Candide
The frontispiece of the 1759 edition published by Sirène in Paris, which reads, "Candide, or Optimism, translated from the German of Dr. Ralph."[3][4]
Author(s)	Voltaire
Original title	Candide, ou l'Optimisme
Illustrator	Jean-Michel Moreau le Jeune
Country	France
Language	French
Genre(s)	Conte philosophique; satire; picaresque novel; bildungsroman
Publisher	1759: Cramer, Marc-Michel Rey, Jean Nourse, Lambert, and others
Publication date	January 1759[1][2]
Media type	Print
ISBN	NA

Candide, ou l'Optimisme ( /ˌkænˈdiːd/; French: [kɑ̃did]) is a French satire first published in 1759 by Voltaire, a philosopher of the Age of Enlightenment. The novella has been widely translated, with English versions titled Candide: or, All for the Best (1759); Candide: or, The Optimist (1762); and Candide: or, Optimism (1947).^[5] It begins with a young man, Candide, who is living a sheltered life in an Edenic paradise and being indoctrinated with Leibnizian optimism (or simply Optimism) by his mentor, Pangloss. The work describes the abrupt cessation of this lifestyle, followed by Candide's slow, painful disillusionment as he witnesses and experiences great hardships in the world. Voltaire concludes with Candide, if not rejecting optimism outright, advocating an enigmatic precept, "we must cultivate our garden", in lieu of the Leibnizian mantra of Pangloss, "all is for the best in the best of all possible worlds".

Candide is characterised by its sarcastic tone, as well as by its erratic, fantastical and fast-moving plot. A picaresque novel with a story similar to that of a more serious bildungsroman, it parodies many adventure and romance clichés, the struggles of which are caricatured in a tone that is mordantly matter-of-fact. Still, the events discussed are often based on historical happenings, such as the Seven Years' War and the 1755 Lisbon earthquake.^[6] As philosophers of Voltaire's day contended with the problem of evil, so too does Candide in this short novel, albeit more directly and humorously. Voltaire ridicules religion, theologians, governments, armies, philosophies, and philosophers through allegory; most conspicuously, he assaults Leibniz and his optimism.^[7][8]

As expected by Voltaire, Candide has enjoyed both great success and great scandal. Immediately after its secretive publication, the book was widely banned because it contained religious blasphemy, political sedition and intellectual hostility hidden under a thin veil of naïveté.^[7] However, with its sharp wit and insightful portrayal of the human condition, the novel has since inspired many later authors and artists to mimic and adapt it. Today, Candide is recognised as Voltaire's magnum opus^[7] and is often listed as part of the Western canon; it is arguably taught more than any other work of French literature.^[9]

Historical and literary background[link]

A number of deadly historical events inspired Voltaire to write Candide, most notably the publication of Leibniz's "Monadology", a long logical treatise that concludes "Therefore this is the best of all possible worlds", and the Seven Years' War and the 1755 Lisbon earthquake, both of the catastrophes being frequently referred to in the book and are cited by scholars as reasons for its composition.^[10] The 1755 Lisbon earthquake, tsunami, and resulting fires of All Saints' Day, had a strong influence on theologians of the day and on Voltaire, who was himself disillusioned by them. The earthquake had an especially large effect on the contemporary doctrine of optimism, a philosophical system which implies that such events should not occur. Optimism is founded on the theodicy of Gottfried Wilhelm Leibniz that says all is for the best because God is a benevolent deity. This concept is often put into the form, "all is for the best in the best of all possible worlds" (Fr. "Tout est pour le mieux dans le meilleur des mondes"). Philosophers had trouble fitting the horrors of this earthquake into the optimist world view.^[11]

This 1755 copper engraving shows the ruins of Lisbon in flames and a tsunami overwhelming the ships in the harbour.

Voltaire actively rejected Leibnizian optimism after the natural disaster, convinced that if this were the best possible world, it should surely be better than it is.^[12] In both Candide and Poème sur le désastre de Lisbonne ("Poem on the Lisbon Disaster"), Voltaire attacks this optimist belief.^[11] He makes use of the Lisbon earthquake in both Candide and his Poème to argue this point, sarcastically describing the catastrophe as one of the most horrible disasters "in the best of all possible worlds".^[13] Immediately after the earthquake, unreliable rumours circulated around Europe, sometimes overestimating the severity of the event. Ira Wade, a noted expert on Voltaire and Candide, has analysed which sources Voltaire might have referenced in learning of the event. Wade speculates that Voltaire's primary source for information on the Lisbon earthquake was the 1755 work Relation historique du Tremblement de Terre survenu à Lisbonne by Ange Goudar.^[13]

Apart from such events, contemporaneous stereotypes of the German personality may have been a source of inspiration for the text, as they were for Simplicius Simplicissimus, a 1669 satirical picaresque novel written by Hans Jakob Christoffel von Grimmelshausen and inspired by the Thirty Years' War. The protagonist of this novel, who was supposed to embody stereotypically German characteristics, is quite similar to the protagonist of Candide.^[4] These stereotypes, according to Voltaire biographer Alfred Owen Aldridge, include "extreme credulousness or sentimental simplicity", two of Candide's, and Simplicius's, defining qualities. Aldridge writes, "Since Voltaire admitted familiarity with fifteenth-century German authors who used a bold and buffoonish style, it is quite possible that he knew Simplicissimus as well."^[4]

A satirical and parodic precursor of Candide, Jonathan Swift's Gulliver's Travels (1726) is one of Candide's closest literary relatives. This satire tells the story of "a gullible ingenue", Gulliver, who (like Candide) travels to several "remote nations" and is hardened by the many misfortunes which befall him. As evidenced by similarities between the two books, Voltaire probably drew upon Gulliver's Travels for inspiration while writing Candide.^[14] Other probable sources of inspiration for Candide are Télémaque (1699) by François Fénelon and Cosmopolite (1753) by Louis-Charles Fougeret de Monbron. Candide's parody of the bildungsroman is probably based on Télémaque, which includes the prototypical parody of the sagacious tutor on whom Pangloss may have been partly based. Likewise, Monbron's protagonist undergoes a disillusioning series of travels similar to those of Candide.^[4][15][16]

Creation[link]

