Beruflich Dokumente
Kultur Dokumente
William Grimes
Music History 530
February 28th, 2019
2
Background
At the end of the summer of 1939, shortly after graduation with honors from Harvard,
Leonard Bernstein sketched out what he called a “Hebrew Song.” He based the song on the
Book of Lamentations and scored it for soprano and orchestra.1 Bernstein was in a very dark
mood at the end of that summer as he returned penniless and jobless from New York.
Here I was, twenty-one, and a graduate of Harvard, and I couldn’t find a job.
That was a big sense of defeat. And there I was on September first, sitting in
Sharon, Massachusetts, where we had our funny little summer house. The
news of Hitler marching into Poland broke, which further depressed me, and I
realized the jig was up and we were in for something. That something turned
out to be World War II.2
Bernstein would return to New York when he received a message from his mentor Dmitri
Bernstein had met him during while still a music student at Harvard.3 Mitropoulos encouraged
Bernstein to pursue a career in conducting, despite never seeing him conduct. With
Mitropoulos’s urging, Bernstein attempted to enroll in conducting classes at Julliard, but the
classes were already full for the fall term. Mitropoulos would then suggest that Bernstein look
into studying with Fritz Reiner at the Curtis Institute in Philadelphia.4 Bernstein would accept a
1
“Works: Jeremiah Symphony No. 1,” Leonard Bernstein Foundation, Accessed February 19, 2019,
https://leonardbernstein.com/works/view/4/symphony-no-1-jeremiah.
2
Bernstein, Leonard, Reflections, DVD, Directed by Peter Rosen, (United States Information Agency,
1978).
3
“Leonard Bernstein,” Oxford Music Online, Last modified July 10, 2012,
https://doi.org/10.1093/gmo/9781561592630.article.A2223796.
4
Joan Peyser, Bernstein A Biography (New York: Billboard Books, 1998), 65.
3
spot at Curtis, and the simple “Hebrew Song” that he had been working on would lay dormant
While at Curtis, and while attending The Tanglewood Music Festival in the summer of
1940, Bernstein never studied composition. “It never occurred to me to study composition.
Whatever I wrote I took to Aaron (Copland). Aaron was my guide. That seemed to be as much
a study of composition as I could take.”5 After graduating from Curtis, Bernstein returned to
New York and began to work for a small publishing firm. The firm, called Harms, would
eventually sign Bernstein as a composer and pay him an advance for his clarinet sonata.6
In the spring of 1942, Bernstein began to compose the first movement of a symphony.
He soon came to realize that this new movement, along with the Scherzo he planned to follow it,
would work well with his “Hebrew Song” from 1939. Bernstein revisited his “Hebrew Song”,
and the piece was reworked into the final movement of his new symphony.
The soprano part from his original work became a mezzo-soprano part, and the orchestral
parts were extensively reworked.7 Bernstein’s hectic schedule in 1942, slowed the development
of the piece along with his song cycle “I Hate Music” that he was composing at the same time.8
Serge Koussevitsky, was serving as chairman of the jury for the competition. Bernstein found
5
Ibid., 81.
6
Ibid., 99.
7
“The History in This Program,” New York Philharmonic, Accessed on February 19, 2019,
https://nyphil.org/~/media/pdfs/program-notes/1718/Bernstein-Symphony-No-1-Jeremiah.pdf.
8
Humphrey Burton, Leonard Bernstein,(New York: Double Day, 1994), 103.
4
himself in a mad rush to complete the symphony before the December 31 deadline. His sister
anonymously. Bernstein’s girlfriend at the time, Edys Merill, handed it to Olga Naumoff at
Jeremiah did not win the competition, but in 1943 Harms, the same publisher that had
released Bernstein’s Clarinet Sonata, wished to add Jeremiah to their catalogue. Bernstein was
so encouraged by this that he sent two full copies of the score to his two conducting teachers
Premiere
Reiner loved Jeremiah and invited Bernstein to conduct it with the Pittsburgh Symphony
in the fall of 1943; however, he tried to persuade his former student to add a fourth, more
uplifting movement. In a letter to Copland Bernstein lamented about Reiner’s insistence saying,
“..he is most anxious for a fourth movement; insists it’s all too sad and defeatist. I really haven’t
9
Ibid., 104.
