He was given piano lessons as a boy and had his pre-college education at the Garrison and Boston Latin schools. Going on to Harvard University, he worked with Walter Piston, Edward Burlingame Hill, and A. Tillman Merritt, among others. By the time of his graduation, in 1939, he had made an unofficial conducting debut (his own incidental music to The Birds), and directed and performed in Marc Blitzstein’s The Cradle Will Rock. Later, at the Curtis Institute of Music in Philadelphia, he studied piano with Isabella Vengerova, conducting with Fritz Reiner, and composition with Randall Thompson.
In 1949 he became a student of the Boston Symphony’s reigning conductor, Serge Koussevitzky, at Tanglewood, and he was subsequently named his conducting assistant.
Bernstein’s first permanent conducting post, however, was as Assistant Conductor of the New York Philharmonic Orchestra, to which he was named in 1943. That was an important year for him both as a composer and as a conductor. Not only did he win the New York Music Critic’ Award for his first symphony, Jeremiah, but he also made his sudden and now famous debut with the Philharmonic, substituting on just a few hours’ notice for the indisposed Bruno Walter at a concert at Carnegie Hall. He won extraordinary praise, and was soon being sought as guest conductor by leading orchestras all over the world.
In the years following he served as music director of the New York City Symphony Orchestra for three seasons, from 1945 to 1947, and was head of the conducting faculty at Brandeis University from 1951 to 1956.
Serge Koussevitzky had died in 1951, and Bernstein took over the orchestral and conducting departments at Tanglewood, where he continued to teach in the summer from time to time. Of great personal importance this same year was his marriage to the Chilean actress and pianist, Felicia Montealegre.
In 1957 Bernstein was invited to become Music Director of the New York Philharmonic, and from 1958 until 1969 conducted more concerts with them than anyone had ever done. Relinquishing the post after his eleven-year tenure, he accepted the lifetime title of Laureate Conductor. Two years later he led his thousandth concert with the Philharmonic, and he continued to be a frequent guest. More than half of his 400-plus recordings were made with this orchestra.
He traveled the world with his baton. He conducted in London and at the International Music Festival in Prague in 1946, and in Tel Aviv in 1947; he shared a transcontinental tour of the United States and Israel with Koussevitzky in 1951, and in 1953 became the first American ever to be invited to conduct a production at the Teatro alla Scala in Milan (Cherubini’s Medea with Maria Callas). Meanwhile, he was making almost annual tours with the New York Philharmonic, both in his years as music director and afterwards as well, ultimately playing hundreds of concerts in 70 cities throughout 35 countries. For an international tour that commemorated the United States Bicentennial in 1976 he programmed only American music and played it to sold-out houses wherever he went.
His support and promulgation of American composers is a matter of record, particularly in the case of Aaron Copland, whose close friend he had been for decades..."half of his life," Bernstein remarked in an affectionate tribute on the occasion of Copland’s birthday celebration in 1975. As a young pianist he played Copland so much that he called the Piano Variations his trademark. As conductor he programmed and recorded (several of them twice) nearly all the Copland orchestral works. He devoted several of his television Young People’s Concerts to Copland and commissioned an important work, Connotations, for the opening of Philharmonic Hall (now Avery Fisher Hall) at Lincoln Center in 1962. At another birthday party, this one in 1979, Bernstein’s greeting happily and publicly acknowledged Copland as "my first friend in New York, my master, my idol, my sage, my shrink, my guide, my counselor, my elder brother, my beloved friend."
Bernstein composed his own first large-scale work, the Jeremiah Symphony, in 1944, inspired by his Jewish heritage. It was performed in Pittsburgh for the first time, the composer conducting. His second symphony, based on a poem by W. H. Auden and called The Age of Anxiety, was first performed by Koussevitzky, with Bernstein as piano soloist, in 1949. The Boston Symphony and the Koussevitzky Foundation together commissioned his Symphony No. 3, subtitled ‘Kaddish.’ It was composed in 1963 and dedicated to the memory of John F. Kennedy.
