MEDIUM/LOW VOICE LEONARD BERNSTEIN ART SONGS AND ARIAS 34 SELECTIONSTABLE OF CONTENTS Songs Afterthought.. 14 from Arias and Barcarolles Little Smary.... 18 Greeting. La Bonne Cuisine Four Recipes Plum Pudding. Queues de Boeuf (Ox-Tails) Tavouk Gueunksis ss Civet a Toute Vitesse (Rabbit at Top Speed) 1 Hate Music! A Cycle of Five Kid Songs I. My Name Is Barbara Il, Jupiter Has Seven Moons.. IIL. I Hate Music! se . IV. A Big Indian and a Little Indian — 33 V. I'm a Person Too .. My Twelve-Tone Melody, 52 Piccola Serenata... 56 Silhouette (Galilee) from Songfest The pennycandystore beyond the El To what you said Cello patt.. Music I Heard With You Zizi's Lament. . ‘What lips my lips have kissed ‘Two Love Songs Extinguish my eyes... : When my soul touches yoursArias from Mass A Simple Song. Flute part. 121 Thank YOU sense 102 ‘The Word of the Lord... 106 Huny. 123 World Without End... Our Father...I Go On... 126 131 from A Quiet Place You're late (Sam's Aria) 140 Hey, Big Daddy (Junior's Aria 134 from Symphony No. 1 “Jeremiah” Lamentation... 155 from Trouble in Tahiti What a movie! “ 5 There is a garden .... 73 ‘There's a law.LEONARD BERNSTEIN August 25, 1918 - October 14, 1990 Leonard Bernstein was born in Lawrence, Massachusetts. He took piano lessons as a boy and attended the Garrison and Boston Latin Schools, At Harvard University he studied with Walter Piston, Edward Burlingame- ‘and A. Tillman Merit, among others. Before graduating in 1939 he made an unofficial conducting debut. ‘with his own incidental music to The Birds, and directed and performed in Marc Blitztein’s The Cradle Will Rock. ‘Subsequently, at the Curtis Institute of Music in Philadelphia, he studied piano with Isabella Vengerova, con- dducting with Fritz Reiner, and orchestration with Randall Thompson, In 1940 he studied at the Boston Symphony Orchestra's newly created summer institute, Tanglewood, with the orchestra's conductor, Serge Koussevitzhy. Bernstein later became Koussevitzky's conducting assistant Bernstein was appointed to his first permanent conducting post in 1943, as Assistant Conductor of the New York Philharmonic. On November 14, 1943, Bernstein substituted on a few hours notice forthe ailing Bruno ‘Walter at a Carnegie Hall concert, which was broadcast nationally on radio, receiving critical aclaim. Soon “orchestras worldwide sought him out as a guest conductor. In 1945 he was appointed Music Director of the New York City Symphony Orchestra, a post he held until 1947. ‘After Serge Koussevitely died in 1951, Bernstein headed the orchestral and conducting departments at ‘Tanglewood, teaching there for many years. In 1951 he martied the Chilean actress and pianist, Felicia Montealegre. He was also visiting music professor, and head of the Creative Ars Festivals at Brandeis University in the early 1950s. Bernstein became Music Director of the New York Philharmonic in 1958. From then until 1969 he led more concerts with the orchestra than any previous conductor. He subsequently held the lifetime title of Laureate Conductor, making frequent guest appearances with the orchestra. Over half of Bernstein's more than 400 recordings were made with the New York Philharmonic. Bernstein traveled the world as a conductor. Immediately after World War Il in 1946, he conducted in London and at the Intemational Music Festival in Prague. In 1947 he conducted in Tel Aviv, beginning a relationship with Israel that lasted unl his death, In 1953, Bernstein was the first American to conduct opera at the Teatro alla Scala in Milan in Cherubini’s Medea with Maria Calla. Bernstein was a leading advocate of American composers, particularly Aaron Copland, The two remained close fiends for life. As a young pianist, Bernstein performed Copland’s Piano Variations so often he considered the ‘composition his trademark. Bernstein programmed and recorded nearly all of the Copland orchestral works — ‘many of them twice. He devoted several televised Young People's Concerts to Copland, and gave the premiere of Copland's Gonnotations, commissioned for the opening of Philharmonic Hall (now Avery Fisher Hall) at Lincoln. Center in 1962. ‘While Bernstein's conducting repertoire encompassed the standard literature, he may be best remembered for his performances and recordings of Haydn, Beethoven, Brahms, Schumann, Sibelius and Mahler. Particularly notable were his performances ofthe Mahler symphonies with the New York Philharmonic in the 1960s, spark- ing a renewed interest in the works of Mahler. Inspired by his Jewish heritage, Bernstein completed his first large-scale work as a composer, Symphony No. 1 “Jeremiah.” (1943). The piece was fist performed with the Pittsburgh Symphony