Leonard Bernstein

Nigel Simeone

Presents an extraordinary selection of revealing letters to and from one of the titans of 20th-century music. 10,000 first printing.

The Leonard Bernstein Letters

Considers Boult's interpretations of Elgar's major works by drawing on their correspondence, Boult's annotated scores, broadcast performances, commercial recordings and press reviews, ranging from the composer's lifetime to Boult's final public appearances. Edward Elgar (1857-1934) and Adrian Boult (1889-1983) first met in 1904 and they saw each other frequently over the next thirty years. This book documents how Boult's Elgar interpretations evolved and the ways in which Boult drew on his experience of Elgar's own performances as well as their personal contacts. It provides fascinating biographical context, with a particular focus on the role played by the charismatic music patron Frank Schuster. A misunderstanding led to Elgar and Boult falling out in 1924 and it was not until 1931 that Elgar sought to restore their friendship. The book considers Boult's interpretations of Elgar's major works, drawing on a variety of sources including Boult's annotated scores as well as his broadcasts and commercial recordings of Elgar's music, ranging from those made in the composer's last years to Boult's final public appearances in 1978. The view of contemporary critics provides further evidence. All the works with which Boult was closely associated are considered in detail: the two symphonies, The Dream of Gerontius, The Kingdom and The Apostles and orchestral works including the Enigma Variations, Falstaff and the Violin and Cello Concertos. The text is complemented by appendices including a chronology of performances and a discography. These provide invaluable information for anyone interested in this fascinating composer-conductor relationship, and in Boult's advocacy of Elgar's music throughout his long career.

Edward Elgar and Adrian Boult

West Side Story is one of the few Broadway musicals that can make a genuine claim to transforming the genre. Nigel Simeone begins by exploring the long process of creating West Side Story, including a discussion of Bernstein's sketches, early drafts of the score and script, as well as cut songs. The core of the book is the commentary on the music itself. West Side Story is one of the very few Broadway musicals for which there is a complete published orchestral score, as well as two different editions of the piano-vocal score. The survival of the original copied orchestral score, and the reminiscences of Sid Ramin and Irwin Kostal, reveal details of the orchestration process, and the extent to which Bernstein was involved in this. Simeone concludes by placing West Side Story in the context of Bernstein's oeuvre as well as considering the lasting impact and reputation of the show.

Leonard Bernstein, West Side Story

John Tyrrell

By the time of his death in 2010 at the age of 84, Sir Charles Mackerras had achieved widespread recognition, recorded extensively and developed into a conductor of major international significance. In addition to areas in which he already had forged a distinctive and definitive profile (Janacek, Mozart, Handel, Sullivan) he revisited - and rethought - much of the standard repertoire. The last thirty years were particularly momentous in the coming to fruition of so many cherished projects: not only the Janacek operas but the Gilbert and Sullivan series, the Mozart operas, the two Beethoven cycles, other projects with the Scottish Chamber Orchestra (Schumann and Brahms at Edinburgh; the outstanding late Mozart) and at the Royal Opera House and the Met. Unspoilt by fame, and undeterred by personal tragedies and increasing physical frailty, he remained productive and inventive: for him music-making, whether with world-class professionals or with students, was a kind of joyous oxygen that kept him going right to the end. A detailed narrative account of his life by Nigel Simeone is complemented by chapters written by performers and scholars who worked closely with him: Alfred Brendel, Dame Janet Baker, David Lloyd-Jones, Dame Anne Evans, Sir Antonio Pappano, Sir Nicholas Hytner, John Tyrrell and Jiri Zahradka. There are also chapters based on interviews with his family. The book is illustrated with photographs, both informal and professional, and is supplemented by an up-to-date discography, by listings of all the performances of Janacek operas Sir Charles conducted and of all his concerts in Czechoslovakia and the Czech Republic. While Sir Charles' whole life is considered, emphasis is given to his final quarter century in which so many important projects were realized. This book celebrates and epitomizes an exceptional life. NIGEL SIMEONE has published books on Janacek, Messiaen and Bernstein. JOHN TYRRELL has published books on Janacek and Czech opera and, with Sir Charles Mackerras, edited two Janacek operas. Contributors: Janet Baker, Alfred Brendel, Ales Brezina, Rosenna East, Anne Evans, Nicholas Hytner, Simon Keenlyside, David Lloyd-Jones, David Mackie, Chi-chi Nwanoku, Antonio Pappano, Nigel Simeone, John Stein, Heinz Stolba, Patrick Summers, John Tyrrell, Malcolm Walker, David Whelton, Jiri Zahradka

