Professional Documents
Culture Documents
For other people named Leonard Bernstein, see Leonard his rst name be Louis, but his parents always called him
Bernstein (disambiguation).
Leonard, which they preferred. He ocially changed his
name to Leonard when he was fteen, shortly after his
[9]
[1]
Leonard Bernstein (/brnstan/; August 25, 1918 grandmothers death. To his friends and many others
he was simply known as Lenny.
October 14, 1990) was an American composer,
conductor, author, music lecturer, and pianist. He was His father, Sam Bernstein, was a businessman and owner
among the rst conductors born and educated in the of a hair product store in downtown Lawrence; it is standUnited States of America to receive worldwide acclaim. ing today on the corners of Amesbury and Essex Streets.
According to music critic Donal Henahan, he was one of Sam initially opposed young Leonards interest in music.
the most prodigiously talented and successful musicians Despite this, the elder Bernstein took him to orchestra
in American history.[2]
concerts in his teenage years and eventually supported
His fame derived from his long tenure as the music di- his music education. At a very young age, Bernstein lisrector of the New York Philharmonic, from his conduct- tened to a piano performance and was immediately caping of concerts with most of the worlds leading orches- tivated; he subsequently began learning the piano seritras, and from his music for West Side Story, Peter Pan,[3] ously when the family acquired his cousin Lillian Goldthe
Candide, Wonderful Town, On the Town, On The Water- mans unwanted piano. As a child, Bernstein attended [10]
Garrison
Grammar
School
and
Boston
Latin
School.
front, his Mass, and a range of other compositions, including three symphonies and many shorter chamber and As a child he was very close to his younger sister Shirley,
and would often play entire operas or Beethoven symsolo works.
phonies with her at the piano. He had a variety of piano
Bernstein was the rst conductor to give numerous televi- teachers in his youth, including Helen Coates, who later
sion lectures on classical music, starting in 1954 and con- became his secretary.
tinuing until his death. He was a skilled pianist,[4] often
After graduation from Boston Latin School in 1935,
conducting piano concertos from the keyboard.
Bernstein attended Harvard University, where he studied
As a composer he wrote in many styles encompassing music with, among others, Edward Burlingame Hill and
symphonic and orchestral music, ballet, lm and theatre Walter Piston. Although he majored in music with a music, choral works, opera, chamber music and pieces nal year thesis (1939) entitled The Absorption of Race
for the piano. Many of his works are regularly performed Elements into American Music (reproduced in his book
around the world, although none has matched the tremen- Findings), Bernsteins main intellectual inuence at Hardous popular and commercial success of West Side Story. vard 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
1 Biography
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.
1.1 Early life
Bernstein reused some of this music in the ballet Fancy
briey an acHe was born Louis Bernstein in Lawrence, Mas- Free. During his time at Harvard he was
[11]
Harvard
Glee
Club.
Bernstein
also
companist
for
the
sachusetts, the son of Ukrainian Jewish parents Jennie
mounted
a
student
production
of
The
Cradle
Will
Rock,
(ne Resnick) and Samuel Joseph Bernstein, a hairdressing supplies wholesaler originating from Rovno (now directing its action from the piano as the composer Marc
Ukraine).[5][6] He was not related to lm composer Elmer Blitzstein had done at the premiere. Blitzstein, who heard
Bernstein, but the two men were friends, and even shared about the production, subsequently became a friend and
a certain physical similarity.[7] Within the world of pro- inuence (both musically and politically) on Bernstein.
fessional music, they were distinguished from each other Bernstein also met the conductor Dimitri Mitropoulos at
by the use of the nicknames Bernstein West (Elmer) and the time. Although he never taught Bernstein, MitropouBernstein East (Leonard).[8]
loss charisma and power as a musician was a major inHis family spent their summers at their vacation home uence on Bernsteins eventual decision to take up conin Sharon, Massachusetts. His grandmother insisted that ducting. Mitropoulos was not stylistically that similar to
1
1 BIOGRAPHY
1.2
19401950
1.3
19511959
3
monic for Deutsche Grammophon.
In 1949, he conducted the world premire of the
Turangalla-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.
1.3 19511959
1 BIOGRAPHY
rector 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 rst 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.