Orchestra in 1944, conducted. by the composer, and received the New York Music Critics’ Award. Koussevitzky premiered Bernstein's Symphony No. 2: “The Age of Anxiety” with the Boston Symphony Orchestra, with Bernstein as piano soloist. His ‘Symphony No. 3: “Kaddish,” composed in 1963, was premiered by the Israel Philharmonic Orchestra. “Kaddish’ is dedicated “To the Beloved Memory of John F Kennedy.” ‘Other major compositions by Bernstein include Prelude, Pugue and Riffs for solo clarinet and jazz ensemble (1949); ‘Serenade for violin, strings and percussion, (1954); Symphonic Dances from Wes Side Story (1960); Chichester Psalms for chorus, boy soprano and orchestra (1965); Mass: A Theater Piece for Singers, Players and Dancers, commissioned {for the opening ofthe John F Kennedy Center forthe Performing Ans in Washington, DC, and fist produced there in 1971; Songfest, a song cycle for six singers and orchestra (1977); Divertimento, for orchestra (1980); Halil, for solo flute and small orchestra (1981); Touches, for solo piano (1981); Missa Brevis for singers and percussion (1988); Thirwen Anniversaries for solo piano (1988); Concer for Orchestra: Jubilee Games, (1989); and Arias and Barcaroles fortwo singers and piano duet (1988). Bernstein also wrote a one-act opera, Touble in Tahiti, in 1952, and its sequel, the three-act opera, A Quiet Place in 1983, He collaborated with choreographer Jerome Robbins on three major ballets: Fancy Free (1944) and Facsimile (1946) for the American Ballet theater; and Dybbub (1975) for the New York City Ballet, He composed the scorefor the award-winning movie On the Waterfront (1954) and incidental music for two Broadway plays: Peter Pan (1950) and The Lark (1955). Bernstein contributed substantially to the Broadway musical stage. He collaborated with Betty Comden and Adolph Green on On The Town (1944) and Wonderful Town (1953). In collaboration with Richard Wilbur and Lillian Hellman and others he wrote Candide (1956). Other versions of Candide were written in association with Hugh Wheeler, Stephen Sondheim, et al. In 1957 he again collaborated with Jerome Robbins, Stephen Sondheim, and Arthur Laurents, on the landmark musical West Side Story also made into the Academy Award- winning film. In 1976 Bernstein and Alan Jay Lerner wrote 1600 Pennsylvania Avenue. Festivals of Bernstein's music have been produced throughout the world. In 1978 the Israel Philharmonic spon- sored a festival commemorating his years of dedication to Israel. The Israel Philharmonic also bestowed on him the lifetime title of Laureate Conductor in 1988. In 1986 the London Symphony Orchestra and the Barbican Centre produced a Bernstein Festival. The London Symphony Orchestra in 1987 named him Honorary President. In 1989 the city of Bonn presented a Beethoven/Bernstein Festival In 1985 the National Academy of Recording Ants and Sciences honored Mr. Bernstein with the Lifetime ‘Achievement Grammy Award. He won eleven Emmy Awards in his career. His televised concert and lecture seties started with the Omnibus program in 1954, followed by the extraordinary Young People's Concerts with the [New York Phitharmonic in 1958 that extended over fourteen seasons. Among his many appearances on the PBS seties Great Performances was the eleven-part acclaimed “Bernstein's Beethoven.” In 1989, Bernstein and others commemorated the 1939 invasion of Poland in a worldwide telecast from Warsaw. Bernstein's writings were published in The [oy of Music (1959), Leonard Bernstein's Youn Peoples Concerts (1961), ‘The Infinite Variety of Music (1966), and Findings (1982). Each has been widely translated. He gave six lectures at Harvard University in 1972-1973 asthe Charles Eliot Norton Profesor of Poetry. These lectures were subse quently published and televised as The Unansuered Question. Bemstein always rejoiced in opportunities to teach young musicians. His masterclasses at Tanglewood were famous. He was instrumental in founding the Los Angeles Philharmonic Institute in 1982. He helped create a ‘world clas training orchestra at the Schleswig Holstein Music Festival. He founded the Pacific Music Festival in 3pPotO, Japan. Modeled after Tanglewood, this international festival was the first of its kind in Asia and con- tinues to this day. Bemstein received many honors. He was elected in 1981 to the American Academy of Arts and Letters, which gave him a Gold Medal. The National Fellowship Award in 1985 applauded his life-long support of humani- tarian causes. He received the MacDowell Colony’s Gold Medal; medals from the Beethoven Society and the Mahler Gesellschaft the Handel Medallion, New York Citys highest honor for the ars: a Tony award (1969) for