- published: 02 Dec 2006
- views: 5235386
- author: AUVIEX
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- Afro
- Afro textured hair
- Agora
- Alopecia
- Ancient Greece
- Androgenic hair
- Anno Domini
- Asymmetric cut
- Backcombing
- Baldness
- Barber
- Barber chair
- Barber paradox
- Barber pole
- Barber surgeon
- Barber's pole
- Barbershop music
- Beard
- Bearded lady
- Beauty salon
- Beehive (hairstyle)
- Big hair
- Birds Barbershop
- Bloodletting
- Blowout (hairstyle)
- Bob cut
- Bouffant
- Bowl cut
- Braid
- Bronze Age
- Bucharest
- Bun (hairstyle)
- Bunches
- Butch cut
- Buzz cut
- Caesar cut
- Category Hair
- Chemical depilatory
- Chest hair
- Chin curtain
- Chinstrap beard
- Chonmage
- Comb over
- Coming of age
- Conk
- Cornrows
- Cosmetology
- Crew cut
- Crop (hairstyle)
- Croydon facelift
- Curly hair
- Curtained hair
- Delhi
- Dental extraction
- Dentist
- Dentistry
- Devilock
- Dice Bob
- Dido flip
- Digital perm
- DOVO Solingen
- Dreadlocks
- Duck's Ass
- Dutch braid
- Electrology
- Emo Hair
- Enema
- Facial hair
- Fauxhawk
- Feathered hair
- Finger wave
- Fire cupping
- Flattop
- Fontange
- Fringe (hair)
- Glabrousness
- Goatee
- Hair
- Hair highlighting
- Hair removal
- Hairdresser
- Hairstyle
- Handlebar moustache
- Head shaving
- Hi-top fade
- High and tight
- Hime cut
- Human hair color
- Humayun's Tomb
- Hypertrichosis
- Induction cut
- Intense pulsed light
- Jewfro
- Jheri curl
- Laboratory mice
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- Layered hair
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- List of hairstyles
- Long hair
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- Wikisource
-
Bucharest
Bucharest (Romanian: București pronounced [bukuˈreʃtʲ] (
listen)) is the capital municipality, cultural, industrial, and financial centre of Romania. It is the largest city in Romania, located in the southeast of the country, at 44°25′57″N 26°06′14″E / 44.4325°N 26.10389°E / 44.4325; 26.10389Coordinates: 44°25′57″N 26°06′14″E / 44.4325°N 26.10389°E / 44.4325; 26.10389, and lies on the banks of the Dâmbovița River.
Bucharest was first mentioned in documents as early as 1459. Since then it has gone through a variety of changes, becoming the state capital of Romania in 1862 and steadily consolidating its position as the centre of the Romanian mass media, culture and arts. Its eclectic architecture is a mix of historical (neo-classical), interbellum (Bauhaus and Art Deco), Communist-era and modern. In the period between the two World Wars, the city's elegant architecture and the sophistication of its elite earned Bucharest the nickname of "Little Paris" (Micul Paris). Although many buildings and districts in the historic centre were damaged or destroyed by war, earthquakes, and Nicolae Ceaușescu's program of systematization, many survived. In recent years, the city has been experiencing an economic and cultural boom..
wn.com/Bucharest -
Delhi
Delhi (/ˈdɛli/; locally pronounced Dillee or Dehli), officially the National Capital Territory of Delhi (NCT), is the largest metropolis by area and the second-largest metropolis by population in India. It is the eighth largest metropolis in the world by population with 16.7 million inhabitants in the Territory at the 2011 Census. The region has been given special status of National Capital Region under The Constitution (69th Amendment) Act, 1991. There are nearly 22.2 million residents in the greater National Capital Region urban area (which also includes the cities Noida, Greater Noida, Ghaziabad, Gurgaon,Sonepat and Faridabad along with other smaller nearby towns).
Delhi is known to have been continuously inhabited since at least the 6th century BCE, though human habitation is believed to have existed since the second millennium BCE. Delhi is also widely believed to have been the site of Indraprastha, the legendary capital of the Pandavas during the times of the Mahabharata. Delhi re-emerged as a major political, cultural and commercial city along the trade routes between northwest India and the Gangetic plain after the rise of the Delhi sultanates. It is the site of many ancient and medieval monuments, archaeological sites and remains.
wn.com/Delhi -
Shiraz
Coordinates: 29°37′N 52°32′E / 29.617°N 52.533°E / 29.617; 52.533
Shiraz (
listen (help·info) Persian: شیراز Shīrāz Persian pronunciation: [ʃiːˈrɒːz]) is the sixth most populous city in Iran and is the capital of Fars Province, the city's 2009 population was 1,455,073. Shiraz is located in the southwest of Iran on the Roodkhaneye Khoshk (Dry river) seasonal river. Shiraz has a moderate climate and has been a regional trade center for more than one thousand years.
The earliest reference to the city, as Tiraziš, is on Elamite clay tablets dated to 2000 BC. In the 13th century, Shiraz became a leading center of the arts and letters, thanks to the encouragement of its ruler and the presence of many Persian scholars and artists. Shiraz was the capital of Persia during the Zand dynasty from 1750 until 1781, as well as briefly during the Saffarid period.
Shiraz is known as the city of poets, literature, wine and flowers. The word "shir" in Persian means "lion", but it could also mean "milk". It is also considered by many Iranians to be the city of gardens, due to the many gardens and fruit trees that can be seen in the city. Shiraz has had major Jewish and Christian communities. The crafts of Shiraz consist of inlaid mosaic work of triangular design; silver-ware; pile carpet-weaving and weaving of kilim, called gilim and jajim in the villages and among the tribes. In Shiraz industries such as cement production, sugar, fertilizers, textile products, wood products, metalwork and rugs dominate. Shirāz also has a major oil refinery and is also a major center for Iran's electronic industries: 53% of Iran's electronic investment has been centered in Shiraz. Shiraz is home to Iran's first solar power plant. Recently the city's first wind turbine has been installed above Babakoohi mountain near the city.
wn.com/Shiraz -
Sicily
Sicily (Italian and Sicilian: Sicilia, [siˈtʃiːlja]; [sɪˈɕilja]) is the largest island in the Mediterranean Sea; along with surrounding minor islands, it constitutes an autonomous region of Italy, the Regione Autonoma Siciliana (Sicilian Autonomous Region).
Sicily is located in the central Mediterranean. It extends from the tip of the Apennine peninsula from which it is separated only by the narrow Strait of Messina, towards the North African coast. Its most prominent landmark is Mount Etna, which is at 3,320 m (10,890 ft) the tallest active volcano in Europe and one of the most active in the world. The island has a typical Mediterranean climate.
The earliest archeological evidence of human dwelling on the island dates from 8000 BC. At around 750 BC, Sicily became a Greek colony and for the next 600 years it was the site of the Greek-Punic and Roman-Punic wars, which ended with the Roman destruction of Carthage. After the fall of the Roman Empire in the 5th century AD, Sicily often changed hands, and during the early Middle Ages it was ruled in turn by the Vandals, Ostrogoths, Byzantines, Arabs and Normans. Later on, the Kingdom of Sicily lasted between 1130 and 1816, subordinated to the crowns of Aragon, Spain, the Holy Roman Empire, and finally the Bourbons, as the Kingdom of the Two Sicilies. It was united with the rest of Italy in 1860, but a subsequent economic collapse led to a wave of emigration, separatism, and the emergence of the Mafia, whose criminal activities pose problems to this day. After the birth of the Italian Republic in 1946, Sicily was given special status as an autonomous region.
wn.com/Sicily -
West Texas
West Texas is a vernacular term applied to a region in the southwestern quadrant of the United States that primarily encompasses the arid and semi-arid lands in the western portion of the state of Texas.
There is a general lack of consensus regarding the boundaries that separate East Texas and West Texas.Walter Prescott Webb, the American historian and geographer, suggested that the 98th meridian separates East and West Texas. The Texas writer A.C. Greene proposed that West Texas extends west of the Brazos River. Perhaps, the truth is that there is no distinct line that separates East and West Texas. Rather, there are places that are clearly in West Texas and there are places that are clearly in East Texas, and then there are places that fall within a transitional zone between these two regions.
West Texas is often subdivided according to distinct physiographic features. The portion of West Texas that lies west of the Pecos River is often referred to as "Far West Texas" or the "Trans-Pecos," a term first introduced in 1887 by the Texas geologist Robert T. Hill. The Trans-Pecos lies within the Chihuahuan Desert, the most arid portion of the state. Another important subdivision of West Texas is the Llano Estacado, a vast region of high level plains that extends into Eastern New Mexico and the Texas Panhandle. To the east of the Llano Estacado lies the “redbed country” of the Rolling Plains and to the south of the Llano Estacado lies the Edwards Plateau. The Rolling Plains and the Edwards Plateau subregions act as transitional zones between East and West Texas.
wn.com/West_Texas
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Afro textured hair
Afro-textured hair is a term used to refer to the natural texture of Black African hair that has not been altered by hot combs, flat irons, or chemicals (through perming, relaxing, or straightening).
Each strand of this hair type grows in a tiny spring-like, helix shape. The overall effect is such that, despite relatively fewer actual hair shafts compared to straight hair, this texture appears (and feels) denser than its straight counterparts.
For several reasons, possibly including its relatively flat cross section (among other factors), this hair type also conveys a dry or matte appearance. Its unique shape also renders it very prone to breakage when combed or brushed. The members of many post-Columbian Western societies have typically used adjectives such as "kinky", "nappy", or "spiralled" to describe natural afro-textured hair. More recently, however, it has become common (in some circles) to apply numerical grading systems to human hair types. One particularly popular version of these systems describes afro-hair as being 'type 4' (as opposed to the straight type 1, wavy type 2 and curly type 3); with the subcategory of type 4C being the most exemplary of the afro texture (Walker, 1997) But, it should also be said that afro-textured hair is difficult to categorize because of the many different variations it has from person to person. Those variations include pattern (coils, springs, zig zags, s-curves), pattern size (watch spring to chalk), density (sparse to dense), strand diameter (fine, medium, wide) and feel (cottony, wooly, spongy).
wn.com/Afro_textured_hair -
Long hair
Long hair is a hairstyle. Exactly what constitutes long hair can change from culture to culture, or even within cultures. For example, a woman with chin-length hair in some cultures may be said to have short hair, while a man with the same length of hair in some of the same cultures would be said to have long hair.
Scientists view long hair as playing a large part in natural selection among many species, since long, thick and healthy hair or fur is frequently a sign of fertility and youth. As hair grows slowly, long hair reveals several years of a person's health status and reproductive fitness. Hair length is significantly correlated with female attractiveness, as rated by men as well as women. Hair length and quality can act as a cue to especially a woman's youth and health, signifying reproductive potential. The prevalence of trichophilia (hair partialism or fetischism) is 7% in the population, and very long hair is a common subject of devotion in this group.
Ways of life often viewed as more rigid, such as soldiers and religious cultures, often have explicit rules regarding hair length. For example, Buddhist monks shave their heads as part of their order of worship. Even outside religious structures, cultures often associate male long hair with ways of life outside of what is culturally accepted. Subservient cultures, for example, are sometimes detected by their rulers through hair length, as was the case with the Gaelic Irish under English rule and the Moors under Spanish rule in Medieval Spain.
wn.com/Long_hair -
Nikolaos Gyzis
Nikolaos Gyzis (Greek: Νικόλαος Γύζης, pronounced [ɣizis]; 1 March 1842 – 4 January 1901) was considered one of Greece's most important 19th-century painters. He was most famous for his work Eros and the Painter, his first genre painting. It was auctioned in May 2006 at Bonhams in London, being last exhibited in Greece in 1928. He was the major representative of the so-called "Munich School", the major 19th-century Greek art movement.
Gyzis was born in the island of Tinos, which has a long artistic history. As his family settled in Athens in 1850, he soon embarked on a study at the Athens School of Fine Arts. His studies there, formed the foundation of his artistic education and helped him to develop his natural skill in painting.
In 1865, having won a scholarship, he went to continue his studies at the Academy of Fine Arts, Munich, where he settled for the rest of his life. He was very soon incorporated into the German pictorial climate, and became one of its most characteristic representatives of the Greek artistic movement of the Munich School. This is expressed in the painting News of Victory of 1871, which deals with the Franco-Prussian War, and the painting Apotheosis i Thriamvos tis Vavarias (Apotheosis or Triumph of Bavaria).
wn.com/Nikolaos_Gyzis -
Studs Terkel
Louis "Studs" Terkel (May 16, 1912 – October 31, 2008) was an American author, historian, actor, and broadcaster. He received the Pulitzer Prize for General Non-Fiction in 1985 for The Good War, and is best remembered for his oral histories of common Americans, and for hosting a long-running radio show in Chicago.
Terkel was born to Samuel Terkel, a Russian Jewish tailor and his wife, Anna Finkelin in New York City, New York. At the age of eight he moved with his family to Chicago, Illinois, where he spent most of his life. He had two brothers, Ben (1907–1965) and Meyer (1905–1958).
From 1926 to 1936, his parents ran a rooming house that also served as a meeting place for people from all walks of life. Terkel credited his understanding of humanity and social interaction to the tenants and visitors who gathered in the lobby there, and the people who congregated in nearby Bughouse Square. By 1939, he had grown to adulthood, marrying Ida Goldberg (1912–1999) that year, and the couple produced one son, Dan. Although he received his law degree from the University of Chicago Law School in 1934, he decided instead of practicing law, he wanted to be a concierge at a hotel, and he soon joined a theater group.
wn.com/Studs_Terkel -
Sweeney Todd
Sweeney Todd is a fictional character who first appeared as the murderer of the Victorian penny dreadful The String of Pearls (1846–1847) and he was later introduced as an antihero of Sweeney Todd: The Demon Barber of Fleet Street and its film adaptations. Claims that Sweeney Todd was a historical person are strongly disputed by scholars, although there are possible legendary prototypes.
In the original version of the tale, Todd is a barber who dispatches his victims by pulling a lever while they are in his barber chair, which makes them fall backward down a revolving trapdoor into the basement of his shop, generally causing them to break their necks or skulls. Just in case they are alive, he goes to the basement and "polishes them off" (slitting their throats with his straight razor). In some adaptations, the murdering process is reversed, with Todd slitting the throats of his customers before they are dispatched into the basement via the revolving trapdoor. After Todd has robbed his dead victims of their goods, Mrs. Lovett, his partner in crime (in some later versions, his friend and/or lover), assists him in disposing of the bodies by baking their flesh into meat pies, and selling them to the unsuspecting customers of her pie shop. Todd's barber shop is situated at 186 Fleet Street, London, next to St. Dunstan's church, and is connected to Mrs. Lovett's pie shop in nearby Bell Yard by means of an underground passage. In most versions of the story, he and Mrs. Lovett hire an unwitting orphan boy, Tobias Ragg, to serve the pies to customers.
wn.com/Sweeney_Todd
BARBER:
I wanted to be... a lumberjack!
Leaping from tree to tree, as they float down the mighty rivers of British Columbia. The Giant Redwood. The Larch. The Fir! The mighty Scots Pine! The lofty flowering Cherry! The plucky little Apsen! The limping Roo tree of Nigeria. The towering Wattle of Aldershot! The Maidenhead Weeping Water Plant! The naughty Leicestershire Flashing Oak! The flatulent Elm of West Ruislip! The Quercus Maximus Bamber Gascoigni! The Epigillus! The Barter Hughius Greenus!
With my best buddy by my side, we'd sing! Sing! Sing!
[singing]
I'm a lumberjack, and I'm okay.
I sleep all night and I work all day.
MOUNTIES:
He's a lumberjack, and he's okay.
He sleeps all night and he works all day.
BARBER:
I cut down trees. I eat my lunch.
I go to the lavatory.
On Wednesdays I go shoppin'
And have buttered scones for tea.
MOUNTIES:
He cuts down trees. He eats his lunch.
He goes to the lavatory.
On Wednesdays he goes shopping
And has buttered scones for tea.
He's a lumberjack, and he's okay.
He sleeps all night and he works all day.
BARBER:
I cut down trees. I skip and jump.
I like to press wild flowers.
I put on women's clothing
And hang around in bars.
MOUNTIES:
He cuts down trees. He skips and jumps.
He likes to press wild flowers.
He puts on women's clothing
And hangs around in bars?!
He's a lumberjack, and he's okay.
He sleeps all night and he works all day.
BARBER:
I cut down trees. I wear high heels,
Suspendies, and a bra.
I wish I'd been a girlie,
Just like my dear Papa.
MOUNTIES:
He cuts down trees. He wears high heels,
Suspendies, and a bra?!
[talking]
What's this? Wants to be a girlie?! Oh, My!
And I thought you were so rugged! Poofter!...
[singing]
He's a lumberjack, and he's okay.
He sleeps all night and he works all day.
He's a lumberjack, and he's okaaaaay.
He sleeps all night and he works all day.
