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{{Infobox person
| name                = Leonard Bernstein
| image               = Leonard Bernstein by Jack Mitchell.jpg
| image_size          = 
| landscape           = <!-- yes, if wide image, otherwise leave blank -->
| alt                 = 
| caption             = 
| birth_name          = Louis Bernstein
| birth_date          = {{birth date|mf=yes|1918|8|25}}
| birth_place         = {{nowrap|[[Lawrence, Massachusetts]], U.S.}}
| death_date          = {{death date and age|mf=yes|1990|10|14|1918|8|25}}
| death_place         = [[New York City]]
| occupation          = [[Composer]], [[Conducting|conductor]], [[author]], [[lecturer]], [[pianist]]
| years_active        = 1940–1990
| spouse              = [[Felicia Montealegre]]
| website             = <!-- {{URL|example.com}} -->
| signature = BernsteinLeonardSignature01 mono 25p transp.png
}}
'''Leonard Bernstein''' ({{IPAc-en|ˈ|b|ɜr|n|s|t|aɪ|n}};<ref>{{cite book|last=Karlin|first=Fred|title=Listening to Movies 8|year=1994|publisher=Schirmer|location=New York|page=264}} {{USdict|bûrn′·stīn}} Bernstein's pronunciation of his own name as he introduces his ''[[Peter and the Wolf]].''</ref> August 25, 1918&nbsp;– October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic [[Donal Henahan]], he was "one of the most prodigiously talented and successful musicians in American history."<ref name=obit/>

His fame derived from his long tenure as the music director of the [[New York Philharmonic]], from his conducting of concerts with most of the world's leading orchestras, and from his music for ''[[West Side Story]]'', [[Peter Pan (1950 musical)|''Peter Pan'']],<ref>http://barbaraanneshaircombblog.com/images/symphonyofthenewworld/benjaminsteinberg-leonardbernstein-peterpan.jpg</ref> ''[[Candide (operetta)|Candide]]'', ''[[Wonderful Town]]'', ''[[On the Town (musical)|On the Town]]'', ''[[On the Waterfront]]'', his ''[[Mass (Bernstein)|Mass]]'', and a range of other compositions, including three symphonies and many shorter chamber and solo works.

Bernstein was the first conductor to give numerous television lectures on classical music, starting in 1954 and continuing until his death. He was a skilled pianist,<ref>Laird, Paul R. [https://books.google.com/books?id=1aPyEzYri7UC&pg=PA10&lpg=PP1&ie=ISO-8859-1&output=html ''Leonard Bernstein: A Guide to Research.''] Routledge, 2002. p. 10.</ref> often conducting piano concertos from the keyboard.

As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works are regularly performed around the world, although none has matched the tremendous popular and critical success of ''West Side Story''.

==Biography==

===Early life===
He was born '''Louis Bernstein''' in [[Lawrence, Massachusetts]], the son of [[History of the Jews in Ukraine|Ukrainian-Jewish]] parents Jennie (née Resnick) and Samuel Joseph Bernstein, a hairdressing supplies wholesaler originating from [[Rovno]] (now Ukraine).<ref name="times10">{{cite news|last=Dougary|first=Ginny|title=Leonard Bernstein: ‘charismatic, pompous&nbsp;– and a great father'|work=The Times |location=UK |date=March 13, 2010|url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/classical/article7059407.ece|accessdate=March 12, 2010}}</ref><ref name="latimes90">{{cite news|last=Oliver|first=Myrna|title=Leonard Bernstein Dies; Conductor, Composer Music: Renaissance man of his art was 72. The longtime leader of the N.Y. Philharmonic carved a niche in history with `West Side Story.'|work=Los Angeles Times|date=October 15, 1990|url=http://pqasb.pqarchiver.com/latimes/access/60165868.html?dids=60165868:60165868&FMT=ABS&FMTS=ABS:FT&type=current&date=Oct+15%2C+1990&author=MYRNA+OLIVER&pub=Los+Angeles+Times+(pre-1997+Fulltext)&desc=Leonard+Bernstein+Dies%3B+Conductor%2C+Composer+Music%3A+Renaissance+man+of+his+art+was+72.+The+longtime+leader+of+the+N.Y.+Philharmonic+carved+a+niche+in+history+with+%60West+Side+Story.'&pqatl=google|accessdate=March 12, 2010}}</ref> He was not related to film composer [[Elmer Bernstein]], but the two men were friends, and even shared a certain physical similarity.<ref>{{Cite news|url=http://news.bbc.co.uk/1/hi/entertainment/film/3578820.stm|title=Great Escape composer dies at 82 |work=BBC News | date=August 19, 2004}}</ref> Within the world of professional music, they were distinguished from each other by the use of the nicknames ''Bernstein West'' (Elmer) and ''Bernstein East'' (Leonard).<ref>{{cite web|url=http://www.bernsteinwest.com/elmerbernstein1.html |title=Introduction |publisher=Bernstein West |accessdate=May 3, 2012}}</ref>

His family spent their summers at their vacation home in [[Sharon, MA|Sharon, Massachusetts]]. His grandmother insisted that his first name be ''[[Louis (given name)|Louis]]'', but his parents always called him ''[[Leonard (name)|Leonard]]'', which they preferred. He officially changed his name to ''Leonard'' when he was fifteen, shortly after his grandmother's death.<ref>{{cite book|last=Peyser|first=Joan|authorlink =Joan Peyser|title=Bernstein, a biography | location=New York | publisher=Beech Tree Books
 | year=1987 | isbn= 0-688-04918-4 | pages=22–24}}</ref> To his friends and many others he was simply known as "Lenny."

His father, Sam Bernstein, was a businessman and owner of a hair product store in downtown Lawrence; it is no longer standing on the corners of Amesbury and Essex Streets. Sam initially opposed young Leonard's interest in music. Despite this, the elder Bernstein took him to orchestral concerts in his teenage years and eventually supported his music education. At a very young age, Bernstein listened to a piano performance and was immediately captivated; he subsequently began learning the piano seriously when the family acquired his cousin Lillian Goldman's unwanted piano. As a child, Bernstein attended the [[Garrison Grammar School]] and [[Boston Latin School]].<ref>Peyser (1987), p. 34.</ref> As a child he was very close to his younger sister Shirley, and would often play entire operas or Beethoven symphonies with her at the piano. He had a variety of piano teachers in his youth, including Helen Coates, who later became his secretary.

After graduation from [[Boston Latin School]] in 1935, Bernstein attended [[Harvard University]], where he studied music with, among others, [[Edward Burlingame Hill]] and [[Walter Piston]]. Although he majored in music with a final year thesis (1939) entitled "The Absorption of Race Elements into American Music" (reproduced in his book ''Findings''), Bernstein's main intellectual influence at Harvard was probably the aesthetics Professor [[David Prall]], whose multidisciplinary outlook on the arts Bernstein shared for the rest of his life. One of his friends at Harvard was philosopher [[Donald Davidson (philosopher)|Donald Davidson]], with whom he played [[piano four hands]]. Bernstein wrote and conducted the musical score for the production Davidson mounted of [[Aristophanes]]' play ''[[The Birds (play)|The Birds]]'' in the original Greek. Bernstein reused some of this music in the ballet ''[[Fancy Free (ballet)|Fancy Free]]''. During his time at Harvard he was briefly an accompanist for the [[Harvard Glee Club]].<ref>Peyser (1987), p. 39–40.</ref> Bernstein also mounted a student production of ''[[The Cradle Will Rock]]'', directing its action from the piano as the composer [[Marc Blitzstein]] had done at the premiere. Blitzstein, who heard about the production, subsequently became a friend and influence (both musically and politically) on Bernstein.

Bernstein also met the conductor [[Dimitri Mitropoulos]] at the time. Although he never taught Bernstein, Mitropoulos's charisma and power as a musician was a major influence on Bernstein's eventual decision to take up conducting. Mitropoulos was not stylistically that similar to Bernstein, but he probably influenced some of Bernstein's later habits such as his conducting from the keyboard, his initial practice of conducting without a baton and perhaps his interest in Mahler. The other important influence that Bernstein first met during his Harvard years was composer [[Aaron Copland]], whom he met at a concert and then at a party afterwards on Copland's birthday in 1938. At the party Bernstein played Copland's ''Piano Variations'', a thorny work Bernstein loved without knowing anything about its composer until that evening. Although he was not formally Copland's student as such, Bernstein would regularly seek advice from Copland in the following years about his own compositions and would often cite him as "his only real composition teacher".<ref name=teachers>See for instance Bernstein's 1980 TV Documentary, ''Teachers and Teaching'' available on a Deutsche Grammophon DVD.</ref>

After completing his studies at Harvard in 1939 (graduating with a B.A. ''cum laude''), he enrolled at the [[Curtis Institute of Music]] in [[Philadelphia]]. During his time at Curtis, Bernstein studied conducting with [[Fritz Reiner]] (who anecdotally is said to have given Bernstein the only "A grade" he ever awarded), piano with [[Isabelle Vengerova]],<ref>Peyser (1987) (Bernstein complained later that she taught him an incorrect piano technique), pp. 38–9.</ref> orchestration with [[Randall Thompson]], counterpoint with [[Richard Stöhr]], and score reading with Renée Longy Miquelle.<ref>{{cite web|url=http://www.leonardbernstein.com/lifeswork/timeline/timeline01.asp|title=Bernstein Chronology}}</ref> Unlike his years at Harvard, Bernstein appears not to have greatly enjoyed the formal training environment of Curtis, although often in his later life he would mention Reiner when discussing important mentors.<ref name=teachers/>

===1940–1950===
[[File:Bernstein, Leonard (1918-1990) - 1944 - foto van Vechten2.jpg|thumb|upright|Photo of Bernstein by [[Carl Van Vechten]] (1944)]]
After he left Curtis, Bernstein lived in New York. He shared an apartment with his friend [[Adolph Green]] and often accompanied Green, [[Betty Comden]] and [[Judy Holliday]] in a comedy troupe called The Revuers who performed in [[Greenwich Village]]. He took jobs with a music publisher, transcribing music or producing arrangements under the pseudonym Lenny Amber. (Bernstein in German = Amber in English.)  During this period in New York City, Bernstein enjoyed an exuberant social life that included relationships with both men and women.{{citation needed|date=October 2014}} In 1940, Bernstein began his study at the [[Boston Symphony Orchestra]]'s summer institute, [[Tanglewood]], in the conducting class of the orchestra's conductor, [[Serge Koussevitzky]].

