Leonard Bernstein's West Side Story

Tony loves him so thats the main reason why she gives him another chance, but he also did allot for her to realise that she could be losing her soulmate, another person who helped her find that out was her friend Jone. Jone helps her out by kicking her out of her house and telling her what a great husband she has and how she has become a better person with him.

In West Side Story both Acts 1 and 2 are mostly instrumental, allowing suspense to form in each scene. In the 1950’s, gangs are growing more and more. With West Side Story being in New York, there were the Jets and the Sharks. Jazz music help bring out the actions in each of the two gangs and helps bring out each of the characters and shows who they really are. In ‘Tonight,’ the characters are reflecting on their hopes and dreams. Bernstein crafted the music to mirror the visions of each character. Jazz music helps build suspense in many scenes in West Side Story, for instance, in “The Gangs Fight in the Street,” the music starts to become allegro and the snaps of their fingers build the suspense even more. The jazz helps show the differences in each gang and how their actions are like that of the sounds of jazz orchestra. West Side Story also has classical and pop music played throughout it, and at certain instances all three can be heard together. At the very end of the musical, the music become piano; and the hurt and anger from Maria is radiated from the music choice.

At this time, Gershwin's career skyrocketed. He was hired by George White to compose for the Scandals series. He continued doing this for four years. During this time, Gershwin composed his first operetta, Blue Monday. It impressed Paul Whiteman, a famous bandleader, so much that he asked Gershwin to compose a symphonic jazz piece. At this time, however, Gershwin was still busy composing for White and forgot to compose for Whiteman until only one month before the scheduled performance. During this rushed creation, Gershwin found inspiration to create his most famous individual piece, Rhapsody in Blue. At its first performance, the piece was loved by the audience so much that they gave it a standing ovation.

The tragedy of Tony and Maria, with extensive investigation, should be blamed on the Jets. The responsibility of the tragedy can be blamed on the Jets for a plethora of reasons. One of these reasons is that in the beginning of the story, Tony did not want any relation to the trouble that the Jets get into. At the time, Tony was thriving because he had a job, wasn’t involved in the trouble of

A. There were several concert performances, one specifically was a concert band conducted in the Greenspring Theatre by director Mark Lortz and assistant director Terrell Smith. One beautiful piece was played which was Mambo by Leonard Bernstein. There was another piece played by a ukulele ensemble directed by Director Jared Denhard. The piece was called Canon in D by Johann Pachelbel.

It’s not really possible for me to discuss the group itself, as they weren’t shown as part of the film or the play. The style of the music was almost entirely incidental music (including a number of vocal pieces), written by Felix Mendelssohn, although there were also excerpts from his symphonies and piano pieces. The music was re-orchestrated by Erich Wolfgang Korngold. Date and time are hard to place, except for during or slightly before the year 1935. Similarly, I can’t locate the place any more specifically than Warner Bros. Pictures. Going in, I had no expectations, but hoped to learn about the concert, what the music sounded like, and other things required to write a good report.

The terrorist ambushed Tony’s convoy, killing all the soldiers that was escorting him back to based. Stark was hit with a RPG that he invented. The RPG had a special feature, when it explode it shoots out shrapnel that embeds itself in the body. The shrapnel uses the body's own electromagnetic waves to move to the host’s heart after he got kidnapped, he was taken to a cave up in the mountains. Where was operated on by Dr.Yinsen to remove most of the shrapnel.

West Side Story can be seen as a Musical which tells a story through music and dance-not only music. It has massively influenced Musicals and film to the extent in which this was almost seen as the new standard. It also went on to inspire a whole generation. Allowing people of that time and of modern time; to think and to challenge injustices. Bernstein highlighted the faults but also showed the stories of both sides to bring understanding and not judgement (He brought reality to Musicals). This bold take on a Musical was received well by audiences and was a huge success. And is seen by many as an important artistic accomplishment.

Within the original musical, the music of the film was by Herbert Stothart (1885-1949). He was a song writer, arranger, conductor, and

It was through chamber music that I met JP, performing in a concert at Baruch College in New York. We quickly realized how much we had in common; both of us had come from Spanish speaking countries to New York City to study and create a path for ourselves. Discussing musical ideas and composers, we both discovered our common love for Bernstein’s Serenade for violin and orchestra. After much thinking and planning, four orchestras came on board (Alabama Symphony, San Antonio Chamber Orchestra, Metropolis Ensemble and Balearic Islands Symphony Orchestra) to co-commission a double concerto to honor Bernstein’s Centennial in 2018. Chamber music brought us together and we were happy to put our minds to work and come up with an interesting project. We are now in the planning stages for all the other performances outside the co-commissioners and excited to bring it to a variety of places and people in the next few years. It will hopefully aid expanding the repertoire and the connections through different music genres and audiences, just like Bernstein did decades

Philharmonic, Bernstein “bestowed almost 500,000 . . . hugs” throughout his years of “greeting each musician” before rehearsal began. The resulting intimacy between conductor and musicians was essential in the success of the orchestra; as Evangeline Benedetti, the Philharmonic’s cellist from 1967 to 2011, says, “there was also a very

The opening night of the Atlanta symphony orchestra had high expectations for the music we were about to experience. The night commenced with a work of art by Leonard Bernstein “The Age of Anxiety,” conducted by music director Robert Spano. A meaningful piece written original to describe a lengthy heartfelt poem that took place during World War II. The transition between courses was a unique jazzy upbeat style of the Star-Spangled Banner whereas to begin the night it was a traditional legato style. The audience awaited to feel the recent material from composer Michael Kurth. Expecting to witness nothing less than sensory images from what inspired Michael Kurth to write such a delicate piece. As the night continued the large audience grew greater admiration for the conductors and the orchestra itself. The musician’s capability to perform lengthy pieces of music was also a part of the astonishing experience. To conclude a night of emotion the concerts final performance was a piece by George Gershwin, “An American in Paris” A piece heavily influenced by modern time music that expresses freeway. The concert had an overall reconstruction of American identity theme integrated within each selected piece.

11. One year on from Rhapsody in Blue, Gershwin extended his innovative jazz-influenced classical style even further with his piano concerto. It was premiered by the composer with the New York Symphony Orchestra, conducted by Walter Damrosch. The conductor described Gershwin as ‘the Prince who has taken Cinderella [jazz] by the hand and openly proclaimed her a princess to the astonished world, no doubt to the fury of her envious sisters.’

Bernstein composed the music for the musical West Side Story, which marked a watershed in the technical craftsmanship of musicals. The New York Times theater reviewer Alvin Klein stated that the “masterful technique [in West Side Story] still induces visceral sensations one after another. And that defined the essence of American musical theater” (Klein). His review is valid since the strengths of the musical, including the theatrical “integration of script, song, dance, and set,” were due to the fact that each co-creator of the musical, including Bernstein, were talented in the task they were responsible for, whether it was composing or designing (“West Side Story”).

I felt very comfortable with the books and music [of the West] but actually living in the West made the same music seem much less relevant. It suddenly brought home to me very clearly the fact that I was imitating something that was not mine, that made no sense in terms of my own life, my own reality.