Leonard Bernstein

For other people named Leonard Bernstein, see LeonardBernstein (disambiguation).

Leonard Bernstein (/ˈbɜrnstaɪn/;[1] August 25, 1918– October 14, 1990) was an American composer,conductor, author, music lecturer, and pianist. He wasamong the first conductors born and educated in theUnited States of America to receive worldwide acclaim.According to music critic Donal Henahan, he was “one ofthe most prodigiously talented and successful musiciansin American history.”[2]

His fame derived from his long tenure as the music di-rector of the New York Philharmonic, from his conduct-ing of concerts with most of the world’s leading orches-tras, and from his music forWest Side Story, Peter Pan,[3]Candide, Wonderful Town, On the Town, On The Water-front, his Mass, and a range of other compositions, in-cluding three symphonies and many shorter chamber andsolo works.Bernstein was the first conductor to give numerous televi-sion lectures on classical music, starting in 1954 and con-tinuing until his death. He was a skilled pianist,[4] oftenconducting piano concertos from the keyboard.As a composer he wrote in many styles encompassingsymphonic and orchestral music, ballet, film and theatremusic, choral works, opera, chamber music and piecesfor the piano. Many of his works are regularly performedaround the world, although none has matched the tremen-dous popular and commercial success ofWest Side Story.

1 Biography

1.1 Early life

He was born Louis Bernstein in Lawrence, Mas-sachusetts, the son of Ukrainian Jewish parents Jennie(née Resnick) and Samuel Joseph Bernstein, a hairdress-ing supplies wholesaler originating from Rovno (nowUkraine).[5][6] Hewas not related to film composer ElmerBernstein, but the two men were friends, and even shareda certain physical similarity.[7] Within the world of pro-fessional music, they were distinguished from each otherby the use of the nicknames Bernstein West (Elmer) andBernstein East (Leonard).[8]

His family spent their summers at their vacation homein Sharon, Massachusetts. His grandmother insisted that

his first name be Louis, but his parents always called himLeonard, which they preferred. He officially changed hisname to Leonard when he was fifteen, shortly after hisgrandmother’s death.[9] To his friends and many othershe was simply known as “Lenny.”His father, Sam Bernstein, was a businessman and ownerof a hair product store in downtown Lawrence; it is stand-ing today 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 orchestraconcerts in his teenage years and eventually supportedhis music education. At a very young age, Bernstein lis-tened to a piano performance and was immediately cap-tivated; he subsequently began learning the piano seri-ously when the family acquired his cousin Lillian Gold-man’s unwanted piano. As a child, Bernstein attended theGarrison Grammar School and Boston Latin School.[10]As a child he was very close to his younger sister Shirley,and would often play entire operas or Beethoven sym-phonies with her at the piano. He had a variety of pianoteachers in his youth, including Helen Coates, who laterbecame his secretary.After graduation from Boston Latin School in 1935,Bernstein attended Harvard University, where he studiedmusic with, among others, Edward Burlingame Hill andWalter Piston. Although he majored in music with a fi-nal year thesis (1939) entitled “The Absorption of RaceElements into American Music” (reproduced in his bookFindings), Bernstein’s main intellectual influence at Har-vard was probably the aesthetics Professor David Prall,whose multidisciplinary outlook on the arts Bernsteinshared for the rest of his life. One of his friends at Har-vard was philosopher Donald Davidson, with whom heplayed piano four hands. Bernstein wrote and conductedthe musical score for the production Davidson mountedof Aristophanes' play The Birds in the original Greek.Bernstein reused some of this music in the ballet FancyFree. During his time at Harvard he was briefly an ac-companist for the Harvard Glee Club.[11] Bernstein alsomounted a student production of The Cradle Will Rock,directing its action from the piano as the composer MarcBlitzstein had done at the premiere. Blitzstein, who heardabout the production, subsequently became a friend andinfluence (both musically and politically) on Bernstein.Bernstein also met the conductor Dimitri Mitropoulos atthe time. Although he never taught Bernstein, Mitropou-los’s charisma and power as a musician was a major in-fluence on Bernstein’s eventual decision to take up con-ducting. Mitropoulos was not stylistically that similar to

1

2 1 BIOGRAPHY

Bernstein, but he probably influenced some of Bernstein’slater habits such as his conducting from the keyboard, hisinitial practice of conducting without a baton and per-haps his interest in Mahler. The other important influ-ence that Bernstein first met during his Harvard years wascomposer Aaron Copland, whom he met at a concert andthen 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 anythingabout its composer until that evening. Although he wasnot formally Copland’s student as such, Bernstein wouldregularly seek advice from Copland in the following yearsabout his own compositions and would often cite him as“his only real composition teacher”.[12]

After completing his studies at Harvard in 1939 (gradu-ating with a B.A. cum laude), he enrolled at the CurtisInstitute of Music in Philadelphia. During his time atCurtis, Bernstein studied conducting with Fritz Reiner(who anecdotally is said to have given Bernstein theonly “A grade” he ever awarded), piano with IsabelleVengerova,[13] orchestration with Randall Thompson,counterpoint with Richard Stöhr, and score reading withRenée Longy Miquelle.[14] Unlike his years at Harvard,Bernstein appears not to have greatly enjoyed the formaltraining environment of Curtis, although often in his laterlife he would mention Reiner when discussing importantmentors.[12]

1.2 1940–1950

Bernstein conducting the New York City Symphony (1945)

After he left Curtis, Bernstein lived in New York. Heshared a flat with his friend Adolph Green and often ac-

companied Green, Betty Comden and Judy Holliday ina comedy troupe called The Revuers who performed inGreenwich Village. He took jobs with a music publisher,transcribing music or producing arrangements under thepseudonym Lenny Amber. (Bernstein in German = Am-ber in English.) During this period in New York City,Bernstein enjoyed an exuberant social life that includedrelationships with both men and women. In 1940, Bern-stein began his study at the Boston Symphony Orchestra'ssummer institute, Tanglewood, in the conducting class ofthe orchestra’s conductor, Serge Koussevitzky.Bernstein’s friendships with Copland (who was very closeto Koussevitsky) and Mitropoulos were important in himbeing recommended for a place in the class. Other stu-dents in the class included Lukas Foss, who also became alifelong friend. Koussevitsky perhaps did not teach Bern-stein much basic conducting technique (which he had al-ready developed under Reiner) but instead became a sortof father figure to him and was perhaps the major influ-ence on Bernstein’s emotional way of interpreting mu-sic. Bernstein later became Koussevitzky’s conductingassistant[15] and would later dedicate his Symphony No.2, The Age of Anxiety, to him.[16]

On November 14, 1943, having recently been appointedassistant conductor to Artur Rodzinski of the New YorkPhilharmonic Orchestra, he made his major conductingdebut at sudden notice—andwithout any rehearsal—afterguest conductor Bruno Walter came down with the flu.The next day, The New York Times carried the storyon their front page and their editorial remarked, “It’s agood American success story. The warm, friendly tri-umph of it filled Carnegie Hall and spread far over the airwaves.”[17][18] He became instantly famous because theconcert was nationally broadcast, and afterwards startedto appear as a guest conductor with many U.S. orches-tras. The program included works by Schumann, MiklosRozsa, Wagner and Richard Strauss's Don Quixote withsoloist Joseph Schuster, solo cellist of the orchestra. Be-fore the concert Bernstein briefly spoke to Bruno Walter,who discussed particular difficulties in the works he wasto perform. It is possible to hear this concert (apart fromtheWagner work) on a recording of the CBS radio broad-cast that has been issued on CD by the orchestra.From 1945 to 1947 Bernstein was the Music Directorof the New York City Symphony Orchestra, which hadbeen founded the previous year by the conductor LeopoldStokowski. The orchestra (with support from the Mayor)was aimed at a different audience with more modern pro-grams and cheaper tickets than the New York Philhar-monic.Also in regard to a different audience, in 1945 Bernsteindiscussed the possibility of acting in a film with GretaGarbo—playing Tchaikovsky opposite her starring roleas the composer’s patron Nadezhda von Meck.[19]

In addition to becoming known as a conductor, Bernsteinalso emerged as a composer in the same period. In Jan-

1.3 1951–1959 3

Photo of Bernstein by Carl Van Vechten (1944)

uary 1944 he conducted the premiere of his JeremiahSymphony in Pittsburgh. His score to the ballet FancyFree choreographed by Jerome Robbins opened in NewYork in April 1944 and this was later developed into themusical On the Town with lyrics by Comden and Greenthat opened on Broadway in December 1944.After World War II, Bernstein’s career on the interna-tional stage began to flourish. In 1946 he made hisfirst trip to Europe conducting various orchestras andrecorded Ravel’s Piano Concerto in G as soloist and con-ductor with the Philharmonia Orchestra. In 1946, he con-ducted opera for the first time, with the American pre-mière at Tanglewood of Benjamin Britten's Peter Grimes,which had been a Koussevitzky commission. That sameyear, Arturo Toscanini invited Bernstein to guest con-duct two concerts with the NBC Symphony Orchestra,one of which again featured Bernstein as soloist in theRavel concerto.[20]

In 1947, Bernstein conducted in Tel Aviv for the firsttime, beginning a lifelong association with Israel. Thenext year he conducted an open-air concert for troops atBeersheba in the middle of the desert during the Arab-Israeli war. In 1957, he conducted the inaugural concertof the Mann Auditorium in Tel Aviv; he subsequentlymade many recordings there. In 1967, he conducted aconcert on Mt. Scopus to commemorate the reunifica-tion of Jerusalem. During the 1970s, Bernstein recordedhis symphonies and other works with the Israel Philhar-

monic for Deutsche Grammophon.In 1949, he conducted the world première of theTurangalîla-Symphonie by Olivier Messiaen, with theBoston Symphony Orchestra. Part of the rehearsal forthe concert was released on CD by the orchestra. WhenKoussevitzky died two years later, Bernstein becamehead of the orchestral and conducting departments atTanglewood, holding this position for many years.

