LEONARD BERNSTEIN AND DANCE

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LEONARD BERNSTEIN AND DANCE Leonard Bernstein is best known in the dance world for his collaborations with
choreographer Jerome Robbins a partnership that produced three ballets: DYBBUK,
FANCY FREE and FACSIMILE. His incorporation of jazz, dance and other idioms into
his music also inspired other choreographers including John Neumeier, Christopher
Wheeldon and Peter Martins to use his music in creating new choreographies. With the
exception of the first two of Robbinss ballets and all of WEST SIDE STORY, much of
Bernsteins music is available to be used in the creation of new choreographic works.
Looking ahead, 2008 marks Bernsteins 90 th birthday with celebrations taking place in musical organizations across the globe please join this celebration by programming
one of these works or choreographing a new ballet to the wonderful music of Leonard
Bernstein. WORKS WRITTEN AS BALLETS These works are open for concert performances and to dance companies who obtain a
license for original choreographies by Jerome Robbins or a license for a new
choreography for FACSIMILE. DYBBUK (1974) 47 3.3.4.3-4.3.3.1-timp.perc(3):glsp/xyl/vib/cel(ad lib)/2tom-t/tam-t/ cym/2susp.cym/1pair tiny
cym/2tgl/4tpl.bl/wdbl/2gong/SD/TD/BD/cast/ steel pipe(high)/cheesebox/bells-harp-pft-
strings-bass,baritone soloists (Heb) FP: 16 May 1974/NYC Ballet/State Theater, Lincoln Center/Jerome Robbins,
choreographer/ Leonard Bernstein, conductor DYBBUK was first choreographed by Jerome Robbins for New York City Ballet in 1974
and has recently been revived by New York City Ballet. It is a ritualistic dance work
drawing upon Shul Anskys famous play encompassing Jewish folk traditions and the
mystical symbolism of the kabbalah. DYBBUK suites have been paired with: Stravinsky THE FIREBIRD; Beethoven SYMPHONY NO. 3 Recommended recording: New York City Ballet Orchestra/Bernstein Sony Classical M 33082; MQ 33082 p SM3K 47158; SMK 63090 Suites from DYBBUK available for orchestral programming:
DYBBUK SUITE No. 1 for solo voices and orchestra (1974) 31 3.3.4.3-4.3.3.1-timp.perc(3):glsp/xyl/vib/cel(ad lib)/tom-t/tam-t/
cym/2susp.cym/2tgl/3tpl.bl/wdbl/2gong/SD/TD/BD/cast/steel pipe(high)/ cheesebox/bells-
harp-pft-strings-tenor,bass-baritone soloists (Heb)
DYBBUK SUITE No. 2 for orchestra (1974) 16 3.3.4.3-4.3.3.1-timp.perc(3):glsp/xyl/vib/2tom-t/tam-t/cym/susp.cym/ 1pair tiny
cym/tgl/4tpl.bl/wdbl/SD/TD/BD/low bell-harp-pft-strings FANCY FREE (1944) 27 2(II=picc).2.2.24.3.3.1timp.perc(2-3)pftstrings FP: 18 April 1944 Metropolitan Opera House, NY Jerome Robbins, choreographer; Ballet
Theatre Orchestra conducted by Leonard Bernstein This vibrant, jazz-tinged score was Bernsteins first collaboration with choreographer
Jerome Robbins. (Please consult the Leonard Bernsteins America edition of
BERNSTEIN BOUND for further information about this work.) Recommended recording: New York Philharmonic/Bernstein Sony Classical 39448, 47530, 60559, 63085, 92728,
or 90582 M-051-21135-7 Study score FACSIMILE (1946) 19 2(II=picc).2.2(=Ebcl).2-4.2.crt.2.1-timp.perc(2):tgl/snare dr/cyms/ susp.cym/wdbl/BD/glsp-
pft(concertante)-strings FP: 24 October 1946/Broadway Theatre, NYC/Jerome Robbins,
choreographer/Leonard Bernstein, conductor A choreographic essay dedicated to Jerome Robbins and first staged at the Broadway
Theatre in New York in 1946. The scenario depicts a love-triangle between a woman
and two men on the beach. Recommended recording: NYP 06/18/63: NYC, Philharmonic Hall Sony: ML 6192; MS 6792; MG 32174; CBS 72374 p SM3K 47154; SMK 60969 M-051-21134-0 Study score
