{"product_id":"980828","title":"Marshall Wayne  Maurice Steger - Leonard Bernstein: Piano \u0026 Chamber Music [CD]","description":"Brand New From Reputable UK Company With 30 Years Experience In Retail, Please Note Not All Our New Items Are Shrink Wrapped.\u003cbr\u003eAll items shipped within 3 working days of payment.\u003cbr\u003ePlease note that all our DVDs are Region 2.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003ePlease note that not all audio CDs are shrink-wrapped fom the factory.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003eThis 3 CD Anniversary Edition celebrates what would have been Leonard Bernstein's 100th birthday.  The impressive, high calibre artist roster led by Wayne Marshall play little known works for piano and chamber music written by Bernstein over five decades.  \\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eGames with codes, cyphers, codenames and identities run through Bernstein's entire output: references to himself, to people in his private circle, or to works by other composers from all periods and almost all genres from Baroque to jazz. They are easiest to detect in Anniversaries, a series of brief cycles he started writing in the 1940s, soon after his rapid ascension to become one of the most adulated stars on the American music scene. He finished composing the last group of Anniversary pieces in 1988, two years before his death. All in all, Anniversaries comprises a total of 29 pieces: one could affectionately describe them as rapidly sketched portraits without necessarily having to dismiss them as 'sweet nothings' (even though Bernstein admittedly changed the dedication of some; others were admittedly written more out of politeness than out of a strong inner need). He dedicated the first piece to his friend and mentor, composer Aaron Copland; the very last one is based on a song entitled First Love, which he had written in fond memory of his mother.\\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Sabras cycle, written in four parts (originally planned as six), emerged in the early 1950s in conjunction with Bernstein's first visits to Israel. Hailing from the name for a cactus fruit, 'Sabra' designates a Jew born on Israeli territory.  The first piece resurfaces as a Lamento in the musical Candide, and structural similarities with the middle of three movements of the Piano Sonata (composed when Bernstein was still a Harvard student) are also noticeable. The Piano Sonata is a challenging, elaborate work that clearly reveals the influence of Aaron Copland. \\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBernstein did not compose any other relatively extended or significant work for solo piano until 1981, when he wrote Touches as a commission for the Van Cliburn Competition. Inspired by a model by Copland, the work consists of eight variations and a coda, all based on a chorale theme borrowed from Virgo Blues, written, in turn, for his daughter Jamie's 26th birthday in 1978. \\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eLeonard's Vision belongs to that late phase in which Bernstein, following early worldwide successes such as West Side Story, seems to have fallen out of luck as a composer, while as a conductor he conversely went from strength to strength. \\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eLikewise written during Bernstein's days as a student, the Piano Trio is a further instance where he confronted his outlook with a traditional form \\u2013 in this case, one of the most distinguished genres of chamber music. Apart from Classical-Romantic and Impressionist reminiscences, the Piano Trio also\\r\u003cbr\u003etreads in the footsteps of Bela Bartok by incorporating a number of motifs from folklore. Bernstein re-used certain sections of the Piano Trio in his first musical, On The Town.\\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAlthough brief, the Dance Suite is a further highly significant ensemble piece for winds, and, what is more, a true legacy for posterity, since it was premiered just a few months before Bernstein's death within the framework of an anniversary celebration of the American Ballet Theatre at New York Metropolitan Opera. The suite consists in a homage to modern ballet and to five of its main representatives, each mentioned by name, and with whom Bernstein cultivated close musical and personal friendships.