Leonard Bernstein

For other people named Leonard Bernstein, see Leonard his rst name be Louis, but his parents always called him
Bernstein (disambiguation).
Leonard, which they preferred. He ocially changed his
name to Leonard when he was fteen, shortly after his
[9]
[1]
Leonard Bernstein (/brnstan/; August 25, 1918 grandmothers death. To his friends and many others
he was simply known as Lenny.
October 14, 1990) was an American composer,
conductor, author, music lecturer, and pianist. He was His father, Sam Bernstein, was a businessman and owner
among the rst conductors born and educated in the of a hair product store in downtown Lawrence; it is standUnited States of America to receive worldwide acclaim. ing today on the corners of Amesbury and Essex Streets.
According to music critic Donal Henahan, he was one of Sam initially opposed young Leonards interest in music.
the most prodigiously talented and successful musicians Despite this, the elder Bernstein took him to orchestra
in American history.[2]
concerts in his teenage years and eventually supported
His fame derived from his long tenure as the music di- his music education. At a very young age, Bernstein lisrector of the New York Philharmonic, from his conduct- tened to a piano performance and was immediately caping of concerts with most of the worlds leading orches- tivated; he subsequently began learning the piano seritras, and from his music for West Side Story, Peter Pan,[3] ously when the family acquired his cousin Lillian Goldthe
Candide, Wonderful Town, On the Town, On The Water- mans unwanted piano. As a child, Bernstein attended [10]
Garrison
Grammar
School
and
Boston
Latin
School.
front, his Mass, and a range of other compositions, including three symphonies and many shorter chamber and As a child he was very close to his younger sister Shirley,
and would often play entire operas or Beethoven symsolo works.
phonies with her at the piano. He had a variety of piano
Bernstein was the rst conductor to give numerous televi- teachers in his youth, including Helen Coates, who later
sion lectures on classical music, starting in 1954 and con- became his secretary.
tinuing until his death. He was a skilled pianist,[4] often
After graduation from Boston Latin School in 1935,
conducting piano concertos from the keyboard.
Bernstein attended Harvard University, where he studied
As a composer he wrote in many styles encompassing music with, among others, Edward Burlingame Hill and
symphonic and orchestral music, ballet, lm and theatre Walter Piston. Although he majored in music with a music, choral works, opera, chamber music and pieces nal year thesis (1939) entitled The Absorption of Race
for the piano. Many of his works are regularly performed Elements into American Music (reproduced in his book
around the world, although none has matched the tremen- Findings), Bernsteins main intellectual inuence at Hardous popular and commercial success of West Side Story. vard was probably the aesthetics Professor David Prall,
whose multidisciplinary outlook on the arts Bernstein
shared for the rest of his life. One of his friends at Harvard was philosopher Donald Davidson, with whom he
1 Biography
played piano four hands. Bernstein wrote and conducted
the musical score for the production Davidson mounted
of Aristophanes' play The Birds in the original Greek.
1.1 Early life
Bernstein reused some of this music in the ballet Fancy
briey an acHe was born Louis Bernstein in Lawrence, Mas- Free. During his time at Harvard he was
[11]
Harvard
Glee
Club.
Bernstein
also
companist
for
the
sachusetts, the son of Ukrainian Jewish parents Jennie
mounted
a
student
production
of
The
Cradle
Will
Rock,
(ne Resnick) and Samuel Joseph Bernstein, a hairdressing supplies wholesaler originating from Rovno (now directing its action from the piano as the composer Marc
Ukraine).[5][6] He was not related to lm composer Elmer Blitzstein had done at the premiere. Blitzstein, who heard
Bernstein, but the two men were friends, and even shared about the production, subsequently became a friend and
a certain physical similarity.[7] Within the world of pro- inuence (both musically and politically) on Bernstein.
fessional music, they were distinguished from each other Bernstein also met the conductor Dimitri Mitropoulos at
by the use of the nicknames Bernstein West (Elmer) and the time. Although he never taught Bernstein, MitropouBernstein East (Leonard).[8]
loss charisma and power as a musician was a major inHis family spent their summers at their vacation home uence on Bernsteins eventual decision to take up conin Sharon, Massachusetts. His grandmother insisted that ducting. Mitropoulos was not stylistically that similar to
1

1 BIOGRAPHY

Bernstein, but he probably inuenced some of Bernsteins

later habits such as his conducting from the keyboard, his
initial practice of conducting without a baton and perhaps his interest in Mahler. The other important inuence that Bernstein rst met during his Harvard years was
composer Aaron Copland, whom he met at a concert and
then at a party afterwards on Coplands birthday in 1938.
At the party Bernstein played Coplands Piano Variations,
a thorny work Bernstein loved without knowing anything
about its composer until that evening. Although he was
not formally Coplands student as such, Bernstein would
regularly seek advice from Copland in the following years
about his own compositions and would often cite him as
his only real composition teacher.[12]
After completing his studies at Harvard in 1939 (graduating with a B.A. cum laude), he enrolled at the Curtis
Institute of Music in Philadelphia. During his time at
Curtis, Bernstein studied conducting with Fritz Reiner
(who anecdotally is said to have given Bernstein the
only A grade he ever awarded), piano with Isabelle
Vengerova,[13] orchestration with Randall Thompson,
counterpoint with Richard Sthr, and score reading with
Rene Longy Miquelle.[14] Unlike his years at Harvard,
Bernstein appears not to have greatly enjoyed the formal
training environment of Curtis, although often in his later
life he would mention Reiner when discussing important
mentors.[12]

1.2

19401950

companied Green, Betty Comden and Judy Holliday in

a comedy troupe called The Revuers who performed in
Greenwich Village. He took jobs with a music publisher,
transcribing music or producing arrangements under the
pseudonym Lenny Amber. (Bernstein in German = Amber in English.) During this period in New York City,
Bernstein enjoyed an exuberant social life that included
relationships with both men and women. In 1940, Bernstein began his study at the Boston Symphony Orchestra's
summer institute, Tanglewood, in the conducting class of
the orchestras conductor, Serge Koussevitzky.
Bernsteins friendships with Copland (who was very close
to Koussevitsky) and Mitropoulos were important in him
being recommended for a place in the class. Other students in the class included Lukas Foss, who also became a
lifelong friend. Koussevitsky perhaps did not teach Bernstein much basic conducting technique (which he had already developed under Reiner) but instead became a sort
of father gure to him and was perhaps the major inuence on Bernsteins emotional way of interpreting music. Bernstein later became Koussevitzkys conducting
assistant[15] and would later dedicate his Symphony No.
2, The Age of Anxiety, to him.[16]
On November 14, 1943, having recently been appointed
assistant conductor to Artur Rodzinski of the New York
Philharmonic Orchestra, he made his major conducting
debut at sudden noticeand without any rehearsalafter
guest conductor Bruno Walter came down with the u.
The next day, The New York Times carried the story
on their front page and their editorial remarked, Its a
good American success story. The warm, friendly triumph of it lled Carnegie Hall and spread far over the air
waves.[17][18] He became instantly famous because the
concert was nationally broadcast, and afterwards started
to appear as a guest conductor with many U.S. orchestras. The program included works by Schumann, Miklos
Rozsa, Wagner and Richard Strauss's Don Quixote with
soloist Joseph Schuster, solo cellist of the orchestra. Before the concert Bernstein briey spoke to Bruno Walter,
who discussed particular diculties in the works he was
to perform. It is possible to hear this concert (apart from
the Wagner work) on a recording of the CBS radio broadcast that has been issued on CD by the orchestra.
From 1945 to 1947 Bernstein was the Music Director
of the New York City Symphony Orchestra, which had
been founded the previous year by the conductor Leopold
Stokowski. The orchestra (with support from the Mayor)
was aimed at a dierent audience with more modern programs and cheaper tickets than the New York Philharmonic.

Bernstein conducting the New York City Symphony (1945)

Also in regard to a dierent audience, in 1945 Bernstein

discussed the possibility of acting in a lm with Greta
Garboplaying Tchaikovsky opposite her starring role
as the composers patron Nadezhda von Meck.[19]

In addition to becoming known as a conductor, Bernstein

After he left Curtis, Bernstein lived in New York. He
also emerged as a composer in the same period. In Janshared a at with his friend Adolph Green and often ac-

1.3

19511959

3
monic for Deutsche Grammophon.
In 1949, he conducted the world premire of the
Turangalla-Symphonie by Olivier Messiaen, with the
Boston Symphony Orchestra. Part of the rehearsal for
the concert was released on CD by the orchestra. When
Koussevitzky died two years later, Bernstein became
head of the orchestral and conducting departments at
Tanglewood, holding this position for many years.

