Leonard Bernstein

Leonard Bernstein (/ˈbɜːrnstaɪn/ BURN-styne;[1] August 25, 1918 –

Leonard Bernstein
October 14, 1990) was an American composer, conductor, author, music
lecturer, and pianist. He was among the first conductors born and
educated in the US to receive worldwide acclaim. According to music
critic Donal Henahan, he was "one of the most prodigiously talented and
successful musicians in American history."[2]

His fame derived from his long tenure as the music director of the New
York Philharmonic, from his conducting of concerts with most of the
world's leading orchestras, and from his music for West Side Story, Peter
Pan,[3] Candide, Wonderful Town, On the Town, On the Waterfront, his
Mass, and a range of other compositions, including three symphonies and
many shorter chamber and solo works.

Bernstein was the first conductor to give a series of television lectures on

classical music, starting in 1954 and continuing until his death. He was a
skilled pianist,[4] often conducting piano concertos from the keyboard. Born Louis Bernstein
He was also a critical figure in the modern revival of the music of Gustav August 25, 1918
[5]
Mahler, the composer he was most passionately interested in. Lawrence, Massachusetts, U.S.

As a composer he wrote in many styles encompassing symphonic and

Died October 14, 1990 (aged 72)
orchestral music, ballet, film and theatre music, choral works, opera,
New York City, U.S.
chamber music and pieces for the piano. Many of his works are regularly Occupation Composer, conductor, author,
performed around the world, although none has matched the tremendous lecturer, pianist
popular and critical success ofWest Side Story. Years active 1940–1990
Works List of compositions
Spouse(s) Felicia Montealegre
Contents (m. 1951; d. 1978)
Children 3
Biography
Early life Signature
1940–1950
1951–1959
1960–1969
1970–1979
1980–1990
Personal life
Death and legacy
Social activism
Philanthropy
Influence and characteristics as a conductor
Recordings
Influence and characteristics as a composer
Works
Ballet
Opera
 Musicals
Incidental music and other theatre
Film scores
Orchestral
Choral
Chamber music
Vocal music
Piano music
Other music
Bibliography
Videography
Awards
See also
References
Further reading
External links

Biography

Early life
He was born Louis Bernstein in Lawrence, Massachusetts, the son of Ukrainian Jewish parents Jennie (née Resnick) and Samuel
Joseph Bernstein, a hairdressing supplies wholesaler originating fromRovno (now Ukraine).[6][7]

His family spent their summers at their vacation home in Sharon, Massachusetts. His grandmother insisted that his first name be
Louis, but his parents always called him Leonard, which they preferred. He legally changed his name to Leonard when he was
fifteen, shortly after his grandmother's death.[8] To his friends and many others he was simply known as "Lenny".

His father, Sam Bernstein, was a businessman and owner of a hair product store (no longer standing) in downtown Lawrence on the
corners of Amesbury and Essex Streets. Sam initially opposed young Leonard's interest in music. Despite this, the elder Bernstein
took him to orchestral concerts in his teenage years and eventually supported his music education.

At a very young age, Bernstein listened to a piano performance and was immediately captivated; he subsequently began learning the
piano seriously when the family acquired his cousin Lillian Goldman's unwanted piano. Bernstein attended the Garrison Grammar
School and Boston Latin School.[9] As a child, he was very close to his younger sister Shirley, and would often play entire operas or
Beethoven symphonies with her at the piano. He had a variety of piano teachers in his youth, including Helen Coates, who later
became his secretary.

After graduation from Boston Latin School in 1935, Bernstein attended Harvard University, where he studied music with, among
others, Edward Burlingame Hill and Walter Piston. Although he majored in music with a final year thesis (1939) entitled "The
Absorption of Race Elements into American Music" (reproduced in his book Findings), Bernstein's main intellectual influence at
Harvard 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 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. Bernstein
reused some of this music in the balletFancy Free.
During his time at Harvard he was briefly an accompanist for the Harvard Glee Club.[10] Bernstein also mounted a student
production of The Cradle Will Rock, directing its action from the piano as the composer Marc Blitzstein had done at the premiere.
Blitzstein, who heard about the production, subsequently became a friend and influence (both musically and politically) on Bernstein.

Bernstein also met the conductor Dimitri Mitropoulos at the time. Although he never taught Bernstein, Mitropoulos's charisma and
power as a musician were a major influence on Bernstein's eventual decision to take up conducting. Mitropoulos was not stylistically
that similar to Bernstein, but he probably influenced some of Bernstein's later habits such as his conducting from the keyboard, his
initial practice of conducting without a baton and perhaps his interest inMahler.

The other important influence that Bernstein first met during his Harvard years was composer Aaron Copland, whom he met at a
concert and then at a party afterwards on Copland's birthday in 1938. At the party Bernstein played Copland's Piano Variations, a
thorny work Bernstein loved without knowing anything about its composer until that evening. Although he was not formally
Copland's student as such, Bernstein would regularly seek advice from Copland in the following years about his own compositions
[11]
and would often cite him as "his only real composition teacher".

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,[12] orchestration with Randall Thompson,
counterpoint with Richard Stöhr, and score reading with Renée Longy Miquelle.[13] 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.[11]

1940–1950
After he left Curtis, Bernstein lived in New York. He shared an apartment with his
friend Adolph Green and often accompanied 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.) In 1940, Bernstein began his study at the Boston Symphony Orchestra's
summer institute, Tanglewood, in the conducting class of the orchestra's conductor,
Serge Koussevitzky.

Bernstein's friendships with Copland (who was very close to Koussevitzky) and
Lenny Bernstein and Benny
Mitropoulos were propitious in helping him gain a place in the class. Other students Goodman in rehearsal, ca. 1940–
in the class included Lukas Foss, who also became a lifelong friend. Koussevitzky 1949
perhaps did not teach Bernstein much basic conducting technique (which he had
already developed under Reiner) but instead became a sort of father figure to him
and was perhaps the major influence on Bernstein's emotional way of interpreting music. Bernstein later became Koussevitzky's
conducting assistant[14] and would later dedicate hisSymphony No. 2, The Age of Anxiety, to him.[15]

On November 14, 1943, having recently been appointed assistant conductor to Artur Rodziński of the New York Philharmonic
Orchestra, he made his major conducting debut at short notice—and without any rehearsal—after guest conductor
Bruno Walter came
down with the flu.[16] The program included works by Schumann, Miklós Rózsa, Wagner and Richard Strauss's Don Quixote with
soloist Joseph Schuster, solo cellist of the orchestra. Before the concert Bernstein briefly spoke to Bruno Walter, who discussed
particular difficulties in the works he was to perform. The next day, The New York Times carried the story on its front page and
remarked in an editorial, "It's a good American success story. The warm, friendly triumph of it filled Carnegie Hall and spread far
over the air waves."[17][18] He became instantly famous because the concert was nationally broadcast on CBS Radio, and afterwards
Bernstein started to appear as a guest conductor with many U.S. orchestras.
From 1945 to 1947, Bernstein was the Music Director of the New York City Symphony,
which had been founded the previous year by the conductor Leopold Stokowski. The
orchestra (with support from the Mayor) was aimed at a different audience than the New York
Philharmonic, with more modern programs and cheaper tickets.[19] Also in regard to a
different audience, in 1945 Bernstein discussed the possibility of acting in a film with Greta
Garbo—playing Tchaikovsky opposite her starring role as the composer's patron Nadezhda
von Meck.[20]