10
Ibid., 106.
5
the time or the energy for a fourth movement. I seem to have had my say as far as that piece is
Reiner’s enthusiasm. In August, he invited Bernstein up to talk about Jeremiah. “Kouss. went
overboard about my symphony! Gave me a great long speech about at last we have the great
Jewish music!”12
With Koussevitzky’s new interest in Jeremiah, Reiner made arrangements to have the
work performed sooner than originally planned. With Jennie Tourel as the mezzo-soprano
soloist and the Pittsburgh Symphony Orchestra, Jeremiah had its premiere on January 28, 1944,
at the Syria Mosque in Pittsburgh, Pennsylvania. Bernstein himself conducted the performance.
The next day, The Pittsburgh Sun-Telegraph hailed Jeremiah as a piece de resistance and to
Bernstein as a brilliant craftsman.13 Less than a month later, Bernstein stood in front of the
Boston Symphony to conduct Jeremiah again. By April Bernstein had conducted Jeremiah, four
times with the New York Philharmonic. “Jeremiah was broadcast on seventy radio stations
across the country, and over the next few years Bernstein conducted it in Chicago, New York, St.
Prior to the remarkable success of Jeremiah, Bernstein's had his legendary conducting
debut with the New York Philharmonic as a sudden substitute for the ill Bruno Walter. On
11
Ibid., 107.
12
Ibid., 107.
13
“Celebrating the 75th Anniversary of the Premiere of Symphony No. 1,” Leonard Bernstein Foundation,
Last modified Jaunary 24, 2019, https://leonardbernstein.com/news/blog/84/celebrating-the-75th-anniversary-of-the-
premiere-of-symphony-no-1-jeremiah.
14
“Works: Jeremiah Symphony No. 1,” Leonard Bernstein Foundation, accessed February 19, 2019,
https://leonardbernstein.com/works/view/4/symphony-no-1-jeremiah.
6
November 14, 1943, he conducted the Philharmonic on a nation-wide radio broadcast. When
Sam Bernstein, who had not always been supportive of Leonard’s musical ambitions, witnessed
the audience responding at Carnegie Hall that day, he went backstage to congratulate his son.
Sam was overcome with emotion, and there was a great reconciliation between he and Leonard.
The symphony draws most of its inspiration from the writings of the Hebrew prophet
Jeremiah. Jeremiah warned the Israelites of their sinful ways and how they would lead to
disaster. His prophecy came true in 587BCE, when Solomon’s Temple was destroyed during the
fall of Jerusalem to the Babylonians. Jeremiah’s lament over the resulting hardships showed his
deep sorrow and also a sense of hope for the Jewish people.
(II)Profanation, and (III)Lamentation. While the first two movements are purely instrumental,
the final movement adds a mezzo-soprano solo to the full orchestra. The vocal part originally
composed as Bernstein’s “Hebrew Song” in 1939, features a Hebrew text from The Book of
Lamentations of Jeremiah.
The roots of Bernstein’s compositional style came from a strong mix of vernacular
elements including jazz rhythms, jazz harmonies, and the frequent use of blue notes. Blue notes
are most commonly the flatted third and seventh note of a scale. Bernstein also had a fondness
for “lyrical melodies based on disjunct intervals, triadic harmonies with added tone chords,
occasional bitonality, and shifting meters and time signatures based on unusual combinations of
15
Ibid.
7
two and three note groups such as five or seven.”16 Bernstein would use his proclivity for
Anxiety (1949), and Kaddish (1963). Jeremiah would not be as theatrically based as Bernstein’s
two later symphonies. Age of Anxiety and Kaddish would both be composed after Bernstein had
entered the world of Broadway with the production of On the Town in 1944.
