112 (pronounced one-one-two) is the principal emergency telephone number that can be dialed free of charge from any telephone or any mobile phone in order to reach emergency services (ambulances, fire-fighters and the police) in the European Union (EU), its candidates for accession, members of the EEA agreement, as well as several other countries in the world. It was established by a decision of the EU Council on 29 July 1991.

Since 2009 and a tripartite convention of the European Commission, the European Parliament and the Council of the EU, the European 112 Day is celebrated all over the EU on 11 February (11/2). It is the occasion to promote the existence and the appropriate use of this EU wide available emergency number. Worldwide on GSM mobile networks and their more modern equivalents.

The GSM mobile phone standard designates 112 as an emergency number, so it will work on GSM phones even in North America where GSM systems redirect emergency calls to 911, or Australia where emergency calls are redirected to 000. It is one of two numbers (the other being the region's own emergency number) that can be dialed on most GSM phones even if the phone is locked.

The number is now regulated across the EU by the Universal Service Directive.

Origins

Before 112 became a European and (via GSM) worldwide standard emergency number, it had already served for many decades as the fire brigade emergency number in Germany, Portugal, Norway, the Netherlands and Denmark and as the emergency number for the Carabinieri (gendarmerie) in Italy.

This choice of number has the following advantages: Using at least two different digits significantly reduces the risk of accidental calls from numeric keypads. Young children, vibrations, defective keys and collisions with other objects are much more likely to press the same key repeatedly rather than pressing a sequence of different keys. Accidental calls to emergency centres from mobile phones are a particular problem with same-digit numbers, such as the UK's 999. In the days of rotary dial telephones, using only those digits that require the least motion of a rotary dial (1 and 2) permitted a dial lock in hole 3 to effectively disable unauthorized access to the telephone network without preventing access to the emergency number 112. The same choice also maximized dialing speed. Additionally, in accordance to the previous point, prior to DTMF it was possible to dial "1" by shortly activating the hook, so repeatedly pushing the hook might result in calling 1-1-1. For this reason, Germany's police department emergency number was changed from 111 into 110.

Implementation

Countries which use the 112 number for emergencies include:

(alongside 999) (Gendarmerie only)

E112

E112 is a location-enhanced version of 112. The telecom operator transmits the location information to the emergency centre. The EU Directive E112 (2003) requires mobile phone networks to provide emergency services with whatever information they have about the location a mobile call was made. This directive is based on the FCC's Enhanced 911 ruling in 2001.

The new eCall project for automated emergency calls from cars is based on E1000.

116 115

Dispatchers in Finland's 112 service receive some 800 000 non-urgent calls every year. To curb this problem, which ties up precious resources, a committee proposes that Finland launch a new telephone number—116 115—for such calls. Calls to this number would also be free of charge.

114 14

The same way that 116 115 would work, Sweden and Denmark has already introduced a system where less urgent callers can call 114 14 to get connected to the local police-station. Depending on current load and situation, however, the call could potentially be connected to any station in Sweden or Denmark respectively. Calls to this number are charged according to the same rates as any other national calls.

113, 114, 115, 117, 118, 1515

In Italy, 112 will redirect to the Carabinieri. Other emergency numbers exist for other issues, such as 113 (National Police), 115 (Firefighters), 117 (Financial Police), 118 (medical emergency and alpine rescue), 1515 (State Forestry Department), 1530 (Coast Guard). However, Carabinieri can redirect the call to other needs. 114 is used in Denmark for non-urgent calls to the nearest police station. '15' is used in Pakistan for Emergency Services (15 Madadgar). 117 is used in Portugal to call Firefighters in case of forest fire.

See also

1122 Emergency phone number in Pakistan.

000 Emergency phone number in Australia.

110 Emergency phone number in Iran and in Germany (works parallel to European emergency number, 112).

111 Emergency phone number in New Zealand.

119 Emergency phone number in parts of East Asia.

911 Emergency phone number in US and Canada.

100 Emergency phone number in India and Israel.

108 Emergency phone number in some parts of India for Fire, police and Ambulance.

999 Emergency phone number in the United Kingdom, Ireland and Poland (works parallel to European emergency number, 112) and Hong Kong. Also an emergency number in several non-EU countries.

*999 Some US States have implemented *999 (Star 9-9-9) as a secondary or situation specific emergency number.

eCall

Emergency telephone

In case of emergency (ICE) entry in the mobile phone book.

International Mobile Satellite Organization

References

External links

The 112 Foundation

The European Emergency Number Association 112

ec.europa.eu/112 - The European emergency number

Category:Emergency telephone numbers Category:Telephone numbers

cs:Jednotné evropské číslo tísňového volání de:Euronotruf es:112 (teléfono) eu:112 (telefono zenbakia) fr:112 (numéro d'urgence européen) ga:112 (uimhir theileafóin) ko:112 (응급 전화번호) it:Numero unico di emergenza 112 pl:112 (numer alarmowy) ro:1-1-2 simple:1-1-2 sk:112 (telefónne číslo) sv:112 (telefonnummer) uk:112 (служба екстреної допомоги) zh:國際求救電話

name	Lou Bega
background	solo_singer
birth name	David Lubega
alias	Lou Bega
born	April 13, 1975Munich, Bavaria, West Germany
origin	Germany
instrument	Singing
genre	Pop
occupation	Singer, songwriter
years active	1988–present
label	Lautstark, BMG, RCA Records, Condon Musical Enterprise, Unicade Music, DA Music, Big Records
website	http://www.lou-bega.com
notable instruments	}}

David Lubega (born April 13, 1975), also known as Lou Bega, is a German musician of Italian and Ugandan descent, and is famous for his song "Mambo No. 5". This song is a remake of the Perez Prado instrumental from 1949. Bega added his own words to the song and sampled the original version extensively.

Biography

Bega's mother is from Calabria (Southern Italy) and his father is Ugandan. His father went to Germany in 1972 to study biology at the Ludwig Maximilian University of Munich. Until age six, Bega spent the most time with his mother in Italy. Then they lived permanently in Munich, where Bega attended German primary school. At age 15 he lived in Miami for one-and-a-half years. Bega also lived in Uganda for half a year. Currently he lives in Berlin.

Bega started his musical career as a rapper. At age of 13 he founded a Hip hop group with two other boys. It would be two years before Bega and his friends' first CD would be released in 1990. Lou Bega’s musical signature consists of combining musical elements of the 40’s and 50’s with modern beats and grooves.

His first single "Mambo No. 5" became an instant worldwide hit charting at #1 in most European countries including Germany, UK and France and at #3 in the United States. In France "Mambo No. 5" spent twenty weeks at #1, which is an unbroken record to date. It was also used by the British television broadcaster, Channel 4 for their coverage of Test Match cricket between 1999 and 2005.

On July 19, 1999 he released the album ''A Little Bit of Mambo''. It peaked at #3 in the USA. In Germany, Bega's native country, it also peaked at #3. In the UK the album peaked only at #50. ''A Little Bit of Mambo'' peaked at #1 in the album charts of Austria, Canada, Finland, Hungary, the Middle East, Portugal, and Switzerland. The second single, "I Got a Girl", charted well entering the Top 10 in some European countries including France, Finland and Belgium. The third single, "Tricky, Tricky" achieved place 18 on the Canadian charts and place 74 on the American Billboard Charts. „Mambo Mambo“ reached place 11 on the French charts.

Bega's second studio album ''Ladies and Gentlemen'' was released on May 28, 2001. "Baby Keep Smiling" is on this album, a duet with Compay Segundo from Buena Vista Social Club ''A Little Bit of Mambo'' includes a version without him. Bega also covered the standard "Just a Gigolo / I Ain't Got Nobody" on ''Ladies and Gentlemen''.

He sang the theme song for the Disney Channel animated series, Brandy and Mr. Whiskers.

In the computer game Tropico, Lou Bega is one of the characters someone can choose as their dictatorial persona. He was included as part of a licensing deal that also saw Bega's song "Club Elitaire" integrated into the German release of Tropico. Also, in the Ubi Soft/Disney Interactive video game ''Walt Disney's The Jungle Book Rhythm n' Groove'', Lou Bega participates in a challenge with his namesake. The player dances as King Louie, attempting to dance to Lou Bega's rendition of "I Wanna Be Like You". Doing so will unlock a video of him with children dancing to the aforementioned song. Bega also wrote the theme song for the French cartoon series ''Marsupilami''. This summer, Bega is scheduled to perform his first concert from the album at one of the Tampa Bay Rays Summer Concert Series.

Discography

Albums

Year

Album

Chart positions

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AUS">List of music recording sales certifications

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AUS: Platinum

International Federation of the Phonographic Industry>AUT: Gold

CRIA>CAN: 5× Platinum

International Federation of the Phonographic Industry>EU: Platinum

Syndicat National de l'Édition Phonographique>FRA: 2× Gold

Bundesverband Musikindustrie>GER:Gold

International Federation of the Phonographic Industry>SWI: Platinum

RIAA>US: 3× Platinum

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Singles

Year

Single

Chart positions

Album

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AUS">List of music recording sales certifications

Album

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AUS: 4× Platinum

International Federation of the Phonographic Industry>AUT: Platinum

Syndicat National de l'Édition Phonographique>FRA: Diamond

Bundesverband Musikindustrie>GER: 3× Platinum

NVPI>NETH: Platinum

International Federation of the Phonographic Industry>SWE: 3× Platinum

International Federation of the Phonographic Industry>SWI: 2× Platinum

British Phonographic Industry>UK: Platinum

*SWE: Gold

Syndicat National de l'Édition Phonographique>FRA: Silver

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Compilations

2002: ''King of Mambo''

2004: ''Mambo Mambo - The Best of Lou Bega''

Download Releases

Year !! Single !! Tracks
2010	Mambo No. 5 (A Little Bit Of Monica)	''01. A Little Bit Of Monica''
2010	Chocolata
2010	It’s Christmas Time

Other Songs

Year !! Title !! Label
2010	Baby Bubble Ball (Dirndl Punk Song)	Unicade Music
2010	It Began In Africa

Music videos

Year !! Title !! Director(s)
1999	Mambo No.5	Jorn Heitmann
1999	I Got a Girl
1999	Tricky, Tricky
2000	Mambo Mambo
2001	Gentleman
2001	Just a Gigolo
2006	Bachata
2006	C'est la Vie (Lou Bega and Edvin Marton)
2006	You Wanna Be Americano
2007	Conchita
2010	Boyfriend
2010	Sweet Like Cola

Music video appearances

Disney Mambo #5 (A Little Bit Of...)

Year !! Title !! Director(s) !! Notes
2000	I Wanna Be Like You	Volker Hannvacker
2000	|	-	Radio Disney version of Mambo No. 5

Collaborations

"C'est la Vie" - In 2006 Lou Bega recorded a song with Edvin Marton, and a music video was also filmed. The song has only appeared on Marton's album ''Stradivarius'' as a bonus track and was never featured on any of Bega's albums. A slightly different version of this song was available on Bega's MySpace page at one time.

Awards

1999: "Best International Song", Festivalbar (for "Mambo No. 5")

2000: "International Song of the Year", NRJ Music Awards (for "Mambo No. 5")

2000: "Single of the Year (National)", ECHO (for "Mambo No. 5")

2000: "Best National Artist in Foreign Countries", ECHO

In 1999 Lou Bega was nominated for a Grammy Award in the category "Best Male Pop Vocal Performance" (for "Mambo No. 5").

References

External links

Official website of Lou Bega

Category:German musicians Category:Living people Category:1975 births Category:German people of Italian descent Category:German people of Ugandan descent

cs:Lou Bega da:Lou Bega de:Lou Bega es:Lou Bega eo:Lou Bega fr:Lou Bega it:Lou Bega sw:Lou Bega nl:Lou Bega ja:ルー・ベガ no:Lou Bega pl:Lou Bega pt:Lou Bega ro:Lou Bega ru:Лу Бега simple:Lou Bega fi:Lou Bega sv:Lou Bega tr:Lou Bega

Gustav Mahler (; 1860 – 1911) was a late-Romantic Austrian composer and one of the leading conductors of his generation. He was born in the village of Kalischt, Bohemia, in what was then Austria-Hungary. Kaliště u Humpolce is now in the Czech Republic.

As a composer, he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century. While in his lifetime his status as a conductor was established beyond question, his own music gained wide popularity only after periods of relative neglect which included a ban on its performance in much of Europe during the Nazi era. After 1945 the music was discovered and championed by a new generation of listeners; Mahler then became one of the most frequently performed and recorded of all composers, a position he has sustained into the 21st century.

Born in humble circumstances, Mahler showed his musical gifts at an early age. After graduating from the Vienna Conservatory in 1878, he held a succession of conducting posts of rising importance in the opera houses of Europe, culminating in his appointment in 1897 as director of the Vienna Court Opera (Hofoper). During his ten years in Vienna, Mahler—who had converted to Catholicism from Judaism to secure the post—experienced regular opposition and hostility from the anti-Semitic press. Nevertheless, his innovative productions and insistence on the highest performance standards ensured his reputation as one of the greatest of opera conductors, particularly as an interpreter of the stage works of Wagner and Mozart. Late in his life he was briefly director of New York's Metropolitan Opera and the New York Philharmonic.

Mahler's ''œuvre'' is relatively small—for much of his life composing was a part-time activity, secondary to conducting—and is confined to the genres of symphony and song, except for one piano quartet. Most of his ten symphonies are very large-scale works, several of which employ soloists and choirs in addition to augmented orchestral forces. These works were often controversial when first performed, and were slow to receive critical and popular approval; an exception was the triumphant premiere of his Eighth Symphony in 1910. Mahler's immediate musical successors were the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg and Anton Webern. Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955, to honour the composer's life and work.

Biography

Early life

Family background

The Mahler family came from eastern Bohemia in the Czech Republic and were of humble circumstances; the composer's grandmother had been a street pedlar. Bohemia was then part of the Austrian Empire; the Mahler family belonged to a German-speaking minority among Bohemians, and was also Jewish. From this background the future composer developed early on a permanent sense of exile, "always an intruder, never welcomed".

Bernhard Mahler, the pedlar's son and the composer's father, elevated himself to the ranks of the petite bourgeoisie by becoming a coachman and later an innkeeper. He bought a modest house in the village of Kaliště u Humpolce, on a straight line roughly half way between Prague in Bohemia and Brno in Moravia, in the geographic center of today's Czech Republic. Marie gave birth to the first of the couple's 14 children, a son Isidor, who died in infancy. Two years later, on 1860, their second son, Gustav, was born. Kaliště u Humpolce today has about 330 people; Mahler's birth house is a pension-hotel with its own website.

Childhood

In December 1860, Bernhard Mahler moved with his wife and infant son to the large town of Jihlava, 25 Km to the south-east, where he built up a distillery and tavern business. The family grew rapidly, but of the 12 children born to the family in Jihlava only six survived infancy. Jihlava () was then a thriving commercial town of 20,000 people where Gustav was introduced to music through street songs, dance tunes, folk melodies, and the trumpet calls and marches of the local military band. All of these elements would later contribute to his mature musical vocabulary.

When he was four years old, Gustav discovered his grandparents' piano and took to it immediately. He developed his performing skills sufficiently to be considered a local ''Wunderkind'' and gave his first public performance at the town theatre when he was ten years old. Although Gustav loved making music, his school reports from the Jihlava Gymnasium portrayed him as absent-minded and unreliable in academic work. In 1871, in the hope of improving the boy's results, his father sent him to the New Town Gymnasium in Prague, but Gustav was unhappy there and soon returned to Jihlava. In 1874 he suffered a bitter personal loss when his younger brother Ernst died after a long illness. Mahler sought to express his feelings in music: with the help of a friend, Josef Steiner, he began work on an opera, ''Herzog Ernst von Schwaben'' ("Duke Ernest of Swabia") as a memorial to his lost brother. Neither the music nor the libretto of this work has survived.

