Berlioz,Hector Harvard Lectures CD

Leonard Bernstein was invited to become the Charles Eliot Norton Professor of Poetry at Harvard University, Cambridge in 1971. The professorship required Bernstein to live on campus for one school year, counsel students and, most significantly, deliver of a series of six public lectures. Bernstein, a "Harvard man" himself, was pleased and honored to become a part of this distinguished tradition. Bernstein began his residency at Harvard in the fall of 1972. He immersed himself in the academic culture with enthusiasm, and his popularity with students resulted in his being named "Man of the Year" by Harvard's student newspaper. Because the lectures embraced such a wide variety of disciplines, Bernstein faced the challenge of organizing his ideas into a coherent progression of six talks. Also, every word had to be written out and memorized because each of the lectures was to be presented twice: live at the University at the Harvard Square Theater, Cambridge, and then in a subsequent taping session for television at the WGBH TV Studios, Boston. Bernstein based much of the lectures on the linguistic theories Noam Chomsky set out in his book, "Language and Mind." In the first three lectures, Bernstein analyzed music in linguistic terms phonology (sound), syntax (structure) and semantics (meaning)-focusing on music from the Classical period. In the fourth lecture ("The Delights and Dangers of Ambiguity"), Bernstein looked at music from the Romantic period, with it's heightened harmonic uncertainties and structural freedoms. The fifth lecture ("The Twentieth Century Crisis") outlined the movement toward atonality and the crisis provoked by this crucial change in our musical language. Charles Ives' "The Unanswered Question," one of the primary musical examples, became Bernstein's title for the entire series of lectures. The final lecture ("The Poetry of the Earth") concentrated on the work of Igor Stravinsky, whom Bernstein thought had found a musical answer to "the unanswered question," one that kept tonality at it's center. The series ended with Bernstein's artistic and philosophical "credo," an essentially optimistic and celebratory statement of beliefs. Although the very breadth of the lectures attracted some negative criticism, they were also widely recognized as an impressive achievement. Lavishly multi-disciplinary long before it was fashionable, they provided a fresh way to analyze music and interpret musical history. The Norton Lectures stand as a special monument in Bernstein's legacy.

1. First of All 2:01 2. Perhaps the Principal Thing 1:39 3. Let Me Start 0:53 4. This Is Not Just a Sentimental Anecdote 1:52 5. From This Time 2:29 6. But How Do We Investigate 2:52 7. Now You Can See 1:29 8. Universality Is a Big Word 2:31 9. Other Linguists 2:46 10. I Began By Imagining Myself 2:12 11. Well, Then I Thought 2:06 12. Let's Make a Simple Analogy 2:03 13. Maybe Even a Divine One 1:33 14. But Where Do These Notes Come From? 2:22 15. This Acoustical Phenomenon 2:08 16. All These Upper Notes 1:52 17. The First Overtone 2:33 18. But More of That Later 1:56 19. But Let's Not Make the Mistake 2:21 20. And That's How the Tempered Clavichord 2:12 21. Now This Is a Substantive Universal 2:01 22. But Let's Be Careful 1:43 23. And There Is Always That Blue Note 1:30 24. But Even These Twelve Tones 1:57 25. I Trust You Realize 2:16 26. And Again Comes a Great Leap 2:32 27. Now This Means 1:38 28. This Is Not to Say That There Were No