Distinguished Achievement in the Theater, and dozens of honorary degrees and awards from colleges and luniverstes. He was presented ceremonial Keys to the cites of Oslo, Vienna, Bersheeva and the village of Bernstein, Austria, among others. National honors came fom Italy, Israel, Mexico, Denmark, Germany (the Great Merit Cross), and France (Chevalier, Officer and Commandeur of the Legion d’Honneut). He received the Kennedy Center Honors in 1980. World peace was a particular concern of Bernstein. Speaking at Johns Hopkins University in 1980 and the Cathedral of St.John the Divine in New York in 1983, he described his vision of global harmony. His “Journey for Peace” tour to Athens and Hiroshima with the European Community Orchestra in 1985, commemorated the 40th anniversary of the atom bomb. In December 1989 Bernstein conducted the historic “Berlin Celebration Concerts" on both sides ofthe Berlin Wall, sit was being dismantled, The concerts were unprece- dented gestures of cooperation, the musicians representing the former East Germany, West Germany, and the four powers that had partitioned Berlin after World War I Bernstein supported Amnesty Intemational from its inception. To benefit the effort in 1987, he established the Felicia Montealegre Fund in memory of his wife who died in 1978. In 1990 Bernstein received the Praemium Imperiale, an international prize created in 1988 by the Japan Arts Association and awarded for lifetime achievement in the arts. Bernstein used the $100,000 prize to establish ‘The Bernstein Education Through the Arts (BETA) Fund, Inc. before his death on October 14, 1990. Bernstein was the father of three children — Jamie, Alexander, and Nina — and the grandfather of two: Francisca and Evan,About the Selections Songs Afterthought Composed 1945. Words by Leonard Bernstein. First known performance: October 24, 1948, Town. Hall, New York, New York. Performers: Nell Tangeman, soprano; Robert Corman, piano. Dedication: “In memory of HJR.” “Afterthought” was as a study for the ballet Facsimile, a comm sion from Ballet Theatre, choreographed by Jerome Robbins; Bernstein conducted the ballet pre- miere on October 24, 1946 at the Broadway Theatre, New York, New York. “Afterthought” was also orchestrated in 1945 as part of the compositional study for the ballet; performance materials are available on rental from Boosey & Hawkes. from Arias and Barcarolles Little Smary Greeting Composed 1988. Arias and Barcarolles is a cycle of songs for mezzo-soprano, baritone and piano/four hands, with words by Leonard Bernstein for all but two songs, including “Little Smary” by Jennie Bernstein, the composer's mother. The original version, for four singers (soprano, ‘mezzo-soprano, two baritones), was premiered on May 9, 1988, Equitable Center Auditorium, New York, New York. Performers: Louise Edeiken, soprano, Joyce Castle, mezzo-soprano, John. Brandstetter, baritone, Mordechai Kaston, baritone, Leonard Bernstein and Michael Tilson Thomas, piano. The first performance of the revised version for two singers was on April 28, 1989, Museum. of Art, Tel Aviv, Israel. Performers: Amalia Ishak, soprano, Raphael Frieder, baritone, Irit Rub-Levy and Ariel Cohen, piano. First American performance of the revised version: Septembet 7, 1989, Merkin Concert Hall, New York, New York. Performers: Judy Kaye, soprano, William Sharp, bari- tone, Michael Barrett and Steven Blier, piano. Orchestrated in 1988, with the assistance of Bright Sheng, for strings and percussion. First per- formance of the orchestrated version: September 22, 1989, Tilles Center, Long Island University, New York. Performers: Susan Graham, mezzo-soprano, Kurt Ollmann, baritone, New York Chamber Symphony, Gerard Schwartz, conductor. A second orchestrated version for full orchestra, orchestrations by Bruce Coughlin, was premiered on September 26, 1993, Barbican Centre, London, England. Performers: Frederica von Stade, mezzo-soprano, Thomas Hampson, baritone, London Symphony Orchestra, Michael Tilson Thomas, conductor. Score and parts for both orches- trated versions are available on rental from Boosey & Hawkes. Vocal score, published by Boosey & Hawkes, available for sale. from Jack Gottlieb’s “Prefatory Note” in the vocal score: ‘Avis and Bacaraes i both a memory piece ada rumination on the nature of lve..The mai tile and the dedications are based on the composer-conducto’s personal experiences; but the life ele evens recalled are uni- ‘versal, though not necessarily sung in chronological order: bith ("Greeting") infancy (‘Lite Smary"), the mys- tery of creatvgyin confit with mundane affairs (‘Love Duet’), inconcusve liaisons ("The Love of My i’) ‘wedding (‘if Man