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for str qt; orch suites; tone poems Kbd (pf, unless otherwise stated) 2 Dances (1895) Ballet Waltz (1899) [from the Economites] From Edgeworth Hills, suite (1903) 2 Impromptus to the Memory of Edward MacDowell (1914) Southern Sketches (1923) Chanson triste, org (1925) other descriptive pieces Bibliography ‘Explains Berlin’s Attack upon Poia ’, Musical America , 12/2 (1910) 25 only [interview] A. Nevin : ‘Two Summers with the Blackfeet Indians of Montana’, MQ , 2 (1916), 257–70 N. Slonimsky : ‘Musical Oddities’, The Etude

Bernstein, Leonard [ Louis ] ( b Lawrence, MA , Aug 25, 1918; d New York, NY , Oct 14, 1990 ). American conductor and composer. His accomplishments as a conductor, composer of musical theater and concert works, and musical educator through television mark Bernstein as an unusually versatile figure. Among his most lasting contributions are his tenure as music director of the New York Philharmonic and the score to the Broadway musical West Side Story. Leonard Bernstein giving children a music lesson, c. 1958. 1. Early life. Bernstein’s parents, Samuel

themes of American Indians found in others of the time. The Padrone is an opera of modern life, reflecting the current social situation. Had it been produced, it might well have pointed the way to a new manner of operatic composition in the USA, one making the most of Americans’ traditional directness and realistic outlook. Instead the score was turned down by the Metropolitan Opera and a possible production in Chicago fell through when the impresario there suddenly died. The Padrone was performed, fittingly, by the New England Conservatory Opera Theater under the

percussion players. It requires various Indian drums, among them the teponaxtle , a two-tongued wooden slit-drum, and the huéhuetl , a large upright drum, as well as rasps made of wood and of bone, and a trombone simulating the conch trumpet. The ballet Caballos de vapor [H.P.] ( 1926–32 ) presents a large concentration of folk elements in a modern setting, where the sensual, ‘natural’ life of the tropics is contrasted with the industrialized society of the USA. The tropics are represented by two of the most popular Mexican dance types – the huapango and the zandunga

(romantic ballad op, 2, H. Child), 1910–14, last rev. 1956 London, His Majesty’s, 14 July 1924 On Christmas Night (masque with dancing, singing and miming, A. Bolm and Vaughan Williams, after C. Dickens), 1926 Chicago, Eighth Street, 26 Dec 1926 Sir John in Love (op, 4, Vaughan Williams, after W. Shakespeare), 1924–8 London, RCM, 21 March 1929 Job (masque for dancing, G. Keynes and G. Raverat, after W. Blake), 1927–30 London, Cambridge, 5 July 1931 The Poisoned Kiss (romantic extravaganza

Kondorossy, after Kemeny), Little, 21 Oct 1956 The Fox (1, Hall, after K. Mikszath), 28 Jan 1961 Nathan the Wise (poetic drama, 3, Hall), Sunbeam School for Crippled Children, 1964 The Poorest Suitor (children’s op, 1, Hall, after a Blackfoot Indian tale), Sunbeam School for Crippled Children, 24 May 1967 Shizuka’s Dance (children’s op, 1, Hall, after a tale of Prince Bantam), Sunbeam School for Crippled Children, 22 April 1969 Kalamona and the Four Winds (children’s op, 1, Hall, after a Hungarian fairy-tale), WSRS, 12 Sept 1971, vs (Cleveland, 1972) Ruth and

married again. In 1923 the Syncopators made it to New York; re-christened “The Washingtonians,” they landed a four-year job in floor shows with singers and dancers at the Hollywood Inn, later Club Kentucky. Their earliest records ( 1924 ) showcase bubber Miley (cornet), a major influence on Ellington, alongside clumsy, immature arrangements. A musician, artist, and lyricist, Ellington felt drawn to musical theater, and resorted to studying composition and orchestration with Cook and Vodery. His first show was Chocolate Kiddies ( 1925 ). Meanwhile, his Club Kentucky

1880, US-Bp (1880), suite no.2, London, Proms, 1914 Sinfonietta, A, 1881 In the Olden Time, str orch, 1883 In Fairyland, suite de ballet, 1896 (1896) 4 Old English Dances, set i, 1896, set ii, 1905 Concertstück, pf, orch, London, Philharmonic Society, 1900 (1900) A Phantasy of Life and Love, Gloucester Festival, 1901 (1901) 2 Morceaux: Melodie, A l'espagne (Vienna, 1901) Coronation March, 1902 Indian Rhapsody, Hereford Festival, 1903 Rêverie, vn, orch, 1903 (1903) Childhood, Girlhood, 2 pieces, small orch, 1903 Chamber and piano Minna-Waltz, pf, 1858

Feldman, any 7 insts/2 pf, 1987, rev. 1995 Portrait: Music for the 12 Moons of the I Ching, 1988 Calendar Round, 1989 Lun(h)armonics: Music of the Chinese Calendar, elecs, 1990 The Eight Houses of the I Ching, str qt, 1990 TimeTrip to Big Bang and Back, (spoken and chanted vv, perc, dancers, pre-rec sounds, slides)/elecs, 1990–93 Fractal Epitaph for John Cage, (1v, pf)/(1v, str qt), 1992, rev. 1995 Koch Curves, ww qnt, 1992 Requiem Renga, (str, 2 perc)/(3 spkrs, 2 perc), 1992 Kuradi Kiik (Satan’s Swing), accdn, 1993 Mikesnowflakes, (v, 2 pf, [4 pfmrs], mar)/(v, 2 pf [4

Guide [1945], arr. R. Brison, pf 4 hands (1990) Morris Dance, from Gloriana [1953], arr. I. Holst, 2 descant rec (1957) March, from Gloriana [1953], arr. I. Holst, descant rec (1959) Concord, from Gloriana [1953], arr. C. Norton, pf (1989) Most MSS at GB-ALb Principal publishers: Boosey &Hawkes, Faber, OUP, Chester For further details see Banks (B1999) Writings † repr. in Britten on Music (Oxford, 2003) ‘“As You Like It”: Walton’s Music’, World Film News , 1/7 (1936), 46 only† ‘An English Composer sees America’, Tempo [New York], 1/2 (1940), 1–3† ‘England and the

during this Indian summer of the 1930s and 1940s, and the Corelli Variations were in a sense preparatory exercises for the Rhapsody on a Theme of Paganini ( 1934 ), a much more tautly constructed piece than the often diffuse Fourth Piano Concerto ( 1926 ). Like the Paganini Rhapsody, the other late works with orchestra – the Three Russian Songs ( 1926 ) and the Third Symphony ( 1935–6 ) – reveal Rachmaninoff’s interest in individual instrumental tone qualities, and this is highlighted by his use of an alto saxophone in his last work, the Symphonic Dances ( 1940 ). In

and Sullivan and their Victorian World (London, 1976) J. Wolfson : Final Curtain: the Last Gilbert and Sullivan Operas (London, 1976) A. Jacobs : ‘The Secret Diaries of Sir Arthur Sullivan’, High Fidelity/Musical America , 27/7 (1977), 46–50 A. Hyman : Sullivan and his Satellites (London, 1978) R. Allen : Gilbert and Sullivan in America (New York, 1979) R. Sherr : ‘Schubert, Sullivan and Grove’, MT , 112 (1980), 499–500 G. Emmerson : Arthur Darling (London, ON, 1980) D. Lisle : ‘Sullivan and the Crystal Palace’, Sir Arthur Sullivan Society