My Brother, Lenny To Our by Burton Bernstein t a crowded private funeral A service in my brother's Readers immense apartment at the Dakota, off Central Park West, just a few hours before Lenny was interred at Green-Wood Cemetery in Brooklyn, I delivered a eulogy s of this writing, West Side S_tory that I wrote almost immediately is running on Broadway, while A after I learned of his death two the road company of the production days earlier, on October 14, 1990. is on its way to a holiday run in Los I wrote it as a kind of therapy. Angeles; A Quiet Place is having It began: "My brother, Lenny, its first-ever New York City run at who was always larger than life, New York City Opera; a magnificent Leonard and Burton Bernstein turned out to be smaller than 60-CD set of complete symphonic death ... It seems impossible. Those cycles is being released by Sony; and then I have to pinch myself of us who were closest to him - Steve Sherman's astonishing book of and realize for the seemingly mil­ such lucky ones we are! - we late-life conducting photographs has lionth time that there is no Lenny somehow assumed that he would arrived in stores; Wonderful Town around to tell. go on forever, like time itself, that is winding up its run in Japan; and Again, quoting from my eulogy: he was somehow immortal..." Chicago Lyric Opera's Candide is on "All those things that were Lenny Well, that was two decades its way to Washington D.C. These are no more, and that terrible fact ago, unbelievably so, and I've got are not the events relating to a person is unbelievable and unbearable. For to admit that not a day goes by, whose 20 year absence is causing him my part, I miss him more than I sometimes not even an hour, that to fade from memory. Instead, it's can ever say. He was my brother, I don't think of Lenny: perhaps almost as if the world is waking up my best friend, and a sort of father, just a passing thought, a memory to the cumulative power of Leonard too. Whatever I am, for better or flash; sometimes a long, complex Bernstein's life and work. His com­ worse, I owe to Lenny, and a lot reconstruction of an event we positions seem to sound ever better of other kith and kin can say the shared; sometimes a fleeting kitch­ with time, while his conducting per­ same ... And yet, of course, the en odor that would have reminded formances are taking on the weight great, obvious cliche that springs us of our mother's unfortunate of classics. His legacy as an educator to mind is quite true: Lenny is culinary talents (Jennie Bernstein can be felt everywhere - especially immortal, after all. The memories was the antithesis of the maternal in the many schools across the nation of him will be there, along with Jewish cook); sometimes nothing employing the Leonard Bernstein the recordings and the revivals and more than an odd anecdote or Center's Artful Learning® Model. the writings, for generations upon joke or mot I heard, which I knew On the 20th anniversary of Leonard generations. Just as long as people Bernstein's physical departure from care a damn about something finer this world, his presence as a passion­ "Those of us who were in life than power and money and ate artist, performer and educator their imagined superiority over can be felt more than ever. closest to him - such others there will always be Lenny around to educate, entertain, edify, lucky ones we are! - we J.B.• move, and inspire - to change us all in some wonderful, subtle way. somehow assumed that In that sense, Lenny is larger than he would go on forever... " mere death, too." To which I say now, after twenty years, "Amen and Selah." • Lenny would love; sometimes a wretched piece of worldly news that warranted our dissection over many drinks and dinner. My first reaction to these frequent Lenny thoughts is still "Gee, I've got to tell Lenny about this" - e Remembering My Father

Originally appeared on dot429.com We would see all the sights, talk about art, humanity, social meet all the mucky-mucks, and justice and education. Eventually, by Alexander Bernstein stay up late ordering room not long before his death, I service. Heaven. became a teacher with a Master's t seems impossible that I We learned the music as we Degree. My father was increas­ Ihaven't seen my father for sat (and ran around) during ingly interested in education. We twenty years. Sometimes I feel as rehearsals. We never really talked about what exactly it was though he's just on tour again, and will be back any time now. My father traveled a great deal. When he was home, though, he was really home. As a com­ poser, he didn't have an office to go to like the other dads. He would stay up very late working and then wake up very late. He would always be there when we came home from school, ready to play (or at least not minding if we played quietly in his studio while he worked). In the sum­ mertime we had him all day long for swimming, tennis, sailing, or just eating six ears of corn apiece. Sometimes he would play something for us as soon as he'd finished writing it and would ask our opinions. The answer was always "terrific" because he had such faith in his work and played The Bernsteins with such joy and energy. When he was conducting knew that we were getting an that made an engaged, life-long (which was most of the time), education in "Classical" music, learner. The more and more we he would be home studying but my father was a great teacher. talked, the clearer it became that the scores, or out at rehearsals. Whether it be music, poetry, art and its processes could be Occasionally he would take us philosophy, or politics, my father's the great connectors between kids along to the rehearsals. We greatest passion was to share and disciplines. Learning itself is a would spend all day at the making to communicate. My sister has creative act. Only by truly of his televised "Young People's said that his real ambition was to making knowledge one's own Concerts," running around connect, in one way or another, can one deeply understand it and Carnegie Hall or Philharmonic with every person on the planet. connect it with other knowledge. Hall (now Avery Fisher Hall) as For having lived only 72 years, After his death, our family if we owned the place. We were he didn't do a bad job of it. My started The Leonard Bernstein sort of like "Eloise at the Plaza." father loved people and shared his Center for Learning. We developed Evenings were often festive love with multitudes. He never the Artful Learning® Model, times with relatives and friends stopped learning. His appetite for now being implemented in schools from the New York arts world. knowledge and life was insatiable. all over the country. Through I remember much laughter, noise Not only did he read constantly, this approach, teachers and and a lot of word games. My but he would often stay up all students come to see themselves mother was a wonderful hostess, night with a group of students as creators as well as scholars. making everyone feel comfort­ talking about music, love, and Not at all to diminish his com­ able. She would always add her religion. He would drink them posing and conducting, but it is own sense of fun and silliness to under the table and still be ready Leonard Bernstein's legacy as an the occasion. to rehearse at 10 a.m. educator that I hope will have Once in a while we got to I was a very bad music stu­ the most impact. travel with our father, and it was dent. I rarely practiced piano and I guess he's staying on such a treat! Everything was first dreaded my lessons (given by a tour after all - but he is class, with lots of attention. series of game, but ultimately still communicating! • frustrated teachers). I did listen to the music. I listened to my father 0 Lenny Lying Down and Laughing

