Overture to "Candide" (tr Grundman)

From Wind Repertory Project
Leonard Bernstein

Leonard Bernstein (trans. Clare Grundman)


General Info

Year: 1955 / 1986
Duration: c. 4:40
Difficulty: VI (see Ratings for explanation)
Publisher: Hal Leonard
Cost: Score and Parts - $90.00   |   Score Only - $19.99


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
Bassoon
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II-III
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Bass
String Bass
Harp
Timpani
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Glockenspiel
  • Snare Drum
  • Tenor Drum
  • Triangle
  • Xylophone


Errata

There are two editions of the Grundman arrangement: the original publication from 1986 and the corrected edition from 1991. The 1991 edition includes Grundman's recommended tempi — [half note] = 132 at the beginning; [half note] = 152 at m. 231. The 1986 edition's tempi match the orchestral score — [half note] = 152 at the beginning; [whole note] = 96 at m. 231. The tempi in the parts were not updated, so both editions list the 1986 edition tempi (matching the orchestral score).


In the 1991 Corrected Edition Score:

  • Piccolo, m.25, b.4: Remove the two eighth notes on beat 4.
  • Piccolo, m.119-121: Part should be one octave higher than written.
  • Flute I-II, m.118: Add decrescendo on the whole note.
  • Flute I-II, m.210, b.3-4: Add staccato to the quarter note on beat 3; add accent to the quarter note on beat 4.
  • Flute I-II, m.222, b.2-3: Extend the slur from beats 1 and 2 into beat 3.
  • Oboe I-II, m.11, b.3: Remove accent from beat 3.
  • Oboe I-II, m.210, b.3-4: Add staccato to the quarter note on beat 3; add accent to the quarter note on beat 4.
  • Bassoon I-II, m.268: Add cresc. on the downbeat.
  • Bassoon II, m.97: Remove tie between first two half notes.
  • Bassoon II, m.161, b.1 & 3: D should read B-flat.
  • Bassoon I-II, m.190: Should be marked Tutti.
  • Bassoon I-II, m.263, b.4: Add accent to the quarter note on beat 4.
  • E-flat Soprano Clarinet, m.97-98, b.3: Extend slur from beat 3 of 97 into the downbeat of 98.
  • B-flat Soprano Clarinet I, m.151, b.1-2: Add slur over the four eighth notes in the top divisi on beats 1 and 2.
  • B-flat Soprano Clarinet I, m.254, b.3-4: Remove staccatos from beats 3 and 4.
  • B-flat Soprano Clarinet II, m.100, b.1: Remove tenuto from the quarter note on beat 1.
  • B-flat Soprano Clarinet II, m.247, b.1: Add staccato on beat 1.
  • B-flat Soprano Clarinet II, m.263, b.4: Add an accent on the first eighth note of beat 4.
  • B-flat Soprano Clarinet III, m.97, b.1: Add tenuto on beat 1.
  • B-flat Soprano Clarinet III, m.100, b.1: Add tenuto on beat 1.
  • B-flat Soprano Clarinet III, m.131, b.2: Change the half note on beat 2 to a whole note.
  • B-flat Soprano Clarinet III, m.131, b.3: Delete the half note rest.
  • B-flat Soprano Clarinet III, m.239, b.2-3: Add staccatos to both quarter notes in this bar.
  • B-flat Bass Clarinet, m.147, b.1: Add staccato on beat 1.
  • B-flat Bass Clarinet, m.260, b.4: Remove staccato from beat 4.
  • B-flat Contra-Bass Clarinet, m.247, b.1: Should be marked forte.
  • B-flat Contra-Bass Clarinet, m.260, b.4: Remove staccato from beat 4.
  • E-flat Alto Saxophone I, m.26, b.1: Add accent to the first eighth note on beat 1.
  • E-flat Alto Saxophone I, m.27, b.4: Add accent to the last eighth note in the bar.
  • E-flat Alto Saxophone I, m.28, b.2&: Add accent to the first eighth note in the bar.
  • E-flat Alto Saxophone I, m.28, b.2&: slur to b.3 (A to D).
  • E-flat Alto Saxophone I, m.92, b.1: Add dim. starting on beat 1.
  • E-flat Alto Saxophone I, m.227, b.3-4: Make the quarter note on beat 3 into a half note, articulate the downbeat of measure 228.
  • E-flat Alto Saxophone II, m.227, b.3-4: Make the quarter note on beat 3 into a half note, articulate the downbeat of measure 228.
  • B-flat Tenor Saxophone, m.92, b.1: Add dim. starting on beat 1.
  • B-flat Cornet I, m.159, b.3: Remove staccato from half note on beat 3.
  • B-flat Cornet II, m.5, b.4: Remove staccato from half note on beat 4.
  • B-flat Cornet II, m.192: Remove the slur over the entire bar and replace with a slur over the first two quarter notes and a separate slur over the two half notes.
  • B-flat Cornet II, m.201: Add dot to the whole note in this bar.
  • B-flat Cornet III, m.192: Remove the slur over the entire bar and replace with a slur over the first two quarter notes and a separate slur over the two half notes.
  • B-flat Cornet III, m. 231, b.1: Replace tenuto marking with staccato on the downbeat.
  • B-flat Trumpet I-II, m.125: Add a slur for the entire measure in the upper divisi.
  • B-flat Trumpet I-II, m.227, b.4: Remove the quarter note from beat 4; rearticulate the downbeat of the next measure.
  • Horns in F, m.36, b.3: Add quarter rest on beat 3.
  • Horns in F, m.227, b.4: Remove the quarter note from beat 4; rearticulate the downbeat of the next measure.
  • Trombone I, m.1, b.3: Add accent to the half note on beat 3.
  • Trombone II, m.1, b.3: Add accent to the half note on beat 3.
  • Trombone III, m.1, b.3: Add accent to the half note on beat 3.
  • String Bass, m.262, b.1: Add mezzo forte to the quarter note on beat 1.


