This is a great book for those who wish to know how a composer/conductor thinks about music. The discussion presented is witty, intelligent and very insightful. My only problem with the book is that it should be accompanied by a CD or video tape. All of the examples are presented as written music. If you can't read and play/sing the music in the book you will have only a vague idea of the point the author is trying to make.

This is a complete, lucid, approachable and vibrant book. The dialogues at the beginning reveal the many facets of Bernstein's character and of his startling brilliance, and the section on modern music should not be missed. Of course, for the sections taken from his Omnibus television programs, the textual medium can only inform the reader what would be happening on screen, and those descriptions probably lack the power of audio-visual aids. It is, however, a work that any student of music, or any lover of music, would be able to take for granted in a Perfect World.

This book might be good, but only for one who has previous experience in playing Jazz piano. It really does not teach you the principles and help you learn jazz. Its more like an exercise book to help improve a already-know-how-to jazz pianist w/ tons of songs inside for practise (and by the way, you would have to have the sheet music for the songs inside to refer to). I personally do not recommend it for beginners.

This serious, authoritative book turned me on to jazz. The author presents the material in bite size chunks. He has a gift for pulling structure from the chaos. This is not Jazz-For-Dummies. The reader is expected to be hard working, but needs no previous experience with jazz. The reader should have access to a piano to play the various chord sequences, but the lessons are invaluable to all instrumentalists.

One downside to this book it that you have to learn the author's unusual notation (figured bass), but the power of this notation is also the book's greatest strength. The notation reveals the structure of jazz and the similarities between the songs. And, hey, Bach used the same notation, so it can't be all bad.

The author gives the chord changes to many common jazz songs. Usually no particular artist or recording is referenced. So, the reader has to hunt around to find performances that resemble the changes the author has given.

Once again, this is my favorite book on the subject. It is never unnecessarily pedantic. It never waters down difficult concepts. The way the book talks about music is how musicians think about music. If this book is not enough, other books in this series by John Mehegan pick up where this one leaves off.

Even now, after his death, Leonard Bernstein remains, at least in my estimation, one of American Musical Theatre's most underappreciated masters. The Three Dance Episodes from On The Town, and the Symphonic Dances from West Side Story provide ample evidence that there's much to appreciate. On The Town tells about three navy GIs on liberty in New York during World War Two. West Side Story, of course, is Bernstein's megahit about a Romeo and Juliet among Hell's Kitchen street gangs in the 1950s. Both scores create an engaging blend of Musical Comedy, Jazz, and dance music inspired by Stravinsky and Copland. These selections amply demonstrate both this music's complexity and popular appeal. Please don't misunderstand; these dance selections are no more muzak Bernstein than the Carmen suites are muzak Bizet. Anyone who buys sheet music regularly nowadays knows that music can be pricey. Boosey and Hawkes editions aren't exceptional in that regard. For approximately the same price, the Norton Scores anthology contains, among all its treasures, the West Side Story Dances. The trouble is, Norton doesn't have the On The Town dances. The Boosey and Hawkes scores were re-edited prior to the composer's death. The pages are easy to read, the paper's acid free, the softcover is durable. So, if you're a Bernstein freak, like me, perhaps you should bite the bullet.

This book includes excerpts from writings by the great maestro. Some very interesting and revealing of his thought process and others more humorous and random but still enjoyable. Some include "Sonnet: On Acquiring Knowledge" and his Harvard Bachelor's Thesis. Letters are included too. Overall, I recomend it if you're interested in writings from the pen of Bernstein.

Between 1958 and 1972 Leonard Bernsteindid a series of television programs known as the "Young People's Concerts." I can remember watching some of these combination lectures and concerts way back when and being introduced in particular to "In the Hall of the Mountain King." Clearly this 1970 juvenile biography of Bernstein is intended to tell young readers more about "Lenny." Interestingly enough, Molly Cone keeps the emphasis on the world of classical music, referring to the fact that he had written music for the Broadway stage and for Hollywood movies without ever mentioning "West Side Story." But in addition to the biographical details of Bernstein's classical music career the book also emphasizes his love of music and his joy in sharing that love with others. It can certainly be argued that no other person in the 20th century did more to promote classical music in the United States than Leonard Bernstein.

Of course, this juvenile biography also is about the story on a ten-year old boy who comes home from school one day and finds an old up-right piano in the hall. Here is a kid who was skinny and allergy-ridden who starts taking lessons and discovers he is a musical genius. From accomplished piantist to outstanding composer and conductor, Berstein's love for music remains the constant. This book is illustrated by Robert Glaster, whose work you might recognize from Broadway theater posters as well as record-album covers.

This brief biography of the life of Leonard Bernstein captivated me. I am very familiar with the music of Bernstein, but never got to know him the way my parent's generation did.

Bernstein was ever in the forefront of music both popular, and classical. His "Young People's Concerts" made him, and a great deal of classical music, a houshold name. I was too young to enjoy these, however they are now being re-broadcast on cable television for a whole new generation to enjoy.

Although I was captivated by the music of Bernstein long before I ever read this chronology, I understand the music of Bernstein much better now. It is interesting to look at this life from several perspectives- Bernstein as conductor, Bernstein as composer, Bernstein as father, Bernstein as husband. Most interesting is the fact that Bernstein spent his whole life in search of creating the "flagship" compostion that would secure his place in the books.