Born François-Marie Arouet, Voltaire (1694–1778), by the time of the Lisbon earthquake, was already a well-established author, known for his satirical wit. He had been made a member of the Académie Française in 1746. He was a deist, a strong proponent of religious freedom, and a critic of tyrannical governments. Candide became part of his large, diverse body of philosophical, political and artistic works expressing these views.^[17][18] More specifically, it was a model for the eighteenth- and early nineteenth-century novels called the "contes philosophiques". This genre, of which Voltaire was one of the founders, included previous works of his such as Zadig and Micromegas.^[19][20][21]

Engraving of Voltaire published as the frontispiece to an 1843 edition of his Dictionnaire philosophique

It is unknown exactly when Voltaire wrote Candide,^[22] but scholars estimate that it was primarily composed in late 1758 and begun as early as 1757:^[23] Voltaire is believed to have written a portion of it while at his house in Ferney and also while visiting Charles Théodore, the Elector-Palatinate at Schwetzingen, for three weeks in the summer of 1758. Despite solid evidence for these claims, a popular legend persists that Voltaire wrote Candide in three days. This idea is probably based on a misreading of the 1885 work La Vie intime de Voltaire aux Délices et à Ferney by Lucien Perey (real name: Clara Adèle Luce Herpin) and Gaston Maugras.^[24][25] The evidence indicates strongly that Voltaire did not rush nor improvise Candide, but worked on it for a significant period of time, even a whole year. Candide is mature and carefully developed, not impromptu, as the intentionally choppy plot and the aforementioned myth suggest.^[26]

There is only one extant manuscript of Candide that was written before the work's 1759 publication; it was discovered in 1956 by Wade and since named the La Vallière Manuscript. It is believed to have been sent, chapter by chapter, by Voltaire to the Duke and Duchess La Vallière in the autumn of 1758.^[2] The manuscript was sold to the Bibliothèque de l'Arsenal in the late eighteenth century, where it remained undiscovered for almost two hundred years.^[27] The La Vallière Manuscript, the most original and authentic of all surviving copies of Candide, was probably dictated by Voltaire to his secretary, Wagnière, then edited directly.^[24][28] In addition to this manuscript, there is believed to have been another, one copied by Wagnière for the Elector Charles-Théodore, who hosted Voltaire during the summer of 1758. The existence of this copy was first postulated by Norman L. Torrey in 1929. If it exists, it remains undiscovered.^[24][29]

Voltaire published Candide simultaneously in five countries no later than 15 January 1759, although the exact date is uncertain.^[2][30] Seventeen versions of Candide from 1759, in the original French, are known today, and there has been great controversy over which is the earliest.^[2] More versions were published in other languages: Candide was translated once into Italian and thrice into English that same year.^[1] The complicated science of calculating the relative publication dates of all of the versions of Candide is described at length in Wade's article "The First Edition of Candide: A Problem of Identification". The publication process was extremely secretive, probably the "most clandestine work of the century", because of the book's obviously illicit and irreverent content.^[31] The greatest number of copies of Candide were published concurrently in Geneva by Cramer, in Amsterdam by Marc-Michel Rey, in London by Jean Nourse, and in Paris by Lambert.^[31]

1803 illustration of the two monkeys chasing their lovers. Candide shoots the monkeys, thinking they are attacking the women.

Candide underwent one major revision after its initial publication, in addition to some minor ones. In 1761, a version of Candide was published that included, along with several minor changes, a major addition by Voltaire to the twenty-second chapter, a section that had been thought weak by the Duke of Vallière.^[32] The English title of this edition was Candide, or Optimism, Translated from the German of Dr. Ralph. With the additions found in the Doctor's pocket when he died at Minden, in the Year of Grace 1759.^[33] The last edition of Candide authorised by Voltaire was the one included in Cramer's 1775 compilation, l'éditions encadrées, meaning "supervised editions".^[34][35]

Voltaire strongly opposed the inclusion of illustrations in his works, as he stated in a 1778 letter to writer and publisher Charles Joseph Panckoucke:

Je crois que des Estampes seraient fort inutiles. Ces colifichets n'ont jamais été admis dans les éditions de Cicéron, de Virgile et d'Horace. (I believe that these illustrations would be quite useless. These baubles have never been allowed in the works of Cicero, Virgil and Horace).^[36]

Despite this protest, two sets of illustrations for Candide were produced by French artist Jean-Michel Moreau le Jeune. The first version was done, at Moreau's own expense, in 1787 and included in Kehl's publication of that year, Oeuvres Complètes de Voltaire.^[37] Four images were drawn by Moreau for this edition and were engraved by Pierre-Charles Baquoy.^[38] The second version, in 1803, consisted of seven drawings by Moreau which were transposed by multiple engravers.^[39] Twentieth-century modern artist Paul Klee stated that it was while reading Candide that he discovered his own artistic style. Klee illustrated the work, and his drawings were published in a 1920 version edited by Kurt Wolff.^[40]

List of characters[link]

Main characters[link]

• Candide: The title character. Illegitimate son of the sister of the baron of Thunder-ten-Tronckh. In love with Cunégonde.
• Cunégonde: The daughter of the baron of Thunder-ten-Tronckh. In love with Candide.
• Pangloss: The royal educator of the court of the baron. Described as "the greatest philosopher of the Holy Roman Empire".
• The Old Woman: Cunégonde's maid while she was the mistress of Don Issachar and the Grand Inquisitor of Portugal. Fled with Candide and Cunégonde to the New World. Illegitimate daughter of Pope Urban X.
• Cacambo: From a Spanish father and a Peruvian mother. Lived half his life in Spain and half in the Latin America. Candide's valet while in America.
• Martin: Dutch amateur philosopher and Manichean. Met Candide in Suriname, travelled with him afterwards.
• The baron of Thunder-ten-Tronckh: Son of the original Baron (a secondary character) and brother of Cunégonde. Thought to have been killed by the Bulgarians. Became a Jesuit in Paraguay.