Other major compositions by Bernstein include Serenade for violin, strings, and percussion (1954); Five Anniversaries for piano solo (1964); Mass: A Theater Piece for Singers, Players, and Dancers, commissioned for the opening of the John F. Kennedy Center for Performing Arts in Washington, DC, and first produced there in 1971; Chichester Psalms for chorus, boy sopranos, and orchestra (1974); a "political overture," Slava!, written in 1977 to honor Mstislav Rostropovich; Songfest, a cycle of songs for singers and orchestra (1977); Divertimento for Orchestra (1980); Missa Brevis (1988) for singers and percussion; Arias and Barcarolles for piano duet (or alternatively, chamber orchestra or string orchestra) and two singers; and Concerto for Orchestra (subtitled Jubilee Games), both works completed and first performed in 1989.
Bernstein’s one-act opera, Trouble in Tahiti, from 1951, was followed in 1983 by A Quiet Place, a sequel meant to be performed with it. He collaborated with choreographer Jerome Robbins in three major ballets: Fancy Free (1944) and Facsimile (1946) for American Ballet Theater; and Dybbuk for New York City Ballet. He composed the film score for the Academy Award-winning On the Waterfront (1954) and the scores for two theater works on Broadway, Peter Pan (1950) and The Lark (1955).
Trained in the classical tradition but always thoroughly attuned to and communicative of the popular idiom as well, Bernstein made substantial contributions to the Broadway musical stage, beginning with On the Town in 1944 and following with Wonderful Town in 1953, Candide in 1956 (also produced by numerous opera companies), and the immensely popular West Side Story (1957), later made into an Academy Award-winning film. His Bicentennial work, 1600 Pennsylvania Avenue, was produced in Washington and on Broadway in 1976.
Bernstein’s eminence as a writer is based on The Joy of Music (1959), The Infinite Variety of Music (1966), Findings (1982), and their translations into nearly a score of other languages. Six lectures given at Harvard University in 1972-73 when he was Charles Eliot Norton Professor of Poetry were later collected into a book entitled The Unanswered Question.
Bernstein was the recipient of scores of honors besides those mentioned. The National Fellowship Award in 1985 applauded his life-long support of humanitarian causes, and he received the Gold Medal from the American Academy of Arts and Letters, to which he was elected in 1981, the MacDowell Colony’s Gold Medal, medals from the Beethoven Society and the Mahler Gesellschaft, New York City’s highest honors in the field of the arts, the Handel Medallion, a Tony Award (1969) for Distinguished Achievement in the Theater, and literally dozens of honorary degrees and awards from colleges and universities including his alma mater, Harvard (Man of the Year in 1966). He was given ceremonial keys to the cities of Oslo, Vienna, Beersheva and Bernstein, Austria among others, and high honors from many nations: Italy, Israel, Austria, Mexico, Denmark, Germany (the Great Merit Cross), England, and France (where, successively, he was created Chevalier, Officer, and Commandeur of the Legion d’Honneur), as well as UNESCO’s Silver Wand. Far from being a prophet without honor in his own country, he received Kennedy Center honors in 1980.
Festivals of Bernstein’s music have been produced throughout the world, most recently at the Beethoven/Bernstein Festival in Bonn, Germany; and in London, produced jointly by the Barbican Centre and the London Symphony (of which he was honorary President since 1987). Another was produced by the Israel Philharmonic in commemoration of his debut concerts with the orchestra 30 years before. (The Israel Philharmonic also tendered him the lifetime title of Laureate Conductor in 1988).
In June 1990, Bernstein was among the first recipients of the Praemium Imperiale, an international prize created in 1988 by the Japan Art Association and awarded for lifetime achievement in the arts. Bernstein used the $100,000 prize to found the Bernstein Education Through the Arts Fund, Inc. before his death on October 14, 1990.
Bernstein was the father of three children: Jamie, Alexander, and Nina, and the grandfather of two: Francesca and Evan.
Leonard Bernstein is published by Boosey & Hawkes.
Leonard Bernstein's offical website is: http://www.leonardbernstein.com
This biography appears on Last.fm by kind permission of Boosey & Hawkes, Inc.
