Leonard Bernstein - Five Anniversaries & Thirteen Anniversaries | Текст песни

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Leonard Bernstein
Five Anniversaries (1949-51) 00:00
1- For Elizabeth Rudolf
born on January 23, 1894
2- For Lukas Foss
born on August 15, 1922
3- For Elizabeth B. Ehrman
born on January 22, 1883
4- For Sandy Gellhorn
born on April 23, 1951
5- For Susanna Kyle
born on July 24, 1949
Thirteen Anniversaries (1960-1988) 07:29
1- For Shirley Gabis Rhoads Perle
born on April 7, 1924
2- In Memoriam: William Kapell
September 20, 1922 -October 29, 1953
3- For Stephen Sondheim
born on March 22, 1930
4- For Craig Urquhart
born on September 3, 1953
5- For Leo Smit
born on January 12, 1921
6- For My Daughter, Nina
born on February 28, 1962
7- In Memoriam: Helen Coates
born on July 19, 1899
8- In Memoriam: Goddard Lieberson
April 5, 1911-May 29, 1977
9- For Jessica Fleischmann
born on September 19, 1965
10- In Memoriam: Constance Hope
December 23, 1904-June 13, 1977
11- For Felicia, On Our 28th Birthday (& Her 52nd)
February 6, 1974
12- For Aaron Stern
born on November 3, 1949
13- In Memoriam: Ellen Goetz
June 16, 1930-January 27, 1986

Dorella Sarlo, piano

The Five Anniversaries date from 1945-51 and their most famous dedicatee is surely the American composer Lukas Foss, to whom the second piece is dedicated, where the two hands follow each other almost continually in simple canon imitation. Alongside the very lively third (almost a Gigue), and the fifth (a very delicate piece), the fourth and first have the tone of simple ditties; the fourth, given the date of birth of the dedicatee was written for the birth of a little girl and is curiously reminiscent of many passages of the twenty-fifth piece in Schumann's Album für die Jugend.
The Thirteen Anniversaries were written between 1960 and 1988; the printed edition of the collection is dated 1989 and as such counts among the last works published in Bernstein's lifetime. Many of the works bear the mark of the skilled song composer: among them number six for his daughter Nina and number eleven for his wife Felicia on the anniversary of their first meeting; with family intimacy the former begins whispering \"Nina, Nana\" on two close notes. Some pieces were written \"in memoriam\", but we should not think that all the numbers were written in sadness: number two, for example, is a bold and lively piece, made up of staccato sounds and angular sequences of fourths; number nine has a witty tone, almost like a musical. In number ten, Bernstein rather suprisingly inserts a dodecaphonic series over which two verses by Edgar Allan Poe are pronounced \"like a recitative\". The last piece in the set possesses a simple motion and elegiac, absorbed, meditative tone, sounding the most heart-felt of all: it transmits a sense of intimate emotion and is a little pearl of musical intuition. One curiosity: number nine includes the insertions by the pianist of a little sound effect, a sort of ‘tsk’ which regularly enters the gentle melodic progression.
From Music Notes by Mauro Balma

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