RELEASE
ALBUMS
- Violin Concerto, Op. 14: I. Allegro
- Violin Concerto, Op. 14: II. Andante
- Violin Concerto, Op. 14: III. Presto in moto perpetuo
- Piano Concerto, Op. 38: I. Allegro appassionato
- Piano Concerto, Op. 38: II. Canzone: Moderato
- Piano Concerto, Op. 38: III. Allegro molto
- Adagio for Strings, Op. 11
- Second Essay for Orchestra, Op. 17
- The School for Scandal, Op. 5: Overture
- Adagio for Strings, Op.11 (London Symphony Orchestra feat. conductor: Michael Tilson Thomas)
- Knoxville: Summer of 1915 (London Symphony Orchestra feat. conductor: Michael Tilson Thomas, soprano: Barbara Hendricks)
- Violin Concerto, Op. 14: I. Allegro (Saint Louis Symphony Orchestra, feat. conductor: Leonard Slatkin, violin: Elmar Oliveira)
- Violin Concerto, Op. 14: II. Andante (Saint Louis Symphony Orchestra, feat. conductor: Leonard Slatkin, violin: Elmar Oliveira)
- Violin Concerto, Op. 14: III. Presto in moto prepetuo (Saint Louis Symphony Orchestra, feat. conductor: Leonard Slatkin, violin: Elmar Oliveira)
- Overture to 'The School for Scandal', Op. 5 (Saint Louis Symphony Orchestra, feat. conductor: Leonard Slatkin)
- Essay for Orchestra No.1, Op. 12 (Saint Louis Symphony Orchestra, feat. conductor: Leonard Slatkin)
- Medea's Dance of Vengeance, Op. 32a (Saint Louis Symphony Orchestra, feat. conductor: Leonard Slatkin)
- There's Nae Lark
- The Beggar's Song
- In the Dark Pinewood
- Three Songs, Op. 2 No. 3: Bessie Bobtail
- Hermit Songs, Op. 29 No. 1: At St Patrick's Purgatory
- Hermit Songs, Op. 29 No. 2: Church Bell at Night
- Hermit Songs, Op. 29 No. 3: St Ita's Vision
- Hermit Songs, Op. 29 No. 4: The Heavenly Banquet
- Hermit Songs, Op. 29 No. 5: The Crucifixion
- Hermit Songs, Op. 29 No. 6: Sea Snatch
- Hermit Songs, Op. 29 No. 7: Promiscuity
- Hermit Songs, Op. 29 No. 8: The Monk and His Cat
- Hermit Songs, Op. 29 No. 9: The Praises of God
- Hermit Songs, Op. 29 No. 10: The Desire for Hermitage
- Three Songs, Op. 10 No. 1: Rain Has Fallen
- Three Songs, Op. 10 No. 2: Sleep Now
- Three Songs, Op. 10 No. 3: I Hear an Army
- Mélodies passagères, Op. 27 No. 1: Puisque tout passe
- Mélodies passagères, Op. 27 No. 2: Un cygne
- Mélodies passagères, Op. 27 No. 3: Tombeau dans un parc
- Mélodies passagères, Op. 27 No. 4: Le clocher chante
- Mélodies passagères, Op. 27 No. 5: Départ
- Three Songs, Op. 2 No. 1: The Daisies
- Three Songs, Op. 2 No. 2: With Rue My Heart Is Laden
- Four Songs, Op. 13 No. 4: Nocturne
- Four Songs, Op. 13 No. 3: Sure on This Shining Night
- Dover Beach, Op. 3
- Adagio for Strings (London Symphony Orchestra feat. conductor:André Previn)
- Violin Concerto Op 14: I. Allegro (violin:Elmar Oliveira)
- Violin Concerto Op 14: II. Andante (violin:Elmar Oliveira)
- Violin Concerto Op 14: III. Presto in moto perpetuo (violin:Elmar Oliveira)
- Essay No.1 Op 12 (Saint Luis Symphony Orchestra feat. conductor:Leonard Slatkin)
- Cello Concerto Op 22: I. Allegro moderato (Scottish Chamber Orchestra feat. conductor:Jukka-Pekka Saraste cello:Ralk Kirshbaum)
- Cello Concerto Op 22: II. Andante sostenuto (Scottish Chamber Orchestra feat. conductor:Jukka-Pekka Saraste cello:Ralk Kirshbaum)
- Cello Concerto Op 22: III. Molto allegro e appassionato (Scottish Chamber Orchestra feat. conductor:Jukka-Pekka Saraste cello:Ralk Kirshbaum)
- Agnus Dei (Winchester Cathedral Choir feat. conductor:David Hill)
- Adagio for Strings, Op. 11
- Summer Music, Op. 31
- Four Excursions, Op. 20, No. 1
- Four Excursions, Op. 20, No. 2
- Four Excursions, Op. 20, No. 3
- Four Excursions, Op. 20, No. 4
- Dover Beach for Voice and String Quartet, Op. 3
- String Quartet, Op. 11: I. Molto allegro e appassionato
- String Quartet, Op. 11: II. Molto adagio
- String Quartet, Op. 11: III. Molto Allegro
- Vanessa, Op. 32: Intermezzo from Act II
- Toccata Festiva, Op. 36
Capricorn Concerto (Royal Scottish National Orchestra feat. oboe: Stéphane Rancourt, conductor: Marin Alsop)
Released 2004
Released 2004
- Capricorn Concerto, Op. 21: I. Allegro ma non troppo
- Capricorn Concerto, Op. 21: II. Allegretto
- Capricorn Concerto, Op. 21: III. Allegro con brio
- A Hand of Bridge, Op. 35
- Mutations from Bach
- Intermezzo from "Vanessa"
- Canzonetta for Oboe and Strings, Op. posth. 48
- Fadograph of a Yestern Scene, Op. 44
- Vanessa, Op. 32: Act I, Scene I. Introduction
- Vanessa, Op. 32: Act I, Scene I. "Potage crème aux perles" (Erika)
- Vanessa, Op. 32: Act I, Scene I. "No, I cannot understand why..." (Vanessa)
- Vanessa, Op. 32: Act I, Scene I. "Must the winter come so soon?" (Erika)
- Vanessa, Op. 32: Act I, Scene I. "Listen!... They are here" (Erika)
- Vanessa, Op. 32: Act I, Scene I. "Do not utter a word, Anatol" (Vanessa)
- Vanessa, Op. 32: Act I, Scene I. "Yes, I believe I shall love you" (Anatol)
- Vanessa, Op. 32: Act I, Scene I. "Who are you?" (Erika)
- Vanessa, Op. 32: Act I, Scene II. "And then?" (Baroness)
- Vanessa, Op. 32: Act I, Scene II. "No, you are not as good a skater..." (Vanessa)
- Vanessa, Op. 32: Act I, Scene II. "Under the willow tree..." (Doctor)
- Vanessa, Op. 32: Act I, Scene II. "Erika, I am so happy" (Vanessa)
- Vanessa, Op. 32: Act I, Scene II. "Did you hear her?" (Erika)
- Vanessa, Op. 32: Act I, Scene II. "Help, help! Save me from their talk" (Anatol)
- Vanessa, Op. 32: Act I, Scene II. "Outside this house the world has changed" (Anatol)
- Vanessa, Op. 32: Act I, Scene II. "Hurry now!" (Vanessa)
- Vanessa, Op. 32: Act I, Scene II. "In morning light let us rejoice" (Chorus)
- Wind Quintet in A major, Op. 43: I. Allegro bon moderato
- Wind Quintet in A major, Op. 43: II. Menuet
- Wind Quintet in A major, Op. 43: III. Praeludium: Adagio - Tema con variazioni
- Bagatelle No. 1: Allegro con spirito
- Bagatelle No. 2: Rubato. Lamentoso
- Bagatelle No. 3: Allegro grazioso
- Bagatelle No. 4: Presto ruvido
- Bagatelle No. 5: Adagio. Mesto (Béla Bartók in memoriam)
- Bagatelle No. 6: Molto vivace. Capriccioso
- Summer Music, Op. 31
- Wind Quintet No. 1: I. Andante tranquillo - Allegro assai
- Wind Quintet No. 1: II. Presto - Trio
- Wind Quintet No. 1: III. Tema con variazoni
- Wind Quintet No. 1: IV. Tempo di marcia francese
Knoxville: Summer of 1915 (Royal Scottish National Orchestra feat. conductor: Marin Alsop)
Released 2004
Released 2004
Piano Concerto, Violin Concerto, Adagio for Strings, Second Essay for Orchestra, Overture to the School of Scandal
Released 2003
Released 2003
- Concerto for Violin and Orchestra, Op. 14: I. Adagio
- Concerto for Violin & Orchestra, Op. 14: II. Andante
- Concerto for Violin and Orchestra, Op. 14: III. Presto in Moto
- Concerto for Piano and Orchestra, Op. 38: I. Allegro Appassionato
- Concerto for Piano and Orchestra, Op. 38: II. Canzone: Moderato
- Concerto for Piano and Orchestra, Op. 38: III. Allegro Molto
- Adagio for String, Op. 11
- Second Essay for Orchestra, Op. 17
- Overture to the School for Scandal, Op. 5
- Cello Concerto in E minor: Adagio - Moderato
- Cello Concerto in E minor: Lento - Allegro molto
- Cello Concerto in E minor: Adagio
- Cello Concerto in E minor: Allegro
- Cello concerto, Op. 22: Allegro moderato
- Cello concerto, Op. 22: Andante sostenuto
- Cello concerto, Op. 22: Molto allegro e appassionato
Knoxville (Summer of 1915) / Symphony No. 1 / Essays for Orchestra / Night Flight / Scene From Shelley
Released 2003
Released 2003
- Symphony No. 1
- Essay for Orchestra No. 1
- Essay for Orchestra No. 2
- Night Flight
- Music From Shelley
- Knoxville
Piano Concerto / Medea's Meditation and Dance of Vengeance (Royal Scottish National Orchestra feat. conductor: Marin Alsop)
Released 2002
Released 2002
- Concerto for Piano and Orchestra: I. Allegro appassionato (feat. piano: Stephen Prutsman)
- Concerto for Piano and Orchestra: II. Canzone: Moderato (feat. piano: Stephen Prutsman)
- Concerto for Piano and Orchestra: III. Allegro molto (feat. piano: Stephen Prutsman)
- Die Natali, Op. 37
- Medea's Meditation and Dance of Vengeance, Op. 29A
- Commando March
- Violin Concerto, Op. 14: I. Allegro (feat. violin: James Buswell)
- Violin Concerto, Op. 14: II. Andante (feat. violin: James Buswell)
- Violin Concerto, Op. 14: III. Presto in moto perpetuoso (feat. violin: James Buswell)
- Souvenirs (Ballet Suite), Op. 28: I. Waltz (The Lobby)
- Souvenirs (Ballet Suite), Op. 28: II. Schottische (Third Floor Hallway)
- Souvenirs (Ballet Suite), Op. 28: III. Pas de Deux (A Corner of the Ballroom)
- Souvenirs (Ballet Suite), Op. 28: IV. Two-Step (Tea in the Palm Court)
- Souvenirs (Ballet Suite), Op. 28: V. Hesitation Tango (A Bedroom Affair)
- Souvenirs (Ballet Suite), Op. 28: VI. Galop (The Next Afternoon)
- Serenade for Strings, Op. 1: I. Un poco adagio: Allegro con spirito
- Serenade for Strings, Op. 1: II. Andante con moto
- Serenade for Strings, Op. 1: III. Dance: Allegro giocoso
- Music for a Scene From Shelley, Op. 7
- Adagio for Strings, Op. 11
- The School for Scandal - Overture, Op. 5
- Violin Concerto, Op. 14: I. Allegro
- Violin Concerto, Op. 14: II. Andante
- Violin Concerto, Op. 14: III. Presto in moto perpetuo
- Essay for Orchestra, Op. 12
- Second Essay for Orchestra, Op. 17
- Medea's Dance of Vengeance, Op. 23a
- Cello Concerto Op. 22: I. Allegro moderato
- Cello Concerto Op. 22: II. Andante sostenuto
- Cello Concerto Op. 22: III. Molto allegro e appassionato
- Medea Op. 23: Parodos
- Medea Op. 23: Choros. Medea and Jason
- Medea Op. 23: The Young Princess. Jason
- Medea Op. 23: Chroso
- Medea Op. 23: Medea
- Medea Op. 23: Kantikos Agonias
- Medea Op. 23: Exodos
- Adagio for Strings Op. 11
Symphonies Nos 1 and 2 (Royal Scottish National Orchestra feat. conductor: Marin Alsop)
Released 2000
Released 2000
- The School for Scandal Overture, Op. 5
- Symphony No. 1, Op. 9: Allegro ma non troppo
- Symphony No. 1, Op. 9: Allegro molto
- Symphony No. 1, Op. 9: Andante tranquillo
- First Essay for Orchestra, Op. 12
- Symphony No. 2, Op. 19: Allegro ma non troppo
- Symphony No. 2, Op. 19: Andante, un poco mosso
- Symphony No. 2, Op. 19: Presto, senza battuto - Allegro risoluto
- Concerto for Violin and Orchestra No. 2: I. Agitato
- Concerto for Violin and Orchestra No. 2: II. Lento
- Concerto for Violin and Orchestra No. 2: III. Allegro con spirito
- Concerto for Violin and Orchestra, Op. 14: I. Allegro
- Concerto for Violin and Orchestra, Op. 14: II. Andante
- Concerto for Violin and Orchestra, Op. 14: III. Presto in moto perpetuo
- Concerto for Violin and Orchestra in G minor, Op. 43: Allegro con brio - Adagio - Andantino - Lento, allegro con brio
- Adagio For Strings, Op. 11 (Boston Symphony Strings)
- Adagio For Strings, Op. 11 (flute: James Galway, synthesizer: Hiro Fujikake)
- Adagio For Strings, Op. 11 (Canadian Brass)
- Adagio For Strings, Op. 11: Agnus Dei (Choir of Trinity College, Cambridge)
- Adagio For Strings, Op. 11 (Kalman Opperman Clarinet Choir feat. clarinet: Richard Stoltzman)
- Adagio For Strings, Op. 11 (Tokyo String Quartet)
- Adagio For Strings, Op. 11 (organ: David Pizarro)
- Adagio For Strings, Op. 11 (Smithsonian Chamber Players)
- Adagio for Strings: Molto adagio
- Concerto for Violin and Orchestra, Op. 14: I. Allegro (feat. violin: Isaac Stern)
- Concerto for Violin and Orchestra, Op. 14: II. Andante (feat. violin: Isaac Stern)
- Concerto for Violin and Orchestra, Op. 14: III. Presto in moto (feat. violin: Isaac Stern)
- To Thee Old Cause
- In Praise of Shahn: Vigoroso: I. Vigoroso
- In Praise of Shahn: Vigoroso: II. Lento (Bar 185)
Samuel Barber (New York Philharmonic, Columbia Symphony Orchestra feat. conductor: Thomas Schippers, soprano: Martina Arroyo)
Released 1996
Released 1996
- Medea's Dance of Vengeance, Op. 23a
- String Quartet in B minor, Op. 11: II. Adagio
- Second Essay for Orchestra, Op. 17
- Overture to "The School for Scandal", Op. 5
- Andromache's Farewell, Op. 39
- Vanessa, Op. 32: Act II. Intermezzo
- Amelia al Ballo: Overture
- Wozzeck: Act III. Interlude
- Fervaal, Op. 40: Introduction
Dover Beach (Endellion String Quartet feat. baritone: Thomas Allen, piano: Roger Vignoles)
Released 1994
Released 1994
- Dover Beach, Op. 3
- Serenade for String Quartet, Op. 1: I. Un poco adagio - Allegro con spirito
- Serenade for String Quartet, Op. 1: II. Andante con moto
- Serenade for String Quartet, Op. 1: III. Dance. Allegro giocoso
- Three Songs, Op. 2 No. 1 "The Daisies"
- Three Songs, Op. 2 No. 2 "With Rue My Heart Is Laden"
- Three Songs, Op. 2 No. 3 "Bessie Bobtail"
- Three Songs, Op. 10 No. 1 "Rain Has Fallen"
- Three Songs, Op. 10 No. 2 "Sleep Now"
- Three Songs, Op. 10 No. 3 "I Hear an Army"
- Four Songs, Op. 13 No. 4 "Nocturne"
- Four Songs, Op. 13 No. 3 "Sure on This Shining Night"
- Despite and Still, Op. 41 No. 4 "Solitary Hotel"
- Three Songs, Op. 45 No. 1 "Now Have I Fed and Eaten Up the Rose"
- Three Songs, Op. 45 No. 2 "A Green Lowland of Pianos"
- Three Songs, Op. 45 No. 3 "O Boundless, Boundless Evening"
- Quartet for Strings, Op. 11: I. Molto allegro e appassionato
- Quartet for Strings, Op. 11: II. Adagio
- Quartet for Strings, Op. 11: III. Molto adagio. Presto
- A Slumber Song of the Madonna
- There's Nae Lark
- Love at the Door
- Serenades
- Love's Caution
- Night Wanderers
- Of That So Sweet Imprisonment
- Strings in the Earth and Air
- The Beggar's Song
- In the Dark Pinewood
- The Daisies, Op. 2 No. 1
- With Rue My Heart Is Laden, Op. 2 No. 2
- Bessie Bobtail, Op. 2 No. 3
- Rain Has Fallen, Op. 10 No. 1
- Sleep Now, Op. 10 No. 2
- I Hear an Army, Op. 10 No. 3
- A Nun Takes the Veil, Op. 13 No. 1
- The Secrets of the Old, Op. 13 No. 2
- Sure on this Shining Night, Op. 13 No. 3
- Nocturne, Op. 13 No. 4
- Dover Beach, Op. 3
- Excursions, Op. 20: I. Un poco allegro
- Excursions, Op. 20: II. In slow blues tempo
- Excursions, Op. 20: III. Allegretto
- Excursions, Op. 20: IV. Allegro molto
- Nocturne, Op. 33: Moderato
- Sonata for Piano, Op. 26: I. Allegro energico - Un poco meno mosso - Tempo I
- Sonata for Piano, Op. 26: II. Allegro vivace e leggero
- Sonata for Piano, Op. 26: III. Adagio mesto
- Sonata for Piano, Op. 26: IV: Fuga. Allegro con spirito
- Ballade, Op. 46: Restless - Allegro con fuoco - Restless, as before
- Souvenirs, Op. 28: I. Waltz
- Souvenirs, Op. 28: II. Schottische
- Souvenirs, Op. 28: III. Pas de deux
- Souvenirs, Op. 28: IV. Two-step
- Souvenirs, Op. 28: V. Hesitation-Tango
- Souvenirs, Op. 28: VI. Galop
- Serenade for Strings in C (Op. 48): Pezzo in forma di sonatina: Andante non troppo - Allegro moderato
- Serenade for Strings in C (Op. 48): Waltz: Moderato (Tempo di valse)
- Serenade for Strings in C (Op. 48): Elégie: Larghetto elegiaco
- Serenade for Strings in C (Op. 48): Finale (Tema russo): Andante - Allegro con spirto
- Italian Serenade in G
- Introduction and Allegro for Strings (Op. 47): Introduction
- Introduction and Allegro for Strings (Op. 47): Allegro
- Adadio for Strings (Op. 11)
- String Quartet, Op. 11: I. Molto allegro e appassionato
- String Quartet, Op. 11: IIa. Molto adagio
- String Quartet, Op. 11: IIb. Molto allegro (come prima)
- String Quartet in F major "American", Op. 96: I. Allegro ma non troppo
- String Quartet in F major "American", Op. 96: II. Lento
- String Quartet in F major "American", Op. 96: III. Molto vivace
- String Quartet in F major "American", Op. 96: IV. Finale - vivace ma non troppo
- String Quartet No. 1: Part One
- String Quartet No. 1: Ambient Pause