In the notes that Bernstein made for the premiere of Jeremiah in 1944, Bernstein
addressed the themes and dramatic use that he used while composing the symphony.
“The Symphony does not make use to any great extent of actual Hebrew thematic material. The
first theme of the scherzo is paraphrased from a traditional Hebrew chant, and the opening phrase
of the vocal part in the “Lamentation” is based on a liturgical cadence still sung today in
liturgical music are a matter of emotional quality, rather than of the notes themselves.”17
meaning was implied as an emotional quality more than a literal one. Bernstein’s notes for the
premiere addressed the programmatic content Jeremiah. “The first movement (“Prophecy”)
aims only to parallel in feeling the intensity of the prophet’s pleas with his people; and the
scherzo (“Profanation”) to give a general sense of the destruction and chaos brought on by the
pagan corruption within the priesthood and the people. The third movement (“Lamentation”),
being a setting of poetic text, is naturally a more literary conception. It is the cry of Jeremiah, as
16
“Leonard Bernstein,” Oxford Music Online,” Last modified July 10, 2012,
https://doi.org/10.1093/gmo/9781561592630.article.A2223796.
17
“The History in This Program,” New York Philharmonic, accessed on February 19, 2019,
https://nyphil.org/~/media/pdfs/program-notes/1718/Bernstein-Symphony-No-1-Jeremiah.pdf.
8
he mourns his beloved Jerusalem, ruined, pillaged, and dishonored after his desperate efforts to
save it.”18
Jeremiah would bring great success to Bernstein. The Symphony would establish him as
a major American composer. It would also establish the theme that Bernstein would address in
many of his concert and theatrical works. In August 1977, while Leonard Bernstein was in
Berlin making what would become his final recording of the Jeremiah Symphony, he shared
1945, with the New York Philharmonic in 1961, and with the Israel Philharmonic Orchestra in
1977. Jeremiah did not win the original competition that Bernstein had finished it for, but it was
rewarded the New York Music Critics Circle’s outstanding new classical work of the season in
1944.20
Conclusion
18
Ibid.
19
Ibid.
20
“Works: Jeremiah Symphony No. 1,” Leonard Bernstein Foundation, accessed February 19, 2019,
https://leonardbernstein.com/works/view/4/symphony-no-1-jeremiah.
9
Jeremiah has become a standard in the repertoire of many American and International
orchestras, and it has stood the test of time as one of Bernstein’s greatest concert works. It came
at a unique time in the life of Bernstein. His fame as a Broadway composer had not begun, but
The music Bernstein composed for Jeremiah shows a young composer starting to use his
own unique voice. The use of multi-meters, voice part with orchestra instrumentation, and
disjunct chromatic melodic lines would all become compositional devices that Bernstein would
Bibliography
Bernstein, Leonard. Reflections. DVD. Directed by Peter Rosen. United States Information
Agency, 1978.
Leonard Bernstein Foundation. “Celebrating the 75th Anniversary of the Premiere of Symphony
No. 1.” Last modified Jaunary 24, 2019.
https://leonardbernstein.com/news/blog/84/celebrating-the-75th-anniversary-of-the-
premiere-of-symphony-no-1-jeremiah.
Leonard Bernstein Foundation. “Works: Jeremiah Symphony No. 1.” Accessed February 19,
2019. https://leonardbernstein.com/works/view/4/symphony-no-1-jeremiah.
The New York Philharmonic. “The History in This Program.” Accessed on February 19, 2019.
https://nyphil.org/~/media/pdfs/program-notes/1718/Bernstein-Symphony-No-1-
Jeremiah.pdf.
Oxford Music Online. “Leonard Bernstein.” Last modified July 10, 2012.
https://doi.org/10.1093/gmo/9781561592630.article.A2223796.