Khas'neh"), maid life (*Mr. and Mrs. Webb Say Goodnight), and death ("Nachspet’). ‘On April 5, 1960, Maestro Bernstein appeared as pianist conductor with members of the New York Philharmonic {na concert ofthe Mozart Plano Concer i G Major K. 453, and Gershwin's Rhapsody i Ble atthe White House Afterands, President Eisenhower said to Me. Bemsten; “I liked that last piece you played. Is gota theme. ike ‘music with a theme, not all them [sc aris and barcarolles" This aless phrasing imbedded itselfin the compos ‘efs memory tobe recalled twenty-eight yeas late, in 1988, “The terms “arias” and “barcarolles” ae, ofcourse, most often associated with high-brow Buropean oper. ‘Therefore Eisenhower’ ingenuous commentary wa a low-brow American suspicion of European musica trade tions. Avias and Bacal, nevertheless, wryly and resolutely makes use of the European arsong tition, “Lule Smary” by Jennie Bernstein is a recollection ofa story often told to the composer by his mother when he ‘was a child..When the Bernstein's son, Alexander Seige, was bom in 1955, the proud father wrote “Greeting” (revised in 1988) asa kind of thanksgiving prayer.La Bonne Cuisine Four Recipes Plum Pudding Queues de Boeuf (Ox-Tails) Tavouk Gueunksis Civet a Toute Vitesse (Rabbit at Top Speed) Composed 1947. Words are recipes ftom La Bonne Cuisine Francaise by Emile Dutoit (in French), English versions by Leonard Bernstein. First performance: October 10, 1948, Town Hall, New York, New York, Performers: Marion Bell, soprano, Edwin MacArthur, piano. Dedication: “To Jennie Tourel,” born Belarus, 1900, died New York, 1973, a mezzo-soprano close- ly associated with Bernstein and his music. Tourel’s opera career was primarily in Italian coloratura roles. She was the frst performer of Baba the Turk in The Rake’ Progress. from notes by Jack Gottlieb in the Bernstein Song Album (Boosey & Hawkes) {Emile Dumont La Bonne Cuisine Fanci Tot equa Raport aa Tale, Manue ide oul il lt Campagne) “Fine French Cooking (Everything That Has o Do with the Table, Manual Guide for Gy and Country), was fist published in 1899. “Plum Pudding” adaped by the composer fom a larger recipe, appears under "Mets Angas” (English Dishes). “Queues de Sout (Or-Tal) is taken whole. “Tavouk Gucunlsis"a “Turkish delight i alo complete and come from the section “Patserie et ConfierieTurqus” (Turkish Pastries and Sweet), Two ingredient ofthe orginal ee are missing fom the musical setng of “lve Toute Ves” {Rabbit at Top Speed): mucade (nutmeg) and wn vere dads (alas of brandy). tral Tnsation by Ron Mendelson Plum Pudding 250 grams of Malaga grapes, 250 grams of Corinth grapes (Corinth grapes) 250 grams of bee kidney ft and, 125 grams of bread crumbs; (f breadcrumbs!) 60 grams of powdered or brown sugar a glass of mill: a half sas of rum or brandy; 3 eggs a lemon! powdered nutmeg, ginger, cinnamon, mixed (all together about half a teaspoon); halfa teaspoon of finely ground sat (Queues de Boru (Ox Tals) ‘Oxcailsis nota dish tobe scomed, Fit of ll, with enough oxtils you can make a tolerable tew. The tails that ‘were used to make the stew can be eaten, breaded, and broiled, and served with hot or tomato sauce. Ox tails is fot a dish to be scored. ‘Tavouk Gueunlsis ‘Tavouk Gueunlas, breast of hen; puta hen to oil, and take the white meat and chop it into shreds. Mix it eth a broth ike the one for Mahallebi. Tavouk Gueunksis, breast of hen CCivet Toute Vitesse (Rabbit at Top Speed) Should you be ina hun here's a method for preparing rabbit stew that I recommend! Cut up the rabbit (hare) as for an ordinary stew: put it in a pot with its blood and liver mashed. A half pound of breast of pork. chopped: ‘reenty or so small onions (a dash of slt and pepper) alter anda half of red wine. Bring this quickly to bol ‘After about fifteen minutes, when the sauce is reduced to half of what it was, apply a fire to set the stew aflame ‘When the fre goes out, add tothe sauce halfa pound of buter, worked with flour... and serveI Hate Music! A Cycle of Five Kid Songs I. My Name Is Barbara IL, Jupiter Has Seven Moons I Hate Music! IV. A Big Indian and a Little Indian V. I'm a Person Too Composed fall of 1942 into 1943. Words by Leonard Bernstein. First performance: August 24, 1943, Public Library, Lenox, Massachusetts. Performers: Jennie Tourel, mezzo-soprano, Leonard Bernstein, piano. Dedicated to Edys Merrill, artist friend and flatmate of Bernstein in the 1940s, because, apparently, she used to emphatically exclaim the ttle phrase as Bernstein made much noise coaching singers and playing the piano. Humphrey Burton, in his book Leonard Bernstein, stated that the composer confessed to his friend ‘Aaron Copland that I Hate Music! was “alittle on the Copland side.” Copland wrote back, “I want to hear about your writing a song that has no Copland, no Hindemith, no Strav., no Bloch, no Milhaud and no Bartok in it, Then I'll alk to you.’ The most unusual recording of this music is by Barbra Streisand, who sang “My Name Is Barbara” and “I Hate Music!” My Twelve-Tone Melody Words by Leonard Bernstein. Composed shortly before the first performance on May 11, 1988, Camegie Hall, New York, New York, a concert celebrating the 100th birthday of Irving Berlin. The end of the song quotes Berlin’s 1925 hit “Always.” Unpublished prior to this collection. Piccola Serenata ‘Composed August 25, 1979 (Bernstein's birthday) to honor conductor Karl Boehm’s 8th birth- day. Words by Leonard Bernstein (nonsense syllables). First performance: August 27, 1979, Salzburg, Austria. Performers: Christa Ludwig, mezzo-soprano, James Levine, piano, Silhouette (Galilee) ‘Composed 1951. Words by Leonard Bernstein, incorporating a Lebanese folksong. First perfor- mance: February 13, 1955, National Gallery of Art, Washington, DC. Performers: Katherine Hanse, mezzo-soprano, Evelyn Swarthout, piano. Later orchestrated by Sid Ramin. Full score and parts are available on rental from Boosey & Hawkes. from Songfest ‘The pennycandystore beyond the El To what you said Music I Heard With You Zizi’s Lament ‘What lips my lips have kissed Composed September 1976 into 1977. A cycle of American poems for six singers (soprano, mezzo- soprano, alto, tenor, baritone, bass) and orchestra. Dedication: “For My Mother” (Jennie Resnick Bernstein, 1898-1992). Fist performance of four songs in the set, including the three in this col- lection: November 24, 1976, Avery Fisher Hall, New York, New York. Performers: Victoria Canale, soprano, Elaine Bonazzi, mezzo-soprano, Florence Quivar, mezzo-soprano, John Reardon, bari- tone, the New York Philharmonic, Leonard Bernstein, conductor. First performance of the complete work: October 11, 1977, the Kennedy Center, Washington, DC. Performers: Clamma Dale, sopra- no, Rosalind Elias, mezzo-soprano, Nancy Williams, mezzo-soprano, Neil Rosenshein, tenor, John. Reardon, baritone, Donald Gramm, bass-baritone, the National Symphony Orchestra, Leonard Bernstein, conductor. This cast was recorded by Deutsche Grammophon. Vocal score, published byBoosey & Havskes, for sale. Full score and part in original and reduced orchestrations available on rental from Boosey & Hawkes. “The pennycandystore beyond the El": poem by Lawrence Ferlinghetti (b. 1919), one of writers associated with the Beat movement. “To what you said”: poem by Walt Whitman (1819-1892). ‘The cello line has been adapted from both the solo in the orchestration, as well as playing the line hummed by other voices, “Music I Heard With You,” poem by Conrad Aiken (1889-1973)."Zizi's Lament": poem by Gregory Corso (b. 1930), one of the Beat writers of the 1950s, "What lips my lips have kissed”: poem by Edna St. Vincent Millay (1892-1950) Songfest was originally commissioned for the bicentennial by the Philadelphia Orchestra, but Bernstein delayed work at the time, instead turning his attention to 1600 Pennsylvania Avenue. The selection of texts, deliberately representing diverse poetic voices, stress diversity in American cul- ture, as do the mix of musical styles in the piece. ‘Two Love Songs Extinguish my eyes When my soul touches yours ‘Composed 1949. Poems by Rainer Maria Rilke (1875-1926). English translations by Jessie Lemont. “Extinguish my eyes" first performed March 13, 1949, Town Hall, New York, New York, Performers (2): Jennie Tourel, mezzo-soprano, Leonard Bemstein, piano. “When my soul touches yours” first performed March 13, 1963, Philharmonic Hall, New York, New York. Performers: Jennie Tourel, mezzo-soprano, Alan Rogers, piano. Orchestrated by Sid Ramin; score and parts available on rental from Boosey & Hawkes. Arias from Mass ‘A Simple Song Thank You ‘The Word of the Lord Hurry World Without End Our Father... Go On “A Theatre Piece for Singers, Players and Dancers.” Words are from the liturgy of the Roman Mass, with additional texts by Stephen Schwartz and Leonard Bernstein. Orchestration by Jonathan ‘Tunick, Hershy Kay and Leonard Bernstein, Composed for opening of the John F. Kennedy Center for the Performing Arts, Washington, D.C. Dedication: “For Roger L. Stevens,” theatrical producer, longtime Bernstein supporter, and chairman and artistic director of the Kennedy Center. First per- formance: September 8, 1971, Kennedy Center, Washington, DC. Directed by Gordon Davidson, choreographed by Alvin Ailey. Principal performers of the selections in this collection: Alan Titus, Lee Hooper, Gina Penn, Mary Bracken