Meyers has done a fine job at relaying the "self-illustrated" life of Bernstein. It is an honest book, too, detailing Bernstein's affairs, and tantrums.

Meyers shows us an amazing composer, a respected conductor, and a very colorful reflection of 20th century America via the life of Leonard Bernstein.

I was rather surprised that there would be A Rookie Biography of "Leonard Bernstein: All-American Musician" published in 1995 given that the famed composer and conductor died in 1990. Earlier generations of school children were first introduced to classical music through Bernstein's "Young People's Concerts," but those ran from 1958 to 1972 and I do not know if schools are still showing them on videotape. Consequently, I am not sure if young school children today know that Bernstein did more to promote classical music in the United States than anybody else in the last 100 years. Marlene Toby's biography tells the story of how the sickly young Lenny fell in love with a piano and music, went on to get a musical education, became a famous conductor, and then an equally famous composer. Through all of this, Bernstein's love for music comes through and hopefully young readers who pick up this book will have a chance to listen to some of his compositions (Everybody listens to "West Side Story," but I would also recommend Bernstein's "Mass" that was used to open the Kennedy Center for the Performance Arts). "Leonard Bernstein: All-American Musician" includes photographs from throughout his life and musical career. There are several juvenile biographies of Bernstein out on the shelves of your local library but this is the only one that is geared for the youngest sort of readers, so take that into account. Other Rookie Biographies devoted to great musicians look at Bach, Beethoven, Haydn, Mozart, and Sousa.

1n 1971, Leonard Bernstein christened the John F. Kennedy Center for the Performing Arts with the premiere of his flawed, yet passionate masterwork, Mass: a theatre piece for Singers, Players and Dancers. Mass was born out of the turbulent Sixties and their propensity for questioning religious authority. Mass, however, isn't a petulant squabble over sex or patriarchy; it's an investigation of the spiritual quest, and how that quest can bring the seeker into direct conflict with both his/her religious institutions, neighbors, and even his/her own self. It's part Missa Solemnis, part Hamlet, and part orgy. In the score, Bernstein attempted to blend his symphonic style with sixties psychodelic rock. Neither style was well served by such an attempt. Yet among the crossover sludge is some of Bernstein's most profound utterances: the cherubic delights of the Gloria Tibi and the Sanctus, the mystery of the choral hymns, and the simple faith of the Celebrant's songs, all unforgettable to most who've heard them. According to the good people at Amazon.com, the vocal score of Mass is no longer available; the publisher, Boosey and Hawkes, has run out, and, presumably, does not intend to print anymore. Mass, of course, would still be available for performance through the publisher, but if no one has heard the piece, who would want to perform it? Mass is so full of musical gems that not having a vocal score available for purchase serves music lovers ill. Even if the score were exorbitantly expensive, at least libraries, universities, and conservatories could make the music available to its patrons. The music could then be re-introduced to a generation who, I suspect, has lost contact with this masterpiece by one of America's most underappreciated masters.

This is an interesting account of how a team put together a provocative and innovative musical tragedy, bucking the trend of syrupy and simpler musicals for 1950s Broadway. Leonard Bernstein (for music), Stephen Sondheim (for lyrics) and Jerome Robbins (dance and direction) formed the nucleus, but there were also a playwrite, and other specialists and actors who all collaborated. The principals took a substantial risk in their budding careers and forged ahead confident of their inventiveness. The result is Broadway history, which opened the way to treating a myriad of other socially relevant subjects in later years. Though the music is what is remembered best now, it is truly a multi-media event that was pioneering in its time.

I read this because I am writing teaching materials for business execs to study, as a case of effective, if unorthodox, management. That is only one of the many many levels n which it can be read. The author offers a wonderful panorama of the dance, music, and acting that was current - and changed by this musical tradegy - at the time.

It appears that Garebian used only written sources to write this. As many of the participants were alive at least during the lat decade, this limits the account in unfortunate ways. But is it well written and a spur to read more elsewhere.

If you are interested, I would recommend this. If not, go to the biographies of the participants. Nonetheless, it is a solid view into a unique collaboration.

As I was writing a term paper about Broadway musicals a few years ago, I found The Making of West Side Story very helpful to my research. The book tells about the creation of the idea by Jerome Robbins and the subsequent collaboration with Leonard Bernstein, Arthur Laurents, and Stephen Sondheim. It tells of deep research into gang warfare, of grueling rehearsals with the oft-cold Robbins (in constrast to the gentler Bernstein), and of startled reactions to this unusual musical. My only complaint about this book is that it gives no proper respect to the movie version; it refuses to allow for the differences between the stage and the screen. Otherwise, highly recommended.

Maybe this title is the latest and best modern view of "West Side Story". Amazing and surprise you'll have spending your time reading it.

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.

I've read the book twice over a two year period. The book has some very interesting parts pacificly when talking about Candide, his early years, and threw the 50's. Then, mid-way threw the book it becomes tedios to read, and Secrests' not being able to use the Bernstein family archives becomes apparent and the book is not very interesting to read as well as not being well written. Still if you are a Leonard Bernstein fan the book would still be worth reading just not buying. Go to the library for this one.