Student days

Bernhard Mahler was supportive of his son's ambitions for a music career, and agreed that the boy should try for a place at the Vienna Conservatory. The young Mahler was auditioned by the renowned pianist Julius Epstein, and accepted for 1875–76. He made good progress in his piano studies with Epstein and won prizes at the end of each of his first two years. For his final year, 1877–78, he concentrated on composition and harmony under Robert Fuchs and Franz Krenn. Few of Mahler's student compositions have survived; most were abandoned when he became dissatisfied with them. He destroyed a symphonic movement prepared for an end-of-term competition, after its scornful rejection by the autocratic director Joseph Hellmesberger on the grounds of copying errors. Mahler may have gained his first conducting experience with the Conservatory's student orchestra, in rehearsals and performances, although it appears that his main role in this orchestra was as a percussionist.

Among Mahler's fellow students at the Conservatory was the future song composer Hugo Wolf, with whom he formed a close friendship. Wolf was unable to submit to the strict disciplines of the Conservatory and was expelled. Mahler, while sometimes rebellious, avoided the same fate only by writing a penitent letter to Hellmesberger. He attended occasional lectures by Anton Bruckner and, though never formally his pupil, was influenced by him. On 1877 he attended the disastrous premiere of Bruckner's Third Symphony, at which the composer was shouted down, and most of the audience walked out. Mahler and other sympathetic students later prepared a piano version of the symphony, which they presented to Bruckner. Along with many music students of his generation, Mahler fell under the spell of Richard Wagner, though his chief interest was the sound of the music rather than the staging. It is not known whether he saw any of Wagner's operas during his student years.

Mahler left the Conservatory in 1878 with a diploma but without the prestigious silver medal given for outstanding achievement. He then enrolled at Vienna University (he had, at Bernhard's insistence, sat and with difficulty passed the "matura", or entrance examination) and followed courses which reflected his developing interests in literature and philosophy. After leaving the University in 1879, Mahler made some money as a piano teacher, continued to compose, and in 1880 finished a dramatic cantata, ''Das klagende Lied'' ("The Song of Lamentation"). This, his first substantial composition, shows traces of Wagnerian and Brucknerian influences, yet includes many musical elements which musicologist Deryck Cooke describes as "pure Mahler". Its first performance was delayed until 1901, when it was presented in a revised, shortened form.

Mahler developed interests in German philosophy, and was introduced by his friend Siegfried Lipiner to the works of Arthur Schopenhauer, Friedrich Nietzsche, Gustav Theodor Fechner and Hermann Lotze. These thinkers continued to influence Mahler and his music long after his student days were over. Biographer Jonathan Carr says that the composer's head was "not only full of the sound of Bohemian bands, trumpet calls and marches, Bruckner chorales and Schubert sonatas. It was also throbbing with the problems of philosophy and metaphysics he had thrashed out, above all, with Lipiner."

Early conducting career 1880–88

First appointments

In the summer of 1880 Mahler took his first professional conducting job, in a small wooden theatre in the spa town of Bad Hall, south of Linz. The repertory was exclusively operetta; it was, in Carr's words "a dismal little job", which Mahler accepted only after Julius Epstein told him he would soon work his way up. In 1881 he was engaged at the Landestheater in Laibach (now Ljubljana, in Slovenia), where the small but resourceful company was prepared to attempt more ambitious works. Here, Mahler conducted his first full-scale opera, Verdi's ''Il trovatore'', one of more than 50 that he presented during his time in Laibach. After completing his six-month engagement Mahler returned to Vienna and worked part-time as chorus-master at the Vienna Carltheater.

In January 1883 Mahler became conductor at a run-down theatre in Olomouc (). He later wrote: "From the moment I crossed the threshold of the Olomouc theatre I felt like one awaiting the wrath of God." Despite poor relations with the orchestra, Mahler brought five new operas to the theatre, including Bizet's ''Carmen'', and won over the press that had initially been hostile to him. After a week's trial at the Royal Theatre in the Hessian town of Kassel, Mahler became the theatre's "Musical and Choral Director" from August 1883. The title concealed the reality that Mahler was subordinate to the theatre's Kapellmeister, Wilhelm Treiber, who disliked him and set out to make his life miserable. Despite the unpleasant atmosphere, Mahler had moments of success at Kassel. He directed a performance of his favourite opera, Weber's ''Der Freischütz'', and on 1884 conducted his own incidental music to Josef Viktor von Scheffel's play ''Der Trompeter von Säkkingen'' ("The Trumpeter of Säkkingen"), the first professional public performance of a Mahler work. An ardent but ultimately unfulfilled love affair with soprano Johanna Richter led Mahler to write a series of love poems which became the text of his song cycle ''Lieder eines fahrenden Gesellen'' ("Songs of a Wayfarer").

In January 1884 the distinguished conductor Hans von Bülow brought the Meiningen Court Orchestra to Kassel and gave two concerts. Hoping to escape from his job in the theatre, Mahler unsuccessfully sought a post as Bülow's permanent assistant. However, in the following year his efforts to find new employment resulted in a six-year contract with the prestigious Leipzig Opera, to begin in 1886. Unwilling to remain in Kassel for another year, Mahler resigned in July 1885, and through good fortune was offered a standby appointment as an assistant conductor at the Neues Deutsches Theater (New German Theatre) in Prague.

Prague and Leipzig

In Prague, the emergence of Czech National Revival had increased the popularity and importance of the new Czech National Theatre, and had led to a downturn in the Neues Deutsches Theater's fortunes. Mahler's task was to help arrest this decline by offering high-quality productions of German opera. He had early success presenting works by Mozart and Wagner, composers with whom he would be particularly associated for the rest of his career, but his individualistic and increasingly autocratic conducting style led to friction, and a falling out with his more experienced fellow-conductor, Ludwig Slansky. In April 1886 Mahler left Prague to take up his post at the Neues Stadttheater in Leipzig, where rivalry with his senior colleague Arthur Nikisch began at once. This was primarily over how the two should share conducting duties for the theatre's new production of Wagner's ''Ring'' cycle. Nikisch's illness in January 1887 meant that Mahler took charge of the whole cycle, and scored a resounding public success. This did not win him popularity with the orchestra, who resented his dictatorial manner and heavy rehearsal schedules.

In Leipzig Mahler befriended Carl von Weber, grandson of the composer, and agreed to prepare a performing version of Carl Maria von Weber's unfinished opera ''Die drei Pintos'' ("The Three Pintos"). Mahler transcribed and orchestrated the existing musical sketches, used parts of other Weber works, and added some composition of his own. The premiere at the Stadttheater in January 1888 was an important occasion at which Tchaikovsky was present, as were the heads of various opera houses. The work was well-received; its success did much to raise Mahler's public profile, and brought him financial rewards. His involvement with the Weber family was complicated by a romantic attachment to Carl von Weber's wife Marion which, though intense on both sides, ultimately came to nothing. At around this time Mahler discovered the German folk-poem collection ''Des Knaben Wunderhorn'' ("The Youth's Magic Horn"), which would dominate much of his compositional output for the following 12 years.

Mahler's new-found financial security enabled him to resign his Leipzig position in May 1888, after a dispute with the Stadttheater's chief stage manager. Without a post, Mahler returned to Prague to work on a revival of ''Die drei Pintos'' and a production of Peter Cornelius's ''Der Barbier von Bagdad''. This short stay ended unhappily, with Mahler's dismissal after an outburst during rehearsals. However, through the efforts of an old Viennese friend, Guido Adler, Mahler's name went forward as a potential director of the Royal Hungarian Opera in Budapest. He was interviewed, made a good impression, and was offered the post from October 1888.

Apprentice composer

In the early years of Mahler's conducting career, composing was a spare time activity. Between his Laibach and Olmütz appointments he worked on settings of verses by Richard Leander and Tirso de Molina, later collected as Volume I of ''Lieder und Gesänge'' ("Songs and Airs"). Mahler's first orchestral song cycle, ''Lieder eines fahrenden Gesellen'', composed at Kassel, was based on his own verses, although the first poem, "Wenn mein Schatz Hochzeit macht" ("When my love becomes a bride") closely follows the text of a ''Wunderhorn'' poem.

There has been frequent speculation about lost or destroyed works from Mahler's early years. The Dutch conductor Willem Mengelberg believed that the First Symphony was too mature to be a first symphonic work, and must have had predecessors. In 1938 Mengelberg revealed the existence of the so-called "Dresden archive", a series of manuscripts in the possession of the widowed Marion von Weber. The archive was almost certainly destroyed in the bombing of Dresden in 1945; according to Mahler historian Donald Mitchell "the strong possibility remains that some important manuscripts, either early symphonies or parts of early symphonies, were to be found in Dresden."

Budapest and Hamburg, 1888–97

Royal Opera, Budapest

On arriving in Budapest in October 1888, Mahler encountered a cultural conflict between conservative Hungarian nationalists who favoured a policy of Magyarisation, and progressives who wanted to maintain and develop the country's Austro-German cultural traditions. In the opera house a dominant conservative caucus, led by the music director Sándor Erkel, had maintained a limited repertory of historical and folklore opera. By the time that Mahler began his duties, the progressive camp had gained ascendancy following the appointment of the liberal-minded Ferenc von Beniczky as intendant. Aware of the delicate situation, Mahler moved cautiously; he delayed his first appearance on the conductor's stand until January 1889, when he conducted Hungarian language performances of ''Das Rheingold'' and ''Die Walküre'' to initial public acclaim. However, his early successes faded when plans to stage the remainder of the ''Ring'' cycle and other German operas were frustrated by a renascent conservative faction which favoured a more traditional "Hungarian" programme. In search of non-German operas to extend the repertory, Mahler visited Italy where among the works he discovered was Pietro Mascagni's recent sensation ''Cavalleria rusticana''.

In February 1889 Bernhard Mahler died; this was followed later in the year by the deaths both of Mahler's sister Leopoldine and his mother. Mahler himself suffered poor health, with attacks of haemorrhoids and migraine and a recurrent septic throat. Shortly after these family and health setbacks the premiere of the First Symphony, in Budapest on 1889, was a disappointment. The critic August Beer's lengthy newspaper review indicates that enthusiasm after the early movements degenerated into "audible opposition" after the Finale. Mahler was particularly distressed by the negative comments from his Vienna Conservatory contemporary, Viktor von Herzfeld, who had remarked that Mahler, like many conductors before him, had proved not to be a composer.

In 1891 Hungary's move to the political right was reflected in the opera house when Beniczky was replaced as intendant by Géza Zichy, a conservative aristocrat determined to assume artistic control over Mahler's head. Mahler began negotiating with the director of the Hamburg Stadttheater; in May 1891, having agreed to a contract there, he resigned his Budapest post. His final Budapest triumph was a performance of ''Don Giovanni'' which won him praise from Brahms who was present. During his Budapest years Mahler's compositional output had been limited to the ''Wunderhorn'' song settings that became Volumes II and III of ''Lieder und Gesänge'', and amendments to the First Symphony.

Hamburg Stadttheater

Mahler's Hamburg post was as chief conductor, subordinate to the director, Bernhard Pohl (known as Pollini) who retained overall artistic control. Pollini was prepared to give Mahler considerable leeway if the conductor could provide commercial as well as artistic success. This Mahler did in his first season, when he conducted Wagner's ''Tristan und Isolde'' for the first time and gave acclaimed performances of the same composer's ''Tannhäuser'' and ''Siegfried''. Another triumph was the German premiere of Tchaikovsky's ''Eugene Onegin'', in the presence of the composer, who called Mahler's conducting "astounding". Mahler's demanding rehearsal schedules led to predictable resentment from the singers and orchestra with whom, according to music writer Peter Franklin, the conductor "inspired hatred and respect in almost equal measure." He found support, however, from Hans von Bülow, who was in Hamburg as director of the city's subscription concerts. Bülow, who had spurned Mahler's approaches in Kassel, had come to admire the younger man's conducting style, and on Bülow's death in 1894 Mahler took over the direction of the concerts.

In the summer of 1892 Mahler took the Hamburg singers to London to participate in a six-week season of German opera—his only visit to Britain. His conducting of ''Tristan'' enthralled the young composer Ralph Vaughan Williams, who "staggered home in a daze and could not sleep for two nights." However, Mahler refused further such invitations as he was anxious to reserve his summers for composing. In 1893 he acquired a retreat at Steinbach, on the banks of Lake Attersee in Upper Austria, and established a pattern that persisted for the rest of his life; summers would henceforth be dedicated to composition, at Steinbach or its successor retreats. Now firmly under the influence of the ''Wunderhorn'' folk-poem collection, Mahler produced a stream of song settings at Steinbach, and composed his Second and Third Symphonies there.

Performances of Mahler works were still comparatively rare. On 1893, at Hamburg's Ludwig Konzerthaus, Mahler conducted a revised version of his First Symphony; still in its original five-movement form, it was presented as a ''Tondichtung'' (tone poem) under the descriptive name "Titan". This concert also introduced several recent ''Wunderhorn'' settings. Mahler achieved his first relative success as a composer when the Second Symphony was well-received on its premiere in Berlin, under his own baton, on 1895. Mahler's future conducting assistant Bruno Walter, who was present, said that "one may date [Mahler's] rise to fame as a composer from that day." That same year Mahler's private life was disrupted by the suicide of his younger brother Otto.

At the Stadttheater Mahler introduced numerous new operas: Verdi's ''Falstaff'', Humperdinck's ''Hänsel und Gretel'', and works by Smetana. However, he was forced to resign his post with the subscription concerts after poor financial returns and an ill-received interpretation of his re-scored Beethoven's Ninth Symphony. Mahler had made it clear that his ultimate goal was an appointment in Vienna, and from 1895 onward was manoeuvring, with the help of influential friends, to secure the directorship of the Vienna Hofoper. He overcame the bar that existed against the appointment of a Jew to this post by what may have been a pragmatic conversion to Roman Catholicism in February 1897. Two months later Mahler was appointed to the Hofoper, provisionally as a staff conductor with the title of Kapellmeister.

Vienna, 1897–1907

Hofoper director

As he waited for the Emperor's confirmation of his directorship, Mahler shared duties as a resident conductor with Joseph Hellmesberger Jr (son of the former conservatory director) and Hans Richter, an internationally renowned interpreter of Wagner and the conductor of the original ''Ring'' cycle at ''Bayreuth'' in 1876. Director Wilhelm Jahn had not consulted Richter about Mahler's appointment; Mahler, sensitive to the situation, wrote Richter a complimentary letter expressing unswerving admiration for the older conductor. Subsequently the two were rarely in agreement, but kept their divisions private.

Vienna, the imperial Habsburg capital, had recently elected an anti-Semitic conservative mayor, Karl Lueger, who had once proclaimed: "I myself decide who is a Jew and who isn't." In such a volatile political atmosphere Mahler needed an early demonstration of his German cultural credentials. He made his initial mark in May 1897 with much-praised performances of Wagner's ''Lohengrin'' and Mozart's ''Die Zauberflöte''. Shortly after the ''Zauberflöte'' triumph, Mahler was forced to take sick leave for several weeks, during which he was nursed by his sister Justine and his long-time companion, the viola player Natalie Bauer-Lechner. Mahler returned to Vienna in early August to prepare for Vienna's first uncut version of the ''Ring'' cycle. This performance took place on 24–, attracting critical praise and public enthusiasm. Mahler's friend Hugo Wolf told Bauer-Lechner that "for the first time I have heard the ''Ring'' as I have always dreamed of hearing it while reading the score." On 8 October Mahler was formally appointed to succeed Jahn as the Hofoper's director. 1897. According to La Grange the decree appointing Mahler to the directorship was dated and signed by the Lord Chamberlain on behalf of the Emperor on .|group= n}} His first production in his new office was Smetana's Czech nationalist opera ''Dalibor'', with a reconstituted finale that left the hero Dalibor alive. This production caused anger among the more extreme Viennese German nationalists, who accused Mahler of "fraternising with the anti-dynastic, inferior Czech nation". During Mahler's tenure a total of 33 new operas were introduced to the Hofoper; a further 55 were new or totally revamped productions. However, a proposal to stage Richard Strauss's controversial opera ''Salome'' in 1905 was rejected by the Viennese censors.