Drastic Changes 2:28 29. But Meanwhile We Are Still in the Golden Age 2:55 30. So, We're in the Midst of a Chromatic Adventure 1:28 31. And All By Those Progressions 1:34 32. Now, I Must Point Out 1:57 33. Do You Realize 1:34 34. I. Allegro Molto 8:18 35. II. Andante 8:31 36. III. Menuetto, Allegretto 4:36 37. IV. Finale. Allegro Assai 6:08 38. Every Once in a While 1:44 39. Last Week 2:24 40. Amen, Says Noam Chomsky 2:09 41. I Suppose What Chomsky Is Really After 2:49 42. So, Let's Pull Up Our Socks 1:36 43. All Right, Let's Try Another One 2:08 44. Why I Taking Your Time 2:11 45. Well Then 1:48 46. I Think It Follows 1:52 47. But First, What Are These Principles 1:49 48. Tranformational Grammar 1:36 49. But Now Just Think of That Sentence 1:02 50. Since This Is Not a Linguistics Class 1:49 51. Take the Passive Transformation 1:51 52. Well, It Hasn't Brought Us There 1:51 53. Good - Now Just As Three Notes Are Linked Together 1:44 54. Now Let's Go Back 1:49 55. Now We Are Ready 2:27 56. Now I Wanna Take You 2:05 57. Well, Transformation, Deletion, Embedding, Pronominalization 1:49 58. I Sure I Don't Have to Trouble 2:16 59. Here I Go 1:30 60. I Have Asked Myself 1:55 61. I Became So Fascinated 1:42 62. Let's Take One Such Utterance 2:00 63. Now Imagine 1:29 64. Now Let's See 2:32 65. Mozart's G Minor Symphony 1:21 66. Now Our Job Is 2:27 67. That Introductory Accompaniment 1:26 68. What Does This Three-Note Design Mean 1:55 69. The Reason I Pick Symmetry 2:13 70. Now from Here on 2:04 71. And Once Again, We Are Back 1:10 72. By Far the Chief Transformational Principle 1:42 73. You See, One of the Great Failings 1:58 74. Most People Hearing Mozart's Opening 1:46 75. So What Your Ask 1:59 76. And If You Are Still Not Convinced 2:32 77. Thesebiguities 1:20 78. For Instance, in This Same First Movement 1:59 79. So All These Syntactic Transformations of the Same Material 1:14 80. He Talks About This Sonnet 1:55 81. Because Now It's Time 1:35 82. But Now Let's Listen to 2:09 83. Listen to the Whole Exposition 2:03 84. Development Coming Up 2:08 85. The Circle of Fifths Again 2:02 86. And That Was All One Single Sentence 1:18 87. The Other Day 2:37 88. The First Would Show Us One Meaning 1:13 89. Think of This Famous Passage 2:23 90. A Linguist Would Say 1:52 91. Well, I Replied, Chomsky Would Say 2:06 92. Of Course, That Last Metaphorical Leap 1:50 93. Terrific, Said My Blonde Inquisitor 1:44 94. In Fact, When You Think of the Number 2:16 95. All Right, First Let's Look Briefly 2:41 96. Playing, That's the Word 1:48 97. But Does This Stravinskian Game Concept 2:31 98. There Are Three Specific Ways 2:03 99. Now, Having Defined My Usages of Metaphor 1:59 100. And Here We Are in Trouble 1:06 101. Are We Feeling What Beethoven Supposedly Felt 1:45 102. We Will Never Know 2:22 103. Now, If We Accept This General Idea 1:40 104. In Our Last Lecture 1:47 105. We All Recognize Antithesis 1:46 106. It Can and It Does 1:24 107. And Again, As in the Poem 2:14 108. In Fact, It Has Been Authoritatively Suggested 2:45 109. We Can Expand the Idea 2:52 110. What Do You Suppose 2:51 111. What' Seriously Striking 2:16 112. So Why the Pastorale on This Lecture 2:42 113. Let's Begin at the Beginning 1:41 114. But What of the More Obvious Melodic Material 1:48 115. But to Develop How 2:37 116. Now We Have An Insight 2:13 117. But Wait 1:52 118. But Why Were Just Those Two Notes Added 2:05 119. The Metaphor Arises 2:48 120. But in the Ensuing Four Bars 2:11 121. But That's Not the Main