Kaddish - Symphony No. 3 For Soprano, Speaker, Boys' Choir, Mixed Chorus And Orchestra 
1 I Invocation. Adagio - Kaddish 1. L'istesso Tempo - Allegro Molto 	8:23 			play	
2 II Din-Torah. Di Nuovo Adagio - Kaddish 2. Andante Con Tenerezza 	16:00 	
3 III Kaddish 3. Scherzo. Presto Scherzando, Sempre Pianissimo - Finale. Adagio Come Nel Din-Torah - Allegro Vivo, Con Gioia 	18:31 	

Symphony In C Major
4 I Allegro Vivo 	7:03 	
5 II Adagio 	9:20 	
6 III Scherzo. Allegro Vivace 	5:21			play 	
7 IV Finale. Allegro Vivace 	6:07 	

Jennie Tourel – mezzo-soprano
Camerata Singers
New York Philharmonic
Leonard Bernstein – conductor

Recorded at Manhattan Center, New York City, USA , 
Tracks 1 to 3: 1964 , Tracks 4 to 7: 1963.

Kaddish is Leonard Bernstein's third symphony. The 1963 symphony is a dramatic work written for a large orchestra, a full choir, a boys' choir, a soprano soloist and a narrator. The name of the piece, Kaddish, refers to the Jewish prayer that is chanted at every synagogue service for the dead but never mentions "death."

The symphony is dedicated to the memory of John F. Kennedy who was assassinated on November 22, 1963, just weeks before the first performance of the symphony. Some see the symphony as a reaction to the Holocaust, in part because of the narration and dedication recently added by Samuel Pisar, in memory of Leonard Bernstein. The text Pisar added was about his personal experiences and how his family suffered and perished in the Holocaust.

The Symphony in C is an early work by the French composer Georges Bizet. According to Grove's Dictionary, the symphony "reveals an extraordinarily accomplished talent for an 17-year-old student, in melodic invention, thematic handling and orchestration." Bizet started work on the symphony on 29 October 1855, four days after turning 17, and finished it roughly a month later. It was written while he was studying at the Paris Conservatoire under the composer Charles Gounod, and was evidently a student assignment. Bizet showed no apparent interest in having it performed or published, and while he used certain material from the symphony in later works, the piece was never played in his lifetime. There is no mention of the work in Bizet's letters, and it was unknown to his earlier biographers. His widow, Geneviève Halévy (1849–1926), gave the manuscript to Reynaldo Hahn, who left it along with other papers to the archives of the conservatory library, where it was found in 1933 by Jean Chantavoine. Soon thereafter, Bizet's first British biographer Douglas Charles Parker (1885–1970) showed the manuscript to the conductor Felix Weingartner, who led the first performance in Basel, Switzerland on 26 February 1935.

The symphony was immediately hailed as a youthful masterpiece on a par with Felix Mendelssohn's overture to A Midsummer Night's Dream, written at about the same age, and quickly became part of the standard Romantic repertoire. It received its first recording on 26 November 1937, by the London Philharmonic Orchestra under Walter Goehr.

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Jeremiah - Symphony No. 1 For Mezzo-Soprano And Orchestra 
1 I Prophecy. Largamente 	7:37 	
2 II Profanation. Vivace Con Brio 	6:39 			play	
3 III Lamentation 	11:19 	

The Age Of Anxiety - Symphony No. 2 For Piano And Orchestra 
4 I The Prologue. Lento Moderato 	2:30 	
5 I The Seven Ages. Var. I-VII 	9:08 	
6 I The Seven Stages. Var. VIII-XIV 	6:16 	
7 II The Dirge. Largo 	6:05 	
8 II The Masque. Extremely Fast 	4:36 			play	
9 II The Epilogue. L'istesso Tempo - Adagio - Andante - Con Moto 	8:08 	

Jennie Tourel – mezzo-soprano
Philippe Entremont – piano

New York Philharmonic
Leonard Bernstein – conductor

Recorded at Manhattan Center, New York City, USA , 
Tracks 1 to 3: 1961 , Tracks 4 to 9: 1965.