Secondary characters[link]

• The baron and baroness of Thunder-ten-Tronckh: Father and mother of Cunégonde and the second baron. Both slain by the Bulgarians.
• The king of the Bulgarians.
• Jacques the Anabaptist: Saved Candide from a lynching in the Netherlands. Drowned in the port of Lisbon.
• Don Issachar: Jewish landlord in Portugal. Cunégonde became his mistress, shared with the Grand Inquisitor of Portugal. Killed by Candide.
• The Grand Inquisitor of Portugal: Sentenced Candide and Pangloss at the auto-da-fé. Cunégonde was his mistress jointly with Don Issachar. Killed by Candide.
• Don Fernando d'Ibarra y Figueroa y Mascarenes y Lampourdos y Souza: Spanish governor of Buenos Aires. Wanted Cunégonde as a mistress.
• The king of El Dorado, who helped Candide and Cacambo out of El Dorado and made them rich.
• Mynheer Vanderdendur: Dutch ship captain. Offered to take Candide from America to France for 30,000 gold coins, but then departed without him, stealing all his riches.
• The abbot of Perigord: Befriended Candide and Martin, led the police to arrest them; he and the police officer accepted three diamonds each and released them.
• The marchioness of Parolignac: Parisian wench who took an elaborate title.
• The scholar: One of the guests of the "marchioness". Argued with Candide about art.
• Paquette: The one who gave Pangloss syphilis. After the slaying by the Bulgarians, worked as a prostitute. Became the property of Friar Giroflée.
• Friar Giroflée: Theatin friar. In love with the prostitute Paquette.
• Signor Pococuranté: A Venetian noble. Candide and Martin visited his estate, where he discussed his disdain of most of the canon of great art.
• In an inn in Venice, Candide and Martin ate with six foreigners who turned out to be deposed monarchs. They were:
  • Ahmed III
  • Ivan VI of Russia
  • Charles Edward Stuart
  • Augustus III of Poland
  • Stanisław Leszczyński
  • Theodore of Corsica

Synopsis[link]

Candide contains thirty episodic chapters, which may be grouped into two main schemes: one consists of two divisions, separated by the protagonist's hiatus in El Dorado; the other consists of three parts, each defined by its geographical setting. By the former scheme, the first half of Candide constitutes the rising action and the last part the resolution. This view is supported by the strong theme of travel and quest, reminiscent of adventure and picaresque novels, which tend to employ such a dramatic structure.^[41] By the latter scheme, the thirty chapters may be grouped into three parts each comprising ten chapters and defined by locale: I–X are set in Europe, XI–XX are set in the Americas, and XXI–XXX are set in Europe and the Ottoman Empire.^[42][43] The plot summary that follows uses this second format and includes Voltaire's additions of 1761.

Chapters I–X[link]

The tale of Candide begins in the castle of the Baron Thunder-ten-Tronckh in Westphalia, home to the Baron's daughter, Lady Cunégonde; his bastard nephew, Candide; a tutor, Pangloss; a chambermaid, Paquette; and the rest of the Baron's family. The protagonist, Candide, is romantically attracted to Cunégonde. He is a child of "the most unaffected simplicity", whose face is "the index of his mind".^[4] Dr. Pangloss, professor of "métaphysico-théologo-cosmolonigologie" and self-proclaimed optimist, teaches his pupils that they live in the "best of all possible worlds" and that "all is for the best".

Frontispiece and first page of chapter one of an early English translation by T. Smollett et al of Voltaire's "Candide," printed by J. Newbery, 1762

All is well in the castle until Cunégonde sees Pangloss sexually engaged with Paquette in some bushes. Encouraged by this show of affection, Cunégonde drops her handkerchief next to Candide which entices him to kiss her. For this infraction, Candide is evicted from the castle, at which point he is captured by Bulgar (Prussian) recruiters and coerced into military service, where he is flogged, nearly executed, and forced to participate in a major battle between the Bulgars and the Abares (an allegory representing the Prussians and the French). Candide eventually escapes the army and makes his way to Holland where he is given aid by Jacques, an Anabaptist, who strengthens Candide's optimism. Soon after, Candide finds his master Pangloss, now a beggar with syphilis. Pangloss reveals he was infected with this disease by Paquette and shocks Candide by relating how Castle Thunder-ten-Tronckh was destroyed by Bulgars, and that Cunégonde and her whole family were killed. Pangloss is cured of his illness by Jacques, losing one eye and one ear in the process, and the three set sail to Lisbon.

In Lisbon's harbor, they are overtaken by a vicious storm which destroys the boat. Jacques attempts to save a sailor, and in the process is thrown overboard. The sailor makes no move to help the drowning Jacques, and Candide is in a state of despair until Pangloss explains to him that Lisbon harbor was created in order for Jacques to drown. Only Pangloss, Candide, and the "brutish sailor" who let Jacques drown^[44] survive the wreck and reach Lisbon, which is promptly hit by an earthquake, tsunami and fire which kill tens of thousands. The sailor leaves in order to loot the rubble while Candide, injured and begging for help, is lectured on the optimistic view of the situation by Pangloss.

The next day, Pangloss discusses his optimistic philosophy with a member of the Portuguese Inquisition, and he and Candide are arrested for heresy, set to be tortured and killed in an "auto-da-fé" set up to appease God and prevent another disaster. Candide is flogged and sees Pangloss hanged, but another earthquake intervenes and he escapes. He is approached by an old woman,^[45] who leads him to a house where Lady Cunégonde waits, alive. Candide is surprised: Pangloss had told him that Cunégonde had been raped and disemboweled. She had been, but Cunégonde points out that people survive such things. However, her rescuer sold her to a Jewish merchant who was then threatened by a corrupt Grand Inquisitor into sharing her. Her owners arrive, find her with another man, and Candide kills them both. Candide and the two women flee the city, heading to the Americas.^[46] Along the way, Cunégonde falls into self-pity, complaining of all the misfortunes that have befallen her. The old woman reciprocates by revealing her own tragic life, which included having a buttock cut off in order to feed some starving men.

Chapters XI–XX[link]

The trio arrives in Buenos Aires, where Governor Don Fernando d'Ibarra, y Figueroa, y Mascarenes, y Lampourdos, y Alejandro asks to marry Cunégonde. Just then, an alcalde (a Portuguese fortress commander) arrives, pursuing Candide for killing the Grand Inquisitor. Leaving the women behind, Candide flees to Paraguay with his practical and heretofore unmentioned manservant, Cacambo.

