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Leonard Bernstein: A Life
 
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Leonard Bernstein: A Life [Paperback]

Meryle Secrest (Author)
3.2 out of 5 stars  See all reviews (4 customer reviews)


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Book Description

October 31, 1995
The most insightful and engrossing work we have had from the widely admired biographer of Frank Lloyd Wright ("Captivating ... The reader comes away with an understanding of Wright as a man as well as an architect" -- Washington Post Book World ... "Spellbinding" -- Boston Globe), of Bernard Berenson ("Authoritative and fascinating" -- Philip Toynbee, The Observer ... "A memorable opus" -- Sir Harold Acton), and of Kenneth Clark ("Splendid, enthralling" -- Wall Street Journal).

Here is Leonard Bernstein, full scale and fully alive -- the child prodigy, the man, the composer, the teacher, the hugely charismatic personality, the lover, the American folk hero.

Everything is here: the child growing up in a Hasidic family in Massachusetts, his father a rabbi's son; his first piano at age nine ("I remember touching it ... It was my contact with life, with God"); his reluctant, brilliant, argumentative years at Harvard; the rocky but exhilarating start of his career (scant jobs, no money, but friendships with Aaron Copland, Virgil Thomson, Judy Holliday, Comden and Green, et al.); his spectacular debut (understudy into a star!) as substitute conductor at the New York Philharmonic; the great career over the years as a composer in classical music (the Kaddish Symphony, Chichester Psalms, Songfest), and in musical theater (On the Town, Wonderful Town, Candide, West Side Story, Mass, 1600 Pennsylvania Avenue).

We see Bernstein: the good father to his three children, the man who adored his wife, Felicia Montealegre, the man who adored men, the brilliant and generous mentor, the temperamental artist, the hypochondriac, the politician, the businessman, the Pied Piper ...

His life, his music, the great international cultural world in which he traveled, are richly and vividly portrayed in this magnificent biography, alive with music -- and with life.


From the Hardcover edition.

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Editorial Reviews

From Publishers Weekly

Because this study, by a biographer better known for her books on art figures (Frank Lloyd Wright, Bernard Berenson, Salvador Dali) is the second major one of Bernstein this year, comparisons with the first, by British TV producer Humphrey Burton (Nonfiction Forecasts, Feb. 28), are inevitable. Both biographies are valuable. Burton enjoyed official access to family and papers and Secrest did not, with the perhaps natural consequence that Burton presents Bernstein in a more kindly light. On the other hand, Secrest can approach the maestro with a better sense, as an American, of his cultural context. Secrest is definitively superior on young Lenny's relations with his family; she also offers a more vivid, unvarnished picture of his final unhappy decade, during which he seemed determined, by his outre behavior, to drive away even those who loved and admired him. On the early successes and the golden years from the mid-1940s to the mid-'70s, both books offer a sense of the headlong excitement of Bernstein's prodigious flowering. Burton is stronger on Bernstein the composer, however, giving a far better sense of the value of his work and its place in American music, while Secrest contents herself with contemporary commentary. On basics, these two solid, highly readable books agree: the maestro had a vast talent, particularly as a conductor, that even his regrettable later personal excesses could not diminish. Photos. 35,000 first printing.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Library Journal

Access to Bernstein's papers was denied Secrest (Frank Lloyd Wright, LJ 9/1/92) and given to Humphrey Burton (Leonard Bernstein, Doubleday, 1994). Thus, this second big Bernstein book of 1994 has a different documentary foundation and draws on a different set of interviews, underscoring the point that Bernstein's legacy demands multiple interpretations. Secrest takes issue with some legends, repeats and supports other details, and allows herself to remain perplexed by remaining mysteries. She applies Karen Horney's description of "demoniacal obsession" to Bernstein's perfectionist need to do it all in music: create, re-create, conduct, teach, and inspire. But her welcome perspective allows him his failures, as he never did himself, and credits him with never losing his enthusiasm, the tempering of obsession that makes achievement possible. Recommended as a companion to Burton's work.
--Bonnie Jo Dopp, formerly with District of Columbia P.L.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

