Leonard Bernstein – Teachers & Teaching
October 17, 2017
Published on Jun 5, 2013
Leonard Bernstein – God, leave us this one Mystery, Unsolved – Why Man Creates? — Art of Quotation
September 17, 2016
“God, leave us this one mystery, unsolved: why man creates.” – Leonard Bernstein, American, composer, conductor, author, lecturer, and pianist
via “God, leave us this one mystery, unsolved: why man…” — Art of Quotation
Bernstein, The greatest 5 min. in music education
February 5, 2016
Leonard Bernstein – Young People’s Concerts – What is a Mode?
January 10, 2016
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What is a Mode?
Aired date: Nov 23, 1966
Plot: Bernstein discusses scales, intervals, and tones, and analyzes several pieces, including Debussy’s Fêtes, Rimsky-Korsakov’s Scheherazade, and music from the Kinks and the Beatles, to illustrate different modes. An excerpt from Bernstein’s ballet Fancy Free is also performed.
For full script: http://leonardbernstein.com/ypc_scrip…
Great presentation of american conductor Leonard Bernstein with the New York Philharmonic, playing the Symphony No. 5 of Dmitri Shostakovich at a 1979 live perfomance on Bunka Kainan, Tokyo, Japan.
Leonard Bernstein – On The Future of Music
December 3, 2014
Conclusion of Bernstein Unanswered Question lectures at Harvard in 1973.
Leonard Bernstein – Igor Stravinsky – Asymmetry Racket
December 1, 2014
Leonard Bernstein – Young Peoples Concerts – Two Ballet Birds
November 11, 2014
Two Ballet Birds
Aired date: Sep 14, 1969
Plot: Bernstein compares the main theme of Tchaikovsky’s Swan Lake with Stravinsky’s Firebird. A performance of the pas de deux from Swan Lake illustrates the concept of abstract ballet, followed by excerpts from Stravinsky’s Firebird.
For full script: http://leonardbernstein.com/ypc_scrip.
Beethoven – Coriolan Overture – Leonard Bernstein
October 20, 2014
Leonard Bernstein – The Unanswered Question, 1973 – Musical Syntax Bernstein – Norton Lectures
October 15, 2014
The Unanswered Question 1973 2 Musical Syntax Bernstein Norton
Dmitri Shostakovich – Symphony No. 5 – Leonard Bernstein, New York Philharmonic Orchestra
September 30, 2014
Gran presentación del director norteamericano Leonard Bernstein, conduciendo a la Orquesta Filarmónica de New York interpretando la Sinfonía No. 5 de Dmitri Shostakovich en la localidad japonesa de Bunka Kainan, Tokio en el año 1979.
Great presentation of american conductor Leonard Bernstein with the New York Philharmonic, playing the Symphony No. 5 of Dmitri Shostakovich at a 1979 live perfomance on Bunka Kainan, Tokyo, Japan.
What is Impressionism?
Aired date: Dec 1, 1961
Plot: Bernstein focuses on Impressionism in music, discussing the methods and styles of Debussy and Ravel. He conducts three movements from La Mer and the final dance of Daphnis et Chloe.
For full script: http://leonardbernstein.com/ypc_scrip…
Leonard Bernstein -1982 – Teacher – Masterclass
July 17, 2014
From the PBS series “Great Performances”, this Betamax video relic was taped in 1983 and shows Leonard Bernstein in three of his modes: Conductor, Soloist and Teacher. Divided into YouTube sized pieces this concert is uploaded on the 20th anniversary of Leonard Bernstein’s death in October, 1990. This final part was taped in 1983 at the LA Philharmonic Institute and shows Mr. Bernstein doing what he truly loved, teaching the art of conducting to a few of the lucky masterclass students at the institute.
Gustav Mahler – Symphony No. 10 – Leonard Bernstein
May 31, 2014
Auf dem Grunde des Rheines·209 videos
Mahler started his work on his Tenth Symphony in July 1910 in Toblach, and ended his efforts in September the same year. He never managed to complete the orchestral draft before his premature death at the age of fifty from a streptococcal infection of the blood.
Mahler’s drafts and sketches for the Tenth Symphony comprise 72 pages of full score, 50 pages of continuous short score draft (2 pages of which are missing), and a further 44 pages of preliminary drafts, sketches, and inserts. In the form in which Mahler left it, the symphony consists of five movements:
1. Andante — Adagio: 275 bars drafted in orchestral and short score.
2. Scherzo: 522 bars drafted in orchestral and short score.
3. Purgatorio. Allegro moderato: 170 bars drafted in short score, the first 30 bars of which were also drafted in orchestral score.
4. Scherzo. Nicht zu schnell]: about 579 bars drafted in short score.
5. Finale. Langsam, schwer: 400 bars drafted in short score.
The parts in short score were usually in four staves. The designations of some movements were altered as work progressed: for example the second movement was initially envisaged as a finale. The fourth movement was also relocated in multiple instances. Mahler then started on an orchestral draft of the symphony, which begins to bear some signs of haste after the halfway point of the first movement. He had gotten as far as orchestrating the first two movements and the opening 30 bars of the third movement when he had to put aside work on the Tenth to make final revisions to the Ninth Symphony.
The circumstances surrounding the composition of the Tenth were highly unusual. Mahler was at the height of his compositional powers, but his personal life was in complete disarray, most recently compounded by the revelation that his young wife Alma had had an affair with the architect Walter Gropius. Mahler sought counselling from Sigmund Freud, and on the verge of its successful première in Munich, dedicated the Eighth Symphony to Alma in a desperate attempt to repair the breach. The unsettled frame of Mahler’s mind found expression in the despairing comments (many addressed to Alma) written on the manuscript of the Tenth, and must have influenced its composition: on the final page of the short score in the final movement, Mahler wrote, “für dich leben! für dich sterben!” (To live for you! To die for you!) and the exclamation “Almschi!” underneath the last soaring phrase.
Conductor: Leonard Bernstein & Wiener Philharmoniker.
I Write The Music 