1787 illustration of Candide and Cacambo meeting a maimed slave of the sugar mill near Suriname

At a border post on the way to Paraguay, Cacambo and Candide speak to the commandant, who turns out to be Cunégonde's unnamed brother. He explains that after his family was slaughtered, the Jesuits' preparation for his burial revived him, and he has since joined the order.^[46] When Candide proclaims he intends to marry Cunégonde, her brother attacks him, and Candide stabs him through with his rapier. After lamenting all the people (mainly priests) he's killed, he and Cacambo flee. In their flight, Candide and Cacambo come across two naked women being chased and bitten by a pair of monkeys. Candide, seeking to protect the women, shoots and kills the monkeys, but is informed by Cacambo that the monkeys and women were probably lovers.

Cacambo and Candide are captured by Oreillons, the fictional inhabitants of the area. Mistaking Candide for a Jesuit by his robes, the Oreillons prepare to cook Candide and Cacambo; however, Cacambo convinces the Oreillons that Candide killed a Jesuit to procure the robe. Cacambo and Candide are released and travel for a month on foot and then down a river by canoe, living on fruits and berries.

After a few more adventures, Candide and Cacambo wander into El Dorado, a geographically isolated utopia where the streets are covered with precious stones, there exist no priests, and all of the king's jokes are funny.^[47] Candide and Cacambo stay a month in El Dorado, but Candide is still in pain without Cunégonde, and expresses to the king his wish to leave. The king points out that this is a foolish idea, but generously helps them do so. The pair continue their journey, now accompanied by one hundred red pack sheep carrying provisions and incredible sums of money, which they slowly lose or have stolen over the next few adventures.

Candide and Cacambo eventually reach Suriname, where they split up: Cacambo travels to Buenos Aires to retrieve Lady Cunégonde, while Candide prepares to travel to Europe to await the two. Candide's remaining sheep are stolen, and Candide is fined heavily by a Dutch magistrate for petulance over the theft. Before leaving Surinam, Candide feels in need of companionship, so he interviews a number of local men who have been through various ill-fortunes and settles on a man named Martin.

Chapters XXI–XXX[link]

This companion, Martin, is a Manichean scholar based on the real-life pessimist Pierre Bayle, who was a chief opponent of Leibniz.^[48] For the remainder of the voyage, Martin and Candide argue about philosophy, Martin painting the entire world as occupied by fools. Candide, however, remains an optimist at heart, since it is all he knows. As they arrive in England, they see an admiral (based on Admiral Byng) being shot for not killing enough of the enemy. Martin explains that Britain finds it necessary to shoot an admiral from time to time "pour l'encouragement des autres" (to encourage the others).^[49] Candide, horrified, arranges for them to leave Britain immediately. After various scenes satirising other European institutions, Candide and Martin meet Paquette, the chambermaid who infected Pangloss with his syphilis, in Venice. She is now a prostitute, and is spending her time with a monk, Brother Giroflée. Although both appear happy on the surface, they reveal their despair: Paquette has led a miserable existence as a sexual object, and the monk detests the religious order in which he was indoctrinated.

Later, while Candide and Martin are eating supper, Cacambo returns to Candide and informs him that Cunégonde is in Constantinople, and that she has been enslaved. She is now washing dishes for a prince of Transylvania, and has become ugly. On the way to rescue her, Candide finds Pangloss and Cunégonde's brother rowing in the galley. Candide buys their freedom and further passage at steep prices.^[46] The baron and Pangloss relate how they survived, but despite the horrors he has been through, Pangloss's optimism remains unshaken: "I still hold to my original opinions, because, after all, I'm a philosopher, and it wouldn't be proper for me to recant, since Leibniz cannot be wrong, and since pre-established harmony is the most beautiful thing in the world, along with the plenum and subtle matter."^[50]

The travellers arrive on the Ottoman coast where they rejoin Cunégonde and the old woman. Cunégonde has indeed become hideously ugly, but Candide nevertheless buys their freedom and marries Cunégonde to spite her brother. Paquette and Brother Giroflée, too, are reconciled with Candide on a farm which he just bought with the last of his finances.

One day, the protagonists seek out a dervish known as a great philosopher of the land. Pangloss asks him why Man is made to suffer so, and what they all ought to do. The dervish responds by asking rhetorically why Pangloss is concerned about the existence of evil and good. The dervish describes human beings as mice on a ship sent by a king to Egypt; their comfort does not matter to the king. The dervish then slams his door on the group. Returning to their farm, Candide, Pangloss, and Martin meet a Turk whose philosophy is to devote his life only to simple work and not concern himself with external affairs. He and his four children work a small farm to keep "free of three great evils: boredom, vice and necessity", or "poverty" as per John Butt's 1947 translation. Candide, Pangloss, Martin, Cunégonde, Paquette, Cacambo, the old woman, and Brother Giroflée all set to work (on this "louable dessein", or "commendable plan", as the narrator calls it), each to one specific task. Candide ignores Pangloss's insistence that all turned out for the best by necessity, instead telling him "we must cultivate our garden".^[51]

Style[link]

As Voltaire himself described it, the purpose of Candide was to "bring amusement to a small number of men of wit".^[4] The author achieves this goal by combining his sharp wit with a fun parody of the classic adventure-romance plot. Candide is confronted with horrible events described in painstaking detail so often that it becomes humorous. Literary theorist Frances K. Barasch described Voltaire's matter-of-fact narrative as treating topics such as mass death "as coolly as a weather report".^[52] The fast-paced and improbable plot—in which characters narrowly escape death repeatedly, for instance—allows for compounding tragedies to befall the same characters over and over again.^[53] In the end, Candide is primarily, as described by Voltaire's biographer Ian Davidson, "short, light, rapid and humorous".^[7][54]

Behind the playful façade of Candide which has amused so many, there lies very harsh criticism of contemporary European civilization which angered many others. European governments such as France, Prussia, Portugal and England are each attacked ruthlessly by the author: the French and Prussians for the Seven Years' War, the Portuguese for their Inquisition, and the British for the execution of John Byng. Organised religion, too, is harshly treated in Candide. For example, Voltaire mocks the Jesuit order of the Roman Catholic Church. Aldridge provides a characteristic example of such anti-clerical passages for which the work was banned: while in Paraguay, Cacambo remarks, "[The Jesuits] are masters of everything, and the people have no money at all …". Here, Voltaire suggests the Christian mission in Paraguay is taking advantage of the local population. Voltaire depicts the Jesuits holding the indigenous peoples as slaves while they claim to be helping them.^[55][56]