by Phyllis Newman August 19, 1990. Leonard of him. He told us many, many Bernstein's last concert he would times - he never wanted to live t seems like it was only yester­ ever conduct - at Tanglewood. so he could be "wheeled over to Iday ... Can you believe? After the concert Lenny, his sis­ and around Central Park." Oh well, let me tell you two ter Shirley and I are driven back October 13, 1990 - the night tiny private moments with Lenny. to New York City in a Limo - before he died. I sat on his bed Lenny coughing, Shirley coughing and as the family and friends - oh by the way, they were both went into dinner, he said to me smoking as if they were in a nico­ "I know, I know - you'll give me tine marathon. I, never a smoker, a thousand dollars if you can just was going mad. God, he was so go home now" - an exchange tired it was hard for him to talk. we had many times, before He put his head on my lap and receptions, parties and the like. his feet on Shirley's. I stroked his I nodded yes and we laughed - head and told him I would make we really laughed - I kissed his up a story to while away the time forehead and I went home. I and hopefully put him to sleep. owe him a thousand dollars. I remember very little of this What the world owes him? You opus - just that there once was a couldn't afford. • creature - half-animal, half-man. Well that perked up our Lenny Phyllis Newman is a two­ boy - he started asking ques­ time Tony Award winner, tions, his voice came back, and the wife of Adolph Green and I had to come up with answers a longtime friend of Leonard - plots - point? point? - the Bernstein and his family. three of us were laughing so hard - point? point? - Lenny's zest and curiosity never waned. Don't think for a second his illness or body defeated him. He wanted to be rid of the sick, humorless part Phyllis Newman

A Tribute to Leonard Bernstein

hile Bernstein was alive, To. L.B. W he had a number of par­ In Memoriam ticularly devoted fans who transcended the category to For twenty years, dear friend, you have been gone, become genuine friends. One of Two decades, in which day has followed night. these was Muriel Nuttal. She For eighty seasons has the time flowed on; expressed her affection with a Yet through it all, your memory shines bright. yearly sonnet for his birthday. Indeed, we only have to close our eyes After Bernstein's death she To see your face and, for a little while, continued the tradition as a gift To hear your voice, drink in your words so wise, to his family. We feel it is espe­ Whilst finding warmth and comfort in your smile. cially appropriate to share her And ev'ry time we listen to the sound, latest on the 20th anniversary The wondrous sound of your sweet music playing, of his passing. • Our gladdened hearts once more with joy abound, Our souls are stirred by what it is conveying: The love, the ecstasy, the beauty too, The glory of the ever-present you.

MN October 14, 2010 G Leonard Bernstein Center Update

by Patrick Bolek students and community are wit­ student transformation as a result nessing an exciting philosophical of arts-aligning their curriculum. he work of the Leonard and physical transformation with Howe & Wright Elementary TBernstein Center continues the construction of a new multi­ Schools (Des Moines, IA) are in to enliven Leonard Bernstein's million dollar learning complex, their third year of Artful Learning vision of an approach to learning located in a neighborhood of implementation. Principal Lindsey that uses the arts and the artistic challenged educational achieve­ Cornwell is working closely with process to achieve a deeper explo­ ment. To inspire and motivate teachers and students to assess ration of learning, understanding this underserved community, the effectiveness of the model. and creativity. Artful Learning® the complex became an Artful Student writing samples demon­ - the signature education pro­ Learning School this summer. strate clearly improved cognitive gram of the Leonard Bernstein Principal Karen Adams and her understanding over the past two Center - enjoyed a busy and devoted leadership team believe years. Both schools in the district productive summer of professional that the Artful Learning Model are working collaboratively to development for teachers and will provide enthusiastic student improve the learning experiences administrators across the country. engagement, combined with the for their students despite state While the Artful Learning long-term benefits of academic budgetary challenges. Faculty Legacy Schools that have used the improvement, collaboration and members have been articulate methodology for four years or sustainability during the next and passionate about how the longer continue to prosper, two three years. Local publication Artful Learning methodology has new schools have joined those Bloom Magazine and the Indiana transformed their classrooms. currently implementing the model. Public Media INFocus news pro- Comeaux High Academy of Applied and Visual Arts (Lafayette, LA) has completed the Level III professional develop­ ment. Bryan LaFaye, the school's director and an established artist, received support from the Leonard Bernstein Center's trainers as well as from Artful Learning teachers who flew in from Jackson Middle School in Portland, OR, to apply this advanced learning framework into their school curriculum. Lora Giles, Antigone Trimis, Dan Kryston, Dr. Phyllis Staplin and Val Vanderwest have joined in an effort to expand the national Leonard Bernstein Center trainer leadership and apprentice programs, as well as to improve internal operations. We are pleased to welcome them aboard. • Soundscape - 2nd Grade students creating and performing their original musical creation Patrick Bolek is a developer Danville High School (Danville, gram have devoted stories and for education initiatives with IL) formed the Academy of segments to this initiative. his company MOMENTUM Creative Experiences (ACE) and Midway Elementary School of ProjectLab. He currently serves has started using Artful Learning the Arts (Sanford, FL), under the as an Advancement Consultant to increase student engagement leadership of Kristina Marshall, and National Lead Trainer for and improve academic achieve­ Kimberly Goolsby, Amy Barone Artful Learning, Inc. ment over the next three years. and JP Royer III, has significantly Local newspaper and television expanded its staff and student The Leonard Bernstein Center coverage have helped create enrollment during the past sev­ is ever grateful for the continued community awareness about eral months as part of a school expertise of the Master Trainers the Artful Learning Model improvement plan (see accompa­ who work with Artful Learning and how it empowers students' nying article). Now in their third Schools across the country: Dr. collective creativity. year of the Artful Learning Richard Benjamin, Patrick Bolek, At Fairview Elementary implementation, the school has Alison Kenny-Gardhouse, Jo 2 School in Bloomington, IN, staff, made significant academic gains, Ann Isken, Ann Ott-Cooper 0 with observable indicators of and Susan Stauter. 0 Bernstein, the Reluctant Serialist