- String Quartet No. 1: Part Two
- String Quartet No. 1, S. 57 "From the Salvation Army": I. Andante con moto
- String Quartet No. 1, S. 57 "From the Salvation Army": II. Allegro - Allegro con spirito - Quasi andante
- String Quartet No. 1, S. 57 "From the Salvation Army": III. Adagio cantabile - Allegretto - Andante con moto - Adagio cantabile
- String Quartet No. 1, S. 57 "From the Salvation Army": IV. Allegro marziale - Poco andante con moto - Allegro marziale
- Scherzo, S. 84 No. 2 "Holding Your Own"
- String Quartet in B major, Op. 11: I. Molto allegro e appassionato
- String Quartet in B major, Op. 11: II. Molto adagio - attacca:
- String Quartet in B major, Op. 11: III. Molto allegro (come prima) - Presto
- String Quartet No. 2, S. 58: I. Discussions: Andante moderato - Andante con spirito - Adagio molto
- String Quartet No. 2, S. 58: II. Arguments: Allegro con spirito - Andante emasculata - Allegro con fisto - Presto - Largo sweetota - Allegro con fisto - Largo - Allegro - Largo soblato - Allegro con fuoco - Andante con scratchy - Allegro con fistiswatto
- String Quartet No. 2, S. 58: III. The Call of the Mountains: Adagio - Andante - Andante con spirito - Adagio primo - Adagio maestoso
- The Planets: Mars, the Bringer of War
- The Planets: Venus, the Bringer of Peace
- The Planets: Mercury, the Winged Messenger
- The Planets: Jupiter, the Bringer of Jollity
- The Planets: Saturn, the Bringer of Old Age
- The Planets: Uranus, the Magician
- The Planets: Neptune, the Mystic
- Adagio for Strings
- Pomp and Circumstance, op.39
- Cello Concerto, Op. 22: I. Allegro moderato
- Cello Concerto, Op. 22: II. Andante sostenuto
- Cello Concerto, Op. 22: III. Molto allegro e appassionato
- Cello Sonata, Op. 6: I. Allegro ma non troppo
- Cello Sonata, Op. 6: II. Adagio
- Cello Sonata, Op. 6: III. Allegro appassionato
- Adagio for Strings, Op. 11
- Knoxville: Summer of 1915 (Eleanor Steber)
- Dover Beach, Op. 3
- Hermit Songs: I. At Saint Patrick's Purgatory (Leontyne Price)
- Hermit Songs: II. Church Bell at Night
- Hermit Songs: III. St. Ita's Vision
- Hermit Songs: IV. The Heavenly Banquet
- Hermit Songs: V. The Crucifixion
- Hermit Songs: VI. Sea-snatch
- Hermit Songs: VII. Promiscuity
- Hermit Songs: VIII. The Monk and His Cat
- Hermit Songs: IX. The Praises of God
- Hermit Songs: X. The Desire for Hermitage
- Andromache's Farewell, Op. 39 (New York Philharmonic , Martina Arroyo)
- Adagio for Strings (from String Quartet, Op. 11)
- Overture to "The School for Scandal", Op. 5
- First Essay for Orchestra, Op. 12
- Music for a Scene from Shelley, Op. 7
- Second Essay for Orchestra, Op. 17
- Symphony No. 1 (in one movement), Op. 9: Allegro, ma non troppo
- Symphony No. 1 (in one movement), Op. 9: Allegro molto
- Symphony No. 1 (in one movement), Op. 9: Andante tranquillo
- Symphony No. 1 (in one movement), Op. 9: Con moto
- Overture to The School for Scandal, Op. 5
- Knoxville: Summer of 1915, Op. 24
- [First] Essay for Orchestra, Op. 12
- Second Essay, Op. 17
- Adagio for Strings, Op. 11
- Medea's Dance of Vengence, Op. 23A
Symphony No. 1 / Piano Concerto / Souvenirs (St. Louis Symphony Orchestra feat. conductor: Leonard Slatkin)
Released 1991
Released 1991
- Symphony No. 1, Op. 9: I. Allegro ma non troppo
- Symphony No. 1, Op. 9: II. Allegro molto
- Symphony No. 1, Op. 9: III. Andante tranquillo
- Symphony No. 1, Op. 9: IV. Con moto [Passacaglia]
- Piano Concerto, Op. 38: I. Allegro appassionato (feat. piano: John Browning)
- Piano Concerto, Op. 38: II. Canzone: Moderato (feat. piano: John Browning)
- Piano Concerto, Op. 38: III. Allegro molto (feat. piano: John Browning)
- Souvenirs, Suite from the Ballet: I. Waltz (feat. piano: John Browning, Leonard Slatkin)
- Souvenirs, Suite from the Ballet: II. Schottische (feat. piano: John Browning, Leonard Slatkin)
- Souvenirs, Suite from the Ballet: III. Pas de deux (feat. piano: John Browning, Leonard Slatkin)
- Souvenirs, Suite from the Ballet: IV. Two-Step (feat. piano: John Browning, Leonard Slatkin)
- Souvenirs, Suite from the Ballet: V. Hesitation-Tango (feat. piano: John Browning, Leonard Slatkin)
- Souvenirs, Suite from the Ballet: VI. Galop (feat. piano: John Browning, Leonard Slatkin)
Mozart Sonata K. 330 / Barber Sonata / Debussy Estampes, Études, Images, Préludes (Van Cliburn, piano)
Released 1990
Released 1990
- Sonata K. 330 in C - I) Allegro moderato
- Sonata K. 330 in C - II) Andante cantabile
- Sonata K. 330 in C - III) Allegretto
- Estampes No. 2 - La soirée dans Grenade
- Études No. 5 - Étude pour les octaves
- Prélude No. 7 Livre II - La terrasse des audiences du clair de lune
- Estampes No. 3 - Jardins sous la pluie
- Images No. 1 Livre I - Reflets dans l'eau
- Prélude No. 12 Livre II - Feux d'artifice
- Sonata Op. 26 - I) Allegro energico
- Sonata Op. 26 - II) Allegro vivace e leggero
- Sonata Op. 26 - III) Adagio mesto
- Sonata Op. 26 - IV) Fuga - Allegro con spirito
Horowitz plays Prokofiev / Barber / Kabalevsky: Sonatas (feat. piano: Vladimir Horowitz)
Released 1990
Released 1990
- Piano Sonata No. 7 in B-flat major, Op. 83: I. Allegro inquieto
- Piano Sonata No. 7 in B-flat major, Op. 83: II. Andante caloroso
- Piano Sonata No. 7 in B-flat major, Op. 83: III. Precipitato
- Piano Sonata, Op. 26: I. Allegro energico
- Piano Sonata, Op. 26: II. Allegro vivace e leggero
- Piano Sonata, Op. 26: III. Adagio mesto
- Piano Sonata, Op. 26: IV. Fuga: Allegro con spirito
- Piano Sonata No. 3 in F major, Op. 46: I. Allegro con moto
- Piano Sonata No. 3 in F major, Op. 46: II. Andante cantabile
- Piano Sonata No. 3 in F major, Op. 46: III. Allegro Giocoso
- Toccata in D minor, Op. 11
- Nocturne No. 13 in B minor, Op. 119
- Presto in B-flat major
- Vanessa: Act I. "Potage crème aux perles"
- Vanessa: Act I. "No I cannot understand"
- Vanessa: Act I. "Must the winter come so soon?"
- Vanessa: Act I. "Listen!... They are here..."
- Vanessa: Act I. "Do not utter a word, Anatol"
- Vanessa: Act I. "Yes I believe I shall love you"
- Vanessa: Act I. "Who are you?"
- Vanessa: Act II. "And then?" / "He made me drink"
- Vanessa: Act II. "No, you are not as good a skater"
- Vanessa: Act II. "Under the willow tree..."
- Vanessa: Act II. "Erika, I am so happy"
- Vanessa: Act II. "Our arms entwined"
- Vanessa: Act II. "Did you hear her?"
- Vanessa: Act II. "Outside this house the world has changed"
- Vanessa: Act II. Orchestral Interlude / Hymn
- Cello Concerto, Op. 22: I. Allegro moderato
- Cello Concerto, Op. 22: II. Andante sostenuto
- Cello Concerto, Op. 22: III. Molto allegro e appassionato
- Symphony for Cello and Orchestra, Op. 68: I. Allegro maestoso
- Symphony for Cello and Orchestra, Op. 68: II. Presto inquieto
- Symphony for Cello and Orchestra, Op. 68: III. Adagio
- Symphony for Cello and Orchestra, Op. 68: IV. Passacaglia: Andante allegro
Bernstein: Chichester Psalms / Copland: In the beginning and Three Motets / Barber: Agnus Dei
Released 1987
Released 1987
- Chichester Psalms: Psalm 108, verse 2 - Psalm 100 (Maestoso ma energico)
- Chichester Psalms: Psalm 23, verse 1-4 - Psalm 2, verses 1-4, Psalm 23, verses 5, 6 (Andante con moto, ma tranquillo)
- Chichester Psalms: Psalm 131 - Psalm 133, verse 1 (Prelude - Peacefully Flowing)
- Agnus Dei
- In the Beginning
- Three Motets: Help Us, O Lord
- Three Motets: Have Mercy on Us, O My Lord
- Three Motets: Sing Ye Praises to Our King
- Allegro appassionato
- Moderato
- Allegro molto
- Medea: Meditation & Dance of Vengence
- Adagio for Strings
Piano Concerto / Medea / Adagio (London Symphony Orchestra feat. conductor: Andrew Schenck)
Released 1985
Released 1985
- Piano Concerto: Allegro appassionato (feat. piano: Tedd Joselson)
- Piano Concerto: Moderato (feat. piano: Tedd Joselson)
- Piano Concerto: Allegro molto (feat. piano: Tedd Joselson)
- Medea: Meditation & Dance of Vengeance
- Adagio for Strings
- Cello Concerto, Op. 22: I. Allegro moderato
- Cello Concerto, Op. 22: II. Andante sostenuto
- Cello Concerto, Op. 22: III. Molto allegro ed appassionato
- Cello Concerto No. 1 in E-flat major, Op. 107: I. Allegretto
- Cello Concerto No. 1 in E-flat major, Op. 107: II. Andante sostenuto
- Cello Concerto No. 1 in E-flat major, Op. 107: III. Cadenza
- Cello Concerto No. 1 in E-flat major, Op. 107: IV. Allegro con brio
- Concerto for Violin and Orchestra, Op. 14: I. Allegro
- Concerto for Violin and Orchestra, Op. 14: II. Andante
- Concerto for Violin and Orchestra, Op. 14: III. Presto in moto perpetuo
- Concerto No. 1 in A minor for Violin and Orchestra, Op 99: I. Nocturne
- Concerto No. 1 in A minor for Violin and Orchestra, Op 99: II Scherzo
- Concerto No. 1 in A minor for Violin and Orchestra, Op 99: III Passacaglia
- Concerto No. 1 in A minor for Violin and Orchestra, Op 99: IV. Burlesque
- Antony and Cleopatra: Act I, Prologue. "The Empire"
- Antony and Cleopatra: Act I, Scene 1. "Cleopatra's Palace in Alexandra"
- Antony and Cleopatra: Act I, Scene 1. "I am sick and sullen"
- Antony and Cleopatra: Act I, Scene 1. Orchestral Interlude
- Antony and Cleopatra: Act I, Scene 2. "The Senate in Rome"
- Antony and Cleopatra: Act I, Scene 3. "Cleopatra's Palace"
- Antony and Cleopatra: Act I, Scene 3. Slaves' Dance
- Antony and Cleopatra: Act I, Scene 4. "A Roman Banquet Hall"
- Antony and Cleopatra: Act I, Scene 4. "When first she met Mark Antony"
- Antony and Cleopatra: Act I, Scene 4. "Vision of Cleopatra's Barge"
- Antony and Cleopatra: Act II, Scene 1. "The Senate in Rome"
- Antony and Cleopatra: Act II, Scene 2. "Cleopatra's Garden"
- Antony and Cleopatra: Act II, Scene 2. "Hush, here come the Queen and Antony"
- Antony and Cleopatra: Act II, Scene 3. "Outside Antony's Battlefield Tent"
- Antony and Cleopatra: Act II, Scene 4. "Inside the Tent"
- Antony and Cleopatra: Act II, Scene 4. Duet. "Oh take, oh take those lips away"
- Sonata for Piano Op. 26: I. Allegro energico
- Sonata for Piano Op. 26: II. Allegro vivace e leggero
- Sonata for Piano Op. 26: III. Adagio mesto
- Sonata for Piano Op. 26: IV. Fuga: Allegro con spirito
- Interlude No. 1 "Adagio for Jeanne"
- Nocturne Op. 33
- Ballade Op. 46
- Excursions Op. 20: I. Un poco allegro
- Excursions Op. 20: II. In Slow Blues Tempo
- Excursions Op. 20: III. Allegretto
- Excursions Op. 20: IV. Allegro molto
- Capricorn Concerto, Op. 21: I. Allegro ma non troppo (San Diego Chamber Orchestra feat. conductor: Donald Barra)
- Capricorn Concerto, Op. 21: II. Allegretto (San Diego Chamber Orchestra feat. conductor: Donald Barra)
- Capricorn Concerto, Op. 21: III. Allegro con brio (San Diego Chamber Orchestra feat. conductor: Donald Barra)
- Canzone, Op. 38a (feat flute: Alexa Still, piano: Susan DeWitt Smith)
- Fadograph of a Yestern Scene, Op. 44 (New Zealand Symphony Orchestra feat. conductor: Andrew Schenck)
- Cave of the Heart, Op. 23: V. Media's Dance of Vengeance (Atlantic Sinfonietta feat. conductor: Andrew Schenck)
- Adagio for Strings, Op. 11 (New Zealand Symphony Orchestra feat. conductor: James Sedares)
- Souvenirs Suite: Hesitation Waltz (arr. Arthur Gold & Rolbert Fizdale) (feat. pianos: The Malinova Sisters)
- Hermit Songs, Op. 29 No. 3: St. Ita's Vision (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- Hermit Songs, Op. 29 No. 4: The Heavenly Banquet (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- Hermit Songs, Op. 29 No. 5: The Crucifixion (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- Hermit Songs, Op. 29 No. 6: Sea-Snatch (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- Hermit Songs, Op. 29 No. 7: Promiscuity (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- Hermit Songs, Op. 29 No. 8: The Monk and his Cat (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- Hermit Songs, Op. 29 No. 9: The Praises of God (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- Hermit Songs, Op. 29 No. 10: The Desire for Hermitage (arr. Todd Palmer) (feat. clarinet: Todd Palmer, piano: Carol Archer)
- To Be Sung on Water, Op. 42 No. 2 (Oregon Repertory Singers feat. conductor: Gilbert Seeley)
- The Lovers, Op. 43 No. 8: Tonight I Can Write (Chicago Symphony Orchestra & Chorus feat. conductor: Andrew Schenck, baritone: Dale Duesing)
- Summer Music, Op. 31 (Arioso Wind Quintet)
- Hermit Songs, Op. 29: At Saint Patrick's Purgatory
- Hermit Songs, Op. 29: Church Bell at Night
- Hermit Songs, Op. 29: Sait Ita's Vision
- Hermit Songs, Op. 29: The Heavenly Banquet
- Hermit Songs, Op. 29: The Crucifixion
- Hermit Songs, Op. 29: Sea-Snatch
- Hermit Songs, Op. 29: Promiscuity
- Hermit Songs, Op. 29: The Monk and His Cat
- Hermit Songs, Op. 29: The Praises of God
- Hermit Songs, Op. 29: The Desire for Hermitage
- Sleep Now, Op. 10, No. 2
- The Daises, Op. 2, No. 1
- Nocturne, Op. 13, No. 4
- Nuvoletta, Op. 25
- Knoxville: Summer of 1915
- Antony and Cleopatra: Give Me Some Music
- Antony and Cleopatra: Give Me My Robe
- Prayers of Kierkegaard "O Thou Who Art Unchangeable", Op. 30: Grave and remote
- Prayers of Kierkegaard "Lord Jesus Christ Who Suffer'd", Op. 30: Andante con moto tranquillo
- Prayers of Kierkegaard, "Father in Heaven, Well We Know That it is Thou" Op. 30: Un poco mosso
- Prayers of Kierkegaard, Op. 30: Allegro molto
- Prayers of Kierkegaard "Father in Heaven! Hold Not Our Sins Up Against Us", Op. 30: Quietly
- The Lovers, Op. 43: I. Body of a Woman
- The Lovers, Op. 43: II. Lithe Girl, Brown Girl
- The Lovers, Op. 43: III. In the Hot Depth of This Summer
- The Lovers, Op. 43: IV. Close Your Eyes
- The Lovers, Op. 43: V. The Fortunate Isles
- The Lovers, Op. 43: VI. Sometimes
- The Lovers, Op. 43: VII. We Have Lost Even This Twilight
- The Lovers, Op. 43: VIII. Tonight I Can Write
- The Lovers, Op. 43: IX. Cemetery of Kisses
- Agnus Dei
- Totus tuus
- Magnificat
- Ubi caritas
- Annunciation
- De profundis
- Tantum ergo
- Amen
- Chichester Psalms I
- Chichester Psalms II
- Chichester Psalms III
- Adagio for Strings - from String Quartet Op. 11
- Violin Concerto - Andante
- Symphony No.1, Op. 9 - Andante Tranquillo
- Symphony No.1, Op. 9 - Con Moto
- First Essay for Orchestra, Op. 12
- Knoxville: Summer of 1915 - for Soprano and Orchrestra
- Second Essay for Orchestra, Op. 17
- Adagio for Strings (Vocal Version)
- Cello Sonata, Op. 6: I. Allegro ma non troppo
- Cello Sonata, Op. 6: II. Adagio - Presto
- Cello Sonata, Op. 6: III. Allegro appassionato
- Canzone for Flute and Piano, Op. 38a
- Excursions, Op. 20: I. Un poco allegro
- Excursions, Op. 20: II. In slow blues tempo
- Excursions, Op. 20: III. Allegretto
- Excursions, Op. 20: IV. Allegro molto
- Nocturne (Homage to John Field), Op. 33
- Summer Music, Op. 31: I. Slow and indolent
- Summer Music, Op. 31: II. Faster
- Summer Music, Op. 31: III. Lively, still faster
- Summer Music, Op. 31: IV. With motion, as before
- Summer Music, Op. 31: V. Joyous and flowing
- Summer Music, Op. 31: VI. Tempo I
- Souvenirs, Op. 28: Pas de deux
- Souvenirs, Op. 28: Two-Step
Born: 1910-03-09
Died: 1981-01-23
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Samuel Barber - Adagio for Strings, op.11
- Order: Reorder
- Duration: 10:30
- Updated: 05 Mar 2013
Leonard Slatkin Conducts the BBC Orchestra on September 15 2001 in honor of those who lost their lives a few days prior. Visuals from BBC's 'Last Night of the Proms' and ABC's 'Report from ground zero'. AUVIEX edit.