1.3 19511959

Photo of Bernstein by Carl Van Vechten (1944)

uary 1944 he conducted the premiere of his Jeremiah

Symphony in Pittsburgh. His score to the ballet Fancy
Free choreographed by Jerome Robbins opened in New
York in April 1944 and this was later developed into the
musical On the Town with lyrics by Comden and Green
that opened on Broadway in December 1944.
After World War II, Bernsteins career on the international stage began to ourish. In 1946 he made his
rst trip to Europe conducting various orchestras and
recorded Ravels Piano Concerto in G as soloist and conductor with the Philharmonia Orchestra. In 1946, he conducted opera for the rst time, with the American premire at Tanglewood of Benjamin Britten's Peter Grimes,
which had been a Koussevitzky commission. That same
year, Arturo Toscanini invited Bernstein to guest conduct two concerts with the NBC Symphony Orchestra,
one of which again featured Bernstein as soloist in the
Ravel concerto.[20]

After much personal struggle and a turbulent on-o

engagement, he married the Costa Rican-born American actress Felicia Cohn Montealegre on September 10,
1951. One suggestion is that he chose to marry partly to
dispel rumors about his private life to help secure a major
conducting appointment, following advice from his mentor Dimitri Mitropoulos about the conservative nature of
orchestra boards.[21] In a book released in October 2013,
The Leonard Bernstein Letters, his wife reveals his homosexuality. Felicia writes: you are a homosexual and may
never changeyou dont admit to the possibility of a double life, but if your peace of mind, your health, your whole
nervous system depend on a certain sexual pattern what
can you do?" Arthur Laurents (Bernsteins collaborator
in West Side Story) said that Bernstein was a gay man
who got married. He wasn't conicted about it at all. He
was just gay.[22] Shirley Rhoades Perle, another friend of
Bernstein, said that she thought he required men sexually and women emotionally.[23] But the early years of his
marriage seem to have been happy, and no one has suggested Bernstein and his wife didn't love each other. They
had three children, Jamie, Alexander, and later Nina.[24]
There are reports, though, that Bernstein did sometimes
have brief extramarital liaisons with young men, which
several family friends have said his wife knew about.[23]
In 1951, Bernstein conducted the New York Philharmonic in the world premire of the Symphony No. 2
of Charles Ives, which was written around half a century
earlier but had never been performed. Throughout his career, Bernstein often talked about the music of Ives, who
died in 1954. The composer, old and frail, was unable
(some reports say unwilling) to attend the concert, but
his wife did. He reportedly listened to a radio broadcast
of it on a radio in his kitchen some days later. A recording of the premiere was released in a 10-CD box set
Bernstein LIVE by the orchestra, but the notes indicate it
was a repeat performance from three days later, and this
is perhaps what Ives heard. In any case, reports also dier
on Ivess exact reaction, but some suggest he was thrilled
and danced a little jig. Bernstein recorded the 2nd symphony with the orchestra in 1958 for Columbia and 1987
for Deutsche Grammophon. There is also a 1987 performance with the Bavarian Radio Symphony Orchestra
available on DVD.

In 1947, Bernstein conducted in Tel Aviv for the rst

time, beginning a lifelong association with Israel. The
next year he conducted an open-air concert for troops at
Beersheba in the middle of the desert during the ArabIsraeli war. In 1957, he conducted the inaugural concert
of the Mann Auditorium in Tel Aviv; he subsequently
made many recordings there. In 1967, he conducted a
concert on Mt. Scopus to commemorate the reunication of Jerusalem. During the 1970s, Bernstein recorded
his symphonies and other works with the Israel Philhar- Bernstein was a visiting music professor from 1951 to

1 BIOGRAPHY
rector of the New York Philharmonic in 1957, replacing
Dimitri Mitropoulos. He began his tenure in that position
in 1958, having held the post jointly with Mitropoulos
from 1957 to 1958. In 1958, Bernstein and Mitropoulos took the New York Philharmonic on tour to South
America. In his rst season in sole charge, Bernstein included a season-long survey of American classical music.
Themed programming of this sort was fairly novel at that
time compared to the present day. Bernstein held the music directorship until 1969 (with a sabbatical in 1965) although he continued to conduct and make recordings with
the orchestra for the rest of his life and was appointed
laureate conductor.

He became a well-known gure in the United States

through his series of fty-three televised Young Peoples
Concerts for CBS, which grew out of his Omnibus programs. His rst Young Peoples Concert was televised a
few weeks after his tenure began as principal conductor
of the New York Philharmonic. He became as famous for
his educational work in those concerts as for his conducting. The Bernstein Young Peoples Concerts were the rst
and probably the most inuential series of music appreciation programs ever produced on television, and they
were highly acclaimed by critics.[26] Some of Bernsteins
Bernstein, c. 1950s
music lectures were released on records, with at least one
winning a Grammy award. The programs were shown in
many
countries around the world, often with Bernstein
1956 at Brandeis University, and he founded the Creative
[25]
dubbed
into other languages. All of them were released
Arts Festival there in 1952. He conducted various proon
DVD
by Kultur Video (half of them in 2013).
ductions at the rst festival, including the premiere of his
opera Trouble in Tahiti and Blitzsteins English version of
Kurt Weill's Threepenny Opera. The festival was named
after him in 2005, becoming the Leonard Bernstein Festival of the Creative Arts. In 1953 he was the rst American conductor to appear at La Scala in Milan, conducting
Maria Callas in Cherubinis Medea. That same year, he
produced his score to the musical Wonderful Town at very
short notice, working again with his old friends Comden
and Green, who wrote the lyrics.
In 1954 Bernstein made the rst of his television lectures
for the CBS arts program Omnibus. The live lecture, entitled Beethovens Fifth Symphony, involved Bernstein
explaining the work with the aid of musicians from the
former NBC Symphony Orchestra (recently renamed the
Symphony of the Air) and a giant page of the score covering the oor. Bernstein subsequently performed concerts with the orchestra and recorded his Serenade for Violin with Isaac Stern. Further Omnibus lectures followed
from 1955 to 1958 (later on ABC and then NBC) covering jazz, conducting, American musical comedy, modern
music, J.S. Bach, and grand opera. These programs were
made available in the U.S. in a DVD set in 2010.
In late 1956, Bernstein conducted the New York Philharmonic in concerts that were to have been conducted
by Guido Cantelli, who had died in an air crash in Paris.
This was the rst time Bernstein had conducted the orchestra in subscription concerts since 1951. Partly due
to these appearances, Bernstein was named the music di-

Bernstein at the piano, making annotations to a musical score

Prior to taking over the New York Philharmonic, Bernstein composed the music for two shows. The rst was for
the operetta Candide, which was rst performed in 1956
with a libretto by Lillian Hellman based on Voltaires
novel. The second was Bernsteins collaboration with the
choreographer Jerome Robbins, the writer Arthur Laurents, and the lyricist Stephen Sondheim to produce the
musical West Side Story. The rst three had worked on
it intermittently since Robbins rst suggested the idea in
1949. Finally, with the addition of Sondheim to the team

1.4

19601969

and a period of concentrated eort, it received its Broad- rst (almost) complete recording of the original featuring
way premiere in 1957 and has since proven to be Bern- several members of the original Broadway cast, includsteins most popular and enduring score.
ing Betty Comden and Adolph Green. (The 1949 lm
In 1959, he took the New York Philharmonic on a tour version only contains four of Bernsteins original numof Europe and the Soviet Union, portions of which were bers.) Bernstein also collaborated with the experimenlmed by CBS Television. A highlight of the tour was tal jazz pianist and composer Dave Brubeck resulting in
Bernsteins performance of Dmitri Shostakovich's Fifth the recording Bernstein Plays Brubeck Plays Bernstein
Symphony, in the presence of the composer, who came (1961).
on stage at the end to congratulate Bernstein and the musicians. In October, when Bernstein and the orchestra
returned to the U.S., they recorded the symphony for
Columbia. He recorded it for a second time with the orchestra on tour in Japan in 1979. Bernstein seems to have
limited himself to only conducting certain Shostakovich
symphonies, namely the numbers 1, 5, 6, 7, 9, and 14. He
made two recordings of Shostakovichs Leningrad Symphony, one with the New York Philharmonic in the 1960s
and another recorded live in 1988 with the Chicago Symphony Orchestra (one of the few recordings he made with
them, also including the Symphony No. 1).