Leonard Bernstein, an American icon and perhaps the best known conductor, composer, and music teacher from the New World, may be famous for his Broadway shows such as the entertaining out-of-the-war feeling "On the Town", and the fun and at the same time brooding story of New York's star-crossed "West Side Story". Give him some time though if you only know the "American" side of the composer. He never threw away his Jewish heritage, and this first symphony "Jeremiah" enclosed in the CD is one of the prime examples of witnessing Lenny's musician expression as a Jew. I love this symphony because despite it's musical complexity easy enough to tell it's 20th century genre, the sheer tragic theme of this piece is strong enough to make me bow down in tears. The piece is in three movements; first tells of Jeremiah's pleading to the people, the nailbiting second the corruption done by the people, and the third the lamentation of Jeremiah to Jerusalem, "ruined, pillaged, and dishonored after his desparate efforts to save it". Ms. Jennie Tourel sang brilliantly in the movement.

The second symphony "The Age of Anxiety" is another example of Lenny's serious and musically dark and modern side of music. Based on the poem by W.H. Auden with the same name, it will take you through this spiritual and moral journey. --- Shota Hanai (Torrance, CA)

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1. Overture		5:18
2. Christopher Street (Guide/Tourists/Villagers/Violet)		4:58
3. Ohio (Ruth/Eileen)		3:29	
4. Conquering New York (Ruth/Chorus)		3:52	
5. One Hundred Easy Ways To Lose a Man (Ruth)		3:22
6. What a waste (Baker/Ruth/First Editor/Second Editor)	3:07
7. A Little Bit in Love (Eileen)		2:58
8. Pass the Football (Wreck)		3:46
9. Conversation Piece (Eileen/Frank/Ruth/Chick)		3:48
10. A Quiet Girl (Baker/Men's chorus)		3:38	
11. Conga! (Cadet/Ruth/Cadets)		3:36	
12. Entr'acte		3:54	
13. My Darlin' Eileen (Solo cop/Men's chorus/First Cop/Second Cop/Third Cop/Eileen)	3:33	
14. Swing! (Villager/Ruth/Chorus/First Man/Second Man/First Girl/Second Girl)	 5:14
15. Quiet Incidental (Eileen/Ruth)		0:49	
16. Ohio Reprise (Eileen/Ruth)		1:25	
17. It's Love (Eileen/Baker/Chorus)	3:33
18. Ballet at the Village Vortex		2:28
19. The Wrong Note Rag (Ruth/Eileen/Chorus)		2:25	
20. It's Love Reprise - Finale Act Two (Eileen/Baker/Ruth/Chorus)	1:23

Ruth: Kim Criswell (soprano)
Eileen: Audra McDonald (soprano)
Robert Baker: Thomas Hampson (baritone)
Wreck: Brent Barrett
Guide/First Associate Editor/Frank Lippencott: Rodney Gilfry (baritone)
Secodn Associate Editor/Chick Clark: Karl Daymond (baritone)
Lonigan: Timothy Robinson (tenor)
Firts Cop: Robert Fardell
Second Cop/Second Man: Lynton Atkinson (tenor)
Third Cop/First Man/Cadet/Villager: Michael Dore
First Woman: Simone Sauphanor
Second Woman: Melanie Marshall (mezzo-soprano)
Violet: Kimberly Cobb
Tourists/Greenwich Villagers/Cadets: London Voices

Birmingham Contemporary Music Group
Simon Rattle - conductor

Leonard Bernstein's collaboration with Betty Comden and Adolph Green on Wonderful Town is one of his great Broadway triumphs, filled with memorable music and great lyrics. And the screwball tale of two fish-out-of-water small-town sisters in NYC (based on the play My Sister Eileen by Joseph Fields and Jerome Chodorov) still sounds comical and fresh, despite the fact that it was written in the '50s and set in the '30s. Up until now, the 1958 television cast recording was the disc to have: a slightly embellished version of the original cast recording starring Rosalind Russell. The strong cast on this 1999 studio recording is every bit as impressive. Audra McDonald shines as Eileen during "A Little Bit in Love," Kim Criswell is a fine Ruth (though less memorable than Russell), and Thomas Hampson--a baritone best known for his work on the opera stage--is great as Ruth's gruff editor, Bob Baker. Simon Rattle's orchestrations are grand, yet quirky, a perfect match for Bernstein's score. It's easy to recommend a disc that has so many great vocal moments: "Conga!," "My Darlin' Eileen," "Conversation Piece," and "Pass the Football" (sung by Brent Barrett), to name a few. ---Jason Verlinde, amazon.com