1.3 1951–1959

After much personal struggle and a turbulent on-offengagement, he married the Costa Rican-born Ameri-can actress Felicia Cohn Montealegre on September 10,1951. One suggestion is that he chose to marry partly todispel rumors about his private life to help secure a majorconducting appointment, following advice from his men-tor Dimitri Mitropoulos about the conservative nature oforchestra boards.[21] In a book released in October 2013,The Leonard Bernstein Letters, his wife reveals his homo-sexuality. Felicia writes: “you are a homosexual and maynever change—you don’t admit to the possibility of a dou-ble life, but if your peace ofmind, your health, your wholenervous system depend on a certain sexual pattern whatcan you do?" Arthur Laurents (Bernstein’s collaboratorin West Side Story) said that Bernstein was “a gay manwho got married. He wasn't conflicted about it at all. Hewas just gay.”[22] Shirley Rhoades Perle, another friend ofBernstein, said that she thought “he required men sexu-ally andwomen emotionally.”[23] But the early years of hismarriage seem to have been happy, and no one has sug-gested Bernstein and his wife didn't love each other. Theyhad three children, Jamie, Alexander, and later Nina.[24]There are reports, though, that Bernstein did sometimeshave brief extramarital liaisons with young men, whichseveral family friends have said his wife knew about.[23]

In 1951, Bernstein conducted the New York Philhar-monic in the world première of the Symphony No. 2of Charles Ives, which was written around half a centuryearlier but had never been performed. Throughout his ca-reer, Bernstein often talked about the music of Ives, whodied in 1954. The composer, old and frail, was unable(some reports say unwilling) to attend the concert, buthis wife did. He reportedly listened to a radio broadcastof it on a radio in his kitchen some days later. A record-ing of the “premiere” was released in a 10-CD box setBernstein LIVE by the orchestra, but the notes indicate itwas a repeat performance from three days later, and thisis perhaps what Ives heard. In any case, reports also differon Ives’s exact reaction, but some suggest he was thrilledand danced a little jig. Bernstein recorded the 2nd sym-phony with the orchestra in 1958 for Columbia and 1987for Deutsche Grammophon. There is also a 1987 per-formance with the Bavarian Radio Symphony Orchestraavailable on DVD.Bernstein was a visiting music professor from 1951 to

4 1 BIOGRAPHY

Bernstein, c. 1950s

1956 at Brandeis University, and he founded the CreativeArts Festival there in 1952.[25] He conducted various pro-ductions at the first festival, including the premiere of hisopera Trouble in Tahiti and Blitzstein’s English version ofKurt Weill's Threepenny Opera. The festival was namedafter him in 2005, becoming the Leonard Bernstein Fes-tival of the Creative Arts. In 1953 he was the first Ameri-can conductor to appear at La Scala in Milan, conductingMaria Callas in Cherubini’s Medea. That same year, heproduced his score to themusicalWonderful Town at veryshort notice, working again with his old friends Comdenand Green, who wrote the lyrics.In 1954 Bernstein made the first of his television lecturesfor the CBS arts program Omnibus. The live lecture, en-titled “Beethoven’s Fifth Symphony”, involved Bernsteinexplaining the work with the aid of musicians from theformer NBC Symphony Orchestra (recently renamed the“Symphony of the Air”) and a giant page of the score cov-ering the floor. Bernstein subsequently performed con-certs with the orchestra and recorded his Serenade for Vi-olin with Isaac Stern. Further Omnibus lectures followedfrom 1955 to 1958 (later on ABC and then NBC) cover-ing jazz, conducting, American musical comedy, modernmusic, J.S. Bach, and grand opera. These programs weremade available in the U.S. in a DVD set in 2010.In late 1956, Bernstein conducted the New York Phil-harmonic in concerts that were to have been conductedby Guido Cantelli, who had died in an air crash in Paris.This was the first time Bernstein had conducted the or-chestra in subscription concerts since 1951. Partly dueto these appearances, Bernstein was named the music di-

rector of the New York Philharmonic in 1957, replacingDimitri Mitropoulos. He began his tenure in that positionin 1958, having held the post jointly with Mitropoulosfrom 1957 to 1958. In 1958, Bernstein and Mitropou-los took the New York Philharmonic on tour to SouthAmerica. In his first season in sole charge, Bernstein in-cluded a season-long survey of American classical music.Themed programming of this sort was fairly novel at thattime compared to the present day. Bernstein held the mu-sic directorship until 1969 (with a sabbatical in 1965) al-though he continued to conduct andmake recordings withthe orchestra for the rest of his life and was appointed“laureate conductor”.He became a well-known figure in the United Statesthrough his series of fifty-three televised Young People’sConcerts for CBS, which grew out of his Omnibus pro-grams. His first Young People’s Concert was televised afew weeks after his tenure began as principal conductorof the NewYork Philharmonic. He became as famous forhis educational work in those concerts as for his conduct-ing. The Bernstein Young People’s Concerts were the firstand probably the most influential series of music appre-ciation programs ever produced on television, and theywere highly acclaimed by critics.[26] Some of Bernstein’smusic lectures were released on records, with at least onewinning a Grammy award. The programs were shown inmany countries around the world, often with Bernsteindubbed into other languages. All of them were releasedon DVD by Kultur Video (half of them in 2013).

Bernstein at the piano, making annotations to a musical score

Prior to taking over the New York Philharmonic, Bern-stein composed the music for two shows. The first was forthe operetta Candide, which was first performed in 1956with a libretto by Lillian Hellman based on Voltaire’snovel. The second was Bernstein’s collaboration with thechoreographer Jerome Robbins, the writer Arthur Lau-rents, and the lyricist Stephen Sondheim to produce themusical West Side Story. The first three had worked onit intermittently since Robbins first suggested the idea in1949. Finally, with the addition of Sondheim to the team

1.4 1960–1969 5

and a period of concentrated effort, it received its Broad-way premiere in 1957 and has since proven to be Bern-stein’s most popular and enduring score.In 1959, he took the New York Philharmonic on a tourof Europe and the Soviet Union, portions of which werefilmed by CBS Television. A highlight of the tour wasBernstein’s performance of Dmitri Shostakovich's FifthSymphony, in the presence of the composer, who cameon stage at the end to congratulate Bernstein and the mu-sicians. In October, when Bernstein and the orchestrareturned to the U.S., they recorded the symphony forColumbia. He recorded it for a second time with the or-chestra on tour in Japan in 1979. Bernstein seems to havelimited himself to only conducting certain Shostakovichsymphonies, namely the numbers 1, 5, 6, 7, 9, and 14. Hemade two recordings of Shostakovich’s Leningrad Sym-phony, one with the NewYork Philharmonic in the 1960sand another recorded live in 1988 with the Chicago Sym-phony Orchestra (one of the few recordings he made withthem, also including the Symphony No. 1).

1.4 1960–1969

In 1960 Bernstein and the New York Philharmonic held aMahler Festival to mark the centenary of the composer’sbirth. Bernstein, Walter and Mitropoulos conducted per-formances. The composer’s widow, Alma, attended someof Bernstein’s rehearsals. In 1960 Bernstein alsomade hisfirst commercial recording of a Mahler symphony (thefourth) and over the next seven years he made the firstcomplete cycle of recordings of all nine of Mahler’s com-pleted symphonies. (All featured the New York Philhar-monic except the 8th Symphony which was recorded withthe London Symphony Orchestra following a concert inthe Royal Albert Hall in London in 1966.) The successof these recordings, along with Bernstein’s concert per-formances and television talks, was an important, if notvital, part of the revival of interest inMahler in the 1960s,especially in the U.S.Other non-U.S. composers that Bernstein championed tosome extent at the time include the Danish composerCarl Nielsen (who was then only little known in the U.S.)and Jean Sibelius, whose popularity had by then startedto fade. Bernstein eventually recorded a complete cy-cle in New York of Sibelius’s symphonies and three ofNielsen’s symphonies (Nos. 2, 4, and 5), as well as con-ducting recordings of his violin, clarinet and flute con-certos. He also recorded Nielsen’s 3rd Symphony withthe Royal Danish Orchestra after a critically acclaimedpublic performance in Denmark. Bernstein championedU.S. composers, especially those that he was close to likeAaron Copland, William Schuman and David Diamond.He also started to more extensively record his own com-positions for Columbia Records. This included his threesymphonies, his ballets, and the Symphonic Dances fromWest Side Storywith the NewYork Philharmonic. He alsoconducted an LP of his 1944 musical On The Town, the

