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Track
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Artist/Composer |
Duration
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| Dance Episodes (3) from On the Town, for orchestra | | |
1. | I. The Great Lover. Allegro pesante | | 1:51 |
2. | II. Lonely Town: Pas de deux. Andante | Sostenuto | 3:40 |
3. | III. Times Square: 1944. Allegro | | 4:54 |
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| Fancy Free, ballet | | |
4. | Big Stuff (Blues) | | 0:35 |
5. | I. Opening Dance | | 3:04 |
6. | II. Scene at the Bar | | 1:49 |
7. | III. Enter Two Girls | | 2:50 |
8. | IV. Pas de deux | | 3:18 |
9. | V. Competition Scene | | 3:17 |
10. | VI. Variation I. Galop | | 1:27 |
11. | VI. Variation II. Waltz | | 2:39 |
12. | VI. Variation III. Danzon | | 2:48 |
13. | VII. Finale | | 5:01 |
14. | Big Stuff (Blues) | | 1:56 |
15. | Facsimile, Choreographic Essay, for orchestra (from the ballet) | | 19:14 |
| | | 58:22 |
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Duration
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1. | Overture to Candide, for orchestra | | 4:25 |
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| Symphonic Dances (9) from West Side Story, for orchestra (orchestrated with Ramin & Kostal) | | |
2. | Prologue: Allegro moderato | | 4:06 |
3. | Somewhere: Adagio | | 4:35 |
4. | Scherzo: Vivace leggiero | | 1:19 |
5. | Mambo: Presto | | 2:20 |
6. | Cha-Cha: Andantino con grazia | | 0:54 |
7. | Meeting Scene: Meno mosso | | 0:47 |
8. | Cool, Fugue: Allegretto | | 3:43 |
9. | Rumble: Molto allegro | | 1:55 |
10. | Finale: Adagio | | 3:19 |
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| On the Waterfront, symphonic suite | | |
11. | Andante (with dignity),Presto barbaro | | 3:17 |
12. | Adagio, Allegro molto agitato, Alla breve (Poco pił mosso),Presto come prima | | 2:23 |
13. | Andante largamente, More flowing Lento | | 5:11 |
14. | Moving forward Largamente, Andante come prima | | 3:45 |
15. | Allegro non troppo, molto marcato, Poco pił sostenuto | | 4:44 |
16. | A tempo (poco pił sostenuto) | | 2:20 |
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| Prelude, Fugue & Riffs, for clarinet & jazz ensemble | | |
17. | Prelude (for the Brass): Fast and exact | | 1:54 |
18. | Fugue (for the Saxes): Exactly the same beat | | 1:50 |
19. | Riffs (for Everyone) | | 4:31 |
| | | 57:18 |
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Track
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Duration
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| Symphony No.1 (Jeremiah), for mezzo-soprano & orchestra | | |
1. | I. Prophecy: Largamente | | 7:14 |
2. | II. Profanation: Vivace con brio | | 6:53 |
3. | III. Lamentation: Lento | | 10:37 |
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| Symphony No. 2 (The Age of Anxiety), for piano & orchestra or 2 pianos | | |
4. | Part1: The Prologue. Lento moderato | | 2:20 |
5. | Part: The Seven Ages. Variations 1-7 | | 8:13 |
6. | Part 1: The Seven Stages. Variations 8-14 | | 6:06 |
7. | Part 2: The Dirge. Largo | | 5: 5 |
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| Symphony No. 2 (The Age of Anxiety), for piano & orchestra or 2 pianos | | |
8. | Part 2: The Masque. Extremely fast | | 4:42 |
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| Symphony No. 2 (The Age of Anxiety), for piano & orchestra or 2 pianos | | |
9. | Part 2: The Epilogue. L'istesso tempo - Adagio - Andante - Con moto | | 8:06 |
| | | 59:16 |
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Track
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Duration
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| Chichester Psalms, for boy soloist, chorus & orchestra | | |
1. | I. Psalm 108 (verse 2); Psalm 100 (complete) | | 3:38 |
2. | II. Psalm 23 (complete); Psalm 2 (Verses 1-4) | | 5:36 |
3. | III. Psalm 131 (complete); Psalm 133 (Verse 1) | | 9:50 |
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| Symphony No. 3 (Kaddish), for soprano, speakers, choruses & orchestra | | |
4. | I. Invocation: Adagio | | 3:00 |
5. | Kaddish | | 4:57 |
6. | II. Din-Torah: Di nuovo Adagio | | 5:57 |
7. | Kaddish | | 8:13 |
8. | III. Scherzo: Presto scherzando, sempre pianissimo | | 4:36 |
9. | Finale: Adagio come nel Din-Torah | | 2:43 |
10. | Allegro vivo, con gioia | | 9:52 |
| | | 58:22 |
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| Divertimento, for orchestra | | |
1. | I. Sennets and Tuckets: Allegro non troppo, ma con brio | | 1:18 |
2. | II. Waltz: Allegretto, con grazia | | 2:13 |
3. | III. Mazurka: Mesto (molto moderato) | | 1:56 |
4. | IV. Samba: Allegro giusto | | 0:59 |
5. | V. Turkey Trot: Allegretto, ben misurato | | 1:56 |
