“West Side Story” (WSS), released in 1957, is one of the most enduring and celebrated works in the American musical theater canon. With music by Leonard Bernstein, lyrics by Stephen Sondheim, and choreography by Jerome Robbins, the musical retells William Shakespeare’s “Romeo and Juliet” but sets it against the backdrop of gang wars in New York’s Upper West Side. A significant part of its charm, apart from the compelling storyline and ground-breaking choreography, is the eclectic blend of musical styles ranging from classical to jazz and Latin rhythms. Manhattan’s Maestro: How a Composer Became the Voice of the West Side explores the development of music in “West Side Story”, Bernstein’s influences, instrumentation, and Latin culture.
Leonard Bernstein: A Maestro’s Background and Influences
Born in 1918, Leonard Bernstein was a multifaceted musician – a conductor, composer, pianist, and educator. He was arguably the most prominent American conductor of his time, serving as the music director of the New York Philharmonic and leading many of the world’s great orchestras. Bernstein’s broad musical tastes encompassed classical, jazz, and folk music, making him the perfect composer for a musical that required a fusion of these elements.
Growing up in a Russian-Jewish immigrant family, Bernstein’s early exposure to music was through synagogue chants and Jewish liturgical music. These influences would later resurface in various works throughout his career, adding a unique depth and cultural layering to his compositions. As a child, despite his father’s initial disapproval of pursuing music as a career, Bernstein was drawn irresistibly to the sounds of the family’s old upright piano. His innate talent was apparent from the start, and by the age of 15, he was already making arrangements and compositions.
At Harvard, where Bernstein went for his undergraduate studies, he was deeply influenced by the works of Aaron Copland and George Gershwin. Their incorporation of distinctly American sounds and rhythms into their music likely paved the way for Bernstein’s own unique style. Moreover, his collaborations with fellow students and future luminaries, like lyricist Adolph Green and composer David Diamond, would further shape and enhance his musical journey.
Bernstein’s Journey to the Podium: The Making of a Conductor
Leonard Bernstein’s path to becoming a revered conductor began in the cozy confines of his childhood home. He started playing music at a young age, and his fascination with it was undeniable. At the age of ten, Bernstein began learning the piano, thanks to an old upright piano his family acquired. The piano was Bernstein’s first instrument, but his dexterity and inherent understanding of music allowed him to become proficient with several instruments over time.
As he delved deeper into his studies, Bernstein expanded his repertoire, becoming proficient in playing not only the piano but also the harpsichord. While the piano remained his primary instrument – a tool he used both for performance and composition – his understanding of orchestral instruments was profound. This was evident in his keen ability to interact with various sections of the orchestra as a conductor. Although Bernstein was not publicly known to perform on a wide range of instruments, his intimate knowledge of them – from strings to brass and woodwinds – was a cornerstone of his conducting prowess. He often demonstrated a deep understanding of each instrument’s technical demands and sonic capabilities, which in turn allowed him to elicit precise and emotive performances from the orchestras he led.
His performances began during his school years, with recitals showcasing his budding talent as a pianist. As he progressed through his academic journey at Harvard and later at the Curtis Institute of Music, Bernstein’s performance opportunities grew, both as a soloist and as a collaborative musician. His mentors and peers recognized his innate ability to communicate emotions through music, setting the stage for his future success.
Upon completing his education, as previously mentioned, Bernstein’s big break came unexpectedly in 1943 with the New York Philharmonic. This unexpected debut as a conductor, coupled with his comprehensive musical background, propelled him into the limelight, setting the trajectory for a remarkable career that seamlessly blended his skills as a pianist, composer, and conductor.
Instrumentation: The Sound of the Streets and the Ballroom
“West Side Story” is unique for its expansive orchestration, which serves as an auditory mirror, reflecting the multifaceted emotions, cultures, and tensions in the narrative. It includes the traditional orchestra complement but also introduces instruments that were unconventional for Broadway during the 1950s. This rich tapestry of sounds draws listeners into the world of the Jets and Sharks, the lovers, and the streets of New York.
Within the string section, one finds violins, violas, cellos, and double basses, providing the foundation for many of the musical’s harmonies and melodies. The woodwind section is particularly diverse, with instruments like flutes, oboes, clarinets, bass clarinets, bassoons, and saxophones (alto, tenor, and baritone). These lend themselves to both the romantic ballads and the jazzier numbers, offering versatility in timbre and mood.
The brass section, with its trumpets, trombones, French horns, and tuba, brings forth the triumphant, aggressive, and sometimes sultry sounds, pivotal for numbers that oscillate between exuberance and tension. The electric guitar, a notable addition for its era, gives a contemporary edge, while the piano and celesta add layers of complexity to the harmonic structure.
The percussion section of “West Side Story” is where Bernstein’s orchestration truly stands out, especially with the inclusion of both definite and indefinite pitch instruments. Definite pitch instruments like the timpani, glockenspiel, xylophone, and vibraphone add specific tonal colors. However, the indefinite pitch instruments play a crucial role in setting the ambiance and rhythm. Instruments like the drum set, bongos, congas, timbales, tambourine, maracas, claves, cowbell, triangle, cymbals (crash and suspended), tam-tam, and the wood block infuse the score with a raw energy. Among these, the claves, maracas, bongos, and congas are especially significant for evoking the Puerto Rican vibe.
In essence, the instrumentation in “West Side Story” is a masterclass in combining traditional orchestral sounds with contemporary and ethnic elements. This blend not only captures the essence of the narrative but also showcases Bernstein’s genius in creating a soundscape as diverse and dynamic as New York City itself.
Puerto Rican Culture: A Melodic Blend
Bernstein and his collaborators made deliberate efforts to incorporate Puerto Rican musical influences into the score. The song “America”, for instance, sparkles with vibrant Latin rhythms and dance forms like the cha-cha and the mambo.
While the musical does incorporate authentic Latin sounds, it’s also worth noting that it sometimes generalizes Latin music rather than focusing specifically on Puerto Rican traditions. Nevertheless, it was groundbreaking for its time and played a role in introducing broader audiences to Latin musical idioms.
Musical Development: From Love Ballads to Fierce Dances
The juxtaposition of different musical styles is a hallmark of “West Side Story.” One moment, audiences are treated to tender love ballads like “Maria”, characterized by its sweeping, lyrical melodies. The next moment, the stage is aflame with energetic dance numbers like “The Dance at the Gym”, which starts with a bluesy promenade and transitions into a fierce mambo.
The song “Tonight” serves as a musical fulcrum. It’s reprised multiple times, each with different emotions and contexts – from romantic anticipation to a reflection of the escalating tensions between the Jets and the Sharks.
Latin Music Influences: More Than Just Rhythm
While “West Side Story” prominently features Latin rhythms, the harmonic language and melodic lines also exhibit Latin influences. The augmented fourths, syncopations, and specific scale patterns often allude to the pentatonic scales common in Latin music.
Moreover, the choice of instruments, especially in the percussion section, gives an authentic touch. Instruments like guiro and timbales, commonly used in Puerto Rican music, find a prominent place in the score.
In Conclusion
“West Side Story” is more than just a musical; it’s a tapestry of diverse musical traditions woven seamlessly into a narrative. Bernstein’s eclectic influences, the innovative use of instruments, and the authentic touch of Puerto Rican culture make it an auditory feast. The musical serves as a testament to the power of collaboration and the magic that ensues when boundaries are blurred, be it in music, culture, or love.