first (almost) complete recording of the original featuringseveral members of the original Broadway cast, includ-ing Betty Comden and Adolph Green. (The 1949 filmversion only contains four of Bernstein’s original num-bers.) Bernstein also collaborated with the experimen-tal jazz pianist and composer Dave Brubeck resulting inthe recording “Bernstein Plays Brubeck Plays Bernstein”(1961).In one oft-reported incident, in April 1962 Bernstein ap-peared on stage before a performance of the BrahmsPiano Concerto No. 1 in D minor with the pianist GlennGould. During rehearsals, Gould had argued for tempimuch broader than normal, which did not reflect Bern-stein’s concept of the music. Bernstein gave a brief ad-dress to the audience starting with “Don't be frightened;MrGould is here...” and going on to “In a concerto, who isthe boss (audience laughter)—the soloist or the conduc-tor?" (Audience laughter grows louder). The answer is,of course, sometimes the one and sometimes the other,depending on the people involved.”[27] This speech wassubsequently interpreted by Harold C. Schonberg, musiccritic for The New York Times, as abdication of personalresponsibility and an attack on Gould, whose perfor-mance Schonberg went on to criticize heavily. Bernsteinalways denied that this had been his intent and has statedthat he made these remarks with Gould’s blessing.[28] Inthe book Dinner with Lenny, published in October 2013,author Jonathan Cott provided a thorough debunking, inthe conductor’s own words, of the legend which Bern-stein himself described in the book as “one ... that won'tgo away”. Throughout his life, he professed admirationand friendship for Gould. Schonberg was often (thoughnot always) harshly critical of Bernstein as a conductorduring his tenure as Music Director. However, his viewswere not shared by the audiences (with many full houses)and probably not by the musicians themselves (who hadgreater financial security arising from Bernstein’s manyTV and recording activities amongst other things).In 1962 the New York Philharmonic moved fromCarnegie Hall to Philharmonic Hall (now Avery FisherHall) in the new Lincoln Center. The move was notwithout controversy because of acoustic problems withthe new hall. Bernstein conducted the gala opening con-cert featuring vocal works by Mahler, Beethoven andVaughan Williams, and the premiere of Aaron Copland’sConnotations, a serial-work that was merely politely re-ceived. During the intermission Bernstein kissed thecheek of the President’s wife Jacqueline Kennedy, a breakwith protocol that was commented on at the time. In 1961Bernstein had conducted at President John F. Kennedy'spre-inaugural gala, and he was an occasional guest in theKennedy White House. He also conducted at the funeralmass in 1968 for the late President Kennedy’s brotherRobert Kennedy.In 1964 Bernstein conducted Franco Zeffirelli's produc-tion of Verdi's Falstaff at the Metropolitan Opera in NewYork. In 1966 he made his debut at the Vienna State

6 1 BIOGRAPHY

Opera conducting Luchino Visconti's production of thesame opera with Dietrich Fischer-Dieskau as Falstaff.During his time in Vienna he also recorded the opera forColumbia Records and conducted his first subscriptionconcert with the Vienna Philharmonic (which is madeup of players from the Vienna State Opera) featuringMahler’s Das Lied von der Erde with Fischer-Dieskauand James King. He returned to the State Opera in 1968for a production of Der Rosenkavalier and in 1970 forOtto Schenk's production of Beethoven’s Fidelio. Sixteenyears later, at the State Opera, Bernstein conducted hissequel to Trouble in Tahiti, A Quiet Place. with the ORForchestra. Bernstein’s final farewell to the State Operahappened accidentally in 1989: following a performanceof Modest Mussorgsky's Khovanshchina, he unexpect-edly entered the stage and embraced conductor ClaudioAbbado in front of a cheering audience.With his commitment to the NewYork Philharmonic andhis many other activities, Bernstein had little time forcomposition during the 1960s. The two major workshe produced at this time were his Kaddish Symphonydedicated to the recently assassinated President John F.Kennedy and the Chichester Psalms which he producedduring a sabbatical year he took from the Philharmonicin 1965 to concentrate on composition. To try to havemore time for composition was probably a major factor inhis decision to step down as Music Director of the Phil-harmonic in 1969, and to never accept such a positionanywhere again.

1.5 1970–1979

Leonard Bernstein by Allan Warren

After stepping down from the New York Philharmonic,Bernstein continued to appear with them in most yearsuntil his death, and he toured with them to Europe in1976 and to Asia in 1979. He also strengthened his re-lationship with the Vienna Philharmonic Orchestra – heconducted all nine completed Mahler symphonies withthem (plus the adagio from the 10th) in the period from1967 to 1976. All of these were filmed for Unitel with theexception of the 1967 Mahler 2nd, which instead Bern-stein filmed with the London Symphony Orchestra in ElyCathedral in 1973. In the late 1970s Bernstein conducteda complete Beethoven symphony cycle with the ViennaPhilharmonic, and cycles of Brahms and Schumann wereto follow in the 1980s. Other orchestras he conductedon numerous occasions in the 1970s include the IsraelPhilharmonic, the Orchestre National de France, and theBoston Symphony Orchestra.In 1970 Bernstein wrote and narrated a ninety-minuteprogram filmed on location in and around Vienna as a cel-ebration of Beethoven’s 200th birthday. It featured partsof Bernstein’s rehearsals and performance for the OttoSchenk production of Fidelio, Bernstein playing the 1stpiano concerto and the Ninth Symphony with the ViennaPhilharmonic and the young Plácido Domingo amongstthe soloists. The program was first telecast in 1970 onAustrian and British television, and then on CBS in theU.S. on Christmas Eve 1971. The show, originally enti-tled Beethoven’s Birthday: A Celebration in Vienna, wonan Emmy and was issued on DVD in 2005. In the sum-mer of 1970, during the Festival of London, he conductedVerdi’s Requiem Mass in St. Paul’s Cathedral, with theLondon Symphony Orchestra.Like many of his friends and colleagues, Bernstein hadbeen involved in various left wing causes and organiza-tions since the 1940s. He was blacklisted by the US StateDepartment and CBS in the early 1950s, but unlike oth-ers his career was not greatly affected, and he was neverrequired to testify before the House Un-American Activ-ities Committee.[29] His political life received substantialpress coverage though in 1970, due to a gathering hostedat his Manhattan apartment on January 14, 1970. Bern-stein and his wife held the event seeking to raise aware-ness and money for the defense of several members ofthe Black Panther Party against a variety of charges.[30]The New York Times initially covered the gathering as alifestyle item, but later posted an editorial harshly unfa-vorable to Bernstein following generally negative reactionto the widely publicized story.[31][32] This reaction culmi-nated in June 1970 with the appearance of “Radical Chic:That Party at Lenny’s”, an essay by satirist Tom Wolfefeatured on the cover of New YorkMagazine.[33] The ar-ticle contrasted the Bernsteins’ comfortable lifestyle inone of the world’s most expensive neighborhoods with theanti-establishment politics of the Black Panthers. It led tothe popularization of "radical chic" as a critical term.[34]Both Bernstein and his wife Felicia responded to the crit-icism, arguing that they were motivated not by a shallow

1.5 1970–1979 7

desire to express fashionable sympathy but by their con-cern for civil liberties.[35][36]

Bernstein’s major compositions during the 1970s wereprobably his MASS: A Theatre Piece for Singers, Players,and Dancers; his score for the ballet Dybbuk; his orches-tral vocal work Songfest; and his U.S. bicentenary musi-cal 1600 Pennsylvania Avenuewritten with lyrics by AlanJay Lerner which was his first real theatrical flop, and lastoriginal Broadway show. The world premiere of Bern-stein’s MASS took place on September 8, 1971. Com-missioned by Jacqueline Kennedy for the opening of theJohn F. KennedyCenter for the PerformingArts inWash-ington, D.C., it was partly intended as an anti-war state-ment. Hastily written in places, the work representeda fusion not only of different religious traditions (Latinliturgy, Hebrew prayer, and plenty of contemporary En-glish lyrics) but also of different musical styles, includ-ing classical and rock music. It was originally a targetof criticism from the Roman Catholic Church on the onehand and contemporary music critics who objected to itsBroadway/populist elements on the other. In the presentday, it is perhaps seen as less blasphemous and more apiece of its era: in 2000 it was even performed in theVatican.In 1972 Bernstein recorded Bizet's Carmen, with MarilynHorne in the title role and JamesMcCracken as Don Jose,after leading several stage performances of the opera atthe Metropolitan Opera. The recording was one of thefirst in stereo to use the original spoken dialogue betweenthe sung portions of the opera, rather than the musicalrecitatives that were composed by Ernest Guiraud af-ter Bizet’s death. The recording was Bernstein’s first forDeutsche Grammophon and won a Grammy.Bernstein was appointed in 1973 to the Charles Eliot Nor-ton Chair as Professor of Poetry at his alma mater, Har-vard University, and delivered a series of six televisedlectures on music with musical examples played by theBoston Symphony Orchestra. However, these lectureswere not televised until 1976. Taking the title from aCharles Ives work, he called the series The UnansweredQuestion; it was a set of interdisciplinary lectures in whichhe borrowed terminology from contemporary linguisticsto analyze and compare musical construction to language.The lectures are presently available in both book andDVD form. The DVD video was not taken directly fromthe lectures at Harvard, rather they were recreated againat the WGBH studios for filming. This appears to be theonly surviving Norton lectures series available to the gen-eral public in video format. Noam Chomsky wrote in2007 on the Znet forums about the linguistic aspects ofthe lecture: “I spent some time with Bernstein during thepreparation and performance of the lectures. My feel-ing was that he was onto something, but I couldn't reallyjudge how significant it was.”Chevy Chase states in his biography that Lorne Michaelswanted Bernstein to host Saturday Night Live in the

show’s first season (1975–76). Chase was seated nextto Bernstein at a birthday party for Kurt Vonnegut andmade the request in person. However, the pitch involveda Bernstein-conducted SNL version of West Side Story,and Bernstein was uninterested.[37]

A major period of upheaval in Bernstein’s personal lifebegan in 1976 when he decided that he could no longerconceal his bisexuality and he left his wife Felicia for aperiod to live with the writer TomCothran. The next yearshe was diagnosed with lung cancer and eventually Bern-stein moved back in with her and cared for her until shedied on June 16, 1978.[21] Cothran himself died of AIDSin 1981. Bernstein is reported to have often spoken ofhis terrible guilt over his wife’s death.[21] Most biogra-phies of Bernstein state that his lifestyle became moreexcessive and his personal behavior sometimes cruder af-ter her death. However, his public standing and many ofhis close friendships appear to have remained unaffected,and he resumed his busy schedule of musical activity.In 1978, Bernstein returned to the Vienna State Opera toconduct a revival of the Otto Schenk production of Fi-delio, now featuring Gundula Janowitz and Rene Kolloin the lead roles. At the same time, Bernstein made astudio recording of the opera for Deutsche Grammophonand the opera itself was filmed by Unitel and released onDVD by Deutsche Grammophon in late 2006. In May1978, the Israel Philharmonic played two U.S. concertsunder his direction to celebrate the 30th anniversary ofthe founding of the Orchestra under that name. On con-secutive nights, the Orchestra, with the Choral Arts So-ciety of Washington, performed Beethoven’s Ninth Sym-phony and Bernstein’s Chichester Psalms at the KennedyCenter inWashington, D.C., and at Carnegie Hall in NewYork.In 1979, Bernstein conducted the Berlin PhilharmonicOrchestra for the first and only time, in two charity con-certs for Amnesty International involving performancesof Mahler’s Ninth Symphony. The invitation for the con-certs had come from the orchestra and not from its prin-cipal conductor Herbert von Karajan. There has beenspeculation about why Karajan never invited Bernsteinto conduct his orchestra. (Karajan did conduct the NewYork Philharmonic during Bernstein’s tenure.) The fullreasons will probably never be known – reports suggestthey were on friendly terms when they met, but some-times practiced a little mutual one-upmanship.[21] Oneof the concerts was broadcast on radio and was posthu-mously released on CD by Deutsche Grammophon. Oneoddity of the recording is that the trombone section failsto enter at the climax of the finale, as a result of an audi-ence member collapsing just behind the trombones a fewseconds earlier.