Satire[link]

The main method of Candide's satire is to contrast ironically great tragedy and comedy.^[7] The story does not invent or exaggerate evils of the world—it displays real ones starkly, allowing Voltaire to simplify subtle philosophies and cultural traditions, highlighting their flaws.^[53] Thus Candide derides optimism, for instance, with a deluge of horrible, historical (or at least plausible) events with no apparent redeeming qualities.^[4][52]

A simple example of the satire of Candide is seen in the treatment of the historical event witnessed by Candide and Martin in Portsmouth harbour. There, the duo spy an anonymous admiral, supposed to represent John Byng, being executed for failing to properly engage a French fleet. The admiral is blindfolded and shot on the deck of his own ship, merely "to encourage the others" (Fr. "Pour encourager les autres"). This depiction of military punishment trivializes Byng's death. The dry, pithy explanation "to encourage the others" thus satirises a serious historical event in characteristically Voltairian fashion. For its classic wit, this phrase has become one of the more often quoted from Candide.^[7][57]

Voltaire depicts the worst of the world and his pathetic hero's desperate effort to fit it into an optimistic outlook. Almost all of Candide is a discussion of various forms of evil: its characters rarely find even temporary respite. There is at least one notable exception: the episode of El Dorado, a fantastic village in which the inhabitants are simply rational, and their society is just and reasonable. The positivity of El Dorado may be contrasted with the pessimistic attitude of most of the book. Even in this case, the bliss of El Dorado is fleeting: Candide soon leaves the village to seek Cunégonde, whom he eventually marries only out of spite.^[4][52]

Another element of the satire focuses on what William F. Bottiglia, author of many published works on Candide, calls the "sentimental foibles of the age" and Voltaire's attack on them.^[58] Flaws in European culture are highlighted as Candide parodies adventure and romance clichés, mimicking the style of a picaresque novel.^[58] A number of archetypal characters thus have recognisable manifestations in Voltaire's work: Candide is supposed to be the drifting rogue of low social class, Cunégonde the sex interest, Pangloss the knowledgeable mentor and Cacambo the skilful valet.^[4] As the plot unfolds, readers find that Candide is no rogue, Cunégonde becomes ugly and Pangloss is a stubborn fool. The characters of Candide are unrealistic, two-dimensional, mechanical, and even marionette-like; they are simplistic and stereotypical.^[59] As the initially naïve protagonist eventually comes to a mature conclusion—however noncommittal—the novella is a bildungsroman, if not a very serious one.^[4][60]

Garden motif[link]

Gardens are thought by many critics to play a critical symbolic role in Candide. The first location commonly identified as a garden is the castle of the Baron, from which Candide and Cunégonde are evicted much in the same fashion as Adam and Eve are evicted from the Garden of Eden in Genesis. Cyclically, the main characters of Candide conclude the novel in a garden of their own making, one which might represent celestial paradise. The third most prominent "garden" is El Dorado, which may be a false Eden.^[61] Other possibly symbolic gardens include the Jesuit pavilion, the garden of Pococurante, Cacambo's garden, and the Turk's garden.^[62]

These gardens are probably references to the Garden of Eden, but it has also been proposed, by Bottiglia, for example, that the gardens refer also to the Encyclopédie, and that Candide's conclusion to cultivate "his garden" symbolises Voltaire's great support for this endeavour. Candide and his companions, as they find themselves at the end of the novella, are in a very similar position to Voltaire's tightly knit philosophical circle which supported the Encyclopédie: the main characters of Candide live in seclusion to "cultivate [their] garden", just as Voltaire suggested his colleagues leave society to write. In addition, there is evidence in the epistolary correspondence of Voltaire that he had elsewhere used the metaphor of gardening to describe writing the Encyclopédie.^[62] Another interpretative possibility is that Candide cultivating "his garden" suggests his engaging in only necessary occupations, such as feeding oneself and fighting boredom. This is analogous to Voltaire's own view on gardening: he was himself a gardener at his estates in Les Délices and Ferney, and he often wrote in his correspondence that gardening was an important pastime of his own, it being an extraordinarily effective way to keep busy.^[63][64][65]

Philosophy[link]

Optimism[link]

Candide satirises various philosophical and religious theories that Voltaire had previously criticised. Primary among these is Leibnizian optimism (sometimes called Panglossianism after its fictional proponent), which Voltaire ridicules with descriptions of seemingly endless calamity.^[7] Voltaire demonstrates a variety of irredeemable evils in the world, leading many critics to contend that Voltaire's treatment of evil—specifically the theological problem of its existence—is the focus of the work.^[66] Heavily referenced in the text are the Lisbon earthquake, disease, and the sinking of ships in storms. Also, war, thievery, and murder—evils of human design—are explored as extensively in Candide as are environmental ills. Bottiglia notes Voltaire is "comprehensive" in his enumeration of the world's evils. He is unrelenting in attacking Leibnizian optimism.^[67]

Fundamental to Voltaire's attack is Candide's tutor Pangloss, a self-proclaimed follower of Leibniz and a teacher of his doctrine. Ridicule of Pangloss's theories thus ridicules Leibniz himself, and Pangloss's reasoning is silly at best. For example, Pangloss's first teachings of the narrative absurdly mix up cause and effect:

Il est démontré, disait-il, que les choses ne peuvent être autrement; car tout étant fait pour une fin, tout est nécessairement pour la meilleure fin. Remarquez bien que les nez ont été faits pour porter des lunettes; aussi avons-nous des lunettes.

