Reviewed by: Leonard Bernstein by Paul R. Laird, and: Leonard Bernstein: Ein New Yorker in Wien = A New Yorker in Vienna ed. by Werner Hanak und Adina Seeger Ann Glazer Niren Leonard Bernstein. By Paul R. Laird. (Critical Lives.) London: Reaktion Books, 2018. [ 213 p. ISBN 9781780239101 (paperback), $19.] Illustrations, references, bibliography, discography, and videography. Leonard Bernstein: Ein New Yorker in Wien = A New Yorker in Vienna. Edited by Werner Hanak und Adina Seeger. Vienna: Wolke, 2018. [ 176 p. ISBN 9783955930929 (paperback), €29.] Illustrations, chronology, references, bibliography. I am often amazed and secretly pleased at the public's fascination with Leonard Bernstein. Certainly, he is of great interest to me, as he is the subject of my doctoral dissertation and continuing research, but I am a bit surprised to realize how many other people find him equally compelling, although I should not be, given Bernstein's vast talent and charisma. Two recent books add to the extensive literature on him, likely because of his birth centennial a few years ago. Although neither work specifies the target audience, both seem to be intended for the general reader, and both came out in the same year, but the similarities stop there. Leonard Bernstein, draws on Paul Laird's rich knowledge as one of the leading Bernstein scholars of our age. Laird's book is much shorter than most Bernstein biographies, of which there are many, with each chapter highlighting what he calls key "moments" in Bernstein's life and focusing especially on his roles as conductor, composer, and music educator. The introduction is followed by eight chapters, each featuring well-chosen black-and-white photographs. In addition, there is a select discography and videography, plus a limited bibliography, which, rather surprisingly, omits articles and dissertations. The book's style makes it quite easy to read for either the generalist or specialist. Although some chapters feature a bit of musical analysis, it is not too technical. The book lacks an index, a deficiency making a quick search difficult. Not surprisingly, chapter 1 focuses on Bernstein's early life in Boston, including his family, school, and synagogue. Of his family, Laird astutely notes that Bernstein was a composite of his parents: "studious and religious like his father, occasionally suffering from dark moods, but also fun-loving and capable of great warmth like his mother, sharing her interest in films and other types of show business" (p. 12). Close friends and influences—Aaron Copland, Marc Blitzstein, and Dimitri Mitropoulos—are also introduced in this chapter. The next chapter picks up after Bernstein's graduation from Harvard. His father offered him a job with his successful beauty supply company, but Leonard was determined to find work in New York City. He performed with a group called the Reviewers; although this employment netted him little income, it did connect him with members Adolph Green and Betty Comden, later his collaborators on several musicals. Mitropoulos convinced Bernstein to study conducting, which he did at the Curtis Institute of Music in Philadelphia. During the summers, Bernstein attended Tanglewood, learning under conductor Serge Koussevitzsky, who "came to represent for Bernstein many of the things he hoped to be himself" (p. 27). Since Bernstein was ineligible for the draft during World War II because of his asthma, he concentrated on performing and composing—including his Clarinet Sonata and Jeremiah Symphony—while working as a transcriber for the music publisher Harms-Witmark. During this time, Bernstein dated both men and women while trying to determine his own sexuality. In chapter 3, we see Bernstein's fame increasing with more conducting opportunities and new compositions. At first, his options were limited, as no American-born conductor had ever headed a major US orchestra. On his birthday, 25 August 1943, however, he became the assistant conductor of the New York Philharmonic, which mostly entailed studying scores and being [End Page 410] ready in case he needed to take over. Bernstein got his chance on 14 November of that year when conductor Artur Rodzinski was unavailable and the guest conductor that week, Bruno Walter, was very ill. Bernstein became an instantaneous hit, serving as a guest conductor all over the world, including for the fledging...