http://wn.com/Samuel_Barber_Adagio_for_Strings,_op11
Leonard Slatkin Conducts the BBC Orchestra on September 15 2001 in honor of those who lost their lives a few days prior. Visuals from BBC's 'Last Night of the Proms' and ABC's 'Report from ground zero'. AUVIEX edit.
Virtual Barber Shop (Audio...use headphones, close ur eyes)
- Order: Reorder
- Duration: 4:40
- Updated: 06 Mar 2013
You'll need headphones for this to work. Make sure there is no noise around, close your eyes, turn the volume up a little bit, hold and press headphone on your ears for better hearing, play it and enjoy this impressive audio work ( illusion ). Not a screamer not a prank! CREDITS: The embedded audio clip was created by QSound Labs ( www.qsound.com ) as a demonstration of Binaural audio technology. See this wikipedia entry for information about binaural recordings. http Extra tags: barbershop barber wow omg amazing featured technology wild scary horror lovely virus lovelyvirus
http://wn.com/Virtual_Barber_Shop_Audiouse_headphones,_close_ur_eyes
You'll need headphones for this to work. Make sure there is no noise around, close your eyes, turn the volume up a little bit, hold and press headphone on your ears for better hearing, play it and enjoy this impressive audio work ( illusion ). Not a screamer not a prank! CREDITS: The embedded audio clip was created by QSound Labs ( www.qsound.com ) as a demonstration of Binaural audio technology. See this wikipedia entry for information about binaural recordings. http Extra tags: barbershop barber wow omg amazing featured technology wild scary horror lovely virus lovelyvirus
- published: 05 May 2007
- views: 14312648
- author: LovelyVirus
Samuel Barber - Adagio for Strings
- Order: Reorder
- Duration: 10:02
- Updated: 05 Mar 2013
Desiderata - Max Ehrmann Another inspirational poem set to music ;) if you like this check out my other vids, feel free to comment. Go placidly amid the noise and the haste, and remember what peace there may be in silence. As far as possible, without surrender, be on good terms with all persons. Speak your truth quietly and clearly; and listen to others, even to the dull and the ignorant; they too have their story. Avoid loud and aggressive persons; they are vexatious to the spirit. If you compare yourself with others, you may become vain or bitter, for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time. Exercise caution in your business affairs, for the world is full of trickery. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Be yourself. Especially do not feign affection. Neither be cynical about love, for in the face of all aridity and disenchantment, it is as perennial as the grass. Take kindly the counsel of the years, gracefully surrendering the things of youth. Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself with dark imaginings. Many fears are born of fatigue and loneliness. Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe no less than ...
http://wn.com/Samuel_Barber_Adagio_for_Strings
Desiderata - Max Ehrmann Another inspirational poem set to music ;) if you like this check out my other vids, feel free to comment. Go placidly amid the noise and the haste, and remember what peace there may be in silence. As far as possible, without surrender, be on good terms with all persons. Speak your truth quietly and clearly; and listen to others, even to the dull and the ignorant; they too have their story. Avoid loud and aggressive persons; they are vexatious to the spirit. If you compare yourself with others, you may become vain or bitter, for always there will be greater and lesser persons than yourself. Enjoy your achievements as well as your plans. Keep interested in your own career, however humble; it is a real possession in the changing fortunes of time. Exercise caution in your business affairs, for the world is full of trickery. But let this not blind you to what virtue there is; many persons strive for high ideals, and everywhere life is full of heroism. Be yourself. Especially do not feign affection. Neither be cynical about love, for in the face of all aridity and disenchantment, it is as perennial as the grass. Take kindly the counsel of the years, gracefully surrendering the things of youth. Nurture strength of spirit to shield you in sudden misfortune. But do not distress yourself with dark imaginings. Many fears are born of fatigue and loneliness. Beyond a wholesome discipline, be gentle with yourself. You are a child of the universe no less than ...
- published: 09 Aug 2007
- views: 2395753
- author: Tweeklet
Smokeys Barbers Episode 1 - Revenge of the Gas Gang
- Order: Reorder
- Duration: 14:02
- Updated: 04 Mar 2013
In this Pilot episode of Smokeys Barbers we introduce to you Jazzie Adot Bricka and Humza in there work environment, shot in the style of a mockumentary! Follow the cast on twitter: Jazzie : @Jazziemovement Adot comedian : @Adotcomedian Vujanic : @TheVujanic Humza : @HumzaProduction
http://wn.com/Smokeys_Barbers_Episode_1_Revenge_of_the_Gas_Gang
In this Pilot episode of Smokeys Barbers we introduce to you Jazzie Adot Bricka and Humza in there work environment, shot in the style of a mockumentary! Follow the cast on twitter: Jazzie : @Jazziemovement Adot comedian : @Adotcomedian Vujanic : @TheVujanic Humza : @HumzaProduction
- published: 01 Apr 2012
- views: 488044
- author: Smokeys Barbers
how to be a barber how to cut hair ,how to do a tape up
- Order: Reorder
- Duration: 6:51
- Updated: 26 Feb 2013
how to be a barber ,how to cut hair ,cutting hair dvd ,how to cut hair dvd ,fade, tape ups , shape up , shaving , shave , barber school, barber college, www.howtobecomeabarber.com
http://wn.com/how_to_be_a_barber_how_to_cut_hair_,how_to_do_a_tape_up
how to be a barber ,how to cut hair ,cutting hair dvd ,how to cut hair dvd ,fade, tape ups , shape up , shaving , shave , barber school, barber college, www.howtobecomeabarber.com
- published: 21 Jul 2009
- views: 123161
- author: topofthelinebarbersh
Samuel Barber - Adagio for Strings, op.11. Uncut
- Order: Reorder
- Duration: 10:36
- Updated: 06 Mar 2013
Original broadcast from the Albert Hall in London September 15 2001. Leonard Slatkin conducts the BBC Orchestra.
http://wn.com/Samuel_Barber_Adagio_for_Strings,_op11_Uncut
Original broadcast from the Albert Hall in London September 15 2001. Leonard Slatkin conducts the BBC Orchestra.
- published: 08 May 2007
- views: 2327209
- author: AUVIEX
Samuel Barber: Agnus Dei (Adagio for strings)
- Order: Reorder
- Duration: 9:30
- Updated: 05 Mar 2013
Choral version of Agnus Dei sung to the theme of Samuel Barbers Adagio for strings.Performed by The Choir of Trinity College,Cambridge,UK.Directed by Richard Marlow. www.trin.cam.ac.uk Amazon link to album - www.amazon.co.uk Sorry there is no video, but just a picture of the great composer Samuel Barber. Lovely piece of music....
http://wn.com/Samuel_Barber_Agnus_Dei_Adagio_for_strings
Choral version of Agnus Dei sung to the theme of Samuel Barbers Adagio for strings.Performed by The Choir of Trinity College,Cambridge,UK.Directed by Richard Marlow. www.trin.cam.ac.uk Amazon link to album - www.amazon.co.uk Sorry there is no video, but just a picture of the great composer Samuel Barber. Lovely piece of music....
- published: 02 Nov 2007
- views: 1692743
- author: lee32uk
Samuel Barber - Adagio for Strings, op. 11 by Leonard Bernstein
- Order: Reorder
- Duration: 10:11
- Updated: 05 Mar 2013
Samuel Barber's Adagio for Strings conducted by Leonard Bernstein
http://wn.com/Samuel_Barber_Adagio_for_Strings,_op_11_by_Leonard_Bernstein
Samuel Barber's Adagio for Strings conducted by Leonard Bernstein
- published: 01 Dec 2010
- views: 107454
- author: Dodo251
Patricia Barber Quartet "Norwegian Wood"
- Order: Reorder
- Duration: 10:00
- Updated: 05 Mar 2013
(Lennon/McCartney) Live at Ladies Jazz Festival, Gdynia, 20.07.2006 Patricia Barber - vocals, piano Neal Alger - guitars Michael Arnopol - bass Eric Montzka - drums
http://wn.com/Patricia_Barber_Quartet_Norwegian_Wood
(Lennon/McCartney) Live at Ladies Jazz Festival, Gdynia, 20.07.2006 Patricia Barber - vocals, piano Neal Alger - guitars Michael Arnopol - bass Eric Montzka - drums
- published: 06 Jan 2010
- views: 46942
- author: emu0404usb
The Demon Barber of Fleet Street
- Order: Reorder
- Duration: 66:18
- Updated: 01 Mar 2013
A barber on Fleet St. tells the story of Sweeney Todd a barber that murdered customers for their money..
http://wn.com/The_Demon_Barber_of_Fleet_Street
A barber on Fleet St. tells the story of Sweeney Todd a barber that murdered customers for their money..
- published: 22 Mar 2009
- views: 100753
- author: ampopfilms
Accentus Samuel Barber Agnus Dei
- Order: Reorder
- Duration: 8:13
- Updated: 04 Mar 2013
Samuel Barber "Agnus Dei" (Adagio for strings opus 11 Transcription Samuel Barber) Accentus Chamber Choir Laurence Equilbey - conductor Andy Sommer - film director
http://wn.com/Accentus_Samuel_Barber_Agnus_Dei
Samuel Barber "Agnus Dei" (Adagio for strings opus 11 Transcription Samuel Barber) Accentus Chamber Choir Laurence Equilbey - conductor Andy Sommer - film director
- published: 25 Jul 2008
- views: 190406
- author: musicca75
Turkish barber in Kusadasi - Kuafor Ercan (Turchia)
- Order: Reorder
- Duration: 36:19
- Updated: 06 Mar 2013
Turkish barber experience Ercan BAYRI - Camikebir Mh. Cephane Sk. No: 21/A Kusadasi/Aydin This is real turkish traditionl way to make shave. Also with face massage, head massage, neck massage and arms massage. Simply the best !!!
http://wn.com/Turkish_barber_in_Kusadasi_Kuafor_Ercan_Turchia
Turkish barber experience Ercan BAYRI - Camikebir Mh. Cephane Sk. No: 21/A Kusadasi/Aydin This is real turkish traditionl way to make shave. Also with face massage, head massage, neck massage and arms massage. Simply the best !!!
- published: 09 Sep 2012
- views: 93829
- author: Valerio Mancuso
Samuel Barber - Adagio for Strings, op.11
- Order: Reorder
- Duration: 9:40
- Updated: 05 Mar 2013
Adagio for Strings Samuel Barber Orquestra Sinfônica de São Paulo Maestro León Halegua Memorial da América Latina
http://wn.com/Samuel_Barber_Adagio_for_Strings,_op11
Adagio for Strings Samuel Barber Orquestra Sinfônica de São Paulo Maestro León Halegua Memorial da América Latina
- published: 05 Feb 2011
- views: 74696
- author: Guido Rossi
Dan Barber: How I fell in love with a fish
- Order: Reorder
- Duration: 19:31
- Updated: 05 Mar 2013
www.ted.com Chef Dan Barber squares off with a dilemma facing many chefs today how to keep fish on the menu. With impeccable research and deadpan humor, he chronicles his pursuit of a sustainable fish he could love, and the foodie's honeymoon he's enjoyed since discovering an outrageously delicious fish raised using a revolutionary farming method in Spain.TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers give the talk of their lives in 18 minutes. Featured speakers have included Al Gore on climate change, Philippe Starck on design, Jill Bolte Taylor on observing her own stroke, Nicholas Negroponte on One Laptop per Child, Jane Goodall on chimpanzees, Bill Gates on malaria and mosquitoes, Pattie Maes on the "Sixth Sense" wearable tech, and "Lost" producer JJ Abrams on the allure of mystery. TED stands for Technology, Entertainment, Design, and TEDTalks cover these topics as well as science, business, development and the arts. Closed captions and translated subtitles in a variety of languages are now available on TED.com, at www.ted.com Watch a highlight reel of the Top 10 TEDTalks at www.ted.com
http://wn.com/Dan_Barber_How_I_fell_in_love_with_a_fish
www.ted.com Chef Dan Barber squares off with a dilemma facing many chefs today how to keep fish on the menu. With impeccable research and deadpan humor, he chronicles his pursuit of a sustainable fish he could love, and the foodie's honeymoon he's enjoyed since discovering an outrageously delicious fish raised using a revolutionary farming method in Spain.TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers give the talk of their lives in 18 minutes. Featured speakers have included Al Gore on climate change, Philippe Starck on design, Jill Bolte Taylor on observing her own stroke, Nicholas Negroponte on One Laptop per Child, Jane Goodall on chimpanzees, Bill Gates on malaria and mosquitoes, Pattie Maes on the "Sixth Sense" wearable tech, and "Lost" producer JJ Abrams on the allure of mystery. TED stands for Technology, Entertainment, Design, and TEDTalks cover these topics as well as science, business, development and the arts. Closed captions and translated subtitles in a variety of languages are now available on TED.com, at www.ted.com Watch a highlight reel of the Top 10 TEDTalks at www.ted.com
- published: 10 Mar 2010
- views: 91876
- author: TEDtalksDirector
Vadrum Meets the Barber of Seville (Drum Video)
- Order: Reorder
- Duration: 3:31
- Updated: 05 Mar 2013
Get the HQ Mp3 on iTunes! :-D itunes.apple.com --- Hi guys, here's my latest creation! This is a SUPER VADRUM VERSION of the "Barber of Seville" Overture by Gioacchino Rossini! Thank you VERY MUCH for all your incredible support! You're the best! More Vadrum Videos? SUBSCRIBE NOW! :-D Check out this and other drum videos, infos about me, my drumkit and much more at my personal website: www.vadrum.com You can also find me on - FACEBOOK: www.facebook.com - TWITTER: www.twitter.com - STORE: store.andreavadrucci.com
http://wn.com/Vadrum_Meets_the_Barber_of_Seville_Drum_Video
Get the HQ Mp3 on iTunes! :-D itunes.apple.com --- Hi guys, here's my latest creation! This is a SUPER VADRUM VERSION of the "Barber of Seville" Overture by Gioacchino Rossini! Thank you VERY MUCH for all your incredible support! You're the best! More Vadrum Videos? SUBSCRIBE NOW! :-D Check out this and other drum videos, infos about me, my drumkit and much more at my personal website: www.vadrum.com You can also find me on - FACEBOOK: www.facebook.com - TWITTER: www.twitter.com - STORE: store.andreavadrucci.com
- published: 30 Mar 2008
- views: 4161742
- author: vadrum
The Barber of Seville - Figaro's Aria
- Order: Reorder
- Duration: 4:51
- Updated: 05 Mar 2013
Gioachino Antonio Rossini: The Barber of Seville - Figaro's Aria
http://wn.com/The_Barber_of_Seville_Figaro's_Aria
Gioachino Antonio Rossini: The Barber of Seville - Figaro's Aria
- published: 21 May 2011
- views: 194161
- author: Gioreto1
Lego Barber Shop
- Order: Reorder
- Duration: 2:50
- Updated: 06 Mar 2013
Everyone needs a haircut eventually. However, Lego haircuts are done a little differently...
http://wn.com/Lego_Barber_Shop
Everyone needs a haircut eventually. However, Lego haircuts are done a little differently...