by Jack Gottlieb

n 1970, I received a letter from ILeonard Bernstein in which he said, "It occurred to me that I've used 12-tone rows to show: 1. Hysteria ("Galop" from Fancy Free); 2. Boredom ("Quiet" from Candide); 3. Dislocation (Age of Anxiety); 4. Blind groping (ditto); 5. Dogmaticism (Mass); 6. Despair (ditto). Does this seem to say something about the serial world?" My response should have been: "Maybe it does; but it also Dinah's funeral, A Quiet Place at New York City Opera says something about you." That certain something was Bernstein's One can well imagine the gests a theme from Wagner's Die attitude toward atonal music - turmoil that Bernstein went Meistersinger). Based on this i.e. music without a key center through in the creation of A phrase, TinT concludes on a ques­ - which he always utilized in his Quiet Place (AQP) since it tion mark, both theatrically and deals with matters of suicide, musically. Will the protagonists, alcoholism, schizoid behavior, Sam and Dinah, reconcile? Does half-remembered incest (maybe?), the vertical pile-up of five pitches confused sexuality and possible from the "try to be kind" phrase gun violence. To create this indicate a safe home key? But this emotionally supercharged A-major 7th chord is made sour world, Bernstein found new by a D-sharp. (Bernstein called it expressive ends for 12-tone the "Tahiti chord," more or less techniques, with which he had the same configuration that trig­ an ambivalent yet remarkably gers much of the music in West persistent relationship. Side Story and a cousin of the The composer of Trouble Petrouchka chord). in Tahiti (TinT, 1952) made an AQP begins with the four extraordinary tonal journey en concluding bars of TinT, but now route to AQP (1983). TinT ends we are thrust immediately into Sara Jakubiak, Dominic Armstrong and Joshua Hopkins with the Trio crooning about atonality. This opening Prologue as Dede, Fran~ois and Junior "evening shadows"(i.e. twilight) is dominated by fidgety bursts descending upon suburbia. AQP of sound based on these bars. compositions for theatrical pur­ plunges us deep into atonal dark­ The orchestra snarls in dissonant poses and always to show what ness; but by the start of Act III we twists, a turmoil that evolves he considered to be the triumph are back into the light with Dede's into a strict twelve-tone row in of tonality over non-tonality. To aria of "Morning, good morn­ Scene I (Dialogue One) based on quote him: " ... as a conductor I ing." Light over darkness, tonality a transposition of the last four am fascinated by, and wide open over non-tonality. This observa­ notes of the TinT phrase (again, to, every new sound-image that tion pertains more precisely to "try to be kind.") Although comes along, but as a composer I the original Houston production Dialogue I adheres to strict am committed to tonality. Here is when TinT was performed before twelve-tone Schoenbergian proce­ "tl a conflict indeed and my attempt dure, Bernstein starts the row ~ AQP. Now that it is imbedded C: C. to resolve it is, quite literally, my into Act II of AQP, we start in by changing the order of the !." .,, most profound musical experi­ darkness, end Act II in twilight four notes. Dialogue II begins C: IO C: ence." (New York Times, 24 and open Act III with daylight. with yet another ordering of "'il" October 1965) Nonetheless, Bernstein's use the four notes. Subsequent ;,::, A shining example of that of non-tonality in AQP is more derivatives include a backwards ~ experience is his Kaddish dramatically incisive than in any or retrograde formation. Symphony (1963) where the other work of his. For instance, In other words, he indulges in opening twelve-tone row has by look at an important phrase that permutations, a kind of musical the end of the work exfoliated first appears in Scene I of TinT anagramming. (Anagrams were >2 into a broad major-mode melody. one of his favorite wordplay N on Sam's words "Try, Dinah, try 0 to be kind" a critical seven-note 0 motive (that coincidentally sug- (continued on page 7) A Quiet Place

