Leonard Bernstein

Leonard Bernstein's Candide Suite transcribed for Symphonic Wind Band by Clare Grundman. Full set of Parts.

Leonard Bernstein's music will forever be a highlight of American theatre history and his compositional style continues to influence contemporary song writing. This inspirational finale from Candide gives you a wonderfulopportunity to expose your players to one of the most enduring stage works of our time.

This musical classic has found a new voice with a recent revival on Broadway. Filled with energetic music by Leonard Bernstein and great lyrics by Betty Comden and Adolph Green the story of moving to “The Big Apple”has never been better. Includes: Christopher Street Ohio One Hundred Ways to Lose a Man (I Want) a Quiet Girl Swing and It's Love.Available separately: SATB SAB and 2-Part. ShowTraxCD and I-Pak also available. Performance time approx. 9:30

from West Side Story-From one of the greatest musicals of all time here is Bernsteins ever-popular Mambo in a carefully adapted and edited version that reduces some of the extreme technical demands of the original. This arrangement is notatedin cut time for ease of reading and is scored a third lower. However none of the authenticity or energy has been altered resulting in a stunning showcase for concert or festival or even an encore.

La gloire de Leonard Bernstein comme chef d'orchestre et générale phénomène culturel a éclipsé son génie de compositeur, malgré le fait qu'au moins certains de sa musique orchestrale est entré dans le répertoire standard et a réalisé une mesure bien méritée de la popularité. En fait, sa réussite dans le domaine de la musique 'sérieuse' est à la fois plus grandes et plus importantes que ce qui est généralement admis. Il comprend trois symphonies, plusieurs pièces remarquables pour les solistes et orchestre, ballets qui sont souvent exécutés de concert, des suites de ses oeuvres scéniques différents, de la musique pour voix et orchestre, et un nombre important d'ouvertures et de courtes pièces. Dans l'ensemble de cette musique, le niveau de Bernstein de l'artisanat et de l'inspiration reste constamment élevée. Encore plus remarquable, et malgré son implication tout au long comme un chef d'orchestre en présentant les oeuvres d'autres compositeurs, sa personnalité et un style d'animer tous les bars. L'appel direct émotif de l'oeuvre originale de Bernstein a toujours parlé le plus directement à mélomane public (par opposition aux critiques ou universitaires), et si ce livre, en tandem avec le CD d'accompagnement, décrit l'ensemble de sa musique de concert significatif dans une analyse détaillée, mais façon accessible pour les auditeurs qui veulent explorer sa production riche et variée et colorée orchestre - à la fois le familier et l'inconnu - de façon plus approfondie. / Livre

French and Latin Choruses-In 1955 while in the midst of working on a musical version of Voltaire's Candide with the distinguished American playwright Lillian Hellman Leonard Bernstein composed French and Latin choruses as incidental music to the play The Lark adapted by Miss Hellman from the original French version by Jean Anouilh. Since the drama was about the of Joan of Arc Bernstein?s music was deliberately evocative of that Saint?s medieval era. For unaccompanied mixed choir or septet of solo voices (SSMezTTBB) and percussion ad libitum. French and Latin.

French Choruses-In 1955 while in the midst of working on a musical version of Voltaire's Candide with the distinguished American playwright Lillian Hellman Leonard Bernstein composed French and Latin choruses as incidental music to the play The Lark adapted by Miss Hellman from the original French version by Jean Anouilh. Since the drama was about the of Joan of Arc Bernstein’s music was deliberately evocative of that Saint’s medieval era.For men's choir or quartet of soloists (TTBarB) a cappella percussion ad libitum. French.

The first theme of Slava! is a vaudevillian razz-ma-tazz tune filled with side-slipping modulations and sliding trombones. The second theme is a canon and after a brief development section the two themes recur in reverse order. Near the end they are combined with a quotation (proclaimed by the ubiquitous trombones) from the Coronation Scene of Moussorgsky's 'Boris Goudonov' where the chorus sings the Russian word slava! meaning glory!   In this way the composer is paying homage to his friend Mistislav Rostropovich called 'Slava' by his friends and to whom the overture is fondly dedicated. The overture was written to celebrateRostropovich's inauguration as music director of the National Symphony Orchestra in Washington D.C. in 1977. Leonard Bernstein the son of a Russian immigrant was born near Boston Mass. and studied composition at Harvard. Called 'an authentic American hero an arts hero ' Bernstein had a distinguished career as composer and conductor. – James Huff

Prelude-For mixed choir or septet of soloists (SSATTBB) a cappella. Latin.In 1955 while in the midst of working on a musical version of Voltaire's Candide with the distinguished American playwright Lillian Hellman Leonard Bernstein composed French and Latin choruses as incidental music to the play The Lark adapted by Miss Hellman from the original French version by Jean Anouilh. Since the drama was about the of Joan of Arc Bernstein’s music was deliberately evocative of that Saint’s medieval era.