In addition to becoming known as a conductor, Bernstein also emerged as a composer in the

same period. In January 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.
Photo of Bernstein by Carl
Bernstein had asthma, which kept him from serving in the military during World War II.[21] Van Vechten (1944)
After the war, Bernstein's career on the international stage began to flourish. In 1946, he made
his overseas debut with the Czech Philharmonic in
Prague. He also recorded Ravel's Piano Concerto in G
as soloist and conductor with the Philharmonia
Orchestra. On July 4, 1946, Bernstein conducted the
European premiere of Fancy Free with the Ballet
Theatre at the Royal Opera House in London. In 1946,
he conducted opera for the first time, with the
American première 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
Bernstein conducting the Symphony Orchestra, one of which again featured
New York City Symphony Bernstein as soloist in the Ravel concerto.[22]
(1945)
In 1947, Bernstein conducted in Tel Aviv for the first
Carnegie Hall playbill,
time, beginning a lifelong association with Israel. The
November 14, 1943
next year he conducted an open-air concert for troops at Beersheba in the middle of the desert Radio announcement:
during the Arab-Israeli war. In 1957, he conducted the inaugural concert of the Mann
0:00
Auditorium in Tel Aviv; he subsequently made many recordings there. In 1967, he conducted
a concert on Mount Scopus to commemorate the Reunification of Jerusalem. During the
1970s, Bernstein recorded his symphonies and other works with the Israel Philharmonic for
Deutsche Grammophon.

On December 10, 1949, he made his first television appearance as conductor with the Boston Symphony Orchestra at Carnegie Hall.
The concert, which also included an address byEleanor Roosevelt, celebrated the one-year anniversary of theUnited Nations General
Assembly's ratification of the Universal Declaration of Human Rights, and included the premiere of Aaron Copland's "Preamble"
with Sir Laurence Olivier narrating text from theUN Charter. The concert was televised byNBC Television Network.[23]

In 1949, he conducted the world première of the Turangalîla-Symphonieby Olivier Messiaen, with the Boston Symphony Orchestra.
Part of the rehearsal for the concert was recorded and released by the orchestra. When Koussevitzky died two years later, Bernstein
became head of the orchestra and conducting departments at aTnglewood.

1951–1959

Bernstein, c. 1950s
In 1951, Bernstein conducted the New York Philharmonic in the world première 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 differ on Ives's 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.

Bernstein was a visiting music professor from 1951 to 1956 at Brandeis University, and he
founded the Creative Arts Festival there in 1952.[24] He conducted various productions at the first festival, including the premiere of
his opera Trouble in Tahiti and Blitzstein's 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 first American conductor to appear at La
Scala in Milan, conducting Maria Callas in Cherubini's Medea. This Opera had been virtually abandoned by performers and the pair
learnt it in a week. It was to prove a fruitful collaboration and Callas and Bernstein went on to perform together many times. 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 first of his television lectures for the CBS arts program Omnibus. The live lecture, entitled "Beethoven's
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 floor. 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, andgrand 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 first time Bernstein had conducted the orchestra in subscription
concerts since 1951. Partly due to these appearances, Bernstein was named the
music director 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 first 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 Bernstein with members of the New
present day. Bernstein held the music directorship until 1969 (with a sabbatical in York Philharmonic rehearsing for a
television broadcast
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 figure in the United States through his series of fifty-three televised Young People's Concerts for CBS,
which grew out of his Omnibus programs. His first Young People's 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 People's Concerts were the first and probably the most influential series of music appreciation
programs ever produced on television, and they were highly acclaimed by critics.[25] Some of Bernstein's music lectures were
released on records; a recording of Humor in Music was awarded a Grammy award for Best Documentary or Spoken Word
Recording (other than comedy) in 1961.[26] The programs were shown in many countries around the world, often with Bernstein
dubbed into other languages. All of them were released on DVD byKultur Video (half of them in 2013).
 Around the time he was appointed music director of the New York Philharmonic,
and living opposite Carnegie Hall at The Osborne,[27] Bernstein composed the
music for two shows. The first was for the operetta Candide, which was first
performed in 1956 with a libretto by Lillian Hellman based on Voltaire's novella.
The second was Bernstein's collaboration with the choreographer Jerome Robbins,
the writer Arthur Laurents, and the lyricist Stephen Sondheim to produce the
musical West Side Story. The first three had worked on it intermittently since
Robbins first suggested the idea in 1949. Finally, with the addition of Sondheim to
the team and a period of concentrated effort, it received its Broadway premiere in
1957 and has since proven to be Bernstein's most popular and enduring score.
Bernstein at the piano, making
annotations to a musical score In 1959, he took the New York Philharmonic on a tour of Europe and the Soviet
Union, portions of which were filmed by CBS Television. A highlight of the tour
was Bernstein's performance of Dmitri Shostakovich's Fifth Symphony, in the
presence of the composer, who came 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 Shostakovich's Leningrad Symphony (No. 7), 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 theSymphony No. 1).

1960–1969
In 1960 Bernstein and the New York Philharmonic held a Mahler Festival to mark the centenary of the composer's birth. Bernstein,
Walter and Mitropoulos conducted performances. The composer's widow, Alma, attended some of Bernstein's rehearsals. In 1960
Bernstein also made his first commercial recording of a Mahler symphony (the Fourth) and over the next seven years he made the
first complete cycle of recordings of all nine of Mahler's completed symphonies. (All featured the New York Philharmonic except the
8th Symphony which was recorded with the London Symphony Orchestrafollowing a concert in the Royal Albert Hall in London in
1966.) The success of these recordings, along with Bernstein's concert performances and television talks, was an important, if not
vital, part of the revival of interest in Mahler in the 1960s, especially in the U.S.

Other non-U.S. composers that Bernstein championed to some extent at the time
include the Danish composer Carl Nielsen (who was then only little known in the
U.S.) and Jean Sibelius, whose popularity had by then started to fade. Bernstein
eventually recorded a complete cycle in New York of Sibelius's symphonies and
three of Nielsen's symphonies (Nos. 2, 4, and 5), as well as conducting recordings of
his violin, clarinet and flute concertos. He also recorded Nielsen's 3rd Symphony
with the Royal Danish Orchestra after a critically acclaimed public performance in
Denmark. Bernstein championed U.S. composers, especially those that he was close
to like Aaron Copland, William Schuman and David Diamond. He also started to
more extensively record his own compositions for Columbia Records. This included
his three symphonies, his ballets, and the Symphonic Dances from West Side Story
with the New York Philharmonic. He also conducted an LP of his 1944 musical On
Leonard Bernstein during a visit to
The Town, the first (almost) complete recording of the original featuring several Finland, 1959
members of the original Broadway cast, includingBetty Comden and Adolph Green.
(The 1949 film version only contains four of Bernstein's original numbers.)
Bernstein also collaborated with the experimental jazz pianist and composer Dave Brubeck resulting in the recording Bernstein Plays
Brubeck Plays Bernstein(1961).
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
reflect Bernstein's 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."[28] 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 Gould's blessing.[29] In the book Dinner with Lenny, published in
October 2013, author Jonathan Cott provided a thorough debunking, in the conductor's 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
financial security arising from Bernstein's many TV and recording activities amongst other things).

