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Category Archives: New York NY Concert

Born in the Bronx, William Schuman (1910-1992) dropped out of business school to pursue composition after hearing the New York Philharmonic for the first time.  He became a central figure in New York’s cultural institutions, leaving his presidency of the Juilliard School to become the first director of Lincoln Center in 1962.  All the while he was active as a composer.  He received the inaugural Pulitzer Prize for music in 1943.  He shared a fondness for wind music with his Juilliard contemporaries Vincent Persichetti and Peter Mennin, from which came many classic works for wind band.

Schuman wrote George Washington Bridge in 1950.  It was premiered that summer at the Interlochen Music Camp in Michigan.  From the score:

There are few days in the year when I do not see George Washington Bridge.  I pass it on my way to work as I drive along the Henry Hudson Parkway on the New York shore.  Ever since my student days when I watched the progress of its construction, this bridge has had for me an almost human personality, and this personality is astonishingly varied, assuming different moods depending on the time of day or night, the weather, the traffic and, of course, my own mood as I pass by.

I have walked across it late at night when it was shrouded in fog, and during the brilliant sunshine hours of midday.  I have driven over it countless times and passed under it on boats.  Coming to New York City by air, sometimes I have been lucky enough to fly right over it.  It is difficult to imagine a more gracious welcome or dramatic entry to the great metropolis.

The Cincinnati Wind Symphony performs the piece:

The bridge itself is an iconic monument connecting New York City to Fort Lee, New Jersey.  For some facts about it, visit this website, run by the town of Fort Lee.

Read more on George Washington Bridge the piece at Music Sales Classical, WQXR, and the University of Maryland Wind Orchestra blog.  Schuman has bios on Wikipedia, his own official website, G. Schirmer, Theodore Presser, and Naxos.


Originally from Cleveland, Ohio, Eric Ewazen (b. 1954) is a composer and teacher at the Juilliard School in New York City, where he has been on the faculty since 1980.  He studied at Juilliard and the Eastman School of Music with Samuel Adler, Milton Babbitt, Joseph Schwantner, Gunther Schuller, and Warren Benson.  His works, which have won him many awards, have been performed and recorded by prestigious ensembles and artists all over the world.

Ewazen’s notes from the score of Hymn for the Lost and the Living:

On September 11, 2001, I was teaching my music theory class at the Juilliard School, when we were notified of the catastrophe that was occurring several miles south of us in Manhattan. Gathering around a radio in the school’s library, we heard the events unfold in shock and disbelief. Afterwards, walking up Broadway on the sun-filled day, the street was full of silent people, all quickly heading to their homes. During the next several days, our great city became a landscape of empty streets and impromptu, heartbreaking memorials mourning our lost citizens, friends and family. But then on Friday, a few days later, the city seemed to have been transformed. On this evening, walking up Broadway, I saw multitudes of people holding candles, singing songs, and gathering in front of those memorials, paying tribute to the lost, becoming a community of citizens of this city, of this country and of this world, leaning on each other for strength and support. A Hymn for the Lost and the Living portrays those painful days following September 11th, days of supreme sadness. It is intended to be a memorial for those lost souls, gone from this life, but who are forever treasured in our memories.

A Hymn for the Lost and the Living was commissioned by and is dedicated to the US Air Force Heritage of America Band, Langley Air Force Base, Virginia, Major Larry H. Lang, Director.

Here is the original recording by the Air Force Band.  Note that Ewazen revised the piece after this recording, particularly after m. 115.

While it was originally written for band, Hymn for the Lost and the Living also exists in versions for orchestra, trumpet and piano, and trombone and piano, all arranged by Ewazen himself.  For a taste, here is the trumpet and piano version:

Eric Ewazen has a Wikipedia page and his own web site.  He is also featured in interviews with the Juilliard Journal and Bruce Duffie, and on the Luncheon Project.  There is a great entry on Hymn for the Lost and the Living on the Wind Repertory Project.

Brooklyn’s Gershwin brothers, George and Ira, were among the leading Tin Pan Alley songwriters of the 1920s and 30s, with countless popular songs and six Broadway musicals to their name.  But George (1898-1937), who wrote all of the music to Ira’s lyrics, longed for a place in the classical music pantheon.  In 1924, his Rhapsody in Blue for piano and band (later orchestra) established his credentials as a serious composer.  Its use of jazz elements within classical structures became a hallmark of Gershwin’s style.  His Piano Concerto in F and An American in Paris continued in this direction, culminating in his 1935 opera Porgy and Bess.  Despite his success in the classical arena, Gershwin’s requests for lessons with other major composers were repeatedly denied.  Arnold Schoenberg, for example, told him “I would only make you a bad Schoenberg, and you’re such a good Gershwin already.”