Event 2:04 122. Well, That's the Beginning 1:58 123. That's One of the Questions 2:00 124. This Interference of the Two Frequencies 2:04 125. But What Are We to Say 1:40 126. It Is to Be Found 1:39 127. Now That's One Way of Looking 2:03 128. At This Point 1:36 129. Even If You Can Succeed 2:42 130. I. Erwachen Heiterer Empfindungen Bei Der Ankunft Auf Dem Lande. Allegro Ma Non Troppo 11:05 131. II. Scene Bach. Andante Molto Moto 13:42 132. III. Lustiges Zusammensein Der Landleute. Allegro 5:27 133. IV. Gewitter. Sturm. Allegro 3:43 134. V. Hirtengesang. Frohe Und Dankbare Gef?hle Nach Dem Sturm. Allegretto 10:13 135. When I First Wrote Down the Title 1:41 136. Part of the Danger 2:02 137. The Idea Ofbiguity 1:32 138. Similarly, in Our Second Lecture 2:05 139. Then What's the Magic Secret 2:53 140. Enough Ofbiguity 1:52 141. The Irony of All This 2:07 142. But, Mind You 1:53 143. Where Music Was Concerned 1:29 144. Only Think of 1:58 145. And Chopin Well We Can't Ignore Chopin 2:53 146. And Then, in the Same Little Mazurka 1:57 147. Foolish Questions 1:33 148. Let Me Try to Read You 1:56 149. Listen to This 1:45 150. They Began to Intermingle 1:30 151. The Pivotal Point 1:39 152. So There Is a Dramatic Change 1:50 153. So It Is After All Not So Surprising 2:31 154. Now If You Noticed 1:40 155. You See, the Music Is Trying Hard 1:44 156. So That Instant in Musical Time 1:33 157. Now Romeo Is All Stirred Up 3:00 158. . Romeo Seul Tristesse - Bruits de Concerts Et de Bal - Grand Fete Chez Capulet Andante Malinconico E Sostenuto 4:28 159. Allegro - Larghetto Espressivo - (Instrumental) 1:57 160. Allegro - (Instrumental) 2:22 161. Reunion Des Duex Themes, Du Larghetto Et de L'allegro (Instrumental) 3:42 162. What a Piece 2:30 163. Quite Unconsciously Borrowed 1:50 164. My Purpose in All This 2:25 165. Is It, Says Wagner 2:16 166. Every Diminished Seventh Chord 1:23 167. Now the Remarkable Thing Is 2:54 168. And This Is What Gives Tristan 2:53 169. Prelude and Love-Death (From 'Tristan and Isolde') 19:03 170. :00:00 PM 171. That May Be the Slowest Performance 2:26 172. But Ultimately 1:38 173. Poetry Has Begun to Show 1:40 174. And When Debussy 1:37 175. It's Lovely, This Dreaming 2:35 176. For Example, Do You Remember 1:45 177. In Fact, the Ending of This Piece 1:17 178. Let Me Show You Briefly 2:07 179. This New Episode That Proceeds 1:24 180. For Instance, Hardly Have We Had Time 2:29 181. Because the Scale 1:53 182. It's Almost Exactly What Happens 1:51 183. Literally Translated 1:35 184. But Notice, Too, That the Example 1:34 185. Both Works Have Definitive Beginnings 1:32 186. Listen As I Play 1:49 187. Prelude a L'apres-Midi D'un Faune, L. - Remastered 10:24 188. Some Crazy Modern Music 1:04 189. Our Lecture Tonight 0:18 190. Rhapsodie Espagnole, M. IV. Feria 6:29 191. What a Way to Enter the Twentieth Century 1:38 192. But, If the Truth to Be Told 1:28 193. These Troubling Presentiments 2:18 194. So, Now in 2:12 195. This Is Atonality 2:30 196. A Charming Idea 0:28 197. The Unanswered Question 5:23 198. I That Luminous Final Triad 2:16 199. I Have Recently Been Reading 1:59 200. We Have Already Referred to Some of Those 3:02 201. In Any Case 1:57 202. But for All These Reasons 2:46 203. Son of Tristan 2:31 204. Now You Look at Those First Two Bars 2:20 205. Of Course, There Are Lots 1:57 206. It's As Though a New Covenant 1:40 207. Trouble Is, That the New Musical Rules 2:22 208. The Kind of Tonal Feeling 2:53 209. Of Course, There Are Those Who Say 1:39 210.