n October 27, 2010 the orchestra ... Mr. Alden draws 0 Bernstein's opera, A Quiet nuanced performances from this Place, came to his hometown gifted cast." (Anthony Tommasini, for the first time. New York The New York Times) City Opera presented the New "Leonard Bernstein's searing, York premiere 2 7 years after the sometimes thorny score is perfectly opera's original opening at the comprehensible to 21st-century Houston Opera. ears. A Quiet Place is gripping, Here are excerpts from immediate and enthralling ... The two reviews. strong cast includes Sara Jakubiak, "Bernstein at his most sub­ a lovely high soprano, .. .and the lime ... New York City Opera's A fine baritone Joshua Hopkins. Quiet Place, Leonard Bernstein's With tenor Dominic Armstrong, ... only full-length opera, makes a the three make an unbeatable trio. long troubled composition finally "In staging this chall enging but work. [Director Christopher enormously satisfying work, the Alden] brought theatrical magic New York City Opera has done a to his contemporary staging ... great service for the opera world The cast is terrific. Jayce Ogren, and, 20 years after his death, for a young American conductor. .. Leonard Bernstein, who always had an impressive City Opera longed to be remembered as a debut, drawing a pulsing, sensi­ composer of 'serious' music. A tive and brilliant account of this Quiet Place proves that he was stylistically far-ranging score from one." (Heidi Waleson, The Wall Patricia Risley as Dinah in A Quiet Place Street Journal) • at New York City Opera

Bernstein, the Reluctant Serialist, continued pastimes.) His purpose in conflicts and the music mirrors Reviews of the original pro­ Dialogue One is to convey the this distress. As at the conclusion duction observed that the opera claustrophobia of the funeral of TinT, it is not at all clear was a statement about alienation parlor and the unctuousness of at the end of Act III that the and the ultimate despair of the the funeral director. (Funeral broken family ties will ever be 20th century. That is putting too was a word he anagrammed truly repaired. heavy a spin on it. For me the into "real fun"). This permu­ Although not absolute, the work is more about trying to pin tation game is concomitant with atonality of Act I gradually dis­ down fleeting moments of happi­ Stephen Wadsworth's keenly sipates over the course of thirteen ness. With the possible exception observed "naturalistic" libretto: dialogues, so much so that when of saints, yogis and ascetics, do "English-as-she-is-spoke" was his Junior bursts in on the Readings any of us ever really find a lasting description. The incomplete sen­ in the funeral parlor, his music quiet place? • tences, interjections, hesitations, smacks of "Lulu's Back in Town," ellipses, streams-of-consciousness an old Harry Warren tune. Composer Jack Gottlieb's are all bound up with similarly However, Bernstein transforms recently published memoir, spasmodic music. Junior's eventual strip-tease turn Working with Bernstein The backward permutation is into such a ravishing orchestral (Amadeus Press), has been potent elsewhere. In Act I it gener­ Postlude that the banality and receiving rave reviews. ates the Chorale: "God has His even the gloominess of Act I are ways," which in turn spills over snuffed out and transfigured. Sid into Sam's aria: "You're Late." Ramin and Irwin Kostal collabo­ Here the minor-key four note rated with the composer on the Did you know? motive still arouses dispiriting orchestration of the opera. The feelings. But at the start (and clock was ticking away toward In 1955, movie star Tyrone Power appeared end) of Act III, the motive has opening night, but the orchestra­ in a play called A Quiet Place that closed out morphed into its major key form. tion of this Postlude, the Trio in of New York. The title and title song for this We have moved more into the Act I, the Prelude to Act III and drama by Julian Claman were taken from light, but even so, we still feel a few other "especially dear" (as uneasy because the opera charac­ Bernstein reported) passages were Trouble in Tahiti. ters have not fully resolved their reserved for the composer alone. 0 THEINfie

The Leonard Bernstein Scholar-in-Residence

ack Gottlieb, award-winning has been present as 50 years of Jcomposer/author and assis­ music history have unfolded," tant to Leonard Bernstein, says Theodore Wiprud, Director has been named The Leonard of Education at the New York Bernstein Scholar-in-Residence Philharmonic. "His particular at the New York Philharmonic knowledge of Leonard Bernstein's for the 2010-11 season. In this music, of Philharmonic program­ role he will help to annotate ming, and of the many Jewish some of Bernstein's conduct­ influences on American popular ing scores at the Philharmonic music will contribute a great deal Archives, providing contextual to a rich season of engaging talks and personal information based and important research." on Gottlieb's work as assistant The Leonard Bernstein to the Orchestra's Laureate Scholar-in-Residence at the New Conductor from 1958 to 1966. York Philharmonic program hon­ Many of these scores will soon ors and recognizes the enduring be available in the Philharmonic's contribution of Leonard Bernstein, digital archives on nyphil. org. the Orchestra's Music Director Mr. Gottlieb will present an from 1958 to 1969, and its Insights series program on March subsequent Laureate Conductor. 30, 2011, Music in the Yiddish Composer Jack Gottlieb was Theater, about the Jewish roots Leonard Bernstein's assistant of American popular music, at the Philharmonic from 1958 and will also give a special to 1966. In 1977 he joined the program for conductors and Leonard Bernstein Office, Inc., composers on Bernstein's as publications director, and approach to programming. currently serves as consultant to Jack Gottlieb and Leonard Bernstein at Teatro La Fenice, "Jack Gottlieb is a composer, the Leonard Bernstein Office. • Venice, 25 September 1959 conductor, and scholar who

Leonard Bernstein Theatre Works

o commemorate the 20th (Vienna State Opera), all with Tanniversary of the composer's Bernstein conducting. This collec­ death, Deutsche Grammophon tion also includes his musical (DG) has released a 7-CD collec­ On The Town conducted tion, Leonard Bernstein Theatre by Michael Tilson Thomas, Works. DG had the opportunity and A White House Cantata to record many of Bernstein's (London Symphony Orchestra), theatre works, including Candide derived from the musical 1600 (London Symphony Orchestra), Pennsylvania Avenue, conducted West Side Story (studio orches­ by Kent Nagano. • tra) and his opera A Quiet Place