Early in 1902 Mahler met Alfred Roller, an artist and designer associated with the Vienna Secession movement. A year later, Mahler appointed him chief stage designer to the Hofoper, where Roller's debut was a new production of ''Tristan und Isolde''. The collaboration between Mahler and Roller created more than 20 celebrated productions of, among other operas, Beethoven's ''Fidelio'', Gluck's ''Iphigénie en Aulide'' and Mozart's ''Le nozze di Figaro''. In the ''Figaro'' production, Mahler offended some purists by adding and composing a short recitative scene to Act III.

In spite of numerous theatrical triumphs, Mahler's Vienna years were rarely smooth; his battles with singers and the house administration continued on and off for the whole of his tenure. While Mahler's methods improved standards, his histrionic and dictatorial conducting style was resented by orchestra members and singers alike. In December 1903 Mahler faced a revolt by stagehands, whose demands for better conditions he rejected in the belief that extremists were manipulating his staff. The anti-Semitic elements in Viennese society, long opposed to Mahler's appointment, continued to attack him relentlessly, and in 1907 instituted a press campaign designed to drive him out. By that time he was at odds with the opera house's administration over the amount of time he was spending on his own music, and was preparing to leave. Early in 1907 he began discussions with Heinrich Conried, director of the New York Metropolitan Opera, and in June signed a contract, on very favourable terms, for four seasons' conducting in New York. At the end of the summer he submitted his resignation to the Hofoper, and on 1907 conducted ''Fidelio'', his 648th and final performance there. In ten years, Mahler had brought new life to the opera house and cleared its debts, but had won few friends—it was said that he treated his musicians in the way a lion tamer treated his animals. His departing message to the company, which he pinned to a notice board, was later torn down and scattered over the floor. After conducting the Hofoper orchestra in a farewell concert performance of his Second Symphony on , Mahler left Vienna for New York in early December.

Philharmonic concerts

When Richter resigned as head of the Vienna Philharmonic subscription concerts in September 1898, the concerts committee had unanimously chosen Mahler as his successor. The appointment was not universally welcomed; the anti-Semitic press wondered if, as a non-German, Mahler would be capable of defending German music. Attendances rose sharply in Mahler's first season, but members of the orchestra were particularly resentful of his habit of re-scoring acknowledged masterpieces, and of his scheduling of extra rehearsals for works with which they were thoroughly familiar. An attempt by the orchestra to have Richter reinstated for the 1899 season failed, because Richter was not interested. Mahler's position was weakened when, in 1900, he took the orchestra to Paris to play at the Exposition Universelle. The Paris concerts were poorly attended and lost money – Mahler had to borrow the orchestra's fare home from the Rothschilds. In April 1901, dogged by a recurrence of ill-health and wearied by more complaints from the orchestra, Mahler relinquished the Philharmonic concerts conductorship. In his three seasons he had performed around 80 different works, which included pieces by relatively unknown composers such as Hermann Goetz, Wilhelm Kienzl and the Italian Lorenzo Perosi.

Mature composer

The demands of his twin appointments in Vienna initially absorbed all Mahler's time and energy, but by 1899 he had resumed composing. The remaining Vienna years were to prove particularly fruitful. While working on the last of his ''Des Knaben Wunderhorn'' settings he started his Fourth Symphony, which he completed in 1900. By this time he had abandoned the composing hut at Steinbach and had acquired another, at Maiernigg on the shores of the Wörthersee in Carinthia, where he later built a villa. In this new venue Mahler embarked upon what is generally considered as his "middle" or post-''Wunderhorn'' compositional period. Between 1901 and 1904 he wrote ten settings of poems by Friedrich Rückert, five of which were collected as ''Rückert-Lieder''. The other five formed the song cycle ''Kindertotenlieder'' ("Songs on the Death of Children"). The trilogy of orchestral symphonies, the Fifth, the Sixth and the Seventh were composed at Maiernigg between 1901 and 1905, and the Eighth Symphony written there in 1906, in eight weeks of furious activity.

Within this same period Mahler's works began to be performed with increasing frequency. In April 1899 he conducted the Viennese premiere of his Second Symphony; 1901 saw the first public performance of his early work ''Das klagende Lied'', in a revised two-part form. Later that year, in November, Mahler conducted the premiere of his Fourth Symphony, in Munich, and was on the rostrum for the first complete performance of the Third Symphony, at the Allgemeiner Deutscher Musikverein festival at Krefeld on 1902. Mahler "first nights" now became increasingly frequent musical events; he conducted the first performances of the Fifth and Sixth Symphonies at Cologne and Essen respectively, in 1904 and 1906. Four of the ''Rückert Lieder'', and ''Kindertotenlieder'', were introduced in Vienna on 1905.

Marriage, family, tragedy

During his second season in Vienna, Mahler acquired a spacious modern apartment on the Auenbruggerstrasse and built a summer villa on land he had acquired next to his new composing studio at Maiernigg. In November 1901 he met Alma Schindler, the stepdaughter of painter Carl Moll, at a social gathering that included the theatre director Max Burckhard. Alma was not initially keen to meet Mahler, on account of "the scandals about him and every young woman who aspired to sing in opera". The two engaged in a lively disagreement about a ballet by Alexander von Zemlinsky (Alma was one of Zemlinsky's pupils), but agreed to meet at the Hofoper the following day. This meeting led to a rapid courtship; Mahler and Alma were married at a private ceremony on 1902. Alma was by then pregnant with her first child, a daughter Maria Anna, who was born on 1902. A second daughter, Anna, was born in 1904.

Friends of the couple were surprised by the marriage and dubious of its wisdom. Burckhard called Mahler "that rachitic degenerate Jew", unworthy for such a good-looking girl of good family. On the other hand, Mahler's family considered Alma to be flirtatious, unreliable, and too fond of seeing young men fall for her charms. Mahler was by nature moody and authoritarian—Natalie Bauer-Lechner, his earlier partner, said that living with him was "like being on a boat that is ceaselessly rocked to and fro by the waves". Alma soon became resentful that, on Mahler's insistence that there could only be one composer in the family, she had given up her music studies. She wrote in her diary: "How hard it is to be so mercilessly deprived of ... things closest to one's heart". Mahler's requirement that their married life be organised around his creative activities imposed strains, and precipitated rebellion on Alma's part; the marriage was nevertheless marked at times by expressions of considerable passion, particularly from Mahler.

In the summer of 1907 Mahler, exhausted from the effects of the campaign against him in Vienna, took his family to Maiernigg. Soon after their arrival both daughters fell ill with scarlet fever and diphtheria. Anna recovered, but after a fortnight's struggle Maria died on . Immediately following this devastating loss, Mahler learned that his heart was defective, a diagnosis subsequently confirmed by a Vienna specialist, who ordered a curtailment of all forms of vigorous exercise. The extent to which Mahler's condition disabled him is unclear; Alma wrote of it as a virtual death sentence, though Mahler himself, in a letter written to her on 1907, said that he would be able to live a normal life, apart from avoiding over-fatigue. The illness was, however, a further depressing factor; at the end of the summer the villa at Maiernigg was closed, and never revisited.

Last years, 1908–11

New York

Mahler made his New York debut at the Metropolitan on 1908, when he conducted Wagner's ''Tristan und Isolde'' in the cut version still standard in New York, though long since superseded in Vienna. In a busy first season Mahler's performances were widely praised, especially his ''Fidelio'' on 1908, in which he insisted on replicas being made of Roller's Vienna sets. On his return to Austria for the summer of 1908, Mahler established himself in the third and last of his composing studios, in the pine forests close to Toblach in Tyrol. Here, using a text by Hans Bethge based on ancient Chinese poems, he composed ''Das Lied von der Erde'' ("The Song of the Earth"). Despite the symphonic nature of the work, Mahler refused to number it, hoping thereby to escape the "curse of the Ninth Symphony" that he believed had affected fellow-composers Beethoven, Schubert and Bruckner. On 1908 the premiere of the Seventh Symphony, in Prague, was deemed by Alma Mahler a critical rather than a popular success.

For its 1908–09 season the Metropolitan management brought in the Italian conductor Arturo Toscanini to share duties with Mahler, who made only 19 appearances in the entire season. One of these was a much-praised performance of Smetana's ''The Bartered Bride'' on 1909. In the early part of the season Mahler conducted three concerts with the New York Symphony Orchestra. This renewed experience of orchestral conducting inspired him to resign his position with the opera house and accept the conductorship of the re-formed New York Philharmonic. He continued to make occasional guest appearances at the Met, his last performance being Tchaikovsky's ''The Queen of Spades'' on 1910.

Back in Europe for the summer of 1909, Mahler worked on his Ninth Symphony and made a conducting tour of the Netherlands. The 1909–10 New York Philharmonic season was long and taxing; Mahler rehearsed and conducted 46 concerts, but his programmes were often too demanding for popular tastes. His own First Symphony, given its American debut on 1909, was one of the pieces that failed with critics and public, and the season ended with heavy financial losses. The highlight of Mahler's 1910 summer was the first performance of the Eighth Symphony at Munich on , the last of his works to be premiered in his lifetime. The occasion was a triumph—"easily Mahler's biggest lifetime success", according to biographer Robert Carr— but was overshadowed by the composer's discovery, before the event, that Alma had begun an affair with the young architect Walter Gropius. Greatly distressed, Mahler sought advice from Sigmund Freud, and appeared to gain some comfort from his meeting with the psychoanalyst. Alma agreed to remain with Mahler, although the relationship with Gropius continued surreptitiously. In a gesture of love, Mahler dedicated his Eighth Symphony to her.

Illness and death

In spite of the emotional distractions, during the summer of 1910 Mahler worked on his Tenth Symphony, completing the Adagio and drafting four more movements. He and Alma returned to New York in November 1910, where Mahler threw himself into a busy Philharmonic season of concerts and tours. Around Christmas 1910 he began suffering from a sore throat, which persisted. On 1911, with a temperature of 40 °C (104 °F), Mahler insisted on fulfilling an engagement at Carnegie Hall, with a relatively nondescript programme. This was Mahler's last concert. After weeks confined to bed he was diagnosed with bacterial endocarditis, a disease to which sufferers from defective heart valves were particularly prone, and for which the survival rate in pre-antibiotic days was almost zero. Mahler did not give up hope; he talked of resuming the concert season, and took a keen interest when one of Alma's compositions was sung at a public recital by the soprano Frances Alda, on . On the Mahler family and a permanent nurse left New York on board SS ''Amerika'' bound for Europe. They reached Paris ten days later, where Mahler entered a clinic at Neuilly, but there was no improvement; on he was taken by train to the Lŏw sanatorium in Vienna, where he died on .

On 22 May 1911 Mahler was buried in the Grinzing cemetery, as he had requested. Alma, on doctors' orders, was absent, but among the mourners at a relatively pomp-free funeral were Arnold Schoenberg (whose wreath described Mahler as "the holy Gustav Mahler"), Bruno Walter, Alfred Roller, the Secessionist painter Gustav Klimt, and representatives from many of the great European opera houses. ''The New York Times'', reporting Mahler's death, called him "one of the towering musical figures of his day", but discussed his symphonies mainly in terms of their duration, incidentally exaggerating the length of the Second Symphony to "two hours and forty minutes". In London, ''The Times'' obituary said his conducting was "more accomplished than that of any man save Richter", and that his symphonies were "undoubtedly interesting in their union of modern orchestral richness with a melodic simplicity that often approached banality", though it was too early to judge their ultimate worth.

Alma Mahler survived her husband by more than 50 years, dying in 1964. She married Walter Gropius in 1915, divorced him five years later, and married the writer Franz Werfel in 1929. In 1940 she published a memoir of her years with Mahler, entitled ''Gustav Mahler: Memories and Letters''. This account was criticised by later biographers as incomplete, selective and self-serving, and for providing a distorted picture of Mahler's life. The composer's daughter Anna Mahler became a well-known sculptor; she died in 1988. The International Gustav Mahler Society was founded in 1955 in Vienna, with Bruno Walter as its first president and Alma Mahler as an honorary member. The Society aims to create a complete critical edition of Mahler's works, and to commemorate all aspects of the composer's life.

Music

Three creative periods

Deryck Cooke and other analysts have divided Mahler's composing life into three distinct phases: a long "first period", extending from ''Das klagende Lied'' in 1880 to the end of the ''Wunderhorn'' phase in 1901; a "middle period" of more concentrated composition ending with Mahler's departure for New York in 1907; and a brief "late period" of elegiac works before his death in 1911.

The main works of the first period are the first four symphonies, the ''Lieder eines fahrenden Gesellen'' song cycle and various song collections in which the ''Wunderhorn'' songs predominate. In this period songs and symphonies are closely related and the symphonic works are programmatic. Mahler initially gave the first three symphonies full descriptive programmes, all of which he later repudiated. He devised, but did not publish, titles for each of the movements for the Fourth Symphony; from these titles the German music critic Paul Bekker conjectured a programme in which Death appears in the Scherzo "in the friendly, legendary guise of the fiddler tempting his flock to follow him out of this world".

The middle period comprises a triptych of purely instrumental symphonies (the Fifth, Sixth and Seventh), the ''Rückert'' songs and the ''Kindertotenlieder'', two final ''Wunderhorn'' settings and, in some reckonings, Mahler's last great affirmative statement, the choral Eighth Symphony. Cooke believes that the Eighth stands on its own, between the middle and final periods. Mahler had by now abandoned all explicit programmes and descriptive titles; he wanted to write "absolute" music that spoke for itself. Cooke refers to "a new granite-like hardness of orchestration" in the middle-period symphonies, while the songs have lost most of their folk character, and cease to fertilise the symphonies as explicitly as before.

The works of the brief final period—''Das Lied von der Erde'', the Ninth and (incomplete) Tenth Symphonies—are expressions of personal experience, as Mahler faced death. Each of the pieces ends quietly, signifying that aspiration has now given way to resignation. Cooke considers these works to be a loving (rather than a bitter) farewell to life; the composer Alban Berg called the Ninth "the most marvellous thing that Mahler ever wrote". None of these final works were performed in Mahler's lifetime.

Antecedents and influences

Mahler was a "late Romantic", part of an ideal that placed Austro-German classical music on a higher plane than other types, through its supposed possession of particular spiritual and philosophical significance. He was one of the last major composers of a line which includes, among others, Beethoven, Schubert, Liszt, Wagner, Bruckner and Brahms. From these antecedents Mahler drew many of the features that were to characterise his music. Thus, from Beethoven's Ninth Symphony came the idea of using soloists and a choir within the symphonic genre. From Beethoven, Liszt and (from a different musical tradition) Berlioz came the concept of writing music with an inherent narrative or "programme", and of breaking away from the traditional four-movement symphony format. The examples of Wagner and Bruckner encouraged Mahler to extend the scale of his symphonic works well beyond the previously accepted standards, to embrace an entire world of feeling.

