Bernstein Century Bernstein On Jazz -

Despite the increasing appeal of usual music, orchestral music has flourished in the innovative era, many times looking to substitute influences and stylisms. Here are galore of the most famous progressed composers.

Bela Bartok (1881-1945) drew on his Hungarian folk roots to revolutionise opera, chamber music and ballet. Regarded as a great thinker as well as a musician, his influence will stay for years to come.

Philip Glass (1937- ) started out as a minimalist with works such as ‘Strung Out’ but later expanded his oeuvre into symphony with operas like Satyagraha, based on the life of Mahatma Gandhi. Glass is active in the Free Tibet cause.

Noted for his outstanding leaps forward in total serialism, Pierre Boulez (1925- ) is one of France’s most widely known and esteemed innovative composers. Although he hasn’t composed much in recent years, his greatest work is considered to be ‘Pli Selon Pli’, based on the verse of the poetical Mallarmé.

Most widely known and esteemed for his opera ‘Peter Grimes’, Benjamin Britten (1913-76) was the leading light of Britain’s classical music scene in the twentieth century. He was above all a deeply moral artist, expressing an enmity towards violence with his acclaimed ‘War Requiem’.

The most important exponent of the postmodern movement, Karlheinz Stockhausen (1928-2007), simultaneously delighted and outraged the public with operas such as ‘Light’ in which the members of a string quartet were suspended by helicopters above the venue they were performing at. The conductor Sir Thomas Beecham was once famously asked if he had ever conducted any Stockhausen. He replied that he hadn’t, but he might well have trodden in some.

Another of the world’s most widely known and esteemed composers was Igor Stravinsky (1882-1971) who turned his back on Romanticism in favour of a more avant-garde, irregular style epitomised by the ballet ‘Firebird’. He then reworked a number of classic compositions in a modernist, experimental manner. He is roday regarded as highly influential on French and American classical music.

Leonard Bernstein (1918-1990) embraced the broadening media-music sphere to become a TV star, a outstanding pianist and a conductor as well as arguably the finest American classical artisan of his time. As well as writing ballets and operas he turned his hand to usual musicals, creating such hits as ‘West Side Story’.

Like Bernstein, George Gershwin (1888-1937) likewise expanded his horizons by composing Broadway musicals such as ‘Oh Kay’, ‘Strike Up the Band’ and ‘Girl Crazy’. He likewise absorbed the influence of the jazz that was standard in his time to write the iconic ‘Rhapsody in Blue’. Gershwin’s last remarkable composition was ‘Porgy and bess’ which integrated the music and experience of African-Americans in a totally unexampled way. Along with the others in the list, Gershwin may genuinely be one of the biggest and most widely known and esteemed modern composers to have blessed the world.

Bernstein Century Bernstein On Jazz Picture

Bernstein Century Bernstein On Jazz Image

Bernstein Century Bernstein On Jazz Pic

Bernstein Century Bernstein On Jazz Image

Bernstein Century Bernstein On Jazz Picture

Bernstein Century Bernstein On Jazz Image

Most helpful customer reviews

23 of 24 people found the following review helpful.
Great Perspective and Insight!
By A
Bernstein provides a unique and wonderful look at America’s original artform, jazz. In contrast to traditional, chronological approaches, Bernstein breaks down the musical components of jazz such as rhythm, melody, and harmony, and discusses the way they are used differently in comparison with Western European musics. Bernstein has a knack for discussing complex material and stating it in a way that all can understand, which is very evident here. Armstrong and Brubeck work wonderfully with the New York Phil. This is a must have for those just getting into jazz, jazz enthusiasts, and music educators.

6 of 6 people found the following review helpful.
Insightful and informative
By Eric C. Sedensky
Bernstein’s approach to the subject of jazz is not so much a “book” approach as a “sound” approach. He analyzes the music itself and provides insight and perspective into the essence of jazz that few instructors before him have. Expecially helpful are the ditties he uses where he takes away the element of jazz (such as the blues scale or syncopation) so the listener can hear what a piece of music would sound like if it did not contain the essential elements of jazz. The CD is full of useful nuggets of information, some of which put a smile on my face for a whole day, because I had the feeling of knowing something that no one else did. (Like, did you know: classic blues lyrics are written and sung in iambic pentameter? It’s true, and he puts together a blues riff with Macbeth to prove it. Very cool.) I recommend this CD to anyone who is interested in learning about jazz. It might not get too much repeat listening, but the first or second time through it is definitely worth it.

3 of 3 people found the following review helpful.
The great educator’s short intro to jazz — excellent!
By T. Fisher
I just love listening to Leonard Bernstein talking about music. I am a music lover with broad tastes, but have only rudimentary training in music theory. Bernstein had a great knack for speaking meaningfully about music for the lay audience, explaining complex ideas in ways that the untrained can still understand. Of course he spoke differently to professionals — there is great footage out there of him in rehearsal with orchestras — but whether on disc or television, he never talked down to the average listener.

The heart of this album is Bernstein explaining jazz from a musical perspective — melody, syncopation, structure, the nature of improvisation, and a brief discussion of the various forms of jazz as of the time of the recording in 1956. Bernstein’s talk is a reprise of his successful television program in 1955 on the “Omnibus” program, which is also available on DVD in this set. Bernstein is still working from the same basic script as the television show, with some refinements. Most notably, the TV show culminated with a performance of Bernstein’s own composition “Prelude, Fugue and Riffs”, while this record closes with an extended cool jazz version of “Sweet Sue”, the old tune that is used over and over in both the album and the TV show to illustrate various concepts.

The talk may seem a little dated in parts — particularly Bernstein’s need to defend jazz as an art form, which may have been a controversial idea in some circles in 1955, but is pretty ho-hum today. Also, his use of the word “Negro”, which makes us cringe today but must be taken in the context of the time.

The album has two other musical features — a 10-minute “Concerto Grosso” version of St. Louis Blues featuring Louis Armstrong and his band with the New York Philharmonic (performing under a summer outdoor pseudonym…) under Bernstein. I’m not sure the orchestra really adds all that much to Armstrong’s performance. As Bernstein himself tells the audience in remarks on the CD after the music stops: “When we play the St. Louis Blues, we are only doing a blown-up imitation of what [Louis Armstrong] does. And what he does is real, and true, and honest, and simple, and even noble.” But this is still a great recording for its historic value and interest.

The other is the 21-minute “Dialogues for Jazz Combo and Orchestra” featuring the Dave Brubeck Quartet and the New York Philharmonic. This one really is written for jazz combo and orchestra and sounds more natural than the St. Louis Blues. A great, well-integrated piece.

This album is highly recommended! A great classic not to be missed.

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