Porgy and Bess is based on DuBose Heyward’s novel Porgy.  It follows the adventures of Porgy, a crippled black beggar in South Carolina.  All of its major roles are black characters, which has led some to see the opera as racist.  These concerns have largely given way to the beauty and intensity of the music, helped by Ira Gershwin’s insistence that the opera only be performed with a black cast.  Because of this requirement the opera is rarely given a full staging.  However, the many memorable numbers from the opera can be heard regularly in a variety of arrangements such as the one we are playing.

Porgy and Bess on Wikipedia.

Origin of the opera and detailed story synopsis on

A preview of Heyward’s Porgy on Google Books.

Porgy and Bess on PBS Great Performances.

About the composer: – the official Gershwin family website.

George Gershwin bio at

Another Gershwin bio, with portraits, at

And now some video!

The South Jersey Area Wind Ensemble plays the James Barnes arrangement of Porgy and Bess, played be the Columbia Summer Winds in the 2010 under the baton of Bill Tonissen:

There is also a Robert Russell Bennett version of Porgy and Bess for band, called the Porgy and Bess Selection.  Unfortunately there are no decent recordings of this at my disposal, including the CUWE recordings in 2003 and 2006, which are marred by a terrible recording device and a terrible performance venue (Miller Theatre) respectively.

An excerpt from the opera itself, as recorded for film based on a 1986 Glyndebourne Opera production:

There are several other clips like this on YouTube which you can find if you click around a bit.

Finally, a bonus: Gershwin plays his hit “I Got Rhythm” in 1931.

Leonard Bernstein (1918-1990) was an erudite, passionate musician whose exceptional talents and expressive gifts earned him a special place in the hearts of New Yorkers.  He rose to instant national fame in 1943, at age 25, when he filled in for the suddenly ill Bruno Walter as conductor of a nationally televised New York Philharmonic performance.  He went on to become the Philharmonic’s music director until 1969, and remained a frequent guest conductor there until his death.  With the Philharmonic, he presented a series of 53 educational Young People’s Concerts which were broadcast on CBS, making him a familiar face around the nation.  He also composed music, crossing from academic classical music into Broadway musicals, including West Side StoryOn the Town, and Candide.

Bernstein’s operetta Candide (1956) is based on the French philosopher Voltaire’s satirical 1759 novella of the same name.  Candide is an innocent young man who lives in a sheltered paradise.  He is mentored by Dr. Pangloss, who believes that they live in “the best of all possible worlds.”  This optimistic principal is tested to the breaking point as Candide is cast out of his reverie into one abhorrent trial after another.  By the story’s end, he has seen everything he ever loved wither away amidst death, destruction, and deceit on a massive scale all over the world.  He finally amends his life’s philosophy to the more pragmatic “let us cultivate our garden.”  The story amounts to a thorough skewering of the then-fashionable optimistic philosophy, with a few jokes at the expense of government, religion, and society thrown in for good measure.  Voltaire’s original version is one of the most widely-taught pieces of literature in the Western canon.  Bernstein’s operetta, though not a success in its first incarnation, is a staple in the repertoire of opera companies around the world.

The Overture to Candide is the most famous excerpt of the operetta.  It is played hundreds of times all over the world every year.  It is considered to be sort of the theme song of Bernstein’s beloved New York Philharmonic, who have played it without a conductor ever since his death.  2 band transcriptions exist, one by Walter Beeler, the other by Clare Grundman (we’re playing the Beeler).

Video 1: Band version (the ending gets away from them a bit).

Video 2: Bernstein himself conducts it!

The Candide Suite was arranged by Clare Grundman.  Its five movements each are based on one number from the operetta: “The Best of all Possible Worlds”, “Westphalia Chorale and Battle Music”, “Auto-da-fe”, “Glitter and Be Gay”, and “Make Our Garden Grow”.

Columbia Summer Winds only did the final movement of the suite, “Make Our Garden Grow”.  So here is the band version as realized by Grundman, a good performance but perhaps a bit quick for my taste:

Now a concert performance of the actual opera version, with Bernstein himself conducting.  The sound is a bit out of sync with the video, and the volume level is quite low, but crank it up (no really, CRANK IT UP!!) and it’s absolutely worth it, a truly, deeply moving experience:

Now some links: – a true treasure trove of everything Bernstein, including many personal reflections by friends, relatives, and colleagues.

Leonard Bernstein on Wikipedia.

The Leonard Bernstein Collection at the US Library of Congress.

A lengthy and heartfelt essay on Bernstein and his influence at

Voltaire’s Candide on wikipedia – highly recommended reading!

Full text of Voltaire’s Candide at – also recommended reading!

Sparknotes version of Candiderecommended for both its summary and its rather in-depth analysis.  I think it’s longer than the book itself!

Candide the operetta on wikipedia.

Candide the drinking game – bonus for those of you who got down this far.

Overture to Candide is a 2011 senior choice for hornist and CUWE Vice-President Carmen Sheills.