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500 Word Essay On Not Being Late To Work In The …
Shostakovich: (October, 1959) (on Sony SMK 47615).After his first year as music director, Bernstein and the Philharmonic embarked on agrueling eight week, fifty concert tour of Europe and the Middle East, coveringtwenty-nine cities in seventeen countries. proclaimed it "likely to godown as the most successful of all time." Typical of the reaction was that of the , which hailed Bernstein's "impetuous talent ... bursting at theseams." The highlight was Russia, where, typically, Bernstein won over the people ofa former enemy through the sheer contagion of his charisma.
(on Sony SM3K 47154) is a 45-minute two-character chamberpiece which traces an empty day in the vacuous lives of Sam and Dinah, a boredupper-middle class couple. The lyrics are pedestrian; but, after all, how many operalibrettos could ever pass for great literature? It is redeemed by Bernstein's magnificentmusic which is seeped in the idioms of its time (including cinematic dissolves andcross-cutting) and brilliantly contrasts Sam's superficial bravado at his office and gymwith Dinah's desperate dreams of an emotional life.
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The CD of the concert (DG 431 768) remains only a grim deathbed memory, best forgottenin favor of more vital souvenirs of a fabulous career. Bernstein's true final legacy liesin the valediction of his late recordings, which exemplify all he had lived for as anartist and as a human being. Ever the egoist, Bernstein tried to thwart death through afinal concert and to defy mortality through the permanence of recordings. Ever theexplorer, Bernstein's final records transcended tradition to blaze musical paths that noprevious conductor had dared to attempt. Ever the teacher, Bernstein imparted a greatfinal lesson through his deeply inspired and passionate interpretations of power,conviction and truth. Ever the visionary, Bernstein devoted himself to a musical ecstasythat would inspire the artistic outlook of future generations. And ever the humanitarian,Bernstein poured every last drop of his life into the redemptive power of music for thesake of all mankind.
December 1989 marked the reunification of Germany and the dismantling of the BerlinWall. Bernstein could not resist the symbolism of an aging American Jew serving as thecatalyst for the reintegration into the world community of ideological foes, formerlyunited only by their antisemitism. And so it was that on Christmas Day 1989, Bernstein ledorchestras, choruses and soloists from Berlin, Dresden, New York, London, Paris andLeningrad (representing the two Germanies and the wartime Allies) in a massive renditionof Beethoven's .
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And so it was that until the age of ten, when most musical prodigies already havedazzled the world with precocious talent, Leonard Bernstein wiled away his time absorbingreligious and pop tunes and preparing to fulfill his father's goal of a practical careerin business. The messenger of change arrived in the form of a massive, carved uprightpiano which his Aunt Clara stored at the Bernstein house during her divorce. At first,Lenny played the piano instinctively by imitating the music he had heard. Although hecould well afford it, Sam refused to pay for piano lessons. Exhibiting some of hisfather's resolve and resourcefulness, Lenny raised money to pay for his own lessons byteaching younger kids and recruited his talented sister Shirley to share his enthusiasms.
Bernstein was devastated by Gershwin's sudden and untimely death in 1937. Upon hearingthe news on a radio at summer camp, Bernstein interrupted an informal lunchtime recital todemand silence while he played a Gershwin prelude. He later recalled that at that momenthe identified so fully with Gershwin that he felt that he had actually become thecomposer. Thus, through his death Gershwin passed a torch to Bernstein: the essentialinstinct of a great musician to crawl inside a work and recreate it through the act of hisown performance. As Ned Rorem recalled, Bernstein "not only championed my music butconducted it in a manner coinciding with my very heartbeat."
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I chose to compare “Caged Bird”, by Maya Angelou as my Descriptive essay and “How to say nothing in 500 words”, by Paul McHenry Roberts as my narrative essay.
A 500 word essay – Charity IT Association
At this juncture, it would perhaps be dishonest to avoid any mention of another matter– nearly as dishonest as failing to place it in the proper context. The attraction ofMitropoulos and Copland to Bernstein was not entirely professional; through them cameBernstein's entree into a lifelong series of homosexual relationships into which he pouredconsiderable emotion and energy. A surprisingly large number of American composers of theera were gay, but in keeping with the discretion of the time little mention was ever madeof the fact – until, that is, the publication in 1987 of Joan Peyser's , which seemed absolutely obsessed with it. At the outset of her book, Peyserplausibly claimed that "the personal areas of Bernstein's life ... can make a bigdifference in the way we hear Bernstein as well as the way we assess hisachievements." And yet, not once in the next 460 pages did Peyser even suggest howBernstein's sexuality had the slightest bearing upon his writing, teaching, composing,conducting or any other aspect of his profession. Perhaps all that should be said is thatBernstein had a huge capacity for love and that he was attracted to people of talentregardless of gender.
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That all changed on the afternoon of Sunday, November 14, 1943, as Bruno Walter wasabout to complete a two-week guest stint. Walter had been the protege of none other thanGustav Mahler, the greatest conductor of his time, who had spent the last two years of hislife as music director of the New York Philharmonic. As the inheritor of that mantle,Walter had come to represent the very embodiment of Viennese musical tradition. Hispopularity and reputation were such that Bernstein had brought his parents to New York towitness what promised to be a great event and the highlight of the season.
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