers who had worked with him over the years.
He had conducted the same work in West Berlin the previous day. The concert was broadcast live in more than twenty countries to an estimated audience of million people. It was Mr. Bernstein's fate to be far more than routinely successful, however. His fast-burning energies, his bewildering versatility and his profuse gifts for both music and theater coalesced to make him a high-profile figure in a dozen fields, among them symphonic music, Broadway musicals, the ballet, films and television.
Still, his hydra-headed success did not please all his critics. While he was Finale: Part 1 - Leonard Bernstein director of the Philharmonic from tosome friends and critics urged him Finale: Part 1 - Leonard Bernstein quit and compose theater music full time. Many regarded him as potentially the savior of the American musical, to which he contributed scores for ''On the Town,'' ''Wonderful Town,'' ''Candide'' and ''West Side Story. At the same time, others were deploring his continued activity in such fields, contending that to be a successful leader of a major orchestra he would have to focus on conducting.
Still other observers of the Bernstein phenomenon wished he would concentrate on the ballet, for which he had shown an affinity ''Fancy Free,'' ''Facsimile''or on opera and operetta ''Trouble in Tahiti,'' ''Candide''. Or on musical education. His television programs on such subjects as conducting, symphonic music and jazz fascinated millions when he appeared on ''Omnibus,'' the cultural series, and later as star of the Philharmonic's televised Young People's Concerts.
And still others, a loyal few, counseled Mr. Bernstein to throw it all over and compose more serious symphonic scores. His gifts along this line were apparent in such works as his Symphony No.
He played the piano well enough to have made a separate career as a virtuoso. He was a facile poet. He wrote several books, including the popular ''The Joy of Music'' He was a teacher of rare communicative talent, as television audiences discovered. But Mr. Bernstein resolutely resisted pressure to restrict his activities. During his decade as the Philharmonic's musical director, he grew steadily as an interpreter and as a technician.
His performances of Mahler's symphonies were almost universally conceded to be of the highest quality, The New York Philharmonic Orchestra - Leonard Bernsteins Young his recordings for Columbia Records of the complete set not only constituted the first such integral collection but also Big Harvest - Indio - Big Harvest to be regarded as among the most idiomatic Mahler performances available.
His obsession with that composer, in fact, has been credited with generating Shoo-B-Doop And Cop Him - Betty Davis - They Say Im Different Mahler boom in America.
His conducting of works by Classical composers like Mozart and Haydn, often derided in his earlier days, attracted more and Finale: Part 1 - Leonard Bernstein praise as his career unfolded and he could relax a little. The future Renaissance man of American music was born in Lawrence, Mass. His father, a beauty-supplies jobber who had come to the United States from Russia as a boy, wanted Leonard to take over the business when he grew up.
For many years the father resisted The New York Philharmonic Orchestra - Leonard Bernsteins Young son's intention to be a musician.
The stories of how he discovered music became encrusted with legend over the years, but all sources agree he was a prodigy. Bernstein's own version was that when he was 10 years old his Aunt Clara, who was in the middle of divorce proceedings, sent her upright piano to the Bernstein home to be stored.
The child looked at it, hit the keys and cried: ''Ma, I want lessons! Until he was 16, by his own testimony, he had never heard a live symphony orchestra, a late start for any musician, let alone a future musical director of the Philharmonic. He is a consecrated character, and his culture is considerable. It might just come about, though, that, having to learn the classic repertory the hard way, which is to say after Night Flight - Thomas Lemmer - Pure (File, Album), he would throw his cultural beginnings away and build toward success on a sheer talent for animation and personal projection.
I must say he worries us all a little bit. Bernstein's ''talent for animation'' and over his penchant for ''personal projection'' - were to haunt the musician through much of his career. As for ''animation,'' that theme tended to dominate much of the criticism of Mr.
Bernstein as a conductor, particularly in his youthful days. Although he studied conducting in Philadelphia at the Curtis Institute with Fritz Reiner, whose precise but tiny beat was a trademark of his work, Mr. Bernstein's own exuberant podium style seemed modeled more on that of Serge Koussevitzky, the Boston Symphony's music director.
The neophyte maestro churned his arms about in accordance with some inner message, largely ignoring the clear semaphoric techniques described in textbooks. Often, in moments of excitement, he would leave the podium entirely, rising like a rocket, arms flung aloft in indication of triumphal climax. So animated, in fact, was Mr. Bernstein's conducting style at this point in his career that it could cause problems. At his first rehearsal for a guest appearance with the St.
Louis Symphony, his initial downbeat so startled the musicians that they simply looked in amazement and made no sound. Like another prodigally gifted American artist, George Gershwin, Mr. Bernstein divided his affections between the ''serious'' European tradition of concert music and the ''popular'' American brand. Like Gershwin, he was at home in jazz, boogie-woogie and the cliches of Tin Pan Alley, but he far outstripped his predecessor in general musical culture.
In many aspects of his life Finale: Part 1 - Leonard Bernstein career, Mr. Bernstein was an embracer of diversity. The son of Jewish immigrants, he retained a lifelong respect for Hebrew and Jewish culture. Completed that summer, this violin concerto became the five-movement Serenadesatisfying two commitments: a much delayed commission for the Koussevitzky Foundationand the promise of a piece for violin and orchestra forhis friend, the eminent violinist, Finale: Part 1 - Leonard Bernstein Stern.
The text explores love through a series of speeches in praise of Eros, delivered by some of the great thinkers of Athens at a symposium, which in ancient Greece meant, quite simply, a drinking party. Thus, Bernstein has derived from Plato a model to relate the most basic elements of a large-scale work through a process whereby variations are composed through the elaboration of existing elements.
This became a trend in all of the arts. Pablo Picasso developed an interest in Greek subjects, as did the young choreographer George Balanchine. I now regret that. On August 8,the day after completing his score, Bernstein wrote the following descriptions for each movement The New York Philharmonic Orchestra - Leonard Bernsteins Young a suggested series of "guideposts" for the listener:.
Phaedrus; Pausanias Cascade Street - Yann Tiersen - Cascade Street Allegro marcato.
Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. Fugato, begun by the solo violin. Pausanias continues by describing the duality of the lover as compared with the beloved.
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