Product Details

  • Paperback: 471 pages
  • Publisher: Vintage; 1st Vintage Books ed edition (October 31, 1995)
  • Language: English
  • ISBN-10: 067973757X
  • ISBN-13: 978-0679737575
  • Product Dimensions: 7.9 x 5.2 x 1.1 inches
  • Shipping Weight: 12 ounces
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #2,619,834 in Books (See Top 100 in Books)

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Customer Reviews

4 Reviews
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Average Customer Review
3.2 out of 5 stars (4 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

2 of 2 people found the following review helpful:
4.0 out of 5 stars Read This One, Too...., March 26, 2008
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This review is from: Leonard Bernstein: A Life (Paperback)
I am a "late" fan of Bernstein, so went looking for a good biography. The place to start, obviously, is "Leonard Bernstein" by Humphrey Burton. That bio is much greater in depth and detail. Mr. Burton was LB's television producer and eventually his good friend. No anecdote is left untouched in his nicely arranged work and if you need all the gory details, that's where you go. However, Secrest's "Leonard Bernstein" A Life" is good for other reasons. She is able to step back a bit and talk about areas not covered in Burton's book. Two examples are the background and politics of the U.S. classical music environment during LB's lifetime and the negative effect of Bernstein's public life on his children's lives. I suspect Burton would have felt these were out of place for the former and out of bounds for the latter. However, both areas give great insight into Bernstein's effect on the world and should be told. Not being so personally close to the family, Secrest is able to write with a little more jaundiced eye. Also the myriad of photographs in Secrest's book, scattered throughout at appropriate places, puts faces to the names.

I highly recommend this as a sort of companion volume to Burton's authoratative work. Since they are both inexpensive softcover purchases these days, get them both and enjoy Bernstein twice.
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4 of 8 people found the following review helpful:
3.0 out of 5 stars Not too much here, July 6, 2006
If you have been taught that a book provides more information, analysis, and complexity of thought than visual media, this biography is an exception. One learns very little about Leonard Bernstein here, and you'd be better of (given the choice) to see his concerts for Young People series or the documentary of the making of the fairly bad West Side Story operata, featuring Jose Carreras looking like a bumbling goofball and Bernstein acting like a college music director who had to pick the captain of the football team as a lead in a musical--which is too bad since I believe Bernstein cast him). This book is quite lackluster, which is surprising given the subject matter. It does not address, in depth, any of the internal sufferings or external battles Bernstein waged among the musicati or his deep conflict with homosexuality and his orthodox Jewish roots. What the book does, and this is a good thing is show how Bernstein--despite high brow critics' condenscension--widened the audience for classical music far more than even Pavorati, and that his success included talent, P.R., celebrity, gossip--those things that are uniquely American, and how he was determined to keep his American roots intact, which, among other things had him eschew studying extensively in Europe. In addition, you get an understanding of Bernsteins' 'strangeness,' that rare quality that Harold Bloom talks about that is an ingredient of masterful writers. Secrest does not disparage Bernstein's emotionalism as lots of die-hard classical music aficionados do. It's what made Bernstein who he was, and Secrest makes it evident that although Bernstein created some lousy music, classical music snobs who disparage him owe his a big favor for being a public personality. Without him, these same individuals would have a lot less opportunity to even enjoy classical music since Bernstein helped to create a market for it. He did for music what Carter Burden (former National Gallery director) who mastered the marketing concept of the blockbuster art exhibit. Yea, you could say it is a bit gimmicky, but I prefer that than demolishing art museums and building malls and parking lots in their place.
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2 of 6 people found the following review helpful:
3.0 out of 5 stars Bernstein chronology, November 24, 2001
By A Customer
The book is informative, but not well organized. It jumps back and forth in time too much. Also, the author's lack of musical knowledge shows.
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