The young Leonard Bernstein wrote these featured chamber compositions between 1937 and 1942. Musical theatre, symphonic works, and conducting the greatest orchestras were still below the horizon. Violinist Terweilger transcribed the Sonata for Clarinet and Piano for his instrument, with pianist Andrew Coopoerstock, and the music sings of mid 20th-century America. It is marked by a gentility of tone, some jazzy rhythmic phrasing, and hints already of the forthcoming Broadway Bernstein. The earlier composed Sonata for Violin and Piano, a student piece while at Harvard, is more traditionally classical in structure, with six variations of the first movement's theme; I find it dark in spirit. Indeed, Bernstein much later adapted a section for his Symphony No. 2, The Age of Anxiety. The third selection of the album goes even earlier to the 19-year-old's piano trio, performed with the addition of cellist Charles Bernard. The 16-minute composition is full of energy and a variety of styles in development, from Baroque licks to an amusing pizzicato march [I had an image of Elmer Fudd trying to sneak upon Bugs Bunny], to a third movement largo in which the cello launches an accelerating rhythmic dance. The remaining tracks are arrangements of theatre pieces from Peter Pan and 1600 Pennsylvania Avenue, sung, appropriately, by Broadway actor Marin Mazzie, and four sections from Candide, arranged by Eric Stern for violin and piano. Here is the more familiar Bernstein, yet his early chamber pieces now in context appear as part of a continuum. All the musicians on the album perform exceptionally well and the album is beautifully engineered.