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For Leonard Bernstein, music was a language capable of communicating more directly than in words, and jazz was a crucial part of his musical vocabulary. As an idiom made up of a range of styles - whether stride, boogie-woogie, swing, bebop, or cool - jazz was central to Bernstein's compositional aesthetic, particularly in his approach to tonality and to defining American music. The blues, as a special part of this jazz idiom, also helped Bernstein articulate a personal identity, expressing everything from sensuality to humor to loss and isolation. This text will examine the shifting meanings of Bernstein's jazz language in theatrical and symphonic works from across his career.

Music --- Jazz --- History and criticism. --- Bernstein, Leonard, --- Amber, Lenny, --- Bānsutain, Renādo, --- Bernshṭain, Leʼonard, --- Bernshtėĭn, Leanard, --- Bernstaĭn, Leonard, --- Bernstain, Leonarnt, --- Bernstayn, Leonard, --- Bernstein, L. --- Bernstein, Lenny, --- Bernstein, Leonardus, --- Bernstein, Louis, --- Bernsteins, Leonards, --- Boensitan, Lunnade, --- Bŭrnsteĭn, Lenard, --- Striboneen, Randel, --- Μπερνστάιν, Λέοναρντ, --- Бърнстейн, Ленард, --- Бернстайн, Леонард, --- Бернштэйн, Леанард, --- ברנשטיין, ליאונרד, --- バーンスタイン, レナード, --- レナード・バーンスタイン, --- 伦纳德·伯恩斯坦, --- 伯恩斯坦, 伦纳德, --- Criticism and interpretation. --- Bernstein, Leonard

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The formative early ballets of West Side Story creators Leonard Bernstein and Jerome Robbins explored in detail for the very first time. Leonard Bernstein and choreographer Jerome Robbins stand as giants of the musical-theatre world, but it was ballet that launched their stage careers and established their relationship. With Fancy Free (1944), their triumphant debut collaboration produced by Ballet Theatre, Bernstein, Robbins, and set designer Oliver Smith - all only twenty-five years old - captured the spirit of wartime New York, created a defining ballet of the period still widely performed today, and became overnight sensations. The hit musical On the Town (1944) and a now largely forgotten ballet, Facsimile (1946), followed over the next two years. Drawing extensively on previously unpublished archival documents, Bernstein and Robbins: The Early Ballets provides a richly detailed and original historical account of the creation, premiere, and reception of Fancy Free and Facsimile. It reveals the vital and sometimes conflicting role of Ballet Theatre, explores how Bernstein composed the scores, sheds light on the central importance of Oliver Smith, and considers the legacy of these works for all involved. The result is a new understanding of Bernstein, Robbins, and this formative period in their lives.

Ballets. --- Ballet music --- Dance music --- Dramatic music --- Bernstein, Leonard, --- Robbins, Jerome --- Criticism and interpretation. --- Rabinowitz, Jerome Wilson --- Robbins, Jerry, --- Amber, Lenny, --- Bānsutain, Renādo, --- Bernshṭain, Leʼonard, --- Bernshtėĭn, Leanard, --- Bernstaĭn, Leonard, --- Bernstain, Leonarnt, --- Bernstayn, Leonard, --- Bernstein, L. --- Bernstein, Lenny, --- Bernstein, Leonardus, --- Bernstein, Louis, --- Bernsteins, Leonards, --- Boensitan, Lunnade, --- Bŭrnsteĭn, Lenard, --- Striboneen, Randel, --- Μπερνστάιν, Λέοναρντ, --- Бърнстейн, Ленард, --- Бернстайн, Леонард, --- Бернштэйн, Леанард, --- ברנשטיין, ליאונרד, --- バーンスタイン, レナード, --- レナード・バーンスタイン, --- 伦纳德·伯恩斯坦, --- 伯恩斯坦, 伦纳德, --- Ballets --- Ballet. --- History and criticism. --- Fancy free (Choreographic work : Robbins) --- Facsimile (Choreographic work : Robbins) --- Dance --- Pantomime

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Bold new essays demonstrate how Leonard Bernstein influenced American culture, society, and politics through his conducting, composing, political relationships, and activism.

Bernstein, Leonard, --- Amber, Lenny, --- Bānsutain, Renādo, --- Bernshṭain, Leʼonard, --- Bernshtėĭn, Leanard, --- Bernstaĭn, Leonard, --- Bernstain, Leonarnt, --- Bernstayn, Leonard, --- Bernstein, L. --- Bernstein, Lenny, --- Bernstein, Leonardus, --- Bernstein, Louis, --- Bernsteins, Leonards, --- Boensitan, Lunnade, --- Bŭrnsteĭn, Lenard, --- Striboneen, Randel, --- Μπερνστάιν, Λέοναρντ, --- Бърнстейн, Ленард, --- Бернстайн, Леонард, --- Бернштэйн, Леанард, --- ברנשטיין, ליאונרד, --- バーンスタイン, レナード, --- レナード・バーンスタイン, --- 伦纳德·伯恩斯坦, --- 伯恩斯坦, 伦纳德, --- Criticism and interpretation. --- Music and diplomacy --- Music --- History --- Political aspects --- Social aspects --- History and criticism. --- Political activity. --- United States --- Washington (D.C.) --- Politics and government --- Songs and music. --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Diplomacy and music --- Diplomacy --- Washinton (D.C.) --- Vashington (D.C.) --- Wāshinṭūn (D.C.) --- Nation's Capital (D.C.) --- Corporation of the City of Washington (D.C.) --- Washington City (D.C.) --- Federal City (D.C.) --- Wash. (D.C.) --- City of Washington (D.C.) --- DC (D.C.) --- D.C. (D.C.) --- District of Columbia --- Вашингтон (D.C.) --- Vasington (D.C.) --- Huachengdun (D.C.) --- 华盛顿 (D.C.) --- American culture. --- American history. --- Leonard Bernstein. --- Washington, DC. --- activism. --- artistic landscape. --- composing. --- conducting. --- conservative politics. --- early performances. --- liberal politics. --- music in democracy. --- political relationships. --- political-diplomatic aims. --- politics in music. --- premieres. --- twentieth-century America.