- published: 09 Jul 2010
- views: 2437688
- author: MlCHAELHlCKOXFilms
Barber Motorsports Park Hooligans - Jason DiSalvo, Ernie Vigil, Nick Apex
- Order: Reorder
- Duration: 7:52
- Updated: 06 Mar 2013
Take a road racer, two drift bike pilots, add water, and stir with triples. This may be the first and last time the three will be allowed together in the Barber Motorsports Museum. Featuring Nick "Apex" Brocha Ernie Vigil Jason DiSalvo Motorcycles 2012 Triumph Street Triple 2011 Triumph Speed Triple Location Barber Motorsports Park - Birmingham, Alabama www.barbermotorsports.com
http://wn.com/Barber_Motorsports_Park_Hooligans_Jason_DiSalvo,_Ernie_Vigil,_Nick_Apex
Take a road racer, two drift bike pilots, add water, and stir with triples. This may be the first and last time the three will be allowed together in the Barber Motorsports Museum. Featuring Nick "Apex" Brocha Ernie Vigil Jason DiSalvo Motorcycles 2012 Triumph Street Triple 2011 Triumph Speed Triple Location Barber Motorsports Park - Birmingham, Alabama www.barbermotorsports.com
- published: 13 Feb 2012
- views: 3332648
- author: TriumphNorthAmerica
Patricia Barber - Witchcraft
- Order: Reorder
- Duration: 5:28
- Updated: 28 Feb 2013
Patricia Barber Quartet in France 2004
http://wn.com/Patricia_Barber_Witchcraft
Rev. Dr. William Barber, II addresses the NAACP, July 11, 2012
- Order: Reorder
- Duration: 15:00
- Updated: 20 Feb 2013
The Reverend Dr. William Barber, II addresses the Plenary Session of the NAACP Convention in Houston, Texas on July 11, 2012. His speech here was the one that immediately followed Mitt Romney's speech to the NAACP. A transcript of this incredible speech can be found at this link: www.dailykos.com
http://wn.com/Rev_Dr_William_Barber,_II_addresses_the_NAACP,_July_11,_2012
The Reverend Dr. William Barber, II addresses the Plenary Session of the NAACP Convention in Houston, Texas on July 11, 2012. His speech here was the one that immediately followed Mitt Romney's speech to the NAACP. A transcript of this incredible speech can be found at this link: www.dailykos.com
- published: 12 Jul 2012
- views: 122846
- author: DLvideos100
Razor Tales Episode 1 -- The Barber Shop Club
- Order: Reorder
- Duration: 5:27
- Updated: 04 Mar 2013
In the premiere of Made Man's new series, "Razor Tales," we visit The Barber Shop Club in Los Angeles -- and meet Woody Lavell, founder and barber. He discusses bringing his family tradition from Kansas City to the west coast -- and how a good haircut can make any man feel confident. It's Moustache Season! Register for Movember: movember.com Visit Mo Central mademan.com Join our team: brk.to Get the word out about Movember, share, like, comment, and subscribe to support Made Man and Movember! ________________________________________________________________________ Looking for more manly stuff? Check out "For The Win", featuring Mike Capes! How to Open a Beer With...Anything www.youtube.com Win a Fight With One Punch www.youtube.com How To Win A Bar Fight www.youtube.com How to Make Halloween Cocktails www.youtube.com More "For The Win" here: www.youtube.com ________________________________________________________________________ Or, maybe you want some comic relief, then check out Paul F. Tompkins and Speakeasy! Speakeasy Featuring Ty Burrell: www.youtube.com Speakeasy Featuring Weird Al Yankovic: www.youtube.com Speakeasy Featuring Zach Galifianakis: www.youtube.com Speakeasy Featuring Damian Lewis: www.youtube.com Speakeasy Featuring Nathan Fillion: www.youtube.com More Speakeasy here: www.youtube.com
http://wn.com/Razor_Tales_Episode_1_-_The_Barber_Shop_Club
In the premiere of Made Man's new series, "Razor Tales," we visit The Barber Shop Club in Los Angeles -- and meet Woody Lavell, founder and barber. He discusses bringing his family tradition from Kansas City to the west coast -- and how a good haircut can make any man feel confident. It's Moustache Season! Register for Movember: movember.com Visit Mo Central mademan.com Join our team: brk.to Get the word out about Movember, share, like, comment, and subscribe to support Made Man and Movember! ________________________________________________________________________ Looking for more manly stuff? Check out "For The Win", featuring Mike Capes! How to Open a Beer With...Anything www.youtube.com Win a Fight With One Punch www.youtube.com How To Win A Bar Fight www.youtube.com How to Make Halloween Cocktails www.youtube.com More "For The Win" here: www.youtube.com ________________________________________________________________________ Or, maybe you want some comic relief, then check out Paul F. Tompkins and Speakeasy! Speakeasy Featuring Ty Burrell: www.youtube.com Speakeasy Featuring Weird Al Yankovic: www.youtube.com Speakeasy Featuring Zach Galifianakis: www.youtube.com Speakeasy Featuring Damian Lewis: www.youtube.com Speakeasy Featuring Nathan Fillion: www.youtube.com More Speakeasy here: www.youtube.com
- published: 01 Nov 2012
- views: 40002
- author: MadeManDotCom
Smokeys Barbers Episode 2 - Attack Of The Baby Mums
- Order: Reorder
- Duration: 10:51
- Updated: 05 Mar 2013
DIRECTED FILMED AND EDITED BY DIGI DAN In this 2nd Pilot episode of Smokeys Barbers, Jazzie is confronted by his worst nightmare his Baby mums, shot in the style of a mockumentary! Follow the cast on twitter: Jazzie : @Jazziemovement Adot comedian : @Adotcomedian Vujanic : @TheVujanic Humza : @HumzaProduction follow the director @officialdigital
http://wn.com/Smokeys_Barbers_Episode_2_Attack_Of_The_Baby_Mums
DIRECTED FILMED AND EDITED BY DIGI DAN In this 2nd Pilot episode of Smokeys Barbers, Jazzie is confronted by his worst nightmare his Baby mums, shot in the style of a mockumentary! Follow the cast on twitter: Jazzie : @Jazziemovement Adot comedian : @Adotcomedian Vujanic : @TheVujanic Humza : @HumzaProduction follow the director @officialdigital
- published: 15 Apr 2012
- views: 377407
- author: Smokeys Barbers
SAMUEL BARBER - Adagio for Strings, Op. 11
- Order: Reorder
- Duration: 10:06
- Updated: 05 Mar 2013
Whoever you are...
http://wn.com/SAMUEL_BARBER_Adagio_for_Strings,_Op_11
photo: AP / Aaron Favila
05 Mar 2013
Manila. Members of a major Philippine Muslim rebel force who were meant to have disarmed in the 1990s as part of a peace pact are involved in deadly battles in Malaysia, the group’s leader said on Tuesday. Nur Misuari, who founded the Moro National Liberation Front in the late 1960s, confirmed “freedom fighters” from his group were part of the militia sent by a self-proclaimed sultan to claim the Malaysian state of Sabah....(size: 2.6Kb)
photo: AP / Lai Seng Sin
05 Mar 2013
KUALA LUMPUR. Malaysian security forces attacked a group of armed Filipinos early Tuesday to end the group's three-week occupation of a Borneo village, the prime minister said after the siege turned violent and became Malaysia's biggest security crisis in years ... The Philippine government asked Malaysia on Monday to exercise maximum tolerance to avoid further bloodshed ... 9 ... ....(size: 4.7Kb)
photo: AP / Gali Tibbon, Pool
05 Mar 2013
WASHINGTON - US Vice-President Joe Biden insisted on Monday that President Barack Obama was not bluffing about using force to thwart Iran's nuclear ambitions if all else fails, even as Israeli Prime Minister Benjamin Netanyahu called for a "credible military threat" against Tehran ... "Words alone will not stop Iran. Sanctions alone will not stop Iran ... Tehran denies it is seeking one ... "We are not looking for war ... Previous Page 1 2 Next Page....(size: 3.5Kb)
photo: US Navy / MCS1 Daniel N. Woods
05 Mar 2013
FOSTER KLUG , The Associated Press. Posted. Tuesday, March 5, 2013, 4.12 AM. SEOUL, South Korea - The Cold War still rages in North Korea, and enemy No. 1 is the United States, which Pyongyang blames for making its much-condemned drive to develop nuclear weapons necessary ... North Korea's latest nuclear test in February , its third , has led even China, its only major ally, to support another round of punishing U.N ... invasion plans. U.S ... Cops ... ....(size: 9.2Kb)
photo: AP / Manu Fernandez
05 Mar 2013
MANCHESTER. Cristiano Ronaldo scored the decisive goal as Real Madrid controversially came from behind to win 2-1 at Manchester United on Tuesday and reach the Champions League quarter-finals. In a breathless game, Nani forced Sergio Ramos to put through his own goal in the 48th minute to give United a 2-1 aggregate lead in the last 16 tie, only for the Portuguese winger to then be sent off for a foul on Alvaro Arbeloa ... ....(size: 4.0Kb)
The Charlotte Observer
06 Mar 2013
ROCK HILL Stephanie Barber’s black pit bull Xena survived a hit-and-run about four months ago that left the dog with a broken leg and in need of regular exercise. On Saturday, a bullet shot by a man riding a bicycle left the 1-year-old puppy with life-threatening injuries and Barber with a decision that’s torn a hole in her heart and family....(size: 2.0Kb)
Springfield News-Sun
06 Mar 2013
An Orange County mother is accused of stabbing some teens who were allegedly bullying her kids. Investigators said Nora Silva, 33, stabbed the kids in the back with a box cutter, but both she and her mother claim it was her mother who cut the children ... "[Nora Silva] says you have been bullying these kids for a year," Channel 9's Tim Barber said to Walker ... "I will defend them ... "Would you have stabbed them?" asked Barber ... ....(size: 2.3Kb)
Tampa Bay Online
06 Mar 2013
The NFL free agency period begins at 4 p.m. on Tuesday ... You be the GM ... First-round draft pick Mark Barron struggled in coverage for most of the season, and his partner at safety, veteran Ronde Barber, may retire after leading the Bucs with four interceptions, averaging 40 yards per return ... With Barber's future uncertain, the Bucs are expected to address both corner and safety prominently through free agency and the draft ... S Ronde Barber ... ....(size: 4.5Kb)
Tampa Bay Online
06 Mar 2013
TOP 3 MARKS OF THE 2013 SEASON. Through Saturday. GIRLS. High jump. 1. Akachukwu (F) 5-2; 2. (tie) Plager (SCA), Keller (Stn) and Malizia (P) 5-0. Long jump. 1. Akachukwu (F) 17-7; 2. McEnany (AHN) 17-1.5; 3. Reiner (TP) 16-6. Triple jump. 1. Reiner (TP) 35-1; 2. (tie) Dennard (Arm), Watson (W) 34-11. Shot put. 1. Aaron (Ch) 41-2; 2. Newsome (Arm) 35-8.5; 3. Harden (BP) 35-6.25. Discus. 1. Aaron (Ch) 120-0; 2 ... 1 ... 1 ... 1 ... Barber (W) 15.58. 100 ... Barber (W) 44.92; 2....(size: 3.3Kb)
IMDb
06 Mar 2013
This week's episode - "Prime Suspect" - centered around a barber who was worried his son might be a serial murderer. When Gibbs showed up for a haircut, he asked him ......(size: 0.9Kb)
MSNBC
06 Mar 2013
noodls
06 Mar 2013
(Source. City of Mission Viejo, CA). News Release. March 5, 2013. FOR IMMEDIATE RELEASE Charlie Chaplin's 'Great Dictator' is March's Movie of Character ... Mission Viejo City Hall ... 2 p.m ... Written and directed by Charlie Chaplin, this controversial masterpiece contrasts caricatures of Hitler and Mussolini with an ethical, kindly barber....(size: 1.5Kb)
noodls
06 Mar 2013
(Source. Beijing Municipal Government). Nikita Mikhalkov [File photo]. The Third Session of the Beijing International Film Festival will be held from April 16 to 23 ... Other famous movies include "A Slave of Love," "The Barber of Siberia," "Dark Eyes" and "12." ... distributed by ... (noodl. 17775823) ....(size: 1.6Kb)
Newsday
06 Mar 2013
"American Idol" Season 12 live-blogging our favorites -- Zoanette Johnson, Breanna Steer, Aubrey Cleland, Lazaro Arbos, Gurpreet Singh Sarin, aka 'Turbanator,' Sanni M'Mairura, Adam Sanders, Briana Oakley, Charlie Askew, Isabel Gonzalez, Seretha Guinn, Candice Glover, Rodney Barber, Clifton Duffin, Mariah Pulice, Curtis Finch, Kiara Lanier, ......(size: 2.7Kb)
noodls
06 Mar 2013
(Source. Tennessee Smokies). On Monday, the Cubs played the Dodgers. Surprisingly, I did not hit any traffic and I got to Glendale really early. I noticed there was a different buzz in the press box. The Dodgers broadcast engineer came in to talk to me and told me they were doing the game on TV and radio ... We talked about Mel Allen and Red Barber, guys who Scully worked with early in his career ... distributed by ... (noodl....(size: 3.6Kb)
Buffalo News
06 Mar 2013
Area Bowling. AIRPORT. BBS Doubles — Rickey Grant 299-256-788, Chris Brailsford 254, Stacey Gilmer 257-621. BRAD ANGELO. Saturday Nite Live — Joe Burgio 280-258-745. Ron Wilson Memorial — Chris Norris 258-685, Kevin Norris 676, Alicia Bell 244-666, Chris Krebs 258 ... BROADWAY ... CLASSIC ... EDEN ... Tuesday Night Men — John Volker 276-779, Rob Coppola 279-761, Shawn Bender 258-724, Josh Barber 278-716, Kevin Volker 258-706 ... ....(size: 2.9Kb)
Business Wire
06 Mar 2013
Elemental Live supports multiscreen content delivery to the network’s widely deployed digital and mobile applications OTTCON2013 NAB ShowTV Connect 2013 ... households ... For example, The Weather Channel is using Elemental systems to stream live content to the company’s YouTube channel ... The cable network also reaches 50 million web consumers on weather.com and desktop platforms ... The Weather Company ... Contacts ... Laura Barber, 503-703-3638 ... ....(size: 8.8Kb)
The Examiner
06 Mar 2013
Sometimes it takes a new track like the Circuit of the Americas (COTA) to get back on track.Entering the GRAND-AM 200, Bryan Sellers hoped to use the debut of the Continental Tire Sports Car Challenge (CTSCC) at the Austin, Texas-area track to restart his 2013 season ... "The sixth-place was also very important to get us back into the championship chase ... Sellers and Fall-Line will travel next to Barber Motorsports Park in Birmingham, AL ... ....(size: 8.7Kb)
This article is about the profession. For other uses, see Barber (disambiguation).
 Nikolaos Gyzis, "The Barber" |
|
| Occupation | |
|---|---|
| Names | Barber, hairdresser |
| Description | |
A barber (from the Latin barba, "beard") is someone whose occupation is to cut any type of hair, and to shave or trim the beards of men. The place of work of a barber is generally called a barbershop or a barber's.
In previous times, barbers also performed surgery and dentistry. Today, with the development of safety razors and the decreasing prevalence of beards, in American and Commonwealth culture most barbers specialize in cutting men's hair. Many barbers may still deal with facial hair if requested.
Contents |
Terminology[link]
 |
This unreferenced section requires citations to ensure verifiability. |
File:Old Barber.jpg
A street barber in Shiraz
In modern times, the term "barber" is used both as a professional title and to refer to hairdressers who specialize in men's hair. Historically, all hairdressers were considered barbers. In the 20th century, the profession of cosmetology branched off from barbering, and today hairdressers may be licensed as either barbers or cosmetologists. Barbers differ with respect to where they work, which services they are licensed to provide, and what name they use to refer to themselves. Part of this terminology difference depends on the regulations in a given location.
Different states in the US vary on their labor and licensing laws. For example, in Maryland, a cosmetologist cannot use a straight razor, strictly reserved for barbers. In contrast, in New Jersey both are regulated by the State Board of Cosmetology and there is no longer a legal difference in barbers and cosmetologists, as they are issued the same license and can practice both the art of straight razor shaving, colouring, other chemical work and haircutting if they choose.
In Australia, the official term for a barber is hairdresser; barber is only a popular title for men's hairdressers, although not as popular now as it was in the middle of the 20th century. Most would work in a hairdressing salon.
History[link]
The barber's trade has a long history; razors have been found among relics of the Bronze Age (circa 3500 BC) in Egypt. In ancient Egyptian culture, barbers were highly respected individuals. Priests and men of medicine are the earliest recorded examples of barbers. In early tribes, a barber was one of the most important members, as it was believed that certain evil spirits were able to enter a person's body through their hair, and that cutting it was a way to drive them out. Due to their spiritual and religious beliefs, barbers even performed religious ceremonies, such as marriages and baptizing children. During these ceremonies, they would leave the person/people's hair hanging down until after dancing; they would then cut the hair and tie it back tightly so that no evil spirits could enter and no good spirits could escape.
Men in Ancient Greece would have their beards, hair, and fingernails trimmed and styled by the κουρεύς (cureus), in an agora, which also served as a social gathering for debates and gossip.
Barbering was introduced to Rome by the Greek colonies in Sicily in 296 B.C., and barber shops quickly became very popular centres for daily news and gossip. A morning visit to the tonsor became a part of the daily routine, as important as the visit to the public baths, and a young man's first shave (tonsura) was considered an essential part of his coming of age ceremony.
A few Roman tonsores became wealthy and influential, running shops that were favourite public locations of high society; however, most were simple tradesmen, who owned small storefronts or worked in the streets for low prices.
