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ML 4325

Leonard Bernstein

THE AGE OF ANXIETY

(Symphony No. 2 for Psano and Orchestra) (After W. H. Auden)

Leonard Bernstecn conducting the

Philharmonic-Symphony Orchestra of New York,

DARREL CONNELLY re ee * Lukas Foss, Piano

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LEONARD BERNSTEIN |

The Age of Anxiety (Symphony No. 2 for Piano and Orchestra)

(After W. H. Auden)

LEONARD BERNSTEIN conducting the PHILHARMONIC-SYMPHONY

ORCHESTRA OF NEW YORK, LUKAS FOSS, Piano

The Age of Anxiety by the brilliantly gifted young

American pianist, conductor and composer,

Leonard Bernstein, is a wonderfully stimulating

and often deeply affecting achievement, a genera-

tion’s spiritual confession—or, as the composer

puts it; “the record of our difficult and problem-

atical search for faith.”

The Symphony was inspired by W. H. Auden’s

The Age of Anxiety: A Baroque Eclogue. Bern-

stein read this “fascinating and hair-raising” poem

in 1947, shortly after its publication, and he found

that it began immediately to affect him lyrically

and that the writing of a symphony based upon it

“acquired an almost compulsive quality.” He

worked on it whenever he could in the midst of

a busy season —in Taos, in Philadelphia, in Tel-

Aviv, in planes and even in hotel lobbies. He

completed the work on March 20, 1949.

Bernstein has divided the six sections of

Auden’s poem into two large parts, each one con-

taining three sections which are played without

pause.

The composer provided the editor of the Boston

Symphony Program Book with the following ad-

mirable literary and musical analysis of the work:

“PART ONE: (a) The Prologue finds four

lonely characters, a girl and three men, in a Third

Avenue Bar, all of them insecure, and trying,

through drink, to detach themselves from their

conflicts, or, at best, to resolve them. They are

drawn together by this common urge and begin

a kind of symposium on the state of man, Musi-

cally the Prologue is a very short section con-

sisting of a lonely improvisation by two clarinets,

echotone, and followed by a long descending scale

which acts as a bridge into the realm of the un-

conscious, where most of the poem takes place.

“(b) The Seven Ages. The life of man is re-

viewed from the four personal points of view. This

is a series of variations which differ from conven-

tional variations in that they do not vary any

the same brilliant reproduction that

this LP record gives you with COLUMBIA 7-INCH

one common theme. Each variation seizes upon

some feature of the preceding one and develops

it, introducing, in the course of the development,

some counter-feature upon which the next varia-

tion seizes. It is a kind of musical fission, which

corresponds to the reasonableness and almost

didactic quality of the four-fold discussion.

“(c) The Seven Stages. The variation form

continues for another set of seven, in which the

characters go on an inner and highly symbolic

journey according to a geographical plan leading

back to a point of comfort and security. The four

try every means, going singly and in pairs, ex-

changing partners, and always missing the objec-

tive. When they awaken from this dream-odyssey,

they are closely united through a common experi-

ence (and through alcohol), and begin to function

as one organism. This set of variations begins to

show activity and drive and leads to a hectic,

though indecisive, close.

“PART TWO: (a) The Dirge is sung by the

four as they sit in a cab en route to the girl’s apart-

ment for a nightcap. They mourn the loss of the

‘colossal Dad, the great leader who can always

give the right orders, find the right solution,

shoulder the mass responsibility, and satisfy the

universal need for a father-symbol. This section

employs, in a harmonic way, a twelve-tone-row

out of which the main theme evolves. There is a

contrasting middle section of almost Brahmsian

romanticism, in which can be felt the self-indul-

gent, or negative, aspect of this strangely pompous

lamentation.

“(b) The Masque finds the group in the girl’s

apartment, weary, guilty, determined to have a

party, each one afraid of spoiling the others’ fun

by admitting that he should be home in bed. This

is a kind of scherzo for piano and percussion alone

(including harp, celesta, glockenspiel, and xylo-

phone) in which a kind of fantastic piano-jazz is

employed, by turns nervous, sentimental, self-

RECORDS

satisfied, vociferous. The party ends in anticlimax,

and the dispersal of the actors; in the music the

piano protagonist is traumatized by the interven-

tion of the orchestra for four bars of hectic jazz.

When the orchestra stops, as abruptly as it began,

a pianino in the orchestra is continuing the

Masque, repetitiously and with waning energy,

as the Epilogue begins. Thus a kind of separation

of the self from the guilt of escapist living has

been effected, and the protagonist is free again

to examine what is left beneath the emptiness.

“(c) The Epilogue. What is left, it turns out, is

faith. The trumpet intrudes its statement of ‘some-

thing pure’ upon the dying pianino: the strings

answer in a melancholy reminiscent of the Pro-

logue: again and again the winds reiterate ‘some-

thing pure’ against the mounting tension of the

strings’ loneliness. All at once the strings accept

the situation, in a sudden radiant pianissimo, and

and begin to build, with the rest of the orchestra,

to a positive statement of the newly-recognized

faith.”

The composer explains that his conception of J

a symphony with piano solo emerged “from the

extremely personal identification” of himself with

the poem. “In this sense,” Mr. Bernstein remarks,

“the pianist provides an almost autobiographical

protagonist, set against an orchestral mirror in

which he sees himself, analytically, in the modern

ambience.” The composer further points out that

“the piano-protagonist” has taken no part in the

Epilogue, but has observed it, “as one observes

such development on a movie-screen, or in an-

other human personality.” Towards the end, the

Pianist seizes upon the declaration of faith “with

one eager chord of confirmation, although he has

not himself participated in the anxiety-experience

leading to this fulfillment.” Mr. Bernstein adds,

“The way is open; but, at the conclusion, is still

stretching long before him.”

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ML 4325

LEONARD BERNSTEIN: THE AGE OF ANXIETY (Symphony No. 2 for Piano and Orchestra) (After W. H. Auden)

LEONARD BERNSTEIN

THE AGE OF ANXIETY (Symphony No. 2 for Piano and Orchestra)

(After W. H. Auden) LEONARD BERNSTEIN conducting the

PHILHARMONIC-SYMPHONY ORCHESTRA OF NEW YORK

LUKAS FOSS, Piano

ML 4325 ¢ » SIDE

NONBREAKABLE (XLP 2804)

i - Prologue;

The Seven Ages: Vars. 1, 2, 3, 5, 6, 7

The Seven Stages: Vars. 11, 12, 13, 14

“otERWo™s J :

Pa q te \ LEGNARD BERNSTEIN

f eae THE AGE OF ANXIETY (Symphony No. 2 for Pia

(After W. H. Aud

LEONARD BERNSTEIN conducting the PHILHARMONIC-SYMPHONY ORCHESTRA

OF NEW YORK LUKAS FOSS, Piano

ML 4325 SIDE 9 NONBREAKABLE (XLP 2805) ~

Il - The Dirge;

The Masque;

The Epilogue