In the 1964 and 1980 revivals. In 1961, Bernstein prepared a suite of orchestral music from the show, titled Symphonic Dances from West Side Story. Program Notes; Articles. Symphonic Dances from West Side Story. Favorites of the musical’s songs are found in the pages of the Symphonic Dances. Program Notes; Articles. Symphonic Dances from West Side Story. Favorites of the musical’s songs are found in the pages of the Symphonic Dances. Symphonic Dances from West Side Story. Than in his score to West Side Story. The Symphony Tacoma Voices and a cast. Program notes for.

Bernstein: Overture to Candide Bernstein: On The Waterfront Bernstein: Symphonic Dances from West Side Story Bernstein: Suite No. 2 from West Side Story Soloists: Maria: Tess Altiveros Anita: Elizabeth Galafa Rosalia: Bianca Raso Consuela: Dawn Padula Tony: John Marzano Riff: John Arthur Greene Bernardo: Casey Raiha Symphony Tacoma Voices Geoffrey Boers, director Music critic Donal Henahan called Leonard Bernstein “one of the most prodigiously talented and successful musicians in American history.” Known to friends and fans as “Lenny,” he was an accomplished composer, conductor, pianist, and humanitarian. Storia Della Letteratura Inglese Pdf Writer. In observance of the international Bernstein at 100 celebration, Symphony Tacoma presents works from this great personality known for his message of understanding and hope–nowhere better demonstrated than in his score to West Side Story. The Symphony Tacoma Voices and a cast of 7 stellar vocal soloists will join the Orchestra for this unforgettable and moving performance. To read the program notes for this concert,. To listen to Backstage Pass Episode IV, Executive Director Andy Buelow’s podcast interview with Music Director Sarah Ioannides–musical samples included–click on the graphic below.

Shall We Dance? Molecular Descriptors For Cheminformatics Pdf To Word. January 12, 2013 PROGRAM NOTES by Jim Yancy Leonard Bernstein (1918-1990) Symphonic Dances from West Side Story Prologue: Allegro moderato “Somewhere”: Adagio Scherzo: Vivace leggiero Mambo: Presto Cha-Cha (Maria): Andantino con grazia Meeting Scene: Meno mosso “Cool”, Fugue: Allegretto Rumble: Molto allegro Finale: Adagio West Side Story, with a book by Arthur Laurents and lyrics by Stephen Sondheim, opened at the Winter Garden Theater on September 26, 1957.

It was, of course, famously adapted from Shakespeare’s Romeo and Juliet. Unlike the unsuccessful Broadway run of Bernstein’s Candide a year earlier, this show ran for 772 performances and 253 more when it returned to New York after a tour. Jerome Robbins was both director and choreographer. Some commentators felt that West Side Story was the great American opera that composers had been trying to write for decades, but Bernstein felt the work was not an opera, but a bona fide Broadway musical, even though it did break new ground in many ways: “So much was conveyed in music, including the enormous reliance upon dance to tell plot – not just songs stuck into a book.” The Symphonic Dances were first performed on February 13, 1961, by the New York Philharmonic under Lukas Foss.

Sisters Of Mercy Peel Sessions Rarlab. The Prologue depicts the growing rivalry and rising violence between two New York street gangs, the Jets and the Sharks. A dream sequence envisions the two gangs joined in peaceful friendship “Somewhere” beyond the city walls united in a realm of space, air, and sun (Scherzo). Real life breaks in at a high school gymnasium dance where the two gangs compete in a Mambo. Here too the two young lovers, Tony and Maria, see each other for the first time, dance together (Cha-Cha) and speak for the first time (Meeting Scene).

The Jets try to control their nervous violence (“Cool,” Fugue), but their hostility breaks out in a climactic gang battle (Rumble) where the rival gang leaders are killed. The Finale is based on Maria’s “I Have a Love” which recalls the death of Tony and the other young men and the vision of “Somewhere.” Morton Gould (1913-1996) Tap Dance Concerto Ever since the time of Antonio Vivaldi, concerti have been written for almost every conceivable kind of instruments or instruments with orchestra. Not until Morton Gould wrote his Tap Dance Concerto, however, was a composition ever created that made use of the sound of a dancer’s feet as a “solo instrument” in a concerto with orchestra. The Tap Dance Concerto received its premiere at a concert of the Rochester Philharmonic Orchestra on November 16, 1952. The concerto is in four relatively short movements. The first is an animated “Toccata” that includes an extended solo cadenza near the end. This is followed by a slower, quietly subdued “Pantomime”; a graceful, somewhat restrained “Minuet,” and a brilliant, rapid-fire “Rondo.” Gould has said that he “utilized the tap-dance medium as an integrated rhythmic and dynamic part of the orchestral texture,” adding that the tap-dance patterns notated in the score “may be elaborated upon by the individual tap-dance soloist, it being important, however, to keep the basic rhythmic designs so that the work has an organized and formal consistency.” Serge Prokofiev (1891-1953) Romeo and Juliet, Suite No.