0 Leonard Bernstein at Work Leonard Bernstein

madeus Press has announced Social Networking A the release of a new book, Leonard Bernstein at Work by As you would expect from a man who was Steve J. Sherman. This remark­ arguably one of the most influential pop cu l­ able photographic essay of the ture figures ever to come out of the classical last six years of the maestro's life gives us a rare insight into music realm, Leonard Bernstein is thoroughly the world of Bernstein's life as a entrenched in the "Social Network." In addi­ conductor. It contains over 200 tion to our website LeonardBernstein.com, we black-and-white photographs, have created both Facebook and Twitter pages most previously unpublished, where fans and friends of Lenny gather to dis­ taken on and off stage during cuss events and find photos, music and video. twenty public events and con­ certs. Alongside the photos are Our Facebook page has garnered nearly 40,000 Sherman is one of the world's personal and insightful comments fans, with more joining from around the globe premiere performing arts pho­ from more than fifty people who every day to share their memories about the tographers, recognized for his knew him well during those long-term associations with Maestro and discuss Leonard Bernstein "sight­ years. It features a foreword by Carnegie Hall and The New York ings" on the web and in the media, including Lauren Bacall and an introduc­ Times. His photos have been a recent Mercedes-Benz commercial featur- tion by James M. Keller, former featured in countless books and Leonard Bernstein Scholar-in­ ing video of Bernstein conducting, as well as magazines, on CD/DVD covers, Residence at the New York news and info about the New York premiere in television documentaries, and Philharmonic. of Bernstein's only full-length opera, A Quiet exhibited at the International In a preface, Jamie Bernstein Center of Photography and the Place. Facebook fans and Twitter followers also writes, "Sherman's images Metropolitan Museum of Art. • receive exclusive discounts on merchandise at are more than just beautiful; the LeonardBernstein.com on line store. With they are revealing, passionate, and haunting." the addition of Facebook and Twitter pages to our web presence, we have made a truly inter­ active home on the web for friends and fans of Leonard Bernstein. Come and join us! •

- Josh Carr, New Media Coordinator for Wonderful Town in Japan the Leonard Bernstein Office

facebook or the first time ever, FWonderful Town has reached Japan. This new production ·---·-··-· = -·-" II DI .·-······· .,,,.~ ...... ·-···-. -. .. ' . I produced by TV Ashai received ·-~- · - ··- 31 performances. Performances - took place in Japanese at the Aoyama Theatre in Tokyo, the Chunichi Theatre in Aichi and

,• .,1,, •. ,. ,,.'If/ the Umeda Art Theatre in Osaka. ,.,·11rn11, .,1,·••11• l'l"' Pl "' Jl!Jiijll\ • This production featured Kei ,. .... 111 .). l ,11 11 .'I ,,,., ,'i' UJ_.IM Aran as Ruth and Miho Owada Leonard Bernstein as Eileen. It was directed by ...___.,...... Koichi Ogita and conducted by Satoshi Uegaki. • 51 =:-; fu 51 =·-- -- 51 - -·-·-·· m:e.::.=. --":.-:-,:.::::, ....

51 =· . ·--

G Maestro: The Art of Leonard Bernstein

t a recent performance of 1943 in front of the New York and what he's left behind, and A my musical play, Beethoven, Philharmonic at age 25, right whether he's done enough. as I Knew Him, I announced to until the end at Tanglewood in the Since Leonard Bernstein spent the audience that in the coming summer of 1990, music and the­ his life studying the immortals season I would be presenting atre lovers the world over felt that and sharing with us what in fact the music and life of Leonard he was their friend and beloved makes them so, one of the ideas Bernstein in a new theatre piece teacher. The private Leonard that I grapple with in the piece is called "Maestro." The audience Bernstein, however, worried - how his understanding of great quite literally gave a collective and particularly at the end of his life music affects his perception of extended high-pitched "yay" like - about what exactly he would his own place as a composer in a gaggle of grade-school children, be leaving behind. One of the last the pantheon of the greats. In and then they started to applaud, works that he left us just before he another twenty years, we'll prob­ with a few squeals thrown in. died in the autumn of October of ably see what "Lenny" didn't see It was clear to me that just the 1990, was this short poem: in his lifetime: that "Piece" - the Bernstein name alone brought one he wanted to create before this group back to the good old Afraid his "Not-To-Be," the one he was Died in my vocabulary afraid wouldn't be. I believe that Long ago - exce/Jt of hurting he did leave us that work - and Someone I love, and then time will tell us what exactly it is O f not writing my Piece - but I suspect it isn 't "a work" Before my Not-To- Be per se, but rather a body of work that has a particular Here you have a man who, color, a particular energy, and one could arguably assert, had a sound all its own. Listen to the greatest all-encompassing any Bernstein music. career of any musician in the That is the mark of a com­ history of Western music - poser: he who has left behind conductor, composer, teacher, not "his piece" but "a piece" -

