Bernstein reviews

Written around nine years apart in mid-20th- century USA, these concertos complement one another surprisingly well. Both composers of Jewish immigrant heritage – though very contrasting ones – each had a strongly individual voice and refused to compromise amid changing fashions.

For this new recording of Dona Nobis Pacem, a new version has been created by Jonathan Rathbone, paring down Vaughan Williams’s full orchestra to chamber proportions, the better to balance it with the young voices of the King’s College Choir. The piece continues to pack a considerable punch in Rathbone’s edition. Timpani and snare drum still rattle ominously in ‘Beat! beat! drums!’, and a nervous trumpet chatters.

Interesting to start an American disc with Korngold’s Op. 1: the little Korngold, who was all of 12 when he began this startlingly full-blooded and sophisticated piece, was still utterly Viennese and would never have dreamed he’d end up in Hollywood. Its musical flavour is lyrical, typically bittersweet, springing audibly from the world of Mahler, Strauss and Viennese schwung.

Marin Alsop, protégée and admirer of Leonard Bernstein, has been working her way backwards for Naxos through the series of works in which Bernstein portrayed the struggle for faith in the 20th century, and in his own mind. After the Mass and the Third Symphony, Kaddish, she’s now arrived, with her Baltimore Symphony Orchestra, at the first two symphonies.

It is without doubt one of the greatest film scores ever created. With an extraordinary performance from Marlon Brando, the film itself is a masterpiece. The suite that Bernstein extracted from it is one of his best-known works. Yet, for 60 years, it has not been possible to hear the original musical soundtrack for On the Waterfront, to listen to the notes behind the dialogue, as the recording of the ‘scoring sessions’ went missing.

Leonard Bernstein’s 1957 musical, West Side Story, is one of his most perfect scores: effortlessly tuneful, sharply characterised, subtly integrated and successful in reconciling exuberant dance numbers with the tragic story-line of its source, Shakespeare’s Romeo and Juliet. Michael Tilson Thomas’s new recording with his San Francisco forces does it justice by including the complete score (omitting only some instrumental reprises covering scene changes or accompanying dialogue); some spoken cues are incorporated where required by the context.

Bernstein’s evergreen Chichester Psalms are sung here as they were conceived: for an Anglican choir of boys and men, and with the reduced trio scoring that probably matches the all-male timbre better. The slight earthiness of the St John’s College Choir boys (2007-8 vintage) gives the piece an appropriate edge, and there’s an excellent treble soloist (uncredited) in the middle movement.

Listen hard during the Prologue and the end of The Rumble in West Side Story and you’ll catch the distant wail of a passing police siren. Varèse would have loved it. And the composer of Amériques would surely have approved of the pairing of Gershwin and Bernstein – mutually illuminating bedfellows propped up on the supportive pillows of jazz, classical and popular music.

This marvellous portrait from 1977 conveys the intellect, exuberance and charisma that informed Bernstein’s urge to ‘communicate with as many people as possible’. Christopher Dingle

This piece is probably best watched on DVD, where it can be found with the same cast and conductor. For listeners, it’s unlikely this account will be surpassed. Michael Tanner

This 90th birthday tribute to Leonard Bernstein opened the 2008-09 season at Carnegie Hall.

Mostly drawn from his theatre works, the programme offers a good balance between the serious and jocular, and features several interviews with the artists as well as commentary delivered from the stage by conductor and host, Michael Tilson Thomas. He informs us that we should not airbrush Lenny’s personality into that of an ‘avuncular Jewish Santa Claus,’ but the chosen selections do slight his more abrasive and questioning sides to some extent.