In 1962 the New York Philharmonic moved from Carnegie Hall to Philharmonic Hall (now David Geffen Hall) in the new Lincoln
Center. The move was not without controversy because of acoustic problems with the new hall. Bernstein conducted the gala opening
concert featuring vocal works by Mahler, Beethoven and Vaughan Williams, and the premiere of Aaron Copland's Connotations, a
serial-work that was merely politely received. During the intermission Bernstein kissed the cheek of the President's wife Jacqueline
Kennedy, a break with protocol that was commented on at the time. In 1961 Bernstein had conducted at President John F. Kennedy's
pre-inaugural gala, and he was an occasional guest in the White House. Years later he conducted at the funeral mass in 1968 for
President Kennedy's brotherRobert Kennedy, featuring the Adagietto fromMahler's 5th Symphony.

On November 23, 1963, the day after the assassination of President John F. Kennedy, Leonard
Bernstein conducted the New York Philharmonic and the Schola Cantorum of New York in a
nationally televised memorial featuring the "Resurrection Symphony" by Gustav Mahler. This
was the first televised performance of the complete symphony. Mahler's music had never been
performed for such an event, and since the tribute to JFK, Mahler symphonies have become
[30]
part of the standard repertoire for national mourning.

In 1964 Bernstein conducted Franco Zeffirelli's production of Verdi's Falstaff at the

Metropolitan Opera in New York. In 1966 he made his debut at the Vienna State Opera
conducting Luchino Visconti's production of the same opera with Dietrich Fischer-Dieskau as
Falstaff. During his time in Vienna he also recorded the opera for Columbia Records and
conducted his first subscription concert with the Vienna Philharmonic (which is made up of
players from the Vienna State Opera) featuring Mahler's Das Lied von der Erde with Fischer-

Bernstein in Amsterdam, Dieskau and James King. He returned to the State Opera in 1968 for a production of Der
1968 Rosenkavalier and in 1970 for Otto Schenk's production of Beethoven's Fidelio. Sixteen years
later, at the State Opera, Bernstein conducted his sequel to Trouble in Tahiti, A Quiet Place,
with the ORF orchestra. Bernstein's final 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.

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 hisKaddish 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 make more time to composition was probably a major factor in his decision to step down as Music
Director of the Philharmonic in 1969, and to never again accept such a position elsewhere.

1970–1979
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—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 filmed for Unitel with the exception of the 1967 Mahler
2nd, which instead Bernstein filmed with theLondon Symphony Orchestrain 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.

In 1970 Bernstein wrote and narrated a ninety-minute program filmed on location in and
Leonard Bernstein by Allan
around Vienna as a celebration of Beethoven's 200th birthday. It featured parts of Bernstein's Warren
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
Plácido Domingo amongst the soloists. The program was first telecast in 1970 on Austrian and British television, and then on CBS in
the U.S. on Christmas Eve 1971. The show, originally entitled Beethoven's 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 Verdi's Requiem Mass in St. Paul's
Cathedral, with the London Symphony Orchestra.

Bernstein's major compositions during the 1970s were his Mass: A Theatre Piece for Singers, Players, and Dancers; his score for the
ballet Dybbuk; his orchestral vocal workSongfest; and his U.S. bicentenary musical 1600 Pennsylvania Avenue written with lyrics by
Alan Jay Lerner which was his first real theatrical flop, and last original Broadway show. The world premiere of Bernstein's 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 different religious traditions (Latin liturgy, Hebrew prayer, and plenty of contemporary English lyrics) but also of
different 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 theatican.
V

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 first 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 Bizet's death. The recording was Bernstein's first forDeutsche Grammophonand 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 filming. 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 significant it was."

Bernstein played an instrumental role in the exiling of the world-renowned cellist and conductor, Mstislav Rostropovich, from the
USSR in 1974. Rostropovich, a strong believer in free speech and democracy, was officially held in disgrace, his concerts and tours
both at home and abroad cancelled, and in 1972 he was prohibited to travel outside of Russia. During a trip to USSR in 1974,
Massachusetts Senator Ted Kennedy and his wife Joan, urged by Bernstein and others in the cultural scene, brought up
Rostropovich's situation to Soviet Union Communist Party Leader Leonid Brezhnev. Two days later, Rostropovich was granted his
exit visa.[31][32]
Chevy Chase states in his biography that Lorne Michaels wanted Bernstein to host Saturday Night Live in the show's first season
(1975–76). Chase was seated next to Bernstein at a birthday party for Kurt Vonnegut and made the request in person. However, the
pitch involved a Bernstein-conducted SNL version ofWest Side Story, and Bernstein was uninterested.[33]

In October 1976, Leonard Bernstein led theBavarian Radio Symphony Orchestraand legendary pianistClaudio Arrau in an Amnesty
International Benefit Concert in Munich. To honor his late wife and to continue their joint struggle for human rights, Leonard
Bernstein established the Felicia Montealegre Bernstein Fund of Amnesty International USA to provide support for human rights
[34]
activists who have few resources beyond personal dedication.

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 René 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 filmed 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 theChoral Arts Society of Washington, performed Beethoven's
Ninth Symphony and Bernstein'sChichester Psalms at the Kennedy Center in Washington, D.C., and at Carnegie Hall in New Y
ork.

In 1979, Bernstein conducted the Berlin Philharmonic for the first time, in two charity concerts for Amnesty International involving
performances of Mahler's 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 Bernstein's 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.[35] 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 finale, as a result of an audience member fainting just behind the trombones a few
seconds earlier.

1980–1990
Bernstein received theKennedy Center Honorsaward in 1980. For the rest of the 1980s he continued to conduct, teach, compose, and
produce the occasional TV documentary. His most significant 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 Ḥalil for flute and orchestra; his Concerto for Orchestra "Jubilee Games"; and his song cycle Arias and Barcarolles,
which was named after a comment PresidentDwight D. Eisenhowerhad made to him in 1960.

Bernstein with Maximilian Schell on
PBS Beethoven TV series (1982)
some Debussy and Puccini'sLa bohème.
In 1982 in the U.S., PBS aired an 11-part series of Bernstein's late 1970s films 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 Beethoven's
letters.[36] The original films 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 Mahler's
First, Fourth, and Ninth Symphonies amongst other works; the Bavarian Radio
Symphony Orchestra in Munich, with whom he recorded Wagner's Tristan und
Isolde; Haydn's Creation; Mozart's Requiem and Great Mass in C minor; and the
orchestra of Accademia Nazionale di Santa Ceciliain Rome, with whom he recorded

In 1982, he and Ernest Fleischmann founded the Los Angeles Philharmonic Instituteas 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 "Journey for Peace"
tour around Europe and to Japan.

In 1985, he conducted a recording of West Side Story, the first time he had conducted the entire work. The recording, featuring what
some critics felt were miscast opera singers such as Kiri Te Kanawa, José 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 Y
ork, Vienna, and Israel.

In his later years, Bernstein's life and work were celebrated around the world (as they have 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
Bernstein's 70th birthday was celebrated by a lavish televised gala at Tanglewood featuring many performers who had worked with
him over the years.

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 fitted 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. Bernstein's
concert and recording were based on a "final" version that had been first performed by Scottish Opera in 1988. The opening night
(which Bernstein attended in Glasgow) was conducted by Bernstein's former student
John Mauceri.