Bernstein's friendships with Copland (who was very close to Koussevitsky) and Mitropoulos were important in him being recommended for a place in the class. Other students in the class included [[Lukas Foss]], who also became a lifelong friend. Koussevitsky perhaps did not teach Bernstein much basic conducting technique (which he had already developed under Reiner) but instead became a sort of father figure to him and was perhaps the major influence on Bernstein's emotional way of interpreting music. Bernstein later became Koussevitzky's conducting assistant<ref>{{cite web|url=http://www.leonardbernstein.com/about.php|title=About Bernstein|publisher=Leonard Bernstein official site|accessdate=January 15, 2007}}</ref> and would later dedicate his [[Symphony No. 2 (Bernstein)|Symphony No. 2, ''The Age of Anxiety'']], to him.<ref>{{cite web|url=http://www.sonyclassical.com/artists/bernstein/bio.html|title=Leonard Bernstein&nbsp;– Biography|publisher=Sony Classical|accessdate=January 15, 2007}}</ref>

[[File:1943 Nov 14 NYPhil Bernstein.jpg|thumb|upright|Carnegie Hall playbill, November 14, 1943<br>Radio announcement:[[File:1943 Nov 14 NYPhil Bernstein.ogg|170px]]]]
On November 14, 1943, having recently been appointed assistant conductor to [[Artur Rodziński]] of the New York Philharmonic Orchestra, he made his major conducting debut at sudden notice—and without any rehearsal—after guest conductor [[Bruno Walter]] came down with the flu.<ref>[http://archives.nyphil.org/index.php/artifact/71509682-511b-4ba3-8df5-e6f37af19d3d Program and recording] (except Wagner's Prelude to ''Die Meistersinger''), New York Philharmonic Digital Archives</ref> The next day, ''The New York Times'' carried the story on their front page and their editorial remarked, "It's a good American success story. The warm, friendly triumph of it filled [[Carnegie Hall]] and spread far over the air waves."<ref name="MAR 6250">{{citation|author=Deems Taylor|title=Pathétique|publisher=Music-Appreciation Records|date=July 25, 2007}}</ref><ref>David Hamilton, "Dorle Jarmel Soria", ''Opera News'' 67 (October 2002), p. 84. The "event" was due in part to the efforts of [[Dorle Soria]] who had been on the staff of the New York Philharmonic since the late 1920s.</ref> He became instantly famous because the concert was nationally broadcast on [[CBS Radio]], and afterwards Bernstein started to appear as a guest conductor with many U.S. orchestras. The program included works by [[Robert Schumann|Schumann]], [[Miklós Rózsa]], [[Richard Wagner|Wagner]] and [[Richard Strauss]]'s ''[[Don Quixote (Strauss)|Don Quixote]]'' with soloist [[Joseph Schuster (cellist)|Joseph Schuster]], solo cellist of the orchestra. Before the concert Bernstein briefly spoke to Bruno Walter, who discussed particular difficulties in the works he was to perform.

From 1945 to 1947, Bernstein was the Music Director of the New York City Symphony, which had been founded the previous year by the conductor [[Leopold Stokowski]]. The orchestra (with support from the Mayor) was aimed at a different audience than the New York Philharmonic, with more modern programs and cheaper tickets.<ref>Weinstock, Matt (August 25, 2016). [http://www.nycitycenter.org/Home/Blog/August-2016/Leonard-Bernstein?fullsite=true "Leonard Bernstein and the Youngest, Poorest Symphony in the World,"] [[New York City Center]] blog.</ref>

Also in regard to a different audience, in 1945 Bernstein discussed the possibility of acting in a film with [[Greta Garbo]]—playing [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]] opposite her starring role as the composer's patron [[Nadezhda von Meck]].<ref name=Rockwell>{{cite news|last=Rockwell|first=John|title=Maestro 'The Leonard Bernstein Letters'|url=http://www.nytimes.com/2013/12/15/books/review/the-leonard-bernstein-letters.html?ref=books&_r=0|accessdate=December 14, 2013|newspaper=The New York Times|date=December 15, 2013}}</ref>

In addition to becoming known as a conductor, Bernstein also emerged as a composer in the same period. In January 1944 he conducted the premiere of his ''[[Symphony No. 1 (Bernstein)|Jeremiah Symphony]]'' in Pittsburgh. His score to the ballet ''[[Fancy Free (ballet)|Fancy Free]]'' choreographed by [[Jerome Robbins]] opened in New York in April 1944 and this was later developed into the musical ''[[On the Town (musical)|On the Town]]'' with lyrics by Comden and Green that opened on Broadway in December 1944.

[[File:Leonard Bernstein NYWTS 1945.jpg|thumb|upright|left|Bernstein conducting the New York City Symphony (1945)]]
After World War II, Bernstein's career on the international stage began to flourish. In 1946, he made his overseas debut with the [[Czech Philharmonic]] in Prague. He also recorded Ravel's ''[[Piano Concerto (Ravel)|Piano Concerto in G]]'' as soloist and conductor with the [[Philharmonia Orchestra]]. On July 4, 1946, Bernstein conducted the European premiere of ''[[Fancy Free (ballet)|Fancy Free]]'' with the Ballet Theatre at the Royal Opera House in London. In 1946, he conducted opera for the first time, with the American première at Tanglewood of [[Benjamin Britten]]'s ''[[Peter Grimes]]'', which had been a Koussevitzky commission. That same year, [[Arturo Toscanini]] invited Bernstein to guest conduct two concerts with the [[NBC Symphony Orchestra]], one of which again featured Bernstein as soloist in the Ravel concerto.<ref>{{cite book|url=https://books.google.com/?id=wBD_ujAW520C&pg=PA85 |title=Arturo Toscanini: the NBC years |publisher=Amadeus Press|isbn=978-1-57467-069-1|year=2002}}</ref>

In 1947, Bernstein conducted in [[Tel Aviv]] for the first time, beginning a lifelong association with [[Israel]]. The next year he conducted an open-air concert for troops at [[Beersheba]] in the middle of the desert during the Arab-Israeli war. In 1957, he conducted the inaugural concert of the [[Mann Auditorium]] in Tel Aviv; he subsequently made many recordings there. In 1967, he conducted a concert on [[Mt. Scopus]] to commemorate the reunification of [[Jerusalem]]. During the 1970s, Bernstein recorded his symphonies and other works with the [[Israel Philharmonic]] for Deutsche Grammophon.

In 1949, he conducted the world première of the ''[[Turangalîla-Symphonie]]'' by [[Olivier Messiaen]], with the [[Boston Symphony Orchestra]]. Part of the rehearsal for the concert was released on CD by the orchestra. When Koussevitzky died two years later, Bernstein became head of the orchestral and conducting departments at Tanglewood, holding this position for many years.

===1951–1959===

After much personal struggle and a turbulent on-off engagement, he married the Chilean-born American actress [[Felicia Montealegre|Felicia Cohn Montealegre]] on September 10, 1951. One suggestion is that he chose to marry partly to dispel rumors about his private life to help secure a major conducting appointment, following advice from his mentor [[Dimitri Mitropoulos]] about the conservative nature of orchestra boards.<ref name="Burton">Burton, Humphrey (1994). ''Leonard Bernstein.'' New York: Doubleday.</ref> In a book released in October 2013, ''The Leonard Bernstein Letters'', his wife reveals his homosexuality. Felicia writes: "you are a homosexual and may never change—you don’t admit to the possibility of a double life, but if your peace of mind, your health, your whole nervous system depend on a certain sexual pattern what can you do?" [[Arthur Laurents]] (Bernstein's collaborator in ''[[West Side Story]]'') said that Bernstein was "a gay man who got married. He wasn't conflicted about it at all. He was just gay."<ref>Charles Kaiser, ''The Gay Metropolis, New York City: 1940–1996.''</ref> Shirley Rhoades Perle, another friend of Bernstein, said that she thought "he required men sexually and women emotionally."<ref name="Secrest">Meryle Secrest (1995), ''Leonard Bernstein: A Life.''</ref> But the early years of his marriage seem to have been happy, and no one has suggested Bernstein and his wife didn't love each other. They had three children, Jamie, Alexander, and later Nina.<ref>Peyser (1987), pp. 196, 204, 322.</ref> There are reports, though, that Bernstein did sometimes have brief extramarital liaisons with young men, which several family friends have said his wife knew about.<ref name="Secrest"/>

[[File:Leonard Bernstein - 1950s.JPG|thumb|upright|left|Bernstein, c. 1950s]]
In 1951, Bernstein conducted the New York Philharmonic in the world première of the [[Symphony No. 2 (Ives)|Symphony No. 2]] of [[Charles Ives]], which was written around half a century earlier but had never been performed. Throughout his career, Bernstein often talked about the music of Ives, who died in 1954. The composer, old and frail, was unable (some reports say unwilling) to attend the concert, but his wife did. He reportedly listened to a radio broadcast of it on a radio in his kitchen some days later. A recording of the "premiere" was released in a 10-CD box set ''Bernstein LIVE'' by the orchestra, but the notes indicate it was a repeat performance from three days later, and this is perhaps what Ives heard. In any case, reports also differ on Ives's exact reaction, but some suggest he was thrilled and danced a little jig. Bernstein recorded the 2nd symphony with the orchestra in 1958 for Columbia and 1987 for Deutsche Grammophon. There is also a 1987 performance with the [[Bavarian Radio Symphony Orchestra]] available on DVD.

Bernstein was a visiting music professor from 1951 to 1956 at [[Brandeis University]], and he founded the [[Leonard Bernstein Festival of the Creative Arts|Creative Arts Festival]] there in 1952.<ref>The Official Leonard Bernstein Web Site. http://www.leonardbernstein.com/about.php.</ref> He conducted various productions at the first festival, including the premiere of his opera ''[[Trouble in Tahiti]]'' and Blitzstein's English version of [[Kurt Weill]]'s ''[[Threepenny Opera]]''. The festival was named after him in 2005, becoming the Leonard Bernstein Festival of the Creative Arts. In 1953 he was the first American conductor to appear at [[La Scala]] in Milan, conducting [[Maria Callas]] in Cherubini's ''Medea''. This Opera had been virtually abandoned in the performance archive and the two of them learnt in a week. It was to prove a unique collaboration and Callas and Bernstein went on to perform together many times – he found her vocal reach and dramatic powers of interpretation inspiring; they developed a very close musical relationship which enhanced both their careers. {{citation needed|date=October 2015}} That same year, he produced his score to the musical ''[[Wonderful Town]]'' at very short notice, working again with his old friends Comden and Green, who wrote the lyrics.

In 1954 Bernstein made the first of his television lectures for the CBS arts program [[Omnibus (U.S. TV series)|''Omnibus'']]. The live lecture, entitled "Beethoven's Fifth Symphony", involved Bernstein explaining the work with the aid of musicians from the former [[NBC Symphony Orchestra]] (recently renamed the "Symphony of the Air") and a giant page of the score covering the floor. Bernstein subsequently performed concerts with the orchestra and recorded his Serenade for Violin with [[Isaac Stern]]. Further Omnibus lectures followed from 1955 to 1958 (later on ABC and then NBC) covering jazz, conducting, American musical comedy, modern music, J.S. Bach, and [[grand opera]]. These programs were made available in the U.S. in a DVD set in 2010.