8 1 BIOGRAPHY

1.6 1980–1990

Bernstein received the Kennedy Center Honors award in1980. For the rest of the 1980s he continued to con-duct, teach, compose, and produce the occasional TVdocumentary. His most significant compositions of thedecade were probably his opera A Quiet Place, which hewrote with Stephen Wadsworth and which premiered (inits original version) in Houston in 1983; his Divertimentofor Orchestra; his Halil for flute and orchestra; his Con-certo for Orchestra “Jubilee Games” ; and his song cycleArias and Barcarolles, which was named after a com-ment President Dwight D. Eisenhower had made to himin 1960.

with Maximilian Schell on PBS Beethoven TV series (1982)

In 1982 in the U.S., PBS aired an 11-part series of Bern-stein’s late 1970s films for Unitel of the Vienna Philhar-monic playing all nine Beethoven symphonies and variousother Beethoven works. Bernstein gave spoken introduc-tion and actor Maximilian Schell was also featured on theprograms, reading from Beethoven’s letters.[38] The orig-inal films have since been released on DVD by DeutscheGrammophon. In addition to conducting in New York,Vienna and Israel, Bernstein was a regular guest con-ductor of other orchestras in the 1980s. These includedthe Royal Concertgebouw Orchestra in Amsterdam, withwhom he recorded Mahler’s First, Fourth, and NinthSymphonies amongst other works; the Bavarian RadioSymphony Orchestra in Munich, with whom he recordedWagner’s Tristan und Isolde; Haydn’s Creation; Mozart’sRequiem and Great Mass in C minor; and the orchestraof Accademia Nazionale di Santa Cecilia in Rome, withwhom he recorded some Debussy and Puccini’s La bo-hème.In 1982, he and Ernest Fleischmann founded the LosAngeles Philharmonic Institute as a summer trainingacademy along the lines of Tanglewood. Bernstein servedas artistic director and taught conducting there until 1984.Around the same time, he performed and recorded someof his own works with the Los Angeles Philharmonic forDeutsche Grammophon. Bernstein was also at the timea committed supporter of nuclear disarmament. In 1985he 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. Therecording, featuring what some critics felt were miscastopera singers such as Kiri Te Kanawa, José Carreras, andTatiana Troyanos in the leading roles, was nevertheless aninternational bestseller. A TV documentary showing themaking of the recording was made at the same time and isavailable on DVD. Bernstein also continued to make hisown TV documentaries during the 1980s, including TheLittle Drummer Boy, in which he discussed the music ofGustav Mahler, perhaps the composer he was most pas-sionately interested in, and The Love of Three Orchestras,in which he discussed his work in New York, Vienna, andIsrael.In his later years, Bernstein’s life and work was celebratedaround the world (as it has been since his death). The Is-rael Philharmonic celebrated his involvement with themat Festivals in Israel and Austria in 1977. In 1986 theLondon Symphony Orchestra mounted a Bernstein Fes-tival in London with one concert that Bernstein himselfconducted attended by the Queen. In 1988 Bernstein’s70th birthday was celebrated by a lavish televised gala atTanglewood featuring many performers who had workedwith him over the years.In December 1989, Bernstein conducted live perfor-mances and recorded in the studio his operetta Candidewith the London Symphony Orchestra. The recordingstarred Jerry Hadley, June Anderson, Adolph Green, andChrista Ludwig in the leading roles. The use of operasingers in some roles perhaps fitted the style of operettabetter than some critics had thought was the case forWestSide Story, and the recording (released posthumously in1991) was universally praised. One of the live concertsfrom the Barbican Centre in London is available on DVD.Candide had had a troubled history, with many rewritesand writers involved. Bernstein’s concert and recordingwere based on a “final” version that had been first per-formed by Scottish Opera in 1988. The opening night(which Bernstein attended in Glasgow) was conducted byBernstein’s former student John Mauceri.On December 25, 1989, Bernstein conductedBeethoven's Symphony No. 9 in East Berlin’sSchauspielhaus as part of a celebration of the fallof the Berlin Wall. He had conducted the same work inWest Berlin the previous day. The concert was broadcastlive in more than twenty countries to an estimatedaudience of 100 million people. For the occasion,Bernstein reworded Friedrich Schiller's text of the Ode toJoy, substituting the word Freiheit (freedom) for Freude(joy).[39] Bernstein, in his spoken introduction, said thatthey had “taken the liberty” of doing this because of a“most likely phony” story, apparently believed in somequarters, that Schiller wrote an “Ode to Freedom” thatis now presumed lost. Bernstein added, “I'm sure thatBeethoven would have given us his blessing.”

9

Bernstein’s grave in Green-Wood Cemetery

In the summer of 1990, Bernstein and Michael TilsonThomas founded the Pacific Music Festival in Sapporo,Japan. Like his earlier activity in Los Angeles, this wasa summer training school for musicians modeled on Tan-glewood, and is still in existence. Bernstein was already atthis time suffering from the lung disease that would leadto his death. In his opening address Bernstein said thathe had decided to devote what time he had left to educa-tion. A video showing Bernstein speaking and rehearsingat the first Festival is available on DVD in Japan.In 1990, Leonard Bernstein received the Praemium Im-periale, an international prize awarded by the Japan ArtsAssociation for lifetime achievement in the arts. Bern-stein used the $100,000 prize to establish The Bern-stein Education Through the Arts (BETA) Fund, Inc.[40]Leonard Bernstein provided this grant to develop an arts-based education program. The Leonard Bernstein Cen-ter was established in April 1992, and initiated exten-sive school-based research, resulting in the BernsteinModel.[41]

Bernstein made his final performance as a conductorat Tanglewood on August 19, 1990, with the BostonSymphony playing Benjamin Britten's “Four Sea Inter-ludes” from Peter Grimes, and Beethoven's Seventh Sym-phony.[42] He suffered a coughing fit in the middle of theBeethoven performance which almost caused the concertto break down. The concert was later issued on CD byDeutsche Grammophon.He announced his retirement from conducting on Octo-

ber 9, 1990,[43] and died of a heart attack five days later.He was 72 years old.[2] A longtime heavy smoker, he hadbattled emphysema from his mid-50s. On the day of hisfuneral procession through the streets of Manhattan, con-struction workers removed their hats and waved, yelling“Goodbye, Lenny.”[44] Bernstein is buried in Green-Wood Cemetery, Brooklyn, New York,[45] next to hiswife and with a copy of Mahler’s Fifth lying across hisheart.[46]

2 Social activism

While Bernstein was very well known for his music com-positions and conducting, he was also known for his out-spoken political views and his strong desire to furthersocial change. His first aspirations for social changewere made apparent in his producing (as a student) arecently banned opera, The Cradle Will Rock, by MarcBlitzstein, about the disparity between the working andupper class. His first opera, Trouble in Tahiti, was ded-icated to Blitzstein and has a strong social theme, crit-icizing American civilization and suburban upper-classlife in particular. As he went on in his career Bernsteinwould go on to fight for everything from the influences of“American Music” to the disarming of western nuclearweapons.[47]

Mr. Bernstein was named in the book Red Channels: TheReport of Communist Influence in Radio and Television asa Communist along with Aaron Copland, Lena Horne,Pete Seeger, Artie Shaw and other prominent figures ofthe performing arts. Red Channels was issued by theright-wing journal Counterattack and was edited by Vin-cent Hartnett, who was later found to have libeled and de-famed the noted radio personality John Henry Faulk.[48][49] [50]

2.1 Philanthropy

Among the many awards Bernstein earned throughout hislife one allowed him to make one of his philanthropicdreams a reality. He had for a long time wanted to de-velop an international school to help promote the inte-gration of arts into education. When he won the JapanArts Association award for lifetime achievement,[51] heused the $100,000 that came with the award to build sucha school in Nashville, that would strive to teach teach-ers how to better integrate music, dance, and theater intothe school system which was “not working”.[52] Unfortu-nately, the school was not able to open until shortly afterBernstein’s death.In a 1990 Rolling Stone interview Bernstein outlined hisconception of a school called The Academy for the Loveof Learning.[53]

I and a musician friend named Aaron Stern have con-ceived of an institution called the Academy for the Love

10 4 INFLUENCE AND CHARACTERISTICS AS A CONDUCTOR

of Learning. We haven't done too much with the idea yet,but it’s registered as a nonprofit corporation, and besidesthe obvious attempts to get music and kids together, therewill be the overriding goal of teaching teachers to discovertheir own love of learning.