On December 25, 1989, Bernstein conducted Beethoven's Symphony No. 9 in East Berlin's
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).[37] 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."

In the summer of 1990, Bernstein and Michael Tilson Thomas founded the Pacific 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 Bernstein's grave in Green-
already at this time suffering from the lung disease that would lead to his death. In his opening Wood Cemetery
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 first Festival is available on DVD in
Japan.

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.[38] He provided this grant to develop an arts-based education program. The Leonard Bernstein Center was established in
April 1992, and initiated extensive school-based research, resulting in the Bernstein Model, the Leonard Bernstein Artful Learning
Program.[39]

Bernstein made his final performance as a conductor at Tanglewood on August 19, 1990, with the Boston Symphony Orchestra
playing Benjamin Britten's "Four Sea Interludes" from Peter Grimes, and Beethoven's Symphony No. 7.[40] He suffered a coughing
fit during the third movement of the Beethoven symphony, but continued to conduct the piece until its conclusion, leaving the stage
during the ovation, appearing exhausted and in pain.[41] The concert was later issued on CD as Leonard Bernstein – The Final
[42]
Concert by Deutsche Grammophon (catalog number 431 768).

Personal life
After much personal struggle and a turbulent on-off engagement, Bernstein married 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.[35] In a book
released in October 2013, The Leonard Bernstein Letters, his wife acknowledges his homosexuality. Felicia writes: "you are a
homosexual and may never change—you don't 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 (Bernstein's collaborator in West Side
Story) said that Bernstein was "a gay man who got married. He wasn't conflicted about it at all. He was just gay."[43] Shirley Rhoades
Perle, another friend of Bernstein, said that she thought "he required men sexually and women emotionally."[44] 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 Nina.[45] There are reports, though, that Bernstein did sometimes have brief extramarital liaisons
[44]
with young men, which several family friends have said his wife knew about.

A major period of upheaval in Bernstein's personal life began in 1976 when he decided that he could no longer conceal his
homosexuality and he left his wife Felicia for a period to live with the musical director of the classical music radio station KKHI-FM
in San Francisco, Tom Cothran.[46] The next year Felicia was diagnosed with lung cancer and eventually Bernstein moved back in
with her and cared for her until she died on June 16, 1978.[35] Bernstein is reported to have often spoken of his terrible guilt over his
wife's death.[35] 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 unaffected, and he
resumed his busy schedule of musical activity
.

Death and legacy

[47] and died at his apartment atThe Dakota of a heart attack
Bernstein announced his retirement from conducting on October 9, 1990,
five days later, brought on by mesothelioma.[48] 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, calling out "Goodbye, Lenny."[49] Bernstein is buried in Green-Wood Cemetery, Brooklyn, New York,[50] next to his wife
and with a copy of Mahler's Fifth Symphony lying across his heart.[51] On August 25, 2018 (his 100th birthday), he was honored
with a Google Doodle.[52]

Social activism
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 first 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 first 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 fight for everything from the influences
[53]
of "American Music" to the disarming of western nuclear weapons.

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 theUS State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and
he was never required to testify before the House Un-American Activities Committee.[54] His political life received substantial press
coverage though in 1970, due to a gathering hosted at his Manhattan apartment at 895 Park Avenue[55] 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.[56] 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.[57][58] This reaction
culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by journalist Tom Wolfe featured on
the cover of the magazine New York.[59] The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most
expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a
critical term.[60] Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow
desire to express fashionable sympathy but by their concern forcivil liberties.[61][62]

Bernstein was named in the book Red Channels: The Report of Communist Influence in Radio and Television (1950) as a Communist
along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures 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 personalityJohn Henry Faulk.[63][64][65]

Philanthropy
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
Praemium Imperiale, Japan Arts Association award for lifetime achievement in 1990,[66] he used the $100,000 that came with the
award to build such a school in Nashville, that would strive to teach teachers how to better integrate music, dance, and theater into the
school system which was "not working".[67] Unfortunately, the school was not able to open until shortly after Bernstein's death. This
would eventually yield an initiative known asArtful Learning as part of the Leonard Bernstein Center.[68][69]

Influence and characteristics as a conductor

Bernstein was one of the major figures in orchestral conducting in the second half of the 20th
century. He was held in high regard amongst many musicians, including the members of the
Vienna Philharmonic, evidenced by his honorary membership; the London Symphony
Orchestra, of which he was president; and the Israel Philharmonic Orchestra, with which he
appeared regularly as guest conductor. He was probably the main conductor from the 1960s
onwards who acquired a sort of superstar status similar to that of Herbert von Karajan,
although unlike Karajan he conducted relatively little opera and part of Bernstein's fame was
based on his role as a composer. As the first American-born music director of the New York
Philharmonic, his rise to prominence was a factor in overcoming the perception of the time
that the top conductors were necessarily trained in Europe.

Bernstein's conducting was characterized by extremes of emotion with the rhythmic pulse of
the music conveyed visually through his balletic podium manner. Musicians often reported
Leonard Bernstein in that his manner in rehearsal was the same as in concert. As he got older his performances
rehearsal of his "Mass", tended to be overlaid to a greater extent with a personal expressiveness which often divided
1971 critical opinion. Extreme examples of this style can be found in his Deutsche Grammophon
recordings of "Nimrod" from Elgar's Enigma Variations (1982), the end of Mahler's 9th
Symphony (1985), and the finale of Tchaikovsky's Pathétique Symphony (1986), where in
each case the tempos are well below those typically chosen.

Bernstein performed a wide repertoire from the Baroque era to the 20th century, although perhaps from the 1970s onwards he tended
to focus more on music from the Romantic era. He was considered especially accomplished with the works of Gustav Mahler and
with American composers in general, including George Gershwin, Aaron Copland, Charles Ives, Roy Harris, William Schuman, and
of course himself. Some of his recordings of works by these composers would likely appear on many music critics' lists of
recommended recordings. A list of his other well-thought-of recordings would probably include individual works from Haydn,
Beethoven, Berlioz, Schumann, Liszt, Nielsen, Sibelius, Stravinsky, Hindemith, and Shostakovich, among others.[70] His recordings
of Rhapsody in Blue (full-orchestra version) and An American in Paris for Columbia Records, released in 1959, are considered
definitive by many, although Bernstein cut the Rhapsody slightly, and his more 'symphonic' approach with slower tempi is quite far
from Gershwin's own conception of the piece, evident from his two recordings. (Oscar Levant, Earl Wild, and others come closer to
Gershwin's own style.) Bernstein never conducted Gershwin'sPiano Concerto in F, or more than a few excerpts fromPorgy and Bess,
although he did discuss the latter in his articleWhy Don't You Run Upstairs and Write a Nice Gershwin Tune?, originally published in
The New York Times and later reprinted in his 1959 bookThe Joy of Music.

In addition to being an active conductor, Bernstein was an influential teacher of conducting. During his many years of teaching at
Tanglewood and elsewhere, he directly taught or mentored many conductors who are performing now, including John Mauceri,
Marin Alsop, Herbert Blomstedt, Edo de Waart, Alexander Frey, Paavo Järvi, Eiji Oue, Maurice Peress, Seiji Ozawa (who made his
American TV debut as the guest conductor on one of the Young People's Concerts), Carl St.Clair, Helmuth Rilling, Michael Tilson
Thomas, and Jaap van Zweden. He also undoubtedly influenced 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 orchestra's subscription concerts or on
one of the Young People's Concerts, with any spare time used to record short
orchestral showpieces and similar works. Many of these performances were digitally
Audio recording for CBS of the
Symphony No. 3 by Danish remastered and reissued by Sony Classical Records as part of their 100 Volume, 125
composer Carl Nielsen in CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of
Copenhagen, 1965 these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".