Barbers in the Middle Ages often served as surgeons and dentists. In addition to haircutting, hairdressing, and shaving, barbers performed surgery, bloodletting and leeching, fire cupping, enemas, and the extraction of teeth; earning them the name "barber surgeons". The barber pole, featuring red and white spiralling stripes, indicated the two crafts (surgery in red and barbering in white). Barbers received higher pay than surgeons until surgeons were entered into British war ships during naval wars. Some of the duties of the barber included neck manipulation, cleansing of ears and scalp, draining of boils, fistula and lancing of cysts with wicks.
In the early 1900s an alternative word for barber came into use, "chirotonsor". Chirotonsor is an alternate title for a barber.
Recent trends[link]
 |
The examples and perspective in this section may not represent a worldwide view of the subject. Please improve this article and discuss the issue on the talk page. (April 2012) |
The barber Sam Mature, whose interview with Studs Terkel was published in Terkel's 1974 book Working, says "A man used to get a haircut every couple weeks. Now he waits a month or two, some of ‘em even longer than that. A lot of people would get manicured and fixed up every week. Most of these people retired, moved away, or passed away. It’s all on account of long hair. You take old-timers, they wanted to look neat, to be presentable. Now people don’t seem to care too much."
Late in the nineteenth century there were several noteworthy events in the barber profession that gave it an upward trend, and the effects are still carrying onward and upward. [1]In 1893, A. B. Moler of Chicago, established a school for barbers. This was the first institution of its kind in the world, and its success was apparent from its very start. It stood for higher education in the ranks, and the parent school was rapidly followed by branches in nearly every principal city of the United States. In the beginning of schools, simply the practical work of shaving, haircutting, facial treatments, etc., was taught as neither the public nor the profession were ready to accept scientific treatments of hair, skin and scalp. Not until about 1920 was much effort made to professionalize the work.
Animals[link]
The term "barbering" when applied to laboratory mice is a behaviour where a dominant mouse will use her teeth to pluck out hairs from the face of a passive mouse when they groom each other (barbering is practised mostly by female mice). If moved to a cage with other mice, the "barber" will continue to practise her job and pull out hairs from her new cage-mates.[2]
See also[link]
 |
Wikimedia Commons has media related to: Barbers |
 |
Wikisource has the text of the 1911 Encyclopædia Britannica article Barber. |
- Barber's pole
- Barber paradox
- Barber surgeon
- Beauty salon
- Hairstyle
- Cosmetology
- Facial hair
- DOVO Solingen
- Thiers Issard
- The Barber of Seville
- Sweeney Todd
- Barber chair
- Barbershop music
- Birds Barbershop
- Straight razor
Further reading[link]
- Andrews, William. (Cottingham, Yorkshire: J.R. Tutin, 1904) At the sign of the barber's pole: studies in hirsute history. 118 pages. J. R. Tutin. and here for Project Gutenberg.
- Andrews, William, The Sign of the Barber's Pole: Studies in Hirsute History (Illustrated Edition) (Dodo Press) William Andrews (Dodo Press, 2009) 90 pages. Lethe Press Paperback 108 pages ISBN 978-1-59021-081-9
- Rothman, Irving N., ed. The Barber in Modern Jewish Culture. A Genre of People, Places, and Things, with Illustrations. Foreword: Maximillian E. Novak. Lewiston, NY: The Edward Mellen Press, 2008. 714 pp.
- Rothman, Irving N.“The Reliable Barber Supply Co.: An Annotated Chronological Bibliography of the Barber—Second Delivery.” Bulletin of Bibliography 55.2 (1998): 101-21 [186 items.] ISSN 0190-745X
- Rothman, Irving N. “The Reliable Barber Supply Co.: An Annotated Bibliography of the Barber in World Culture.” Bulletin of Bibliography. 51.4 (December 1994): 325-39. [147 items] ISSN 0190-745X
References[link]
- ^ Moler, A.B.. "The barbers' manual." Internet Archive: Digital Library of Free Books, Movies, Music & Wayback Machine. The National Education Council of the Associated Master Barbers of America, 1 January 1928. Web. 19 March 2012. <http://www.archive.org/stream/barbersmanual00mole#page/n29/mode/2up>.
- ^ Kurien BT, Gross T, Scofield RH. Barbering in mice: a model for trichotillomania BMJ. 2005 Dec 24;331(7531):1503-5. PMID 16373730
Barbers- State of California, Employment Development, Labor Market Information Division, Information Services Group, (916) 262-2162. http://www.calmis.ca.gov/file/occguide/barber.htm
The Art of Barbering Through the Ages "Barber Shop" http://www.barberpole.com/artof.htm
External links[link]
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Wikiquote has a collection of quotations related to: Barbers |
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Wikimedia Commons has media related to: Barber shops |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Barber
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Samuel Osborne Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, and piano music. He is one of the most celebrated composers of the 20th century; music critic Donal Henahan stated that "Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim."[1] His Adagio for Strings (1936) has earned a permanent place in the concert repertory of orchestras. He was twice awarded the Pulitzer Prize for music, for his opera Vanessa (1956–57) and his Concerto for Piano and Orchestra (1962). Also widely performed is his Knoxville: Summer of 1915 (1947), a work for soprano and orchestra, which sets a prose text by James Agee. Unusual among contemporary composers, nearly all of his compositions have been recorded.[1]
Contents |
Biography[link]
Early years[link]
Barber was born in West Chester, Pennsylvania, the son of Marguerite McLeod (née Beatty) and Samuel Le Roy Barber.[2] He was born into a comfortable, educated, social, and distinguished Irish-American[citation needed] family. His father was a physician, and his mother was a pianist. His aunt, Louise Homer, was a leading contralto at the Metropolitan Opera and his uncle, Sidney Homer, was a composer of American art songs. Louise Homer is known to have influenced Barber's interest in voice. Through his aunt, Barber had access to many great singers and songs.
At a very early age, Barber became profoundly interested in music, and it was apparent that he had great musical talent and ability. He began studying the piano at the age of 6 and at age 7 composed his first work, Sadness, a 23 measure solo piano piece in C minor.[1] At the age of nine he wrote to his mother:
Dear Mother: I have written this to tell you my worrying secret. Now don't cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I'm sure. I'll ask you one more thing.—Don't ask me to try to forget this unpleasant thing and go play football.—Please—Sometimes I've been worrying about this so much that it makes me mad (not very).[3]
Barber attempted to write his first opera, entitled The Rose Tree, at the age of 10. At the age of 12 he became an organist at a local church. When he was 14, he entered the Curtis Institute of Music in Philadelphia, where he studied piano with Isabelle Vengerova, composition with Rosario Scalero, and voice with Emilio de Gorgoza.[1] He began composing seriously in his late teenage years. Around the same time, he met fellow Curtis schoolmate Gian Carlo Menotti , who became his partner in life as well as in their shared profession. At the Curtis Institute, Barber was a triple prodigy in composition, voice, and piano. He soon became a favorite of the conservatory's founder, Mary Louise Curtis Bok. It was through Mrs. Bok that Barber was introduced to his lifelong publisher, the Schirmer family. At the age of 18, Barber won the Joseph H. Bearns Prize from Columbia University for his violin sonata Fortune's Favorite Child (now lost or destroyed by the composer).[1]
Middle years[link]
From his early to late twenties, Barber wrote a flurry of successful compositions, launching him into the spotlight of the classical music world. His first orchestral work, the overture to The School for Scandal, was composed in 1931 when he was 21 years old. It premiered successfully two years later in a performance given by the Philadelphia Orchestra under conductor Alexander Smallens.[1] Many of his compositions were commissioned or first performed by such famous artists as Vladimir Horowitz, Eleanor Steber, Raya Garbousova, John Browning, Leontyne Price, Pierre Bernac, Francis Poulenc, and Dietrich Fischer-Dieskau. In 1935, at the age of 25, he was awarded the American Prix de Rome and was the recipient of a Pulitzer traveling scholarship which allowed him to study abroad in 1935-1936. He was later awarded a Guggenheim Fellowship in 1946.[1]
When Barber was 28, his Adagio for Strings was performed by the NBC Symphony Orchestra under the direction of Arturo Toscanini in 1938, along with his first Essay for Orchestra. The Adagio had been arranged from the slow movement of Barber's String Quartet, Op. 11. Toscanini had only rarely performed music by American composers before (an exception was Howard Hanson's Second Symphony, which he conducted in 1933).[4] At the end of the first rehearsal of the piece, Toscanini remarked, "Semplice e bella" (simple and beautiful).
Barber served in the Army Air Corps in World War II, where he was commissioned to write his Second Symphony, a work he later suppressed. (It was released in a Vox recording by the New Zealand Symphony Orchestra conducted by Andrew Schenck). Composed in 1943, the symphony was originally titled Symphony Dedicated to the Air Forces and was premiered in early 1944 by Serge Koussevitsky and the Boston Symphony Orchestra. Barber revised the symphony in 1947, which was published by G. Schirmer,[5] and recorded the following year by the New Symphony Orchestra of London conducted by the composer,[6] but Barber subsequently destroyed the score in 1964. It was reconstructed from the instrumental parts.[7] According to another source, however, it was precisely the parts to the symphony that Barber had torn up.[8] Hans Heinsheimer was an eyewitness, and reported that he accompanied Barber to the publisher's office where they collected all the music from the library and Barber "tore up all these beautifully and expensively copied materials with his own hands"[9] Doubt has been cast on this story, however, on grounds that Heinsheimer, as an executive at G. Schirmer, would have allowed Barber into the Schirmer offices to watch him "rip apart the music that his company had invested money in publishing".[10]
Barber won the Pulitzer Prize twice: in 1958 for his first opera Vanessa, and in 1963 for his Concerto for Piano and Orchestra.
Later years[link]
Barber spent many years in isolation after the harsh rejection of his third opera Antony and Cleopatra. He suffered from depression, and was also beset by alcoholism.[11] The opera was written for and premiered at the opening of the new Metropolitan Opera House on September 16, 1966. After this setback, Barber continued to write music until he was almost 70 years old. Barber's music in his later years would be lauded as reflective and contemplative, but without the morbidity or unhappiness of other composers who knew they had a limited time to live. The Third Essay for Orchestra (1978) was his last major work.
Barber died of cancer in 1981 in New York City at the age of 70. He was buried in Oaklands Cemetery in his hometown of West Chester, Pennsylvania.[12]
Achievements and awards[link]
Barber was the recipient of numerous awards and prizes including the Rome Prize (the American version of the Prix de Rome), two Pulitzers, and election to the American Academy of Arts and Letters. He was elected a Fellow of the American Academy of Arts and Sciences in 1961.[13]
Barber was initiated, as a full collegiate member, into the Zeta Iota chapter of Phi Mu Alpha Sinfonia music fraternity at Howard University in 1952.
In addition to composing, Barber was active in organizations that sought to help musicians and promote music. He was president of the International Music Council of UNESCO, where he did much to bring into focus and ameliorate the conditions facing musicians and musical organizations worldwide. He was one of the first American composers to visit Russia (then part of the Soviet Union). Barber was also influential in the successful campaign by composers against ASCAP, the goal of which was to increase royalties paid to composers.
Music[link]
I just go on doing, as they say, my thing.
“
”
Barber[14]
Orchestral music[link]
Barber played and studied the music of Johann Sebastian Bach and was an adherent of Johannes Brahms, from whom he learned how to compress profound emotions into small modules of highly charged musical expression (Cello Sonata, 1932).[citation needed]
In 1933, after reading the poem "Prometheus Unbound" by Percy Bysshe Shelley, Barber composed the tone poem Music for a Scene from Shelley, Op. 7. In 1935, when the work was premiered at Carnegie Hall, it was the first time the composer heard one of his orchestral works performed publicly.[citation needed]
Barber's compositional style has been lauded[by whom?] for its musical logic, sense of architectural design, effortless melodic gift, and direct emotional appeal. This was evident in the Overture to The School for Scandal (1931) and Music for a Scene from Shelley (1933). These were characteristics of his music throughout his lifetime.[citation needed]
Through the success of his Overture to The School for Scandal (1931), Music for a Scene from Shelley (1933), Adagio for Strings (1938); (First) Symphony in One Movement (1936), (First) Essay for Orchestra (1937) and Violin Concerto (1939), Barber garnered performances by the world's leading conductors such as Artur Rodziński, Eugene Ormandy, Dimitri Mitropoulos, Bruno Walter, Charles Münch, George Szell, Leopold Stokowski, and Thomas Schippers.
His compositions later included polytonality (Second Symphony, 1944); atonality (Medea, 1946, Prayers of Kierkegaard, 1954); Twelve-tone technique (Nocturne, 1959 and the Piano Sonata, 1949); and jazz (Excursions, 1944; and A Hand of Bridge, 1959).[citation needed]
Among his finest works[citation needed] are his four concertos, one each for Violin (1939), Cello (1945) and Piano (1962), and also the neoclassical Capricorn Concerto for flute, oboe, trumpet and string orchestra. All of these works are rewarding for the soloists and public alike, as all contain both highly virtuosic and beautiful writing, often simultaneously. The latter three have been unfairly neglected until recent years, when there has been a reawakening of interest in the expressive possibilities of these masterpieces.[citation needed]
Barber's final opus was the Canzonetta for oboe and string orchestra (1979/1981).
Piano[link]
The four piano "bagatelles" Excursions, Op. 20 (1942–44), was his first and only venture into Americana music. Its elements of boogie-woogie, blues, theme and variations on a cowboy song, and hoedown are not typical of Barber's generally more classical style.[citation needed] In 1949, Barber wrote his Piano Sonata, which has maintained a prominent position in the concert repertoire since its premiere.[citation needed] The Nocturne for Piano (Homage to John Field), Op. 33, is another respected piece which he composed for the instrument.
Opera[link]
Barber's life partner Gian Carlo Menotti, whom he had met at Curtis, supplied the libretto (text) for Barber's opera, Vanessa. Using his vocal training, in 1956 Barber played and sang the score to the Metropolitan Opera's General Manager, Rudolf Bing, who accepted the work. It premiered in January 1958. The title role was written for Sena Jurinac but she cancelled six weeks before the opening, to be replaced by Eleanor Steber, with whom the role has become closely identified.[citation needed] Vanessa won the 1958 Pulitzer Prize and gained acclaim as the first American grand opera.
Menotti also contributed the libretto for Barber's chamber opera A Hand of Bridge. Barber's Antony and Cleopatra was commissioned to open the new Metropolitan Opera House at Lincoln Center in 1966. The elaborate production designed by Franco Zeffirelli was plagued with technical disasters; it also overwhelmed and obscured Barber's music, which most critics derided as uncharacteristically weak and unoriginal. The critical rejection of music that Barber considered to be among his best sent him into a deep depression. In recent years, a revised version of Antony and Cleopatra, for which Menotti provided collaborative assistance, has enjoyed some success.[15][16]
Vocal[link]
Barber's background, deeply rooted in singing (including studies with Emilio de Gogorza), his love of poetry, and his intimate knowledge and appreciation of the human voice, inspired his vocal writing. Barber's most famous vocal compositions, Knoxville: Summer of 1915 (to words by James Agee) and Dover Beach (to the poem by Matthew Arnold), were greatly successful. Their critical acclaim has made a powerful case for Barber as one of the twentieth century's most accomplished composers for the voice.[citation needed]
In honor of Barber's influence on American music, on October 19, 1974, he was awarded the prestigious University of Pennsylvania Glee Club Award of Merit.[17] This award was established in 1964 "to bring a declaration of appreciation to an individual each year who has made a significant contribution to the world of music and helped to create a climate in which our talents may find valid expression."
In September 1992, soprano Cheryl Studer, baritone Thomas Hampson, the preeminent Samuel Barber pianist John Browning and the Emerson String Quartet recorded the complete songs of Samuel Barber (with the exception of Knoxville: Summer of 1915) at the Brahms-Saal of the famous Musikverein in Vienna, Austria. The Deutsche Grammophon (catalogue 435 867–2) set has become a classic of American song on record.[citation needed]
Violin[link]
In 1939 Philadelphia industrialist Samuel Simeon Fels commissioned Barber to write a violin concerto for Fels' ward, Iso Briselli, a graduate from the Curtis Institute of Music the same year as Barber, 1934.[18] The Barber biographies written by Nathan Broder (1954) and Barbara B. Heyman (1992) discuss the genesis of the concerto during the period of the violin concerto's commission and subsequent year leading up to the first performance. Heyman interviewed Briselli and others familiar with the history in her publication. In late 2010, previously unpublished letters written by Fels, Barber, and Albert Meiff (Briselli's violin coach in that period) from the Samuel Simeon Fels Papers archived at the Historical Society of Pennsylvania became available to the public.[19]
Notable compositions[link]
Main article: List of compositions by Samuel Barber
- Dover Beach (Medium voice and string quartet) (Op. 3, 1931)
- The School for Scandal (Overture) (Op. 5, 1931)
- Cello Sonata (Op. 6, 1932)
- Music for a Scene from Shelley (Op. 7, 1933)
- (First) Symphony in One Movement (Op. 9, 1936)
- Adagio for Strings (arr. of String Quartet, movement 2) (Op. 11, 1938)
- Essay for Orchestra (Op. 12, 1937)
- Violin Concerto (Op. 14, 1939)
- Reincarnations for mixed chorus, (Op. 16, 1939–1940); words by Antoine Ó Raifteiri in translation by James Stephens
- Second Essay for Orchestra (Op. 17, 1942)
- Excursions (Op. 20, 1942–44)
- Capricorn Concerto (Op. 21, 1944)
- Cello Concerto (Op. 22, 1945)
- Medea (ballet) (Op. 23, 1946)
- Knoxville: Summer of 1915 (Soprano & Orchestra) (Op. 24, 1948)
- Sonata for Piano (Op. 26, 1949)
- Hermit Songs (Op. 29, 1953)
- Prayers of Kierkegaard (Soprano, Choir & Orchestra) (Op. 30, 1954)
- Summer Music for Wind Quintet (Op. 31, 1956)
- Vanessa (opera) (Op. 32, 1957)
- A Hand of Bridge (Chamber opera) (Op. 35, 1959)
- Toccata Festiva (Organ and Orchestra) (Op. 36, 1960)
- Piano Concerto (Op. 38, 1962)
- Antony and Cleopatra (Op. 40, opera, 1966, rev. 1974)
Notes[link]
- ^ a b c d e f g Donal Henahan (January 24, 1981). "Samuel Barber, Composer, Dead: Twice Winner of Pulitzer Prize". The New York Times. http://www.nytimes.com/1981/01/24/obituaries/samuel-barber-composer-dead-twice-winner-of-pulitzer-prize.html?scp=5&sq=%22Samuel+Barber%22&st=nyt.