The Academy for the Love of Learning was completedin 1998 and is located in Santa Fe, New Mexico whereit continues to explore Bernstein’s dream of integratedarts in education by offering courses in transformationallearning.

3 Artful Learning

Artful Learning is based on Bernstein’s philosophy thatthe arts can strengthen learning and be incorporated inall academic subjects.[54] The program is based on “unitsof study,” which each consist of four core elements: expe-rience, inquire, create, and reflect.[55] After two decadesof research and implementation across the United States,Artful Learning Schools demonstrate that Units of Studythat utilize rigor, cognitive complexity and deep under-standing through a commitment to collaborative and in-dependent learning demonstrate high levels of student en-gagement and academic achievement.[56]

4 Influence and characteristics as aconductor

Bernstein was one of the major figures in orchestral con-ducting in the second half of the 20th century. He washeld in high regard amongst many musicians, includingthe members of the Vienna Philharmonic Orchestra, evi-denced by his honorary membership; the London Sym-phony Orchestra, of which he was President; and theIsrael Philharmonic Orchestra, with which he appearedregularly as guest conductor. He was probably the mainconductor from the 1960s onwards who acquired a sort ofsuperstar status similar to that of Herbert von Karajan, al-though unlike Karajan he conducted relatively little operaand part of Bernstein’s fame was based on his role as acomposer. As the first American-born music director ofthe New York Philharmonic, his rise to prominence wasa factor in overcoming the perception of the time that thetop conductors were necessarily trained in Europe.Bernstein’s conducting was characterized by extremes ofemotion with the rhythmic pulse of the music conveyedvisually through his balletic podium manner. Musiciansoften reported that his manner in rehearsal was the sameas in concert. As he got older his performances tendedto be overlaid to a greater extent with a personal ex-pressiveness which often divided critical opinion. Ex-treme examples of this style can be found in his DeutscheGrammophon recordings of Nimrod fromElgar’s EnigmaVariations (1982), the end of Mahler’s 9th Symphony

Leonard Bernstein in 1971

(1985), and the finale of Tchaikovsky’s Pathetique Sym-phony (1986), where in each case the tempos are wellbelow those typically chosen.Bernstein performed a wide repertoire from the baroqueera to the 20th century, although perhaps from the 1970sonwards he tended to focus more on music from theromantic era. He was considered especially accom-plished with the works of Gustav Mahler and with Amer-ican composers in general, including George Gershwin,Aaron Copland, Charles Ives, Roy Harris, William Schu-man, and of course himself. Some of his recordingsof works by these composers would likely appear onmany music critics’ lists of recommended recordings. Alist of his other well-thought-of recordings would prob-ably include individual works from Haydn, Beethoven,Berlioz, Schumann, Liszt, Nielsen, Sibelius, Stravinsky,Hindemith, and Shostakovich, among others.[57] Hisrecordings of Rhapsody in Blue (full-orchestra version)and An American in Paris for Columbia Records, re-leased in 1959, are considered definitive by many, al-though Bernstein cut the Rhapsody slightly, and his more'symphonic' approach with slower tempi is quite far fromGershwin’s own conception of the piece, evident from histwo recordings. (Oscar Levant, Earl Wild, and otherscome closer to Gershwin’s own style.) Bernstein neverconducted Gershwin’s Piano Concerto in F, or more thana few excerpts from Porgy and Bess, although he did dis-cuss the latter in his article Why Don't You Run Upstairs

11

and Write a Nice Gershwin Tune?, originally published inThe New York Times and later reprinted in his 1959 bookThe Joy of Music.

In addition to being an active conductor, Bernstein wasa very influential teacher of conducting. During hismany years of teaching at Tanglewood and elsewhere,he directly taught or mentored many conductors who areperforming now, such as John Mauceri, Marin Alsop,Herbert Blomstedt, Edo deWaart, Alexander Frey, PaavoJärvi, Eiji Oue, Maurice Peress, Seiji Ozawa (who madehis American TV debut as the guest conductor on oneof the Young People’s Concerts), Carl St.Clair, HelmuthRilling, Michael Tilson Thomas, and Jaap van Zweden.He also undoubtedly influenced the career choices ofmany American musicians who grew up watching histelevision programmes in the 1950s and 60s.

5 Recordings

Bernstein recorded extensively from the mid-1940s untiljust a few months before his death. Aside from those1940s’ recordings, which were made for RCA Victor,Bernstein recorded primarily for Columbia MasterworksRecords, especially when he was music director of theNew York Philharmonic between 1958 and 1971. Histypical pattern of recording at that time was to record ma-jor works in the studio immediately after they were pre-sented in the orchestra’s subscription concerts or on oneof the Young People’s Concerts, with any spare time usedto record short orchestral showpieces and similar works.Many of these performances were digitally remasteredand reissued by Sony as part of their 100 Volume, 125CDs “Royal Edition” and their later “Bernstein Century”series. In 2010 many of these recordings were repack-aged in a 60 CD “Bernstein Symphony Edition”.His later recordings (starting with Bizet’s Carmen in1972) were mostly made for Deutsche Grammophon,though he would occasionally return to the ColumbiaMasterworks label. Notable exceptions include record-ings of Gustav Mahler's Song of the Earth and Mozart's15th piano concerto and “Linz” symphony with theVienna Philharmonic Orchestra for Decca Records(1966); Berlioz's Symphonie fantastique and Harold inItaly (1976) for EMI; and Wagner's Tristan und Isolde(1981) for Philips Records, a label that like DeutscheGrammophon was part of PolyGram at that time. Unlikehis studio recordings for Columbia Masterworks, most ofhis later Deutsche Grammophon recordings were takenfrom live concerts (or edited together from several con-certs with additional sessions to correct errors). Manyreplicate repertoire that he recorded in the 1950s and 60s.In addition to his audio recordings, many of Bernstein’sconcerts from the 1970s onwards were recorded on mo-tion picture film by the German film company Uni-tel. This included a complete cycle of the Mahler sym-

phonies (with theVienna Philharmonic and London Sym-phony Orchestra), as well as complete cycles of theBeethoven, Brahms and Schumann symphonies recordedat the same series of concerts as the audio recordings byDeutsche Grammophon. Many of these films appearedon Laserdisc and are now on DVD.In total Bernstein was awarded 16 Grammys for hisrecordings in various categories, including several forposthumously released recordings. He was also awardeda Lifetime Achievement Grammy in 1985.

6 Influence and characteristics as acomposer

Bernstein was an eclectic composer whose music fusedelements of jazz, Jewish music, theatre music and thework of earlier composers like Aaron Copland, IgorStravinsky, Darius Milhaud, George Gershwin, andMarcBlitzstein. Some of his works, especially his score forWest Side Story, helped bridge the gap between classi-cal and popular music. His music was rooted in tonal-ity but in some works like his Kaddish Symphony andthe opera A Quiet Place he mixed in 12-tone elements.Bernstein himself said his main motivation for compos-ing was “to communicate” and that all his pieces, includ-ing his symphonies and concert works, “could in somesense be thought of as 'theatre' pieces.”[58] According tothe League of American orchestras,[59] he was the sec-ond most frequently performed American composer byU.S. orchestras in 2008-9 behind Copland, and he wasthe 16th most frequently performed composer overall byU.S. orchestras. (Some performances were probably dueto the 90th anniversary of his birth in 2008.) His mostpopular pieces were the Overture to Candide, the Sym-phonic Dances fromWest Side Story, the Serenade for Vi-olin, Strings, Harp and Percussion and the Three DanceEpisodes from On the Town. His shows West Side Story,On the Town, Wonderful Town and Candide are regu-larly performed, and his symphonies and concert worksare programmed from time to time by orchestras aroundthe world. Since his death many of his works have beencommercially recorded by artists other than himself. TheSerenade, which has been recordedmore than 10 times, isprobably his most recorded work not taken from an actualtheatre piece.Despite the fact that he was a popular success as a com-poser, Bernstein himself is reported to have been disil-lusioned that some of his more serious works were notrated more highly by critics, and that he himself had notbeen able to devote more time to composing because ofhis conducting and other activities.[44] Professional criti-cism of Bernstein’s music often involves discussing thedegree to which he created something new as art ver-sus simply skillfully borrowing and fusing together ele-ments from others. In the late 1960s, Bernstein himself

12 7 WORKS

reflected that his eclecticism was in part due to his lackof lengthy periods devoted to composition, and that hewas still seeking to enrich his own personal musical lan-guage in the manner of the great composers of the past,all of whom had borrowed elements from others.[60] Per-haps the harshest criticism he received from some criticsin his lifetime though was directed at works like his Kad-dish Symphony, his MASS and the opera A Quiet Place,where they found the underlying message of the piece orthe text as either mildly embarrassing, clichéd or offen-sive. Despite this, all these pieces have been performed,discussed and reconsidered since his death.Bernstein’s works were performed several times for PopeJohn Paul II, including at World Youth Day in Denveron August 14, 1993 (excerpts from “MASS”), and at thePapal Concert to Commemorate the Shoah on April 7,1994, with the Royal Philharmonic Orchestra (“Chich-ester Psalms” and SymphonyNo. 3, “Kaddish” [excerpt])in the Sala Nervi at the Vatican. Both performances wereconducted by Gilbert Levine.Although he taught conducting, Bernstein was not ateacher of composition as such, and he has no direct com-posing heirs. Perhaps the closest are composers like JohnAdams, who from the 1970s onwards indirectly adoptedelements of his eclectic, theatrical style.