In the 1991 Corrected Edition Parts:

  • Piccolo, m.25, b.4: Remove the two eighth notes on beat 4.
  • Piccolo, m.126: Extend slur from beat 1 to the dotted half note in measure 128.
  • Piccolo, m.223, b.2&: Last eighth note should be F; last quarter note should be E-flat.
  • Piccolo, m.223, b.3: Last quarter note should be E-flat.
  • Piccolo, m.226, b.3: Remove staccato from beat 3.
  • Flute I-II, m.118: Add decrescendo on the whole note.
  • Flute I-II, m.210, b.3-4: Add staccato to the quarter note on beat 3; add accent to the quarter note on beat 4.
  • Flute I-II, m.222, b.2-3: Extend the slur from beats 1 and 2 into beat 3.
  • Flute I-II, m.254, b.3-4: Add accents to the quarter notes on beats 3 and 4.
  • Flute I-II, m.267, b.1: Slur the two eighth notes on beat 1.
  • Oboe I-II, m.11, b.3: Remove accent from beat 3.
  • Oboe I-II, m.119: Remove decrescendo from this bar.
  • Oboe I-II, m.122-123: The rehearsal mark for measure 123 is printed one measure too soon — move it to the following bar.
  • Oboe I-II, m.210, b.3-4: Add staccato to the quarter note on beat 3; add accent to the quarter note on beat 4.
  • Oboe I-II, m.284, b.3: Remove the slur over beat 3 (but retain the slur over the entire measure).
  • Bassoon I-II, m.17: Should be marked forte marcato.
  • Bassoon I-II, m.19, b.1: Add sf to the quarter note on beat 1.
  • Bassoon I-II, m. 31, b.2: Add accent to the dotted half note on beat 2.
  • Bassoon I-II, m.68, b.3: Extend the slur from the previous bar into the quarter note on beat 3, rearticulating on beat 4.
  • Bassoon I-II, m.80, b.1: Add staccato to the quarter note on beat 1.
  • Bassoon I-II, m.97: Remove tie between first two half notes in the lower divisi.
  • Bassoon II, m.161, b.1 & 3: (Lower divisi) D should read B-flat.
  • Bassoon I-II, m.247-248: The rehearsal mark for measure 247 is printed one measure too late — move it to the previous bar.
  • Bassoon I-II, m.263, b.4: Add accent to the quarter note on beat 4.
  • Bassoon I-II, m.268: Add cresc. on the downbeat.
  • E-flat Soprano Clarinet, m.97-98, b.5: Extend slur from beat 5 of 97 into the downbeat of 98.
  • E-flat Soprano Clarinet, m.227, b.4: The last eighth note of the bar should be a written C.
  • E-flat Soprano Clarinet, m.284, b.3: delete the slur (F#-G).
  • E-flat Soprano Clarinet, m.284, b.2-4: delete all staccatos.
  • E-flat Soprano Clarinet, m.284: This entire measure should be slurred (to the downbeat of measure 285).
  • B-flat Soprano Clarinet I, m.151, b.1-2: Add slur over the four eighth notes in the top divisi on beats 1 and 2.
  • B-flat Soprano Clarinet I, m.254, b.3-4: Remove staccatos from beats 3 and 4.
  • B-flat Soprano Clarinet I, m.284, b.3: delete the slur (B-C).
  • B-flat Soprano Clarinet I, m.284, b.2-4: delete all staccatos.
  • B-flat Soprano Clarinet I, m.284: This entire measure should be slurred (to the downbeat of measure 285).
  • B-flat Soprano Clarinet II, m.100, b.1: Remove tenuto from the quarter note on beat 1.
  • B-flat Soprano Clarinet II, m.247, b.1: Add staccato on beat 1.
  • B-flat Soprano Clarinet II, m.263, b.4: Add an accent on the first eighth note of beat 4.
  • B-flat Soprano Clarinet II, m.284, b.3: delete the slur (B-C).
  • B-flat Soprano Clarinet II, m.284, b.2-4: delete all staccatos.
  • B-flat Soprano Clarinet II, m.284: This entire measure should be slurred (to the downbeat of measure 285).
  • B-flat Soprano Clarinet III, m.26, b.1: Should be marked mezzo forte.
  • B-flat Soprano Clarinet III, m.97, b.1: Add tenuto on beat 1.
  • B-flat Soprano Clarinet III, m.100, b.1: Add tenuto on beat 1.
  • B-flat Soprano Clarinet III, m.131, b.2: Change the half note on beat 2 to a whole note.
  • B-flat Soprano Clarinet III, m.131, b.3: Delete the half note rest.
  • B-flat Soprano Clarinet III, m.284: This entire measure should be slurred (to the downbeat of measure 285).
  • B-flat Bass Clarinet, m.19, b.1: Add sf to the quarter note on beat 1.
  • B-flat Bass Clarinet, m.80, b.1: Add staccato to the quarter note on beat 1.
  • B-flat Bass Clarinet, m.147, b.1: Add staccato on beat 1.