6. | VI. Sphinxes: Adagio lugubre | | 0:52 |
7. | VII. Blues: Slow blues tempo | | 1:39 |
8. | VIII. March: The BSO Forever | | 3:44 |
9. | A Musical Toast, for orchestra | | 2:23 |
10. | Slava! A Political Overture, for orchestra | | 4:16 |
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| Meditations (3) from Mass, for cello & orchestra; also for cello & piano | | |
11. | I. Lento assai, molto sostenuto | | 4:34 |
12. | II. Andante sostenuto, Variations I-IV, Coda | | 4:08 |
13. | III. Presto, Fast and primitive, Molto adagio | | 8:23 |
14. | Halil, nocturne for flute solo, piccolo, alto flute, percussion & harp; also for flute, piano & percussion | | 16:03 |
| | | 54:24 |
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Track
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| Concerto for Orchestra (Jubilee Games), for orchestra | | |
1. | Free-Style Events: Allegro con brio, giocoso | | 7:27 |
2. | Mixed Doubles: Theme and Seven Variations | | 10:30 |
3. | Diaspora Dances: Vivace | | 6:12 |
4. | Benediction: Moderato, invocando | | 6:00 |
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| Dybbuk, Suite No.1, for tenor, bass & orchestra | | |
5. | No. 1. Invocation and Trance | | 4:54 |
6. | No. 2. The Pledge | | 4:36 |
7. | No. 3. Kabbalah | | 4:32 |
8. | No. 4. Posession | | 2:36 |
9. | No. 5. Pas de deux | | 5:29 |
10. | No. 6. Exorcism | | 8:31 |
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| Dybbuk, Suite No.2 (Eight Dances), for orchestra | | |
11. | No. 1. The Messengers | | 2:05 |
12. | No. 2. Leah | | 3:01 |
13. | No. 3. Five Kabbalah Variations | | 6:33 |
14. | No. 4. Dream | | 5:24 |
| | | 77:49 |
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Artist/Composer |
Duration
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| Serenade (after Plato: Symposium), for violin, harp, percussion & strings; also for violin & piano | | |
2. | II. Aristophanes: Allegretto | | 4:11 |
3. | III. Erixymachus: Presto | | 1:29 |
4. | IV. Agathon: Adagio | | 6:31 |
5. | V: Socrates: Alcibiades: Molto tenuto | Allegro molto vivace | 10:34 |
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| Songfest, song cycle for 6 singers & orchestra or piano | | |
6. | I. Opening Hymn: To the Poem | | 3:25 |
7. | II. Three Solos: The Pennycandystore Beyond the El | | 1:56 |
8. | II. Three Solos: A Julia de Burgos | | 3:34 |
9. | II. Three Solos: To What You Said | | 5:28 |
10. | III. Three Ensembles: I, Too, Sing America / Okay | | 3:51 |
11. | III. Three Ensembles: Trio. To My Dear and Loving Husband | | 3:59 |
12. | III. Three Ensembles: Duet. Storyette H.M. | | 1:55 |
13. | IV. Sextet: If you can't eat you got to | | 2:25 |
14. | V. Three Solos: Music I Heard With You | | 3:30 |
15. | V. Three Solos: Zizi's Lament | | 2:32 |
16. | V. Three Solos: Sonnett. What lips my lips have kissed | | 5:26 |
17. | VI. Closing Hymn: Israfel | | 4:31 |
| | | 65:16 |
As orchestras struggle to reconnect with the vernacular musical experiences of their listeners, Deutsche Grammophon's hefty boxed set of Bernstein Conducts Bernstein couldn't be more timely. This box collects Bernstein performances from the 1970s and '80s, with a large group coming from his epochal 1977 concerts with the Israel Philharmonic in Berlin. This material has already been variously repackaged, but it's well worthwhile to have it all presented together. It's startling to realize, as you explore the seven-plus hours of music here, how well Bernstein as a composer anticipated today's trends. The rapprochement of a modern musical language with jazz and pop? From the very start, in the by-now-familiar Fancy Free. A determined embrace of the eclectic? Through his entire career, ranging from his rather Stravinskian treatment of symphonic jazz in the early days to later music in which serialist (and even aleatoric in the Concerto for Orchestra (Jubilee Games)) techniques coexist with traditional styles. The use of the symphony as a vehicle for the investigation of spiritual questions? Absolutely, in all three symphonies, in different ways. These performances were all more or less successful when originally released, and it has become a truism that Bernstein was the best interpreter of his own works. From the evidence here one might argue that in the rather personal symphonies no other conductor can match Bernstein, who here avoided the excesses of his Mahler interpretations even as he took up kindred metaphysical issues. And when it came to the sexy, meaty appeal of the Symphonic Dances From West Side Story (1957), nobody else can touch Bernstein's versions. But now one can find room for other interpretations of such works as the Orff-like Chichester Psalms. The price, for seven discs, is right, and the remastered CD sound is more than adequate.