Hershey Felder television star, author, spokesper­ a piece of the vast tapestry that son ... and yet he was afraid of is the arts, a piece of history days when they would curl up not leaving behind something of in sound that, in this case, with a recording, take a beloved significance. This poem touched shall always and indelibly lesson on television, play a role in me in such a way that I sensed be "Bernstein." He had no West Side Story in a community a "raison d'etre" for my new reason ever to be afraid. • playhouse, be in Vienna, or Paris, theater piece entitled "Maestro." or Tanglewood, or New York, or I decided to structure the work Maestro began performances at Berlin, anywhere - and there was as a man looking back on the The Geffen Theatre, Los Angeles, Leonard Bernstein: warm, cuddly, very basic elements of his life, and November 2, 2010: www. charming, eloquent, and above how they inspired his output. As GeffenPlayhouse.com and will be all, always musically spectacular the work opens, we are invited to followed by per(ormances begin­ and true. take part as the audience in the ning January 4 at the Laguna Leonard Bernstein lived his life Maestro's "final broadcast." Only Playhouse: www.lagunaplayhouse. in front of the public right from this broadcast is the one that we com and at The Old Globe in San the very beginning. From his never saw - where one of the Diego, Summer of 2011: www. dazzling debut on November 14th, greatest musicians to have lived theoldglobe.org asks questions about his own life, Vienna Honors Bernstein

n October 14, 2010 the years of the Maestro's life. Clemens 0 Ha us der Musik in Vienna, Hellsberg, General Manager of the Austria honored Leonard Vienna Philharmonic, moderated Bernstein on the 20th anniversary the program. Pianist Alexander of his death. The Haus der Musik Frey performed selections from presented an intimate conversa­ Bernstein's Piano Anniversaries, tion between renowned mezzo and film segments were shown, soprano Christa Ludwig; Michael including Ludwig and Bernstein Bernstein, the Maestro's nephew; in recital as well as Bernstein con­ Michael Bernstein, Craig Urquhart, and Craig Urquhart, who was ducting the Vienna Philharmonic. • Christa Ludwig, Alexander Frey and Bernstein's assistant in the later Clemens Hellsberg Notes From a Mass Fan by Tony Napoli The initiator of the London What was truly brilliant (as "production" was Marin Alsop, the Brits would say) was the use ver the past year I have who has conducted so many of supertitles. Bernstein and his 0 "attended" Mass in New "Masses" by now that she can co-librettist Stephen Schwartz's lyr­ York City, Minneapolis and be considered one of the piece's ics, which catch all the confusion London. You might think I was a greatest champions. London's and torment of that era, were now religious fanatic, but since I'm an version was the only one to graspable in their entirety. The atheist, you could more accurate­ incorporate all of the composer's supertitles added great value in ly posit that I'm a devoted acolyte elements in his "theatre piece for the Latin translations, and particu­ of Leonard Bernstein's wonderful, singers, players and dancers," larly paid off in the "mad scene" thought-provoking creation. including a marching band and a (Fraction), when the Celebrant smashes the chalice and mon­ strance and delivers an anguished rant. Jesse Blumberg was a strong, confident priest caught in the tur­ moil of his self-doubt and his con­ gregation's ever-tougher questions. The congregation, or Street Chorus, expertly portrayed the anguish of searching for faith in the modern world and question­ ing the role of God in one's daily life. In the "Dona Nobis Pacem" section, participants planted in the theatre sprang out of their seats and ran down the aisles, sweep­ ing up the entire audience in a thrillingly theatrical outburst that evoked the fervor of the antiwar protests of the '70s. At the end, the multiple chil­ dren's choirs offered up the hope and joy of youth: surely one of Lenny's most moving finales. One would have to be made of stone not to be touched by this music of deep reconciliation. After the curtain call, the cast ran out into Jesse Blumberg as the Celebrant in the London Southbank Centre's production the audience as Maestro Alsop reprised the "Introit" marching Each city interpreted the piece dance company. The director, Jude music, restoring the opening's differently. In New York, it was Kelly, synchronized sections of the atmosphere of festive jubilation. a celebration of the city's ethnic score to a psychedelic slide show The entire audience clapped along diversity, reflected in the 500 featuring pictures of JFK, Jackie, and hugged the performers in school children trained to sing the assassination, Viet Nam, and the aisles - almost like a hippie for this event. In Minneapolis, student antiwar protests. This "be-in." I think Lenny would have the piece was treated more as an anchored the piece firmly in the been delighted. austere Protestant service, down early 1970's, the historical time Mahler once said, "My time to the angelic youth chorus hold­ period of the work's composi­ will come." Well, with the help of ing candles during the closing tion. It was a great idea for the Marin Alsop, Leonard Bernstein's hymn, reminiscent of the Nordic British audience, though I would Mass's time has come. As a "true celebration of the Feast of St. not want Mass to be seen only as believer" in Lenny and Mass, I Lucy. But London may have best a "period" piece. The other great look forward to seeing it many captured what Bernstein had in Masses of Mozart, Haydn and more times. • mind: a happening, a spiritual Bach stand on their own; I trust journey, a dark night of the soul in time Bernstein's Mass will be Tony Napoli is a native New experienced by the Celebrant as performed as standard repertory, Yorker, entrepreneur and writer. well as the attendees. and not necessarily with all the www.tonynapoli.com theatrical trappings. The West Side Story Project Toolkit: Crime Prevention on a New Stage by Pamela Beal, Ph.D and The Collaborative Partners Tawana Waugh To create an opportunity for law enforcement to work with non­ he themes of West Side Story traditional partners, the WSSP Tprovide a unique backdrop Toolkit instructs police on how for community dialogue about to team up with local theatre, gangs, violence and youth-police schools and/or community cen­ relations. The electrifying music ters to develop new approaches of Leonard Bernstein and the pro­ to gang prevention and cultural phetic lyrics of Stephen Sondheim conflict. Most community theatres hauntingly paint a picture as and non-profit professional the­ relevant today as it was fifty atres have educational outreach years ago. This timeless musical programs with missions that suit is the catalyst for the West Side such a project. Story Project Toolkit which uses In Los Angeles, one observer these themes to generate discus­ of the "Speak Up" sessions says, sion within a community. "The Lieutenant told me that he Funded by the U.S. had conducted these workshops Department of Justice Office of for the past 18 months and that Community Oriented Policing this changed and educated him, so crime prevention on a new stage. Services (COPS Office), devel­ he understands these teens better oped in collaboration with the and wants to help them avoid fur­ Seattle Police Department, the ther involvement with the criminal Seattle Police Foundation and lifestyle. He also said that they are Seattle's 5th Avenue Theatre, the very beneficial to his officers and West Side Story Project (WSSP) help them be more compassionate is now offering a "toolkit" to and attentive. The teens are very tions to develop a youth violence other jurisdictions interested in happy that they could talk openly prevention initiative using West replicating the project. To date, to officers about their distrust Side Story. it has been successfully piloted and dislike of police. They were The West Side Story Project in Seattle, WA, White Plains, willing to learn about police pro­ Toolkit supports the COPS NY and Los Angeles, CA. The cedures they see as 'aggressive' or Office's mission: advancing project can be replicated in part 'unjust' that are actually designed community policing through or in its entirety, depending on to save lives. Both groups benefit relationships between law enforce­ the interests, needs and resources from such frank discussions." ment and the community to of each jurisdiction. The West Side Story Project "build communities of trust." • The Concept Toolkit consists of five booklets, Middle and high school students a CD and DVD which provides Pamela Beal, Ph.D is a from all ethnic and minority com­ directions, suggestions, templates researcher and writer for the munities participate in activities and examples for building an Seattle Police Foundation. She designed to engage youth and innovative collaboration between was formerly the Director of the law enforcement in discussions law enforcement, the theatre, University at Buffalo Regional about gang & youth violence schools and community organiza- Community Policing Center. prevention, youth-police relation­ ships, and racial/ethnic relations. The teens were Tawana Waugh, Policy Analyst Simultaneously, it introduces with the Department of Justice at-risk youth to a world far willing to learn Office of Community Oriented away from their everyday lives Policing Services, has over 20 - live musical theatre - and about police years experience in customer offers them the chance to create service, marketing and program their own art & drama based procedures they management. Ms. Waugh works closely with law enforcement and on themes from West Side Story see as 'aggressive' while working with professional community groups to help them actors and artists. The project or 'unjust' that are address issues that are critical also sets the stage for a public to public safety in an effort to forum to discuss the local actually designed advance community policing. community's responses to its at-risk youth. to save I ives. West Side Story Tour