Phillips, Maurice Peress, conductor. The composer conduct ed the recording released in 1971. The vocal score, published by Boosey & Hawkes, is available for sale. Chamber version, orchestrated by Sid Ramin, first performed December 26, 1972, Mark Taper Forum, Los Angeles, California. Performance materials for both the ori are available on rental from Boosey & Hawkes. Editor's note: Some of the solo singing roles in Mass are for rock/theatre voices; others are for clas- sical voices. Art Songs and Arias includes the classical selections only, and transposed as appropriate for either High Voice or Medium/Low Voice. Other selections from Mass, ina rockjtheatre style, are published in Bemstein Theatre Songs.‘Mass is an abstract, contemporary spiritual journey of doubts and affirmations in the context of the ritual ofthe traditional liturgy. It was composed for singers in various musical styles: chorus, a traditional boys choir, a stage orchestra, a pit orchestra, a rock band, and pre-recorded sound, “A ‘Simple Song” (a Hymn and Psalm) is sung by the Mass celebrant (a high lyric baritone) at the beginning of the show in the Devotions Before Mass section. “Thank You,” sung by a soprano soloist, isa trope in the Gloria section (IV). “The Word of the Lord’ is an Epistle (section VIII), sung by the Celebrant with chorus. “Hurry” and “World Without End’ are tropes from the Credo section (X), both sung by a mezzo-soprano soloist. ‘World Without End’ is sung by a theatre soprano on the recording conducted by Bernstein, She belts sections of the song; a classical singer could sing it with a different approach. After “Hurry” there isa brief recorded chorus (Sedet ad dexteram Patrs. Et iterum venturus est cum Gloria judicare vivos et mortuos: Cujus regni non erit finis), then the mezzo-soprano continues with “World Without End.” After a disruption in the service, in The Lord's Prayer section (XIII) the Celebrant is let alone before preparing for com- munion and sings “Our Father" and “I Go On.” from A Quiet Place You're late (Sam’s Aria) Hey, Big Daddy (Junior's Aria) ‘Opera in three acts Libretto by Stephen Wadsworth and Leonard Bernstein. Orchestrations by Irwin Kostal, Sid Ramin and Leonard Bemstein. Commissioned by Houston Grand Opera, Kennedy Center and Teatro Alla Scala. Dedication: “To the Memory of FM.B. and N.S.Z." First ver- sion (withdrawn, sequel to Trouble in Tahiti) first performed June 17, 1983 at Houston Grand Opera. Principal performers: Theodor Uppman (Bill), Dana Krueger (Susie), Douglas Perry (Analyst), Peter Harrower (Doc), Carolyne James (Mrs. Doc), Sheri Greenawald (Dede), Peter Kazaras (Francois), Timothy Nolen (Junior), Chester Ludgin (Sam), John DeMain, conductor. Revised version (incorporates Trouble in Tahiti) first performed June 19, 1984 at La Scala, Milan. Vocal score, published by Boosey & Hawkes is available for sale. Full score and parts are available on rental from Boosey & Hawkes. Bernstein's one-act opera Trouble in Tahiti (1951) was the starting point for the characters in A Quiet Place, which takes place three decades later. In the revised version of the opera Trouble in Tahiti is incorporated as flashbacks. In Act I, somewhere in “Suburban America” family and friends have gathered for the funeral of Dinah, wife of Sam (bass), mother of Junior and Dede, martied to Francois, Junior's lover, Junior has a history of mental illness and erratic behavior. He has not seen his father in 20 years, comes in late and a mess, and disrupts the service ("You're late”). After everyone else has left Sam's grief turns to anger directed at Junior, Dede and Frangois. In the “religioso” section Sam addresses his dead wife, lying in the coffin. Sam’s line to himself, “Oh, never cal it loving," comes from a poem by Elizabeth Barrett Browning, one of the readings at Dinah's funeral. The complete line from the poem “A ‘Woman's Shortcomings” is “Unless you can die when the dream is past—Oh, never call it loving,” Sam inserts lines sung to himself as asides throughout the aria, indicated in parentheses in his words. Later in the same scene Junior (baritone) sings “Hey, Big Daddy.” starting to rhyme, a symp- tom of his psychosis, and goads Sam with a delirious and disturbing absent-minded strip blues. from Symphony No. 1 “Jeremiah” Lamentation For orchestra and mezzo-soprano. In three movements: Prophecy, Profanation, Lamentation, The sung “Lamentation” is in the finale. Dedication: “For my father"; Sam Bernstein, a businessman, wwas also lifelong Jewish scholar. First performance: January 28, 1944, Syria Mosque, Pittsburgh, Pennsylvania, Performers: Jennie Tourel, mezzo-soprano, Pittsburgh Symphony Orchestra, Leonard 