In late 1956, Bernstein conducted the New York Philharmonic in concerts that were to have been conducted by [[Guido Cantelli]], who had died in an air crash in Paris. This was the first time Bernstein had conducted the orchestra in subscription concerts since 1951. Partly due to these appearances, Bernstein was named the music director of the New York Philharmonic in 1957, replacing [[Dimitri Mitropoulos]]. He began his tenure in that position in 1958, having held the post jointly with Mitropoulos from 1957 to 1958. In 1958, Bernstein and Mitropoulos took the New York Philharmonic on tour to South America. In his first season in sole charge, Bernstein included a season-long survey of American classical music. Themed programming of this sort was fairly novel at that time compared to the present day. Bernstein held the music directorship until 1969 (with a sabbatical in 1965) although he continued to conduct and make recordings with the orchestra for the rest of his life and was appointed "laureate conductor".

He became a well-known figure in the United States through his series of fifty-three televised [[Young People's Concerts]] for [[CBS]], which grew out of his ''Omnibus'' programs. His first Young People's Concert was televised a few weeks after his tenure began as principal conductor of the New York Philharmonic. He became as famous for his educational work in those concerts as for his conducting. The Bernstein Young People's Concerts were the first and probably the most influential series of music appreciation programs ever produced on television, and they were highly acclaimed by critics.<ref>{{cite web|url=http://www.leonardbernstein.com/ypc_publications.htm |title=Young People's Concerts |publisher=Leonard Bernstein |accessdate=September 20, 2010}}</ref> Some of Bernstein's music lectures were released on records; a recording of ''Humor in Music'' was awarded a [[Grammy]] award for Best Documentary or Spoken Word Recording (other than comedy) in 1961.<ref>{{cite web|title=Honors: A Selected List – Grammy Awards|url=http://www.leonardbernstein.com/honors.htm|website=The Leonard Bernstein Office, Inc.|accessdate=12 November 2015}}</ref> The programs were shown in many countries around the world, often with Bernstein dubbed into other languages. All of them were released on DVD by [[Kultur International Films|Kultur Video]] (half of them in 2013).

[[File:Leonard Bernstein NYWTS 1955.jpg|thumb|Bernstein at the piano, making annotations to a musical score]]
Around the time he was appointed music director of the New York Philharmonic, Bernstein composed the music for two shows. The first was for the operetta ''[[Candide (operetta)|Candide]]'', which was first performed in 1956 with a libretto by [[Lillian Hellman]] based on [[Voltaire]]'s [[Candide|novella]]. The second was Bernstein's collaboration with the choreographer [[Jerome Robbins]], the writer [[Arthur Laurents]], and the lyricist [[Stephen Sondheim]] to produce the musical ''[[West Side Story]]''. The first three had worked on it intermittently since Robbins first suggested the idea in 1949. Finally, with the addition of Sondheim to the team and a period of concentrated effort, it received its Broadway premiere in 1957 and has since proven to be Bernstein's most popular and enduring score.

In 1959, he took the New York Philharmonic on a tour of Europe and the Soviet Union, portions of which were filmed by [[CBS Television]]. A highlight of the tour was Bernstein's performance of [[Dmitri Shostakovich]]'s [[Symphony No. 5 (Shostakovich)|Fifth Symphony]], in the presence of the composer, who came on stage at the end to congratulate Bernstein and the musicians. In October, when Bernstein and the orchestra returned to the U.S., they recorded the symphony for Columbia. He recorded it for a second time with the orchestra on tour in Japan in 1979. Bernstein seems to have limited himself to only conducting certain Shostakovich symphonies, namely the numbers 1, 5, 6, 7, 9, and 14. He made two recordings of Shostakovich's ''[[Symphony No. 7 (Shostakovich)|Leningrad Symphony]]'', one with the New York Philharmonic in the 1960s and another recorded live in 1988 with the [[Chicago Symphony Orchestra]] (one of the few recordings he made with them, also including the [[Symphony No. 1 (Shostakovich)|Symphony No. 1]]).

===1960–1969===
In 1960 Bernstein and the New York Philharmonic held a Mahler Festival to mark the centenary of the composer's birth. Bernstein, Walter and Mitropoulos conducted performances. The composer's widow, [[Alma Mahler-Werfel|Alma]], attended some of Bernstein's rehearsals. In 1960 Bernstein also made his first commercial recording of a [[Symphony No. 4 (Mahler)|Mahler symphony (the fourth)]] and over the next seven years he made the first complete cycle of recordings of all nine of Mahler's completed symphonies. (All featured the New York Philharmonic except the 8th Symphony which was recorded with the [[London Symphony Orchestra]] following a concert in the [[Royal Albert Hall]] in London in 1966.) The success of these recordings, along with Bernstein's concert performances and television talks, was an important, if not vital, part of the revival of interest in Mahler in the 1960s, especially in the U.S.

Other non-U.S. composers that Bernstein championed to some extent at the time include the Danish composer [[Carl Nielsen]] (who was then only little known in the U.S.) and [[Jean Sibelius]], whose popularity had by then started to fade. Bernstein eventually recorded a complete cycle in New York of Sibelius's symphonies and three of Nielsen's symphonies (Nos. 2, 4, and 5), as well as conducting recordings of his violin, clarinet and flute concertos. He also recorded Nielsen's 3rd Symphony with the [[Royal Danish Orchestra]] after a critically acclaimed public performance in Denmark. Bernstein championed U.S. composers, especially those that he was close to like [[Aaron Copland]], [[William Schuman]] and [[David Diamond (composer)|David Diamond]]. He also started to more extensively record his own compositions for Columbia Records. This included his three symphonies, his ballets, and the ''Symphonic Dances'' from ''West Side Story'' with the New York Philharmonic. He also conducted an LP of his 1944 musical ''[[On the Town (musical)|On The Town]]'', the first (almost) complete recording of the original featuring several members of the original Broadway cast, including [[Betty Comden]] and [[Adolph Green]]. (The 1949 film version only contains four of Bernstein's original numbers.) Bernstein also collaborated with the experimental jazz pianist and composer [[Dave Brubeck]] resulting in the recording "Bernstein Plays Brubeck Plays Bernstein" (1961).

In one oft-reported incident, in April 1962 Bernstein appeared on stage before a performance of the [[Johannes Brahms|Brahms]] [[Piano Concerto No. 1 (Brahms)|Piano Concerto No. 1 in D minor]] with the pianist [[Glenn Gould]]. During rehearsals, Gould had argued for tempi much broader than normal, which did not reflect Bernstein's concept of the music. Bernstein gave a brief address to the audience starting with "Don't be frightened; Mr Gould is here..." and going on to "In a concerto, who is the boss (audience laughter)—the soloist or the conductor?" (Audience laughter grows louder). The answer is, of course, sometimes the one and sometimes the other, depending on the people involved."<ref>[http://www.rci.rutgers.edu/~mwatts/glenn/lennie.html Transcription of Bernstein's Glenn Gould Introduction] (from a [[Rutgers University]] webpage).</ref> This speech was subsequently interpreted by [[Harold C. Schonberg]], music critic for ''The New York Times'', as abdication of personal responsibility and an attack on Gould, whose performance Schonberg went on to criticize heavily. Bernstein always denied that this had been his intent and has stated that he made these remarks with Gould's blessing.<ref>''Glenn Gould: Variations'', Ed. John McGreevy (1983).</ref> In the book ''Dinner with Lenny'', published in October 2013, author Jonathan Cott provided a thorough debunking, in the conductor's own words, of the legend which Bernstein himself described in the book as "one&nbsp;... that won't go away".<!--inline citation ho!--> Throughout his life, he professed admiration and friendship for Gould. Schonberg was often (though not always) harshly critical of Bernstein as a conductor during his tenure as Music Director. However, his views were not shared by the audiences (with many full houses) and probably not by the musicians themselves (who had greater financial security arising from Bernstein's many TV and recording activities amongst other things).

In 1962 the New York Philharmonic moved from [[Carnegie Hall]] to Philharmonic Hall (now [[David Geffen Hall]]) in the new [[Lincoln Center]]. The move was not without controversy because of acoustic problems with the new hall. Bernstein conducted the gala opening concert featuring vocal works by Mahler, Beethoven and Vaughan Williams, and the premiere of Aaron Copland's ''[[Connotations For Orchestra|Connotations]]'', a serial-work that was merely politely received. During the intermission Bernstein kissed the cheek of the President's wife [[Jacqueline Kennedy]], a break with protocol that was commented on at the time. In 1961 Bernstein had conducted at President [[John F. Kennedy]]'s pre-inaugural gala, and he was an occasional guest in the Kennedy White House. He also conducted at the funeral mass in 1968 for the late President Kennedy's brother [[Robert Kennedy]].

In 1964 Bernstein conducted [[Franco Zeffirelli]]'s production of [[Giuseppe Verdi|Verdi]]'s ''[[Falstaff (opera)|Falstaff]]'' at the [[Metropolitan Opera]] in New York. In 1966 he made his debut at the [[Vienna State Opera]] conducting [[Luchino Visconti]]'s production of the same opera with [[Dietrich Fischer-Dieskau]] as Falstaff. During his time in Vienna he also recorded the opera for Columbia Records and conducted his first subscription concert with the [[Vienna Philharmonic]] (which is made up of players from the Vienna State Opera) featuring Mahler's ''[[Das Lied von der Erde]]'' with Fischer-Dieskau and [[James King (tenor)|James King]]. He returned to the State Opera in 1968 for a production of ''[[Der Rosenkavalier]]'' and in 1970 for [[Otto Schenk]]'s production of Beethoven's ''[[Fidelio]]''. Sixteen years later, at the State Opera, Bernstein conducted his sequel to ''Trouble in Tahiti'', ''A Quiet Place.'' with the [[ORF (broadcaster)|ORF]] orchestra. Bernstein's final farewell to the State Opera happened accidentally in 1989: following a performance of [[Modest Mussorgsky]]'s ''[[Khovanshchina]]'', he unexpectedly entered the stage and embraced conductor [[Claudio Abbado]] in front of a cheering audience.

With his commitment to the New York Philharmonic and his many other activities, Bernstein had little time for composition during the 1960s. The two major works he produced at this time were his ''[[Symphony No. 3 (Bernstein)|Kaddish Symphony]]'' dedicated to the recently assassinated President [[John F. Kennedy]] and the ''[[Chichester Psalms]]'' which he produced during a sabbatical year he took from the Philharmonic in 1965 to concentrate on composition. To try to have more time for composition was probably a major factor in his decision to step down as Music Director of the Philharmonic in 1969, and to never accept such a position anywhere again.