I I I\ brand new touring produc- production's Associate Director. Farnsworth Invention, The M tion of West Side Story The original Jerome Robbins cho­ Who's Tommy), lighting by Tony launched its national run ... and reography is reproduced by Tony Award winner Howell Binkley it may safely be christened a Award-nominee Joey McKneely (Gypsy, Jersey Boys), sound triumph right out of the gate," (The Boy from Oz, The Life). design by Tony Award nominee wrote Lawrence B. Johnson in the The new Broadway cast album Dan Moses Schreier (Gypsy, Detroit News. of West Side Story won the 2010 A Catered Affair) and hair by The current acclaimed Grammy Award for Best Musical Mark Adam Rampmeyer (The Broadway production of West Show Album on January 31, 2010. Farnsworth Invention). Side Story has begun its national West Side Story features scenic For more tour locations tour. Librettist Arthur Laurents's designs by James Youmans (Gypsy), and dates please visit: Broadway direction was recreated costumes by Tony Award nomi­ www.broadwaywestsidestory.com • for the tour by David Saint, the nee David C. Woolard (The

New Music in Print

he Leonard Bernstein Music and Arias, Bernstein on Broadway TPublishing Company, LLC is and Bernstein Theatre Songs. Art pleased to announce new pub­ Songs and Arias features new lications available through Hal transcriptions, unpublished mate­ Leonard. There are three new rial and selections from complete offerings for concert band: a vocal scores never before avail­ new arrangement of Symphonic able on their own. There are edi­ 111"''"1 Dances From West Side Story, a tions for high voice and medium/ IIOOStY(!Pt.-wus Suite from Mass and a medley of low voice, as well as for duets tunes from West Side Story. For and ensembles. Bernstein on West Side Story (Suite) for guitar educators and amateur groups, Broadway presents 30 songs from and chamber orchestra. West Side there are selections from West the Broadway shows. Bernstein Story (Suite) was arranged by Side Story arranged for various Theatre Songs presents selections Andreas Kowalewitz and guitarist levels of ability. There are also from the theatre works, including Lucian Plessner. Plessner had met new arrangements of songs from songs cut from the shows. Bernstein, who requested at the West Side Story for jazz ensemble, For more information please time that the guitarist arrange and marching band and orchestra. visit: www.halleonard.com record several Bernstein works. Hal Leonard has recently Recently published but avail­ For more information please completed three new compila­ able through Boosey & Hawkes, visist: www.boosey.com • tions of song albums: Art Songs Ltd. is a new arrangement of