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01. Prologue
02. Jet Song
03. Something's Coming
04. The Dance at the Gym/Blues
05. The Dance at the Gym/Promenade
06. The Dance at the Gym/Mambo
07. The Dance at the Gym/Cha-Cha
08. The Dance at the Gym/Meeting Scene
09. The Dance at the Gym/Jump
10. Maria
11. Balcony Scene (Tonight)
12. America
13. Cool
14. One Hand, One Heart
15. Tonight (Ensemble)
16. The Rumble
17. I Feel Pretty
18. Ballet Sequence
19. Transition to Scherzo
20. Scherzo
21. Somewhere
22. Procession and Nightmare
23. Gee, Officer Krupke
24. A Boy Like That
25. I Have a Love
26. Taunting Scene
27. Finale

Kiri Te Kanawa, Maria
Jose Carreras, Tony
Tatiana Troyanos, Anita
Kurt Ollmann, Riff
Marilyn Horne singing Somewhere

Chorus and Orchestra
Leonard Bernstein

Controversial as an essential Carreras recording, West Side Story isn't an opera, and neither is the tenor, operatic star José Carreras, an American-born Broadway singer. But the music is operatic in quality--let's say in durability. It is Bernstein's most established masterpiece, his surest claim to be remembered as a composer a century from now; the source is Shakespeare and the music has a seriousness, color, and intensity worthy of its subject. And this recording represents the way the composer wanted it to sound, with his choice of the best available voices. Carreras sounds like he was born to sing "Something's Coming," "Maria," and "Tonight." Perhaps he was born to sing them in Spanish, but opera lovers regularly take bigger language problems than that in stride for the sake of vocal quality. ---Joe McLellan, Editorial Reviews

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Bernstein: Serenade after Plato's 'Symposium'
01. I. Phaedrus: Pausanias (06:39)
02. II. Aristophanes (04:40)
03. III. Eryximachus (01:27)
04. IV. Agathon (07:09)
05. V. Socrates: Alcibiades (11:01)

Bloch: Baal Shem
06.. Vidui (Contrition) (03:21)
07. II. Nigun (Improvisation) (06:57)
08. III. Simchas Torah (Rejoicing) (04:58)

Barber: Violin Concerto, Op.14
09. I. Allegro (10:51)
10. II. Andante (08:59)
11. III. Presto in moto perpetuo (04:24)

Vadim Gluzman -  violin
Sao Paolo Symphony Orchestra
John Neschling – conductor

A Ukrainian/Israeli violinist is backed by Brazilian musicians and conductor in a trio of American works of the twentieth century for violin and orchestra, all originating within about 15 years of each other. It's not as unusual as it sounds. In fact, the connections among the musicians and repertory here show that it's not unusual at all. Violinist Vadim Gluzman studied in the U.S., at the Juilliard School with Dorothy DeLay, among others, and his style is a faithful extension of the one Jascha Heifetz brought to the U.S. almost a century ago. São Paulo Symphony Orchestra conductor John Neschling, a Brazilian with Austrian roots (he is a grand-nephew of Arnold Schoenberg), studied conducting with Leonard Bernstein. And the three composers on the program, who might be dubbed the three Bs of American concert music, are linked in many ways. The program is beautifully constructed. The opening work, Bernstein's Serenade, marries a representation of Plato's Symposium, his Socratic dialogue on love, to a musical vocabulary that lightly seasons Bernstein's Bartók/Stravinsky idiom with bits of his musical theater language. Bernstein perversely wrote that the work had no extramusical program, but then went on to provide a fairly detailed one, reproduced in the excellent booklet. The question of the specifically Jewish contribution to American music hangs over all three works to an extent, but surfaces in Bloch's Baal Shem, heard here in its orchestral version of 1939. It's an ideal work to showcase Gluzman's lyrical side before the final Violin Concerto, Op. 14, of Samuel Barber, which resolutely holds off on violinistic fireworks until the finale, something that's true of the album as a whole. Gluzman holds the brutal passagework of the beginning of Barber's finale together, does a satisfactory rendition of the Eastern European accents of the Bloch, and catches the romantic quality of the Bernstein, which steps just to the edge of swinging. Nicely engineered, and highly recommended. The excellent booklet notes, which recount Bernstein's remark that if he ran into a person on the slope of an Alp the Alp disappeared for him, are given in English, German, and French. --- James Manheim, Rovi

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