10Bemstein, conductor. Study score of the symphony, published by Boosey & Hawkes, is available for sale, Full score and parts are available on rental from Boosey & Hawkes. ‘Text from “The Lamentations of Jeremiah” PEREQ 1.1-3 CHAPTER 1.1-3 Echa yashva vadad ha-ir How doth the city sit solitary, Rabati am That was full of people! Hay ‘ta Kalmana; How is she become as a widow! Rabati vagoyim ‘She that was great among the nations, Sarati bam’dinot ‘And princess among the provinces, Hay ‘ta lamas. How is she become tributary! Bacho tivkeh balaila, ‘She weepeth sore in the night, ‘Védim ‘ata al lecheya; ‘And her tears are on her cheeks; in lam ‘nachém She hath none to comfort her Mikol ohaveha; ‘Among all her lovers; Kol reha bag'du va, All her friends have dealt treacherously with her, Hayu la Voy ‘vim. ‘They are become her enemies. Galta Yhuda méoni, Judah is gone into exile because of affliction, Umerov avoda; ‘And because of great servitude; Hi yashva vagoyim, She dwelleth among the nations, Lo matsa mano-ach; She findeth no rest. Kol rod'feha hisiguha Al her pursuers overtook her Ben hamitsarim. Within the narrow passes. PEREQ 1.8 CHAPTER 1.8 (Chat chata Y'rushalyim Jerusalem hath grievously sinned... (Echa yashva vadad ha-ir (How doth the city sit solitary -.Kalmana.) a widow) PEREQ 4.14-15 CHAPTER 4.14-15 Navu ivrim bachutsot They wander as blind men in the streets, N’go-alu badam, They are polluted with blood, Blo yuchlu So that men cannot Yig'u bilvushehem. Touch their garments Suru tam@ kar'u lamo, Depart, ye unclean! they cried unto them, Suru, suru al tiga Depart, depart! touch us not PEREQ 5.20-21 CHAPTER 5.20-21 Lama lanetsach tishkachnu.... Wherefore dost Thou forget us forever, Lanetsach taazvenu. ‘And forsake us so long time? Hashivénu Adonai dlecha... Turn Thow us unto Thee, O Lord.Sephardic Hebrew pronunciation guide to the transliteration ch asin the German word ach @ asin weigh 8 asingo h asin hope sh asin fish ts asin wits y — asinyes ‘An apostrophe (") after a consonant is a short neutral vowel as in the first syllable of variety or as in the last syllable of the French word table from Trouble in Tahiti ‘What a movie! There is a garden There's a law Opera in one act, seven scenes. Libretto by Leonard Bernstein. Dedication: “For Marc Blitzstein,” a composer greatly admired by Bernstein. First performance: June, 12, 1952, Brandeis University, ‘Watham, Massachusetts. Performers: Nell Tangeman, David Atkinson, Constance Brigham, Robert Kole, Claude Heater; Elliot Silverstein, director; Leonard Bemstein, conductor. Vocal score, pub- lished by Boosey & Hawkes, is available for sale. Full score and parts are available on rental from Boosey & Hawkes. ‘Trouble in Tahiti was the second of three one-acts in the Broadway production All in One, which opened April 19, 1955 for a 47 performance run. Most of Trouble in Tahiti was also incorporated into the Bernstein opera A Quiet Place, which has the same characters and their descendants 30 years late, Set in a comfortable American suburb near a large city, the story is one day in the life of a couple, Dinah (mezzo-soprano) and Sam (bass-baritone), married ten years, Dinah is a restless housewife ‘who questions her bickering, incommunicative relationship with her husband, who seems to be ‘most interested in playing handball and his career. In a visit to a psychiatrist she describes a haunt- ing dream in “There Is a Garden.” In a hat shop, after a matinee at the cinema, Dinah goes on at ‘great length in her monologue about the Hollywood movie she's just seen, Trouble in Tahiti, as her sarcasm shifis to enthusiasm. In the morning Dinah and Sam had argued about attending their son Junior's school play. Sam insisted his handball tournament was more important. He skips the play and wins the tournament. In the locker room he sings his aria “There's a law,” ignoring the distance he is creating from his family.14 In Memoriam: HR. Afterthought Study for the ballet “Facsimile” original key: a whole step higher Words and Music by LEONARD BERNSTEIN lost m3 lost-in-love one nev-er can die. ‘The child - heart bleed - ing child - heart nev-er can be ‘Copygh © 1985, 1951, Amerion Holdings LLC {zonrd Remsen Ms bsg Company LLC ‘oowy & Howl, ne Aen fer i ta Rens ‘Conia For All Geuaes Al Rights Reseed one: the15 Bnet) if heart's child: wide-eyed heart's child never will un = spo - ken can-not be Poco pit: mosso P + 316 aS We build our own im - pris - on-ment In the sealed-up oaks a> ‘molto cantando espr. molto threats of dis - pos - ses - sion:7 ‘Tempo BP ritento. ——$—$—$$——__ p legato : “And though we may send up a tender bough, ‘greet our un-known mf}. p dolce, quieto 3 May 1, 198518 For SAB. Little Smary from ARIAS AND BARCAROLLES original key Words by Music by JENNIE BERNSTEIN LEONARD BERNSTEIN Allegretto ( .) = 92) pnarratively a One day, lit - tle Sma-ry went out to take a walk with her lit- tle wud dit, Allegretto ( .)