His later recordings (starting with Bizet's 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 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 Bernstein's concerts from the 1970s onwards were recorded on motion picture film by
the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and
London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same
series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on
DVD.

In total Bernstein was awarded 16 Grammys for his recordings in various categories, including several for posthumously released
recordings. He was also awarded aLifetime Achievement Grammyin 1985.

Influence 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."[71]
According to the League of American Orchestras,[72] he was the second most
frequently performed American composer by U.S. orchestras in 2008–09 behind
Copland, and he was the 16th most frequently performed composer overall by U.S.
orchestras. (Some performances were probably due to the 2008 90th anniversary of
his birth.) His most popular pieces were the Overture to Candide, the Symphonic
Dances from West Side Story, the Serenade after Plato's "Symposium" 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.
Place Léonard-Bernstein, a square in
Despite the fact that he was a popular success as a composer, Bernstein himself is the 12th arrondissement of Paris
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.[49] Professional criticism of Bernstein's 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 reflected 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.[73] 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, clichéd or offensive. Despite this, all these pieces have been
performed, discussed and reconsidered since his death.

Bernstein's 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.

Although he taught conducting, Bernstein was not a teacher of composition as such, and he has no direct composing heirs. Perhaps
the closest are composers likeJohn Adams, who from the 1970s onwards indirectly adopted elements of his eclectic, theatrical style.

Works

Ballet
Fancy Free, 1944
Facsimile, Choreographic Essay for Orchestra
, 1946
Dybbuk (ballet), 1974

Opera
Trouble in Tahiti, 1952
Candide, 1956 (new libretto in 1973, operetta final revised version in 1989)
A Quiet Place, 1983, revised in 1986

Musicals
On The Town, 1944
 Wonderful Town, 1953
West Side Story, 1957
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

Incidental music and other theatre

Peter Pan, 1950
The Lark, 1955
The Firstborn, 1958
MASS (theatre piece for singers, players and dancers), 1971
Side by Side by Sondheim* 1976

Film scores
On the Town, 1949 (only part of his music was used)
On the Waterfront, 1954 (no vocal singing, not adapted from a stage musical)
West Side Story, 1961

Orchestral
Symphony No. 1 Jeremiah, 1942
Fancy Free and Three Dance Variations from "Fancy Free", concert premiere 1946
Three Dance Episodes from "On the T own", concert premiere 1947
Symphony No. 2 The Age of Anxiety, (after W. H. Auden) for piano and orchestra, 1949 (revised in 1965)
Serenade after Plato's "Symposium"for solo violin, strings, harp and percussion, 1954
Prelude, Fugue, and Riffsfor solo clarinet and jazz ensemble, 1949
Symphonic Suite from "On the Waterfront", 1955
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
Songfest: A Cycle of American Poems for Six Singers and Orchestra , 1977
Three Meditations from "MASS"for violoncello and orchestra, 1977
Slava! A Political Overturefor orchestra, 1977
Divertimento for Orchestra, 1980
Ḥalil, nocturne for solo flute, piccolo, alto flute, percussion, harp and strings, 1981
Concerto for Orchestra, 1989 (OriginallyJubilee Games from 1986, revised in 1989)

Choral
Hashkiveinu for cantor (tenor), mixed chorus and organ, 1945
Missa Brevis for mixed chorus and countertenor solo, with percussion, 1988
Chichester Psalms for boy soprano (or countertenor), mixed chorus, and orchestra, 1965 (Reduced version for
organ, harp and percussion)

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 recorderand cello, 1988

Vocal music
I Hate Music: A cycle of Five Kids Songs for Soprano and Piano
, 1943
Big Stuff, sung by Billie Holiday
La Bonne Cuisine: Four Recipes for Voice and Piano, 1948
Silhouette (Galilee), 1951
Two Love Songs, 1960
So Pretty, 1968
Piccola Serenata, 1979
Opening Prayer for baritone and orchestra, 1986, opening ofCarnegie Hall after restoration
Arias and Barcarolles for mezzo-soprano, baritone andpiano four-hands, 1988

Piano music
Music for Two Pianos, 1937
Piano Sonata, 1938
7 Anniversaries, 1944
4 Anniversaries, 1948
5 Anniversaries, 1952
Bridal Suite, 1960
Moby Diptych, 1981 (republished as Anniversaries nos. 1 and 2 inThirteen Anniversaries)
Touches, 1981
13 Anniversaries, 1988

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 hisChichester 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
[74]
whistled to call his cocker spaniel
"Shivaree: A Fanfare" for double brass ensemble and percussion. 1970. Commissioned by and dedicated to the
Metropolitan Museum of Artin New York in honor of its Centenary.[75] Musical material later used inMASS.

Bibliography
Bernstein, Leonard (1993) [1982].Findings. New York: Anchor Books. ISBN 0-385-42437-X.
Bernstein, Leonard (1993) [1966].The Infinite Variety of Music. New York: Anchor Books. ISBN 0-385-42438-8.
Bernstein, Leonard (2004) [1959].The Joy of Music. Pompton Plains, New Jersey: Amadeus Press.ISBN 1-57467-
104-9.
Bernstein, Leonard (2006) [1962].Young People's Concerts. Milwaukee; Cambridge: Amadeus Press.ISBN 1-
57467-102-2.
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 978-0-300-17909-5.
Videography
The Unanswered Question: Six Talks at Harvard. West Long Branch, New Jersey: Kultur Video. VHS ISBN 1-56127-
570-0. DVD ISBN 0-7697-1570-2. (videotape of the Charles Eliot Norton Lecturesgiven at Harvard in 1973.)
Leonard Bernstein's Young People's 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
Leonard Bernstein: Omnibus – The Historic TV Broadcasts , 2010, E1 Ent.
Bernstein: Reflections (1978), A rare personal portrait of Leonard Bernstein by Peter Rosen. Euroarts DVD
Bernstein/Beethoven (1982), Deutsche Grammophon, DVD
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
"Leonard Bernstein: Reaching for the Note"(1998) Documentary on his life and music. Originally aired on PBS's
American Masters series. DVD

Awards
Fellow of the American Academy of Arts and Sciences, 1951[76]
Sonning Award (Denmark), 1965
Ditson Conductor's Award, 1958
George Peabody Medal– Johns Hopkins University, 1980
Ernst von Siemens Music Prize1987
Royal Philharmonic Society Gold Medal (UK), 1987
Knight Grand Cross Order of Merit (Italy), 1989
Grammy Award for Best Album for Children
Grammy Award for Best Orchestral Performance
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
Grammy Lifetime Achievement Award
Tony Award for Best Musical
Special Tony Award
Japan Arts Association Lifetime Achievement A ward Leonard Bernstein receiving the
Gramophone Hall of Fame entrant[77] Edison Classical Music Award in
Commandeur de la Légion d'honneur, 1986 1968

Leonard Bernstein is also a member of both the American Theater Hall of Fame,[78]
and the Television Hall of Fame.[79] In 2015 he was inducted into theLegacy Walk.[80]