1.4

19601969

In one oft-reported incident, in April 1962 Bernstein appeared on stage before a performance of the Brahms
Piano Concerto No. 1 in D minor with the pianist Glenn
Gould. During rehearsals, Gould had argued for tempi
much broader than normal, which did not reect Bernsteins concept of the music. Bernstein gave a brief address to the audience starting with Don't be frightened;
Mr Gould is here... and going on to In a concerto, who is
the boss (audience laughter)the soloist or the conductor?" (Audience laughter grows louder). The answer is,
of course, sometimes the one and sometimes the other,
depending on the people involved.[27] This speech was
subsequently interpreted by Harold C. Schonberg, music
critic for The New York Times, as abdication of personal
responsibility and an attack on Gould, whose performance Schonberg went on to criticize heavily. Bernstein
always denied that this had been his intent and has stated
that he made these remarks with Goulds blessing.[28] In
the book Dinner with Lenny, published in October 2013,
author Jonathan Cott provided a thorough debunking, in
the conductors own words, of the legend which Bernstein himself described in the book as one ... that won't
go away. Throughout his life, he professed admiration
and friendship for Gould. Schonberg was often (though
not always) harshly critical of Bernstein as a conductor
during his tenure as Music Director. However, his views
were not shared by the audiences (with many full houses)
and probably not by the musicians themselves (who had
greater nancial security arising from Bernsteins many
TV and recording activities amongst other things).

In 1960 Bernstein and the New York Philharmonic held a

Mahler Festival to mark the centenary of the composers
birth. Bernstein, Walter and Mitropoulos conducted performances. The composers widow, Alma, attended some
of Bernsteins rehearsals. In 1960 Bernstein also made his
rst commercial recording of a Mahler symphony (the
fourth) and over the next seven years he made the rst
complete cycle of recordings of all nine of Mahlers completed symphonies. (All featured the New York Philharmonic except the 8th Symphony which was recorded with
the London Symphony Orchestra following a concert in
the Royal Albert Hall in London in 1966.) The success
of these recordings, along with Bernsteins concert performances and television talks, was an important, if not
vital, part of the revival of interest in Mahler in the 1960s,
In 1962 the New York Philharmonic moved from
especially in the U.S.
Carnegie Hall to Philharmonic Hall (now Avery Fisher
Other non-U.S. composers that Bernstein championed to Hall) in the new Lincoln Center. The move was not
some extent at the time include the Danish composer without controversy because of acoustic problems with
Carl Nielsen (who was then only little known in the U.S.) the new hall. Bernstein conducted the gala opening conand Jean Sibelius, whose popularity had by then started cert featuring vocal works by Mahler, Beethoven and
to fade. Bernstein eventually recorded a complete cy- Vaughan Williams, and the premiere of Aaron Coplands
cle in New York of Sibeliuss symphonies and three of Connotations, a serial-work that was merely politely reNielsens symphonies (Nos. 2, 4, and 5), as well as con- ceived. During the intermission Bernstein kissed the
ducting recordings of his violin, clarinet and ute con- cheek of the Presidents wife Jacqueline Kennedy, a break
certos. He also recorded Nielsens 3rd Symphony with with protocol that was commented on at the time. In 1961
the Royal Danish Orchestra after a critically acclaimed Bernstein had conducted at President John F. Kennedy's
public performance in Denmark. Bernstein championed pre-inaugural gala, and he was an occasional guest in the
U.S. composers, especially those that he was close to like Kennedy White House. He also conducted at the funeral
Aaron Copland, William Schuman and David Diamond. mass in 1968 for the late President Kennedys brother
He also started to more extensively record his own com- Robert Kennedy.
positions for Columbia Records. This included his three
symphonies, his ballets, and the Symphonic Dances from In 1964 Bernstein conducted Franco Zerelli's producWest Side Story with the New York Philharmonic. He also tion of Verdi's Falsta at the Metropolitan Opera in New
conducted an LP of his 1944 musical On The Town, the York. In 1966 he made his debut at the Vienna State

1 BIOGRAPHY

Opera conducting Luchino Visconti's production of the

same opera with Dietrich Fischer-Dieskau as Falsta.
During his time in Vienna he also recorded the opera for
Columbia Records and conducted his rst subscription
concert with the Vienna Philharmonic (which is made
up of players from the Vienna State Opera) featuring
Mahlers Das Lied von der Erde with Fischer-Dieskau
and James King. He returned to the State Opera in 1968
for a production of Der Rosenkavalier and in 1970 for
Otto Schenk's production of Beethovens Fidelio. Sixteen
years later, at the State Opera, Bernstein conducted his
sequel to Trouble in Tahiti, A Quiet Place. with the ORF
orchestra. Bernsteins nal farewell to the State Opera
happened accidentally in 1989: following a performance
of Modest Mussorgsky's Khovanshchina, he unexpectedly entered the stage and embraced conductor Claudio
Abbado in front of a cheering audience.

After stepping down from the New York Philharmonic,

Bernstein continued to appear with them in most years
until his death, and he toured with them to Europe in
1976 and to Asia in 1979. He also strengthened his relationship with the Vienna Philharmonic Orchestra he
conducted all nine completed Mahler symphonies with
them (plus the adagio from the 10th) in the period from
1967 to 1976. All of these were lmed for Unitel with the
exception of the 1967 Mahler 2nd, which instead Bernstein lmed with the London Symphony Orchestra in Ely
Cathedral in 1973. In the late 1970s Bernstein conducted
a complete Beethoven symphony cycle with the Vienna
Philharmonic, and cycles of Brahms and Schumann were
to follow in the 1980s. Other orchestras he conducted
on numerous occasions in the 1970s include the Israel
Philharmonic, the Orchestre National de France, and the
Boston Symphony Orchestra.

With his commitment to the New York Philharmonic and

his many other activities, Bernstein had little time for
composition during the 1960s. The two major works
he produced at this time were his Kaddish Symphony
dedicated to the recently assassinated President John F.
Kennedy and the Chichester Psalms which he produced
during a sabbatical year he took from the Philharmonic
in 1965 to concentrate on composition. To try to have
more time for composition was probably a major factor in
his decision to step down as Music Director of the Philharmonic in 1969, and to never accept such a position
anywhere again.

In 1970 Bernstein wrote and narrated a ninety-minute

program lmed on location in and around Vienna as a celebration of Beethovens 200th birthday. It featured parts
of Bernsteins rehearsals and performance for the Otto
Schenk production of Fidelio, Bernstein playing the 1st
piano concerto and the Ninth Symphony with the Vienna
Philharmonic and the young Plcido Domingo amongst
the soloists. The program was rst telecast in 1970 on
Austrian and British television, and then on CBS in the
U.S. on Christmas Eve 1971. The show, originally entitled Beethovens Birthday: A Celebration in Vienna, won
an Emmy and was issued on DVD in 2005. In the summer of 1970, during the Festival of London, he conducted
Verdis Requiem Mass in St. Pauls Cathedral, with the
London Symphony Orchestra.