West Side Story: I Feel Pretty
Leonard Bernstein Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Maria, shh
Maria
Be quiet
Come down, no
Maria, please
My mother and father will wake up
A minute is not enough
For an hour then
I cannot
Then forever, shh
I'm coming up (Maria)
Un momentito papa
You see what you have done
Un momentito, Maria, cállate
Shh, it is dangerous
If Bernardo knew
We won't let him know
I am not one of them, Maria
But you are not one of us
And I am not one of you
To me you're the most beautiful
Maruca
Sí ya vengo papa
Maruca
His pet name for me
I like, and he will like me
No, he's like Bernardo, afraid
Imagine being afraid of you
You see?
I see you
Oh, Maria, only see me
Only you, you're the only thing I'll see forever
In my eyes, in my words and in everything I do
Nothing else but you, ever
And there's nothing for me but Maria
Every sight that I see is Maria
Tony, Tony
Always you, every thought I'll ever know
Everywhere I go, you'll be
All the world is only you and me
Tonight, tonight
It all began tonight
I saw you and the world went away
Tonight, tonight
There's only you tonight
What you are, what you do, what you say
Today all day I had a feeling
A miracle would happen
I know now I was right
For here you are
And what was once a world is a star
Tonight
Tonight, tonight
The world is full of light
With suns and moons all over the place
Tonight, tonight
The world is wild a bright
Going mad, shooting sparks into space
Today, the world was just an address
A place for me to live in
No better than alright
But here you are
And what was once a world is a star
Tonight
Maruca, es tarde
I cannot stay, go quickly
I am not afraid
Please
Goodnight
Buenas noches
Yes, yes, hurry
Tony, when will I see you?
Tomorrow
I work at the bridal shop across the street Madam Lucías
I'll come there
At closing time, six o'clock
Yeah, yeah
Good night
Good night
Tony, shh
When you come, use the back door
Sí
Tony
What does Tony stand for?
Anton
Te adoro, Anton
Te adoro, Maria
Good night, good night
Sleep well and when you dream
Dream of me
Tonight
The lyrics of Leonard Bernstein's "West Side Story Overture" convey a conversation between two characters, Maria and Tony. The first part of the lyrics depicts a clandestine meeting between the two lovers, with Maria pleading with Tony to be quiet and not wake up her parents. She expresses her desire to spend more time with him, even if it's just for a minute. However, Tony reassures her that they will have more time together and that he is coming up to join her. There is a sense of fear and danger in their interaction, as they mention Bernardo, who seems to be a threatening figure. Maria and Tony acknowledge their differences and the risks associated with their relationship, but their love for each other is stronger.
In the second part of the lyrics, Tony and Maria express their deep affection for each other. Tony compares Maria to a star and claims that she is the only thing he sees and thinks about. Their love seems all-consuming, as Tony emphasizes that there is nothing else for him but Maria. They refer to a previous encounter between them that marked the beginning of their love story, where the world around them vanished. This reinforces the intensity of their connection. The lyrics also touch on the societal expectations and influences that Tony and Maria are navigating, recognizing that their love is seen as unconventional.
The final part of the lyrics captures the fleeting nature of their encounter. They bid each other goodnight and make plans to see each other the following day. They exchange sentiments of adoration and express their longing for each other. Maria asks Tony to dream of her, further emphasizing their deep emotional connection.
Overall, the lyrics of "West Side Story Overture" beautifully portray the forbidden love and intense emotions experienced by Maria and Tony, as they navigate societal barriers and the risks of their relationship.
Line by Line Meaning
Maria
Be quiet.
Maria, shh
Be quiet, Maria.
Maria
Be quiet.
Be quiet
Be quiet.
Come down, no
No, don't come down.
Maria, please
Please, Maria.
My mother and father will wake up
My parents will wake up.
Just for a minute
Only for a minute.
A minute is not enough
A minute is too short.
For an hour then
Maybe for an hour.
I cannot
I can't do that.
Then forever, shh
Then forever, be quiet.
I'm coming up (Maria)
I'm coming up, Maria.
Un momentito papa
Wait a moment, dad.
You see what you have done
Look at what you've done.