See also
Portal-
Leonard Bernstein portal
puzzle.svg

References
1. Karlin, Fred (1994). Listening to Movies 8. New York: Schirmer. p. 264. Bernstein's pronunciation of his own name as
he introduces his Peter and the Wolf.
 2. Henahan, Donal (October 15, 1990). "Leonard Bernstein, 72, Music's Monarch, Dies"(https://query.nytimes.com/gst/
fullpage.html?res=9C0CE0DA1F3DF936A25753C1A966958260) . The 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 atthe Dakota on the Upper West Side of Manhattan. He was 72 years old. Mr.
Bernstein's spokeswoman,Margaret Carson, said he died of a heart attack caused by progressive lung failure."; also
in "On this Day – 25 August(https://www.nytimes.com/learning/general/onthisday/bday/0825.html)
3. Peter Pan, music and lyrics by Leonard Bernstein(http://barbaraanneshaircombblog.com/images/symphonyofthene
wworld/benjaminsteinberg-leonardbernstein-peterpan.jpg) , Playbill, April 24, 1950
4. Laird, Paul R. Leonard Bernstein: A Guide to Research.(https://books.google.com/books?id=1aPyEzYri7UC&pg=P
A
10&lpg=PP1) Routledge, 2002. p. 10.
5. "The Man Who Mainstreamed Mahler"(https://www.nytimes.com/2001/11/04/arts/music-the-man-who-mainstreamed
-mahler.html) by David Schiff, The New York Times, November 4, 2001
6. Dougary, Ginny (March 13, 2010)."Leonard Bernstein: 'charismatic, pompous – and a great father
' " (http://entertain
ment.timesonline.co.uk/tol/arts_and_entertainment/music/classical/article7059407.ece)
. The Times. UK. Retrieved
March 12, 2010.
7. 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 withWest Side Story" (https://pqas
b.pqarchiver.com/latimes/access/60165868.html?dids=60165868:60165868&FMT=ABS&FMTS=ABS:FT&type=curr
ent&date=Oct+15%2C+1990&author=MYRNA+OLIVER&pub=Los+Angeles+T imes+(pre-1997+Fulltext)&desc=Leon
ard+Bernstein+Dies%3B+Conductor%2C+Composer+Music%3A+Renaissance+man+of+his+art+was+72.+The+lon
gtime+leader+of+the+N.Y.+Philharmonic+carved+a+niche+in+history+with+%60W est+Side+Story.'&pqatl=google).
Los Angeles Times. Retrieved March 12, 2010.
8. Peyser 1987, pp. 22–24.
9. Peyser 1987, p. 34.
10. Peyser 1987, pp. 39–40.
11. See for instance Bernstein's 1980 TV Documentary
, Teachers and Teaching available on a Deutsche Grammophon
DVD.
12. Peyser 1987, pp. 38–39 (Bernstein complained later that she taught him an incorrect piano technique)
13. "Bernstein Chronology"(http://www.leonardbernstein.com/lifeswork/timeline/timeline01.asp).
14. "About Bernstein" (http://www.leonardbernstein.com/about.php). Leonard Bernstein official site. Retrieved
January 15, 2007.
15. "Leonard Bernstein – Biography"(https://archive.is/20051013033618/http://www .sonyclassical.com/artists/bernstein/
bio.html). Sony Classical. Archived fromthe original (http://www.sonyclassical.com/artists/bernstein/bio.html) on
October 13, 2005. Retrieved January 15, 2007.
16. Program and recording(http://archives.nyphil.org/index.php/artifact/71509682-511b-4ba3-8df5-e6f37af19d3d)
(except Wagner's Prelude to Die Meistersinger), New York Philharmonic Digital Archives
17. Deems Taylor (July 25, 2007), Pathétique, Music-Appreciation Records
18. David Hamilton, "Dorle Jarmel Soria",Opera News 67 (October 2002), p. 84. The "event" was due in part to the
efforts of Dorle Soria who had been on the staff of the New York Philharmonic since the late 1920s.
19. Weinstock, Matt (August 25, 2016)."Leonard Bernstein and the Youngest, Poorest Symphony in the World," (http://w
ww.nycitycenter.org/Home/Blog/August-2016/Leonard-Bernstein?fullsite=true)New York City Center blog.
20. Rockwell, John (December 15, 2013)."Maestro – The Leonard Bernstein Letters(review)" (https://www.nytimes.co
m/2013/12/15/books/review/the-leonard-bernstein-letters.html)
. The New York Times. Retrieved December 14, 2013.
21. "Leonard Bernstein, A Total Embrace of Music, Classical Notes, Peter Gutmann"(http://www.classicalnotes.net/featu
res/bernstein.html). www.classicalnotes.net.
22. Arturo Toscanini: the NBC years(https://books.google.com/?id=wBD_ujAW520C&pg=PA85). Amadeus Press. 2002.
ISBN 978-1-57467-069-1.
23. Bradley, Mark Philip. The World Reimagined – Americans and Human Rights in the wentieth
T Century (https://www.
worldcat.org/oclc/946031535). New York. p. 13. ISBN 0521829755. OCLC 946031535 (https://www.worldcat.org/ocl
c/946031535).
24. "Leonard Bernstein" (http://www.leonardbernstein.com/about.php). www.leonardbernstein.com.
25. "Young People's Concerts"(http://www.leonardbernstein.com/ypc_publications.htm). Leonard Bernstein. Retrieved
September 20, 2010.
26. "Honors: A Selected List – Grammy Awards" (http://www.leonardbernstein.com/honors.htm). The Leonard Bernstein
Office, Inc. Retrieved 12 November 2015.
27. "Map: See Where Famous Composers Have Lived in NYC"(https://www.wqxr.org/story/220328-map-where-famous-
composers-have-lived-nyc/)by Brian Wise and Emily Ostertag,WQXR, July 6, 2012
28. Transcription of Bernstein's Glenn Gould Introduction (http://www.rci.rutgers.edu/~mwatts/glenn/lennie.html)
Archived (https://web.archive.org/web/20001031125032/http://www .rci.rutgers.edu/~mwatts/glenn/lennie.html)
October 31, 2000, at theWayback Machine. (from a Rutgers University webpage).
29. Glenn Gould: Variations, Ed. John McGreevy (1983).
30. "JFK: The Philharmonic and Leonard Bernstein Respond"(https://nyphil.org/jfk). nyphil.org. Retrieved 2017-12-13.
31. Kennedy, Joan (1994-09-01). The Joy of Classical Music: A Guide for Y
ou and Your Family (https://www.amazon.co
m/Joy-Classical-Music-Guide-Family/dp/0385412630)(Reissue ed.). New York: Main Street Books.
ISBN 9780385412636.
32. 1932-2009,, Kennedy, Edward M. (Edward Moore), (2009). True compass : a memoir(https://www.worldcat.org/oclc/
434905205) (1st ed.). New York: Twelve. ISBN 0446539252. OCLC 434905205 (https://www.worldcat.org/oclc/4349
05205).
33. Fruchter, Rena (2007). I'm Chevy Chase... and you're not. Virgin. p. 184. ISBN 9781852273460.
34. Barbara., Hendricks,. Lifting my voice : a memoir(https://www.worldcat.org/oclc/879372080). Chicago.
ISBN 1613748523. OCLC 879372080 (https://www.worldcat.org/oclc/879372080).
35. Burton, Humphrey (1994).Leonard Bernstein. New York: Doubleday.
36. Leonard Bernstein and Maximilian Schell discussing Beethoven's 6th and 7th Symphony
(https://www.youtube.com/
watch?v=OuYY1gV8jhU)on YouTube, video clip, 9 minutes
37. Naxos (2006). "Ode To Freedom – Beethoven: Symphony No. 9 (NTSC)" (https://web.archive.org/web/20061122211
037/http://www.naxos.com/catalogue/item.asp?item_code=2072038). Naxos.com Classical Music Catalogue.
Archived from the original (http://www.naxos.com/catalogue/item.asp?item_code=2072038) on November 22, 2006.
Retrieved November 26, 2006.
38. "Prelude, Fugue & Riffs, Fall/Winter 2005" (http://www.leonardbernstein.com/pfr/pfr_FALL05_rev2.pdf) (PDF). The
Leonard Bernstein Society.
39. "History of the Leonard Bernstein Center for Learning"(http://webadrenaline.com/artful-2-3-04/about/mission.html)
.
Retrieved 2015-01-02.
40. Garrison Keillor (August 25, 2003). "The Writer's Almanac" (https://web.archive.org/web/20070311205836/http://write
rsalmanac.publicradio.org/programs/2003/08/25/) . American Public Media. Archived fromthe original (http://writersal