CONCERT WORKS THAT HAVE BEEN STAGED AS BALLETS
AND ARE OPEN TO NEW CHOREOGRAPHY: THE AGE OF ANXIETY (Symphony No. 2) 36 2.picc.2.corA.2.bcl.2.dbn-4.3.3.1-timp.perc(4):SD/BD/TD/tam-t/cym/ tpl.bl/tgl/glsp/xyl-cel-
2harps(IIad lib)-pianino-strings First choreographed by Jerome Robbins for New York City Ballet. Recommended recording: Israel Philharmonic Orchestra Leonard Bernstein conductor; Lukas Foss, Piano DG: 2530969 CHICHESTER PSALMS (1965) 19 3tpt.3trbn-timp.perc(5):chime/susp.cym/cyms/BD/SD/xyl/glsp/tamb/tgl/wdbl/3bongos/
whip/rasp/tpl.bl-2harp-strings First choreographed by Robert Gladstein for the San Francisco Ballet. Recommeded recording: New York Philharmonic; 07/26/65: NYC, Manhattan Center Sony: ML 6192; MS 6792; CBS 72374 p MK 44710; SFK 46701; SM3K 47162; SMK
60595 DIVERTIMENTO (1980) 14 3(III=picc).picc.2.corA.2.Ebcl.bcl.2.dbn-4.3.3.1(= baritone euph)- timp.perc(5): xyl/vib/glsp/chime/tgl/cyms(lg pair)/susp.cym/ lg tam-t/2Cuban cowbells(hi & lo)/
wdbl/4tpl.bl/rasp/maracas/ sandpaper bl/trap set/4snare dr/3bongos/2congas/lg BD/tamb-
harp-pft-strings First choreographed by Beth Berdes for the Milwaukee Ballet. Recommended recording: "On the occasion of his Harvard 50th Reunion Concert for the class of 1939" (with commentary) Boston Pops Orchestra 06/06/89: Boston,
Symphony Hall Boston Pops: p BSO CD 3
PRELUDE, FUGUE AND RIFFS (1949) 9 jazz ensemble:2asax(I=cl).2tsax.barsax-5tpt.4trbn-pft-perc(2):4tom-t/ hi-hat cyms/
SD/BD/xyl/vib/wdbl/2timp-solo db First choreographed by John Clifford for New York City Ballet. Recommended recording: Columbia Jazz Combo; Benny Goodman, Clarinet 05/06/63: NYC, 30th Street Studio Sony: ML 6077; MS 6677; ML 6205; MS 6805 p MK
42227; SM3K 47162; SMK 60559; SMK 61697
SERENADE (after Platos SYMPOSIUM) (1954) 30 jazz ensemble:2asax(I=cl).2tsax.barsax-5tpt.4trbn-pft-perc(2):4tom-t/ hi-hat
cyms/SD/BD/xyl/vib/wdbl/2timp-solo db First choreographed by Herbert Ross for American Ballet Theatre. Recommended recording: Symphony of the Air; Isaac Stern, Violin 04/19/56: NYC Sony: ML 5144; CML 5144; Y 434633 p SMK 45956; SMK 60558 SONGFEST (1977) 41 30th Anniversary: 2007 A Cycle of American Poems for Six Singers (S, M, A, T, Bar, B) and Orchestra
3(III=picc).2.corA.2.EIcl.bcl.2.dbn4.3.3.1timp.perc(5)harppft(=cel/elec pft)
elec.bassstrings - Reduced Orchestration by Charlie Harmon, Sid Ramin, and
George Steel (1996) 2(II=picc).2(II=corA).2(1=Ebcl,II=bcl).22.2.2.0timp.perc(2) First choreographed by John Neumeier for the Hamburg Ballet. Recommended recording: Michelle DeYoung/James Tocco/BBC Symphony Orchestra/Leonard Slatkin Chandos CHAN 9889
THREE DANCE EPISODES from ON THE TOWN 10 1(=picc).1(=corA).3(I=Eb,II=asax,III=bcl).0-2.3.3.1-timp.perc(2):susp.cym/
SD/BD/tgl/traps/wdbl/xyl-pft-strings Original show choreography by Jerome Robbins, first choreography of EPISODES
by Christian Holder for the Columbus Symphony Orchestra. Recommended recording: New York Philharmonic 06/18/63: NYC, Philharmonic Hall Sony: ML 6077; MS 6677; M 30304; MG 32174; M 39448; CBS 72406 (E) p MLK 39448;
MK 42263; SM3K 47154; SMK 47530; SK 60538; SMK 60559; SBK 66493 THREE MEDITATIONS FROM MASS (1971) 12 organ-pft-harp-perc(3):vib/xyl/marimba/glsp/susp.cym/cyms/tgl/tamb/ gourds/tam-
t/2SD/BD/3hand dr-strings OR cello and piano
First choreography by John Butler for Judith Jamison and the Kansas City
Philharmonic. Recommended recording: Israel Philharmonic Orchestra; Mstislav Rostropovich, Cello 05/29/81: Tel Aviv, Frederic R. Mann Auditorium DG:
2532051 p 4159662 GH; 437952 GX2
FREQUENTLY ASKED QUESTIONS ABOUT LICENSING FOR DANCE Q. Why do I need permission to use Bernsteins music under copyright?