7 Works

Main article: List of compositions by Leonard Bernstein

7.1 Ballet

• Fancy Free, 1944

• Facsimile – Choreographic Essay for Orchestra,1946

• Dybbuk (ballet), 1974

7.2 Opera

• Trouble in Tahiti, 1952

• Candide, 1956 (new libretto in 1973, operetta finalrevised version in 1989)

• A Quiet Place, 1983

7.3 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, (contributedto) 1979

7.4 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

7.5 Film scores

• On the Town, 1949 (only part of his music was used)

• On the Waterfront, 1954

• West Side Story, 1961

7.6 Orchestral

• Symphony No. 1, Jeremiah, 1942

• Fancy Free and Three Dance Variations from “FancyFree”, concert premiere 1946

• Three Dance Episodes from “On the Town”, concertpremiere 1947

• Symphony No. 2, The Age of Anxiety, (after W. H.Auden) for Piano and Orchestra, 1949 (revised in1965)

• Serenade for Solo Violin, Strings, Harp and Percus-sion (after Plato’s “Symposium”), 1954

• Prelude, Fugue, and Riffs for Solo Clarinet and JazzEnsemble, 1949

• Symphonic Suite from “On the Waterfront”, 1955

• Symphonic Dances from “West Side Story”, 1961

• Symphony No. 3, Kaddish, for Orchestra, MixedChorus, Boys’ Choir, Speaker and Soprano Solo,1963 (revised in 1977)

• Dybbuk, Suites No. 1 and 2 for Orchestra, concertpremieres 1975

7.10 Piano music 13

• Songfest: A Cycle of American Poems for Six Singersand Orchestra, 1977

• Three Meditations from “Mass” for Violoncello andOrchestra, 1977

• Slava! A Political Overture for Orchestra, 1977

• Divertimento for Orchestra, 1980

• Halil, nocturne for Solo Flute, Piccolo, Alto Flute,Percussion, Harp and Strings, 1981

• Concerto for Orchestra, 1989 (Originally JubileeGames from 1986, revised in 1989)

7.7 Choral

• Hashkiveinu for Cantor (tenor), Mixed Chorus andOrgan, 1945

• Missa Brevis for Mixed Chorus and CountertenorSolo, with Percussion, 1988

• Chichester Psalms for Boy Soprano (orCountertenor), Mixed Chorus, and Orchestra,1965 (Reduced version for Organ, Harp andPercussion)

7.8 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 recorder andcello, 1988

7.9 Vocal music

• I Hate Music: A cycle of Five Kids Songs for Sopranoand 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

• Arias and Barcarolles for Mezzo-Soprano, Baritoneand Piano four-hands, 1988

7.10 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 Anniversariesnos. 1 and 2 in Thirteen Anniversaries)

• Touches, 1981

• 13 Anniversaries, 1988

7.11 Other music

• Other occasional works, written as gifts and otherforms of memorial and tribute

• “The Skin of Our Teeth": An aborted work fromwhich Bernstein took material to use in his “Chich-ester 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 in1947 as a birthday tribute to Koussevitzky using thetune he whistled to call his cocker spaniel[61]

• “Shivaree: A Fanfare” for Double Brass Ensembleand Percussion. 1970. Commissioned by and ded-icated to the Metropolitan Museum of Art in NewYork in honor of its Centenary.[62] Musical materiallater used in “Mass.”

This list is incomplete; you can help byexpanding it.

8 Bibliography

• Bernstein, Leonard (1993 – reprinting) [1982].Findings. New York: Anchor Books. ISBN 0-385-42437-X. Check date values in: |date= (help)

14 10 AWARDS

• Bernstein, Leonard (1993 – reprinting) [1966]. TheInfinite Variety ofMusic. NewYork: Anchor Books.ISBN 0-385-42438-8. Check date values in: |date=(help)

• Bernstein, Leonard (2004 – reprinting) [1959].The Joy of Music. Pompton Plains, New Jersey:Amadeus Press. ISBN 1-57467-104-9. Check datevalues in: |date= (help)

• Bernstein, Leonard (2006 – reprinting) [1962].Young People’s Concerts. Milwaukee; Cambridge:Amadeus Press. ISBN 1-57467-102-2. Check datevalues in: |date= (help)

• Bernstein, Leonard. [1976] The Unanswered Ques-tion: Six Talks at Harvard, Harvard UniversityPress. ISBN 0-674-92001-5.

• Bernstein, Leonard. [2013] The Leonard BernsteinLetters, Yale University Press. ISBN 978-0-300-17909-5.

9 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 Lec-tures given at Harvard in 1973.)

• Leonard Bernstein’s Young People’s Concerts with theNew York Philharmonic. West Long Branch, NewJersey: Kultur Video. DVD ISBN 0-7697-1503-6.

• Bernstein on Beethoven: A Celebration in Vi-enna/Beethoven: Piano Concerto No. 1. West LongBranch, Kultur Video. DVD

• Leonard Bernstein: Omnibus – The Historic TVBroadcasts, 2010, E1 Ent.

• Bernstein: Reflections (1978), Euroarts.

• Bernstein/Beethoven (1982), Deutsche Gram-mophon, DVD

• Bernstein Conducts “West Side Story” (1985) (reti-tled 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 airedon PBS’s American Masters series. DVD

10 Awards

Main article: List of Leonard Bernstein awards

• Fellow of the American Academy of Arts and Sci-ences, 1951[63]

• Sonning Award (Denmark), 1965

• Ditson Conductor’s Award, 1958

• George PeabodyMedal – Johns Hopkins University,1980

• Ernst von Siemens Music Prize 1987

• 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 Perfor-mance

• Grammy Award for Best Instrumental Soloist(s)Performance

• Grammy Award for Best Classical ContemporaryComposition

• Grammy Award for Best Classical Album

• Grammy Lifetime Achievement Award

• Tony Award for Best Musical

• Special Tony Award

• Japan Arts Association Lifetime AchievementAward

• Gramophone Hall of Fame entrant[64]

• Commandeur de la Légion d'honneur, 1986

Leonard Bernstein is also amember of both theAmericanTheater Hall of Fame,[65] and the Television Hall ofFame.[66]

15

11 References[1] Karlin, Fred (1994). Listening to Movies 8 (recording).

New York: Schirmer. p. 264. US dict: bûrn′·stīn Bern-stein’s pronunciation of his own name as he introduces hisPeter and the Wolf.

[2] Henahan, Donal (October 15, 1990). “Leonard Bernstein,72, Music’s Monarch, Dies”. New York Times. RetrievedFebruary 11, 2009. Leonard Bernstein, one of the mostprodigally talented and successful musicians in Americanhistory, died yesterday evening at his apartment at theDakota on the Upper West Side of Manhattan. He was 72years old. Mr. Bernstein’s spokeswoman, Margaret Car-son, said he died of a heart attack caused by progressivelung failure.

[3] http://barbaraanneshaircombblog.com/images/symphonyofthenewworld/benjaminsteinberg-leonardbernstein-peterpan.jpg

[4] Laird, Paul R. Leonard Bernstein: A Guide to Research.Routledge, 2002. p. 10.

[5] Dougary, Ginny (March 13, 2010). “Leonard Bernstein:‘charismatic, pompous – and a great father'". The Times(UK). Retrieved March 12, 2010.

[6] Oliver, Myrna (October 15, 1990). “Leonard BernsteinDies; Conductor, Composer Music: Renaissance man ofhis art was 72. The longtime leader of the N.Y. Philhar-monic carved a niche in history with `West Side Story.'".Los Angeles Times. Retrieved March 12, 2010.

[7] “Great Escape composer dies at 82”. BBC News. August19, 2004.

[8] “Introduction”. Bernstein West. Retrieved May 3, 2012.

[9] Peyser, Joan (1987). Bernstein, a biography. New York:Beech Tree Books. pp. 22–24. ISBN 0-688-04918-4.

[10] Peyser (1987), p. 34.

[11] Peyser (1987), p. 39–40.

[12] See for instance Bernstein’s 1980 TV Documentary,Teachers and Teaching available on a Deutsche Gram-mophon DVD.

[13] Peyser (1987) (Bernstein complained later that she taughthim an incorrect piano technique), pp. 38–9.

[14] “Bernstein Chronology”.

[15] “About Bernstein”. Leonard Bernstein Official Site. Re-trieved January 15, 2007.

[16] “Leonard Bernstein – Biography”. Sony Classical. Re-trieved January 15, 2007.

[17] Deems Taylor (July 25, 2007), Pathétique, Music-Appreciation Records

[18] David Hamilton, “Dorle Jarmel Soria,” Opera News 67(Oct. 2002), p. 84. The “event” was due in part to theefforts of Dorle Soria who had been on the staff of theNew York Philharmonic since the late 1920s.

[19] Rockwell, John (December 15, 2013). “Maestro 'TheLeonard Bernstein Letters’". The New York Times. Re-trieved December 14, 2013.

[20] Arturo Toscanini: the NBC years. Amadeus Press. 2002.ISBN 978-1-57467-069-1.

[21] Burton, Humphrey (1994). Leonard Bernstein. NewYork: Doubleday.

[22] Charles Kaiser, The Gay Metropolis, New York City:1940–1996.

[23] Meryle Secrest (1995), Leonard Bernstein: A Life.

[24] Peyser (1987), pp. 196, 204, 322.

[25] The Official Leonard Bernstein Web Site. http://www.leonardbernstein.com/about.php.

[26] “Young People’s Concerts”. Leonard Bernstein. Re-trieved September 20, 2010.

[27] Transcription of Bernstein’s Glenn Gould Introduction(from a Rutgers University webpage).

[28] Glenn Gould: Variations, Ed. John McGreevy (1983).

[29] Seldes, Barry (2009). Leonard Bernstein: The PoliticalLife of an American Musician. University of CaliforniaPress.