Early critics maintained that Mahler's adoption of many different styles to suit different expressions of feeling meant that he lacked a style of his own; Cooke on the other hand asserts that Mahler "redeemed any borrowings by imprinting his [own] personality on practically every note" to produce music of "outstanding originality." Music critic Harold Schonberg sees the essence of Mahler's music in the theme of struggle, in the tradition of Beethoven. However, according to Schonberg, Beethoven's struggles were those of "an indomitable and triumphant hero", whereas Mahler's are those of "a psychic weakling, a complaining adolescent who ... enjoyed his misery, wanting the whole world to see how he was suffering." Yet, Schonberg concedes, most of the symphonies contain sections in which Mahler the "deep thinker" is transcended by the splendour of Mahler the musician. The initial connection between song and symphony occurs with the song-cycle ''Lieder eines fahrenden Gesellen'' and the First Symphony. Although this early evidence of cross-fertilisation is important, it is during Mahler's extended ''Wunderhorn'' phase, in which his Second, Third and Fourth Symphonies were written, that the song and symphony genres are consistently intermingled. Themes from the ''Wunderhorn'' song ''Das himmlische Leben'' ("The Heavenly Life"), composed in 1892, became a key element in the Third Symphony completed in 1896; the song itself forms the finale to the Fourth (1900) and its melody is central to the whole composition. For the Second Symphony, written between 1888 and 1894, Mahler worked simultaneously on the ''Wunderhorn'' song, ''Des Antonius von Padua Fischpredigt'' ("The Sermon of St Anthony of Padua to the Fishes"), and on the Scherzo based on it which became the symphony's third movement. Another ''Wunderhorn'' setting from 1892, ''Urlicht'' ("Primal Light"), is used as the Second Symphony's fourth (penultimate) movement.

In Mahler's middle and late periods, the song-symphony relationship is less direct. However, musicologist Donald Mitchell notes specific relationships between the middle period songs and their contemporaneous symphonies—the second ''Kindertotenlieder'' song and the Adagietto from the Fifth Symphony, the last ''Kindertotenlieder'' song and the Sixth Symphony finale. Mahler's last work employing vocal and orchestral forces, ''Das Lied von der Erde'', is subtitled "A Symphony..."—Mitchell categorises it as a "song ''and'' symphony".

Style

The union of song and symphonic form in Mahler's music is, in Cooke's view, organic; "his songs flower naturally into symphonic movements, being already symphonic in cast." To Sibelius, Mahler expressed the belief that "The symphony must be like the world. It must embrace everything." True to this belief, Mahler drew material from many sources into his songs and symphonic works: bird calls and cow-bells to evoke nature and the countryside, bugle fanfares, street melodies and country dances to summon the lost world of his childhood. Life's struggles are represented in contrasting moods: the yearning for fulfilment by soaring melodies and chromatic harmony, suffering and despair by discord, distortion and grotesquerie. Amid all this is Mahler's particular hallmark—the constant intrusion of banality and absurdity into moments of deep seriousness, typified in the second movement of the Fifth Symphony when a trivial popular tune suddenly cuts into a solemn funeral march. The trite melody soon changes its character, and in due course re-emerges as one of the majestic Brucknerian chorales which Mahler uses to signify hope and the resolution of conflict. Mahler himself recognised the idiosyncrasies in his work, calling the Scherzo in the Third Symphony "the most farcical and at the same time the most tragic piece that ever existed ... It is as though all nature is making faces and sticking out its tongue."

The range of musical moods, Cooke maintains, comes from Mahler's "amazing orchestration" which, in the writer's view, defies analysis—"it speaks for itself". Franklin lists specific features which are basic to Mahler's style: extremes of volume, the use of off-stage ensembles, unconventional arrangement of orchestral forces, and frequent recourse to popular music and dance forms such as the ländler and the waltz. Musicologist Vladimír Karbusický maintains that the composer's Jewish roots had lasting effects on his creative output; he pinpoints the central part of the third movement of the First Symphony as the most characteristically "Yiddish" music in Mahler's work. The Czech composer-journalist Max Brod has also identified Jewish tunes and rhythms in Mahler's music.

A technical device much used by Mahler is that of "progressive tonality", which Deryck Cooke describes as "the procedure of resolving a symphonic conflict in a different key from that in which it was stated", and which is often used "to symbolise the gradual ascendancy of a certain value by progress from one key to another over the whole course of a symphony". This technique was also used by Mahler's Danish contemporary Carl Nielsen. Mahler first employed the device in an early song, ''Erinnerung'' ("Memory"), and thereafter used it freely in his symphonies. For example, the predominant key of the First Symphony is D major; at the beginning of the Finale, the "conflict" movement, the key switches to F minor, and only after a lengthy battle gets back to D, near the end. The Second Symphony begins in C minor and ends in E flat. The movements of the Fifth Symphony progress successively from C-sharp minor to A minor, then D major, F major and finally to D major. The Sixth Symphony, unusually for Mahler, begins and ends in the same key, A minor, signifying that in this case the conflict is unresolved.

Reception

Early responses, 1889–1911

Mahler's friend Guido Adler calculated that at the time of the composer's death in 1911 there had been more than 260 performances of the symphonies in Europe, Russia and America, the Fourth Symphony with 61 performances given most frequently (Adler did not enumerate performances of the songs). In his lifetime, Mahler's works and their performances attracted wide interest, but rarely unqualified approval; for years after its 1889 premiere critics and public struggled to understand the First Symphony, described by one critic after an 1898 Dresden performance as "the dullest [symphonic] work the new epoch has produced." The Second Symphony was received more positively, one critic calling it "the most masterly work of its kind since Mendelssohn". Such generous praise was rare, particularly after Mahler's accession to the Vienna Hofoper directorship. His many enemies in the city used the anti-Semitic and conservative press to denigrate almost every performance of a Mahler work; thus the Third Symphony, a success in Krefeld in 1902, was treated in Vienna with critical scorn: "Anyone who has committed such a deed deserves a couple of years in prison."

A mix of enthusiasm, consternation and critical contempt became the normal response to new Mahler symphonies, although the songs were better received. After his Fourth and Fifth Symphonies failed to gain general public approval, Mahler was convinced that his Sixth would finally succeed. However, its reception was dominated by satirical comments on Mahler's unconventional percussion effects—the use of a wooden mallet, birch rods and a huge square bass drum. Viennese critic Heinrich Reinhardt dismissed the symphony as "Brass, lots of brass, incredibly much brass! Even more brass, nothing but brass!" The one unalloyed performance triumph within Mahler's lifetime was the premiere of the Eighth Symphony in Munich, on 1910, advertised by its promoters as the "Symphony of a Thousand". At its conclusion, applause and celebrations reportedly lasted for half an hour.

Relative neglect, 1911–50

Performances of Mahler's works became less frequent after his death. In the Netherlands the advocacy of Willem Mengelberg ensured that Mahler remained popular there, and Mengelberg's engagement with the New York Philharmonic from 1922 to 1928 brought Mahler regularly to American audiences. However, much American critical reaction in the 1920s was negative, despite a spirited effort by the young composer Aaron Copland to present Mahler as a progressive, 30 years ahead of his time and infinitely more inventive than Richard Strauss. Earlier, in 1916, Leopold Stokowski had given the American premieres of the Eighth Symphony and ''Das Lied von der Erde'' in Philadelphia. The Eighth was a sensationally successful performance that was immediately taken to New York where it scored a further triumph. In Britain the Hallé Orchestra brought ''Das Lied'' and the Ninth Symphony to Manchester in 1931; Sir Henry Wood staged the Eighth in London in 1930, and again in 1938 when the young Benjamin Britten found the performance "execrable" but was nevertheless impressed by the music. In the main, during this period British critics treated Mahler with condescension and faint praise. Thus Dyneley Hussey, writing in 1934, thought the "children's songs" were delightful, but that the symphonies should be let go. Composer-conductor Julius Harrison described Mahler's symphonies as "interesting at times, but laboriously put together" and as lacking creative spark. George Bernard Shaw, in his role as music critic, thought that the musical audiences of the 1930s would find Mahler (and Bruckner) "expensively second-rate".

Before Mahler's music was banned as "degenerate" during the Nazi era, the symphonies and songs were played in the concert halls of Germany and Austria, often conducted by Bruno Walter and Mahler's younger assistant Otto Klemperer and Willem Mengelberg. In Austria, Mahler's work experienced a brief renaissance between 1934 and 1938, a period known today as 'Austrofascism', when the authoritarian regime with the help of Alma Mahler and Bruno Walter, who were both on friendly terms with the new chancellor Kurt Schuschnigg, sought to make Mahler into a national icon (with a status comparable to that of Wagner in Germany). Mahler's music was performed during the Nazi era in Berlin in early 1941 and in Amsterdam during the German occupation of the Netherlands by Jewish orchestras and for Jewish audiences alone; works performed included the Second Symphony (Berlin), the First and Fourth Symphonies, and the Songs of a Wayfarer (Amsterdam).

Modern revival

According to American composer David Schiff, his compatriot Leonard Bernstein used to imply that he had single-handedly rescued Mahler from oblivion in 1960, after 50 years of neglect. Schiff points out that such neglect was only relative—far less than the disregard of Bach in the years after his death. Although Bernstein gave the Mahler revival further impetus, it was well under way before 1960, sustained by conductors such as Stokowski, Dimitri Mitropoulos and John Barbirolli, and by long-time Mahler advocate Aaron Copland.

Deryck Cooke argues that Mahler's popularity escalated when a new, postwar generation of music-lovers arose, untainted by "the dated polemics of anti-romanticism" which had affected Mahler's reputation in the inter-war years. In this more liberated age, enthusiasm for Mahler expanded even into places—Spain, France, Italy—which had long been resistant to him. Robert Carr's simpler explanation for the 1950s Mahler revival is that "it was the long-playing record [in the early 1950s] rather than the ''Zeitgeist'' which made a comprehensive breakthrough possible. Mahler's work became accessible and repeatable in the home." In the years following his centenary in 1960, Mahler rapidly became one of the most performed and most recorded of all composers, and has largely remained thus. In Britain and elsewhere, Carr notes, the extent of Mahler performances and recordings has replaced a relative famine with a glut, bringing problems of over-familiarity. Harold Schonberg comments that "it is hard to think of a composer who arouses equal loyalty", adding that "a response of anything short of rapture to the Mahler symphonies will bring [to the critic] long letters of furious denunciation".

In a letter to Alma dated 16 February 1902, Mahler wrote, with reference to Richard Strauss: "My day will come when his is ended. If only I might live to see it, with you at my side!" Carr observes that Mahler could conceivably have lived to see "his day"; his near-contemporary Richard Strauss survived until 1949, while Sibelius, just five years younger than Mahler, died only in 1957.

Later influence

Donald Mitchell writes that Mahler's influence on succeeding generations of composers is "a complete subject in itself". Mahler's first disciples included Arnold Schoenberg and his pupils Alban Berg and Anton Webern, who together founded the Second Viennese School. Mahler's music influenced the trio's move from progressive tonalism to atonalism (music without a key); although Mahler rejected atonalism, he became a fierce defender of the bold originality of Schoenberg's work. At the premiere of the latter's First String Quartet in February 1907, Mahler reportedly was held back from physically attacking the hecklers. Schoenberg's Serenade, Op. 24 (1923), Berg's Three Pieces for Orchestra (1915) and Webern's Six Pieces (1928) all carry echoes of Mahler's Seventh Symphony.

Among other composers whose work carries the influence of Mahler, Mitchell lists America's Aaron Copland, the German song and stage composer Kurt Weill, Italy's Luciano Berio, Russia's Dmitri Shostakovich and England's Benjamin Britten. In a 1989 interview the pianist-conductor Vladimir Ashkenazy said that the connection between Mahler and Shostakovich was "very strong and obvious"; their music represented "the individual versus the vices of the world." Mitchell highlights Britten's "marvellously keen, spare and independent writing for the wind in ... the first movement of the Cello Symphony of 1963 [which] clearly belongs to that order of dazzling transparency and instrumental emancipation which Mahler did so much to establish". Mitchell concludes with the statement: "Even were his own music not to survive, Mahler would still enjoy a substantial immortality in the music of these pre-eminent successors who have embraced his art and assimilated his techniques."

List of compositions

Notes and references

;Notes ;References

Sources

Anon. (1908). 1908|url= http://graphics8.nytimes.com/packages/pdf/arts/mahler1.pdf|accessdate= 2010}} PDF format Anon. (1909). |url= http://query.nytimes.com/gst/abstract.html?res=9D03E6D91439E733A25753C2A9649C946897D6CF|accessdate= 2009 }} PDF format Anon. (1911). |url= http://graphics8.nytimes.com/packages/pdf/arts/105027769.pdf|accessdate= 2010}} PDF format . 1964)|publisher=Royal Liverpool Philharmonic Society |year= 1964}} Fischer, Jens Malte (2011). ''Gustav Mahler''. New Haven and London: Yale University Press. (German edition published in 2003.) 2010}} 2007}} 2010}} 2010|url= http://www.spectator.co.uk/arts-and-culture/all/5704108/mahlers-mass-following.thtml|accessdate= 2010}} 1989|url= http://www.nytimes.com/1989/02/03/arts/ashkenazy-mining-a-mahler-vein.html?pagewanted=1|accessdate= 2010 | date=3 February 1989}} 2001|accessdate= 2010}}

External links

Public domain recordings of many of Mahler's compositions

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Leonard Bernstein ( ; August 25, 1918 – October 14, 1990) was an American conductor, composer, author, music lecturer and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim. According to ''The New York Times'', he was "one of the most prodigiously talented and successful musicians in American history."

His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for ''West Side Story'', as well as ''Candide'', ''Wonderful Town'', ''On the Town'' and his own ''Mass''.

Bernstein was also the first conductor to give numerous television lectures on classical music, starting in 1954, continuing until his death. In addition, he was a skilled pianist, often conducting while performing piano concertos simultaneously.

As a composer he was prolific, writing symphonies, ballet music, operas, chamber music, pieces for the piano, other orchestral and choral works, and other concert and incidental music, but the tremendous success of ''West Side Story'' remained unequaled by his other compositions.

Biography

Early life

He was born Louis Bernstein in Lawrence, Massachusetts, the son of Ukrainian Jewish parents Jennie (née Resnick) and Samuel Joseph Bernstein, a hair-dressing supplies wholesaler originating from Rovno (now Ukraine). Despite his surname he was not related to film composer Elmer Bernstein. His family spent their summers at their vacation home in Sharon, Massachusetts. His grandmother insisted that his first name be ''Louis'', but his parents always called him ''Leonard'', which they preferred. He officially changed his name to ''Leonard'' when he was fifteen, shortly after his grandmother's death. However to his friends and many others he was simply known as "Lenny."

His father, Sam Bernstein, was a businessman and owner of a bookstore in downtown Lawrence; it is standing today on the corners of Amesbury and Essex Streets. Sam initially opposed young Leonard's interest in music. Despite this, the elder Bernstein took him to orchestra concerts in his teenage years and eventually supported his music education. At a very young age, Bernstein listened to a piano performance and was immediately captivated; he subsequently began learning the piano seriously when the family acquired his cousin Lillian Goldman's unwanted piano. As a child, Bernstein attended the Garrison Grammar School and Boston Latin School. As a child he was very close to his younger sister Shirley, and would often play entire operas or Beethoven symphonies with her at the piano. He had a variety of piano teachers in his youth including Helen Coates who later became his secretary.

After graduation from Boston Latin School in 1935, Bernstein attended Harvard University, where he studied music with, amongst others, Edward Burlingame Hill and Walter Piston, the author of many harmony and counterpoint textbooks. Although he majored in music with a final year thesis (1939) entitled ''"The Absorption of Race Elements into American Music"'' (reproduced in his book ''Findings''), Bernstein's main intellectual influence at Harvard was probably the aesthetics Professor David Prall, whose multidisciplinary outlook on the arts Bernstein shared for the rest of his life. One of his friends at Harvard was philosopher Donald Davidson, with whom he played piano four hands. Bernstein wrote and conducted the musical score for the production Davidson mounted of Aristophanes' play ''The Birds'' in the original Greek. Bernstein reused some of this music in the ballet ''Fancy Free''. During his time at Harvard he was briefly an accompanist for the Harvard Glee Club. Bernstein also mounted a student production of ''The Cradle Will Rock'' directing its action from the piano as the composer Marc Blitzstein had done at the premiere. Blitzstein, who heard about the production, subsequently became a friend and influence (both musically and politically) on Bernstein.

