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1 results

  • Chapter 14 - Exotic Evocations

  • from Part III - Composition, Creation, and Reception
  • Edited by Elizabeth A. Wells, Mount Allison University, Canada
  • Book:
    Leonard Bernstein in Context
    Published online:
    06 April 2024
    Print publication:
    28 March 2024, pp 114-122

  • Summary

    Bernstein loved to conduct works (e.g., by Liszt, Mahler, Ravel) inspired by dance rhythms and folk songs of various lands and peoples. His own compositions, similarly, often invoke distant places and their musics. Fancy Free and West Side Story include such Latin American dance-types as danzón, mambo, and cha-cha-chá. The soprano in Trouble in Tahiti sings about a film full of stereotypical Pacific-island ‘natives’. Other references to various Elsewheres occur in Songfest (a rhythmically adventurous Latin American sound for ‘A Julia Burgos’; Middle Eastern stylistic allusions in ‘Zizi’s Lament’), On the Town (the Congacabana nightclub scene; the humorously klezmer-ish, rather than Arab-sounding, call of Rajah Bimmy), Wonderful Town (‘Conga!’), and two works inspired by visits to Palestine/Israel: ‘Silhouette (Galilee)’, based on a well-known Arab song (including some Arabic words); and Four Sabras, no. 2, for piano (‘Idele, the Chasidele’), which abounds in typically East European Jewish musical traits.