1977) 2 min, for tenor solo, men’s voices, and optional string bass and percussion “if you can’t eat you got to” from Songfest(1973, rev.Warm-up (Alleluia from Mass) (1970) ca.3: Kaddish(1963) 1 min, for five-part boy choir with keyboard accompaniment Yevarechecha from Opening Prayer (1987) ca.Afterthought: Study for the Ballet Facsimile (1954) 4 min, for voice and piano.1998) 23 min, arranged for two pianos by John Musto Symphonic Dances from West Side Story (arr.2001) 1 min, arranged for voice and chamber ensemble by Sid Ramin Songfest (1977) 41 min, a cycle of American poems for soprano, mezzo, alto, tenor, baritone, and bass soloists, and 2 pianos (arr.).1995) 5 min, orchestrated for voice, flutes, clalrinets, percussion, harp and strings by Sid Ramin 1965) 3 min, transcribed for brass, percussion, and piano (optional) by Frank Erickson Presto Barbaro from On the Waterfront(arr.TRANSCRIPTIONS, ARRANGEMENTS & REDUCTIONS Waltz for Mippy III, 2 min, for tuba and pianoįanfare for Bima, 1 min, for brass quartet (trumpet, horn, trombone, and tuba or bass trombone) Rondo for Lifey, 2 min, for trumpet and pianoĮlegy for Mippy I, 2 min, for horn and pianoĮlegy for Mippy II, 2 min, for trombone solo Brass Music (1948) 8 min, for various instruments.Sonata for Clarinet (1942) 10 min, for clarinet and piano.10 min, for a cappella mixed chorus (or octet of solo voices) and countertenor solo with incidental percussion The Lark (Incidental Music from the Play) (1955) 11 min, for SATB chorus with countertenor solo or septet of solo voices a cappella (with ad lib percussion).Haskiveinu (1945) 6 min, for cantor (tenor), SATB chorus and organ.My Twelve-Tone Melody (1988) for voice and piano.Arias and Barcarolles (1988) 31 min, original version for four singers and piano four-hands.Piccola Serenata (1979) 1 min, for voice and piano.Vayomer Elohim (Let There Be Light) (c.So Pretty (1968) 2 min, for voice and piano.Silhouette (Galilee) (1951) 2 min, for voice and piano.Two Love Songs(1949) for voice and piano.La Bonne Cuisine (1947) 4 min, four “recipes” for voice and piano.I Hate Music! (1943) 7 min, A Cycle of Five Kid Songs for voice and piano.Psalm 148 (1935) 5 min, for voice and piano.Bridal Suite(1960) 10 min, for piano four-hands.Music for Two Pianos(1937) 6 min, for two pianos.Variations on an Octatonic Scale(1989) 6 min, for recorder and cello.Halil: Nocturne (1987) 16 min, for flute, piano, and percussion.Shivaree(1969) 3 min, for double brass ensemble and percussion.Fanfare(for the Inauguration of John F.Fanfare (for the 25th Anniversary of the High School of Music and Art, New York City) (1961) 1 min, for brass and percussion.Serenade (after Plato’s Symposium) (1954) 30 min, for solo violin, harp, percussion and strings.Prelude, Fugue & Riffs(1949) 9 min, for solo clarinet and jazz ensemble.Brass Music(1948) 8 minutes for various instruments.Nevertheless, throughout the rest of his life he wrote songs and solo and chamber works for the recital hall, notably Three Meditations from Mass (1971) for cello and piano Halil (1987) for flute, piano, and percussion and Arias and Barcarolles (1988) for four singers and piano four-hands. The dramatic changes in Bernstein’s life in 1943 (he was named Assistant Conductor of the New York Philharmonic, and shortly thereafter made career-changing, front-page headlines) may have diverted his energies away from composing more of these smaller-scaled works. Another chamber work for clarinet, Prelude, Fugue and Riffs (1949) for clarinet solo and jazz ensemble was dedicated to, Benny Goodman.

The Sonata for Clarinet and Piano, now a staple of the chamber music repertoire, was transcribed and recorded by cellist Yo-Yo Ma. While a student at Harvard, Bernstein composed works for small ensemble, including the Piano Trio (1937), the Sonata for Violin and Piano (1940)-written for fellow student Raphael Hillyer-and his very first published work, the Sonata for Clarinet and Piano (1941–42). He was a renowned pianist and accompanist, and throughout his life he enjoyed the intimate musical connections he made writing and playing chamber works with his fellow artists. Even the earliest of these works are imbued with his unmistakable compositional style. Not as familiar, but no less significant, is his output of chamber music. Leonard Bernstein's major concert and stage works are well known and performed often. “Rule Number One in orchestral playing is: it’s all chamber music.”

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