A: The copyright laws are authorized under the United States Constitution (Article I, section 8,
clause 8 for footnote fanatics). The purpose is to provide the creators of artistic works, such as
musical compositions, an incentive to create these works and enrich American knowledge and
culture. The incentive is a financial one. If a composer were not entitled to payment for the use
of her works, one would probably not have much incentive, or time, to write music. The Copyright
Law provides that the copyright owner of a work has the exclusive right to authorize various uses
of the work, including the public performance of the work. Permission, in the form of a license and
license fee, is how a composer, typically through ones publisher, authorizes uses of ones work
and derives income. Q. Doesnt my ASCAP or BMI license cover this usage?
A: When licensing dramatic musical works for choreography, the rights involved are known as
grand performing rights or simply grand rights. ASCAP and BMI license only small
performing rights. Small rights uses include live performances of non-staged works, such as
performed at concert halls and arenas and broadcasts of recorded music.

Q. Why cant I choreograph a new work in place of DYBBUK and FANCY FREE?
A. The choreographer Jerome Robbinss works are also protected under the copyright laws listed
above for music. This agreement was part of the original ballet commission with NYC Ballet.

Q. When should I contact Boosey & Hawkes about a possible grand rights usage?
A. You should contact B&H as soon as you think you may use one of these works. You will need
to know if the work is available (there are often exclusivity or other restrictions attached to works
which are mostly laid out in this document). Also, any choreographic use or any use involving
any changes to the orchestration requires approval from the Bernstein estate. On some works,
there are also restrictions on using excerpts of a work or including a work in a medley of other
compositions. In addition, it is better to know sooner rather than later whether the license fee is
affordable. License fees vary from publisher to publisher and many factors affect the price. You
may be pleasantly surprised at how reasonable the fee is and the B&H team will do our best to
work with you. Please contact B&Hs Promotion or Licensing departments as soon as possible
regarding any work in our repertoire you may be considering. IMPORTANT NOTE: Additional works other than the music from WEST SIDE STORY are
potentially available for choreographic use, please contact B&H to inquire. All requests for
the creation of new choreography should be made well in advance. Q. What if I want to distribute videos of the performance or broadcast them?
A. A grand right performing license covers only the live performance of the work. If you wish to
distribute videos (VHS or DVD or downloads) of your performance, whether for sale or free of
charge, you will need what is known in the industry as a synchronization license and our
licensing staff will be happy to assist you. There will normally be a separate license and fee for
this usage. If the broadcast is of a live performance, please let our Licensing department know
as soon as possible and we will advise you of the additional fee involved. If it is to be a broadcast
of a pre-recorded performance, there will be a need for both synchronization and broadcast
licenses. Although this may sound complicated, we can make the process very easy for you.
_____________________________________________________________________________ For more information, please contact:
North America: Boosey & Hawkes, Inc. Rest of world: Boosey & Hawkes, LLC composers.us@boosey.com composers.uk@boosey.com Tel: 212/358-5361 Fax: 212/358-5306 Tel: +44 (0) 20 7291 7270 Fax: +44 (0) 20 7637 3490 Leonard Bernstein Office, Inc. German-speaking countries: info@leonardbernstein.com Boosey & Hawkes/Bote & Bock Tel: 212/315-0640 Fax: 212/315-0643 composers.germany@boosey.com Tel: +49 (0) 30 2500 1300 Fax: +49 (0) 30 2500 1399

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