manac.publicradio.org/programs/2003/08/25)on March 11, 2007. Retrieved January 17, 2007.
41. Kozinn, Allan (October 10, 1990). "Bernstein Retires From Performing, Citing Poor Health"(https://www.nytimes.co
m/1990/10/10/arts/bernstein-retires-from-performing-citing-poor-health.html)
. The New York Times. Retrieved
October 12, 2015.
42. Clark, Sedgewick (June 13, 1993)."Recording View: Bernstein: Yet More Surprises?" (https://www.nytimes.com/199
3/06/13/arts/recordings-view-bernstein-yet-more-surprises.html)
. The New York Times. Retrieved 20 October 2015.
43. Charles Kaiser, The Gay Metropolis, New York City: 1940–1996.
44. Meryle Secrest (1995), Leonard Bernstein: A Life.
45. Peyser 1987, pp. 196, 204, 322.
46. "Leonard Bernstein a gay man who dabbled in the straight world"(http://gayinfluence.blogspot.com/2011/07/leonard-
bernstein.html). July 12, 2011. Retrieved 20 November 2015.
47. "» Died On This Date (October 14, 1990) Leonard Bernstein / W
orld Renowned Composer The Music's Over"(http://
themusicsover.wordpress.com/2009/10/14/leonard-bernstein/). October 14, 2009. Retrieved May 3, 2012.
48. Stanton, Scott (September 1, 2003)."The Tombstone Tourist: Musicians" (https://books.google.com/books?id=9eEP
AQAAQBAJ&pg=PA29&lpg=PA29&dq=leonard+bernstein+mesothelioma&sa=X#v=onepa ge&q=leonard+bernstein+
mesothelioma). Simon and Schuster – via Google Books.
49. See the TV Documentary:Leonard Bernstein: Reaching for the Noteoriginally shown in the seriesAmerican Masters
on PBS in the U.S., now on DVD.
50. Wilson, Scott. Resting Places: The Burial Sites of More Than 14,000 Famous Persons
, 3d ed.: 2 (Kindle Locations
3707–3708). McFarland & Company, Inc., Publishers. Kindle Edition.
51. Davis, Peter G. (May 17, 2011). "When Mahler Took Manhattan" (https://www.nytimes.com/2011/05/18/opinion/18Da
vis.html). The New York Times. Retrieved 2018-08-28. "Small wonder that Bernstein is buried with the score of
Mahler's Fifth Symphony placed over his heart.
"
52. "Google Doodle Celebrates Leonard Bernstein's 100th Birthday withWest Side Story Video" (http://time.com/537813
1/leonard-bernstein-google-doodle/)by Annabel Gutterman,Time, August 25, 2018; "Leonard Bernstein's 100th
Birthday" (https://www.google.com/doodles/leonard-bernsteins-100th-birthday), Google, August 25, 2018
53. Bernstein:The Best of All Possible Worlds. "Causes and Effecting Change" (https://web.archive.org/web/2010122404
4931/http://www.carnegiehall.org/bernstein/leonardbernstein/essays/nr_socialactivist.html). Archived from the
original (http://www.carnegiehall.org/bernstein/leonardbernstein/essays/nr_socialactivist.html)on December 24,
2010.
54. Seldes, Barry (2009). Leonard Bernstein: The Political Life of an American Musician.University of California Press.
55. "Leonard Bernstein's New York" (https://nypost.com/2014/10/18/leonard-bernsteins-new-york/)by Barbara Hoffman,
New York Post, October 18, 2014
56. "Radical Chic" (https://web.archive.org/web/20120725171227/http://myloc.gov/Exhibitions/hopeforamerica/causesan
dcontroversies/polarization/ExhibitObjects/RadicalChic.aspx) . Hope for America: Performers, Politics and Pop
Culture. Library of Congress. Archived fromthe original (http://myloc.gov/Exhibitions/hopeforamerica/causesandcont
roversies/polarization/ExhibitObjects/RadicalChic.aspx)on July 25, 2012. Retrieved December 12, 2010.
57. "False Note on Black Panthers".The New York Times. January 16, 1970.
58. Wolfe, Tom. "Radical Chic: That Party at Lenny's"(http://nymag.com/news/features/46170/index15.html)
. New York.
"Tom Wolfe on Radical Chic and Leonard Bernstein's Party for the Black Panthers"
. Retrieved December 11, 2010.
59. Wolfe, Tom (June 8, 1970). "Radical Chic: that Party at Lenny's"(http://nymag.com/docs/07/05/070529radical_chic.p
df) (PDF). New York. Retrieved March 1, 2010.
60. "Leonard Bernstein: A political life"(http://www.economist.com/node/13726549). The Economist. May 28, 2009.
Retrieved December 12, 2010.
61. Bernstein, Felicia M. (January 21, 1970). "Letters to the Editor of The imes:
T Panthers' Legal Aid".The New York
Times.
62. "The Social Activist" (https://web.archive.org/web/20101223194131/http://www .carnegiehall.org/bernstein/leonardber
nstein/socialactivist.aspx). Bernstein: The Best of All Possible Worlds. Carnegie Hall Corporation. Archived fromthe
original (http://www.carnegiehall.org/bernstein/leonardbernstein/socialactivist.aspx)on December 23, 2010.
Retrieved December 12, 2010.
63. "Bernstein, Copland, Seeger and others are named as Communists"(http://www.history.com/this-day-in-history/bern
stein-copland-seeger-and-others-are-named-as-communists?et_cid=76800153&et_rid=1221598356&linkid=http%3
a%2f%2fwww.history.com%2fthis-day-in-history%2fbernstein-copland-seeger-and-others- are-named-as-communist
s). history.com.
64. "Fear On Trial" by John Henry Faulk
65. "The Jury Returns" byLouis Nizer
66. "Temple Emanuel" (http://www.emanuelnyc.org/composer.php?composer_id=28).
67. Harrison, Eric (August 9, 1993)."The maestro's legacy reverberates in Nashville : Leonard Bernstein's dream of
creating a center that integrates the arts and the classroom is in full swing"
(http://articles.latimes.com/1993-08-09/ne
ws/mn-22033_1_leonard-bernstein). Los Angeles Times. Los Angeles. Retrieved Oct 11, 2011.
68. "Leonard Bernstein's Arts-Based Education Revolution"(http://www.huffingtonpost.com/alexander-bernstein/leonard-
bernsteins-artsba_b_3427779.html). Retrieved 2013-06-12.
69. "Artful Learning Model"(http://www.leonardbernstein.com/artful_learning.htm). The Leonard Bernstein Center.
Retrieved 7 February 2015.
70. Holmes, John L. (1982).Conductors on Record. UK: Greenwood Press.ISBN 0-313-22990-2.
71. In the 1978 Peter Rosen documentaryLeonard Bernstein: Reflections, now available on a Medici Arts DVD.
72. "2008–2009 Season, Orchestra Repertoire Report"(http://www.americanorchestras.org/images/stories/ORR_0809/O
RR_0809.pdf) (PDF). League of American Orchestras. Retrieved January 21, 2011.
73. Gruen, John and Heyman, Ken (1968).The Private World of Leonard Bernstein.New York: The Viking Press.
74. Copland, Aaron and Perlis, Vivian (1984). Copland Since 1943, p. 119.
75. Finding aid for the George Trescher records related to The Metropolitan Museum of Art Centennial, 1949, 1960-1971
(bulk 1967-1970) (http://libmma.org/digital_files/archives/Trescher_Centennial_records_b18234550.pdf). The
Metropolitan Museum of Art. Retrieved 6 August 2014.
76. "Book of Members, 1780–2010: Chapter B"(http://www.amacad.org/publications/BookofMembers/ChapterB.pdf)
(PDF). American Academy of Arts and Sciences. Retrieved June 24, 2011.
77. "Leonard Bernstein (composer, conductor and pianist)" (http://www.gramophone.co.uk/HallofFame/ArtistPage/Bernst
ein). Gramophone.
78. "Theater Hall of Fame members"(http://www.theaterhalloffame.org/members.html#B).
79. "Television Hall of Fame Honorees: The Complete List" (http://www.emmys.com/awards/hall-of-fame-honorees).
80. "Legacy Walk unveils five new bronze memorial plaques – 2342 – Gay Lesbian Bi Trans News – Windy City Times"
(http://www.windycitymediagroup.com/m/APPredirect.php?AID=53131).