Bernstein also met the conductor Dimitri Mitropoulos at this time. Although he never taught Bernstein, Mitropoulos's charisma and power as a musician was a major influence on Bernstein's eventual decision to take up conducting. Mitropoulos was not stylistically that similar to Bernstein, but he probably influenced some of Bernstein's later habits such as his conducting from the keyboard, his initial practice of conducting without a baton and perhaps his interest in Mahler. The other important influence that Bernstein first met during his Harvard years was composer Aaron Copland, whom he met at a concert and then at a party afterwards on Copland's Birthday in 1938. At the party Bernstein played Copland's ''Piano Variations'', a thorny work Bernstein loved without knowing anything about its composer until that evening. Although he was not formally Copland's student as such, Bernstein would regularly seek advice from Copland in the following years about his own compositions and would often cite him as "his only real composition teacher".

After completing his studies at Harvard in 1939 (graduating with a B.A. ''cum laude''), he enrolled at the Curtis Institute of Music in Philadelphia. During his time at Curtis, Bernstein studied conducting with Fritz Reiner (who anecdotally is said to have given Bernstein the only "A grade" he ever awarded), piano with Isabelle Vengerova, orchestration with Randall Thompson, counterpoint with Richard Stöhr, and score reading with Renée Longy Miquelle. Unlike his years at Harvard, Bernstein appears to not to have much enjoyed the formal training environment of Curtis, although often in later life he would mention Reiner when discussing his important teachers.

1940–1950

After he left Curtis, Bernstein lived in New York. He shared a flat with his friend Adolph Green and often accompanied Green, Betty Comden and Judy Holiday in a comedy troupe called The Reviewers who performed in Greenwich Village. He took jobs with a music publisher, transcribing music or producing arrangements under the pseudonym Lenny Amber (the German meaning of his name in English). During this period in New York City, Bernstein enjoyed an exuberant social life that included relationships with both men and women. In 1940, Bernstein began his study at the Boston Symphony Orchestra's summer institute, Tanglewood, in the conducting class of the orchestra's conductor, Serge Koussevitzky.

Bernstein's friendships with Copland (who was very close to Koussevitsky) and Mitropoulos were important in him being recommended for a place in the class. Other students in the class included Lukas Foss who also became a lifelong friend. Koussevitsky perhaps did not teach Bernstein much basic conducting technique (which he had already developed under Reiner), but instead became a sort of father figure to him, and was perhaps the major influence on Bernstein's emotional way of interpreting music. Bernstein later became Koussevitzky's conducting assistant and would later dedicate his ''second symphony, "The Age of Anxiety''" to him.

On November 14, 1943, having recently been appointed assistant conductor of the New York Philharmonic Orchestra, he made his major conducting debut at sudden notice —and without any rehearsal—after Bruno Walter came down with the flu. The next day, ''The New York Times'' carried the story on their front page and their editorial remarked, "It's a good American success story. The warm, friendly triumph of it filled Carnegie Hall and spread far over the air waves." He became instantly famous because the concert was nationally broadcast, and afterwards started to appear as a guest conductor with many US orchestras. The program included works by Schumann, Miklos Rozsa, Wagner and Richard Strauss's ''Don Quixote'' with soloist Joseph Schuster, solo cellist of the orchestra. Before the concert Bernstein briefly spoke to Bruno Walter who discussed particular difficulties in the works he was to perform. It is possible to hear this concert (apart from the Wagner work) on a recording of the CBS radio broadcast that has been issued on CD by the orchestra. From 1945–47 Bernstein was the Music Director of the New York City Symphony Orchestra which had been founded the previous year by the conductor Leopold Stokowski. The orchestra (with support from the Mayor) was aimed at a different audience with more modern programs and cheaper tickets than the New York Philharmonic.

In addition to becoming known as a conductor, Bernstein also emerged as a composer in the same period. In January 1944 he conducted the premiere of his ''Jeremiah Symphony'' in Pittsburgh. His score to the ballet ''Fancy Free'' choreographed by Jerome Robbins opened in New York in April 1944 and this was later developed into the musical ''On the Town'' with lyrics by Comden and Green that opened on Broadway in December 1944.

After World War II, Bernstein's career on the international stage began to flourish. In 1946 he made his first trip to Europe conducting various orchestras and recorded Ravel's ''Piano Concerto in G'' as soloist and conductor with the Philharmonia Orchestra. In 1946, he conducted opera for the first time, with the American première at Tanglewood of Benjamin Britten's ''Peter Grimes,'' which had been a Koussevitzky commission. That same year, Arturo Toscanini invited Bernstein to guest conduct two concerts with the NBC Symphony Orchestra, one of which again featured Bernstein as soloist in the Ravel concerto.

In 1947, Bernstein conducted in Tel Aviv for the first time, beginning a life-long association with Israel. The next year he conducted an open air concert for troops at Beersheba in the middle of the desert during the Arab-Israeli war. In 1957, he conducted the inaugural concert of the Mann Auditorium in Tel Aviv; he subsequently made many recordings there. In 1967, he conducted a concert on Mt. Scopus to commemorate the reunification of Jerusalem. During the 1970s, Bernstein recorded his symphonies and other works with the Israel Philharmonic for Deutsche Grammophon.

In 1949, he conducted the world première of the ''Turangalîla-Symphonie'' by Olivier Messiaen, with the Boston Symphony Orchestra. Part of the rehearsal for the concert was released on CD by the orchestra. When Koussevitzky died two years later, Bernstein became head of the orchestral and conducting departments at Tanglewood, holding this position for many years.

1951–1959

After much personal struggle and a turbulent on-off engagement, he married Chilean actress Felicia Cohn Montealegre on September 10, 1951. One suggestion is that he chose to marry partly to dispel rumors about his private life to help secure a major conducting appointment, following advice from his mentor Dimitri Mitropoulos about the conservative nature of orchestra boards. Bernstein's sexuality has been a matter of speculation and debate. Arthur Laurents (Bernstein's collaborator in ''West Side Story'') said that Bernstein was "a gay man who got married. He wasn't conflicted about it at all. He was just gay." Shirley Rhoades Perle, another friend of Bernstein's, said that she thought "he required men sexually and women emotionally." But the early years of his marriage seem to have been happy, and no-one has suggested they didn't love one another. They had three children, Jamie, Alexander, and later Nina. There are reports though that Bernstein did sometimes have brief extramarital liaisons with young men, which several family friends have said his wife knew about.

In 1951, Bernstein conducted the New York Philharmonic in the world première of the Symphony No. 2 of Charles Ives which was written around half a century earlier but never performed. Throughout his career Bernstein often talked about the music of Ives who died in 1954. The composer, old and frail, was unable (or some reports say "unwilling") to attend the concert, but his wife attended. He reportedly listened to a radio broadcast of it on a radio in his kitchen some days later. A recording of the "premiere" was released in a 10 CD box set ''Bernstein LIVE'' by the orchestra, but the notes indicate it was a repeat performance from three days later, and this is perhaps what Ives heard. In any case reports also differ on Ives' exact reaction, but some suggest he was thrilled and danced a little jig. Bernstein recorded the 2nd symphony with the orchestra in 1958 for Columbia and 1987 for Deutsche Grammophon. There is also a 1987 performance with the Bavarian Radio Symphony Orchestra available on DVD.

Bernstein was a visiting music professor from 1951–56 at Brandeis University and he founded the Creative Arts Festival there in 1952. He conducted various productions at the first festival including the premiere of his opera ''Trouble in Tahiti'' and Blitzstein's English version of Kurt Weill's ''Threepenny Opera''. The festival was named after him in 2005, becoming the Leonard Bernstein Festival of the Creative Arts. In 1953 he was the first US conductor to appear at La Scala in Milan, conducting Maria Callas in Cherubini's ''Medea''. The same year he produced his score to the musical ''Wonderful Town'' at very short notice, working again with old friends Comden and Green who wrote the lyrics.

In 1954 Bernstein made the first of his television lectures for the CBS arts program Omnibus. The live lecture, entitled "Beethoven’s Fifth Symphony", involved Bernstein explaining the work with the aid of musicians from the former NBC Symphony Orchestra (recently renamed the "Symphony of the Air") and a giant page of the score covering the floor. Bernstein subsequently performed concerts with the orchestra and recorded his Serenade for Violin with Isaac Stern. Further Omnibus lectures followed in 1955-8 (later on ABC and then NBC) covering Jazz, Conducting, American Musical Comedy, Modern Music, J.S. Bach and Grand Opera. These programs were made available in the USA in a DVD set in 2010.

In late 1956 Bernstein conducted the New York Philharmonic in concerts that were to have been conducted by Guido Cantelli, who had tragically been killed in an air crash in Paris. This was the first time Bernstein had conducted the orchestra in subscription concerts since 1951. Partly due to these appearances, Bernstein was named the Music Director of the New York Philharmonic in 1957, replacing Dimitri Mitropoulos. He began his tenure in that position in 1958 having held the post jointly with Mitropoulos in 1957-8. In 1958 Bernstein and Mitropoulos took the New York Philharmonic on tour to South America. In his first season in sole charge Bernstein included a season-long survey of American classical music. Themed-programming of this sort was fairly novel at that time compared to the present day. Bernstein held the Music Directorship until 1969 (with a sabbatical in 1965) although he continued to conduct and make recordings with the orchestra for the rest of his life and was appointed "Laureate Conductor".

He became a well-known figure in the United States through his series of fifty-three televised Young People's Concerts for CBS, which grew out of his ''Omnibus'' programs. His first Young People's Concert was televised a few weeks after his tenure as principal conductor of the New York Philharmonic began. He became as famous for his educational work in those concerts as for his conducting. The Bernstein Young People's Concerts were the first, and probably the most influential series of music appreciation programs ever produced on television, and were highly acclaimed by critics. Some of Bernstein's music lectures were released on records, with at least one winning a Grammy award. The programmes were shown in many countries around the world, often with Bernstein dubbed into other languages. Twenty-five of them were released on DVD by Kultur Video.

Prior to taking over the New York Philharmonic Bernstein produced the music for two shows. The first was for the operetta Candide which was first performed in 1956 with a libretto by Lillian Hellman based on Voltaire's novel. The second was Bernstein's collaboration with the choreographer Jerome Robbins, the writer Arthur Laurents and the lyricist Stephen Sondheim to produce the musical ''West Side Story''. The first three had worked on it intermittently since Robbins first suggested the idea in 1949. Finally, with the addition of Sondheim to the team and a period of concentrated effort, it received its Broadway premiere in 1957 and has since proven to be Bernstein's most popular and enduring score.

In 1959, he took the New York Philharmonic on a tour of Europe and the Soviet Union, portions of which were filmed by CBS. A highlight of the tour was Bernstein's performance of Dmitri Shostakovich's Fifth Symphony, in the presence of the composer, who came on stage at the end to congratulate Bernstein and the musicians. In October, when Bernstein and the orchestra returned to the US, they recorded the symphony for Columbia. He recorded it for a second time with the orchestra on tour in Japan in 1979. Bernstein seems to have limited himself to only conducting certain Shostakovich symphonies: 1, 5, 6, 7, 9 and 14. He made two recordings of Shostakovich's ''Leningrad Symphony,'' one with the New York Philharmonic in the 1960s and another one recorded live in 1988 with the Chicago Symphony Orchestra, the only recording he ever made with them (along with Shostakovich's Symphony No. 1).

1960–1969

In 1960 Bernstein and the New York Philharmonic held a Mahler Festival to mark the centenary of the composer's birth. Bernstein, Walter and Mitropoulos conducted performances. The composer's widow, Alma attended some of Bernstein's rehearsals. In 1960 Bernstein also made his first commercial recording of a Mahler symphony (the fourth) and over the next seven years he made the first complete cycle of recordings of all nine of Mahler's completed symphonies. (All featured the New York Philharmonic except the 8th Symphony which was recorded with the London Symphony Orchestra following a concert in the Royal Albert Hall in London in 1966.) The success of these recordings, along with Bernstein's concert performances and television talks, was an important part of the revival of interest in Mahler in the 1960s, especially in the US.

Other non-US composers that Bernstein championed to some extent at the time include the Danish composer Carl Nielsen (who was perhaps then only a little known in the US) and Jean Sibelius, whose popularity had perhaps by then started to fade. Bernstein eventually recorded a complete cycle in New York of Sibelius's symphonies and three of Nielsen's symphonies (Nos. 2, 4, and 5), as well as conducting recordings of his violin, clarinet and flute concertos. He also recorded Nielsen's 3rd Symphony with the Royal Danish Orchestra after a critically acclaimed public performance in Denmark. Bernstein championed US composers, especially those that he was close to like Aaron Copland, William Schuman and David Diamond. He also started to more extensively record his own compositions for Columbia Records. This included his 3 symphonies, his ballets and the ''Symphonic Dances'' from ''West Side Story'' with the New York Philharmonic. He also conducted an LP of his 1944 musical ''On The Town,'' the first (almost) complete recording of the original featuring several members of the original Broadway cast, including Betty Comden and Adolph Green. (The 1949 film version only contains four of Bernstein's original numbers.)

In one oft-reported incident, in April 1962 Bernstein appeared on stage before a performance of the Brahms Piano Concerto No. 1 in D minor with the pianist Glenn Gould. During rehearsals, Gould had argued for tempi much broader than normal, which did not reflect Bernstein's concept of the music. Bernstein gave a brief address to the audience starting with "Don't be frightened; Mr Gould is here..." and going on to "In a concerto, who is the boss (audience laughter)—the soloist or the conductor?" (Audience laughter grows louder). The answer is, of course, sometimes the one and sometimes the other, depending on the people involved." This speech was subsequently interpreted by Harold C. Schonberg, music critic for ''The New York Times'', as abdication of personal responsibility and an attack on Gould, whose performance Schonberg went on to criticize heavily. Bernstein always denied that this had been his intent and has stated that he made these remarks with Gould's blessing. Throughout his life, he professed admiration and friendship for Gould. Schonberg was often (though not always) harshly critical of Bernstein as a conductor during his tenure as Music Director. However his views were not shared by the audiences (with many full houses) and probably not by the musicians themselves (who had greater financial security arising from Bernstein's many TV and recording activities amongst other things).

In 1962 the New York Philharmonic moved from Carnegie Hall to Philharmonic Hall (now Avery Fisher Hall) in the new Lincoln Center. The move was not without controversy because of acoustic problems with the new hall. Bernstein conducted the gala opening concert featuring vocal works by Mahler, Beethoven and Vaughan Williams, and the premiere of Aaron Copland's ''Connotations'', a serial-work that was merely politely received. During the interval Bernstein kissed the cheek of the President's wife Jacqueline Kennedy, a break with protocol that was commented on at the time. In 1961 Bernstein had conducted at President John F. Kennedy's pre-inaugural gala, and he was an occasional guest in the Kennedy White House. He also conducted at the funeral mass in 1968 for the late President Kennedy's brother Robert Kennedy.

In 1964 Bernstein conducted Franco Zeffirelli's production of Verdi's ''Falstaff'' at the Metropolitan Opera in New York. In 1966 he made his debut at the Vienna State Opera conducting Luchino Visconti's production of the same opera with Dietrich Fischer-Dieskau as Falstaff. During his time in Vienna he also recorded the opera for Columbia Records and conducted his first subscription concert with the Vienna Philharmonic (which is made up of players from the Vienna State Opera) featuring Mahler's ''Das Lied von der Erde'' with Fischer-Dieskau and James King. He returned to the State Opera in 1968 for a production of Der Rosenkavalier and in 1970 for Otto Schenk's production of Beethoven's ''Fidelio''. Sixteen years later, at the State Opera, Bernstein conducted his sequel to ''Trouble in Tahiti,'' ''A Quiet Place.'' with the ORF orchestra. Bernstein's final farewell to the State Opera happened accidentally in 1989: following a performance of Modest Mussorgsky's ''Khovanshchina'', he unexpectedly entered the stage and embraced conductor Claudio Abbado in front of a cheering audience.

