Biography of Leonard Bernstein

Between the sacred and the profane

25 August 1918 14 October 1990 Leonard Bernstein (Lawrence, Massachusetts, 1918) was a composer, conductor, critic, American pianist and educator. A pupil of Walter Piston for composition and Fritz Reiner for conducting, was perhaps the most influential figure in music of the second half of the twentieth century. His work as a composer, particularly in his scores for the Broadway musical "hairdryer", like "West Side Story" and "On the Town", have actually created a bridge between the music (with a wrong term and generic), "classic" and "popular". In his works, more engaged, instead, it is shown tied to a neo-romantic style, inspired the use of the now "outdated" tone and sensitive North American folklore. All things that have attracted, for a long time, the barbs of the exponents of the avant-garde and that they did so to judge a musician second-row. In twenty years, went to the Curtis Institute in Philadelphia to study piano with Isabella Vengerova, orchestration with Randall Thompson and conducting with Fritz Reiner. According to his own testimony, it is precisely then that he began to consider the scores from the perspective of orchestral conducting, where until then, from perfect Harvard student oriented mostly to the detailed analysis, had considered or from the point of view of the pianist or composer. I mean, before then had never watched a text with the idea of directing it. Starting from his studies with Reiner, instead, Lenny (as it is called by fans), has always had the goal, you could say the obsession, to "identify" with composer, namely to strive to reach a level of knowledge of the work so large that have the feeling of being almost become the author. But we hear his words: "other than that, remain of course many other things to say: for example, how affront to study a new score, or even of a score is not new, because, in the true sense of the word, each score is new every time we are about to study it. So, when I reread the Beethoven's Ninth Symphony for the fiftieth time, I told myself that I would have devoted up to one hour after dinner, just long enough to take a look and to refresh my memory before going to bed. Alas! After half an hour, I was still on page two. And I was still dealing with the sacred text at two o'clock in the morning, and-mind you [addressed to the interviewer, N.d.r.] -certainly not close to final! I was still stuck to the Adage, kidnapped amid the stars, because I've been finding tons of new things. It was like I never seen before. Of course, I remembered all notices, as well as any ideas, structure, even its mystery. But there's always something new to discover, and when you find a new thing here is that the other will appear in a different light, because the novelty alters the relationship with everything else. You cannot imagine how many new things are there to be discovered, especially Beethoven, who was particularly close to God and one of the composers from the richest personalities that ever existed ..." His legendary debut took place on 14 November 1943, in place of a sacred monster like Bruno Walter (famous musician, protégé inter alia of Gustav Mahler). Walter had to hold a concert at Carnegie Hall but suddenly accused him of illness, why had to be replaced at the last minute. On the podium was called the unknown Bernstein, then just twenty-five. Execution (besides via radio), stunned those present and received raves, much to launch Lenny in the Empyrean of promising young forward (expectations then widely kept ...). The 1951 is the year of the succession to the stable guide of New York Philharmonic after the death of S.A. Kussevitzky, another Director with strong charisma. In the same year he married actress and Chilean pianist Felicia Montealegre (with whom he curated music with spoken voice, including "Parable of Death" by Lucas Foss and Honegger's Jeanne d'Arc au bûcher ""), the same one that appears on the cover of the famous painted "Requiem" by Mozart disc, recorded precisely in remembrance of the disappearance of Felicia (event that, when it came to pass in despair, he threw more Lenny). From 1958 to 1969 Bernstein was principal conductor of the New York Philharmonic (more than any other Director), period in which you have some memorable performances, many of which are documented by many engravings. Unlike other high performers (such as Arturo Benedetti Michelangeli or Sergiu Celibidache), Bernstein, in fact, was never hostile to engraving and indeed you can tell he was one of the regulars of recording studios, not leaving even when new technologies were gaining ground, shooting video or live broadcasts. This is very similar to its American colleague Herbert Von Karajan. Professor of music at Brandeis University from ' 51 to ' 56, it was also the first American Director invited to La Scala for directing Italian operas: "Medea" (1953), "Bohème" and "Sonnambula" (1955). In ' 67 was awarded the Gold Medal of "Mahler Society of America" (let us not forget who was one of the greatest