Book contents
- Leonard Bernstein in Context
- Composers in Context
- Leonard Bernstein in Context
- Copyright page
- Contents
- Illustrations
- Musical Examples
- Contributors
- Preface
- Part I Bernstein’s World
- Part II Conducting
- Part III Composition, Creation, and Reception
- Part IV Bernstein as Musical and Cultural Ambassador
- Chapter 20 Music Appreciation
- Chapter 21 Omnibus
- Chapter 22 The Young People’s Concerts
- Chapter 23 Israel
- Chapter 24 The USSR
- Chapter 25 Asia
- Chapter 26 Latin America
- Part V Connections
- Part VI The Legacy
- Further Reading
- Index
Chapter 26 - Latin America
from Part IV - Bernstein as Musical and Cultural Ambassador
Published online by Cambridge University Press: 06 April 2024
- Leonard Bernstein in Context
- Composers in Context
- Leonard Bernstein in Context
- Copyright page
- Contents
- Illustrations
- Musical Examples
- Contributors
- Preface
- Part I Bernstein’s World
- Part II Conducting
- Part III Composition, Creation, and Reception
- Part IV Bernstein as Musical and Cultural Ambassador
- Chapter 20 Music Appreciation
- Chapter 21 Omnibus
- Chapter 22 The Young People’s Concerts
- Chapter 23 Israel
- Chapter 24 The USSR
- Chapter 25 Asia
- Chapter 26 Latin America
- Part V Connections
- Part VI The Legacy
- Further Reading
- Index
Summary
A large amount of Latin American popular, folk, and art music circulated in the United States during the twentieth century. It was not just popular music composers that had dialogue with it; classically trained composers such as Leonard Bernstein also did. However, more than the music tradition that Bernstein absorbed into his compositional language in works such as On the Town (1944) and West Side Story (1957), this chapter argues that Latin American music also served as a medium to express Bernstein’s ideas and feelings about the US socio-political and cultural landscape. Furthermore, the chapter shows that Bernstein’s dialogue and collaboration with Latin American composers at the Tanglewood Music Festival, conducting the New York Philharmonic during the Latin American tour (1958), and performing Latin American music works at the Young People’s Concerts (1958−72), all contributed to and enhanced his vision as a cultural broker.
- Type
- Chapter
- Information
- Leonard Bernstein in Context , pp. 216 - 224Publisher: Cambridge University PressPrint publication year: 2024