  • B-flat Bass Clarinet, m.186, b.1: The half note on beat 1 should be a written E-flat.
  • B-flat Bass Clarinet, m.260, b.4: Remove staccato from beat 4.
  • B-flat Bass Clarinet, m.268: Add cresc. on the downbeat.
  • E-flat Contra-Alto Clarinet, m.247, b.1: Should be marked forte.
  • E-flat Contra-Alto Clarinet, m.260, b.4: Remove staccato from beat 4.
  • B-flat Contra-Bass Clarinet, m.247, b.1: Should be marked forte.
  • B-flat Contra-Bass Clarinet, m.260, b.4: Remove staccato from beat 4.
  • E-flat Alto Saxophone I, m.19, b.1: Remove staccato from the quarter note on beat 1.
  • E-flat Alto Saxophone I, m.26, b.1: Add accent to the first eighth note on beat 1.
  • E-flat Alto Saxophone I, m.27, b.4: Add accent to the last eighth note in the bar.
  • E-flat Alto Saxophone I, m.28, b.2: Add accent to the first eighth note in the bar.
  • E-flat Alto Saxophone I, m.28, b.2: Slur the eighth note on the & of beat 2 into beat 3.
  • E-flat Alto Saxophone I, m.92, b.1: Add dim. starting on beat 1.
  • E-flat Alto Saxophone I, m.160, b.3: Remove the staccato from the quarter note on beat 3.
  • E-flat Alto Saxophone I, m.218, b.3: Quarter note on beat 3 should be G.
  • E-flat Alto Saxophone I, m.284: This entire measure should be slurred (into the downbeat of measure 285).
  • E-flat Alto Saxophone II, m.17, b.1: Add forte to the downbeat.
  • E-flat Alto Saxophone II, m.19, b.1: Remove staccato from the quarter note on beat 1.
  • E-flat Alto Saxophone II, m.231, b.1: Add accent to the quarter note on beat 1.
  • B-flat Tenor Saxophone, m.92, b.1: Add dim. starting on beat 1.
  • B-flat Tenor Saxophone, m.284, b.4: Remove staccatos from the last two eighth notes in the bar.
  • E-flat Baritone Saxophone, m.17, b.1: Should be marked forte marcato.
  • E-flat Baritone Saxophone, m.284, b.3: delete the slur (F#-G).
  • E-flat Baritone Saxophone, m.284, b.2-4: delete all staccatos.
  • E-flat Baritone Saxophone, m.284: This entire measure should be slurred (to the downbeat of measure 285).
  • B-flat Cornet I, m.159. b.3: Remove staccato from half note on beat 3.
  • B-flat Cornet I, m.218, b.1: Remove staccato from quarter note on beat 1.
  • B-flat Cornet II, m.5, b.4: Remove staccato from half note on beat 4.
  • B-flat Cornet II, m.192: Remove the slur over the entire bar and replace with a slur over the first two quarter notes and a separate slur over the two half notes.
  • B-flat Cornet II, m.201: Add duration dot to the whole note in this bar.
  • B-flat Cornet II, m.237: Remove crescendo from this measure.
  • B-flat Cornet II, m.245, b.1-3: Add a hairpin crescendo to this measure.
  • B-flat Cornet III, m.4, b.1: Add staccato to the quarter note on beat 1.
  • B-flat Cornet III, m.192: Remove the slur over the entire bar and replace with a slur over the first two quarter notes and a separate slur over the two half notes.
  • B-flat Trumpet I-II, m.125: Add a slur for the entire measure in the upper divisi.
  • B-flat Trumpet I-II, m.231, b.1: Play the quarter notes on beat 1 — these are not part of the Horn cues.
  • Horns in F, m.153, b.3: Add staccato to the quarter note on beat 3.
  • Trombone I, m.1, b.3: Add accent to the half note on beat 3.
  • Trombone I, m.231, b.1: Add accent to the quarter note on beat 1.
  • Trombone I, m.255, b.3: Remove cantabile from beat 3.
  • Trombone II, m.1, b.3: Add accent to the half note on beat 3.
  • Trombone III, m.1, b.3: Add accent to the half note on beat 3.
  • Baritone T.C., m.284, b.3: delete the slur (B-C).
  • Baritone B.C., m.253, b.3: Add tenuto to the half note on beat 3.
  • Baritone B.C., m.284, b.3: delete the slur (A-B).
  • Baritone T.C. and B.C., m.279: Add cantabile to this measure.
  • Baritone T.C. and B.C., m.284, b.2-4: delete all staccatos.
  • Baritone T.C. and B.C., m.284: This entire measure should be slurred (to the downbeat of measure 285).
  • Tuba, m.19, b.1: Add sf to the quarter note on beat 1.
  • String Bass, m.262, b.1: Add mezzo forte to the quarter note on beat 1.
  • Bells, m.247, b.1: Add forte to the half note on beat 1.