\\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eFrom Bernstein's late period, the Variations on an Octatonic Scale are small miniatures he wrote at his retreat in Key West for the recorder-playing daughter of a friend. The variations found their way into the Concerto for Orchestra, which Bernstein premiered himself at the conductor's desk in 1989, on the occasion of the 50th anniversary of the founding of the Israel Philharmonic Orchestra.\\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTwo compositions for four-hand piano viz. two pianos reveal much about Bernstein's evolution in terms of style. The first is clearly a work of youth, written when he was still a piano student of Heinrich Gebhard in Boston and performed in public in tandem with a female colleague at a class recital.\\r\u003cbr\u003e(Excerpts from the Booklet Notes by Johannes Jansen) \\r\u003cbr\u003e\\r\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eArtists\\r\u003cbr\u003eWayne Marshall\\r\u003cbr\u003eFernando Nina\\r\u003cbr\u003eJeffrey Kant\\r\u003cbr\u003eHans Nickel\\r\u003cbr\u003eJennifer Micallef\\r\u003cbr\u003eMaurice Steger\\r\u003cbr\u003ePaul van Zelm\\r\u003cbr\u003eMaria Kliegel\\r\u003cbr\u003eAndy Miles\\r\u003cbr\u003eLisa Schumann\\r\u003cbr\u003eChad Hoopes\\r\u003cbr\u003ePeter M\\xf6nkediek\\r\u003cbr\u003ePeter Roth\\r\u003cbr\u003eBenyamin Nuss\u003c\/p\u003e\u003cp\u003eFive Anniversaries (1954) - I. For Elizabeth Rudolf\u003c\/p\u003e\u003cp\u003eLeonardo\\u2019s Vision Leonardo\\u2019s Vision\u003c\/p\u003e\u003cp\u003eElegy for Mippy I for Horn and Piano (1948)\u003c\/p\u003e\u003cp\u003eFive Anniversaries (1954) - II. For Lukas Foss\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - I.\u003c\/p\u003e\u003cp\u003eElegy for Mippy II for solo Trombone (1948)\u003c\/p\u003e\u003cp\u003eFive Anniversaries (1954) - III. For Elizabeth B.\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - II.\u003c\/p\u003e\u003cp\u003eWaltz for Mippy III for Tuba and Piano (1948)\u003c\/p\u003e\u003cp\u003eFive Anniversaries (1954) - IV. For Sandy Gellhorn\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - I. Moderato assai\u003c\/p\u003e\u003cp\u003eRondo for Lifey, for Trumpet and Piano (1948)\u003c\/p\u003e\u003cp\u003eFive Anniversaries (1954) - V. For Susanna Kyle\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - II. Var. 1 - Allegro\u003c\/p\u003e\u003cp\u003eDance Suite for Wind Quintet (1990) - I. Dancisca\u003c\/p\u003e\u003cp\u003eFour Anniversaries (1948) - I. For Felicia Montealegre\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - III. Var. 2 - Prestissimo\u003c\/p\u003e\u003cp\u003eDance Suite for Wind Quintet (1990) - II. Waltz\u003c\/p\u003e\u003cp\u003eFour Anniversaries (1948) - II. For Johnny Mehegan\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - IV. Var. 3 - L\\u2019Istessa temp (ma un poco piu libre)\u003c\/p\u003e\u003cp\u003eDance Suite for Wind Quintet (1990) - III. Bi-Tango\u003c\/p\u003e\u003cp\u003eFour Anniversaries (1948) - III. For David Diamond\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - V. Var. 4 - Andante teneramente\u003c\/p\u003e\u003cp\u003eDance Suite for Wind Quintet (1990) - IV. Two-Step\u003c\/p\u003e\u003cp\u003eFour Anniversaries (1948) - IV. For Hellen Coates\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - VI. Var. 5 \\u2013 Allegro agitato\u003c\/p\u003e\u003cp\u003eDance Suite for Wind Quintet (1990) - V. MTV\u003c\/p\u003e\u003cp\u003eSeven Anniversaries (1943) - I. For Aaron Copland\u003c\/p\u003e\u003cp\u003eSonata for Clarinet and Piano - VII. Var. 6 \\u2013 (Finale)\u003c\/p\u003e\u003cp\u003eFanfare for Bima for Wind Quartet (1948)\u003c\/p\u003e\u003cp\u003eSeven Anniversaries (1943) - II. For my sister, Shirley\u003c\/p\u003e\u003cp\u003ePiano Trio (1937) - I. Adagio non troppo \\u2013 Allegro Vivace\u003c\/p\u003e\u003cp\u003eVariations on an Octatonic Scale for Recorder and Cello (1988) - I. Theme \\u2013 Andante sostenuto\u003c\/p\u003e\u003cp\u003eSeven Anniversaries (1943) - III. In Memoriam: Alfred Eisner\u003c\/p\u003e\u003cp\u003ePiano Trio (1937) - II. Tempo di marcia \\u2013 Presto\u003c\/p\u003e\u003cp\u003eVariations on an Octatonic Scale for Recorder and Cello (1988) - II. Var. 1 \\u2013 Piu mosso\u003c\/p\u003e\u003cp\u003eSeven Anniversaries (1943) - IV. For Paul Bowles\u003c\/p\u003e\u003cp\u003ePiano Trio (1937) - III. Largo \\u2013 Allegro vivo e molto ritmico\u003c\/p\u003e\u003cp\u003eVariations on an Octatonic Scale for Recorder and Cello (1988) - III. Var. 2 \\u2013 Piu mosso ma comodo\u003c\/p\u003e\u003cp\u003eSeven Anniversaries (1943) - V. In Memoriam: Nathalie Koussevitzky\u003c\/p\u003e\u003cp\u003eThree Mediations from \\u201cMass\\u201d for Cello and Piano (1971) \\u2013 Meditation No. 1\u003c\/p\u003e\u003cp\u003eVariations on an Octatonic Scale for Recorder and Cello (1988) - IV. Var. 3 \\u2013 Ancora piu mosso, agitato\u003c\/p\u003e\u003cp\u003eSeven Anniversaries (1943) - VI. For Sergei Koussevitzky\u003c\/p\u003e\u003cp\u003eThree Mediations from \\u201cMass\\u201d for Cello and Piano (1971) \\u2013 Meditation No. 2\u003c\/p\u003e\u003cp\u003eVariations on an Octatonic Scale for Recorder and Cello (1988) - V. Var. 4 \\u2013 Piu mosso, quasi allegro\u003c\/p\u003e\u003cp\u003eSeven Anniversaries (1943) - VII. For William Schuman\u003c\/p\u003e\u003cp\u003eThree Mediations from \\u201cMass\\u201d for Cello and Piano (1971) \\u2013 Meditation No. 3\u003c\/p\u003e\u003cp\u003eVariations on an Octatonic Scale for Recorder and Cello (1988) - VI. Coda \\u2013 Adagio\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - I. For Shirley Roads Perle\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Prelude, Moderato (Beginning Part I)\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - II. In Memoriam: William Kapell\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Variation on Adolph Filis Green No. 1: Love Song\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - III. For Stephan Sondheim\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Variation on Adolph Filis Green No. 2: Chaplinesque\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - IV. For Craig Urquhart\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Variation on Adolph Filis Green No. 3: Chaplinade\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - V. For Leo Smit\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Interlude (Beginning Part II)\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - VI. For My Daughter, Nina\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Wedding dance No. 1: The first waltz\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - VII. In Memoriam: Helen Coates\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Wedding dance No. 2: Cha-Cha-Cha\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - VIII. In Memoriam: Goddard Lieberson\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Wedding dance No. 3: Hora\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - IX. For Jessica Fleischmann\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Encore No. 1 \\u2013 Modern music\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - X. In Memoriam: Constance Hope\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Encore No. 2 \\u2013 Old music\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - XI. For Felicia, on Our 28th Birthday (\u0026amp; and her 52nd)\u003c\/p\u003e\u003cp\u003eBridal Suite for Piano four Hands (1960) - Encore No. 3 \\u2013 Magyar lullaby\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - XII. For Aaron Stern\u003c\/p\u003e\u003cp\u003eMusic for Two Pianos (1937)\u003c\/p\u003e\u003cp\u003eThirteen Anniversaries (1989) - XIII. In Memoriam: Ellen Goetz\u003c\/p\u003e\u003cp\u003eFour Sabras (1950?) - I. Ilana. The Dreamer\u003c\/p\u003e\u003cp\u003ePiano Sonata (1938) - I.\u003c\/p\u003e\u003cp\u003eFour Sabras (1950?) - II. Idele. The Chassidele\u003c\/p\u003e\u003cp\u003ePiano Sonata (1938) - II.\u003c\/p\u003e\u003cp\u003eFour Sabras (1950?) - III. Yosi. The Jokester\u003c\/p\u003e\u003cp\u003eTouches (1981) - I. Chorale\u003c\/p\u003e\u003cp\u003eFour Sabras (1950?) - IV. Dina. The Tomboy Who Weeks Alone\u003c\/p\u003e\u003cp\u003eTouches (1981) - II. (Var. 1)\u003c\/p\u003e\u003cp\u003eTouches (1981) - III. (Var. 2)\u003c\/p\u003e\u003cp\u003eTouches (1981) - IV. (Var. 3)\u003c\/p\u003e\u003cp\u003eTouches (1981) - V. (Var. 4)\u003c\/p\u003e\u003cp\u003eTouches (1981) - VI. (Var. 5)\u003c\/p\u003e\u003cp\u003eTouches (1981) - VII. (Var. 6)\u003c\/p\u003e\u003cp\u003eTouches (1981) - VIII. (Var. 7)\u003c\/p\u003e\u003cp\u003eTouches (1981) - IX. (Var. 8)\u003c\/p\u003e\u003cp\u003eTouches (1981) - X. 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