It is demonstrable that things cannot be otherwise than as they are; for as all things have been created for some end, they must necessarily be created for the best end. Observe, for instance, the nose is formed for spectacles, therefore we wear spectacles.^[68]

Following such flawed reasoning even more doggedly than Candide, Pangloss defends optimism. Whatever their horrendous fortune, Pangloss reiterates "all is for the best" (Fr. "Tout est pour le mieux") and proceeds to "justify" the evil event's occurrence. A characteristic example of such theodicy is found in Pangloss's explanation of why it is good that syphilis exists:

… c'était une chose indispensable dans le meilleur des mondes, un ingrédient nécessaire; car si Colomb n'avait pas attrapé dans une île de l'Amérique cette maladie qui empoisonne la source de la génération, qui souvent même empêche la génération, et qui est évidemment l'opposé du grand but de la nature, nous n'aurions ni le chocolat ni la cochenille;

… it was a thing unavoidable, a necessary ingredient in the best of worlds; for if Columbus had not caught in an island in America this disease, which contaminates the source of generation, and frequently impedes propagation itself, and is evidently opposed to the great end of nature, we should have had neither chocolate nor cochineal.^[44]

Candide, the impressionable and incompetent student of Pangloss, often tries to justify evil, fails, invokes his mentor and eventually despairs. It is by these failures that Candide is painfully cured (as Voltaire would see it) of his optimism.

Interestingly, this critique of Voltaire's seems to be directed almost exclusively at Leibnizian optimism. Candide does not ridicule Voltaire's contemporary Alexander Pope, a later optimist of slightly different convictions. Candide does not discuss Pope's optimistic principle that "all is right", but Leibniz's that states, "this is the best of all possible worlds". However subtle the difference between the two, Candide is unambiguous as to which is its subject. Some critics conjecture that Voltaire meant to spare Pope this ridicule out of respect, although Voltaire's Poème may have been written as a more direct response to Pope's theories. This work is similar to Candide in subject matter, but very different to it in style: the Poème embodies a more serious philosophical argument than Candide.^[4]

Conclusion[link]

The conclusion of the novella, in which Candide finally dismisses his tutor's optimism, leaves unresolved what philosophy the protagonist is to accept in its stead. This element of Candide has been written about voluminously, perhaps above all others. The conclusion is enigmatic and its analysis is contentious.^[69]

Voltaire's estate at Ferney

Voltaire develops no formal, systematic philosophy for the characters to adopt.^[70] The conclusion of the novel may be thought of not as a philosophical alternative to optimism, but as a prescribed practical outlook (though what it prescribes is in dispute). Many critics have concluded that one minor character or another is portrayed as having the right philosophy. For instance, a number believe that Martin is treated sympathetically, and that his character holds Voltaire's ideal philosophy—pessimism. Others disagree, citing Voltaire's negative descriptions of Martin's principles and the conclusion of the work in which Martin plays little part.^[71]

Within debates attempting to decipher the conclusion of Candide lies another primary Candide debate. This one concerns the degree to which Voltaire was advocating a pessimistic philosophy, by which Candide and his companions give up hope for a better world. Critics argue that the group's reclusion on the farm signifies Candide and his companions' loss of hope for the rest of the human race. This view is to be compared to a reading that presents Voltaire as advocating a melioristic philosophy and a precept committing the travellers to improving the world through metaphorical gardening. This debate, and others, focuses on the question of whether or not Voltaire was prescribing passive retreat from society, or active industrious contribution to it.^[72]

Inside/Outside Controversy[link]

Separate from the debate about the text's conclusion is the "inside/outside" controversy. This argument centers on the matter of whether or not Voltaire was actually prescribing anything. Roy Wolper, professor emeritus of English, argues in a revolutionary 1969 paper that Candide does not necessarily speak for its author; that the work should be viewed as a narrative independent of Voltaire's history; and that its message is entirely (or mostly) inside it. This point of view, the "inside", specifically rejects attempts to find Voltaire's "voice" in the many characters of Candide and his other works. Indeed, writers have seen Voltaire as speaking through at least Candide, Martin, and the Turk. Wolper argues that Candide should be read with a minimum of speculation as to its meaning in Voltaire's personal life. His article ushered in a new era of Voltaire studies, causing many scholars to look at the novel differently.^[73][74]

Critics such as Lester Crocker, Henry Stavan, and Vivienne Mylne find too many similarities between Candide's point of view and that of Voltaire to accept the "inside" view; they support the "outside" interpretation. They believe that Candide's final decision is the same as Voltaire's, and see a strong connection between the development of the protagonist and his author.^[75] Some scholars who support the "outside" view also believe that the isolationist philosophy of the Old Turk closely mirrors that of Voltaire. Others see a strong parallel between Candide's gardening at the conclusion and the gardening of the author.^[76] Martine Darmon Meyer argues that the "inside" view fails to see the satirical work in context, and that denying that Candide is primarily a mockery of optimism (a matter of historical context) is a "very basic betrayal of the text".^[77][78]

Reception[link]

Though Voltaire did not openly admit to having written the controversial Candide until 1768 (until then he signed with a pseudonym: "Monsieur le docteur Ralph", or "Doctor Ralph"^[80]), his authorship of the work was hardly disputed. Immediately after publication, the work and its author were denounced by both secular and religious authorities, because the book openly derides government and church alike. It was because of such polemics that Omer-Louis-François Joly de Fleury, who was Advocate General to the Parisian parliament when Candide was published, found parts of Candide to be "contrary to religion and morals".^[81]

Despite much official indictment, soon after its publication, Candide's irreverent prose was being quoted. "Let us eat a Jesuit", for instance, became a popular phrase for its reference to a humorous passage in Candide.^[82] By the end of February 1759, the Grand Council of Geneva and the administrators of Paris had banned Candide.^[2] Candide nevertheless succeeded in selling twenty thousand to thirty thousand copies by the end of the year in over twenty editions, making it a best seller. The Duke de La Vallière speculated near the end of January 1759 that Candide might have been the fastest-selling book ever.^[81] In 1762, Candide was listed in the Index Librorum Prohibitorum, the Roman Catholic Church's list of prohibited books.^[2]

Bannings of Candide lasted into the twentieth century in the United States, where it has long been considered a seminal work of Western literature. At least once, Candide was temporarily barred from entering America: in February 1929, a US customs official in Boston prevented a number of copies of the book, deemed "obscene",^[83] from reaching a Harvard University French class. Candide was admitted in August of the same year; however by that time the class was over.^[83] In an interview soon after Candide's detention, the official who confiscated the book explained the office's decision to ban it, "… But about 'Candide,' I'll tell you. For years we've been letting that book get by. There were so many different editions, all sizes and kinds, some illustrated and some plain, that we figured the book must be all right. Then one of us happened to read it. It's a filthy book …".^[84][85][86]