Program Notes

Overture to Candide can be deceptive; on the surface it is a jovial, straightforward concert opener, yet the musical challenges it presents reflect compositional sophistication. Bernstein manipulates time to eradicate a sense of regular downbeats. While exciting for audiences, this technique requires an ensemble capable of exceptional metronomic control. High school and collegiate ensembles can have success with this work, although younger ensembles should expect a need for more preparation time than normally expected of a four-and-a-half minute piece.

- Note from Great Music for Wind Band


Candide was Leonard Bernstein’s third Broadway musical, following On the Town and Wonderful Town. Adapted by Lillian Hellman from Voltaire’s 18th-century satire on blind optimism, Bernstein’s Candide is an operetta set in the castle of the Baron Thunder-ten-Tronckh in the mythical European land of Westphalia. Within these walls live the Baron and Baroness; Cunégonde, their beautiful and innocent virgin daughter; Maximilian, their handsome son; Candide, their handsome bastard nephew; and Paquette, the Baroness’ buxom serving maid. They are taught by Dr. Pangloss, who preaches the philosophy that all is for the best in “The Best of All Possible Worlds.”

Candide and Cunégonde kiss, and Candide is banned from Westphalia. As he leaves, Bulgarians invade, kidnap him and slaughter everyone except for Cunégonde, who they prostitute out to a rich Jew and the Grand Inquisitor. Candide escapes and begins an optimistic, satirical journey, taking with him his sweetheart Cunégonde and Pangloss. Candide journeys to Lisbon, Paris, Buenos Aires, and even the legendary El Dorado, only to discover reality in the forms of crime, atrocity, and suffering. He returns to Venice with Cunégonde, stripped of his idealism. His ultimate emotional maturation concludes in the finale with “You’ve been a fool, and so have I, But come and be my wife, And let us try before we die, To make good sense of life. We’re neither pure nor wise nor good; We’ll do the best we know; We’ll build our house, and chop our wood, And make our garden grow.”

Opening on Broadway on December 1, 1956, Candide was perhaps a bit too intellectually weighty for its first audiences and closed after just 73 performances. Bernstein was less concerned over the money lost than the failure of a work he cared about deeply. The critics had rightly noted a marvelous score, and Bernstein and others kept tinkering with the show over the years. With each revival, Candide won bigger audiences. In 1989, the already seriously ill Bernstein spent his last ounces of vital energy recording a new concert version of the work. “There’s more of me in that piece than anything else I’ve done,” he said.