Un momentito, Maria, cállate
Wait a moment, Maria, be quiet.
Shh, it is dangerous
Shh, it's dangerous.
If Bernardo knew
If Bernardo found out.
We won't let him know
We won't tell him.
I am not one of them, Maria
I don't belong with them, Maria.
But you are not one of us
But you don't belong with us.
And I am not one of you
And I don't belong with you.
To me you're the most beautiful
To me, you're the most beautiful.
Maruca
My nickname for you.
Sí ya vengo papa
Yes, I'm coming, dad.
Maruca
My nickname for you.
His pet name for me
The name he affectionately calls me.
I like, and he will like me
I like it, and he will like me.
No, he's like Bernardo, afraid
No, he's like Bernardo, scared.
Imagine being afraid of you
Imagine being scared of you.
You see?
Do you see?
I see you
I see you.
Oh, Maria, only see me
Oh, Maria, just see me.
Only you, you're the only thing I'll see forever
Only you, you're the only thing I will always see.
In my eyes, in my words and in everything I do
In my eyes, in my words, and in everything I do.
Nothing else but you, ever
Only you, forever.
And there's nothing for me but Maria
And there's nothing for me except Maria.
Every sight that I see is Maria
Every thing I see is Maria.
Tony, Tony
Tony, Tony.
Always you, every thought I'll ever know
Always you, every thought I'll ever have.
Everywhere I go, you'll be
Wherever I go, you'll be.
All the world is only you and me
The whole world is only you and me.
Tonight, tonight
Tonight, tonight.
It all began tonight
Everything started tonight.
I saw you and the world went away
I saw you and everything else disappeared.
Tonight, tonight
Tonight, tonight.
There's only you tonight
There's only you tonight.
What you are, what you do, what you say
Who you are, what you do, what you say.
Today all day I had a feeling
All day today, I had a feeling.
A miracle would happen
That a miracle would happen.
I know now I was right
Now I know I was right.
For here you are
Because you're here.
And what was once a world is a star
And what used to be a world is now a star.
Tonight
Tonight.
Tonight, tonight
Tonight, tonight.
The world is full of light
The world is filled with light.
With suns and moons all over the place
With suns and moons everywhere.
Tonight, tonight
Tonight, tonight.
The world is wild and bright
The world is crazy and bright.
Going mad, shooting sparks into space
Going crazy, shooting sparks into space.
Today, the world was just an address
Today, the world was just a place.
A place for me to live in
A place for me to live in.
No better than alright
Nothing more than okay.
But here you are
But now you're here.
And what was once a world is a star
And what used to be a world is now a star.
Tonight
Tonight.
Maruca, es tarde
Maria, it's late.
I cannot stay, go quickly
I can't stay, go quickly.
I am not afraid
I am not scared.
Please
Please.
Goodnight
Goodnight.
Buenas noches
Goodnight.
Yes, yes, hurry
Yes, yes, hurry.
Tony, when will I see you?
Tony, when will I see you?
Tomorrow
Tomorrow.
I work at the bridal shop across the street Madam Lucías
I work at Madam Lucía's bridal shop across the street.
I'll come there
I'll come there.
At closing time, six o'clock
At closing time, at six o'clock.
Yeah, yeah
Yes, yes.
Good night
Good night.
Good night
Good night.
Tony, shh
Tony, be quiet.
When you come, use the back door
When you come, use the back door.
Sí
Yes.
Tony
Tony.
What does Tony stand for?
What does Tony mean?
Anton
Anton.
Te adoro, Anton
I adore you, Anton.
Te adoro, Maria
I adore you, Maria.
Good night, good night
Good night, good night.
Sleep well and when you dream
Sleep well and when you dream.
Dream of me
Dream of me.
Tonight
Tonight.
Lyrics © Universal Music Publishing Group
Written by: Leonard Bernstein, Stephen Sondheim
Lyrics Licensed & Provided by LyricFind
@MusicVideoPlaylistChannel
I Feel Pretty (From "West Side Story")
Lyrics:
I feel pretty
Oh, so pretty
I feel pretty and witty and bright
And I pity
Any girl who isn't me tonight
I feel charming
Oh, so charming
It's alarming how charming I feel
And so pretty
That I hardly can believe I'm real
See the pretty girl in that mirror there?