Legacy[link]

Candide is the most widely read of Voltaire's many works,^[56] and it is considered one of the great achievements of Western literature.^[8] However, Candide is not necessarily considered a true "classic". According to Bottiglia, "The physical size of Candide, as well as Voltaire's attitude toward his fiction, precludes the achievement of artistic dimension through plenitude, autonomous '3D' vitality, emotional resonance, or poetic exaltation. Candide, then, cannot in quantity of quality, measure up to the supreme classics."^[87] Bottiglia instead calls it a miniature classic, though others are more forgiving of its size.^[8][87] As the only work of Voltaire which has remained popular up to the present day,^[88] Candide is listed in The Western Canon: The Books and School of the Ages. It is included in the Encyclopædia Britannica collection Great Books of the Western World.^[89] Candide has had a significant influence on modern writers of black humour such as Céline, Joseph Heller, John Barth, Thomas Pynchon, Kurt Vonnegut, and Terry Southern. Its parody and picaresque methods have become favourites of black humorists.^[90]

Charles Brockden Brown, an early American novelist, may have been directly affected by Voltaire, whose work he knew well. Mark Kamrath, professor of English, describes the strength of the connection between Candide and Edgar Huntly; or, Memoirs of a Sleep-Walker (1799): "An unusually large number of parallels … crop up in the two novels, particularly in terms of characters and plot." For instance, the protagonists of both novels are romantically involved with a recently orphaned young woman. Furthermore, in both works the brothers of the female lovers are Jesuits, and each is murdered (although under different circumstances).^[91] Some twentieth-century novels that may have been influenced by Candide are dystopian science-fiction works. Armand Mattelart, a French critic, sees Candide in Aldous Huxley's Brave New World, George Orwell's Nineteen Eighty-Four and Yevgeny Zamyatin's We, three canonical works of the genre. Specifically, Mattelart writes that in each of these works, there exist references to Candide's popularisation of the phrase "the best of all possible worlds". He cites as evidence, for example, that the French version of Brave New World was entitled Le Meilleur des mondes (En. literally "The best of worlds").^[92]

Readers of Candide often compare it with certain works of the modern genre the Theatre of the Absurd. Haydn Mason, a Voltaire scholar, sees in Candide a few similarities to this brand of literature. For instance, he notes commonalities of Candide and Waiting for Godot (1952). In both of these works, and in a similar manner, friendship provides emotional support for characters when they are confronted with harshness of their existences.^[93] However, Mason qualifies, "… the conte must not be seen as a forerunner of the 'absurd' in modern fiction. Candide's world is full of ridiculous and meaningless elements, but human beings are not totally deprived of the ability tomake [sic] sense out of it."^[94] John Pilling, biographer of Beckett, does state that Candide was an early and powerful influence on Beckett's thinking.^[95]

Derivative works[link]

In 1760, one year after Voltaire published Candide, a sequel was published with the name Candide, ou l'optimisme, seconde partie.^[96] This work is attributed both to Thorel de Campigneulles, a writer unknown today, and Henri Joseph Du Laurens, who is suspected of having habitually plagiarised Voltaire.^[97] The story continues in this sequel with Candide having new adventures in the Ottoman Empire, Persia, and Denmark. Part II has potential use in studies of the popular and literary receptions of Candide, but is almost certainly apocryphal.^[96] In total, by the year 1803, at least ten imitations of Candide or continuations of its story were published by authors other than Voltaire.^[81]

Leonard Bernstein in 1955

Candide the operetta was originally conceived by playwright Lillian Hellman, as a play with incidental music. Leonard Bernstein, the American composer and conductor who wrote the music was so excited about the project that he convinced Hellman to do it as a "comic operetta".^[98] Many lyricists worked on the show, including James Agee, Dorothy Parker, John Latouche, Richard Wilbur, Leonard and Felicia Bernstein, and Hellman. Hershy Kay orchestrated all the pieces except for the overture, which Bernstein did himself.^[99]

Candide first opened on Broadway as a musical on 1 December 1956. The premier production was directed by Tyrone Guthrie and conducted by Samuel Krachmalnick.^[99] While this production was a box office flop, the music was highly praised, and an original cast album was made. The album gradually became a cult hit, but Hellman's libretto was criticised as being too serious an adaptation of Voltaire's novel.^[100] Candide would be more popular seventeen years later with a new libretto by Hugh Wheeler.

Candido ovvero un sogno fatto in Sicilia (1977) or simply Candido is a book by Leonardo Sciascia. It was at least partly based on Voltaire's Candide, although the actual influence of Candide on Candido is a hotly debated topic. A number of theories on the matter have been proposed. Proponents of one say that Candido is very similar to Candide, only with a happy ending; supporters of another claim that Voltaire provided Sciascia with only a starting point from which to work, that the two books are quite distinct.^[101][102]

Nedim Gürsel wrote his 2001 novel Le voyage de Candide à Istanbul about a minor passage in Candide during which its protagonist meets Ahmed III, the deposed Turkish sultan. This chance meeting on a ship from Venice to Istanbul is the setting of Gürsel's book.^[103] Terry Southern, in writing his popular novel Candy with Mason Hoffenberg adapted Candide for a modern audience and changed the protagonist from male to female. Candy deals with the rejection of a sort of optimism which the author sees in women's magazines of the modern era; Candy also parodies pornography and popular psychology. This adaptation of Candide was itself adapted for the cinema by director Christian Marquand in 1968.^[104]

In addition to the above, Candide was made into a number of minor films and theatrical adaptations throughout the twentieth century. For a list of these, see Voltaire: Candide ou L'Optimisme et autres contes (1989) with preface and commentaries by Pierre Malandain.^[105] In May 2009, a play called "Optimism," based on Candide opened at the CUB Malthouse Theatre in Melbourne. It followed the basic storyline of Candide, incorporating anachronisms, music and stand up comedy from comedian Frank Woodley. It toured Australia and played at the Edinburgh International Festival.^[106]

See also[link]

	France portal
	French and Francophone literature portal

• Candide ou l'optimisme au XXe siècle (film, 1960)
• List of French-language authors

Notes[link]

References[link]

Further reading[link]

External links[link]

Editions

• Voltaire (1759).  Candide. Trans. Tobias Smollett. Wikisource. 
• Voltaire (in French).  Candide. Wikisource. 