===1970–1979===
[[File:Leonard Bernstein Allan Warren.jpg|thumb|left|upright|Leonard Bernstein by [[Allan Warren]]]]
After stepping down from the New York Philharmonic, Bernstein continued to appear with them in most years until his death, and he toured with them to Europe in 1976 and to Asia in 1979. He also strengthened his relationship with the [[Vienna Philharmonic Orchestra]]&nbsp;– he conducted all nine completed Mahler symphonies with them (plus the adagio from the 10th) in the period from 1967 to 1976. All of these were filmed for Unitel with the exception of the 1967 Mahler 2nd, which instead Bernstein filmed with the [[London Symphony Orchestra]] in [[Ely Cathedral]] in 1973. In the late 1970s Bernstein conducted a complete Beethoven symphony cycle with the Vienna Philharmonic, and cycles of Brahms and Schumann were to follow in the 1980s. Other orchestras he conducted on numerous occasions in the 1970s include the [[Israel Philharmonic]], the [[Orchestre National de France]], and the [[Boston Symphony Orchestra]].

In 1970 Bernstein wrote and narrated a ninety-minute program filmed on location in and around Vienna as a celebration of Beethoven's 200th birthday. It featured parts of Bernstein's rehearsals and performance for the Otto Schenk production of ''[[Fidelio]]'', Bernstein playing the [[Piano Concerto No. 1 (Beethoven)|1st piano concerto]] and the [[Symphony No. 9 (Beethoven)|Ninth Symphony]] with the [[Vienna Philharmonic]] and the young [[Plácido Domingo]] amongst the soloists. The program was first telecast in 1970 on Austrian and British television, and then on CBS in the U.S. on Christmas Eve 1971. The show, originally entitled ''Beethoven's Birthday: A Celebration in Vienna'', won an [[Emmy]] and was issued on DVD in 2005. In the summer of 1970, during the Festival of London, he conducted Verdi's Requiem Mass in St. Paul's Cathedral, with the London Symphony Orchestra.

Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the [[US State Department]] and [[CBS]] in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the [[House Un-American Activities Committee]].<ref>Seldes, Barry (2009). ''Leonard Bernstein: The Political Life of an American Musician.'' University of California Press.</ref> His political life received substantial press coverage though in 1970, due to a gathering hosted at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the [[Black Panther Party]] against a variety of charges.<ref name="loc2010">{{cite web|title=Radical Chic |url=http://myloc.gov/Exhibitions/hopeforamerica/causesandcontroversies/polarization/ExhibitObjects/RadicalChic.aspx |work=Hope for America: Performers, Politics and Pop Culture |publisher=Library of Congress |accessdate=December 12, 2010 |deadurl=yes |archiveurl=https://web.archive.org/web/20120725171227/http://myloc.gov/Exhibitions/hopeforamerica/causesandcontroversies/polarization/ExhibitObjects/RadicalChic.aspx |archivedate=July 25, 2012 }}</ref> ''[[The New York Times]]'' initially covered the gathering as a [[Entertainment journalism|lifestyle]] item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story.<ref name="nyt_false_note">{{cite news|title=False Note on Black Panthers|newspaper=The New York Times|date=January 16, 1970}}</ref><ref name="nymag_html">{{cite web|last=Wolfe|first=Tom|title=Tom Wolfe on Radical Chic and Leonard Bernstein's Party for the Black Panthers|url=http://nymag.com/news/features/46170/index15.html|work=Radical Chic: That Party at Lenny's|publisher=New York|accessdate=December 11, 2010}}</ref> This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist [[Tom Wolfe]] featured on the cover of ''[[New York (magazine)|New York]]'' Magazine.<ref name="nymag1970">{{cite news|url=http://nymag.com/docs/07/05/070529radical_chic.pdf|title=Radical Chic: that Party at Lenny's|last=Wolfe|first=Tom|date=June 8, 1970|work=New York|accessdate=March 1, 2010}}</ref> The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the [[anti-establishment]] politics of the Black Panthers. It led to the popularization of "[[radical chic]]" as a critical term.<ref name="economist2009">{{cite news|title=Leonard Bernstein: A political life|url=http://www.economist.com/node/13726549|work=The Economist|accessdate=December 12, 2010|date=May 28, 2009}}</ref> Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for [[civil liberties]].<ref name="nyt_letter">{{cite news|last=Bernstein|first=Felicia M.|title=Letters to the Editor of The Times: Panthers' Legal Aid|newspaper=The New York Times|date=January 21, 1970}}</ref><ref name="carnegie_best">{{cite web|title=The Social Activist|url=http://www.carnegiehall.org/bernstein/leonardbernstein/socialactivist.aspx|work=Bernstein: The Best of All Possible Worlds|publisher=Carnegie Hall Corporation|accessdate=December 12, 2010}}</ref>

Bernstein's major compositions during the 1970s were his ''[[Mass (Bernstein)|MASS: A Theatre Piece for Singers, Players, and Dancers]]''; his score for the ballet ''[[Dybbuk (ballet)|Dybbuk]]''; his orchestral vocal work ''[[Songfest: A Cycle of American Poems for Six Singers and Orchestra|Songfest]]''; and his U.S. bicentenary musical ''[[1600 Pennsylvania Avenue (musical)|1600 Pennsylvania Avenue]]'' written with lyrics by [[Alan Jay Lerner]] which was his first real theatrical flop, and last original Broadway show. The world premiere of Bernstein's ''[[Mass (Bernstein)|MASS]]'' took place on September 8, 1971. Commissioned by [[Jacqueline Kennedy Onassis|Jacqueline Kennedy]] for the opening of the [[John F. Kennedy Center for the Performing Arts]] in Washington, D.C., it was partly intended as an anti-war statement. Hastily written in places, the work represented a fusion not only of different religious traditions (Latin liturgy, Hebrew prayer, and plenty of contemporary English lyrics) but also of different musical styles, including classical and rock music. It was originally a target of criticism from the Roman Catholic Church on the one hand and contemporary music critics who objected to its Broadway/populist elements on the other. In the present day, it is perhaps seen as less blasphemous and more a piece of its era: in 2000 it was even performed in the Vatican.

In 1972 Bernstein recorded [[Georges Bizet|Bizet]]'s ''[[Carmen]]'', with [[Marilyn Horne]] in the title role and [[James McCracken]] as Don Jose, after leading several stage performances of the opera at the [[Metropolitan Opera]]. The recording was one of the first in stereo to use the original spoken dialogue between the sung portions of the opera, rather than the musical [[recitative]]s that were composed by [[Ernest Guiraud]] after Bizet's death. The recording was Bernstein's first for [[Deutsche Grammophon]] and won a [[Grammy]].

Bernstein was appointed in 1973 to the [[Charles Eliot Norton]] Chair as Professor of Poetry at his alma mater, Harvard University, and delivered a series of six televised lectures on music with musical examples played by the [[Boston Symphony Orchestra]]. However, these lectures were not televised until 1976. Taking the title from a [[Charles Ives]] work, he called the series ''[[The Unanswered Question (lecture series)|The Unanswered Question]]''; it was a set of interdisciplinary lectures in which he borrowed terminology from contemporary linguistics to analyze and compare musical construction to language. The lectures are presently available in both book and DVD form. The DVD video was not taken directly from the lectures at Harvard, rather they were recreated again at the WGBH studios for filming. This appears to be the only surviving Norton lectures series available to the general public in video format. [[Noam Chomsky]] wrote in 2007 on the [[Z Communications|Znet]] forums about the linguistic aspects of the lecture: "I spent some time with Bernstein during the preparation and performance of the lectures. My feeling was that he was onto something, but I couldn't really judge how significant it was."

[[Chevy Chase]] states in his biography that [[Lorne Michaels]] wanted Bernstein to host [[Saturday Night Live]] in the show's first season (1975–76). Chase was seated next to Bernstein at a birthday party for [[Kurt Vonnegut]] and made the request in person. However, the pitch involved a Bernstein-conducted SNL version of [[West Side Story]], and Bernstein was uninterested.<ref>Fruchter, I'm Chevy Chase... and you're not, p. 184</ref>
 
A major period of upheaval in Bernstein's personal life began in 1976 when he decided that he could no longer conceal his bisexuality and he left his wife Felicia for a period to live with the musical director of the classical music radio station [[KKHI (defunct)|KKHI-FM]] in San Francisco, Tom Cothran.<ref>{{cite web|title=Leonard Bernstein a gay man who dabbled in the straight world|url=http://gayinfluence.blogspot.com/2011/07/leonard-bernstein.html|accessdate=20 November 2015|date=July 12, 2011}}</ref> The next year she was diagnosed with lung cancer and eventually Bernstein moved back in with her and cared for her until she died on June 16, 1978.<ref name=Burton/> Bernstein is reported to have often spoken of his terrible guilt over his wife's death.<ref name=Burton/> Most biographies of Bernstein state that his lifestyle became more excessive and his personal behavior sometimes cruder after her death. However, his public standing and many of his close friendships appear to have remained unaffected, and he resumed his busy schedule of musical activity.

In 1978, Bernstein returned to the Vienna State Opera to conduct a revival of the [[Otto Schenk]] production of ''Fidelio'', now featuring [[Gundula Janowitz]] and [[Rene Kollo]] in the lead roles. At the same time, Bernstein made a studio recording of the opera for [[Deutsche Grammophon]] and the opera itself was filmed by Unitel and released on DVD by [[Deutsche Grammophon]] in late 2006. In May 1978, the [[Israel Philharmonic Orchestra|Israel Philharmonic]] played two U.S. concerts under his direction to celebrate the 30th anniversary of the founding of the Orchestra under that name. On consecutive nights, the Orchestra, with the [[Choral Arts Society of Washington]], performed Beethoven's Ninth Symphony and Bernstein's [[Chichester Psalms]] at the Kennedy Center in Washington, D.C., and at [[Carnegie Hall]] in New York.

In 1979, Bernstein conducted the [[Berlin Philharmonic Orchestra]] for the first time, in two charity concerts for [[Amnesty International]] involving performances of Mahler's [[Symphony No. 9 (Mahler)|Ninth Symphony]]. The invitation for the concerts had come from the orchestra and not from its principal conductor [[Herbert von Karajan]]. There has been speculation about why Karajan never invited Bernstein to conduct his orchestra. (Karajan did conduct the New York Philharmonic during Bernstein's tenure.) The full reasons will probably never be known&nbsp;– reports suggest they were on friendly terms when they met, but sometimes practiced a little mutual [[one-upmanship]].<ref name=Burton/> One of the concerts was broadcast on radio and was posthumously released on CD by Deutsche Grammophon. One oddity of the recording is that the trombone section fails to enter at the climax of the finale, as a result of an audience member fainting just behind the trombones a few seconds earlier.