With his commitment to the New York Philharmonic and his many other activities, Bernstein had little time for composition during the 1960s. The two major works he produced at this time were his ''Kaddish Symphony'' dedicated to the recently assassinated President John F. Kennedy and the ''Chichester Psalms'' which he produced during a sabbatical year he took from the Philharmonic in 1965 to concentrate on composition. To try and have more time for composition was probably a major factor in his decision to step down as Music Director of the Philharmonic in 1969, and to never accept such as position anywhere again.

1970–1979

After stepping down from the New York Philharmonic, Bernstein continued to appear with them in most years until his death, and he toured with them to Europe in 1976 and to Asia in 1979. He also strengthened his relationship with the Vienna Philharmonic Orchestra – he conducted all nine completed Mahler symphonies with them (plus the adagio from the 10th) in the period from 1967–76. All of these were filmed for Unitel with the exception of the 1967 Mahler 2nd, which instead Bernstein filmed with the London Symphony Orchestra in Ely Cathedral in 1973. In the late 1970s Bernstein conducted a complete Beethoven symphony cycle with the Vienna Philharmonic, and cycles of Brahms and Schumann were to follow in the 1980s. Other orchestras he conducted on numerous occasions in the 1970s include the Israel Philharmonic, the Orchestre National de France, and the Boston Symphony Orchestra.

In 1970 Bernstein wrote and narrated a ninety-minute program filmed on location in and around Vienna as a celebration of Beethoven's 200th birthday. It featured parts of Bernstein's rehearsals and performance for the Otto Schenk production of ''Fidelio'', Bernstein playing the 1st piano concerto and the Ninth Symphony with the Vienna Philharmonic and the young Placido Domingo amongst the soloists. The program was first telecast in 1970 on Austrian and British television, and then on CBS in the US on Christmas Eve 1971. The show, originally entitled ''Beethoven's Birthday: A Celebration in Vienna,'' won an Emmy and was issued on DVD in 2005.

Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee. His political life received substantial press coverage though in 1970 due to a gathering hosted at his Manhattan apartment. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges. ''The New York Times'' initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story. This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the ''New York'' Magazine. The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term. Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties.

Bernstein's major compositions during the 1970s were probably his ''MASS: A Theatre Piece for Singers, Players, and Dancers''; his score for the ballet ''Dybbuk''; his orchestral vocal work ''Songfest''; and his US bicentenary musical ''1600 Pennsylvania Avenue'' written with lyrics by Alan Jay Lerner which was his first real theatrical flop, and last original broadway show. The world premiere of Bernstein's ''MASS'' took place on September 8, 1971. Commissioned by Jacqueline Kennedy for the opening of the John F. Kennedy Center for the Performing Arts in Washington, D.C., it was partly intended as an anti-war statement. Hastily written in places, the work represented a fusion not only of different religious traditions (Latin liturgy, Hebrew prayer and plenty of contemporary English lyrics) but also of different musical styles including classical and rock music. It was originally a target of criticism from the Roman Catholic Church on the one hand, and contemporary music critics who objected to its Broadway/populist elements on the other. In the present day it is perhaps seen as less blasphemous and more a piece of its era – in 2000 it was even performed in the Vatican.

In 1972 Bernstein recorded Bizet's ''Carmen,'' with Marilyn Horne in the title role and James McCracken as Don Jose, after leading several stage performances of the opera at the Metropolitan Opera. The recording was one of the first in stereo to use the original spoken dialogue between the sung portions of the opera, rather than the musical recitatives that were composed by Ernest Guiraud after Bizet's death. The recording was Bernstein's first for Deutsche Grammophon and won a Grammy.

Bernstein was appointed in 1973 to the Charles Eliot Norton Chair as Professor of Poetry at his alma mater, Harvard University, and delivered a series of six televised lectures on music with musical examples played by the Boston Symphony Orchestra. Taking the title from a Charles Ives work, he called the series "The Unanswered Question"; it was a set of interdisciplinary lectures in which he borrowed terminology from contemporary linguistics to analyze and compare musical construction to language. The lectures are presently available in both book and DVD form. Noam Chomsky wrote in 2007 on the Znet forums about the linguistic aspects of the lecture: "I spent some time with Bernstein during the preparation and performance of the lectures. My feeling was that he was onto something, but I couldn't really judge how significant it was."

A major period of upheaval in Bernstein's personal life began in 1976 when he took the decision that he could no longer repress his homosexuality and he left his wife Felicia for a period to live with the writer Tom Cothran. The next year she was diagnosed with lung cancer and eventually Bernstein moved back in with her and cared for her until she died on June 16, 1978. Cothran himself died of AIDS in 1981. Bernstein is reported to have often spoken of his terrible guilt over his wife's death. Most biographies of Bernstein describe that his lifestyle became more excessive and his personal behavior sometimes cruder after her death. However his public standing and many of his close friendships appear to have remained unaffected, and he resumed his busy schedule of musical activity.

In 1978, Bernstein return to the Vienna State Opera to conduct a revival of the Otto Schenk production of ''Fidelio,'' now featuring Gundula Janowitz and Rene Kollo in the lead roles. At the same time, Bernstein made a studio recording of the opera for Deutsche Grammophon and the opera itself was filmed by Unitel and released on DVD by Deutsche Grammophon in late 2006. In May 1978, the Israel Philharmonic played two US concerts under his direction to celebrate the 30th anniversary of the founding of the Orchestra under that name. On consecutive nights, the Orchestra, with the Choral Arts Society of Washington, performed Beethoven's Ninth Symphony and Bernstein's Chichester Psalms at the Kennedy Center in Washington, D.C., and at Carnegie Hall in New York.

In 1979, Bernstein conducted the Berlin Philharmonic Orchestra for the first and only time, in two charity concerts for Amnesty International involving performances of Mahler's Ninth Symphony. The invitation for the concerts had come from the orchestra and not from its principal conductor Herbert von Karajan. There has been speculation about why Karajan never invited Bernstein to conduct his orchestra. (Karajan did conduct the New York Philharmonic during Bernstein's tenure.) The full reasons will probably never be known – reports suggest they were on friendly terms when they met, but sometimes practiced a little mutual one-upmanship. One of the concerts was broadcast on radio and was posthumously released on CD by Deutsche Grammophon.

1980–1990

Bernstein received the Kennedy Center Honors award in 1980. For the rest of the 1980s he continued to conduct, teach, compose and produce the occasional TV documentary. His most significant compositions of the decade were probably his opera ''A Quiet Place'' which he wrote with Stephen Wadsworth and which premiered (in its original version) in Houston in 1983; his ''Divertimento for Orchestra''; his ''Halil'' for flute and orchestra, his ''Concerto for Orchestra "Jubilee Games"''; and his song cycle ''Arias and Barcarolles'', which was named after a comment President Dwight D. Eisenhower had made to him in the 1950s.

In 1982 in the US, PBS aired an 11-part series of Bernstein's late 1970s films for Unitel of the Vienna Philharmonic playing all nine Beethoven symphonies and various other works. Bernstein gave spoken introduction and actor Maximilian Schell was also featured on the programs, reading from Beethoven's letters. The original films have since been released on DVD by Deutsche Grammophon. In addition to conducting in New York, Vienna and Israel, Bernstein was a regular guest conductor of other orchestras in the 1980s. These included the Royal Concertgebouw Orchestra in Amsterdam with whom he recorded Mahler's First, Fourth, and Ninth Symphonies amongst other works; the Bavarian Radio Symphony Orchestra in Munich with whom he recorded Wagner's ''Tristan und Isolde'', Haydn's ''Creation'', Mozart's ''Requiem'' and ''Mass in C Minor''; and the orchestra of Accademia Nazionale di Santa Cecilia in Rome with whom he recorded some Debussy and Puccini's ''La Boheme''.

In 1982, he and Ernest Fleischmann founded the Los Angeles Philharmonic Institute as a summer training academy along the lines of Tanglewood. Bernstein served as Artistic Director and taught conducting there until 1984. Around the same time he performed and recorded some of his own works with the Los Angeles Philharmonic for Deutsche Grammophon. Bernstein was also at the time a committed supporter of Nuclear Disarmament. In 1985 he took the European Community Youth Orchestra in a "Journey for Peace" tour around Europe and to Japan.

In 1985, he conducted a recording of ''West Side Story'', the first time he had conducted the entire work. The recording, featuring what some critics felt were miscast opera singers such as Kiri Te Kanawa, José Carreras, and Tatiana Troyanos in the leading roles, was nevertheless an international bestseller. A TV documentary showing the making of the recording was made at the same time and is available on DVD.

In his later years, Bernstein's life and work was celebrated around the world (as it has been since his death). The Israel Philharmonic celebrated his involvement with them at Festivals in Israel and Austria in 1977. In 1986 the London Symphony Orchestra mounted a Bernstein Festival in London with one concert that Bernstein himself conducted attended by the Queen. In 1988 Bernstein's 70th Birthday was celebrated by a lavish televised gala at Tanglewood featuring many performers who had worked with him over the years.

In December 1989 Bernstein conducted live performances and recorded in the studio his operetta ''Candide'' with the London Symphony Orchestra. The recording starred Jerry Hadley, June Anderson, Adolph Green and Christa Ludwig in the leading roles. The use of opera singers in some roles perhaps fitted the style of operetta better than some critics had thought was the case for West Side Story, and the recording (released posthumously in 1991) was universally praised. One of the live concerts from the Barbican Centre in London is available on DVD. ''Candide'' had had a troubled history, with many re-writes and writers involved. Bernstein's concert and recording were based on a "final" version that had been first performed by Scottish Opera in 1988. The opening night (which Bernstein attended in Glasgow) was conducted by Bernstein's former student John Mauceri.

On December 25, 1989, Bernstein conducted Beethoven's Symphony No. 9 in East Berlin's Schauspielhaus (Playhouse) as part of a celebration of the fall of the Berlin Wall. He had conducted the same work in West Berlin the previous day. The concert was broadcast live in more than twenty countries to an estimated audience of 100 million people. For the occasion, Bernstein reworded Friedrich Schiller's text of the ''Ode to Joy,'' substituting the word ''Freiheit'' (freedom) for ''Freude'' (joy). Bernstein, in his spoken introduction said that they had "taken the liberty" of doing this because of a "most likely phony" story, apparently believed in some quarters, that Schiller wrote an "Ode to Freedom" that is now presumed lost. Bernstein added, "I'm sure that Beethoven would have given us his blessing."

In the summer of 1990, Bernstein and Michael Tilson Thomas founded the Pacific Music Festival in Sapporo, Japan. Like his earlier activity in Los Angeles, this was a summer training school for musicians modeled on Tanglewood, and is still in existence. Bernstein was already at this time suffering from the lung disease that would lead to his death. In his opening address Bernstein said that he had decided to devote what time he had left to education. A video showing Bernstein speaking and rehearsing at the first Festival is available on DVD in Japan.

Bernstein made his final performance as a conductor at Tanglewood on August 19, 1990, with the Boston Symphony playing Benjamin Britten's "Four Sea Interludes" from ''Peter Grimes'', and Beethoven's Seventh Symphony. He suffered a coughing fit in the middle of the Beethoven performance which almost caused the concert to break down. The concert was later issued on CD by Deutsche Grammophon.

He announced his retirement from conducting on October 9, 1990, and died of pneumonia and a pleural tumor five days later. He was 72 years old. A longtime heavy smoker, he had battled emphysema from his mid-50s. On the day of his funeral procession through the streets of Manhattan, construction workers removed their hats and waved, yelling "Goodbye, Lenny." Bernstein is buried in Green-Wood Cemetery, Brooklyn, New York next to his wife and with a copy of Mahler's Fifth lying across his heart.

Influence and characteristics as a conductor

Bernstein was one of the major figures in orchestral conducting in the second half of the 20th century. He was held in high regard amongst many musicians, including the members of the Vienna Philharmonic Orchestra, evidenced by his honorary membership; the London Symphony Orchestra, of which he was President; and the Israel Philharmonic Orchestra, with which he appeared regularly as guest conductor. He was probably the main conductor from the 1960s onwards who acquired a sort of superstar status similar to that of Herbert von Karajan, although unlike Karajan he conducted relatively little opera and part of Bernstein's fame was based on his role as a composer. As the first American-born music director of the New York Philharmonic, his rise to prominence was a factor in overcoming the perception of the time that the top conductors were necessarily trained in Europe.

Bernstein's conducting was characterized by extremes of emotion with the rhythmic pulse of the music conveyed visually through his balletic podium manner. Musicians often reported that his manner in rehearsal was the same as in concert. As he got older his performances tended to be overlaid to a greater extent with a personal expressiveness which often divided critical opinion. Extreme examples of this style can be found in his Deutsche Grammophon recordings of Nimrod from Elgar's ''Enigma Variations'' (1982), the end of Mahler's 9th Symphony (1985), and the finale of Tchaikovsky's ''Pathetique Symphony'' (1986), where in each case the tempos are well below those typically chosen.

Bernstein performed a wide repertoire from the baroque era to the 20th century, although perhaps from the 1970s onwards he tended to focus more on music from the romantic era. He was considered especially accomplished with the works of Gustav Mahler and with American composers in general, including George Gershwin, Aaron Copland, Charles Ives, Roy Harris, William Schuman, and of course himself. Some of his recordings of works by these composers would likely appear on many music critics' lists of recommended recordings. A list of his other well-thought-of recordings would probably include individual works from Haydn, Beethoven, Berlioz, Schumann, Liszt, Nielsen, Sibelius, Stravinsky, Hindemith, and Shostakovich, among others. His recordings of ''Rhapsody in Blue'' (full-orchestra version) and ''An American in Paris'' for Columbia Records, released in 1959, are considered definitive by many, although Bernstein cut the ''Rhapsody'' slightly, and his more 'symphonic' approach with slower tempi is quite far from Gershwin's own conception of the piece, evident from his two recordings. (Oscar Levant, Earl Wild, and others come closer to Gershwin's own style.) Bernstein never conducted Gershwin's Piano Concerto in F, or ''Porgy and Bess,'' although he did discuss the latter in his article ''Why Don't You Run Upstairs and Write a Nice Gershwin Tune?'', originally published in ''The New York Times'' and later reprinted in his 1959 book ''The Joy of Music.''

In addition to being an active conductor, Bernstein was a very influential teacher of conducting. During his many years of teaching at Tanglewood and elsewhere, he directly taught or mentored many conductors who are performing now, such as Marin Alsop, Herbert Blomstedt, Alexander Frey, Paavo Järvi, John Mauceri, Eiji Oue, Seiji Ozawa (who made his US TV debut as the guest conductor on one of the ''Young People's Concerts''), Carl St.Clair, and Michael Tilson Thomas. He also undoubtedly influenced the career choices of many US musicians who grew up watching his television programmes in the 1950s and 60s.

Recordings

Bernstein recorded extensively from the 1950s until just a few months before his death. Aside from a few early recordings in the mid-1940s for RCA Victor, Bernstein recorded primarily for Columbia Masterworks Records, especially when he was music director of the New York Philharmonic. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts, with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by Sony as part of their 100 CD "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".

His later recordings (starting with Bizet's Carmen in 1972) were mostly made for Deutsche Grammophon, though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of Gustav Mahler's ''Song of the Earth'' and Mozart's 15th piano concerto and "Linz" symphony with the Vienna Philharmonic Orchestra for Decca Records (1966); Berlioz's ''Symphonie fantastique'' and ''Harold in Italy'' (1976) for EMI; and Wagner's ''Tristan und Isolde'' (1981) for Philips Records, a label that like Deutsche Grammophon was part of PolyGram at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors). Many replicate repertoire that he recorded in the 1950s and 60s.

In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on Laserdisc and are now on DVD.

