After the incredible experience as assistant to Dimitri Mitropoulos, conductor of the Boston Symphony Orchestra, Leonard Bernstein is now a student of the famous conductor Fritz Reiner at the Curtis Institute in Philadelphia. But their direction is so different! What should he think of it? Thinking about him too… Who is he really? Even on the piano, he has to rework everything. The meeting with the composer Aaron Copland suddenly opens the doors to the prestigious Tanglewood summer academy: the temple of music for students.
Soon his father exclaimed: “How could I imagine that he would become Leonard Bernstein! “.
Musical excerpts
Brahms : Opening for an academic party op 80
Vienna Philharmonic Orchestra
Leonard Bernstein, direction
Deutsche Grammophon DGG 410 082-2
Beethoven : Symphony No. 7
Chicago Symphony Orchestra
Fritz Reiner, direction
Sony classical 88883701982-12
Bloch : Schelomo – rhapsody for cello and orchestra
Ophélie Gaillard, cello
Philippe Berrod, clarinet
Bernard Cazauran, double bass
Lurie Morar, cymbalum
Lea Birnbaum, violoncelle
Sirba Octet
Section AP 142
Bernstein : Clarinet & Piano Sonatas
Julien Herve, clarinet
Jean Hisanori Sugitani, piano
Naxos 8.573032
Bach : Fugue en Ut Maj BWV 952
Glenn Gould, piano
CBS M2K 42402
Ravel : Tomb of Couperin
Nikita Magaloff, piano
Ades 14126-2
Randall Thompson : Symphony No. 2Largo
Detroit Symphony Orchestra
Cape Jarvi, direction
Chandos CHAN 9439
Bernstein : Sonata for violin and pianoVery moderate
Opus Two
William Terwilliger, violin
Andrew Cooperstock, piano
Naxos 8.559643
Hindemith : Sonata for piano four hands
Andreas Grau, piano
Gotz Schumacher, piano
Wergo WER 6633-2
Shostakovich : Symphony No. 7” Leningrad ” Moderato little allegretto
Chicago Symphony Orchestra
Leonard Bernstein, direction
Deutsche Grammophon DGG 427633-2
Bernstein : I hate Music
Duo Rosa
Stephany Ortega, soprano
Lena Kollmeier, piano
Haenssler Classic HC 19026
Django Reinhardt : American jazzmen in Paris
EMI 5099992862227
Schumann : Manfredopening at 115
Leonard Bernstein, direction
New York Philharmonic Orchestra
New York philharmonic 141943
Traditional Klezmer: There is no Nagila
ACES
Helmut Eisel, clarinet, bass clarinet, tarogato
Martin Schmidt, mandolin, double bass
Koch-records intern 3-4105-2
“The Diary of Leonard Bernstein”
Written and produced by Marianne Vourch
Read and played by the actor Charles Berling
Directed by Sophie Pichon
**How did Bernstein’s early exposure to both classical European traditions (represented by Mitropoulos and Reiner) and distinctly American styles like Copland’s shape his compositional approach and ultimately contribute to his singular musical voice?**
## Unpacking the Young Bernstein: An Interview
**Introduction:**
Welcome to World Today News, where we delve into the compelling narratives shaping our world. Today’s episode explores the formative years of the legendary composer and conductor, Leonard Bernstein. Joining us are two distinguished guests: [**Guest 1 Name & Credentials**], a renowned musicologist specializing in 20th-century American music, and [**Guest 2 Name & Credentials**], a conductor who has extensively studied and performed Bernstein’s work.
**Section 1: A Cultural Crossroads – Influences & Contrasts:**
* **Host:** The article highlights Bernstein’s experience learning under both Dimitri Mitropoulos and Fritz Reiner, two conductors with vastly different styles. How do you think these contrasting influences shaped Bernstein’s unique artistic voice?
* **Host:** (Addressing Guest 2) As a conductor yourself, what insights can you share about the challenges and opportunities presented by studying under such distinct musical personalities?
* **Host:** Bernstein’s encounter with Aaron Copland seems pivotal. What made Copland so influential in guiding Bernstein’s path, and how did Tanglewood, a prestigious summer academy, contribute to his development as a musician?
**Section 2: The Multifaceted Composer-Pianist:**
* **Host:** The article mentions Bernstein’s dedication to reworking his piano technique. What does this reveal about his approach to music and his commitment to mastering his craft?
* **Host:** (Addressing Guest 1) How does Bernstein’s musicality as a pianist inform his compositions and conducting? Are there identifiable characteristics in his writing that reflect his pianistic sensibilities?
* **Host:** We see a diverse range of musical selections in the article, from Brahms to Bloch to traditional Klezmer. How does Bernstein’s choice of music for study and performance reflect his wide-ranging interests and influences?
**Section 3: Legacy and Lasting Impact:**
* **Host:** The concluding line, “How could I imagine that he would become Leonard Bernstein!”, suggests a sense of awe and perhaps surprise. What aspects of Bernstein’s artistry would have been most groundbreaking and unexpected to his father?
* **Host:** (Addressing Guest 2) What enduring qualities of Bernstein’s music and personality continue to resonate with audiences and musicians today?
* **Host:** Looking back on Bernstein’s career, what lessons can we learn about the importance of mentorship, embracing diverse influences, and striving for artistic excellence?
**Outro:**
We thank our guests for shedding light on the fascinating early years of Leonard Bernstein. His journey reminds us of the power of mentorship, the importance of lifelong learning, and the enduring impact of a truly unique artistic vision. We
invite our viewers to explore the music discussed today and continue the conversation about Bernstein’s legacy.