===1980–1990===
Bernstein received the [[Kennedy Center Honors]] award in 1980. For the rest of the 1980s he continued to conduct, teach, compose, and produce the occasional TV documentary. His most significant compositions of the decade were probably his opera ''[[A Quiet Place]]'', which he wrote with [[Stephen Wadsworth]] and which premiered (in its original version) in Houston in 1983; his ''Divertimento for Orchestra''; his ''[[Halil (Bernstein)|Halil]]'' for flute and orchestra; his ''Concerto for Orchestra "Jubilee Games"''; and his song cycle ''Arias and Barcarolles'', which was named after a comment President [[Dwight D. Eisenhower]] had made to him in 1960.

[[File:Schell and Bernstein-83-1.jpg|thumb|left|240px|with [[Maximilian Schell]] on PBS Beethoven TV series (1982)]]
In 1982 in the U.S., [[PBS]] aired an 11-part series of Bernstein's late 1970s films for Unitel of the Vienna Philharmonic playing all nine Beethoven symphonies and various other Beethoven works. Bernstein gave spoken introduction and actor [[Maximilian Schell]] was also featured on the programs, reading from Beethoven's letters.<ref>{{YouTube|OuYY1gV8jhU|Leonard Bernstein and Maximilian Schell discussing Beethoven's 6th and 7th Symphony}}, video clip, 9 minutes</ref> The original films have since been released on DVD by Deutsche Grammophon. In addition to conducting in New York, Vienna and Israel, Bernstein was a regular guest conductor of other orchestras in the 1980s. These included the [[Royal Concertgebouw Orchestra]] in Amsterdam, with whom he recorded Mahler's First, Fourth, and Ninth Symphonies amongst other works; the [[Bavarian Radio Symphony Orchestra]] in Munich, with whom he recorded Wagner's ''[[Tristan und Isolde]]''; Haydn's ''[[The Creation (Haydn)|Creation]]''; Mozart's ''[[Requiem (Mozart)|Requiem]]'' and ''[[Great Mass in C minor]]''; and the orchestra of [[Accademia Nazionale di Santa Cecilia]] in Rome, with whom he recorded some Debussy and Puccini's ''[[La bohème]]''.

In 1982, he and [[Ernest Fleischmann]] founded the [[Los Angeles Philharmonic Institute]] as a summer training academy along the lines of Tanglewood. Bernstein served as artistic director and taught conducting there until 1984. Around the same time, he performed and recorded some of his own works with the [[Los Angeles Philharmonic]] for Deutsche Grammophon. Bernstein was also at the time a committed supporter of nuclear disarmament. In 1985 he took the [[European Union Youth Orchestra|European Community Youth Orchestra]] in a "Journey for Peace" tour around Europe and to Japan.

In 1985, he conducted a recording of ''[[West Side Story]]'', the first time he had conducted the entire work. The recording, featuring what some critics felt were miscast opera singers such as [[Kiri Te Kanawa]], [[José Carreras]], and [[Tatiana Troyanos]] in the leading roles, was nevertheless an international bestseller. A TV documentary showing the making of the recording was made at the same time and is available on DVD. Bernstein also continued to make his own TV documentaries during the 1980s, including ''The Little Drummer Boy'', in which he discussed the music of Gustav Mahler, perhaps the composer he was most passionately interested in, and ''The Love of Three Orchestras'', in which he discussed his work in New York, Vienna, and Israel.

In his later years, Bernstein's life and work was celebrated around the world (as it has been since his death). The Israel Philharmonic celebrated his involvement with them at Festivals in Israel and Austria in 1977. In 1986 the [[London Symphony Orchestra]] mounted a Bernstein Festival in London with one concert that Bernstein himself conducted attended by the [[Elizabeth II|Queen]]. In 1988 Bernstein's 70th birthday was celebrated by a lavish televised gala at Tanglewood featuring many performers who had worked with him over the years.

In December 1989, Bernstein conducted live performances and recorded in the studio his operetta ''[[Candide]]'' with the [[London Symphony Orchestra]]. The recording starred [[Jerry Hadley]], [[June Anderson]], [[Adolph Green]], and [[Christa Ludwig]] in the leading roles. The use of opera singers in some roles perhaps fitted the style of [[operetta]] better than some critics had thought was the case for ''West Side Story'', and the recording (released posthumously in 1991) was universally praised. One of the live concerts from the [[Barbican Centre]] in London is available on DVD. ''Candide'' had had a troubled history, with many rewrites and writers involved. Bernstein's concert and recording were based on a "final" version that had been first performed by [[Scottish Opera]] in 1988. The opening night (which Bernstein attended in Glasgow) was conducted by Bernstein's former student [[John Mauceri]].

[[File:Leonard Bernstein Grave, Sunset, Green-Wood Cemetery.jpg|thumb|Bernstein's grave in Green-Wood Cemetery]]

On December 25, 1989, Bernstein conducted [[Ludwig van Beethoven|Beethoven]]'s [[Symphony No. 9 (Beethoven)|Symphony No. 9]] in East Berlin's [[Konzerthaus Berlin|Schauspielhaus]] as part of a celebration of the fall of the [[Berlin Wall]]. He had conducted the same work in West Berlin the previous day. The concert was broadcast live in more than twenty countries to an estimated audience of 100 million people. For the occasion, Bernstein reworded [[Friedrich Schiller]]'s text of the ''[[Ode to Joy]]'', substituting the word ''Freiheit'' (freedom) for  ''Freude'' (joy).<ref name="Naxos 2072038">{{cite web
 |url=http://www.naxos.com/catalogue/item.asp?item_code=2072038
 | title      = ''Ode To Freedom&nbsp;– Beethoven: Symphony No. 9'' (NTSC)
 | author=Naxos
 | authorlink = Naxos Records
 | year       = 2006
 | work=Naxos.com Classical Music Catalogue
 | accessdate =November 26, 2006 }}</ref> Bernstein, in his spoken introduction, said that they had "taken the liberty" of doing this because of a "most likely phony" story, apparently believed in some quarters, that Schiller wrote an "Ode to Freedom" that is now presumed lost. Bernstein added, "I'm sure that Beethoven would have given us his blessing."

In the summer of 1990, Bernstein and [[Michael Tilson Thomas]] founded the Pacific Music Festival in [[Sapporo]], Japan. Like his earlier activity in Los Angeles, this was a summer training school for musicians modeled on Tanglewood, and is still in existence. Bernstein was already at this time suffering from the lung disease that would lead to his death. In his opening address Bernstein said that he had decided to devote what time he had left to education. A video showing Bernstein speaking and rehearsing at the first Festival is available on DVD in Japan.

In 1990, Leonard Bernstein received the Praemium Imperiale, an international prize awarded by the Japan Arts Association for lifetime achievement in the arts. Bernstein used the $100,000 prize to establish The Bernstein Education Through the Arts (BETA) Fund, Inc.<ref>{{cite web|url=http://www.leonardbernstein.com/pfr/pfr_FALL05_rev2.pdf|title=''Prelude, Fugue & Riffs'', Fall/Winter 2005|publisher=The Leonard Bernstein Society}}</ref> Leonard Bernstein provided this grant to develop an arts-based education program. The Leonard Bernstein Center was established in April 1992, and initiated extensive school-based research, resulting in the Bernstein Model, the Leonard Bernstein [[Artful Learning]] Program.<ref>{{cite web|url=http://webadrenaline.com/artful-2-3-04/about/mission.html |title=History of the Leonard Bernstein Center for Learning |publisher= |date= |accessdate=2015-01-02}}</ref>

Bernstein made his final performance as a conductor at [[Tanglewood]] on August 19, 1990, with the Boston Symphony playing [[Benjamin Britten]]'s "Four Sea Interludes" from ''[[Peter Grimes]]'', and [[Ludwig van Beethoven|Beethoven]]'s [[Symphony No. 7 (Beethoven)|Seventh Symphony]].<ref>{{cite web
   |url        = http://writersalmanac.publicradio.org/programs/2003/08/25
   |title      = The Writer's Almanac
   |publisher=American Public Media
   |author=Garrison Keillor
   |date       = August 25, 2003
   |accessdate =January 17, 2007
    }}</ref> He suffered a coughing fit during the Third Movement of the Beethoven Symphony, however the maestro continued to conduct the piece until its conclusion, leaving the stage during the ovation, appearing exhausted and in pain.<ref>{{cite web|last=Kozinn|first=Allan|url=http://www.nytimes.com/1990/10/10/arts/bernstein-retires-from-performing-citing-poor-health.html|title=Bernstein Retires From Performing, Citing Poor Health|work=The New York Times|date=October 10, 1990|accessdate=October 12, 2015}}</ref> The concert was later issued on CD as ''Leonard Bernstein – The Final Concert'' by Deutsche Grammophon (catalog number 431 768).<ref>{{cite news|last1=Clark|first1=Sedgewick|title=Recording View: Bernstein: Yet More Surprises?|url=http://www.nytimes.com/1993/06/13/arts/recordings-view-bernstein-yet-more-surprises.html|accessdate=20 October 2015|work=The New York Times|date=June 13, 1993}}</ref>

He announced his retirement from conducting on October 9, 1990,<ref>{{cite web|url=http://themusicsover.wordpress.com/2009/10/14/leonard-bernstein/ |title=» Died On This Date (October 14, 1990) Leonard Bernstein / World Renowned Composer The Music's Over |publisher= |date=October 14, 2009 |accessdate=May 3, 2012}}</ref> and died of a heart attack five days later. He was 72 years old.<ref name=obit>{{cite news |first= Donal|last= Henahan|title=Leonard Bernstein, 72, Music's Monarch, Dies |url=http://query.nytimes.com/gst/fullpage.html?res=9C0CE0DA1F3DF936A25753C1A966958260 |quote=Leonard Bernstein, one of the most prodigally talented and successful musicians in American history, died yesterday evening at his apartment at the Dakota on the Upper West Side of Manhattan. He was 72 years old. Mr. Bernstein's spokeswoman, [[Margaret Carson]], said he died of a heart attack caused by progressive lung failure. |work=New York Times |date=October 15, 1990 |accessdate=February 11, 2009 }}</ref> A longtime heavy smoker, he had battled [[emphysema]] from his mid-50s. On the day of his funeral procession through the streets of Manhattan, construction workers removed their hats and waved, yelling "Goodbye, Lenny."<ref name="reaching">See the TV Documentary: ''Leonard Bernstein: Reaching for the Note'' originally shown in the series ''American Masters'' on PBS in the U.S., now on DVD.</ref> Bernstein is buried in [[Green-Wood Cemetery]], [[Brooklyn]], New York,<ref>{{cite web|url=http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1166 |title=Find A Grave |accessdate=May 17, 2015}}</ref> next to his wife and with a copy of [[Symphony No. 5 (Mahler)|Mahler's Fifth]] lying across his heart.<ref>Davis, Peter G. (May 17, 2011). "When Mahler Took Manhattan." Retrieved 2011-5-18. "Small wonder that Bernstein is buried with the score of Mahler’s Fifth Symphony placed over his heart."</ref>