In total Bernstein was awarded 16 Grammys for his recordings in various categories including several for recordings released after his death. He was also awarded a Lifetime Achievement Grammy in 1985.

Influence and characteristics as a composer

Bernstein was an eclectic composer whose music fused elements of jazz, Jewish music, theatre music and the work of older composers like Aaron Copland, Igor Stravinsky, Darius Milhaud, George Gershwin, and Marc Blitzstein. Some of his works, especially his score for ''West Side Story,'' helped bridge the gap between classical and popular music. His music was rooted in tonality but in some works like his ''Kaddish Symphony'' and the opera ''A Quiet Place'' he mixed in 12-tone elements. Bernstein himself said his main motivation for composing was "to communicate" and that all his pieces, including his symphonies and concert works, "could in some sense be thought of as 'theatre' pieces." According to the League of American orchestras, he was the second most frequently performed American composer by US orchestras in 2008-9 behind Copland, and he was the 16th most frequently performed composer overall by US orchestras. (Some performances were probably due to the 90th anniversary of his birth in 2008.) His most popular pieces were the ''Overture to Candide'', the ''Symphonic Dances from West Side Story'', the ''Serenade for Violin, Strings, Harp and Percussion'' and the ''Three Dance Episodes from On the Town''. His shows ''West Side Story'', ''On the Town'', ''Wonderful Town'' and ''Candide'' are regularly performed, and his symphonies and concert works are programmed from time to time by orchestras around the world. Since his death many of his works have been commercially recorded by artists other than himself. The ''Serenade'', which has been recorded more than 10 times, is probably his most recorded work not taken from an actual theatre piece.

Despite the fact that he was a popular success as a composer, Bernstein himself is reported to have been disillusioned that some of his more serious works were not rated more highly by critics, and that he himself had not been able to devote more time to composing because of his conducting and other activities. Professional criticism of Bernstein's music often involves discussing the degree to which he created something new as art versus simply skillfully borrowing and fusing together elements from others. In the late 1960s, Bernstein himself reflected that his eclecticism was in part due to his lack of lengthy periods devoted to composition, and that he was still seeking to enrich his own personal musical language in the manner of the great composers of the past, all of whom had borrowed elements from others. Perhaps the harshest criticism he received from some critics in his lifetime though was directed at works like his ''Kaddish Symphony'', his ''MASS'' and the opera ''A Quiet Place'', where they found the underlying message of the piece or the text as either mildly embarrassing, clichéd or offensive. Despite this, all these pieces have been performed, discussed and reconsidered since his death.

Although he taught conducting, Bernstein was not a teacher of composition as such, and he has no direct composing heirs. Perhaps the closest are composers like John Adams who from the 1970s onwards indirectly adopted elements of his eclectic, theatrical style.

Works

Ballet

''Fancy Free'', 1944

''Facsimile- Choreographic Essay for Orchestra'', 1946

''Dybbuk'' (ballet), 1974

Opera

''Trouble in Tahiti'', 1952

''Candide'', 1956 (new libretto in 1973, operetta final revised version in 1989)

''A Quiet Place'', 1983

Musicals

''On The Town'', 1944

''Wonderful Town'', 1953

''West Side Story'', 1957

''The Race to Urga'' (incomplete), 1969

"By Bernstein" (a Revue), 1975

''1600 Pennsylvania Avenue'', 1976

''The Madwoman of Central Park West'', (contributed to) 1979

Incidental music and other theatre

''Peter Pan'', 1950

''The Lark'', 1955

''The Firstborn'', 1958

''Mass'' (theatre piece for singers, players and dancers), 1971

Film scores

''On the Town'', (only part of his music was used), 1949

''On the Waterfront'', 1954

''West Side Story'', 1961

Orchestral

Symphony No. 1, ''Jeremiah'', 1942

''Fancy Free'' and ''Three Dance Variations from "Fancy Free,"'', concert premiere 1946

''Three Dance Episodes from "On the Town,"'' concert premiere 1947

Symphony No. 2, ''The Age of Anxiety'', (after W. H. Auden) for Piano and Orchestra, 1949 (revised in 1965)

''Serenade for Solo Violin, Strings, Harp and Percussion (after Plato's "Symposium")'', 1954

''Prelude, Fugue, and Riffs'' for Solo Clarinet and Jazz Ensemble, 1949

''Symphonic Suite from "On the Waterfront"'', 1955

''Symphonic Dances from "West Side Story"'', 1961

Symphony No. 3, ''Kaddish'', for Orchestra, Mixed Chorus, Boys' Choir, Speaker and Soprano Solo, 1963 (revised in 1977)

''Dybbuk'', Suites No. 1 and 2 for Orchestra, concert premieres 1975

''Songfest: A Cycle of American Poems for Six Singers and Orchestra'', 1977

''Three Meditations from "Mass"'' for Violoncello and Orchestra, 1977

''Slava! A Political Overture for Orchestra, 1977

''Divertimento for Orchestra'', 1980

''Halil'', nocturne for Solo Flute, Piccolo, Alto Flute, Percussion, Harp and Strings, 1981

''Concerto for Orchestra'', 1989 (Originally ''Jubilee Games'' from 1986, revised in 1989)

Overture to Candide

Choral

''Hashkiveinu'' for Cantor (tenor), Mixed Chorus and Organ, 1945

''Missa Brevis'' for Mixed Chorus and Countertenor Solo, with Percussion, 1988

''Chichester Psalms'' for Boy Soprano (or Countertenor), Mixed Chorus, and Orchestra, 1965 (Reduced version for Organ, Harp and Percussion)

Chamber music

Piano Trio, 1937, Boosey & Hawkes

Sonata for Clarinet and Piano, 1939

Brass Music, 1959

Dance Suite, 1988

Vocal music

''I Hate Music: A cycle of Five Kids Songs for Soprano and Piano'', 1943

''Big Stuff'', sung by Billie Holiday

''La Bonne Cuisine: Four Recipes for Voice and Piano'', 1948

''Silhouette (Galilee)'', 1951

''Two Love Songs'', 1960

''So Pretty'', 1968

''Piccola Serenata'', 1988

''Arias and Barcarolles'' for Mezzo-Soprano, Baritone and Piano four-hands, 1988

Piano music

''Music for Two Pianos'', 1937

''Piano Sonata'', 1938

''7 Anniversaries'', 1944

''4 Anniversaries'', 1948

''5 Anniversaries'', 1952

''Bridal Suite'', 1960

''Moby Diptych'', 1981 (republished as Anniversaries nos. 1 and 2 in Thirteen Anniversaries)

''Touches'', 1981

''13 Anniversaries'', 1988

Other music

Other occasional works, written as gifts and other forms of memorial and tribute

"The Skin of Our Teeth": An aborted work from which Bernstein took material to use in his "Chichester Psalms"

"Simhu Na" (arrangement of traditional song)

"Waltz for Mippy III" for Tuba and Piano

"Elegy for Mippy II" for Trombone alone

"Elegy for Mippy I" for Horn and Piano

"Rondo for Lifey" for Trumpet and Piano

"Fanfare for Bima" for Brass Quartet: composed in 1947 as a birthday tribute to Koussevitzky using the tune he whistled to call his cocker spaniel

"Shivaree: A Fanfare" for Double Brass Ensemble and Percussion. 1970. Commissioned by and dedicated to the Metropolitan Museum of Art in New York in honor of its Centenary. Musical material later used in "Mass."

Bibliography

Bernstein, Leonard. [1976] ''The Unanswered Question: Six Talks at Harvard'', Harvard University Press. ISBN 0-674-92001-5.

Videography

''The Unanswered Question: Six Talks at Harvard''. West Long Branch, New Jersey: Kultur Video. VHS ISBN 1561275700. DVD ISBN 0769715702. (videotape of the Charles Eliot Norton Lectures given at Harvard in 1973.)

''Leonard Bernstein's Young People's Concerts with the New York Philharmonic''. West Long Branch, New Jersey: Kultur Video. DVD ISBN 0769715036.

''Bernstein on Beethoven: A Celebration in Vienna/Beethoven: Piano Concerto No. 1.'' West Long Branch, Kultur Video. DVD

''Leonard Bernstein: Omnibus – The Historic TV Broadcasts'' ,2010, E1 Ent.

''Bernstein: Reflections'' (1978), Euroarts.

''Bernstein/Beethoven'' (1982), Deustche Grammophon, DVD

''Bernstein Conducts "West Side Story" '' (1985) (retitled ''The Making of West Side Story'' in re-releases) Deutsche Grammophon, DVD

''"The Rite of Spring" in Rehearsal''

Awards

Fellow of the American Academy of Arts and Sciences, 1951

Sonning Award (Denmark), 1956

Ditson Conductor's Award, 1958

George Peabody Medal – Johns Hopkins University, 1980

Ernst von Siemens Music Prize 1987

Royal Philarmonic Society Gold Medal (UK), 1987

Knight Grand Cross Order of Merit (Italy), 1989

Grammy Award for Best Album for Children

Grammy Award for Best Orchestral Performance

Grammy Award for Best Choral Performance

Grammy Award for Best Opera Recording

Grammy Award for Best Classical Vocal Performance

Grammy Award for Best Instrumental Soloist(s) Performance

Grammy Award for Best Classical Contemporary Composition

Grammy Award for Best Classical Album

Grammy Lifetime Achievement Award

Tony Award for Best Musical

Special Tony Award

Further reading

()

References

External links

Leonard Bernstein official site

Discography

The Leonard Bernstein Collection at the Library of Congress Music Division

Discography at SonyBMG Masterworks

Bernstein's Boston, a Harvard University research project

FBI file on Leonard Bernstein

Leonard Bernstein Festival of the Creative Arts

Gay Great – Leonard Bernstein

''Radical Chic'', a book by Tom Wolfe describing a gathering at Bernstein's apartment of New York's social elite and the Black Panther Party.

Leonard Bernstein: A Total Embrace of Music, written by Peter Gutmann, music journalist.

Arias and Barcarolles, The Leonard Bernstein Pages

Leonard Bernstein's maximum card from Israel

Obituary, ''New York Times'', October 15, 1990

''Leonard Bernstein: American Original'' (HarperCollins, 2008) Chapters by Alan Rich, Paul Boyer, Carol J. Oja, Tim Page, Burton Bernstein, Jonathan Rosenberg, Joseph Horowitz, Bill McGlaughlin, James M. Keller, John Adams

Category:1918 births Category:1990 deaths Category:20th-century classical composers Category:American classical pianists Category:American conductors (music) Category:American film score composers Category:American musical theatre composers Category:Burials at Green-Wood Cemetery Category:Deaths from pneumonia Category:George Peabody Medal winners Category:Grammy Lifetime Achievement Award winners Category:LGBT composers Category:LGBT Jews Category:LGBT parents Category:LGBT musicians from the United States Category:MacDowell Colony fellows Category:Opera composers Category:People from Lawrence, Massachusetts Category:Royal Philharmonic Society Gold Medallists Category:Songwriters Hall of Fame inductees Category:Kennedy Center honorees Category:Ballet composers Category:Harvard University alumni Category:Brandeis University faculty Category:Curtis Institute of Music alumni Category:American expatriates in Austria Category:People from Sharon, Massachusetts Category:Jewish American classical composers Category:Commanders Crosses of the Order of Merit of the Federal Republic of Germany Category:Fellows of the American Academy of Arts and Sciences

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name	Mike Oldfield
landscape	yes
background	solo_singer
birth name	Michael Gordon Oldfield
birth date	May 15, 1953
birth place	Reading, Berkshire, England
instrument	Guitar, keyboards, Percussion, vocals, Bass guitar, drums, piano, organ, glockenspiel, mandolin, banjo, tubular bells, Chapman stick
genre	Ambient, Celtic fusion, classical, Synthpop, experimental, minimalist, Honky-Tonk, Neoclassical, new age, Neofolk, pop, progressive rock, rock and roll, world
occupation	Musician, Songwriter, Producer, Game designer
years active	1967–present
label	Virgin (1972–1991)Warner Bros. (1992–2003)Mercury (2005–present)
associated acts	Maggie Reilly, Kevin Ayers, Robert Wyatt, David Bedford, Anita Hegerland, Pekka Pohjola
website	www.mikeoldfieldofficial.com }}

Michael Gordon Oldfield (born 15 May 1953, Reading, Berkshire) is an English multi-instrumentalist musician and composer, working a style that blends progressive rock, folk, ethnic or world music, classical music, electronic music, New Age, and more recently, dance. His music is often elaborate and complex in nature. He is best known for his hit 1973 album ''Tubular Bells'', which launched Virgin Records, and for his 1983 hit single "Moonlight Shadow". He is also well known for his hit rendition of the Christmas piece, "In Dulci Jubilo".

Biography

Oldfield's parents are Raymond Oldfield, a general practitioner, and his wife Maureen Liston, a nurse. His sister Sally and brother Terry are successful musicians in their own right and have appeared on several of his albums. Mike Oldfield was born in the Battle Hospital, Reading, Berkshire, and he attended St Joseph's Convent School, Highlands Junior School in Tilehurst, St Edward's Preparatory School, and Presentation College in Reading. When he was 13 he moved with his parents to Harold Wood in northeast London, where he attended Hornchurch Grammar School. He only stayed there long enough to take one GCE examination, in English, as he had already begun his music career.

Early career

Oldfield's career began fairly early, playing acoustic guitar in local folk clubs. At this time, he already had two fifteen-minute instrumental pieces in which he would "go through all sorts of moods", a precursor to his landmark 1970s compositions. In his early teens, Oldfield was involved in a 'beat group' playing Shadows-style music (he has often cited Hank Marvin as a major influence, and would later cover The Shadows' song "Wonderful Land"). In 1967 he and his sister Sally formed the folk duo The Sallyangie and were signed to Transatlantic Records after exposure in the local folk scene. An album, ''Children of the Sun'', was issued in 1968. After Sallyangie disbanded, he formed another duo with his brother Terry, called Barefoot, which took him back to rock music.

In 1970 he joined The Whole World - backing group to vocalist Kevin Ayers, formerly of the Soft Machine - playing bass guitar and occasionally lead guitar. The band also included keyboardist and composer David Bedford, who quickly befriended Oldfield, and encouraged him in his composition of an early version of ''Tubular Bells''. Bedford would later arrange and conduct an orchestral version of that album. Oldfield is featured on two Ayers albums, ''Whatevershebringswesing'' and ''Shooting at the Moon''.

Having recorded a demo version of ''Tubular Bells'', Oldfield attempted to persuade record labels to take the project on. In 1972 he met the young Richard Branson who was setting up his own record label, Virgin Records, and after playing the demo to engineers Tom Newman and Simon Heyworth, he began recording the 1973 version of the album.

Virgin years (1973–1991)

''Tubular Bells'' became Oldfield's most famous work. The instrumental composition was recorded in 1972 and launched on 25 May 1973 as the inaugural album of Richard Branson's Virgin Records label. The album was groundbreaking, as Oldfield played more than twenty different instruments in the multi-layered recording made in Branson's Manor studios, and its style moved through many diverse musical genres. Its 2,630,000 UK sales put it at No.34 on the list of the best selling albums in the UK. In the US, it received attention with the opening theme appearing in the soundtrack to ''The Exorcist''. The title track subsequently became a Top 10 hit single in the US as well and is today considered to be a forerunner of the New Age movement. In 1974, Oldfield played guitar on the critically acclaimed album ''Rock Bottom'' by Robert Wyatt. In the autumn of 1974, the follow-up LP, ''Hergest Ridge'', was No.1 in the UK for three weeks before being dethroned by ''Tubular Bells''. Although ''Hergest Ridge'' was released over a year after ''Tubular Bells'', it reached No.1 first. ''Tubular Bells'' spent 11 weeks (10 of them consecutive) at No.2 before its one week at the top. In 1979, Oldfield's music was used as the musical score for ''The Space Movie'', a Virgin movie that celebrated the 10th anniversary of the Apollo 11 mission.