Prior to taking over the New York Philharmonic, Bernstein composed the music for two shows. The rst was for
the operetta Candide, which was rst performed in 1956
with a libretto by Lillian Hellman based on Voltaires
novel. The second was Bernsteins collaboration with the
choreographer Jerome Robbins, the writer Arthur Laurents, and the lyricist Stephen Sondheim to produce the
musical West Side Story. The rst three had worked on
it intermittently since Robbins rst suggested the idea in
1949. Finally, with the addition of Sondheim to the team
1.4
19601969
and a period of concentrated eort, it received its Broad- rst (almost) complete recording of the original featuring
way premiere in 1957 and has since proven to be Bern- several members of the original Broadway cast, includsteins most popular and enduring score.
ing Betty Comden and Adolph Green. (The 1949 lm
In 1959, he took the New York Philharmonic on a tour version only contains four of Bernsteins original numof Europe and the Soviet Union, portions of which were bers.) Bernstein also collaborated with the experimenlmed by CBS Television. A highlight of the tour was tal jazz pianist and composer Dave Brubeck resulting in
Bernsteins performance of Dmitri Shostakovich's Fifth the recording Bernstein Plays Brubeck Plays Bernstein
Symphony, in the presence of the composer, who came (1961).
on stage at the end to congratulate Bernstein and the musicians. In October, when Bernstein and the orchestra
returned to the U.S., 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 Shostakovichs Leningrad Symphony, one with the New York Philharmonic in the 1960s
and another recorded live in 1988 with the Chicago Symphony Orchestra (one of the few recordings he made with
them, also including the Symphony No. 1).
1.4
19601969
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 reect Bernsteins 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.[27] 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 Goulds blessing.[28] In
the book Dinner with Lenny, published in October 2013,
author Jonathan Cott provided a thorough debunking, in
the conductors own words, of the legend which Bernstein himself described in the book as one ... that won't
go away. 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 nancial security arising from Bernsteins many
TV and recording activities amongst other things).
1 BIOGRAPHY
1.5
19701979
1.5
19701979
desire to express fashionable sympathy but by their con- shows rst season (197576). Chase was seated next
cern for civil liberties.[35][36]
to Bernstein at a birthday party for Kurt Vonnegut and
Bernsteins major compositions during the 1970s were made the request in person. However, the pitch involved
of West Side Story,
probably his MASS: A Theatre Piece for Singers, Players, a Bernstein-conducted SNL version
[37]
and
Bernstein
was
uninterested.
and Dancers; his score for the ballet Dybbuk; his orchestral vocal work Songfest; and his U.S. bicentenary musical 1600 Pennsylvania Avenue written with lyrics by Alan
Jay Lerner which was his rst real theatrical op, and last
original Broadway show. The world premiere of Bernsteins 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 dierent religious traditions (Latin
liturgy, Hebrew prayer, and plenty of contemporary English lyrics) but also of dierent 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
rst 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 Bizets death. The recording was Bernsteins rst 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. However, these lectures
were not televised until 1976. 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 lming. This appears to be the
only surviving Norton lectures series 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 signicant it was.
Chevy Chase states in his biography that Lorne Michaels
wanted Bernstein to host Saturday Night Live in the
1.6
1 BIOGRAPHY
19801990
In 1982 in the U.S., PBS aired an 11-part series of Bernsteins late 1970s lms for Unitel of the Vienna Philharmonic playing all nine Beethoven symphonies and various
other Beethoven works. Bernstein gave spoken introduction and actor Maximilian Schell was also featured on the
programs, reading from Beethovens letters.[38] The original lms 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 Mahlers First, Fourth, and Ninth
Symphonies amongst other works; the Bavarian Radio
Symphony Orchestra in Munich, with whom he recorded
Wagners Tristan und Isolde; Haydns Creation; Mozarts
Requiem and Great Mass in C minor; and the orchestra
of Accademia Nazionale di Santa Cecilia in Rome, with
whom he recorded some Debussy and Puccinis La bohme.
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
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 tted 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 rewrites
and writers involved. Bernsteins concert and recording
were based on a nal version that had been rst performed by Scottish Opera in 1988. The opening night
(which Bernstein attended in Glasgow) was conducted by
Bernsteins former student John Mauceri.
On December 25, 1989, Bernstein conducted
Beethoven's Symphony No.
9 in East Berlins
Schauspielhaus 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).[39] 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.