1.5

19701979

Leonard Bernstein by Allan Warren

Like many of his friends and colleagues, Bernstein had

been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State
Department and CBS in the early 1950s, but unlike others his career was not greatly aected, and he was never
required to testify before the House Un-American Activities Committee.[29] His political life received substantial
press coverage though in 1970, due to a gathering hosted
at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of
the Black Panther Party against a variety of charges.[30]
The New York Times initially covered the gathering as a
lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction
to the widely publicized story.[31][32] This reaction culminated in June 1970 with the appearance of Radical Chic:
That Party at Lennys, an essay by satirist Tom Wolfe
featured on the cover of New York Magazine.[33] The article contrasted the Bernsteins comfortable lifestyle in
one of the worlds most expensive neighborhoods with the
anti-establishment politics of the Black Panthers. It led to
the popularization of "radical chic" as a critical term.[34]
Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow

1.5

19701979

desire to express fashionable sympathy but by their con- shows rst season (197576). Chase was seated next
cern for civil liberties.[35][36]
to Bernstein at a birthday party for Kurt Vonnegut and
Bernsteins major compositions during the 1970s were made the request in person. However, the pitch involved
of West Side Story,
probably his MASS: A Theatre Piece for Singers, Players, a Bernstein-conducted SNL version
[37]
and
Bernstein
was
uninterested.
and Dancers; his score for the ballet Dybbuk; his orchestral vocal work Songfest; and his U.S. bicentenary musical 1600 Pennsylvania Avenue written with lyrics by Alan
Jay Lerner which was his rst real theatrical op, and last
original Broadway show. The world premiere of Bernsteins MASS took place on September 8, 1971. Commissioned by Jacqueline Kennedy for the opening of the
John F. Kennedy Center for the Performing Arts in Washington, D.C., it was partly intended as an anti-war statement. Hastily written in places, the work represented
a fusion not only of dierent religious traditions (Latin
liturgy, Hebrew prayer, and plenty of contemporary English lyrics) but also of dierent musical styles, including classical and rock music. It was originally a target
of criticism from the Roman Catholic Church on the one
hand and contemporary music critics who objected to its
Broadway/populist elements on the other. In the present
day, it is perhaps seen as less blasphemous and more a
piece of its era: in 2000 it was even performed in the
Vatican.
In 1972 Bernstein recorded Bizet's Carmen, with Marilyn
Horne in the title role and James McCracken as Don Jose,
after leading several stage performances of the opera at
the Metropolitan Opera. The recording was one of the
rst in stereo to use the original spoken dialogue between
the sung portions of the opera, rather than the musical
recitatives that were composed by Ernest Guiraud after Bizets death. The recording was Bernsteins rst for
Deutsche Grammophon and won a Grammy.
Bernstein was appointed in 1973 to the Charles Eliot Norton Chair as Professor of Poetry at his alma mater, Harvard University, and delivered a series of six televised
lectures on music with musical examples played by the
Boston Symphony Orchestra. However, these lectures
were not televised until 1976. Taking the title from a
Charles Ives work, he called the series The Unanswered
Question; it was a set of interdisciplinary lectures in which
he borrowed terminology from contemporary linguistics
to analyze and compare musical construction to language.
The lectures are presently available in both book and
DVD form. The DVD video was not taken directly from
the lectures at Harvard, rather they were recreated again
at the WGBH studios for lming. This appears to be the
only surviving Norton lectures series available to the general public in video format. Noam Chomsky wrote in
2007 on the Znet forums about the linguistic aspects of
the lecture: I spent some time with Bernstein during the
preparation and performance of the lectures. My feeling was that he was onto something, but I couldn't really
judge how signicant it was.
Chevy Chase states in his biography that Lorne Michaels
wanted Bernstein to host Saturday Night Live in the

A major period of upheaval in Bernsteins personal life

began in 1976 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, 1978.[21] Cothran himself died of AIDS
in 1981. Bernstein is reported to have often spoken of
his terrible guilt over his wifes death.[21] Most biographies of Bernstein state that his lifestyle became more
excessive and his personal behavior sometimes cruder after her death. However, his public standing and many of
his close friendships appear to have remained unaected,
and he resumed his busy schedule of musical activity.
In 1978, Bernstein returned to the Vienna State Opera to
conduct a revival of the Otto Schenk production of Fidelio, now featuring Gundula Janowitz and Rene Kollo
in the lead roles. At the same time, Bernstein made a
studio recording of the opera for Deutsche Grammophon
and the opera itself was lmed by Unitel and released on
DVD by Deutsche Grammophon in late 2006. In May
1978, the Israel Philharmonic played two U.S. concerts
under his direction to celebrate the 30th anniversary of
the founding of the Orchestra under that name. On consecutive nights, the Orchestra, with the Choral Arts Society of Washington, performed Beethovens Ninth Symphony and Bernsteins Chichester Psalms at the Kennedy
Center in Washington, D.C., and at Carnegie Hall in New
York.
In 1979, Bernstein conducted the Berlin Philharmonic
Orchestra for the rst and only time, in two charity concerts for Amnesty International involving performances
of Mahlers Ninth Symphony. The invitation for the concerts had come from the orchestra and not from its principal conductor Herbert von Karajan. There has been
speculation about why Karajan never invited Bernstein
to conduct his orchestra. (Karajan did conduct the New
York Philharmonic during Bernsteins tenure.) The full
reasons will probably never be known reports suggest
they were on friendly terms when they met, but sometimes practiced a little mutual one-upmanship.[21] One
of the concerts was broadcast on radio and was posthumously released on CD by Deutsche Grammophon. One
oddity of the recording is that the trombone section fails
to enter at the climax of the nale, as a result of an audience member collapsing just behind the trombones a few
seconds earlier.

1.6

1 BIOGRAPHY

19801990

Bernstein received the Kennedy Center Honors award in

1980. For the rest of the 1980s he continued to conduct, teach, compose, and produce the occasional TV
documentary. His most signicant compositions of the
decade were probably his opera A Quiet Place, which he
wrote with Stephen Wadsworth and which premiered (in
its original version) in Houston in 1983; his Divertimento
for Orchestra; his Halil for ute and orchestra; his Concerto for Orchestra Jubilee Games; and his song cycle
Arias and Barcarolles, which was named after a comment President Dwight D. Eisenhower had made to him
in 1960.

Journey for Peace tour around Europe and to Japan.

In 1985, he conducted a recording of West Side Story,
the rst time he had conducted the entire work. The
recording, featuring what some critics felt were miscast
opera singers such as Kiri Te Kanawa, Jos Carreras, and
Tatiana Troyanos in the leading roles, was nevertheless an
international bestseller. A TV documentary showing the
making of the recording was made at the same time and is
available on DVD. Bernstein also continued to make his
own TV documentaries during the 1980s, including The
Little Drummer Boy, in which he discussed the music of
Gustav Mahler, perhaps the composer he was most passionately interested in, and The Love of Three Orchestras,
in which he discussed his work in New York, Vienna, and
Israel.
In his later years, Bernsteins 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 1977. In 1986 the
London Symphony Orchestra mounted a Bernstein Festival in London with one concert that Bernstein himself
conducted attended by the Queen. In 1988 Bernsteins
70th birthday was celebrated by a lavish televised gala at
Tanglewood featuring many performers who had worked
with him over the years.

with Maximilian Schell on PBS Beethoven TV series (1982)

In 1982 in the U.S., PBS aired an 11-part series of Bernsteins late 1970s lms for Unitel of the Vienna Philharmonic playing all nine Beethoven symphonies and various
other Beethoven works. Bernstein gave spoken introduction and actor Maximilian Schell was also featured on the
programs, reading from Beethovens letters.[38] The original lms have since been released on DVD by Deutsche
Grammophon. In addition to conducting in New York,
Vienna and Israel, Bernstein was a regular guest conductor of other orchestras in the 1980s. These included
the Royal Concertgebouw Orchestra in Amsterdam, with
whom he recorded Mahlers First, Fourth, and Ninth
Symphonies amongst other works; the Bavarian Radio
Symphony Orchestra in Munich, with whom he recorded
Wagners Tristan und Isolde; Haydns Creation; Mozarts
Requiem and Great Mass in C minor; and the orchestra
of Accademia Nazionale di Santa Cecilia in Rome, with
whom he recorded some Debussy and Puccinis La bohme.
In 1982, he and Ernest Fleischmann founded the Los
Angeles Philharmonic Institute as a summer training
academy along the lines of Tanglewood. Bernstein served
as artistic director and taught conducting there until 1984.
Around the same time, he performed and recorded some
of his own works with the Los Angeles Philharmonic for
Deutsche Grammophon. Bernstein was also at the time
a committed supporter of nuclear disarmament. In 1985
he took the European Community Youth Orchestra in a

In December 1989, Bernstein conducted live performances and recorded in the studio his operetta Candide
with the London Symphony Orchestra. The recording
starred Jerry Hadley, June Anderson, Adolph Green, and
Christa Ludwig in the leading roles. The use of opera
singers in some roles perhaps tted the style of operetta
better than some critics had thought was the case for West
Side Story, and the recording (released posthumously in
1991) was universally praised. One of the live concerts
from the Barbican Centre in London is available on DVD.
Candide had had a troubled history, with many rewrites
and writers involved. Bernsteins concert and recording
were based on a nal version that had been rst performed by Scottish Opera in 1988. The opening night
(which Bernstein attended in Glasgow) was conducted by
Bernsteins former student John Mauceri.
On December 25, 1989, Bernstein conducted
Beethoven's Symphony No.
9 in East Berlins
Schauspielhaus as part of a celebration of the fall
of the Berlin Wall. 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 100 million people. For the occasion,
Bernstein reworded Friedrich Schiller's text of the Ode to
Joy, substituting the word Freiheit (freedom) for Freude
(joy).[39] Bernstein, in his spoken introduction, said that
they had taken the liberty of doing this because of a
most likely phony story, apparently believed in some
quarters, that Schiller wrote an Ode to Freedom that
is now presumed lost. Bernstein added, I'm sure that
Beethoven would have given us his blessing.