Like ''Tubular Bells'', ''Hergest Ridge'' is a two-movement instrumental piece, this time evoking scenes from Oldfield's Herefordshire country retreat. It was followed in 1975 by the pioneering world music piece ''Ommadawn'', and 1978's ''Incantations'' which introduced more diverse choral performances from Sally Oldfield, Maddy Prior, and the Queen's College Girls Choir. In 1975 Oldfield recorded a version of the Christmas piece "In Dulci Jubilo" which charted at number four in the UK. Oldfield's 1976 rendition of "Portsmouth" remains his highest charting single on the UK Singles Chart, reaching number three.

In 1976 Oldfield and his sister Sally joined his friend and band member Pekka Pohjola to play on his album ''Mathematician's Air Display'', which was released in 1977. The album was recorded and edited at Oldfield's Througham Slad Manor in Gloucestershire by Oldfield and Paul Lindsay.

Around the time of ''Incantations'', Oldfield underwent a controversial self-assertiveness therapy course known as Exegesis. Possibly as a result, the formerly reclusive musician staged a major European tour to promote the album, chronicled in his live album ''Exposed'', much of which was recorded at the National Exhibition Centre near Birmingham, the first-ever concert there.

In 1975, Oldfield received a Grammy award for Best Instrumental Composition in "Tubular Bells – Theme from ''The Exorcist''". In 1979, he recorded a version of the signature tune of the popular British Children's Television programme, ''Blue Peter'', which was used by the show for 10 years.

The early 1980s saw Oldfield make a transition to mainstream pop music, beginning with the inclusion of shorter instrumental tracks and contemporary cover versions on ''Platinum'' and ''QE2'' (the latter named after the ocean liner). Soon afterwards he turned to songwriting, with a string of collaborations featuring various lead vocalists alongside his characteristic searing guitar solos. The best known of these is "Moonlight Shadow", his 1983 hit with Maggie Reilly. The most successful Oldfield composition on the US pop charts during this period was actually a cover version — Hall & Oates's remake of Oldfield's "Family Man" for their 1982 album ''H₂O''. Released as the album's third single, it hit the Top 10 during the spring of 1983 and was a hugely popular MTV music video.

Oldfield later turned to film and video, writing the score for Roland Joffé's acclaimed film ''The Killing Fields'' and producing substantial video footage for his album ''Islands''. ''Islands'' continued what Oldfield had been doing on the past couple of albums, with an instrumental piece on one side and rock/pop singles on the other. Of these, "Islands", sung by Bonnie Tyler and "Magic Touch", with vocals by Max Bacon (in the U.S. version) and Glasgow vocalist Southside Jimmy (in other versions), were the major hits. In the U.S., the Virgin America airline promoted the song "Magic Touch" to a large extent, making it a success, reaching the top 10 on the Billboard album rock charts. During the 1980s, Oldfield's then-wife, Norwegian singer Anita Hegerland, contributed vocals to many songs including "Pictures in the Dark".

''Earth Moving'' was released in July 1989, and was a moderate success. The album was the first to exclusively feature rock/pop songs, several of which were released: "Innocent" and "Holy" in Europe, and "Hostage" in the USA for album rock stations. This was, however, a time of much friction with his record label. Virgin Records reportedly insisted that any future instrumental album should be billed as ''Tubular Bells 2''. Oldfield's rebellious response was ''Amarok'', an hour-long work featuring rapidly changing themes (supposedly devised to make cutting a single from the album impossible), unpredictable bursts of noise, and a very cleverly hidden Morse code insult directed at Richard Branson. Although regarded by many fans as his greatest work, it was not a commercial success. His parting shot from the Virgin label was ''Heaven's Open'', which continued the veiled attacks on Branson but was notable for being the first time Oldfield had contributed all the lead vocals himself. It was the only album he released under the name 'Michael Oldfield'.

Warner years (1992–2003)

The very first thing Oldfield did when arriving at his new label, Warner Bros., was to write and release ''Tubular Bells II'', the sequel to his first record on Virgin, as his final insult to his former label. It was premiered at a live concert at Edinburgh Castle. He then continued to embrace new musical styles, with ''The Songs of Distant Earth'' (based on Arthur C. Clarke's novel of the same name) exhibiting a softer "New Age" sound. In 1994 he also had an asteroid named after him, 5656 Oldfield.

In 1995 Oldfield further continued to embrace new musical styles by producing a Celtic-themed album, ''Voyager''. In 1992 Oldfield met Luar na Lubre, a Galician Celtic-folk band (from A Coruña, Spain). The band's popularity grew after Oldfield covered their song "O son do ar" ("The sound of the air") on his ''Voyager'' album.

In 1998 he produced the third ''Tubular Bells'' album (also premiered at a concert, this time in Horse Guards Parade, London), drawing from the dance music scene at his then new home on the island of Ibiza. This album was still inspired by themes from ''Tubular Bells'', but differed in lacking a clear two-part layout.

During 1999 Oldfield released two albums. The first, ''Guitars'', used guitars as the source for all the sounds on the album, including percussion. The second, ''The Millennium Bell'', consisted of pastiches of a number of styles of music that represented various historical periods over the past millennium. The work was performed live in Berlin for the city's millennium celebrations in 1999–2000.

He added to his repertoire the MusicVR project, combining his music with a virtual reality-based computer game. His first work on this project is ''Tr3s Lunas'' launched in 2002, a virtual game where the player can interact with a world full of new music. This project appeared as a double CD, one with the music, and the other with the game.

In 2003 he released ''Tubular Bells 2003'', a re-recording of the original ''Tubular Bells'', on CD, and DVD-Audio. This was done to "fix" many "imperfections" in the original due to the recording technologies of the early 1970s and limitations in time that he could spend in the recording studio. It celebrated the 30th anniversary of ''Tubular Bells'', Oldfield's 50th birthday and his marriage to Fanny in the same year. At around the same time Virgin released an SACD version containing both the original stereo album and the 1975 quadraphonic mix by Phil Newell. In the 2003 version, the original voice of the 'Master of Ceremonies' (Viv Stanshall) was replaced by the voice of John Cleese, Stanshall having died in the interim.

Mercury years (since 2004)

On 12 April 2004 Oldfield launched his next virtual reality project, ''Maestro'', which contains music from the ''Tubular Bells 2003'' album and also some new chillout melodies. The games have since been made available free of charge on Tubular.net. A double album, ''Light + Shade'', was released on Mercury Records in 2005, with whom Mike had recently signed a three-album deal. The two discs contain music of contrasting moods, one relaxed (''Light'') and the other more edgy and moody (''Shade''). Oldfield headlined the German Night of the Proms tour, consisting of 18 concerts in December 2006.

His autobiography ''Changeling'' was published in May 2007 by Virgin Books. In March 2008 Oldfield released his first classical album, ''Music of the Spheres''; Karl Jenkins assisted with the orchestration. In the first week of release the album topped the UK Classical chart and reached number 9 on the main UK Album Chart. A single, "Spheres", featuring a demo version of pieces from the album was released digitally. The album was nominated for a Classical Brit Award, the NS&I; Best Album of 2009.

In 2008 Oldfield contributed an exclusive song ("Song for Survival") to a charity album called ''Songs for Survival'', in support of the Survival International. Oldfield's daughter, Molly, played a large part in the project.

In 2008 when Oldfield's original 35-year deal with Virgin Records ended, the rights to ''Tubular Bells'' and his other Virgin releases were returned to him, and then they were transferred to Mercury Records. Mercury issued a press release on 15 April 2009, noting that Oldfield's Virgin albums would be re-released, starting 8 June 2009. These releases include special features from the archives. On 6 June 2009, an International Bell Ringing day took place, to promote the reissue of his first album, ''Tubular Bells''. The next two albums were reissued in June 2010 along with the launch of a new official web site. ''Incantations'' was reissued in July 2011.

In March 2010 ''Music Week'' reported that publishing company Stage Three Music (now a part of BMG) had acquired a 50% stake in the songs of Oldfield's entire recorded output in a seven-figure deal. In 2010 lyricist Don Black said in an interview with ''Music Week'' that he had been working with Oldfield. In early 2011 Mike Oldfield was in a studio with German producer Torsten Stenzel, collaborating on a chill-out track for a forthcoming album by Torsten Stenzel's York project.

Personal life

Oldfield and his siblings were raised Roman Catholic, the faith of their Irish mother. In the late 1970s, Oldfield briefly married Diana D'Aubigny (the sister of the Exegesis group leader), but this lasted just a few weeks.

Mike Oldfield has seven children. In the early 1980s, he had three children with Sally Cooper (Molly, Dougal and Luke). In the late 1980s, he had two children (Greta and Noah) with Norwegian singer Anita Hegerland. In the 2000s, he married Fanny Vandekerckhove (born 1977), whom he met during his time in Ibiza; they have two sons together (Jake and Eugene).

Oldfield is a motorcycle fan and has five bikes. These include a BMW R1200GS, a Suzuki GSX-R750, a Suzuki GSX-R1000, and a Yamaha R1. He also says that some of his inspiration for composing comes from riding them. Throughout his life Oldfield has also had a passion for aircraft and building model aircraft. Since 1980 he has also been a licensed pilot and has flown fixed wing aircraft, the first of which was a Beechcraft Sierra and helicopters including the Agusta Bell 47G which featured on the sleeve of his cover version of the ABBA song "Arrival" as a parody of their album artwork. He is also interested in cars and has owned a Ferrari and a Bentley which was a gift from Richard Branson as an incentive for him to give his first live performance of ''Tubular Bells''. He has endorsed the Mercedes-Benz S-Class in the Mercedes UK magazine. Oldfield also considers himself to be a Trekkie (fan of the popular science fiction television series ''Star Trek''). He also noted in an interview in 2008 that he had two boats.

In November 2006, musician Noel Gallagher won a Spanish court case against Oldfield. Gallagher had bought an Ibiza villa for £2.5 million from Oldfield in 1999, but quickly discovered that part of the cliff-top property was falling into the sea. According to ''The Sun'', the resulting court case awarded Gallagher a six-figure sum in compensation. Suspicion abounds in the music industry that the law-suit was initiated because of embarrassment that Gallagher brought on himself by not having a proper survey done on the property before buying it. This included making an immediate and noisy complaint about someone's yacht tied up at the villa's jetty before it was pointed out that the yacht came with the villa and was, in fact, his.

In 2007 Oldfield caused a minor stir in the British press by criticizing Britain for being too controlling and protective, specifically concentrating on the smoking ban which England and Wales had introduced that year. Oldfield then moved from his Gloucestershire home to Palma de Mallorca, Spain. He has lived outside the UK in the past, including living in Los Angeles and Ibiza in the 1990s, and Switzerland in the mid-1980s, for tax reasons. He also currently has a home in Monaco. In 2009 he decided to move to the Bahamas, and put his home in Mallorca up for sale; the asking price was around €3.5 million, but has since been lowered, and as of August 2011 is still listed as available for sale by a major international real estate agency.

Instruments

Oldfield is a multi-instrumentalist; however he considers himself to be predominantly a guitarist.

Guitars

Over the years Oldfield has used a various selection of guitars, some of the most noted being:

A 1963 (also quoted as 1961 and 1962) salmon pink (fiesta red) Fender Stratocaster serial no.L08044 – used by Oldfield from 1984 (''Discovery'' album) until 2006 (Night of the Proms, rehearsals in Antwerp) – Sold for £30,000 at Chandler Guitars.

A 1989 amber PRS Artist Custom 24 – used by Oldfield from the late 1980s to the present day.

A 1966 blonde Fender Telecaster serial no. 180728 – the only electric guitar used on ''Tubular Bells'' and also previously owned by Marc Bolan – went up for auction at Bonhams in June 2007, with the money going to the SANE charity.

Various Gibson Les Paul and SGs – used by Oldfield extensively in the 1970s and 80s.

Oldfield used a modified Roland GP8 effects processor in conjunction with his PRS Artist to get many of his heavily overdriven guitar sounds from the ''Earth Moving'' album onwards. Oldfield has also been using Guitar synthesizers since the mid-1980s, using a 1980s Roland GR-300/G-808 type system, then a 1990s Roland GK2 equipped red PRS Custom 24 (sold in 2006) with a Roland VG8, and most recently a Line 6 Variax.

Oldfield has an unusual playing style, using both fingers and fingernails and several ways of creating vibrato: a "very fast side-to-side vibrato" or "violinist's vibrato". Oldfield has also stated that his playing style originates from his musical roots playing folk music and the bass guitar.

Recording

Oldfield has self-recorded and produced many of his albums, and played the majority of the instruments that feature on them, largely at his home studios. In the 1990s and 2000s he has been mainly using DAWs such as Apple Logic, Avid Pro Tools and Steinberg Nuendo as recording suites. For composing classical music Oldfield has been quoted as using the software notation program, Sibelius, combined with Apple Macintoshes. He also used the FL Studio DAW on his 2005 double album ''Light + Shade''. Among the mixing consoles Oldfield has owned are an AMS Neve Capricorn 33238, a Harrison Series X, and a Euphonix System 5-MC.

Keyboards

Over the years Oldfield has owned and used a vast number of synthesizers and other keyboard instruments. In the 1980s he composed the score for the film ''The Killing Fields'' on a Fairlight CMI. Some examples of keyboard and synthesized instruments which Oldfield has made use of includes Sequential Circuits Prophets (notably on ''Platinum''), Roland JV-1080/JV-2080 units (in the 1990s), a Korg M1 (as seen in the "Innocent" video), a Clavia Nord Lead, and Steinway pianos among an almost endless list of others. In recent years Oldfield has also made use of software synthesis, such as Native Instruments products, notably on his ''Light + Shade'' album.

Discography

Oldfield has had more than 30 charting albums and 25 charting singles on the British charts, and many more around the world.

Main albums

{| style="width:100%" cellspacing="0" cellpadding="0" |- valign="top" |style="width:50%"|

''Tubular Bells'' (1973)

''Hergest Ridge'' (1974)

''The Orchestral Tubular Bells'' (1975)

''Ommadawn'' (1975)

''Incantations'' (1978)

''Exposed'' (1979)

''Platinum'' (1979)

''QE2'' (1980)

''Five Miles Out'' (1982)

''Crises'' (1983)

''Discovery'' (1984)

''The Killing Fields'' (1984)

''Islands'' (1987)

|style="width:50%"|

''Earth Moving'' (1989)

''Amarok'' (1990)

''Heaven's Open'' (1991)

''Tubular Bells II'' (1992)

''The Songs of Distant Earth'' (1994)

''Voyager'' (1996)

''Tubular Bells III'' (1998)

''Guitars'' (1999)

''The Millennium Bell'' (1999)

''Tr3s Lunas'' (2002)

''Tubular Bells 2003'' (2003)

''Light + Shade'' (2005)

''Music of the Spheres'' (2008)

|}

Quotation

''NME'' - April 1979

See also

Sally Oldfield

Terry Oldfield

Kevin Ayers

Maggie Reilly

Rick Fenn

Maddy Prior

Anita Hegerland

New Age music

Electronic music

Virgin Records

Bibliography

References

External links

; Official sites MikeOldfieldOfficial.com – The official Mike Oldfield website

* Mike Oldfield official Universal store

MikeOldfield.org – The official Mike Oldfield information service

; Fan-based sites

Tubular.net – The largest and most well-established Mike Oldfield website, for news and information.

; Other sites

Category:1953 births Category:Living people Category:English songwriters Category:English guitarists Category:English multi-instrumentalists Category:English buskers Category:English New Age musicians Category:English composers Category:British people of Irish descent Category:People from Reading, Berkshire Category:Grammy Award winners Category:Virgin Records artists Category:Mercury Records artists Category:English Roman Catholics Category:Warner Bros. Records artists Category:FL Studio users Category:People educated at Presentation College, Reading Category:People educated at The Highlands School, Reading

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