Charles Mackerras

One of the Broadway musicals that can genuinely claim to have transformed the genre, West Side Story has been featured in many books on Broadway, but it has yet to be the focus of a scholarly monograph. Nigel Simeone begins by exploring the long process of creating West Side Story, including a discussion of Bernstein's sketches, early drafts of the score and script, as well as cut songs. The core of the book is a commentary on the music itself. West Side Story is one of the very few Broadway musicals for which there is a complete published orchestral score, as well as two different editions of the piano-vocal score. The survival of the original copied orchestral score, and the reminiscences of Sid Ramin and Irwin Kostal, reveal details of the orchestration process, and the extent to which Bernstein was involved in this. Simeone's commentary considers: musical characteristics and compositional techniques used to mirror the drama (for example, the various uses of the tritone), motivic development, the use and reinvention of Broadway and other conventions, the creation of dramatic continuity in the score through the use of motifs and other devices, the unusual degree of dissonance and rhythmic complexity (at least for the time), and the integration of Latin-American dance forms (Mambo, Huapango and so on). Simeone also considers the reception of West Side Story in the contemporary press. The stir the show caused included the response that it was the angular, edgy score that made it a remarkable achievement. Not all reviews were uncritical. Finally, the book looks in detail at the making of the original Broadway cast recording, made in just one day, included on the accompanying CD.

Leonard Bernstein: West Side Story

One of the Broadway musicals that can genuinely claim to have transformed the genre, West Side Story has been featured in many books on Broadway, but it has yet to be the focus of a scholarly monograph. Nigel Simeone begins by exploring the long process of creating West Side Story, including a discussion of Bernstein's sketches, early drafts of the score and script, as well as cut songs. The core of the book is a commentary on the music itself. West Side Story is one of the very few Broadway musicals for which there is a complete published orchestral score, as well as two different editions of the piano-vocal score. The survival of the original copied orchestral score, and the reminiscences of Sid Ramin and Irwin Kostal, reveal details of the orchestration process, and the extent to which Bernstein was involved in this. Simeone's commentary considers: musical characteristics and compositional techniques used to mirror the drama (for example, the various uses of the tritone), motivic development, the use and reinvention of Broadway and other conventions, the creation of dramatic continuity in the score through the use of motifs and other devices, the unusual degree of dissonance and rhythmic complexity (at least for the time), and the integration of Latin-American dance forms (Mambo, Huapango and so on). Simeone also considers the reception of West Side Story in the contemporary press. The stir the show caused included the response that it was the angular, edgy score that made it a remarkable achievement. Not all reviews were uncritical. Finally, the book looks in detail at the making of the original Broadway cast recording, made in just one day, included on the accompanying downloadable resources.

Christopher Philip Dingle

This volume assesses Messiaen's position as a creative artist of the twentieth century in the light of the latest research. In the process, it identifies some of the key myths, confusions and exaggerations surrounding the composer which often mask equally remarkable truths. In attempting to reveal some of those truths, the essays elucidate a little of the mystery surrounding Messiaen as a man, an artist, a believer and a musician.

Music, Art and Literature

Olivier Messiaen

Special Lecturer in Music Bibliography Nigel Simeone

Alena Nemcova

Alena Němcová

Secretary Alena N%emcová

This is the fullest catalogue in any language of the works of the great Czech composer Leos Janáček. The entry for each work includes detailed information on date of composition, source of texts, performing forces, duration, manuscript locations, publication, performances and production, dedication, and literature. The catalogue also includes a complete annotated edition of the composer's writings.

Nigel Simeone

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