Leonard Bernstein was born in Lawrence, Massachusetts, on August 25, 1918. Early music study took place with private piano teachers, and subsequently with Helen Coates and Heinrich Gebhard. He was graduated from Harvard in 1939 after which he attended the Curtis Institute of Music (a pupil of Fritz Reiner in conducting) and three summer sessions of the Berkshire Music Center as a student and protégé of Serge Koussevitzky. He made a sensational debut as conductor with the New York Philharmonic in 1943, appearing as a last-minute substitute for Bruno Walter who had fallen ill. Since that time he has risen to the front rank of contemporary symphony conductors, having led most of the world’s leading organizations, and being appointed music director of the New York Philharmonic in 1958. As a serious composer he first attracted attention with the Jeremiah Symphony in 1944, which was performed by most of America’s leading orchestras, was recorded, and received the New York City Music Critics Award. He subsequently wrote other major works for orchestra as well as the scores to successful ballets, an opera, and several Broadway musical comedies that were box-office triumphs; the last of these included On the Town (1944), Wonderful Town (1953) and West Side Story (1957). Bernstein has also distinguished himself as a musical commentator and analyst over television, concert pianist, and author.
Whether writing in a serious or popular vein Bernstein consistently reveals himself to be a master of his technical resources, endowed with a fine creative imagination, a strong lyric and rhythmic gift, and a restless intelligence that is ever on the search for new and fresh approaches in his writing. High on the list of favorites in the semi-classical repertory are the orchestral suites he adapted from his two popular and successful ballets.
Facsimile, choreography by Jerome Robbins, was introduced in New York in 1946. The ballet scenario revolves around three lonely people—a woman and two men—who find only frustration and disenchantment after trying to find satisfactory personal relationships. The orchestral suite from this vivacious score, vitalized with the use of popular melodies and dance rhythms, is made up of four parts. I. “Solo.” The principal musical material here is found in a solo flute. This is a description of a woman standing alone in an open place. II. “Pas de Deux.” Woman meets man, and a flirtation ensues to the tune of a waltz. The scene achieves a passionate climax, and is followed by a sentimental episode, romanticized in the music by a subject for muted strings and two solo violins and solo viola. The love interest dies; the pair become bored, then hostile. III. “Pas de trois.” The second man enters. This episode is a scherzo with extended piano solo passages. A triangle ensues between the two men and one woman, there is some sophisticated interplay among them, and finally there ensue bitter words and misunderstandings. IV. “Coda.” The two men take their departure, not without considerable embarrassment.
Fancy Free was Bernstein’s first ballet, and it is still his most popular one; he completed his score in 1944 and it was introduced by the Ballet Theater (which had commissioned it) on April 18 of that year. It was a success of major proportions, received numerous performances, then became a staple in the American dance repertory. It is, wrote George Amberg, “the first substantial ballet entirely created in the contemporary American idiom, a striking and beautifully convincing example of genuine American style.” The scenario, by Jerome Robbins, concerned the quest of girl companionship on the part of three sailors on temporary shore leave. Bernstein’s music, though sophisticated in its harmonic and instrumental vocabulary, is filled with racy jazz rhythms and idioms and with melodies cast in a popular mold. The orchestral suite is made up of five parts: “Dance of the Three Sailors”; “Scene at the Bar”; “Pas de deux”; “Pantomime”; “Three Variations” (Galop, Waltz, Danzon) and Finale.
When this Suite was first performed, in Pittsburgh in 1945, with Bernstein conducting, the composer provided the following description of what takes place in the music. “From the moment the action begins, with the sound of a juke box wailing behind the curtain, the ballet is strictly Young America of 1944. The curtain rises on a street corner with a lamppost, side street bar, and New York skyscrapers tricked out with a crazy pattern of lights, making a dizzying background. Three sailors explode onto the stage; they are on shore leave in the city and on the prowl for girls. The tale of how they meet first one girl, then a second, and how they fight over them, lose them, and in the end take off after still a third, is the story of the ballet.”
Fancy Free was expanded into a musical-comedy by Betty Comden and Adolph Green, for which Bernstein wrote his Broadway score. Called On the Town it started a one-year Broadway run on December 28, 1944, and subsequently was twice revived in off-Broadway productions, and was made into an outstanding screen musical.
Georges Bizet
Georges Bizet was born in Paris on October 25, 1838. Revealing a pronounced gift for music in early childhood he was entered into the Paris Conservatory when he was only nine. There—as a pupil of Marmontel, Halévy, and Benoist—he won numerous prizes, including the Prix de Rome in 1857. In that year he also had his first stage work produced, a one-act opera, Le Docteur miracle. After his return from Rome to Paris he started to write operas. Les Pêcheurs de perles (Pearl Fishers) and La jolie fille de Perth were produced in Paris in 1863 and 1867 respectively. Success came in 1872 with his first Suite from the incidental music to Daudet’s L’Arlésienne. After that came his masterwork, the opera by which he has earned immortality: Carmen, introduced in Paris two months before his death. Bizet died in Bougival, France, on June 3, 1875.
His gift for rich, well-sounding melodies, and his feeling for inviting harmonies and tasteful orchestration make many of his compositions ideal for programs of light music, even salient portions of Carmen.
Agnus Dei is a vocal adaptation (to a liturgical Latin text) of the intermezzo from Bizet’s incidental music to L’Arlésienne. It is also found as the second movement of the L’Arlésienne Suite No. 2. A dramatic dialogue between forceful strings and serene woodwinds leads into a spiritual religious song.