interpreters of Mahler 1900s ...), and, in ' 79, the UNESCO Prize for music. From ' 61, he was a member of the National Institute of Arts and Letters. Resigned from his position as Chief conductor, he devoted himself especially to the composition even if, by the time she resumed directing, but without binding to some particular orchestra. Indeed, this period of "freedom" is famous for the achievements made with the most renowned orchestras around the world, including, in particular, the Wiener Philarmoniker. On the floor, for much of his career, including his legendary period spent at the head of the New York Philharmonic, Leonard Bernstein has recorded exclusively for Columbia/CBS Masterworks (now acquired by Sony Classical label), and collaborated with leading soloists and singers out there. The iconoclastic Glenn Gould (their second run of Brahms is a true "event" in the history of music), to the more orthodox (but still very deep) Zimerman; by Janet Baker (the poignant, unsustainable, "Kindertoten Lieder" from Mahler) violinist Isaac Stern (the Beethoven Violin Concerto!). Summarize the whole task of Bernstein is indeed a daunting task. In summary, we can say that this musician represents the best music has produced during the twentieth century. Not only Bernstein contributed, along with a few others (including, of course, Gershwin) in the establishment of an autonomous and original form of American theater than the melodrama, but it is also among the most brilliant performers than ever before are appearing on the podium (and impressive is, in this sense, the gap between certain "light" nature and spirit vibrating , dissolutorio, with which he faced the orchestral scores. Listen to the nihilistic finale of Mahler's ninth). Lenny knew how to blend, a mixture that doesn't fall in bad taste or laziness, the European classical music tradition and distinctive languages typically Americans including, in addition to "cultured" jazz itself, even those of the musical and the ballad (as in ballet "Fancy Free" or in the comic opera "Candide"). Unforgettable for example his "West Side Story", a modern interpretation of the Shakespearean Romeo and Juliet, full of memorable songs and where, instead of the Capulets and Montagues will narrate the clash between gangs of Puerto Ricans in New York in the late 1950s. And for those who had doubts about his abilities as a pianist, see recommend listening to Mozart quintets by Schumann and engraved with the Julliard Quartet. Finally, Bernstein was one of the most outstanding and effective teachers ever existed. Insuperable remained his lectures directed to young people or children, broadcast by American television (the so-called "Philharmonic's Young People's Concerts"). Documents of the highest level (although never academics), in which we observe a really genius at work. These concerts, and the conversations that accompanied them, were designed, written and presented on TV entirely by him and through them an entire generation of Americans has uncovered and seen it grow itself and the love of music. His work "engaged" include the "Jeremiah" Symphony "(1942)," The Age of Anxiety "for piano and orchestra (based on the homonymous poem by W.H. Auden), (1949)," Serenade for violin, strings and percussion "(1954)," mass ", composed for the inauguration of John f. Kennedy Center for the performing arts in Washington (1971) and" Songfest "for six solo voices and orchestra (1977). Wrote the opera "Trouble in Tahiti" (1952), and in addition to the already mentioned musical comedies, not to forget the Symphonic-choral works like "Kaddish" (1963) and "Chichester Psalms" (1965). A lot of the incidental music and film. So as not to miss anything, in fact, Bernstein also won an Academy Award for best original soundtrack of the film "On the waterfront" ("on the waterfront"). Said: "After the executions that I call good (an incredible experience as if composed at that time ...), should take a few minutes before I can remember where I am, in which Hall or theater, in which country, or who I am. A kind of ecstasy that corresponds in all respects to unconsciousness. " Would not be fair to pass entirely unnoticed on Bernstein divo, the friend of the stars and Broadway and Hollywood producers and writers and playwrights, of Heads of State and clerks. "It's a torment worthy of Hamlet be a true progressive," sighed exasperated after enthusiastic admiration that had aroused a party he gave in honor of a group of Black Panters. Thanks to the direct knowledge of this world, he came up with the neologism "radical chic", Word used to indicate the characters from the left of the New Yorker uses to meet, a little snobby and, in the most prestigious salons in the city. Leonard Bernstein went off after a long illness (he was, among other things, an inveterate smoker), in 1990, leaving a huge void of imagination and creativity, but also of depth and seriousness, in the approach of that great art called music, art that in him couldn't find great servant.
Article contributed by the team of collaborators.