Who can that attractive girl be?
Such a pretty face
Such a pretty dress
Such a pretty smile
Such a pretty me
I feel stunning
And entrancing
Feel like running
And dancing for joy
For I'm loved by a pretty wonderful boy
Have you met my good friend Maria?
The craziest girl on the block
You'll know her the minute you see her
She's the one who is in an advanced state of shock
She thinks she's in love
She thinks she's in Spain
She isn't in love
She's merely insane
It must be the heat
Or some rare disease
Or too much to eat
Or maybe it's fleas.
Keep away from her send for Chino!
This is not the Maria we know!
Modest and pure
Polite and refined
Well-bred and mature
And out of her mind
I feel pretty
Oh, so pretty
That the city should give me its key
A committee
Should be organized to honor me
I feel dizzy
I feel sunny
I feel fizzy and funny and fine
And so pretty
Miss America can just resign
See the pretty girl in that mirror there?
What mirror where?
Who can that attractive girl be?
Which? What? Where? Who?
Such a pretty face
Such a pretty dress
Such a pretty smile
Such a pretty me
I feel stunning
And entrancing
Feel like running and dancing for joy
For I'm loved
By a pretty wonderful boy
(2022/04/08 13:08)
@Zolwena
And here are the lyrics (for those that like to compare old to new) from 1957.
I feel pretty
Oh so pretty
I feel pretty and witty and gay
And I pity
Any girl who isn't me today
I feel charming
Oh so charming
It's alarming how charming I feel
And so pretty
That I hardly can believe I'm real
See the pretty girl in that mirror there?
Who can that attractive girl be?
Such a pretty face
Such a pretty dress
Such a pretty smile
Such a pretty me!
I feel stunning
And entrancing
Feel like running
And dancing for joy
For I'm loved
By a pretty wonderful boy
GIRLS
Have you met my good friend Maria
The craziest girl on the block?
You'll know her the minute you see her
She's the one who is in an advanced state of shock
She thinks she's in love
She thinks she's in Spain
She isn't in love
She's merely insane
It must be the heat
Or some rare disease
Or too much to eat
Or maybe it's fleas
Keep away from her
Send for Chino
This is not the Maria we know
Modest and pure
Polite and refined
Well-bred and mature
And out of her mind!
Miss America, Miss America, speech!
Miss America, bravo, speech!
MARIA
I feel pretty
Oh so pretty
That the city should give me its key
A committee
Should be organized to honour me
I feel dizzy
I feel sunny
I feel fizzy and funny and fine
And so pretty
Miss America can just resign
See the pretty girl in that mirror there
(What mirror, where?)
Who can that attractive girl be?
(Which, what, where, whom?)
Such a pretty face
Such a pretty dress
Such a pretty smile
Such a pretty me!
MARIA & GIRLS
I feel stunning
And entrancing
Feel like running and dancing for joy
For I'm loved
By a pretty wonderful boy
@seasalt9289
I love how she sings this song with a Puerto Rican accent. The trill of the r in words like “attractive” is so satisfying!
@nickkostopoulos8127
Rachel Zegler should’ve been nominated for an Oscar, and in my heart, she won one for the way she growls the line, “Miss America can just resign!”
@joewhitehead3
I love the way she sang that as well
@salscandura6059
@Joe Whitehead It's a heart breakingly lovely song.
@caseygreyson4178
I don’t like to be one of those people who says “the Oscars are rigged!” But the fact that she won the Golden Globe for best actress and didn’t even get a NOMINATION, I think says a lot.
@laryrumiantzeff
Agreed.
@arianawinters5197
No, she should not
@maraudersarebest6806
why are people acting like the main girl murdered someone… the amount of hate she is getting is overdramatic
@kyleg3418
You mean like the way people react when their culture is shit on?
@LaurenLaass
@@kyleg3418that’s not her fault. The director of Snow White asked her to be in the movie and she agreed. People are unreasonably upset when there are actual horrible people that aren’t getting the level of hate that she is.