1. A Presentation by Breana Oliver LEONARD BERNSTEIN…

2. Youth to College years A SNAPSHOT OF HIS LIFE…

3. Home Life and Schooling  Born in 1918 in Massachusetts to Russian immigrants.  At the age of 10, received his first piano as a gift from his cousin.  Attended the Garrison and Boston Latin Schools where we began his pianist training. Leonard as a youngster. 1918-1935…

4. Life at Harvard University  Wrote thesis on the “the absorption of race elements into American music.”  Met Dimitri Mitropoulos, his influence for conducting style.  Met Aaron Copeland who he has always noted as a major influence in music. Left to Right: Copland and Bernstein 1935-1939…

5. Adult Life to Death A SNAPSHOT CONTINUED…

6. Life after Harvard  Attended the Curtis Institute and became Koussevitzky’s assistant in 1942.  Became assistant conductor to New York Philharmonic in 1943.  Had first appearance as a conductor on Nov. 14 th 1943. Bernstein in 1944 1939-1944…

7. Adult Life Work  Wrote a number of theatrical works (Facismile, Peter Pan, West Side Story)  Became head of orchestra at Tanglewood in 1951.  Became head of New York Philharmonic in 1958 and held position until 1969.  Continued to conduct until his death on October 14 th 1990. West Side Story 1957 1945-1990…

8. Music and Conducting Style INFLUENCES…

9.  Bernstein focused on picking up on where Copland’s Jazz Age left off.  Jeremiah Symphony borrows from Copland’s use of a rhythmic hoedown.  Combines jewish and jazz elements. AARON COPLAND…

10.  ‘The Age of Anxiety’ uses Hindemith’s style of combining genres of the piano concerto with theme and variations form.  Uses classicism style as well to build contrast with W.H. Auden’s neo-baroque poem. PAUL HINDEMITH…

11.  West Side Story uses Blitzstein’s style in the songs “Maria” and “Gee, Officer Krupke.”  West Side Story fit the bill of the Rogers and Hammerstein “book” musical that combined song and dance together.  Considered Broadway the American form of opera. MARC BLITZSTEIN, RODGERS AND HAMMERSTEIN

12.  Men mentioned above were all modernists and Bernstein drew heavily from that.  Revived Mahler in the symphony as did Mitropoulos.  Drew from Mitropoulous’ style of power and charisma on the stage while conducting. DIMITRI MITROPOULOS, FRITZ REINER AND SERGE KOUSSEVITZKY…

13. Merging the Popular and Classical Spheres LEAVING BEHIND A LEGACY…

14.  One of the First conductor’s to have concerts televised weekly (Young People’s Concert).  Often seen as a celebrity, which caused his life to be scrutinized by fans and the media.  Wrote for the entertainment field by writing the music and in some cases the entire musical for 13 works.  Wrote the entire score for a total of 3 films. IMPACT ON THE POPULAR SPHERE…

15.  Broadway musicals  Entertainment for all  Audience  Copland style and function  Embraced popular music  Strived for American music IMPACT ON THE POPULAR SPHERE CONTINUED…

16.  Brought classical music to the mainstream public by televising Young People’s Concerts.  Showcased Copland’s fusion of the jazz and Jewish eras.  Took a modernist approach to composition and style.  Created distinctly “American” music that incorporated styles from African- American work songs, Latin American songs, as well as tin pan alley era songs.  Wrote music that could be played for all areas of the world.  Wanted to achieve transcendentalism. IMPACT ON THE CLASSICAL SPHERE…

17.  Wanted to bring the Broadway musical to the classical stage.  By combining both sphere’s, Bernstein hoped to make music accessible to all people worldwide. COMBINING THE POPULAR AND CLASSICAL SPHERES…

18.  Thought by many critics to have leftist, communist sympathies.  His opera “Candide” discusses a young man and his teacher who are brought in for questioning under the McCarthy era.  Was on the FBI’s Security Index. THE MCCARTHY ERA…

19. Representin g the popular sphere SAMPLE PIECES…

20.  A musical accompaniment to the play.  Bernstein wrote both the music and lyrics.  Written in 1950.  Included a number of songs including:  Who am I?  Pirate’s Song  Plank Round  Build my House  Peter Peter PETER PAN…

21.  Instruments: Flute and clarinet  The Singer’s voice  Not overpowered by the instruments  Female  Soft, lively, happy  Fairytale-like  Love ‘PETER, PETER…’

22. PETER, PETER LYRICS…

23.  Modern Romeo & Juliet  Rivalry amongst gangs  Forbidden love  Originally “East Side Story”  Bernstein composed the songs only  American/western  Mambo WEST SIDE STORY…

24.  Introduces the characters  Orchestra  Drums/ percussion (Rhythm section)  Brass, woodwinds, strings? (Front line)  Also, snapping  Polyphonic, Complexity, Dissonance, Call & Response, Syncopation, Imagery, Repetition  Tempo starts slow -> fast; Texture starts simple/relaxed -> complex/aggressive  Climatic buildup ‘PROLOGUE…’

25.  Leonard Bernstein was a composer, conductor, author, music lecturer and pianist.  He was one of the first American born and raised composers to make a big impact internationally.  Known for his interpretation of Copland’s pieces and works.  Attempted to merge the classical and popular spheres of music to bridge the divide between the upper, middle, and lower social classes. IN REVIEW…