9
ber 9, 1990,[43] and died of a heart attack ve days later.
He was 72 years old.[2] A longtime heavy smoker, he had
battled emphysema from his mid-50s. On the day of his
funeral procession through the streets of Manhattan, construction workers removed their hats and waved, yelling
Goodbye, Lenny.[44] Bernstein is buried in GreenWood Cemetery, Brooklyn, New York,[45] next to his
wife and with a copy of Mahlers Fifth lying across his
heart.[46]

2 Social activism

Bernsteins grave in Green-Wood Cemetery

While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further
social change. His rst aspirations for social change
were made apparent in his producing (as a student) a
recently banned opera, The Cradle Will Rock, by Marc
Blitzstein, about the disparity between the working and
upper class. His rst opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class
life in particular. As he went on in his career Bernstein
would go on to ght for everything from the inuences of
American Music to the disarming of western nuclear
weapons.[47]

In the summer of 1990, Bernstein and Michael Tilson

Thomas founded the Pacic Music Festival in Sapporo,
Japan. Like his earlier activity in Los Angeles, this was
a summer training school for musicians modeled on Tanglewood, and is still in existence. Bernstein was already at
this time suering from the lung disease that would lead
to his death. In his opening address Bernstein said that
he had decided to devote what time he had left to education. A video showing Bernstein speaking and rehearsing
at the rst Festival is available on DVD in Japan.

Mr. Bernstein was named in the book Red Channels: The

Report of Communist Inuence in Radio and Television as
a Communist along with Aaron Copland, Lena Horne,
Pete Seeger, Artie Shaw and other prominent gures of
the performing arts. Red Channels was issued by the
right-wing journal Counterattack and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.[48]

In 1990, Leonard Bernstein received the Praemium Imperiale, an international prize awarded by the Japan Arts
Association for lifetime achievement in the arts. Bernstein used the $100,000 prize to establish The Bernstein Education Through the Arts (BETA) Fund, Inc.[40]
Leonard Bernstein provided this grant to develop an artsbased education program. The Leonard Bernstein Center was established in April 1992, and initiated extensive school-based research, resulting in the Bernstein
Model.[41]

2.1 Philanthropy

[49] [50]

Among the many awards Bernstein earned throughout his

life one allowed him to make one of his philanthropic
dreams a reality. He had for a long time wanted to develop an international school to help promote the integration of arts into education. When he won the Japan
Arts Association award for lifetime achievement,[51] he
used the $100,000 that came with the award to build such
a school in Nashville, that would strive to teach teachtheater into
Bernstein made his nal performance as a conductor ers how to better integrate music, dance, and[52]
Unfortuthe
school
system
which
was
not
working.
at Tanglewood on August 19, 1990, with the Boston
nately,
the
school
was
not
able
to
open
until
shortly
after
Symphony playing Benjamin Britten's Four Sea InterBernsteins
death.
ludes from Peter Grimes, and Beethoven's Seventh Symphony.[42] He suered a coughing t in the middle of the In a 1990 Rolling Stone interview Bernstein outlined his
Beethoven performance which almost caused the concert conception of a school called The Academy for the Love
to break down. The concert was later issued on CD by of Learning.[53]
Deutsche Grammophon.
I and a musician friend named Aaron Stern have conHe announced his retirement from conducting on Octo- ceived of an institution called the Academy for the Love

10

INFLUENCE AND CHARACTERISTICS AS A CONDUCTOR

of Learning. We haven't done too much with the idea yet,

but its registered as a nonprot corporation, and besides
the obvious attempts to get music and kids together, there
will be the overriding goal of teaching teachers to discover
their own love of learning.
The Academy for the Love of Learning was completed
in 1998 and is located in Santa Fe, New Mexico where
it continues to explore Bernsteins dream of integrated
arts in education by oering courses in transformational
learning.

Artful Learning

Artful Learning is based on Bernsteins philosophy that

the arts can strengthen learning and be incorporated in
all academic subjects.[54] The program is based on units
of study, which each consist of four core elements: experience, inquire, create, and reect.[55] After two decades
of research and implementation across the United States,
Artful Learning Schools demonstrate that Units of Study
that utilize rigor, cognitive complexity and deep understanding through a commitment to collaborative and independent learning demonstrate high levels of student engagement and academic achievement.[56]

Inuence and characteristics as a

conductor

Leonard Bernstein in 1971

(1985), and the nale of Tchaikovskys Pathetique Symphony (1986), where in each case the tempos are well
Bernstein was one of the major gures in orchestral con- below those typically chosen.
ducting in the second half of the 20th century. He was
Bernstein performed a wide repertoire from the baroque
held in high regard amongst many musicians, including era to the 20th century, although perhaps from the 1970s
the members of the Vienna Philharmonic Orchestra, evionwards he tended to focus more on music from the
denced by his honorary membership; the London Sym- romantic era. He was considered especially accomphony Orchestra, of which he was President; and the plished with the works of Gustav Mahler and with AmerIsrael Philharmonic Orchestra, with which he appeared ican composers in general, including George Gershwin,
regularly as guest conductor. He was probably the main Aaron Copland, Charles Ives, Roy Harris, William Schuconductor from the 1960s onwards who acquired a sort of man, and of course himself. Some of his recordings
superstar status similar to that of Herbert von Karajan, al- of works by these composers would likely appear on
though unlike Karajan he conducted relatively little opera many music critics lists of recommended recordings. A
and part of Bernsteins fame was based on his role as a list of his other well-thought-of recordings would probcomposer. As the rst American-born music director of ably include individual works from Haydn, Beethoven,
the New York Philharmonic, his rise to prominence was Berlioz, Schumann, Liszt, Nielsen, Sibelius, Stravinsky,
a factor in overcoming the perception of the time that the Hindemith, and Shostakovich, among others.[57] His
top conductors were necessarily trained in Europe.
recordings of Rhapsody in Blue (full-orchestra version)
Bernsteins conducting was characterized by extremes of
emotion with the rhythmic pulse of the music conveyed
visually through his balletic podium manner. Musicians
often reported that his manner in rehearsal was the same
as in concert. As he got older his performances tended
to be overlaid to a greater extent with a personal expressiveness which often divided critical opinion. Extreme examples of this style can be found in his Deutsche
Grammophon recordings of Nimrod from Elgars Enigma
Variations (1982), the end of Mahlers 9th Symphony

and An American in Paris for Columbia Records, released in 1959, are considered denitive by many, although Bernstein cut the Rhapsody slightly, and his more
'symphonic' approach with slower tempi is quite far from
Gershwins own conception of the piece, evident from his
two recordings. (Oscar Levant, Earl Wild, and others
come closer to Gershwins own style.) Bernstein never
conducted Gershwins Piano Concerto in F, or more than
a few excerpts from Porgy and Bess, although he did discuss the latter in his article Why Don't You Run Upstairs

11
and Write a Nice Gershwin Tune?, originally published in phonies (with the Vienna Philharmonic and London SymThe New York Times and later reprinted in his 1959 book phony Orchestra), as well as complete cycles of the
The Joy of Music.
Beethoven, Brahms and Schumann symphonies recorded
In addition to being an active conductor, Bernstein was at the same series of concerts as the audio recordings by
a very inuential teacher of conducting. During his Deutsche Grammophon. Many of these lms appeared
many years of teaching at Tanglewood and elsewhere, on Laserdisc and are now on DVD.
he directly taught or mentored many conductors who are
performing now, such as John Mauceri, Marin Alsop,
Herbert Blomstedt, Edo de Waart, Alexander Frey, Paavo
Jrvi, Eiji Oue, Maurice Peress, Seiji Ozawa (who made
his American TV debut as the guest conductor on one
of the Young Peoples Concerts), Carl St.Clair, Helmuth
Rilling, Michael Tilson Thomas, and Jaap van Zweden.
He also undoubtedly inuenced the career choices of
many American musicians who grew up watching his
television programmes in the 1950s and 60s.

