BERNSTEIN CANDIDE OVERTURE SCORE PDF

The work was extremely unsuccessful during its Broadway premiere in , and it is primarily only as an overture that the music is remembered at all today. The overture was premiered by the New York Philharmonic Orchestra in with Bernstein conducting and became almost an instantaneous orchestra and concert band staple. The work is extremely quick-paced, with a feverish excitement that begins from the first breath of sound. Each player of the ensemble, whether an orchestra or concert band, is required to perform with the utmost of virtuosity, and the work requires an immensely together ensemble. Many of the meters are in seven beats or of other non-traditional types, and they quickly change. Short, full ensemble statements open the work, and this beginning idea intermittently appears several times throughout the work, almost as a reminder of what has been and that it is still the same work.

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First performance: December 1, , New York. Attempts to draw comparisons between his life and works and those of his predecessors in the late 19th and early 20th centuries often lead to failure. His place in history will most likely be ensured due to his unique and multifaceted career. Unlike Mahler, however, Bernstein was also a composer of music intended for popular consumption, such as his Broadway musical West Side Story.

Bernstein attempted to do everything—to be, in essence, a 20th century Renaissance Man. Though by the general public, he may always be remembered as a conductor, he confided to friends that he would rather be considered a composer. As a composer, Bernstein moved easily between established European traditions and those of American jazz. This was particularly true in his compositions for the musical theater. Here, his inspiration was most certainly the works of Kurt Weill, who was able to meld social commentary and irony using the kaleidoscopic styles of popular music.

The libretto was adapted by Lillian Hellman and then further refined by Dorothy Parker and Bernstein, among others.

One would have to go back to Rossini to find an overture that so completely captures the sense of fun that will follow. Mozart would have easily recognized the form of the work. It opens with a short fanfare and then delivers a succession of themes at breakneck speed. Candide was first produced on Broadway in It never really caught on with the public. Bernstein revised it in and again just a year before his death. Concert is Canceled.

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First performance: December 1, , New York. Attempts to draw comparisons between his life and works and those of his predecessors in the late 19th and early 20th centuries often lead to failure. His place in history will most likely be ensured due to his unique and multifaceted career. Unlike Mahler, however, Bernstein was also a composer of music intended for popular consumption, such as his Broadway musical West Side Story. Bernstein attempted to do everything—to be, in essence, a 20th century Renaissance Man. Though by the general public, he may always be remembered as a conductor, he confided to friends that he would rather be considered a composer. As a composer, Bernstein moved easily between established European traditions and those of American jazz.

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Overture to Candide

Before long, LaTouche was replaced by poet Richard Wilbur. Hellman, Bernstein, and Wilbur worked periodically over the next two years but labored in earnest through , a year when Bernstein was simultaneously composing West Side Story. By October , Candide was ready for performances in Boston, where Dorothy Parker contributed lyrics to "The Venice Gavotte" while Bernstein and Hellman had also added lyrics of their own to other numbers. The lyricist credits were already beginning to mount up. Although the theme of political aggression originally attracted Lillian Hellman to the project, her sharpest writing on the topic was ironically jettisoned while the show was still out of town. Fortunately, the original cast album was recorded by Columbia Records, so the music thrived. In , a full-scale production in London, England, was prepared, with a revised book credited to Lillian Hellman assisted by Michael Stewart, and one new musical number "We Are Women," a duet for Cunegonde and the Old Lady, with lyrics by Leonard Bernstein.

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