==Social activism==
While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, ''[[The Cradle Will Rock]]'', by [[Marc Blitzstein]], about the disparity between the working and upper class. His first opera, [[Trouble in Tahiti]], was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class life in particular. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons.<ref>{{cite web | title=Causes and Effecting Change | author=Bernstein:The Best of All Possible Worlds | url=http://www.carnegiehall.org/bernstein/leonardbernstein/essays/nr_socialactivist.html}}</ref>

Bernstein was named in the book ''[[Red Channels]]: The Report of Communist Influence in Radio and Television'' (1950) as a Communist along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures of the performing arts.  ''Red Channels'' was issued by the right-wing journal ''Counterattack'' and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.<ref>{{cite web|url=http://www.history.com/this-day-in-history/bernstein-copland-seeger-and-others-are-named-as-communists?et_cid=76800153&et_rid=1221598356&linkid=http%3a%2f%2fwww.history.com%2fthis-day-in-history%2fbernstein-copland-seeger-and-others-are-named-as-communists|title=Bernstein, Copland, Seeger and others are named as Communists|work=HISTORY.com}}</ref><ref>"Fear On Trial" by John Henry Faulk</ref><ref>"The Jury Returns" by Louis Nizer</ref>

===Philanthropy===
Among the many awards Bernstein earned throughout his life one allowed him to make one of his philanthropic dreams a reality. He had for a long time wanted to develop an international school to help promote the integration of arts into education. When he won the Japan Arts Association award for lifetime achievement,<ref>{{cite web | title=Temple Emanuel | url=http://www.emanuelnyc.org/composer.php?composer_id=28}}</ref> he used the $100,000 that came with the award to build such a school in Nashville, that would strive to teach teachers how to better integrate music, dance, and theater into the school system which was "not working".<ref>{{Cite news| last=Harrison | first=Eric | title=The maestro's legacy reverberates in Nashville : Leonard Bernstein's dream of creating a center that integrates the arts and the classroom is in full swing | location=Los Angeles | newspaper=Los Angeles Times |accessdate=Oct 11, 2011 | url=http://articles.latimes.com/1993-08-09/news/mn-22033_1_leonard-bernstein | date=August 9, 1993}}</ref> Unfortunately, the school was not able to open until shortly after Bernstein's death.

In a 1990 Rolling Stone interview Bernstein outlined his conception of a school called [http://www.aloveoflearning.org The Academy for the Love of Learning].<ref>Cott, Jonathan. "Leonard Bernstein-The Last Interview". ''Rolling Stone'', New York, 28 November 1990: 70-93, 130</ref>

''I and a musician friend named Aaron Stern have conceived of an institution called the Academy for the Love of Learning. We haven't done too much with the idea yet, but it's registered as a nonprofit corporation, and besides the obvious attempts to get music and kids together, there will be the overriding goal of teaching teachers to discover their own love of learning.''

The [[Academy for the Love of Learning]] was completed in 1998 and is located in Santa Fe, New Mexico where it continues to explore Bernstein's dream of integrated arts in education by offering courses in transformational learning.

==Artful Learning==
[[Artful Learning]] is based on Bernstein's philosophy that the arts can strengthen learning and be incorporated in all academic subjects.<ref>{{cite web|url=http://digitalcommons.nl.edu/cgi/viewcontent.cgi?article=1000&context=dp2013 |title=THE LEONARD BERNSTEIN ARTFUL LEARNING MODEL: A CASE STUDY OF AN ELEMENTARY SCHOOL |publisher= |date= |accessdate=2013-12-01}}</ref> The program is based on "units of study," which each consist of four core elements: experience, inquire, create, and reflect.<ref>{{cite web|url=http://www.huffingtonpost.com/alexander-bernstein/leonard-bernsteins-artsba_b_3427779.html |title=Leonard Bernstein's Arts-Based Education Revolution |publisher= |date= |accessdate=2013-06-12}}</ref> After two decades of research and implementation across the United States, Artful Learning Schools demonstrate that Units of Study that utilize rigor, cognitive complexity and deep understanding through a commitment to collaborative and independent learning demonstrate high levels of student engagement and academic achievement.<ref>{{cite web|title=Artful Learning Model|url=http://www.leonardbernstein.com/artful_learning.htm|website= |publisher=The Leonard Bernstein Center|accessdate=7 February 2015}}</ref> {{POV section|date=February 2015}}

==Influence and characteristics as a conductor==
[[File:Leonard Bernstein 1971.jpg|210px|thumb|left|Leonard Bernstein in 1971]]
{{refimprove section|date=December 2012}}
Bernstein was one of the major figures in orchestral conducting in the second half of the 20th century. He was held in high regard amongst many musicians, including the members of the Vienna Philharmonic Orchestra, evidenced by his honorary membership; the [[London Symphony Orchestra]], of which he was President; and the [[Israel Philharmonic Orchestra]], with which he appeared regularly as guest conductor. He was probably the main conductor from the 1960s onwards who acquired a sort of superstar status similar to that of [[Herbert von Karajan]], although unlike Karajan he conducted relatively little opera and part of Bernstein's fame was based on his role as a composer. As the first American-born music director of the New York Philharmonic, his rise to prominence was a factor in overcoming the perception of the time that the top conductors were necessarily trained in Europe.

Bernstein's conducting was characterized by extremes of emotion with the rhythmic pulse of the music conveyed visually through his balletic podium manner. Musicians often reported that his manner in rehearsal was the same as in concert. As he got older his performances tended to be overlaid to a greater extent with a personal expressiveness which often divided critical opinion. Extreme examples of this style can be found in his Deutsche Grammophon recordings of Nimrod from Elgar's ''Enigma Variations'' (1982), the end of Mahler's 9th Symphony (1985), and the finale of Tchaikovsky's ''Pathetique Symphony'' (1986), where in each case the tempos are well below those typically chosen.

Bernstein performed a wide repertoire from the baroque era to the 20th century, although perhaps from the 1970s onwards he tended to focus more on music from the romantic era. He was considered especially accomplished with the works of [[Gustav Mahler]] and with American composers in general, including [[George Gershwin]], [[Aaron Copland]], [[Charles Ives]], [[Roy Harris]], [[William Schuman]], and of course himself. Some of his recordings of works by these composers would likely appear on many music critics' lists of recommended recordings. A list of his other well-thought-of recordings would probably include individual works from [[Joseph Haydn|Haydn]], [[Ludwig van Beethoven|Beethoven]], [[Hector Berlioz|Berlioz]], [[Robert Schumann|Schumann]], [[Franz Liszt|Liszt]], [[Carl Nielsen|Nielsen]], [[Jean Sibelius|Sibelius]], [[Igor Stravinsky|Stravinsky]], [[Paul Hindemith|Hindemith]], and [[Dmitri Shostakovich|Shostakovich]], among others.<ref>{{cite book| last=Holmes | first=John L.|title=Conductors on Record | location= UK | publisher=Greenwood Press | year=1982 | isbn=0-313-22990-2}}</ref> His recordings of ''[[Rhapsody in Blue]]'' (full-orchestra version) and ''[[An American in Paris]]'' for Columbia Records, released in 1959, are considered definitive by many, although Bernstein cut the ''Rhapsody'' slightly, and his more 'symphonic' approach with slower tempi is quite far from Gershwin's own conception of the piece, evident from his two recordings. ([[Oscar Levant]], [[Earl Wild]], and others come closer to Gershwin's own style.) Bernstein never conducted Gershwin's [[Concerto in F (Gershwin)|Piano Concerto in F]], or more than a few excerpts from ''[[Porgy and Bess]]'', although he did discuss the latter in his article ''Why Don't You Run Upstairs and Write a Nice Gershwin Tune?'', originally published in ''The New York Times'' and later reprinted in his 1959 book ''The Joy of Music.''

In addition to being an active conductor, Bernstein was an influential teacher of conducting. During his many years of teaching at Tanglewood and elsewhere, he directly taught or mentored many conductors who are performing now, including [[John Mauceri]], [[Marin Alsop]], [[Herbert Blomstedt]], [[Edo de Waart]], [[Alexander Frey]], [[Paavo Järvi]], [[Eiji Oue]], [[Maurice Peress]], [[Seiji Ozawa]] (who made his American TV debut as the guest conductor on one of the ''Young People's Concerts''), [[Carl St.Clair]], [[Helmuth Rilling]], [[Michael Tilson Thomas]], and [[Jaap van Zweden]]. He also undoubtedly influenced the career choices of many American musicians who grew up watching his television programmes in the 1950s and 60s.

==Recordings==
Bernstein recorded extensively from the mid-1940s until just a few months before his death. Aside from those 1940s' recordings, which were made for [[RCA Victor]], Bernstein recorded primarily for [[Columbia Masterworks Records]], especially when he was music director of the New York Philharmonic between 1958 and 1971. His typical pattern of recording at that time was to record major works in the studio immediately after they were presented in the orchestra's subscription concerts or on one of the ''Young People's Concerts'', with any spare time used to record short orchestral showpieces and similar works. Many of these performances were digitally remastered and reissued by [[Sony]] as part of their 100 Volume, 125 CDs "Royal Edition" and their later "Bernstein Century" series. In 2010 many of these recordings were repackaged in a 60 CD "Bernstein Symphony Edition".

His later recordings (starting with Bizet's [[Carmen]] in 1972) were mostly made for [[Deutsche Grammophon]], though he would occasionally return to the Columbia Masterworks label. Notable exceptions include recordings of [[Gustav Mahler]]'s ''[[Das Lied von der Erde|Song of the Earth]]'' and [[Wolfgang Amadeus Mozart|Mozart]]'s [[Piano Concerto No. 15 (Mozart)|15th piano concerto]] and [[Symphony No. 36 (Mozart)|"Linz" symphony]] with the [[Vienna Philharmonic Orchestra]] for [[Decca Records]] (1966); [[Hector Berlioz|Berlioz]]'s ''[[Symphonie fantastique]]'' and ''[[Harold in Italy]]'' (1976) for [[EMI]]; and [[Richard Wagner|Wagner]]'s ''[[Tristan und Isolde]]'' (1981) for [[Philips Records]], a label that like Deutsche Grammophon was part of [[PolyGram]] at that time. Unlike his studio recordings for Columbia Masterworks, most of his later Deutsche Grammophon recordings were taken from live concerts (or edited together from several concerts with additional sessions to correct errors).
Many replicate repertoire that he recorded in the 1950s and 60s.