= 92) ¢ poco accel. 7 3 3 erese. poco —I— I ‘ail, —_ and swung him ‘round and ‘round, — and ‘round, — and Poco accel. 35 —) ? IN.B. The song is tobe performed very seriously throughout, not “cute.” - LB. no srt, oieeoemaseeee eciet eeers ‘Spear casatvga10 lightly, rapidamente ral, = espr. sudden - ly there was- n't an = y lit de wud - dit, No more lit-tle —_wud- dt. 12 meno(d=63) A 2 lit ~ te Sma-ry looked ev'-ry where, meno ( 2)= 63) (ace) . = = ‘Tempo (.)=92) ‘p ma mare. 1 fe fe ——_ no sign—_of the it - tle wud- dit And 0 e Tempor(d =92) (senza Ped.)lit- tle Sma- ry went home all a lone, and lay down — (in her bed, and cried and 2 —== f 3 subp! (non crese.) subpeantabile erese. molto ‘Tempo II (4)= 63) ma rubato 25, (appena sentito) Wu. ‘Tempo I (.)= 63) ma rubato mo be eu 3 F sostenuto . moltof piangende mare, — 2B Tempo 1(.)=92) Then, all of a ‘Tempo 1(= 92)a Ff poco rit. Si sos. 3 =I Tit = tle Sma-ry looked up, ‘Tempo II 36 or less) 3 |S Ie was her. her it~ tle. her tit te ‘Tempo II ()= 63 or less) fete te ete bees 3 3 trionfale ——— ff rubato (everything but a sound) (in Tempo) rhe 2. 7. au simply —— S (short) ™22 Por LG, Greeting from ARIAS AND BARCAROLLES original key Words and Music by LEONARD BERNSTEIN Lento e semplice 10 — tempo (lento) ‘Mezzo-soprano 2p. When a boy is bom, The world is bom a-gain, And ‘tempo (lento) (non crese.) Cop ©1989, AmbronHoligs LLC ‘ena Bere Masts Posing Company LLC "Cops For il Couines A Rghs Reserved23 4 ‘meno pp takes its first breath with him-———————— When a girl is bom, The 1 =~ F ope) world stops tum-ing round, And keeps a mo-ment’s hushed won- der. — 2 mp dim. = Every time a child is bom, For the space of that brief in- stant, the world is pure. (non erese.)Forks I Hate Music! ‘A Cycle of Five Kid Songs (In the performance of these songs, coyness is to be assiduously avoided. The natural, unforced sweetness of child expressions can never be successfully gilded; rather will it come through the music in proportion to the dignity and sophisticated understanding of the singer.) ‘Words and Music by LEONARD BERNSTEIN I. My Name Is Barbara original key: a major third higher Moderato imp very legato, contemplative My — moth = Py) BD simile al segno bot = des af oF NLU ba - by - bush - es. serosa Adminisered by Ln Bere Hate bling Conary LLC ‘Boorey & Hawke, Agent for Pat wT25 vehenenty fo ow 1 don't be - lieve inthe almost resentfully mf ne tr (p sweetly slowing upII. Jupiter Has Seven Moons original key: a minor third higher Allegretto vivace t ov o> te aS pleggiero lightly Tion, # # Copyrigt © 196, Warne Brot tc Renewed Administered by Leonard Berea Mase ung Company LLC ‘Booey Haw pen or Pt27 Tite sun, with six_Iit-tle moons of its Molto meno mosso‘Tempo t aL, pseriously “pp sempre staccato amo with growing excitement I we'd have nine mswould be gi —~ be @__ @o_—__i Ps Tempo Tt gf — mf espressivo lamentando —— ‘Tempo30 IIL. I Hate Music! original key: a major third higher ° psuddenly relaxed ‘o f 7 ‘mp freely, rather tonelessly and carelessly that’s not mi not what Teall = mu ~ sie, Admit by Laonrd Bertin Mas Pal ‘Boony Haw geno Pt31 ———— Sengriy ae males; ‘eresc. poco a poco,32 pit crese. Re. Tempo L fe oI prelased again Mu- sie mu - sic! = f eee amp not to slowly subi showing off plohersel) F rit33 IV. A Big Indian and a Little Indian original key: a major 3rd higher Con brio P (but very sharp accents) at rua ba # c 77 42 A 77 42 42 Copyright© 1983, Ware Bro. ne Renewed Administeed by Leonard ersten Mase Fubiting Company LLC Boony & Hew pent or rtaff carried forward by the impetus SF pesante, like Indians35 (spoken very fast) You see the riddle is, if the litle Indian was the son of the big Indian, but the big Indian was not the father of the little Indian, (@) who was he? I'll give you two measures 3— Ss ‘e oy v o_ ~_ *____ ~ - SF triumphantly V. I'ma Person Too Moderato, alla marcia 27inal key: a major third higher F camestly Andante assertively Cee Tike I like bal-loons; lots of peo-ple like bal-loons: P—_—" —_SE” F copyright © 943, wanes Brot ne. Renewed ‘Adminieed by Leon Beste Mose Publishing Company LLC ‘Boowey & Howes, Agent for Pn,erese. 5 3 3 ev-"ry- one says, “Is - n't she cute? She likes bal - loons!” SS a a a nd ‘Tempo (recovering assertiveness) of ‘Tempo I (simply, by way of explanation) aa a i poco accel. A 3 like things that ev ~ “ry ~ one tikes: like soft things and mov-ies and hors - es and -— NS NN SF eppaaingly 3 warm things and red things: —_