The sparkling overture captures the frenetic activity of the operetta, with its twists and turns, along with Candide’s simple honesty. From the very beginning, though, the overture was a hit and swiftly became one of the most popular of all concert curtain raisers. Brilliantly written and scored, flying at breakneck speed, it pumps up the adrenaline of players and listeners alike. It features two of the show’s big tunes: the sweeping romantic one is Candide’s and Cunégonde’s love duet “Oh Happy We,” while the wacky up-tempo music is from Cunégonde’s fabulous send-up of coloratura soprano arias, “Glitter and Be Gay.”

- Program note by San Luis Obispo Wind Orchestra concert program, 12 May 2012


Leonard Bernstein always said he wanted to write “the Great American Opera.” He probably came closest with Candide (1956), which he labeled “a comic operetta.” Based on Voltaire’s satirical novel of 1759, it chronicles the misadventures of Candide, a naive, pure-hearted youth, and his much more tough-minded sweetheart, Cunégonde.

- Program Note from University of North Carolina, Greensboro, Wind Ensemble concert program, 21 April 2016


Media


State Ratings

  • Florida: FBA Band Grade VI
  • Georgia: GA Band Grade VI
  • Iowa: IA HS MUSIC ASSOC BAND GRADE VI
  • Indiana: ISSMA SENIOR BAND GROUP I
  • Louisiana: BAND 2011 GRADE V
  • Michigan: SENIOR HIGH CLASS AA
  • Minnesota: MN HS LEAGUE BAND GRADE I
  • Minnesota: Category 1
  • Mississippi: MS BAND CLASSES 4A, 5A, & 6A
  • North Carolina: Concert Band.Grade VI
  • New York: 20 06 CONCERT BAND LEVEL VI
  • South Carolina: SC Band Grade VI
  • Tennessee: Grade VI
  • Texas: Band Grade V.Complete
  • Virginia: CONCERT BAND GRADE VI
  • MusicFest Canada: B600


Performances

To submit a performance please join The Wind Repertory Project

  • Manhattan Wind Ensemble (New York City) (Sarah Fernandez, conductor) - 2 December 2023
  • Appalachian State University (Boone, N.C.) Wind Ensemble (John Stanley Ross, conductor) - 22 September 2023
  • Wheaton College (Ill.) Symphonic Band (Brady McNeil, conductor) - 14 April 2023
  • University of Minnesota (Minneapolis) Symphonic Band (Rose Craig Tyler, conductor) - 28 February 2023
  • Toronto (Ont., Can.) Youth Wind Orchestra (Colin Clarke, conductor) - 26 February 2023
  • United States Marine Band (Washington, D.C.) (Darren Y. Lin, conductor) - 5 February 2023
  • Wartburg College (Waverly, Iowa) Wind Ensemble (Jeffrey E. de Seriere II, conductor) - 16 October 2022
  • University of Arkansas (Fayetteville) Wind Ensemble (Christopher Knighten, conductor) – 3 October 2022
  • University of Southern Mississippi (Hattiesburg) Wind Ensemble (Eric Scott, conductor) - 22 April 2022
  • H.B. Plant High School (Tampa, Fla.) Wind Ensemble (Brian Dell, conductor) – 24 February 2022 (CBDNA 2022 Southern Conference, Columbia, S.C.)
  • California Polytechnic State University, San Luis Obispo, Wind Ensemble (Christopher J. Wodruff, conductor) – 30 October 2021
  • Rutgers University (New Brunswick, N.J.) Symphonic Winds (Todd Nichols, conductor) - 14 October 2021
  • Messiah University (Mechanicsburg, Penn.) Wind Ensemble (James Colonna, conductor) – 22 April 2021
  • Texas Christian University (Fort Worth) Wind Ensemble – 3 December 2020 (Virtual)
  • Ohio University (Athens) Wind Symphony (William Talley, conductor) – 15 November 2020
  • Wartburg College (Waverly, Iowa) Wind Ensemble (Leon Kuehner, conductor) – 18 October 2020
  • Arkansas State University (Jonesboro) Wind Ensemble (Shawn Crawford, conductor) – 13 March 2020
  • East Tennessee State University (Johnson City) Wind Ensemble (Christian Zembower, conductor) – 3 March 2020
  • Ohlone Wind Ensemble (Fremont, Calif.) (Tony Clements, conductor) – 20 October 2019
  • University of Texas, Arlington, Wind Symphony (Douglas Stotter, conductor) – 20 September 2019
  • University of Illinois (Urbana-Champaign) Summer Band (Barry Houser, conductor) - 27 June 2019

Works for Winds by This Composer

Adaptable Music

  • Cool (Flex instrumentation) (arr. Murtha) (1957/2018)
  • West Side Story (Flex instrumentation) (arr. Sweeney) (1957/2015)


All Wind Works


Resources