In addition to his audio recordings, many of Bernstein's concerts from the 1970s onwards were recorded on motion picture film by the German film company Unitel. This included a complete cycle of the Mahler symphonies (with the Vienna Philharmonic and London Symphony Orchestra), as well as complete cycles of the Beethoven, Brahms and Schumann symphonies recorded at the same series of concerts as the audio recordings by Deutsche Grammophon. Many of these films appeared on [[Laserdisc]] and are now on DVD.

In total Bernstein was awarded 16 [[Grammys]] for his recordings in various categories, including several for posthumously released recordings. He was also awarded a Lifetime Achievement Grammy in 1985.

==Influence and characteristics as a composer==
Bernstein was an eclectic composer whose music fused elements of jazz, Jewish music, theatre music and the work of earlier composers like [[Aaron Copland]], [[Igor Stravinsky]], [[Darius Milhaud]], [[George Gershwin]], and [[Marc Blitzstein]]. Some of his works, especially his score for ''[[West Side Story]]'', helped bridge the gap between classical and popular music. His music was rooted in tonality but in some works like his ''[[Symphony No. 3 (Bernstein)|Kaddish Symphony]]'' and the opera ''[[A Quiet Place]]'' he mixed in 12-tone elements. Bernstein himself said his main motivation for composing was "to communicate" and that all his pieces, including his symphonies and concert works, "could in some sense be thought of as 'theatre' pieces."<ref name=reflections>In the 1978 Peter Rosen documentary ''Leonard Bernstein: Reflections'', now available on a Medici Arts DVD.</ref> According to the League of American orchestras,<ref>{{cite web|url=http://www.americanorchestras.org/images/stories/ORR_0809/ORR_0809.pdf|title=2008-2009 Season, Orchestra Repertoire Report|publisher=League of American Orchestras|accessdate=January 21, 2011}}</ref> he was the second most frequently performed American composer by U.S. orchestras in 2008-9 behind Copland, and he was the 16th most frequently performed composer overall by U.S. orchestras. (Some performances were probably due to the 90th anniversary of his birth in 2008.) His most popular pieces were the ''Overture to Candide'', the ''Symphonic Dances from West Side Story'', the ''[[Serenade after Plato's "Symposium"|Serenade for Violin, Strings, Harp and Percussion]]'' and the ''Three Dance Episodes from On the Town''. His shows ''[[West Side Story]]'', ''[[On the Town (musical)|On the Town]]'', ''[[Wonderful Town]]'' and ''[[Candide (operetta)|Candide]]'' are regularly performed, and his symphonies and concert works are programmed from time to time by orchestras around the world. Since his death many of his works have been commercially recorded by artists other than himself. The ''[[Serenade after Plato's "Symposium"|Serenade]]'', which has been recorded more than 10 times, is probably his most recorded work not taken from an actual theatre piece.

Despite the fact that he was a popular success as a composer, Bernstein himself is reported to have been disillusioned that some of his more serious works were not rated more highly by critics, and that he himself had not been able to devote more time to composing because of his conducting and other activities.<ref name=reaching/> Professional criticism of Bernstein's music often involves discussing the degree to which he created something new as art versus simply skillfully borrowing and fusing together elements from others. In the late 1960s, Bernstein himself reflected that his [[eclecticism]] was in part due to his lack of lengthy periods devoted to composition, and that he was still seeking to enrich his own personal musical language in the manner of the great composers of the past, all of whom had borrowed elements from others.<ref name="Gruen">Gruen, John and Heyman, Ken (1968).''The Private World of Leonard Bernstein.'' New York: The Viking Press.</ref> Perhaps the harshest criticism he received from some critics in his lifetime though was directed at works like his ''Kaddish Symphony'', his ''MASS'' and the opera ''A Quiet Place'', where they found the underlying message of the piece or the text as either mildly embarrassing, clichéd or offensive. Despite this, all these pieces have been performed, discussed and reconsidered since his death.

Bernstein's works were performed several times for [[Pope John Paul II]], including at [[World Youth Day]] in [[Denver]] on August&nbsp;14, 1993 (excerpts from "MASS"), and at the [[Papal Concert to Commemorate the Shoah]] on April 7, 1994, with the [[Royal Philharmonic Orchestra]] ("Chichester Psalms" and Symphony No. 3, "Kaddish" [excerpt]) in the Sala Nervi at the Vatican. Both performances were conducted by [[Gilbert Levine]].

Although he taught conducting, Bernstein was not a teacher of composition as such, and he has no direct composing heirs. Perhaps the closest are composers like [[John Adams (composer)|John Adams]], who from the 1970s onwards indirectly adopted elements of his eclectic, theatrical style.

==Works==
{{main article|List of compositions by Leonard Bernstein}}

===Ballet===
* ''[[Fancy Free (ballet)|Fancy Free]]'', 1944
* ''Facsimile&nbsp;– Choreographic Essay for Orchestra'', 1946
* ''[[Dybbuk (ballet)|Dybbuk]]'' (ballet), 1974

===Opera===
* ''[[Trouble in Tahiti]]'', 1952
* ''[[Candide (operetta)|Candide]]'', 1956 (new libretto in 1973, operetta final revised version in 1989)
* ''[[A Quiet Place]]'', 1983, revised in 1986

===Musicals===
* ''[[On the Town (musical)|On The Town]]'', 1944
* ''[[Wonderful Town]]'', 1953
* ''[[West Side Story]]'', 1957
* ''[[The Race to Urga]]'' (incomplete), 1969
* "By Bernstein" (a Revue), 1975
* ''[[1600 Pennsylvania Avenue (musical)|1600 Pennsylvania Avenue]]'', 1976
* "[[A Party with Betty Comden and Adolph Green]]", 1977
* ''[[The Madwoman of Central Park West]]'', (contributed to) 1979

===Incidental music and other theatre===
* ''[[Peter Pan (1950 musical)|Peter Pan]]'', 1950
* ''[[L'Alouette (The Lark)|The Lark]]'', 1955
* ''[[Christopher Fry|The Firstborn]]'', 1958
* ''[[Mass (Bernstein)|Mass]]'' (theatre piece for singers, players and dancers), 1971
*"[[Side by Side by Sondheim]]"* 1976

===Film scores===
* ''[[On the Town (film)|On the Town]]'', 1949 (only part of his music was used)
* ''[[On the Waterfront]]'', 1954
* ''[[West Side Story (film)|West Side Story]]'', 1961

===Orchestral===
*[[Symphony No. 1 (Bernstein)|Symphony No. 1]], ''Jeremiah'', 1942
*''Fancy Free'' and ''Three Dance Variations from "Fancy Free"'', concert premiere 1946
*''Three Dance Episodes from "On the Town"'', concert premiere 1947
*[[Symphony No. 2 (Bernstein)|Symphony No. 2]], ''The Age of Anxiety'', (after [[W. H. Auden]]) for Piano and Orchestra, 1949 (revised in 1965)
*''[[Serenade for Solo Violin, Strings, Harp and Percussion (after Plato's "Symposium")]]'', 1954
*''[[Prelude, Fugue, and Riffs]]'' for Solo Clarinet and Jazz Ensemble, 1949
*''Symphonic Suite from "On the Waterfront"'', 1955
*''Symphonic Dances from "West Side Story"'', 1961
*[[Symphony No. 3 (Bernstein)|Symphony No. 3]], ''[[Kaddish]]'', for Orchestra, Mixed Chorus, Boys' Choir, Speaker and Soprano Solo, 1963 (revised in 1977)
*''Dybbuk'', Suites No. 1 and 2 for Orchestra, concert premieres 1975
*''[[Songfest: A Cycle of American Poems for Six Singers and Orchestra]]'', 1977
*''Three Meditations from "Mass"'' for Violoncello and Orchestra, 1977
*''[[Slava! A Political Overture]]'' for Orchestra, 1977
*''Divertimento for Orchestra'', 1980
*''[[Halil (Bernstein)|Halil]]'', nocturne for Solo Flute, Piccolo, Alto Flute, Percussion, Harp and Strings, 1981
*''Concerto for Orchestra'', 1989 (Originally ''Jubilee Games'' from 1986, revised in 1989)

===Choral===
*''[[Hashkiveinu (composition)|Hashkiveinu]]'' for Cantor (tenor), Mixed Chorus and Organ, 1945
*''[[Missa Brevis (Bernstein)|Missa Brevis]]'' for Mixed Chorus and Countertenor Solo, with Percussion, 1988
*''[[Chichester Psalms]]'' for Boy Soprano (or [[Countertenor]]), Mixed Chorus, and Orchestra, 1965 (Reduced version for Organ, Harp and Percussion)

===Chamber music===
*[[Piano Trio (Bernstein)|Piano Trio]], 1937, [[Boosey & Hawkes]]
*[[Sonata for Clarinet and Piano (Bernstein)|Sonata for Clarinet and Piano]], 1942
*Brass Music, 1959
*[[Dance Suite (Bernstein)|Dance Suite]], 1988
*[[Variations on an Octatonic Scale for recorder and cello (Bernstein)|Variations on an Octatonic Scale for recorder and cello]], 1988

===Vocal music===
*''I Hate Music: A cycle of Five Kids Songs for Soprano and Piano'', 1943
*''Big Stuff'', sung by [[Billie Holiday]]
*''La Bonne Cuisine: Four Recipes for Voice and Piano'', 1948
*''Silhouette (Galilee)'', 1951
*''Two Love Songs'', 1960
*''So Pretty'', 1968
*''Piccola Serenata'', 1979
*''Arias and Barcarolles'' for Mezzo-Soprano, Baritone and Piano four-hands, 1988

===Piano music===
*''Music for Two Pianos'', 1937
*''Piano Sonata'', 1938
*''7 Anniversaries'', 1944
*''[[Four Anniversaries for the Piano|4 Anniversaries]]'', 1948
*''5 Anniversaries'', 1952
*''Bridal Suite'', 1960
*''Moby Diptych'', 1981 (republished as Anniversaries nos. 1 and 2 in Thirteen Anniversaries)
*''Touches'', 1981
*''13 Anniversaries'', 1988