- ^ Broder 1954, 9–10.
- ^ Heyman 1992, 7.
- ^ Heyman 1992, 164.
- ^ Samuel Barber, Second Symphony, op. 19, G. Schirmer's Edition of Study Scores of Orchestral Works & Chamber Music, no. 55 (New York: G. Schirmer, 1950; reprinted 1990).
- ^ Samuel Barber: Symphony no. 2, op. 19, LP recording, 10-inch, London LPS 334 (New York and London: London Records, 1951); reissued as Samuel Barber: Symphony no. 2, op. 19; Medea Ballet Suite, op. 23, LP recording, 12-inch, London LL 1328 (London: London Records, 1956); reissued in this same pairing on 12-inch LP recording, Everest SDBR 3282 (Los Angeles, CA: Everest Records, 1970); reissued as Samuel Barber: Symphony no. 2, op. 19; Concerto for Violoncello and Orchestra, op. 22; Media, op. 23: Orchestral Suite from the Music to the Ballet Cave of the Heart, with Zara Nelsova (cello), CD recording, Pearl GEM 1051 (Wadhurst, E. Sussex, England: Pearl, 2001).
- ^ Vox Records liner notes[Full citation needed]
- ^ Schenck 1988.
- ^ Heinsheimer 1968.
- ^ Wright 2010, 95.
- ^ Heyman 1992, 461.
- ^ Samuel Barber at Find a Grave
- ^ "Book of Members, 1780–2010: Chapter B". American Academy of Arts and Sciences. http://www.amacad.org/publications/BookofMembers/ChapterB.pdf. Retrieved May 17, 2011.
- ^ Károlyi 1996, 43. Cited in Wade 2003, 149.
- ^ Smith 2002, citing Heyman 1992 as a general reference.
- ^ Heyman 1992, 455–58, citing Henahan 1975 and Valente 1983.
- ^ "The University of Pennsylvania glee Club Award of Merit Recipients". http://www.dolphin.upenn.edu/gleeclub/MEMBERS_merit.html.
- ^ http://www.curtis.edu/about-curtis/history/full-alumni-listing/view-by-class-year.html
- ^ Mostovoy 2010.
References and further reading[link]
- Brévignon, Pierre. 2011. Samuel Barber, un nostalgique entre deux mondes. Paris: Editions Hermann. ISBN 9782705681869.
- Broder, Nathan. 1954. Samuel Barber. New York: G. Schirmer. Reprinted Westport, CT: Greenwood Press, 1985. ISBN 0-313-24984-9.
- Heinsheimer, Hans W. 1968. "The Composing Composer: Samuel Barber". ASCAP Today 2:7.
- Henahan, Donal. 1975. "Juilliard Rehabilitating 'Antony and Cleopatra'". New York Times (February 8).
- Heyman, Barbara B. 1992. Samuel Barber: The Composer and His Music. New York and Oxford: Oxford University Press. ISBN 978-0-19-509058-1.
- Károlyi, Ottó. 1996. Modern American Music: From Charles Ives to the Minimalists. London: Cygnus Arts; Madison [N.J.]: Fairleigh Dickinson University Press. ISBN 978-0-8386-3725-8 (cloth); ISBN 978-1-900541-00-8 (pbk).
- Lee, Douglas A. 2002. Masterworks of 20th-Century Music: The Modern Repertory Of The Symphony Orchestra. New York: Routledge. ISBN 0-415-93846-5
- Mostovoy, Marc. 2010. "Iso Briselli, Samuel Barber, and thbe Violin Concerto, op. 14: Facts and Fiction". Iso Briselli website. (Accessed December 6, 2010)
- Schenck, Andrew. 1988. Booklet notes. Samuel Barber: Symphony No. 2; Music for a Scene from Shelley; Overture to The School for Scandal; First Essay; Adagio for Strings. The New Zealand Symphony Orchestra, Andrew Schenck, cond. CD recording. Stradivari Classics SCD 8012. Hackensack, NJ: Special Music Company.
- Simmons, Walter. 2004. Voices in the Wilderness: Six American Neo-Romantic Composers. Lanham, Md.: Scarecrow Press. ISBN 0-8108-4884-8. Paperback reprint edition, Lanham, Md.: Scarecrow Press, 2006. ISBN 0-8108-5728-6.
- Smith, Patricia Juliana. 2002. "Barber, Samuel". glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, edited by Claude J. Summers. Chicago: glbtq, Inc.
- Staubrand, Jens. 2009. Kierkegaard International Bibliography: Music Works and Plays: Appendix: About The Seducers Diary and the Illness and Death of Søren Kierkegaard, new edition. Copenhagen: Eget Forlag; i kommission hos Forlaget Underskoven. ISBN 978-87-92259-91-2.
- Valente, Erasmo. 1983. "A Spoleto rinasce Cleopatra". L'unità (June 27).
- Wade, Graham. 2003. A Concise Guide to Understanding Music. Pacific, MO: Mel Bay Publications. ISBN 978-0-7866-4981-5.
- Warrack, John Hamilton, and Ewan West. 1992. The Oxford Dictionary of Opera. Oxford and New York: Oxford University Press ISBN 0-19-869164-5
- Wright, Jeffrey Marsh II. 2010. "The Enlisted Composer: Samuel Barber's Career 1942–1945". PhD diss. Chapel Hill: University of North Carolina at Chapel Hill.
External links[link]
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Wikimedia Commons has media related to: Samuel Barber |
Biography[link]
- Heyman, Barbara B (1992). Samuel Barber: The Composer and His Music. New York: Oxford University Press. ISBN 0-19-509058-6
- Wittke, Paul. Samuel Barber. G. Schirmer Inc.
- Brévignon, Pierre. 2011. Samuel Barber, un nostalgique entre deux mondes. Paris: Editions Hermann. ISBN 2782705681869.
- Homepage of Capricorn, the French Samuel Barber Society. (In English and French)
- Article "Barber, A Composer Between Two Worlds", by the Capricorn Society on American Center France
- Samuel Osborne Barber. IHAS. PBS.
- Smith, Patricia. Barber, Samuel. glbtq.com
- (French) A biography of Samuel Barber, from IRCAM's website.
- "Samuel Barber", Fyne Times
Other[link]
- Frédéric Chopin and Samuel Barber – ArtsEditor.com opinion article, 2010.
Audio and Video[link]
- Anne Akiko Meyers performs the Barber Violin Concerto
- Art of the States: Samuel Barber
- Erika's aria (piano and voice) from Vanessa, "Must the Winter Come So Soon?", sung by Mary Gayle Greene on YouTube
- In the BBC Discovering Music: Listening Library
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||||||||
| Persondata | |
|---|---|
| Name | Barber, Samuel |
| Alternative names | |
| Short description | American composer |
| Date of birth | 1910-03-09 |
| Place of birth | West Chester, Pennsylvania, United States |
| Date of death | 1981-01-23 |
| Place of death | New York City |
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This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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.
Contents |
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]
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.
_-_1944_-_foto_van_Vechten2.jpg)
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.
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]
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.
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]
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
Musicals[link]
- On The Town, 1944
- Wonderful Town, 1953
- West Side Story, 1957
- The Race to Urga (incomplete), 1969
- "By Bernstein" (a Revue), 1975
- 1600 Pennsylvania Avenue, 1976
- "A Party with Betty Comden and Adolph Green", 1977
- The Madwoman of Central Park West, (contributed to) 1979
Incidental music and other theatre[link]
- Peter Pan, 1950
- The Lark, 1955
- The Firstborn, 1958
- Mass (theatre piece for singers, players and dancers), 1971
- "Side by Side by Sondheim"* 1976
Film scores[link]
- On the Town, 1949 (only part of his music was used)
- On the Waterfront, 1954
- West Side Story, 1961
Orchestral[link]
- Symphony No. 1, Jeremiah, 1942
- Fancy Free and Three Dance Variations from "Fancy Free,", concert premiere 1946
- Three Dance Episodes from "On the Town," concert premiere 1947
- Symphony No. 2, The Age of Anxiety, (after W. H. Auden) for Piano and Orchestra, 1949 (revised in 1965)
- Serenade for Solo Violin, Strings, Harp and Percussion (after Plato's "Symposium"), 1954
- Prelude, Fugue, and Riffs for Solo Clarinet and Jazz Ensemble, 1949
- Symphonic Suite from "On the Waterfront", 1955
- Symphonic Dances from "West Side Story", 1961
- Symphony No. 3, Kaddish, for Orchestra, Mixed Chorus, Boys' Choir, Speaker and Soprano Solo, 1963 (revised in 1977)
- Dybbuk, Suites No. 1 and 2 for Orchestra, concert premieres 1975
- Songfest: A Cycle of American Poems for Six Singers and Orchestra, 1977
- Three Meditations from "Mass" for Violoncello and Orchestra, 1977
- Slava! A Political Overture for Orchestra, 1977
- Divertimento for Orchestra, 1980
- Halil, nocturne for Solo Flute, Piccolo, Alto Flute, Percussion, Harp and Strings, 1981
- Concerto for Orchestra, 1989 (Originally Jubilee Games from 1986, revised in 1989)
Choral[link]
- Hashkiveinu for Cantor (tenor), Mixed Chorus and Organ, 1945
- Missa Brevis for Mixed Chorus and Countertenor Solo, with Percussion, 1988
- Chichester Psalms for Boy Soprano (or Countertenor), Mixed Chorus, and Orchestra, 1965 (Reduced version for Organ, Harp and Percussion)
Chamber music[link]
- Piano Trio, 1937, Boosey & Hawkes
- Sonata for Clarinet and Piano, 1939
- Brass Music, 1959
- Dance Suite, 1988
Vocal music[link]
- I Hate Music: A cycle of Five Kids Songs for Soprano and Piano, 1943
- Big Stuff, sung by Billie Holiday
- La Bonne Cuisine: Four Recipes for Voice and Piano, 1948
- Silhouette (Galilee), 1951
- Two Love Songs, 1960
- So Pretty, 1968
- Piccola Serenata, 1988
- Arias and Barcarolles for Mezzo-Soprano, Baritone and Piano four-hands, 1988
Piano music[link]
- Music for Two Pianos, 1937
- Piano Sonata, 1938
- 7 Anniversaries, 1944
- 4 Anniversaries, 1948
- 5 Anniversaries, 1952
- Bridal Suite, 1960
- Moby Diptych, 1981 (republished as Anniversaries nos. 1 and 2 in Thirteen Anniversaries)
- Touches, 1981
- 13 Anniversaries, 1988
Other music[link]
- Other occasional works, written as gifts and other forms of memorial and tribute
- "The Skin of Our Teeth": An aborted work from which Bernstein took material to use in his "Chichester Psalms"
- "Simhu Na" (arrangement of traditional song)
- "Waltz for Mippy III" for Tuba and Piano
- "Elegy for Mippy II" for Trombone alone
- "Elegy for Mippy I" for Horn and Piano
- "Rondo for Lifey" for Trumpet and Piano
- "Fanfare for Bima" for Brass Quartet: composed in 1947 as a birthday tribute to Koussevitzky using the tune he whistled to call his cocker spaniel[46]
- "Shivaree: A Fanfare" for Double Brass Ensemble and Percussion. 1970. Commissioned by and dedicated to the Metropolitan Museum of Art in New York in honor of its Centenary. Musical material later used in "Mass."
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This list is incomplete; you can help by expanding it.
Bibliography[link]
- Bernstein, Leonard (1993 – reprinting) [1982]. Findings. New York: Anchor Books. ISBN 0-385-42437-X.
- Bernstein, Leonard (1993 – reprinting) [1966]. The Infinite Variety of Music. New York: Anchor Books. ISBN 0-385-42438-8.
- Bernstein, Leonard (2004 – reprinting) [1959]. The Joy of Music. Pompton Plains, New Jersey: Amadeus Press. ISBN 1-57467-104-9.
- Bernstein, Leonard (2006 – reprinting) [1962]. Young People's Concerts. Milwaukee; Cambridge: Amadeus Press. ISBN 1-57467-102-2.
- Bernstein, Leonard. [1976] The Unanswered Question: Six Talks at Harvard, Harvard University Press. ISBN 0-674-92001-5.
Videography[link]
- The Unanswered Question: Six Talks at Harvard. West Long Branch, New Jersey: Kultur Video. VHS ISBN 1-56127-570-0. DVD ISBN 0-7697-1570-2. (videotape of the Charles Eliot Norton Lectures given at Harvard in 1973.)
- Leonard Bernstein's Young People's Concerts with the New York Philharmonic. West Long Branch, New Jersey: Kultur Video. DVD ISBN 0-7697-1503-6.
- Bernstein on Beethoven: A Celebration in Vienna/Beethoven: Piano Concerto No. 1. West Long Branch, Kultur Video. DVD
- Leonard Bernstein: Omnibus – The Historic TV Broadcasts ,2010, E1 Ent.
- Bernstein: Reflections (1978), Euroarts.
- Bernstein/Beethoven (1982), Deustche Grammophon, DVD
- Bernstein Conducts "West Side Story" (1985) (retitled The Making of West Side Story in re-releases) Deutsche Grammophon, DVD
- "The Rite of Spring" in Rehearsal
Awards[link]
Main article: List of Leonard Bernstein awards
- Fellow of the American Academy of Arts and Sciences, 1951[47]
- Sonning Award (Denmark), 1956
- Ditson Conductor's Award, 1958
- George Peabody Medal – Johns Hopkins University, 1980
- Ernst von Siemens Music Prize 1987
- Royal Philarmonic Society Gold Medal (UK), 1987
- Knight Grand Cross Order of Merit (Italy), 1989
- Grammy Award for Best Album for Children
- Grammy Award for Best Orchestral Performance
- Grammy Award for Best Choral Performance
- Grammy Award for Best Opera Recording
- Grammy Award for Best Classical Vocal Performance
- Grammy Award for Best Instrumental Soloist(s) Performance
- Grammy Award for Best Classical Contemporary Composition
- Grammy Award for Best Classical Album
- Grammy Lifetime Achievement Award
- Tony Award for Best Musical
- Special Tony Award
- Japan Arts Association Lifetime Achievement Award
- Gramophone Hall of Fame entrant[48]
Further reading[link]
- Burton, Humphrey (1994). Leonard Bernstein. New York: Doubleday. ISBN 0-385-42345-4.
- Gottlieb, Jack (ed.) (1992). Leonard Bernstein's Young People's Concerts (revised ed.). New York: Anchor Books. ISBN 0-385-42435-3.
- Bernstein, Burton; Haws, Barbara, eds. (2008). Leonard Bernstein: American Original. Contains chapters by Alan Rich, Paul Boyer, Carol J. Oja, Tim Page, Burton Bernstein, Jonathan Rosenberg, Joseph Horowitz, Bill McGlaughlin, James M. Keller, and John Adams. New York: HarperCollins. ISBN 0-06-153786-1.
- Chapin, Schuyler (1992). Leonard Bernstein: Notes from a Friend. New York: Walker. ISBN 0-8027-1216-9.
- Rozen, Brian D. (1997). The Contributions of Leonard Bernstein to Music Education: An Analysis of his 53 Young People's Concerts. Thesis (PhD). Rochester, New York: University of Rochester. OCLC 48156751.
- Laird, Paul R. (2002). Leonard Bernstein: A Guide to Research. New York: Routledge. ISBN 0-8153-3517-2. (online at Google Books)
References[link]
- ^ Karlin, Fred (1994) (recording). Listening to Movies 8. New York City: Schirmer. p. 264. Bernstein's pronunciation of his own name as he introduces his Peter and the Wolf.
- ^ a b Henahan, Donal (October 15, 1990). "Leonard Bernstein, 72, Music's Monarch, Dies". New York Times. http://query.nytimes.com/gst/fullpage.html?res=9C0CE0DA1F3DF936A25753C1A966958260. Retrieved February 11, 2009. "Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan. He was 72 years old. Mr. Bernstein's spokeswoman, Margaret Carson, said he died of a heart attack caused by progressive lung failure."
- ^ Laird, Paul R. Leonard Bernstein: A Guide to Research. Routledge, 2002. p. 10.
- ^ Dougary, Ginny (March 13, 2010). "Leonard Bernstein: ‘charismatic, pompous – and a great father'". The Times (UK). http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/classical/article7059407.ece. Retrieved March 12, 2010.
