• Every orchestra and record label is on the Leonard Bernstein centenary trail, at last giving equal attention to his work as a composer as well as pianist, conductor, educator, showman. Not sure where to start? Bernstein on the Waterfront (BIS), with the Royal Liverpool Philharmonic Orchestra conducted by Christian Lindberg, provides a spirited survey with the Symphonic Dances from West Side Story (1957), Three Dance Episodes from On the Town (1946) and Three Dance Variations from Fancy Free (1944), the ballet that grew into On the Town. The brilliant overture to Candide (1956) is the disc’s uplifting curtain-raiser.

A reason to choose this over another Bernstein compilation – though the crisp, taut playing of the RLPO is cause enough – is the inclusion of the symphonic suite from On the Waterfront (1954), Bernstein’s only film score. The suite opens with a wistful horn solo, prelude to a presto “barbaro” that conjures the film’s murderous, dockside atmosphere.

• Bernstein used Romeo and Juliet as the starting point for West Side Story. Prokofiev made one of the 20th century’s best loved ballets from the play, with a scenario, in characters and setting, more closely based on Shakespeare. Prokofiev was forced nonetheless to adapt and truncate as required by Soviet aesthetics, making a final revision after its 1938 premiere. On a new two-disc Naxos recording of the complete ballet, Marin Alsop conducts the Baltimore Symphony Orchestra in an intense, voluptuous and pliant account.

• Listen again to Blind, Black and Blue, Radio 3’s fascinating recent Sunday Feature on the legacy of blind black blues players such as Blind Willie Johnson and Blind Lemon Jefferson in America’s deep south a century ago. Presenter Gary O’Donoghue asks how this group of musicians came about, what united them, and how did they overcome so many odds – racism, poverty and disability – to achieve celebrity. Made by a production team whose every member is blind.