===Other music===
*Other occasional works, written as gifts and other forms of memorial and tribute
*"The Skin of Our Teeth": An aborted work from which Bernstein took material to use in his "Chichester Psalms"
*"Simhu Na" (arrangement of traditional song)
*"Waltz for Mippy III" for Tuba and Piano
*"Elegy for Mippy II" for Trombone alone
*"Elegy for Mippy I" for Horn and Piano
*"Rondo for Lifey" for Trumpet and Piano
*"Fanfare for Bima" for Brass Quartet: composed in 1947 as a birthday tribute to Koussevitzky using the tune he whistled to call his cocker spaniel<ref>Copland, Aaron and Perlis, Vivian (1984). ''Copland Since 1943'', p119.</ref>
*"Shivaree: A Fanfare" for Double Brass Ensemble and Percussion. 1970. Commissioned by and dedicated to the [[Metropolitan Museum of Art]] in New York in honor of its [[The Metropolitan Museum of Art Centennial|Centenary]].<ref>[http://libmma.org/digital_files/archives/Trescher_Centennial_records_b18234550.pdf Finding aid for the George Trescher records related to The Metropolitan Museum of Art Centennial, 1949, 1960-1971 (bulk 1967-1970)]. [[The Metropolitan Museum of Art]]. Retrieved 6 August 2014.</ref> Musical material later used in "Mass."
{{Expand list|date=February 2010}}

==Bibliography==
*{{cite book | last=Bernstein | first=Leonard | title=Findings | location=New York | publisher=Anchor Books | year=1993 | origyear=1982 | isbn=0-385-42437-X}}
*{{cite book | last=Bernstein | first=Leonard | title=The Infinite Variety of Music | location= New York | publisher=Anchor Books | year=1993 | origyear=1966| isbn=0-385-42438-8}}
*{{cite book | last=Bernstein | first=Leonard | title=The Joy of Music | location=Pompton Plains, New Jersey | publisher=Amadeus Press | year=2004| origyear=1959 | isbn=1-57467-104-9}}
*{{cite book | last=Bernstein | first=Leonard | title=Young People's Concerts | location=Milwaukee; Cambridge | publisher=Amadeus Press | year=2006|origyear=1962 | isbn=1-57467-102-2}}
* Bernstein, Leonard. [1976] [http://www.hup.harvard.edu/catalog.php?isbn=9780674920019 ''The Unanswered Question: Six Talks at Harvard''], [[Harvard University Press]]. ISBN 0-674-92001-5.
* Bernstein, Leonard. [2013] [http://yalebooks.co.uk/display.asp?K=9780300179095''The Leonard Bernstein Letters''], [[Yale University Press]]. ISBN 978-0-300-17909-5.

==Videography==
* ''The Unanswered Question: Six Talks at Harvard''. West Long Branch, New Jersey: Kultur Video. VHS ISBN 1-56127-570-0. DVD ISBN 0-7697-1570-2. (videotape of the [[Charles Eliot Norton Lectures]] given at Harvard in 1973.)
*''Leonard Bernstein's Young People's Concerts with the New York Philharmonic''. West Long Branch, New Jersey: Kultur Video. DVD ISBN 0-7697-1503-6.
*''Bernstein on Beethoven: A Celebration in Vienna/Beethoven: Piano Concerto No. 1.'' West Long Branch, Kultur Video. DVD
*''Leonard Bernstein: Omnibus&nbsp;– The Historic TV Broadcasts'', 2010, E1 Ent.
*''Bernstein: Reflections'' (1978), Euroarts.
*''Bernstein/Beethoven'' (1982), Deutsche Grammophon, DVD
*''Bernstein Conducts "West Side Story" '' (1985) (retitled ''The Making of West Side Story'' in re-releases) Deutsche Grammophon. DVD
*''"The Rite of Spring" in Rehearsal''
*''"Leonard Bernstein: Reaching for the Note"'' (1998) Documentary on his life and music. Originally aired on PBS's American Masters series. DVD

==Awards==
{{Main article|List of Leonard Bernstein awards}}
* Fellow of the [[American Academy of Arts and Sciences]], 1951<ref name=AAAS>{{cite web|title=Book of Members, 1780–2010: Chapter B|url=http://www.amacad.org/publications/BookofMembers/ChapterB.pdf|publisher=American Academy of Arts and Sciences|accessdate=June 24, 2011}}</ref>
* [[Sonning Award|Sonning Award (Denmark)]], 1965
* [[Ditson Conductor's Award]], 1958
* [[George Peabody Medal]]&nbsp;– [[Johns Hopkins University]], 1980
* [[Ernst von Siemens Music Prize]] 1987
* [[Royal Philharmonic Society|Royal Philharmonic Society Gold Medal (UK)]], 1987
* [[OMRI|Knight Grand Cross Order of Merit (Italy)]], 1989
* [[Grammy Award for Best Album for Children]]
* [[Grammy Award for Best Orchestral Performance]]
* [[Grammy Award for Best Choral Performance]]
* [[Grammy Award for Best Opera Recording]]
* [[Grammy Award for Best Classical Vocal Performance]]
* [[Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)|Grammy Award for Best Instrumental Soloist(s) Performance]]
* [[Grammy Award for Best Classical Contemporary Composition]]
* [[Grammy Award for Best Classical Album]]
* [[Grammy Lifetime Achievement Award]]
* [[Tony Award for Best Musical]]
* [[Special Tony Award]]
* Japan Arts Association [[Lifetime Achievement Award]]
*Gramophone Hall of Fame entrant<ref>{{cite web|title=Leonard Bernstein (composer, conductor and pianist)|url=http://www.gramophone.co.uk/HallofFame/ArtistPage/Bernstein|publisher=Gramophone}}</ref>
* Commandeur de la Légion d'honneur, 1986

Leonard Bernstein is also a member of both the [[American Theater Hall of Fame]],<ref>{{cite web|url=http://www.theaterhalloffame.org/members.html#B|title=Theater Hall of Fame members}}</ref> and the [[Television Hall of Fame]].<ref>{{cite web|url=http://www.emmys.com/awards/hall-of-fame-honorees|title=Television Hall of Fame Honorees: The Complete List}}</ref> In 2015 he was inducted into the [[Legacy Walk]].<ref>{{cite web|url=http://www.windycitymediagroup.com/m/APPredirect.php?AID=53131|title=Legacy Walk unveils five new bronze memorial plaques – 2342 – Gay Lesbian Bi Trans News – Windy City Times|publisher=}}</ref>

==References==
{{Reflist|colwidth=30em}}

==Further reading==
* {{cite book | last=Burton | first=Humphrey | title=Leonard Bernstein | location=New York | publisher=Doubleday | year=1994 | isbn=0-385-42345-4}}
* {{cite book | last=Gottlieb | first=Jack (ed.) | title=Leonard Bernstein's Young People's Concerts | edition=revised | location=New York | publisher=Anchor Books | year=1992 | isbn=0-385-42435-3}}
* {{cite book | editor1-last=Bernstein |editor1-first=Burton| editor2-last=Haws | editor2-first=Barbara|year=2008|title=Leonard Bernstein: American Original|location=New York|publisher=HarperCollins |others=Contains chapters by [[Alan Rich]], [[Paul S. Boyer|Paul Boyer]], [[Carol J. Oja]], [[Tim Page (music critic)|Tim Page]], Burton Bernstein, Jonathan Rosenberg, [[Joseph Horowitz]], [[Bill McGlaughlin]], James M. Keller, and [[John Adams (composer)|John Adams]]| isbn=0-06-153786-1 }}
* {{cite book | last=Chapin | first=Schuyler| title= Leonard Bernstein: Notes from a Friend | location=New York | publisher=Walker | year=1992 | isbn=0-8027-1216-9 }}
* {{cite book | last=Rozen | first=Brian D. | title=The Contributions of Leonard Bernstein to Music Education: An Analysis of his 53 Young People's Concerts. Thesis (PhD) | location=Rochester, New York | publisher=University of Rochester | year=1997 | oclc=48156751}}
* {{cite book| last=Laird| first=Paul R. | title=Leonard Bernstein: A Guide to Research| publisher=Routledge | location=New York | year=2002 |isbn=0-8153-3517-2}} ({{google books|1aPyEzYri7UC|online Life}})
*  Secrest,Meryle, Leonard Bernstein A Life, Alfred A. Knopf, 1994, ISBN 0679407316.
* {{cite book| last= Simeone| first=Nigel| title=The Leonard Bernstein Letters| publisher=Yale University Press | year=2013 |isbn=9780300179095}}

==External links==
{{Commons}}
{{Wikiquote}}
*{{Official website}}
*[http://www.leonardbernstein.com/disc.htm Discography]
*[http://memory.loc.gov/ammem/lbhtml/lbpg01.html The Leonard Bernstein Collection] at the [[Library of Congress|Library of Congress Music Division]]
*{{MusicBrainz artist|id=fa39bc82-9b27-4bbb-9425-d719a72e09ac|name=Leonard Bernstein}}
*[http://www.sonybmgmasterworks.com/artists/leonardbernstein/ Discography at SonyBMG Masterworks]
*[http://fas-www.harvard.edu/~musicdpt/bernsteinindex.htm Bernstein's Boston], a [[Harvard University]] research project
*[http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1166 Find A Grave – Leonard Bernstein]
*[http://vault.fbi.gov/leonard-bernstein FBI file on Leonard Bernstein]
*[http://www.brandeis.edu/arts/festival/ Leonard Bernstein Festival of the Creative Arts]
*[http://www.fyne.co.uk/index.php?item=215 Gay Great&nbsp;– Leonard Bernstein]
*''[http://www.tomwolfe.com/RadicalChic.html Radical Chic]'', a book by [[Tom Wolfe]] describing a gathering at Bernstein's apartment of New York's social elite and the [[Black Panther Party]].
*[http://www.classicalnotes.net/features/bernstein.html Leonard Bernstein: A Total Embrace of Music], written by [[Peter Gutmann (Washington, D.C.)|Peter Gutmann]], music journalist.
*[http://www.spingal.plus.com Arias and Barcarolles, The Leonard Bernstein Pages]
*{{IMDb name|0077086}}
*{{IBDB name}}
*{{iobdb|Leonard|Bernstein}}
*[http://www.tapuz.co.il/blog/ViewEntry.asp?EntryId=1130063 Leonard Bernstein's maximum card from Israel]
*[http://www.nytimes.com/learning/general/onthisday/bday/0825.html Obituary, ''New York Times'', October 15, 1990]
*[http://www.amazon.com/dp/0061537861 ''Leonard Bernstein: American Original''] (HarperCollins, 2008) Chapters by [[Alan Rich]], [[Paul S. Boyer|Paul Boyer]], Carol J. Oja, [[Tim Page (music critic)|Tim Page]], Burton Bernstein, Jonathan Rosenberg, [[Joseph Horowitz]], [[Bill McGlaughlin]], James M. Keller, [[John Adams (composer)|John Adams]]
*[http://www.pmf.or.jp/index_en.php Pacific Music Festival], founded by Leonard Bernstein and Michael Tilson Thomas

{{Léonie Sonning Music Prize laureates}}
{{Musicals and operas of Leonard Bernstein}}
{{NYPhil music directors}}
{{Kennedy Center Honorees 1980s}}
{{1990 Television Hall of Fame}}
{{Grammy Award for Best Spoken Word Album 1960s}}
{{Authority control}}

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