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. 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.

Theme that accompanies the fight scenes and foreshadows the gang-fight dance numbers from West Side Story. The Symphonic Dances. Program Notes.

The Symphony Tacoma Voices and a cast of 7 stellar vocal soloists will join the Orchestra for this unforgettable and moving performance. Detto E Fatto Sintassi Pdf To Word. Easy Hide Ip 3 3 Crackling. 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.

MW3 – West Side Story Leonard Bernstein On the Waterfront, Symphonic Suite Acknowledged early in his career as one of the shining lights of twentieth-century music, Leonard Bernstein soon contracted the disapproval of the classical music establishment for dissipating his enormous talent, sticking his fingers into too many musical pies: conducting, symphonic composition, jazz/classical hybridization, musical theater and teaching. Although his miscegenation of genres and styles angered purists, Bernstein’s compositions are among the most accessible and beloved by audiences. Bernstein was one of history’s most frenetic musicians. By the early 1950s, having succeeded as composer in the concert hall – his Symphony No.

1, “Jeremiah,” won the New York Music Critics’ Award – and on Broadway with On the Town and Wonderful Town, he cast around for an appropriate film project. He rejected many offers from Hollywood, but viewing the rough cuts of Marlon Brando’s acting in On the Waterfront, one of the greatest movies of the 1950s, finally inspired him to compose his only film score.

The socio-political action drama is based on a 1949 series of Pulitzer Prize-winning articles in the New York Sun, exposing labor racketeering in the New York dockyards. Ex-boxer and dockyard worker Terry Malloy (Brando), a runner for boss “Johnny Friendly,” unwittingly enables the murder of a gentle but rebellious co-worker. Pressured to both speak and remain silent in the face of a crime investigation of the longshoremen’s cartel, Terry finds redemption through the example of the tough-talking priest Father Barry (Karl Malden), his love for the murdered man's sister Edie (Eva Marie-Saint) and finally, Friendly’s murder of Terry’s own brother. The film was directed by Elia Kazan and garnered eight Oscars. Bernstein’s score was nominated but was beaten out by Gene de Paul’s score for the musical Seven Brides for Seven Brothers. Shortly after the premiere in 1954, Bernstein assembled the Symphonic Suite to “salvage some of the music that would otherwise have been left on the floor of the dubbing-room.” It has the form of a symphonic poem, loosely following the movie action. The Suite contains four principle themes, opening with a quiet, atmospheric sounding like the “Aaron Copland American sound” plus blue notes thrown in.

There follows an extensive timpani, percussion and saxophone solo initiating the “dockyard violence” theme that accompanies the fight scenes and foreshadows the gang-fight dance numbers from West Side Story. The Suite continues with a slower section that accompanies Terry’s moments of loneliness and self-doubt, gradually blending into the love between Terry and Edie, a gentle flute solo, and another forebear of Tony and Maria. The last several minutes of the Suite, however, touch only incidentally on the climactic fight between Terry and Friendly, whom Terry has denounced in court.

Instead Bernstein returns to the opening music, which now takes on an increasingly majestic mood, and eventually accompanies the badly beaten and barely conscious Terry’s stagger through the lines of Friendly’s grudgingly admiring teamsters. Joseph Schwantner New Morning for the World: “Daybreak of Freedom” Born and raised in Chicago, Joseph Schwantner studied at the Chicago Conservatory and Northwestern University to become a “classical” composer, completing a doctorate in 1968. While a student, he made his living as a jazz musician and arranger. Bureau 13 Stalking The Night Fantastic Pdf. In 1970 he was the first recipient of the Charles Ives scholarship of the American Academy of Arts and Letters and was elected to the Academy in 2002.