[30] “Radical Chic”. Hope for America: Performers, Politicsand Pop Culture. Library of Congress. Retrieved Decem-ber 12, 2010.

[31] “False Note on Black Panthers”. The New York Times.January 16, 1970.

[32] Wolfe, Tom. “Tom Wolfe on Radical Chic and LeonardBernstein’s Party for the Black Panthers”. Radical Chic:That Party at Lenny’s. New York. Retrieved December11, 2010.

[33] Wolfe, Tom (June 8, 1970). “Radical Chic: that Party atLenny’s” (PDF). New York. Retrieved March 1, 2010.

[34] “Leonard Bernstein: A political life”. The Economist.May 28, 2009. Retrieved December 12, 2010.

[35] Bernstein, Felicia M. (January 21, 1970). “Letters to theEditor of The Times: Panthers’ Legal Aid”. The New YorkTimes.

[36] “The Social Activist”. Bernstein: The Best of All PossibleWorlds. Carnegie Hall Corporation. Retrieved December12, 2010.

[37] Fruchter, I'm Chevy Chase... and you're not, p. 184

[38] Leonard Bernstein and Maximilian Schell discussingBeethoven’s 6th and 7th Symphony on YouTube, videoclip, 9 minutes

[39] Naxos (2006). "Ode To Freedom – Beethoven: SymphonyNo. 9 (NTSC)". Naxos.com Classical Music Catalogue.Retrieved November 26, 2006.

[40] http://www.leonardbernstein.com/pfr/pfr_FALL05_rev2.pdf

16 13 EXTERNAL LINKS

[41] “History of the Leonard Bernstein Center for Learning”.http://webadrenaline.com. Retrieved 2015-01-02.

[42] Garrison Keillor (August 25, 2003). “The Writer’s Al-manac”. American Public Media. Retrieved January 17,2007.

[43] "» Died On This Date (October 14, 1990) Leonard Bern-stein / World Renowned Composer The Music’s Over”.Themusicsover.wordpress.com. October 14, 2009. Re-trieved May 3, 2012.

[44] See the TV Documentary: Leonard Bernstein: Reachingfor the Note originally shown in the series American Mas-ters on PBS in the U.S., now on DVD.

[45] “Find A Grave”. Retrieved May 17, 2015.

[46] Davis, Peter G. (May 17, 2011). “When Mahler TookManhattan.” Retrieved 2011-5-18. “Small wonder thatBernstein is buried with the score of Mahler’s Fifth Sym-phony placed over his heart.”

[47] Bernstein:The Best of All Possible Worlds. “Causes andEffecting Change”.

[48] http://www.history.com/this-day-in-history/bernstein-copland-seeger-and-others-are-named-as-communists?et_cid=76800153&et_rid=1221598356&linkid=http%3a%2f%2fwww.history.com%2fthis-day-in-history%2fbernstein-copland-seeger-and-others-are-named-as-communists

[49] “Fear On Trial” by John Henry Faulk

[50] “The Jury Returns” by Louis Nizer

[51] “Temple Emanuel”.

[52] Harrison, Eric (August 9, 1993). “The maestro’s legacyreverberates in Nashville : Leonard Bernstein’s dream ofcreating a center that integrates the arts and the classroomis in full swing”. Los Angeles Times (Los Angeles). Re-trieved Oct 11, 2011.

[53] Cott, Jonathan. “Leonard Bernstein-The Last Interview”.Rolling Stone, New York, 28 November 1990: 70-93, 130

[54] “THE LEONARD BERNSTEIN ARTFUL LEARNINGMODEL: A CASE STUDY OF AN ELEMENTARYSCHOOL”. http://digitalcommons.nl.edu. Retrieved2013-12-01.

[55] “Leonard Bernstein’s Arts-Based Education Revolution”.http://www.huffingtonpost.com. Retrieved 2013-06-12.

[56] “Artful Learning Model”. http://www.leonardbernstein.com/''. The Leonard Bernstein Center. Retrieved 7 Febru-ary 2015.

[57] Holmes, John L. (1982). Conductors on Record. UK:Greenwood Press. ISBN 0-313-22990-2.

[58] In the 1978 Peter Rosen documentary Leonard Bernstein:Reflections, now available on a Medici Arts DVD.

[59] Retrieved January 21, 2011.

[60] Gruen, John and Heyman, Ken (1968).The Private Worldof Leonard Bernstein. New York: The Viking Press.

[61] Copland, Aaron and Perlis, Vivian (1984). Copland Since1943, p119.

[62] Finding aid for the George Trescher records related to TheMetropolitan Museum of Art Centennial, 1949, 1960-1971 (bulk 1967-1970). The Metropolitan Museum ofArt. Retrieved 6 August 2014.

[63] “Book of Members, 1780–2010: Chapter B” (PDF).American Academy of Arts and Sciences. Retrieved June24, 2011.

[64] “Leonard Bernstein (composer, conductor and pianist)".Gramophone.

[65] “Theater Hall of Fame members”.

[66] “Television Hall of Fame Honorees: The Complete List”.

12 Further reading• Burton, Humphrey (1994). Leonard Bernstein. NewYork: Doubleday. ISBN 0-385-42345-4.

• Gottlieb, Jack (ed.) (1992). Leonard Bernstein’sYoung People’s Concerts (revised ed.). New York:Anchor Books. ISBN 0-385-42435-3.

• Bernstein, Burton; Haws, Barbara, eds. (2008).Leonard Bernstein: American Original. Containschapters by Alan Rich, Paul Boyer, Carol J. Oja,Tim Page, Burton Bernstein, Jonathan Rosenberg,Joseph Horowitz, Bill McGlaughlin, James M.Keller, and John Adams. NewYork: HarperCollins.ISBN 0-06-153786-1.

• Chapin, Schuyler (1992). Leonard Bernstein: Notesfrom a Friend. New York: Walker. ISBN 0-8027-1216-9.

• Rozen, Brian D. (1997). The Contributions ofLeonard Bernstein to Music Education: An Analy-sis of his 53 Young People’s Concerts. Thesis (PhD).Rochester, New York: University of Rochester.OCLC 48156751.

• Laird, Paul R. (2002). Leonard Bernstein: A Guideto Research. New York: Routledge. ISBN 0-8153-3517-2. (online Life at Google Books)

• Secrest,Meryle, Leonard Bernstein A Life, AlfredA. Knopf, 1994, isbn=0679407316.

• Simeone, Nigel (2013). The Leonard Bernstein Let-ters. Yale University Press. ISBN 9780300179095.

13 External links• Official website

• Discography

17

• The Leonard Bernstein Collection at the Library ofCongress Music Division

• Leonard Bernstein discography at MusicBrainz

• Discography at SonyBMG Masterworks

• Bernstein’s Boston, a Harvard University researchproject

• Find A Grave - Leonard Bernstein

• FBI file on Leonard Bernstein

• Leonard Bernstein Festival of the Creative Arts

• Gay Great – Leonard Bernstein

• Radical Chic, a book by Tom Wolfe describing agathering at Bernstein’s apartment of New York’ssocial elite and the Black Panther Party.

• Leonard Bernstein: A Total Embrace of Music,written by Peter Gutmann, music journalist.

• Arias and Barcarolles, The Leonard Bernstein Pages

• Leonard Bernstein at the Internet Movie Database

• Leonard Bernstein at the Internet BroadwayDatabase

• Leonard Bernstein at the Internet Off-BroadwayDatabase

• Leonard Bernstein’s maximum card from Israel

• Obituary, New York Times, October 15, 1990

• Leonard Bernstein: American Original (Harper-Collins, 2008) Chapters by Alan Rich, Paul Boyer,Carol J. Oja, Tim Page, Burton Bernstein, JonathanRosenberg, Joseph Horowitz, Bill McGlaughlin,James M. Keller, John Adams

• Pacific Music Festival, founded by Leonard Bern-stein and Michael Tilson Thomas