9
ber 9, 1990,[43] and died of a heart attack ve 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.[44] Bernstein is buried in GreenWood Cemetery, Brooklyn, New York,[45] next to his
wife and with a copy of Mahlers Fifth lying across his
heart.[46]
2 Social activism
While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further
social change. His rst aspirations for social change
were made apparent in his producing (as a student) a
recently banned opera, The Cradle Will Rock, by Marc
Blitzstein, about the disparity between the working and
upper class. His rst opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class
life in particular. As he went on in his career Bernstein
would go on to ght for everything from the inuences of
American Music to the disarming of western nuclear
weapons.[47]
In 1990, Leonard Bernstein received the Praemium Imperiale, an international prize awarded by the Japan Arts
Association for lifetime achievement in the arts. Bernstein used the $100,000 prize to establish The Bernstein Education Through the Arts (BETA) Fund, Inc.[40]
Leonard Bernstein provided this grant to develop an artsbased education program. The Leonard Bernstein Center was established in April 1992, and initiated extensive school-based research, resulting in the Bernstein
Model.[41]
2.1 Philanthropy
[49] [50]
10
Artful Learning
(1985), and the nale of Tchaikovskys Pathetique Symphony (1986), where in each case the tempos are well
Bernstein was one of the major gures in orchestral con- below those typically chosen.
ducting in the second half of the 20th century. He was
Bernstein performed a wide repertoire from the baroque
held in high regard amongst many musicians, including era to the 20th century, although perhaps from the 1970s
the members of the Vienna Philharmonic Orchestra, evionwards he tended to focus more on music from the
denced by his honorary membership; the London Sym- romantic era. He was considered especially accomphony Orchestra, of which he was President; and the plished with the works of Gustav Mahler and with AmerIsrael Philharmonic Orchestra, with which he appeared ican composers in general, including George Gershwin,
regularly as guest conductor. He was probably the main Aaron Copland, Charles Ives, Roy Harris, William Schuconductor from the 1960s onwards who acquired a sort of man, and of course himself. Some of his recordings
superstar status similar to that of Herbert von Karajan, al- of works by these composers would likely appear on
though unlike Karajan he conducted relatively little opera many music critics lists of recommended recordings. A
and part of Bernsteins fame was based on his role as a list of his other well-thought-of recordings would probcomposer. As the rst American-born music director of ably include individual works from Haydn, Beethoven,
the New York Philharmonic, his rise to prominence was Berlioz, Schumann, Liszt, Nielsen, Sibelius, Stravinsky,
a factor in overcoming the perception of the time that the Hindemith, and Shostakovich, among others.[57] His
top conductors were necessarily trained in Europe.
recordings of Rhapsody in Blue (full-orchestra version)
Bernsteins 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 Elgars Enigma
Variations (1982), the end of Mahlers 9th Symphony
and An American in Paris for Columbia Records, released in 1959, are considered denitive by many, although Bernstein cut the Rhapsody slightly, and his more
'symphonic' approach with slower tempi is quite far from
Gershwins own conception of the piece, evident from his
two recordings. (Oscar Levant, Earl Wild, and others
come closer to Gershwins own style.) Bernstein never
conducted Gershwins Piano Concerto in F, or more than
a few excerpts from Porgy and Bess, although he did discuss the latter in his article Why Don't You Run Upstairs
11
and Write a Nice Gershwin Tune?, originally published in phonies (with the Vienna Philharmonic and London SymThe New York Times and later reprinted in his 1959 book phony Orchestra), as well as complete cycles of the
The Joy of Music.
Beethoven, Brahms and Schumann symphonies recorded
In addition to being an active conductor, Bernstein was at the same series of concerts as the audio recordings by
a very inuential teacher of conducting. During his Deutsche Grammophon. Many of these lms appeared
many years of teaching at Tanglewood and elsewhere, on Laserdisc and are now on DVD.
he directly taught or mentored many conductors who are
performing now, such as John Mauceri, Marin Alsop,
Herbert Blomstedt, Edo de Waart, Alexander Frey, Paavo
Jrvi, Eiji Oue, Maurice Peress, Seiji Ozawa (who made
his American TV debut as the guest conductor on one
of the Young Peoples Concerts), Carl St.Clair, Helmuth
Rilling, Michael Tilson Thomas, and Jaap van Zweden.
He also undoubtedly inuenced the career choices of
many American musicians who grew up watching his
television programmes in the 1950s and 60s.
Recordings
12
7 WORKS
Works
7.6 Orchestral
7.1
Ballet
7.2
Opera
Serenade for Solo Violin, Strings, Harp and Percussion (after Platos Symposium), 1954
7.3
Musicals
7.10
Piano music
13
Songfest: A Cycle of American Poems for Six Singers 7.10 Piano music
and Orchestra, 1977
Music for Two Pianos, 1937
Three Meditations from Mass for Violoncello and
Orchestra, 1977
Piano Sonata, 1938
Slava! A Political Overture for Orchestra, 1977
7 Anniversaries, 1944
4 Anniversaries, 1948
5 Anniversaries, 1952
7.7
Choral
7.8
Chamber music
7.9
Vocal music
Other music
8 Bibliography
Bernstein, Leonard (1993 reprinting) [1982].
