According to ’s 2018 statistical performance survey, Leonard Bernstein was the third-most played composer for the year, alongside Beethoven, Mozart, Bach, and Brahms, taking a top spot among the perpetual greats. Throughout the Leonard Bernstein Centennial, Overture to Candide continued to be one of the most oft performed works. This entire section is then repeated with lighter orchestration (note the devilish glee of the solo violin) and is succeeded by a brilliant codetta derived from the end of the aria 'glitter and Be Gay.' The Overture concludes with a shower of musical sparks utilizing fragments of everything already heard. Next, a lyrical contrast from the duet 'Oh Happy We' is stated. This, in the body of the show, becomes 'battle scene' music. This seventh sets up an expectation of B-flat major but, instead, there is a stumbling, like a pratfall, into E-flat. It begins with a fanfare built on the interval of a minor seventh, followed by a major second-typically Bernstein, which serves as a motto and as a basis for development, throughout the entire operetta.

This is immediately apparent in the Overture (who ever wrote a special overture-in sonata form, no less-for a musical comedy?). Its music has all the wit, élan, and sophistication that is associated with that genre. Candide (1956) is operetta in the vein of Offenbach and Gilbert and Sullivan.

Overture to candide clarinet pdf