Recordings

Bernstein recorded extensively from the mid-1940s until

just a few months before his death. Aside from those
1940s recordings, which were made for RCA Victor,
Bernstein recorded primarily for Columbia Masterworks
Records, especially when he was music director of the
New York Philharmonic between 1958 and 1971. His
typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestras subscription concerts or on one
of the Young Peoples Concerts, with any spare time used
to record short orchestral showpieces and similar works.
Many of these performances were digitally remastered
and reissued by Sony as part of their 100 Volume, 125
CDs Royal Edition and their later Bernstein Century
series. In 2010 many of these recordings were repackaged in a 60 CD Bernstein Symphony Edition.
His later recordings (starting with Bizets Carmen in
1972) were mostly made for Deutsche Grammophon,
though he would occasionally return to the Columbia
Masterworks label. Notable exceptions include recordings of Gustav Mahler's Song of the Earth and Mozart's
15th piano concerto and Linz symphony with the
Vienna Philharmonic Orchestra for Decca Records
(1966); Berlioz's Symphonie fantastique and Harold in
Italy (1976) for EMI; and Wagner's Tristan und Isolde
(1981) for Philips Records, a label that like Deutsche
Grammophon was part of PolyGram at that time. Unlike
his studio recordings for Columbia Masterworks, most of
his later Deutsche Grammophon recordings were taken
from live concerts (or edited together from several concerts with additional sessions to correct errors). Many
replicate repertoire that he recorded in the 1950s and 60s.
In addition to his audio recordings, many of Bernsteins
concerts from the 1970s onwards were recorded on motion picture lm by the German lm company Unitel. This included a complete cycle of the Mahler sym-

In total Bernstein was awarded 16 Grammys for his

recordings in various categories, including several for
posthumously released recordings. He was also awarded
a Lifetime Achievement Grammy in 1985.

6 Inuence and characteristics as a

composer
Bernstein was an eclectic composer whose music fused
elements of jazz, Jewish music, theatre music and the
work of earlier composers like Aaron Copland, Igor
Stravinsky, Darius Milhaud, George Gershwin, and Marc
Blitzstein. Some of his works, especially his score for
West Side Story, helped bridge the gap between classical and popular music. His music was rooted in tonality but in some works like his Kaddish Symphony and
the opera A Quiet Place he mixed in 12-tone elements.
Bernstein himself said his main motivation for composing was to communicate and that all his pieces, including his symphonies and concert works, could in some
sense be thought of as 'theatre' pieces.[58] According to
the League of American orchestras,[59] he was the second most frequently performed American composer by
U.S. orchestras in 2008-9 behind Copland, and he was
the 16th most frequently performed composer overall by
U.S. orchestras. (Some performances were probably due
to the 90th anniversary of his birth in 2008.) His most
popular pieces were the Overture to Candide, the Symphonic Dances from West Side Story, the Serenade for Violin, Strings, Harp and Percussion and the Three Dance
Episodes from On the Town. His shows West Side Story,
On the Town, Wonderful Town and Candide are regularly performed, and his symphonies and concert works
are programmed from time to time by orchestras around
the world. Since his death many of his works have been
commercially recorded by artists other than himself. The
Serenade, which has been recorded more than 10 times, is
probably his most recorded work not taken from an actual
theatre piece.
Despite the fact that he was a popular success as a composer, Bernstein himself is reported to have been disillusioned that some of his more serious works were not
rated more highly by critics, and that he himself had not
been able to devote more time to composing because of
his conducting and other activities.[44] Professional criticism of Bernsteins music often involves discussing the
degree to which he created something new as art versus simply skillfully borrowing and fusing together elements from others. In the late 1960s, Bernstein himself

12

7 WORKS

reected that his eclecticism was in part due to his lack

of lengthy periods devoted to composition, and that he
was still seeking to enrich his own personal musical language in the manner of the great composers of the past,
all of whom had borrowed elements from others.[60] Perhaps the harshest criticism he received from some critics
in his lifetime though was directed at works like his Kaddish Symphony, his MASS and the opera A Quiet Place,
where they found the underlying message of the piece or
the text as either mildly embarrassing, clichd or oensive. Despite this, all these pieces have been performed,
discussed and reconsidered since his death.
Bernsteins works were performed several times for Pope
John Paul II, including at World Youth Day in Denver
on August 14, 1993 (excerpts from MASS), and at the
Papal Concert to Commemorate the Shoah on April 7,
1994, with the Royal Philharmonic Orchestra (Chichester Psalms and Symphony No. 3, Kaddish [excerpt])
in the Sala Nervi at the Vatican. Both performances were
conducted by Gilbert Levine.

The Race to Urga (incomplete), 1969

By Bernstein (a Revue), 1975
1600 Pennsylvania Avenue, 1976
"A Party with Betty Comden and Adolph Green",
1977
The Madwoman of Central Park West, (contributed
to) 1979

7.4 Incidental music and other theatre

Peter Pan, 1950
The Lark, 1955
The Firstborn, 1958
Mass (theatre piece for singers, players and dancers),
1971

Although he taught conducting, Bernstein was not a

"Side by Side by Sondheim"* 1976
teacher of composition as such, and he has no direct composing heirs. Perhaps the closest are composers like John
Adams, who from the 1970s onwards indirectly adopted 7.5 Film scores
elements of his eclectic, theatrical style.
On the Town, 1949 (only part of his music was used)

Works

On the Waterfront, 1954

West Side Story, 1961

Main article: List of compositions by Leonard Bernstein

7.6 Orchestral
7.1

Ballet

Symphony No. 1, Jeremiah, 1942

Fancy Free, 1944

Fancy Free and Three Dance Variations from Fancy

Free, concert premiere 1946

Facsimile Choreographic Essay for Orchestra,

1946

Three Dance Episodes from On the Town, concert

premiere 1947

Dybbuk (ballet), 1974

Symphony No. 2, The Age of Anxiety, (after W. H.

Auden) for Piano and Orchestra, 1949 (revised in
1965)

7.2

Opera

Trouble in Tahiti, 1952

Serenade for Solo Violin, Strings, Harp and Percussion (after Platos Symposium), 1954

Candide, 1956 (new libretto in 1973, operetta nal

revised version in 1989)

Prelude, Fugue, and Ris for Solo Clarinet and Jazz

Ensemble, 1949

A Quiet Place, 1983

Symphonic Suite from On the Waterfront, 1955

7.3

Musicals

On The Town, 1944

Wonderful Town, 1953
West Side Story, 1957

Symphonic Dances from West Side Story, 1961

Symphony No. 3, Kaddish, for Orchestra, Mixed
Chorus, Boys Choir, Speaker and Soprano Solo,
1963 (revised in 1977)
Dybbuk, Suites No. 1 and 2 for Orchestra, concert
premieres 1975

7.10

Piano music

13

Songfest: A Cycle of American Poems for Six Singers 7.10 Piano music
and Orchestra, 1977
Music for Two Pianos, 1937
Three Meditations from Mass for Violoncello and
Orchestra, 1977
Piano Sonata, 1938
Slava! A Political Overture for Orchestra, 1977

7 Anniversaries, 1944

Divertimento for Orchestra, 1980

4 Anniversaries, 1948

Halil, nocturne for Solo Flute, Piccolo, Alto Flute,

Percussion, Harp and Strings, 1981

5 Anniversaries, 1952

Concerto for Orchestra, 1989 (Originally Jubilee

Games from 1986, revised in 1989)

7.7

Choral

Hashkiveinu for Cantor (tenor), Mixed Chorus and

Organ, 1945

Bridal Suite, 1960

Moby Diptych, 1981 (republished as Anniversaries
nos. 1 and 2 in Thirteen Anniversaries)
Touches, 1981
13 Anniversaries, 1988