18 14 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

14 Text and image sources, contributors, and licenses

14.1 Text• Leonard Bernstein Source: https://en.wikipedia.org/wiki/Leonard_Bernstein?oldid=678308121 Contributors: Ed Poor, Danny, Deb, Zoe,Camembert, Someone else, Nevilley, Jdlh, Infrogmation, Liftarn, Gabbe, IZAK, TakuyaMurata, Flamurai, Paul A, Uri~enwiki, Deisenbe,EdH, Alex S, Harris7, Viajero, Rednblu, Selket, Hyacinth, Cleduc, Itai, Ed g2s, Bevo, Raul654, AnonMoos, Hawstom, CacoDaimon, Se-cretlondon, Johnleemk, Bearcat, Branddobbe, Robbot, Donreed, Altenmann, Timrollpickering, Acegikmo1, Jeroen, UtherSRG, Wikibot,JackofOz, Michael Snow, JerryFriedman, SoLando, Oobopshark, MikeCapone, Tobias Bergemann, Nunh-huh, MSGJ, Lestatdelc, Gua-naco, BigHaz, Mboverload, Tagishsimon, SURIV, Aurevilly, Formeruser-81, Antandrus, Paddyez, Jokestress, RetiredUser2, Ganymead,Pmanderson, Jesta, TiMike, Marcus2, Ukexpat, Clemwang, D6, DanielCD, Mindspillage, Rich Farmbrough, Guanabot, Autiger, Dagonet,Byrial, Bender235, MBisanz, Zenohockey, Kwamikagami, Shanes, Phiwum, Pablo X, Thuresson, Iamunknown, Arcadian, Aquillion, Acje-len, Rajah, Darwinek, Nsaa, Espoo, Jumbuck, Schissel, Alansohn, Gary, Gsteff, PaulHanson, CyberSkull, Philip Cross, Kevin MMarshall,Cdc, Jliberty, A Kit, Snowolf, Ksnow, BanyanTree, Sketchee, Deadworm222, Fantumphool, Johnwcowan, Pcpcpc, Richard Arthur Norton(1958- ), CCooke, Before My Ken, Kmg90, Spidermonkey, Akira625, Zzyzx11, Wiki-vr, Dysepsion, Emerson7, Paxsimius, Mandarax,BD2412, Kbdank71, Ted Wilkes, Reisio, Rjwilmsi, Zbxgscqf, George Burgess, Brendan Vox, Missmarple, The wub, TBHecht, FlaBot,RobertG, Ground Zero, JdforresterBot, AGGoH, DrG, Gareth E Kegg, Chobot, Flcelloguy, Melodia, Ben Tibbetts, YurikBot, Wavelength,S.Camus, Fayte, RussBot, JP Watrin, Grubber, Schlockading, Flyguy33, Alohawolf, Stephen Burnett, Badagnani, Robaato, Inhighspeed,PhilipC, Misza13, Tony1, Leotohill, David Underdown, Omtay38, J. Van Meter, Nikkimaria, Chase me ladies, I'm the Cavalry, Arnie587,Closedmouth, Kenbarr, Bandurist, Whobot, Stevouk, Dean Sayers, Neoaeolian, Jonathan.s.kt, Crunch, Ranthlee, Zvika, Elliskev, Cdixon,DVD R W, Finell, Tom Morris, Vulturell, SmackBot, Davepape, Lestrade, Symphony Girl, SaxTeacher, KocjoBot~enwiki, Piccadilly,Gaff, Yamaguchi , Gilliam, Chris the speller, Polymathematics, Kleinzach, G.dallorto, MalafayaBot, Roscelese, SchfiftyThree, FordPre-fect42, Gaagaagiw, Caterpillar 36, Colonies Chris, Springeragh, Yid613, Dethme0w, Mwinog2777, Claire van der Meer, Grover cleve-land, J.R. Hercules, Dondoolee, GuillaumeTell, Yulia Romero, Derek R Bullamore, Hl, KeithB, Of7271, Luke C, Drumnbach, Cvieg,Ohconfucius, Thomaspaine, Bhami, SashatoBot, Nishkid64, MusicMaker5376, Ser Amantio di Nicolao, MegA, Srikeit, Kuru, MIsterMan,Edwy, Ckatz, Voceditenore, Slakr, CharlesMartel, MTSbot~enwiki, Phaeton23, Violncello, Hu12, Ginkgo100, Levineps, Paul venter,Catherineyronwode, Tsango, SweetNeo85, AGK, Bottesini, Wspencer11, Dlohcierekim, Cmulrooney, Dia^, CmdrObot, Softlord, Mat-tbr, AlbertSM, Darius825, Erik Kennedy, Smpflueger, Schweiwikist, Dgw, ShelfSkewed, Sbpat21, Ken Gallager, IrishJew, No1lakersfan,Ron Oliver, Alton, Cydebot, Slp1, Jack O'Lantern, Gogo Dodo, Bellerophon5685, Chasingsol, Jameboy, DavidRF, Shirulashem, Af-ter Midnight, Augustusr, Thijs!bot, Fisherjs, Barticus88, TonyTheTiger, Daniel, Mibelz, Andyjsmith, Marek69, ThatGuamGuy, Mr.Brain, Massimo Macconi, MisterSpike, Scottandrewhutchins, Atavi, Tjmayerinsf, Fayenatic london, Sedenko, Jessiejames, Jim Jackson,X4n6, Mwprods, Deflective, Kosboot, Adam 1212, Dsp13, Bahar, TAnthony, PhilKnight, Rothorpe, Sangak, Magioladitis, Bongwarrior,VoABot II, Redglasses, Freefry, Twsx, Gang14, LeaHazel, Catgut, Ashadeofgrey, Tlmclain, DerHexer, Mokgamen, Flami72, Donallen,Gwern, MartinBot, Tvoz, Rettetast, Anaxial, Bus stop, R'n'B, Johnpacklambert, J.delanoy, Pharaoh of the Wizards, Trusilver, Thoma-solson, Richard Lauren, Ulyssesmsu, Perskram, Rrawpower, Uncle Dick, Ginsengbomb, Athaenara, Jreferee, Quincunxcats, Mind meal,Icseaturtles, Sallyrob, McSly, Barbara Haws, Supuhstar, Ipigott, JamieB NYC, Canadian Scouter, DadaNeem, Stewie3128, TheScotch,Robertgreer, Whjayg, Mayerovitch, Kate0455, Juliancolton, Cometstyles, Royalcello, Kaihoku, Bdbd, Jdreed08, RJASE1, Spellcast, Deor,Nburden, Tesscass, Jameslwoodward, Lanapopp, Philip Trueman, Agha Nader, Bbik, Flyte35, Java7837, DevAlt, Sswonk, Nrswanson,GcSwRhIc, Mocean, MUSIKVEREIN, Absalom89, Classiko, Goatonastik, Slysplace, LeaveSleaves, BotKung, MacKenzie Strickland,Cdrummond, Softlavender, ColdChowMein, Turangalila, Truthanado, Eddie-ginnley, Bernstein2291, Reginald Perrin, Jvaughan88, Bran-don97, Walesintheusa, ProtoKun7, Cosprings, Ponyo, SieBot, Caulde, Caltas, Sebum-n-soda, Vobor, Tiptoety, Alexbrn, CutOffTies, Light-mouse, Mmeboudreau, Jsqqq777, Reginmund, Correogsk, Stfg, Seaaron, Marleysdad, OboeCrack, Wikihw, Denisarona, Xyz7890, Tri-pod86, Diora, DonPevsner, ClueBot, Timeineurope, Foosballking, The Thing That Should Not Be, All Hallow’s Wraith, Meisterkoch, Artleonard, Bellperc, Kentucknob, Boing! said Zebedee, DragonflyDC, Lenrodman, DifferCake, Stahlbrand, Solar-Wind, Ujm90, Ktr101,Jusdafax, Mack-the-random, Plasynins, Npavkovic, Westofpch, JasonAQuest, Mlaffs, La Pianista, Light show, Aitias, Berean Hunter,Veronique50, Egmontaz, Goodvac, Liberal Humanist, Miami33139, Glen Twenty, Fotiu, Gwandoya, Werdnawerdna, Chanakal, Vajj123,Skarebo, ZooFari, Bmlevine, Kbdankbot, OllieOwl, Addbot, Some jerk on the Internet, Captain-tucker, Bleurose51, Otisjimmy1, Lp-nprocks, Quietplot~enwiki, AkhtaBot, Refractions, CarsracBot, BepBot, Jgardenour, Zero no Kamen, Doniago, LinkFA-Bot, JGKlein,VaticanStartrooper, Squandermania, Tassedethe, Tide rolls, Lightbot, Kiril Simeonovski, ,زرشک Vistalover, DrFO.Tn.Bot, Cote d'Azur,Luckas-bot, JeanneShade, Yobot, Fraggle81, Legobot II, Donfbreed, Juqipedia, THEN WHO WAS PHONE?, Nallimbot, Classicalge-nius, Pohick2, AnomieBOT, XL2D, Angelsoft23, 1exec1, Jclos, Kingpin13, Materialscientist, Citation bot, Intoaside, Didaktron, Lit-eraryMaven, Kellogg257~enwiki, LilHelpa, Xqbot, Mjacton, Jordav, DanielS-78, Squarejoint, Gavmick007, Atspple, Karljoos, Aclar-inet62, Aibot, Sir Stanley, Off2riorob, Mi-parti, Corruptcopper, Herbertvonkarajan, Buckeyebrett, Omnipaedista, RibotBOT, Uranrising,Erik9bot, Thehelpfulbot, FrescoBot, Lelepat, D'ohBot, Msplay4, SF88, Citation bot 1, Singingdaisies, Jvaughan1988, Pinethicket, Vicenar-ian, Grammarspellchecker, Rokaszil, LittleWink, Herr uebermann, Hamtechperson, Geogene, NarSakSasLee, Snide-info, Phrontis, GerdaArendt, Eashman, The big gross, MacGilvennehy, Mean as custard, RjwilmsiBot, Alph Bot, Aircorn, DASHBot, EmausBot, John of Read-ing, Orphan Wiki, Aoife1234, GoingBatty, RA0808, 4meter4, Jacobbbbbbb, Bettymnz4, Solarra, Lockie75, Wikipelli, K6ka, Jg2904,Josve05a, JFriedmann, Medeis, Cubanabop, Fugbachgasse, DASHBotAV, Mjbmrbot, Heilhitla, ClueBot NG, Elizabeth Darnell, Kbojan,BCarruthers85, Peeshi, Colinandjane, Braincricket, DetailDee, Eeeliii, Widr, Domsy66, Bostonbarney, Flynnmalcolm, Helpful Pixie Bot,Furor Teutonicus, Langschlussel, BobPliskin, Mala5390, Westsidestory98, Nimgap, Yerevantsi, Stevensigurdson, Miloforever, Toccataquarta, Hurricanefan24, Hhthomas, Chamberednautilus, Klilidiplomus, Rcram, Merlaysamuel, Slickyrider, BattyBot, Justincheng12345-bot, ChrisGualtieri, Magic.towers, David Regimbal, Khazar2, Juniperpaul, Jawaglen, Dexbot, Cwobeel, Mr. Guye, Gkornbluh, Lugia2453,VIAFbot, 83e778e, Choor monster, Bobboport, Hm880914, Grant1010101, Kitty1976, Refusecollection, Suffolkcoastal, Bassogenie,Monochrome Monitor, Marigold100, Ginsuloft, George8211, American Masters, PDGPA, Artandall, Fag69buttsex, Charge2charge, Bar-bara.steinberg, Bunkyray5, GinAndChronically, Anne F. 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