Further reading
Bernstein, Burton (1982).Family Matters: Sam, Jennie, and the Kids. Simon & Schuster. ISBN 978-0595133420.
Bernstein, Burton; Haws, Barbara, eds. (2008).Leonard Bernstein: American Original. Contains chapters byAlan
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.
Bernstein, Jamie (2018).Famous Father Girl: A Memoir of Growing Up Bernstein.HarperCollins Publishers.
ISBN 978-0-06-264135-9.
Bernstein, Shirley (1963).Making Music: Leonard Bernstein.Chicago: Encyclopædia Britannica Press. ASIN
B0007E073Y.
Briggs, John (1961). Leonard Bernstein: The Man, His Works and His World.World Publishing Co. ISBN 978-
1163810798.
Burton, Humphrey (1994).Leonard Bernstein. New York: Doubleday. ISBN 0-385-42345-4.
Burton, William W. (1995). Conversations about Bernstein.New York: Oxford University Press, New York. ISBN 978-
0195079470.
Chapin, Schuyler (1992). Leonard Bernstein: Notes from a Friend. New York: Walker. ISBN 0-8027-1216-9.
Cone, Molly and Robert Galster (1970).Leonard Bernstein. New York: Thomas Y. Crowell Co. ISBN 978-
0690487862
Ewen, David (1960). Leonard Bernstein, A Biography for Young People. Philadelphia: Chilton Co.ISBN 978-
1376190656
Fluegel, Jane (ed.) (1991).Bernstein: Remembered: a life in pictures.New York: Carroll & Graf Publishers, Inc.
ISBN 9780881847222.
Freedland, Michael (1987).Leonard Bernstein. London, England: Harrap. Ltd.ISBN 978-0245544996.
Gottlieb, Jack (ed.) (1992).Leonard Bernstein's Young People's Concerts (revised ed.). New York: Anchor Books.
ISBN 0-385-42435-3.
Gottlieb, Jack (2010). Working With Bernstein. Amadeus Press. ISBN 9781574671865.
Green, Diane Huss (1963).Lenny's Surprise Piano.San Carlos, California: Golden Gate Junior Books. ASIN
B0006AYE10.
Gruen, John (1968). The Private World of Leonard Bernstein.New York: The Viking Press. ISBN 978-0670578559.
Hurwitz, Johanna (1963).Leonard Bernstein: A Passion of Music.Philadelphia: The Jewish Publication Society .
ISBN 978-0827605015.
Ledbetter, Steven (1988). Sennets & Tuckets, A Bernstein Celebration.Boston: Boston Symphony Orchestra in
association with David Godine Publisher, Inc.. ISBN 978-0879237752.
Laird, Paul R. (2002). Leonard Bernstein: A Guide to Research. New York: Routledge. ISBN 0-8153-3517-2.
Oja, Carol (2014). Bernstein Meets Broadway. Oxford University Press.ISBN 9780199862092.
Peyser, Joan (1987). Bernstein, a Biography. New York: Beech Tree Books/William Morrow. ISBN 0-688-04918-4.
Reidy, John P. & Norman Richards (1967).People of Destiny: Leonard Bernstein.Chicago: Children's Press. ASIN
B0092UTPIW.
Robinson, Paul (1982).Bernstein (The Art of Conducting Series).New York: Vangard Press. ASIN B01K92K1OI.
Rozen, Brian D. (1997).The Contributions of Leonard Bernstein to Music Education: An Analysis of his 53oung Y
People's Concerts. Thesis (PhD). Rochester, New York: University of Rochester. OCLC 48156751.
Secrest, Meryle (1994). Leonard Bernstein A Life.Alfred A. Knopf. ISBN 0679407316.
Seldes, Barry (2009). Leonard Bernstein: The Political Life of an American Musician.University of California Press.
ISBN 978-0520257641.
Shawn, Allen (2014). Leonard Bernstein: An American Musician.Yale University Press. ISBN 978-0300144284.
 Simeone, Nigel, ed. (2013).The Leonard Bernstein Letters. Yale University Press. ISBN 9780300179095.
Wolfe, Tom (1987). Radical Chic and Mau Mauing the Flak Catchers.New York: Farrar, Strauss & Giroux. ASIN
B01NAOARU3.

External links
Official website
Leonard Bernstein at Encyclopædia Britannica
The Leonard Bernstein Collectionat the Library of Congress Music Division
Discography at SonyBMG Masterworks
Bernstein's Boston, a Harvard University research project
Talking About Leonard Bernsteinat The Interviews: An Oral History of T
elevision
FBI file on Leonard Bernstein
Gay Great – Leonard Bernstein
Leonard Bernstein: A Total Embrace of Music, written by Peter Gutmann, music journalist.
Arias and Barcarolles, The Leonard Bernstein Pages
Leonard Bernstein: The Total Musician by Jeffrey Dane
Leonard Bernstein on IMDb
Leonard Bernstein at the Internet Broadway Database
Leonard Bernstein at the Internet Off-Broadway Database

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