Missa Brevis for Mixed Chorus and Countertenor 7.11

Solo, with Percussion, 1988
Chichester Psalms for Boy Soprano (or
Countertenor), Mixed Chorus, and Orchestra,
1965 (Reduced version for Organ, Harp and
Percussion)

7.8

Chamber music

Piano Trio, 1937, Boosey & Hawkes

Sonata for Clarinet and Piano, 1942
Brass Music, 1959
Dance Suite, 1988
Variations on an Octatonic Scale for recorder and
cello, 1988

7.9

Vocal music

I Hate Music: A cycle of Five Kids Songs for Soprano

and Piano, 1943
Big Stu, sung by Billie Holiday
La Bonne Cuisine: Four Recipes for Voice and Piano,
1948
Silhouette (Galilee), 1951

Other music

Other occasional works, written as gifts and other

forms of memorial and tribute
The Skin of Our Teeth": An aborted work from
which Bernstein took material to use in his Chichester Psalms
Simhu Na (arrangement of traditional song)
Waltz for Mippy III for Tuba and Piano
Elegy for Mippy II for Trombone alone
Elegy for Mippy I for Horn and Piano
Rondo for Lifey for Trumpet and Piano
Fanfare for Bima for Brass Quartet: composed in
1947 as a birthday tribute to Koussevitzky using the
tune he whistled to call his cocker spaniel[61]
Shivaree: A Fanfare for Double Brass Ensemble
and Percussion. 1970. Commissioned by and dedicated to the Metropolitan Museum of Art in New
York in honor of its Centenary.[62] Musical material
later used in Mass.
This list is incomplete; you can help by
expanding it.

Two Love Songs, 1960

So Pretty, 1968
Piccola Serenata, 1979
Arias and Barcarolles for Mezzo-Soprano, Baritone
and Piano four-hands, 1988

8 Bibliography
Bernstein, Leonard (1993 reprinting) [1982].
Findings. New York: Anchor Books. ISBN 0-38542437-X. Check date values in: |date= (help)

14

10

AWARDS

Bernstein, Leonard (1993 reprinting) [1966]. The 10 Awards

Innite Variety of Music. New York: Anchor Books.
ISBN 0-385-42438-8. Check date values in: |date= Main article: List of Leonard Bernstein awards
(help)
Bernstein, Leonard (2004 reprinting) [1959].
The Joy of Music. Pompton Plains, New Jersey:
Amadeus Press. ISBN 1-57467-104-9. Check date
values in: |date= (help)
Bernstein, Leonard (2006 reprinting) [1962].
Young Peoples Concerts. Milwaukee; Cambridge:
Amadeus Press. ISBN 1-57467-102-2. Check date
values in: |date= (help)
Bernstein, Leonard. [1976] The Unanswered Question: Six Talks at Harvard, Harvard University
Press. ISBN 0-674-92001-5.
Bernstein, Leonard. [2013] The Leonard Bernstein
Letters, Yale University Press. ISBN 978-0-30017909-5.

Fellow of the American Academy of Arts and Sciences, 1951[63]

Sonning Award (Denmark), 1965
Ditson Conductors Award, 1958
George Peabody Medal Johns Hopkins University,
1980
Ernst von Siemens Music Prize 1987
Royal Philharmonic Society Gold Medal (UK),
1987
Knight Grand Cross Order of Merit (Italy), 1989
Grammy Award for Best Album for Children

Videography

Grammy Award for Best Orchestral Performance

The Unanswered Question: Six Talks at Harvard.

West Long Branch, New Jersey: Kultur Video.
VHS ISBN 1-56127-570-0. DVD ISBN 0-76971570-2. (videotape of the Charles Eliot Norton Lectures given at Harvard in 1973.)
Leonard Bernsteins Young Peoples Concerts with the
New York Philharmonic. West Long Branch, New
Jersey: Kultur Video. DVD ISBN 0-7697-1503-6.
Bernstein on Beethoven: A Celebration in Vienna/Beethoven: Piano Concerto No. 1. West Long
Branch, Kultur Video. DVD

Grammy Award for Best Choral Performance

Grammy Award for Best Opera Recording
Grammy Award for Best Classical Vocal Performance
Grammy Award for Best Instrumental Soloist(s)
Performance
Grammy Award for Best Classical Contemporary
Composition
Grammy Award for Best Classical Album

Leonard Bernstein: Omnibus The Historic TV

Broadcasts, 2010, E1 Ent.

Grammy Lifetime Achievement Award

Bernstein: Reections (1978), Euroarts.

Tony Award for Best Musical

Bernstein/Beethoven (1982),
mophon, DVD

Special Tony Award

Deutsche Gram-

Bernstein Conducts West Side Story (1985) (retitled The Making of West Side Story in re-releases)
Deutsche Grammophon. DVD
The Rite of Spring in Rehearsal

Japan Arts Association Lifetime Achievement

Award
Gramophone Hall of Fame entrant[64]
Commandeur de la Lgion d'honneur, 1986

Leonard Bernstein: Reaching for the Note (1998) Leonard Bernstein is also a member of both the American
Documentary on his life and music. Originally aired Theater Hall of Fame,[65] and the Television Hall of
Fame.[66]
on PBSs American Masters series. DVD

15

11

References

[1] Karlin, Fred (1994). Listening to Movies 8 (recording).

New York: Schirmer. p. 264. US dict: brnstn Bernsteins pronunciation of his own name as he introduces his
Peter and the Wolf.
[2] Henahan, Donal (October 15, 1990). Leonard Bernstein,
72, Musics Monarch, Dies. New York Times. Retrieved
February 11, 2009. Leonard Bernstein, one of the most
prodigally talented and successful musicians in American
history, died yesterday evening at his apartment at the
Dakota on the Upper West Side of Manhattan. He was 72
years old. Mr. Bernsteins spokeswoman, Margaret Carson, said he died of a heart attack caused by progressive
lung failure.
[3] http://barbaraanneshaircombblog.com/
images/symphonyofthenewworld/
benjaminsteinberg-leonardbernstein-peterpan.jpg

[19] Rockwell, John (December 15, 2013). Maestro 'The

Leonard Bernstein Letters". The New York Times. Retrieved December 14, 2013.
[20] Arturo Toscanini: the NBC years. Amadeus Press. 2002.
ISBN 978-1-57467-069-1.
[21] Burton, Humphrey (1994). Leonard Bernstein. New
York: Doubleday.
[22] Charles Kaiser, The Gay Metropolis, New York City:
19401996.
[23] Meryle Secrest (1995), Leonard Bernstein: A Life.
[24] Peyser (1987), pp. 196, 204, 322.
[25] The Ocial Leonard Bernstein Web Site. http://www.
leonardbernstein.com/about.php.
[26] Young Peoples Concerts. Leonard Bernstein. Retrieved September 20, 2010.

[4] Laird, Paul R. Leonard Bernstein: A Guide to Research.

Routledge, 2002. p. 10.

[27] Transcription of Bernsteins Glenn Gould Introduction

(from a Rutgers University webpage).

[5] Dougary, Ginny (March 13, 2010). Leonard Bernstein:

charismatic, pompous and a great father'". The Times
(UK). Retrieved March 12, 2010.

[28] Glenn Gould: Variations, Ed. John McGreevy (1983).

[6] Oliver, Myrna (October 15, 1990). Leonard Bernstein

Dies; Conductor, Composer Music: Renaissance man of
his art was 72. The longtime leader of the N.Y. Philharmonic carved a niche in history with `West Side Story.'".
Los Angeles Times. Retrieved March 12, 2010.

[29] Seldes, Barry (2009). Leonard Bernstein: The Political

Life of an American Musician. University of California
Press.
[30] Radical Chic. Hope for America: Performers, Politics
and Pop Culture. Library of Congress. Retrieved December 12, 2010.

[7] Great Escape composer dies at 82. BBC News. August

19, 2004.

[31] False Note on Black Panthers. The New York Times.

January 16, 1970.

[8] Introduction. Bernstein West. Retrieved May 3, 2012.

[32] Wolfe, Tom. Tom Wolfe on Radical Chic and Leonard

Bernsteins Party for the Black Panthers. Radical Chic:
That Party at Lennys. New York. Retrieved December
11, 2010.