Findings. New York: Anchor Books. ISBN 0-38542437-X. Check date values in: |date= (help)
14
10
AWARDS
Videography
Bernstein/Beethoven (1982),
mophon, DVD
Deutsche Gram-
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
Leonard Bernstein: Reaching for the Note (1998) Leonard Bernstein is also a member of both the American
Documentary on his life and music. Originally aired Theater Hall of Fame,[65] and the Television Hall of
Fame.[66]
on PBSs American Masters series. DVD
15
11
References
16
13
EXTERNAL LINKS
[42] Garrison Keillor (August 25, 2003). The Writers Almanac. American Public Media. Retrieved January 17,
2007.
[62] Finding aid for the George Trescher records related to The
Metropolitan Museum of Art Centennial, 1949, 19601971 (bulk 1967-1970). The Metropolitan Museum of
Art. Retrieved 6 August 2014.
[43] " Died On This Date (October 14, 1990) Leonard Bernstein / World Renowned Composer The Musics Over.
Themusicsover.wordpress.com. October 14, 2009. Retrieved May 3, 2012.
[44] See the TV Documentary: Leonard Bernstein: Reaching
for the Note originally shown in the series American Masters on PBS in the U.S., now on DVD.
[45] Find A Grave. Retrieved May 17, 2015.
[46] Davis, Peter G. (May 17, 2011). When Mahler Took
Manhattan. Retrieved 2011-5-18. Small wonder that
Bernstein is buried with the score of Mahlers Fifth Symphony placed over his heart.
[47] Bernstein:The Best of All Possible Worlds. Causes and
Eecting Change.
12 Further reading
Burton, Humphrey (1994). Leonard Bernstein. New
York: Doubleday. ISBN 0-385-42345-4.
[48] http://www.history.com/this-day-in-history/
Gottlieb, Jack (ed.) (1992). Leonard Bernsteins
bernstein-copland-seeger-and-others-are-named-as-communists?
Young Peoples Concerts (revised ed.). New York:
et_cid=76800153&et_rid=1221598356&linkid=http%
Anchor Books. ISBN 0-385-42435-3.
3a%2f%2fwww.history.com%2fthis-day-in-history%
2fbernstein-copland-seeger-and-others-are-named-as-communists
Bernstein, Burton; Haws, Barbara, eds. (2008).
[49] Fear On Trial by John Henry Faulk
[50] The Jury Returns by Louis Nizer
[51] Temple Emanuel.
[52] Harrison, Eric (August 9, 1993). The maestros legacy
reverberates in Nashville : Leonard Bernsteins dream of
creating a center that integrates the arts and the classroom
is in full swing. Los Angeles Times (Los Angeles). Retrieved Oct 11, 2011.
[53] Cott, Jonathan. Leonard Bernstein-The Last Interview.
Rolling Stone, New York, 28 November 1990: 70-93, 130
[54] THE LEONARD BERNSTEIN ARTFUL LEARNING
MODEL: A CASE STUDY OF AN ELEMENTARY
SCHOOL. http://digitalcommons.nl.edu. Retrieved
2013-12-01.
[55] Leonard Bernsteins Arts-Based Education Revolution.
http://www.huffingtonpost.com. Retrieved 2013-06-12.
[56] Artful Learning Model. http://www.leonardbernstein.
com/''. The Leonard Bernstein Center. Retrieved 7 February 2015.
[57] Holmes, John L. (1982). Conductors on Record. UK:
Greenwood Press. ISBN 0-313-22990-2.
[58] In the 1978 Peter Rosen documentary Leonard Bernstein:
Reections, now available on a Medici Arts DVD.
[59] Retrieved January 21, 2011.
[60] Gruen, John and Heyman, Ken (1968).The Private World
of Leonard Bernstein. New York: The Viking Press.
13 External links
Ocial website
Discography
17
The Leonard Bernstein Collection at the Library of
Congress Music Division
Leonard Bernstein discography at MusicBrainz
Discography at SonyBMG Masterworks
Bernsteins Boston, a Harvard University research
project
Find A Grave - Leonard Bernstein
FBI le 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 Bernsteins apartment of New Yorks
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 O-Broadway
Database
Leonard Bernsteins 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
Pacic Music Festival, founded by Leonard Bernstein and Michael Tilson Thomas
18
14
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