Quotations related to Candide at Wikiquote

• Candide at Project Gutenberg (plain text and HTML)
• Candide at Internet Archive (scanned books original editions color illustrated)
• Candide at LibriVox (English audiobook)
• Candide (original version) with English annotations at Tailored Texts

Miscellaneous

• Candide: Illustrations of a classic, bibliography of illustrated editions, list of available electronic editions and more useful information from Trier University Library
• Voltaire's Candide, a public wiki dedicated to Candide
• Brief Bibliography for the Study of Candide, issued by the Voltaire Society of America
• (iTunes link) Podcast lecture on Candide, from Dr Martin Evans at Stanford University

v t e Works by Voltaire Prose Letters on the English Elements of the Philosophy of Newton Zadig "Micromégas" "Plato's Dream" Doctor Akakia Candide Dictionnaire philosophique L'Ingénu "The Man of Forty Crowns" The White Bull Poetry Henriade Poème sur le désastre de Lisbonne Épître à l'Auteur du Livre des Trois Imposteurs The Maid of Orleans Drama Oedipus Hérode et Mariamne Zaïre Socrates Mahomet La princesse de Navarre Nanine

Leonard Bernstein by Jack Mitchell

An unverified autograph

Leonard Bernstein ( /ˈbɜrnstaɪn/ US dict: bûrn′·stīn;^[1] August 25, 1918 – October 14, 1990) was an American composer, conductor, 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."^[2]

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 and continuing until his death. In addition, he was a skilled pianist,^[3] often conducting piano concertos from the keyboard.

As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works are regularly performed around the world, although none has matched the tremendous popular and commercial success of West Side Story.

Biography[link]

Early life[link]

He was born Louis Bernstein in Lawrence, Massachusetts, the son of Ukranian Jewish parents Jennie (née Resnick) and Samuel Joseph Bernstein, a hair-dressing supplies wholesaler originating from Rovno (now Ukraine).^[4][5] Despite his surname he was not related to film composer Elmer Bernstein, but the two men were friends, and even shared a certain physical similarity.^[6] Within the world of professional music, they were distinguished from each other by the use of the nicknames Bernstein West (Elmer) and Bernstein East (Leonard).^[7]

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.^[8] 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.^[9] 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.^[10] 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".^[11]

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,^[12] orchestration with Randall Thompson, counterpoint with Richard Stöhr, and score reading with Renée Longy Miquelle.^[13] Unlike his years at Harvard, Bernstein appears not to have greatly enjoyed the formal training environment of Curtis, although often in his later life he would mention Reiner when discussing important mentors.^[11]

1940–1950[link]

Bernstein conducting the New York City Symphony (1945)

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 Holliday 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^[14] and would later dedicate his second symphony, "The Age of Anxiety", to him.^[15]

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."^[16] 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.

Bernstein in 1944

From 1945 to 1947 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.^[17]

In 1947, Bernstein conducted in Tel Aviv for the first time, beginning a lifelong 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[link]

After much personal struggle and a turbulent on-off engagement, he married the 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.^[18] 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."^[19] Shirley Rhoades Perle, another friend of Bernstein's, said that she thought "he required men sexually and women emotionally."^[20] 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.^[21] 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.^[20]

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 had never been previously 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 did. 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's 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 to 1956 at Brandeis University, and he founded the Creative Arts Festival there in 1952.^[22] 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 his 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 from 1955 to 1958 (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 died 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 from 1957 to 1958. 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 began as principal conductor of the New York Philharmonic. 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 they were highly acclaimed by critics.^[23] Some of Bernstein's music lectures were released on records, with at least one winning a Grammy award. The programs 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.

Bernstein at the piano, making annotations to a musical score

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, namely the numbers 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 (including Shostakovich's Symphony No. 1).

1960–1969[link]

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 three 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."^[24] 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.^[25] 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 to 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 a position anywhere again.

1970–1979[link]

Leonard Bernstein by Allan Warren

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 to 1976. 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.^[26] 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.^[27] 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.^[28][29] 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.^[30] 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.^[31] 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.^[32][33]

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. The DVD video was not taken directly from the lectures at Harvard, rather they were recreated again at the WGBH studios for filming. This appears to be the only surviving Norton lectures available to the general public in video format. 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.^[18] Cothran himself died of AIDS in 1981. Bernstein is reported to have often spoken of his terrible guilt over his wife's death.^[18] 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 returned 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.^[18] One of the concerts was broadcast on radio and was posthumously released on CD by Deutsche Grammophon.

1980–1990[link]

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 1960.

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.

Bernstein's grave in Green-Wood Cemetery

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).^[34] 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.^[35] 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,^[36] and died of pneumonia and a pleural tumor five days later. He was 72 years old.^[2] 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."^[37] 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.^[38]

Social activism[link]

While Bernstein is very well known for his music compositions and conducting he is also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, about disparagement between the working and upper class. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of nuclear weapons.^[39]

Philanthropy[link]

Among the many awards Bernstein earned throughout his life one allowed him to make one of his philanthropic dreams a reality. He had for a long time wanted to develop an international school to help promote the integration of arts into education. When he won the Japan Arts Association award for lifetime achievement,^[40] he used the 100 thousand dollars that came with the award to build such a school in Nashville, that would strive to teach teachers how to better integrate music, dance, and theater into the school system which was "not working".^[41] Unfortunately, the school was not able to open until shortly after Bernstein's death.

Influence and characteristics as a conductor[link]

Leonard Bernstein in 1971

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.^[42] 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, Edo de Waart, 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, Michael Tilson Thomas, and Jaap van Zweden. He also undoubtedly influenced the career choices of many US musicians who grew up watching his television programmes in the 1950s and 60s.

Recordings[link]

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 Volume, 125 CDs "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[link]

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."^[43] According to the League of American orchestras,^[44] 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.^[37] 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.^[45] 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[link]

Ballet[link]

• Fancy Free, 1944
• Facsimile – Choreographic Essay for Orchestra, 1946
• Dybbuk (ballet), 1974

Opera[link]

• Trouble in Tahiti, 1952
• Candide, 1956 (new libretto in 1973, operetta final revised version in 1989)
• A Quiet Place, 1983