[9] Peyser, Joan (1987). Bernstein, a biography. New York:

Beech Tree Books. pp. 2224. ISBN 0-688-04918-4.
[10] Peyser (1987), p. 34.
[11] Peyser (1987), p. 3940.
[12] See for instance Bernsteins 1980 TV Documentary,
Teachers and Teaching available on a Deutsche Grammophon DVD.
[13] Peyser (1987) (Bernstein complained later that she taught
him an incorrect piano technique), pp. 389.
[14] Bernstein Chronology.
[15] About Bernstein. Leonard Bernstein Ocial Site. Retrieved January 15, 2007.
[16] Leonard Bernstein Biography. Sony Classical. Retrieved January 15, 2007.
[17] Deems Taylor (July 25, 2007), Pathtique, MusicAppreciation Records
[18] David Hamilton, Dorle Jarmel Soria, Opera News 67
(Oct. 2002), p. 84. The event was due in part to the
eorts of Dorle Soria who had been on the sta of the
New York Philharmonic since the late 1920s.

[33] Wolfe, Tom (June 8, 1970). Radical Chic: that Party at

Lennys (PDF). New York. Retrieved March 1, 2010.
[34] Leonard Bernstein: A political life. The Economist.
May 28, 2009. Retrieved December 12, 2010.
[35] Bernstein, Felicia M. (January 21, 1970). Letters to the
Editor of The Times: Panthers Legal Aid. The New York
Times.
[36] The Social Activist. Bernstein: The Best of All Possible
Worlds. Carnegie Hall Corporation. Retrieved December
12, 2010.
[37] Fruchter, I'm Chevy Chase... and you're not, p. 184
[38] Leonard Bernstein and Maximilian Schell discussing
Beethovens 6th and 7th Symphony on YouTube, video
clip, 9 minutes
[39] Naxos (2006). "Ode To Freedom Beethoven: Symphony
No. 9 (NTSC)". Naxos.com Classical Music Catalogue.
Retrieved November 26, 2006.
[40] http://www.leonardbernstein.com/pfr/pfr_FALL05_
rev2.pdf

16

13

EXTERNAL LINKS

[41] History of the Leonard Bernstein Center for Learning.

http://webadrenaline.com. Retrieved 2015-01-02.

[61] Copland, Aaron and Perlis, Vivian (1984). Copland Since

1943, p119.

[42] Garrison Keillor (August 25, 2003). The Writers Almanac. American Public Media. Retrieved January 17,
2007.

[62] Finding aid for the George Trescher records related to The
Metropolitan Museum of Art Centennial, 1949, 19601971 (bulk 1967-1970). The Metropolitan Museum of
Art. Retrieved 6 August 2014.

[43] " Died On This Date (October 14, 1990) Leonard Bernstein / World Renowned Composer The Musics Over.
Themusicsover.wordpress.com. October 14, 2009. Retrieved May 3, 2012.
[44] See the TV Documentary: Leonard Bernstein: Reaching
for the Note originally shown in the series American Masters on PBS in the U.S., now on DVD.
[45] Find A Grave. Retrieved May 17, 2015.
[46] Davis, Peter G. (May 17, 2011). When Mahler Took
Manhattan. Retrieved 2011-5-18. Small wonder that
Bernstein is buried with the score of Mahlers Fifth Symphony placed over his heart.
[47] Bernstein:The Best of All Possible Worlds. Causes and
Eecting Change.

[63] Book of Members, 17802010: Chapter B (PDF).

American Academy of Arts and Sciences. Retrieved June
24, 2011.
[64] Leonard Bernstein (composer, conductor and pianist)".
Gramophone.
[65] Theater Hall of Fame members.
[66] Television Hall of Fame Honorees: The Complete List.

12 Further reading
Burton, Humphrey (1994). Leonard Bernstein. New
York: Doubleday. ISBN 0-385-42345-4.

[48] http://www.history.com/this-day-in-history/
Gottlieb, Jack (ed.) (1992). Leonard Bernsteins
bernstein-copland-seeger-and-others-are-named-as-communists?
Young Peoples Concerts (revised ed.). New York:
et_cid=76800153&et_rid=1221598356&linkid=http%
Anchor Books. ISBN 0-385-42435-3.
3a%2f%2fwww.history.com%2fthis-day-in-history%
2fbernstein-copland-seeger-and-others-are-named-as-communists
Bernstein, Burton; Haws, Barbara, eds. (2008).
[49] Fear On Trial by John Henry Faulk
[50] The Jury Returns by Louis Nizer
[51] Temple Emanuel.
[52] Harrison, Eric (August 9, 1993). The maestros legacy
reverberates in Nashville : Leonard Bernsteins dream of
creating a center that integrates the arts and the classroom
is in full swing. Los Angeles Times (Los Angeles). Retrieved Oct 11, 2011.
[53] Cott, Jonathan. Leonard Bernstein-The Last Interview.
Rolling Stone, New York, 28 November 1990: 70-93, 130
[54] THE LEONARD BERNSTEIN ARTFUL LEARNING
MODEL: A CASE STUDY OF AN ELEMENTARY
SCHOOL. http://digitalcommons.nl.edu. Retrieved
2013-12-01.
[55] Leonard Bernsteins Arts-Based Education Revolution.
http://www.huffingtonpost.com. Retrieved 2013-06-12.
[56] Artful Learning Model. http://www.leonardbernstein.
com/''. The Leonard Bernstein Center. Retrieved 7 February 2015.
[57] Holmes, John L. (1982). Conductors on Record. UK:
Greenwood Press. ISBN 0-313-22990-2.
[58] In the 1978 Peter Rosen documentary Leonard Bernstein:
Reections, now available on a Medici Arts DVD.
[59] Retrieved January 21, 2011.
[60] Gruen, John and Heyman, Ken (1968).The Private World
of Leonard Bernstein. New York: The Viking Press.

Leonard Bernstein: American Original. Contains

chapters by Alan Rich, Paul Boyer, Carol J. Oja,
Tim Page, Burton Bernstein, Jonathan Rosenberg,
Joseph Horowitz, Bill McGlaughlin, James M.
Keller, and John Adams. New York: HarperCollins.
ISBN 0-06-153786-1.
Chapin, Schuyler (1992). Leonard Bernstein: Notes
from a Friend. New York: Walker. ISBN 0-80271216-9.
Rozen, Brian D. (1997). The Contributions of
Leonard Bernstein to Music Education: An Analysis of his 53 Young Peoples Concerts. Thesis (PhD).
Rochester, New York: University of Rochester.
OCLC 48156751.
Laird, Paul R. (2002). Leonard Bernstein: A Guide
to Research. New York: Routledge. ISBN 0-81533517-2. (online Life at Google Books)
Secrest,Meryle, Leonard Bernstein A Life, Alfred
A. Knopf, 1994, isbn=0679407316.
Simeone, Nigel (2013). The Leonard Bernstein Letters. Yale University Press. ISBN 9780300179095.

13 External links
Ocial website
Discography

17
The Leonard Bernstein Collection at the Library of
Congress Music Division
Leonard Bernstein discography at MusicBrainz
Discography at SonyBMG Masterworks
Bernsteins Boston, a Harvard University research
project
Find A Grave - Leonard Bernstein
FBI le on Leonard Bernstein
Leonard Bernstein Festival of the Creative Arts
Gay Great Leonard Bernstein
Radical Chic, a book by Tom Wolfe describing a
gathering at Bernsteins apartment of New Yorks
social elite and the Black Panther Party.
Leonard Bernstein: A Total Embrace of Music,
written by Peter Gutmann, music journalist.
Arias and Barcarolles, The Leonard Bernstein Pages
Leonard Bernstein at the Internet Movie Database
Leonard Bernstein at the Internet Broadway
Database
Leonard Bernstein at the Internet O-Broadway
Database
Leonard Bernsteins maximum card from Israel
Obituary, New York Times, October 15, 1990
Leonard Bernstein: American Original (HarperCollins, 2008) Chapters by Alan Rich, Paul Boyer,
Carol J. Oja, Tim Page, Burton Bernstein, Jonathan
Rosenberg, Joseph Horowitz, Bill McGlaughlin,
James M. Keller, John Adams
Pacic Music Festival, founded by Leonard Bernstein and Michael Tilson Thomas

18

14

14
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Text and image sources, contributors, and licenses

Text

Leonard Bernstein Source: https://en.wikipedia.org/wiki/Leonard_Bernstein?oldid=678308121 Contributors: Ed Poor, Danny, Deb, Zoe,

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