- ^ Oliver, Myrna (October 15, 1990). "Leonard Bernstein Dies; Conductor, Composer Music: Renaissance man of his art was 72. The longtime leader of the N.Y. Philharmonic carved a niche in history with `West Side Story.'". Los Angeles Times. http://pqasb.pqarchiver.com/latimes/access/60165868.html?dids=60165868:60165868&FMT=ABS&FMTS=ABS:FT&type=current&date=Oct+15%2C+1990&author=MYRNA+OLIVER&pub=Los+Angeles+Times+(pre-1997+Fulltext)&desc=Leonard+Bernstein+Dies%3B+Conductor%2C+Composer+Music%3A+Renaissance+man+of+his+art+was+72.+The+longtime+leader+of+the+N.Y.+Philharmonic+carved+a+niche+in+history+with+%60West+Side+Story.'&pqatl=google. Retrieved March 12, 2010.
- ^ "Great Escape composer dies at 82". BBC News. August 19, 2004. http://news.bbc.co.uk/1/hi/entertainment/film/3578820.stm.
- ^ "Introduction". Bernstein West. http://www.bernsteinwest.com/elmerbernstein1.html. Retrieved May 3, 2012.
- ^ Peyser, Joan (1987). Bernstein, a biography. New York: Beech Tree Books. pp. 22–24. ISBN 0-688-04918-4.
- ^ Peyser (1987), p. 34.
- ^ Peyser (1987), p. 39–40.
- ^ a b See for instance Bernstein's 1980 TV Documentary, Teachers and Teaching available on a Deutsche Grammophon DVD.
- ^ Peyser (1987) (Bernstein complained later that she taught him an incorrect piano technique), pp. 38–9.
- ^ "Bernstein Chronology". http://www.leonardbernstein.com/lifeswork/timeline/timeline01.asp.
- ^ "About Bernstein". Leonard Bernstein Official Site. http://www.leonardbernstein.com/about.php. Retrieved January 15, 2007.
- ^ "Leonard Bernstein – Biography". Sony Classical. http://www.sonyclassical.com/artists/bernstein/bio.html. Retrieved January 15, 2007.
- ^ Deems Taylor (July 25, 2007), Pathétique, Music-Appreciation Records
- ^ Arturo Toscanini: the NBC years – Google Books. Google Books. 2002. ISBN 978-1-57467-069-1. http://books.google.com/?id=wBD_ujAW520C&pg=PA85&lpg=PA85&dq=Leonard+Bernstein,+NBC+Symphony,+Mortimer+Frank#v=onepage&q=Leonard%20Bernstein&f=false. Retrieved September 20, 2010.
- ^ a b c d Burton,Humphrey (1994). Leonard Bernstein. New York: Doubleday.
- ^ Charles Kaiser, The Gay Metropolis, New York City: 1940–1996.
- ^ a b Meryle Secrest (1995), Leonard Bernstein: A Life.
- ^ Peyser (1987), pp. 196, 204, 322.
- ^ The Official Leonard Bernstein Web Site. http://www.leonardbernstein.com/about.php.
- ^ "Young People's Concerts". Leonard Bernstein. http://www.leonardbernstein.com/ypc_publications.htm. Retrieved September 20, 2010.
- ^ Transcription of Bernstein's Glenn Gould Introduction (from a Rutgers University webpage).
- ^ Glenn Gould: Variations, Ed. John McGreevy (1983).
- ^ Seldes, Barry (2009). Leonard Bernstein: The Political Life of an American Musician. University of California Press.
- ^ "Radical Chic". Hope for America: Performers, Politics and Pop Culture. Library of Congress. http://myloc.gov/Exhibitions/hopeforamerica/causesandcontroversies/polarization/ExhibitObjects/RadicalChic.aspx. Retrieved December 12, 2010.
- ^ "False Note on Black Panthers". The New York Times. January 16, 1970.
- ^ Wolfe, Tom. "Tom Wolfe on Radical Chic and Leonard Bernstein's Party for the Black Panthers". Radical Chic: That Party at Lenny's. New York. http://nymag.com/news/features/46170/index15.html. Retrieved December 11, 2010.
- ^ Wolfe, Tom (June 8, 1970). "Radical Chic: that Party at Lenny's". New York. http://nymag.com/docs/07/05/070529radical_chic.pdf. Retrieved March 1, 2010.
- ^ "Leonard Bernstein: A political life". The Economist. May 28, 2009. http://www.economist.com/node/13726549. Retrieved December 12, 2010.
- ^ Bernstein, Felicia M. (January 21, 1970). "Letters to the Editor of The Times: Panthers' Legal Aid". The New York Times.
- ^ "The Social Activist". Bernstein: The Best of All Possible Worlds. Carnegie Hall Corporation. http://www.carnegiehall.org/bernstein/leonardbernstein/socialactivist.aspx. Retrieved December 12, 2010.
- ^ Naxos (2006). "Ode To Freedom – Beethoven: Symphony No. 9 (NTSC)". Naxos.com Classical Music Catalogue. http://www.naxos.com/catalogue/item.asp?item_code=2072038. Retrieved November 26, 2006.
- ^ Garrison Keillor (August 25, 2003). "The Writer's Almanac". American Public Media. http://writersalmanac.publicradio.org/programs/2003/08/25. Retrieved January 17, 2007.
- ^ Name * (October 14, 2009). "» Died On This Date (October 14, 1990) Leonard Bernstein / World Renowned Composer The Music's Over". Themusicsover.wordpress.com. http://themusicsover.wordpress.com/2009/10/14/leonard-bernstein/. Retrieved May 3, 2012.
- ^ a b See the TV Documentary: Leonard Bernstein: Reaching for the Note originally shown in the series American Masters on PBS in the US, now on DVD.
- ^ Davis, Peter G. (May 17, 2011). "When Mahler Took Manhattan." Retrieved 2011-5-18. "Small wonder that Bernstein is buried with the score of Mahler’s Fifth Symphony placed over his heart."
- ^ Bernstein:The Best of All Possible Worlds. "Causes and Effecting Change". http://www.carnegiehall.org/bernstein/leonardbernstein/essays/nr_socialactivist.html.
- ^ "Temple Emanuel". http://www.emanuelnyc.org/composer.php?composer_id=28.
- ^ Harrison, Eric (1993). "The maestro's legacy reverberates in Nashville : Leonard Bernstein's dream of creating a center that integrates the arts and the classroom is in full swing". Los Angeles Times (Los Angeles). http://articles.latimes.com/1993-08-09/news/mn-22033_1_leonard-bernstein. Retrieved Oct 11, 2011.
- ^ Holmes, John L. (1982). Conductors on Record. UK: Greenwood Press. ISBN 0-313-22990-2.
- ^ In the 1978 Peter Rosen documentary Leonard Bernstein: Reflections, now available on a Medici Arts DVD.
- ^ Retrieved January 21, 2011.
- ^ Gruen, John and Heyman, Ken (1968).The Private World of Leonard Bernstein. New York: The Viking Press.
- ^ Copland, Aaron and Perlis, Vivian (1984). Copland Since 1943, p119.
- ^ "Book of Members, 1780–2010: Chapter B". American Academy of Arts and Sciences. http://www.amacad.org/publications/BookofMembers/ChapterB.pdf. Retrieved June 24, 2011.
- ^ "Leonard Bernstein (composer, conductor and pianist)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Bernstein.
External links[link]
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Wikimedia Commons has media related to: Leonard Bernstein |
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Wikiquote has a collection of quotations related to: Leonard Bernstein |
- Official website
- Discography
- The Leonard Bernstein Collection at the Library of Congress Music Division
- Leonard Bernstein discography at MusicBrainz
- Discography at SonyBMG Masterworks
- Bernstein's Boston, a Harvard University research project
- FBI file on Leonard Bernstein
- Leonard Bernstein Festival of the Creative Arts
- Gay Great – Leonard Bernstein
- Radical Chic, a book by Tom Wolfe describing a gathering at Bernstein's apartment of New York's social elite and the Black Panther Party.
- Leonard Bernstein: A Total Embrace of Music, written by Peter Gutmann, music journalist.
- Arias and Barcarolles, The Leonard Bernstein Pages
- Leonard Bernstein at the Internet Movie Database
- Leonard Bernstein at the Internet Broadway Database
- Leonard Bernstein at the Internet Off-Broadway Database
- Leonard Bernstein's maximum card from Israel
- Obituary, New York Times, October 15, 1990
- Leonard Bernstein: American Original (HarperCollins, 2008) Chapters by Alan Rich, Paul Boyer, Carol J. Oja, Tim Page, Burton Bernstein, Jonathan Rosenberg, Joseph Horowitz, Bill McGlaughlin, James M. Keller, John Adams
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| Persondata | |
|---|---|
| Name | Bernstein, Leonard |
| Alternative names | Bernstein, Louis |
| Short description | Composer, conductor, pedagogue, pianist, writer |
| Date of birth | August 25, 1918 |
| Place of birth | Lawrence, Massachusetts, United States |
| Date of death | October 14, 1990 |
| Place of death | New York City, New York, U.S. |
http://wn.com/Leonard_Bernstein
Related pages:
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http://ru.wn.com/Бернстайн, Леонард
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Leonard_Bernstein
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Patricia Barber | |
|---|---|
| Birth name | Patricia Barber |
| Born | (1955-11-08) November 8, 1955 (age 56) |
| Origin | Chicago, Illinois |
| Genres | jazz |
| Occupations | Musician, Vocalist, Pianist, Bandleader |
| Instruments | Voice, Piano |
| Associated acts | Mobile Fidelity Sound Lab |
| Website | Official Site |
| Notable instruments | |
| Piano | |
Patricia Barber (born November 8, 1955, Chicago, Illinois) is an American jazz and blues singer, pianist, songwriter, and bandleader. She was awarded Guggenheim Fellowship in 2003 in Creative Arts - Music Composition field.[1]
Contents |
Biography[link]
She was born to parents who were both professional musicians; her father is Floyd "Shim" Barber, a former member of Glenn Miller's Band. She was raised in South Sioux City, Nebraska.
Her music is centered on her singing, in a fairly low register and a traditional blues-jazz style, and her piano playing, which is technically accomplished. Her repertoire includes original compositions and standards drawn mostly from classic rock, including "Ode to Billie Joe," "A Taste of Honey," and "Black Magic Woman." She is known for imbuing her songs with intelligence and a wide and unusual vocabulary, which results in complex and witty lyrics. Her 2006 album, Mythologies, is a set of songs based on Ovid's Metamorphoses. In 2007, Premonition Records presented The Premonition Years: 1994-2002, a three-CD box set of Barber recordings divided into originals, standards, and pop.[2] The set includes unreleased tracks and selected songs previously released on Cafe Blue, Modern Cool, Companion, Nightclub and Verse. Those five albums have been reissued by Mobile Fidelity Sound Lab on SACD and limited edition 45 rpm half speed mastered, 180 gram audiophile vinyl.[3] In September 2008, she released "The Cole Porter Mix," a collection of her unique takes on the classic Cole Porter songbook, as well as three original compositions inspired by Porter.
Barber is a lesbian; interviews with her suggest that she does not try to hide this fact, but that she 'tires' of the public interest in her sexuality and dislikes the fact that it contributes to her fame. In November 2008, she was interviewed by Gregg Shapiro of Gay & Lesbian Times, a San Diego magazine.[4]
Said about[link]
- Verse by Patricia Barber (Blue Note Records) (2002) Reviewed by Baul West, Allaboutjazz
Verse is a prime showcase for Barber's writing - all work on the album is original - and the lyrics themselves have a dreamy, open quality. The first track, "Lost in This Love," is comprised solely of questions, indeed allowing us to get lost in Barber's love. Love of fine jazz, that is, in an album of unquestionable passion and power that would be foolish for any jazz fan to pass up.[5]
“
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Discography[link]
- Split Premonition Records (1989)
- Distortion of Love Antilles (1992)
- Cafe Blue (Two versions) Blue Note, Premonition Records (1994)
- Modern Cool (Three versions) Blue Note, Premonition Records (1998)
- Companion Blue Note, Premonition Records (1999)
- Nightclub Blue Note, Premonition Records (2000)
- Verse Blue Note, Premonition Records (2002)
- Live: A Fortnight In France Blue Note (2004)
- Live: France 2004 DVD Blue Note (2005)
- Mythologies (Two versions) Blue Note (2006)
- The Premonition Years: 1994-2002 (Three versions:Originals, Standards, Pop songs) Blue Note (2007)
- The Cole Porter Mix Blue Note (2008)
References[link]
- ^ "Barber Awarded Fellowship by Guggenheim Foundation in 2003". gf.org. http://www.gf.org/fellows/738-patricia-barber. Retrieved 2010-11-22.
- ^ "The Premonition Years: 1994-2002". artistdirect.com. http://www.artistdirect.com/nad/store/artist/album/0,,4382056,00.html. Retrieved 2010-11-22.
- ^ "Mobile Fidelity Sound Lab Releases of Barber". mofi.com Mobile Fidelity Sound Lab. http://www.mofi.com/store/pc/showsearchresults.asp?pageStyle=P&resultCnt=10&keyword=Patricia+Barber. Retrieved 2010-11-22.
- ^ "In the ‘Mix’: An Interview With Patricia Barber". gaylesbiantimes.com Published November 6, 2008, in issue 1089. http://www.gaylesbiantimes.com/?id=13410. Retrieved 2010-11-22.
- ^ "Verse". allaboutjazz.com Published August 8, 2002. http://www.allaboutjazz.com/reviews/r0802_108.htm. Retrieved 2010-11-22.
External links[link]
- Patricia Barber's Official Website: http://www.patriciabarber.com/
- Interview: Patricia Barber: Complete; Not Complacent, R.J. DeLuke (August 2002)
- Interview: San Diego Gay and Lesbian Times
- Review: Patricia Barber’s Mythologies: An Ovid for the New Millennium Jazz Police
- Patricia Barber collection at the Internet Archive's live music archive
- Review of Mythologies by JazzChicago.net
| Persondata | |
|---|---|
| Name | Barber, Patricia |
| Alternative names | |
| Short description | American singer-pianist |
| Date of birth | 1955-11-08 |
| Place of birth | Chicago, Illinois |
| Date of death | |
| Place of death | |
http://wn.com/Patricia_Barber
Related pages:
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http://de.wn.com/Patricia Barber
http://nl.wn.com/Patricia Barber
http://pl.wn.com/Patricia Barber
http://es.wn.com/Patricia Barber
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Patricia_Barber
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Born | 1969 New York City, New York |
|---|---|
| Education | French Culinary Institute Tufts University |
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Current restaurant(s)
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Previous restaurant(s)
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Award(s) won
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| Official website | |
| http://www.bluehillfarm.com/food/overview/team/dan-barber | |
Dan Barber (c. 1969 ) is a chef and owner of several restaurants including Blue Hill in Manhattan and Blue Hill at Stone Barns in Pocantico Hills, New York. He is a 1992 graduate of Tufts University with a B.A. in English.
Contents |
Achievements[link]
In 2002, Barber was named one of the Best New Chefs by Food and Wine Magazine.[1] He received many James Beard Foundation awards. In 2006, Best Chef: New York City and in 2009, Outstanding Chef. The James Beard Foundation also named him the top chef in America in 2009.[3] Also in 2009, he was named one of the world’s most influential people in Time Magazine's annual Time 100.[4] His restaurant, Blue Hill in New York City, has also been recognized as one of GAYOT.com's Top 40 Restaurants in the U.S.
Approach to Cuisine[link]
Barber has written on many food and agricultural policies, which have appeared in the New York Times, Gourmet, The Nation, Saveur, and Food & Wine. His writings pertain to creating a consciousness about the effects of everyday food choices and food sustainability. Barber's efforts to forward the local cuisine movement are brought to the table at his flagship restaurant Blue Hill at Stone Barns, where seasonal produce grown and raised on-site is grilled over wood fuel from the nearby forests. In February 2010, Barber gave a talk at the TED Conference where he outlined his discovery of extensively farmed fish at Veta La Palma. Barber often wears pajama pants and waffled long-sleeve shirts in the kitchen. Barber was appointed by President Obama to serve on the President’s Council on Physical Fitness, Sports, and Nutrition and is also a member of the Advisory Board to the Harvard Medical School Center for Health and The Global Environment.[5]
References[link]
- ^ a b Abdelnour, Salma (July 2002). "America's Best New Chefs 2002". Food and Wine Magazine. http://www.foodandwine.com/articles/americas-best-new-chefs-2002. Retrieved 2009-05-03.
- ^ "Best Chef: New York City". James Beard Foundation. 2006. http://www.jamesbeard.org/index.php?q=awards/show/Tzo4OiJzdGRDbGFzcyI6Mzp7czo4OiJjYXRlZ29yeSI7czoxNzoiUmVzdGF1cmFudCAmIENoZWYiO3M6NDoieWVhciI7czo0OiIyMDA2IjtzOjU6ImF3YXJkIjtzOjI1OiJCZXN0IENoZWY6ICBOZXcgWW9yayBDaXR5Ijt9. Retrieved 2009-05-03.
- ^ a b "2009 James Beard Foundation Award Winners". James Beard Foundation. May 5, 2009. http://www.jbfawards.com/winners.html#restaurant. Retrieved 2009-05-05.
- ^ Adrià, Ferran (May 2009). "The 2009 Time 100". Time Magazine. http://www.time.com/time/specials/packages/article/0,28804,1894410_1893209_1893460,00.html. Retrieved 2009-05-03.
- ^ "Advisory Board". Harvard Medical School, Center for Health and The Global Environment. http://chge.med.harvard.edu/about/advisboard/index.html. Retrieved 2010-05-02.
External links[link]
- Blue Hill Biography
- TED: A Surprising Parable of Foie Gras
- TED: How I Fell in Love with a Fish
- Dan Barber Cooks for Obama
| Persondata | |
|---|---|
| Name | Barber, Dan |
| Alternative names | |
| Short description | |
| Date of birth | 1969 |
| Place of birth | New York City, New York |
| Date of death | |
| Place of death | |
http://wn.com/Dan_Barber
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Dan_Barber
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