The Leonard Bernstein Award

he Schleswig Holstein Music Kit Armstrong is an eighteen­ T Festival has presented the year-old pianist and composer 10,000 Euro Leonard Bernstein who also displays remarkable Award to pianist Kit Armstrong. gifts for mathematics, science and The award is given to young artists languages. At the age of five, he at the beginning of their careers to began formal composition and enable them to pursue performing. piano studies. Four years later, he Previous recipients are became a full-time undergraduate Lang Lang, Lisa Batiashvili, student in music and science. Erik Schumann, Jonathan Since his concerto debut at the Biss, Alisa Weilerstein, Martin age of eight, Kit has given recitals Grubinger, Anna Vinnitskaya and appeared as soloist with and Leonard Eischenbroich. numerous orchestras. The award Prof. Rolf Beck (Director Schleswig-Holstein Musik 8 is made possible by the generosity 0 Festival), Jorg-Dietrich Kamischke (Sparkassen­ of the Sparkassen Finanzgruppe. • Finanzgruppe), Alexander Bernstein and Kit Armstrong For a com plete listing visit: Some Performances www.!eonardbernstein.com Fall/Winter 2010/2011

19,20 Madrid, Spain: SYMPHONIC SU ITE FROM October ON THE WATERFRONT; Spanish National Orchestra; Lawrence Renes, conductor; 1 Bochum, Germany: SYMPHONY NO .2: THE National Music Hall. AGE OF ANXIETY; Bochumer Symphoniker; 19,21 Pittsburgh, PA: SYMPHONIC SUITE FROM Kiri ll Gerstein, piano; Steven Sloan, conduc­ ON THE WATERFRONT; Pittsburgh Symphony tor; Bogestra-Strassenbahnwerkstatt. Orchestra; Leonard Slatkin, conductor; 2 New York, NY: DIVERTIMENTO; Vienna Heinz Hall. Philharmonic Orchestra; Gustavo Dudamel, 22-24 Washington, DC: FANFARE FOR THE conductor; Carnegie Hall, Stern Auditorium. INAGURATION OF JOHN F. KENNEDY; 7 Halle, Germany: SERENADE; Staatskape ll e National Symphony Orchestra; Christoph Halle; Arkadi Marasch, violin; Hans Rotman, Eschenbach, conductor; Kennedy Center conductor; Studio. for the Performing Arts. 7,8 Lisbon, Portugal: SYMPHONY NO.2: THE 23,28 Trier, Germany: TROUBLE IN TAHITI; AGE OF ANXIETY; Gulbenkian Orchestra; Benedikt Bormann, director; Dirk Edelkamp, Dana Clocarlie, piano; Christian Badea, conductor; Forum. conductor; Grand Auditorio. 14-17 Detroit, Ml: THREE DANCE EPISODES FROM ON THE TOWN; Detroit Symphony December Orchestra; Leonard Slatkin, conductor; Orchestra Hall. 4 Bremerhaven, Germany: ON THE TOWN (new production); Stadttheater Bremerhaven; 23 Bremerhaven, Germany: ON THE Claudio Beuno, director; Rodo lfo Cazares, TOWN (new production); Stadttheater conductor; Grosse Haus. Bremerhaven; Claudio Beuno, director; Rodolfo Cazares, conductor; Grosse Haus. 9 Eindhoven, The Netherlands: THREE DANCE EPISODES FROM ON THE TOWN; Conservatorium van Amsterdam; Ivan November Meylemans, conductor; Muziekcentrum. 18 Miami Beach, FL: SYMPHONY NO .2: THE AGE OF ANXIETY; New World 4 Vienna, Austria: SYMPHONIC DANCES FROM WEST SIDE STORY; Symphony; Orli Shaham, piano; David Niederosterreichisches TonkCmstlerorchester; Robertson, conductor; Lincoln Theater. Michail Jurowski, conductor; Musikverein. 18 Karlsruhe, Germany: OVERTURE TO CANDIDE; Staatsorchester Rheinische 4,6, New York, NY: A QUIET PLACE; New York Philharmonie; Daniel Raiskin, 12, 14 City Opera; Christopher Alden, director; conductor; Konzerthas. 16,21 Jayce Ogren, conductor; David H. Koch Theatre. 29-31 Neuchatel, Switzerland: CAND IDE (Selections), WEST SIDE STORY CONCERT 11 Basel, Switzerland: SYMPHONIC DANCES FROM WEST SIDE STORY; Sinfonieorchester SUITE NO.2; SYMPHON IC DANCES FROM WEST SIDE STORY; Orchestre Basel; Dennis Russel Davies, conductor; Festival Les Jardins Musicaux; Va lentin Stadt Casino Musiksall. Reymond, conductor. 12 Thousand Oaks, CA: SERENADE; New West Symphony; Corey Cerovsek, violin; Boris Brott, conductor; Oxnard Performing Arts Center. January 15, 16 Gersthofen, Germany: SYMPHONY NO.3: 1,2 Lyon, France: OVERTURE TO CANDIDE; KADDISH; Philharmonisches Orchester

N THREE DANCE EPISODES FROM ON THE 0 der Stadt Augsburg; Dirk Kaftan, TOWN; SYMPHONIC DANCES FROM WEST conductor; Stadha ll e. SIDE STORY; Orchestre National de Lyon; Leonard Slatk in , conductor; Auditorium Maurice Ravel. 6,8,9 Los Angeles, CA: SYMPHONY N0.1: 10 Luxembourg, Luxembourg: OVERTURE JEREMIAH; Los Angeles Philharmonic; TO CANDIDE; ORCHESTRAL SUITE FROM Kelley O'Connor, mezzo-soprano; CANDIDE, DIVERTIMENTO; Orchestre Gustavo Dudamel, conductor; Walt Disney Philharmonique du Luxembourg; Wayne Concert Hall. Marshall, conductor; Grand Auditorium. 8 Pensacola, FL: THREE DANCE EPISODES 10-12 Philadephia, PA: ORCHESTRAL FROM ON THE TOWN; Pensacola Symphony SUITE FROM A QU IET PLACE; Philadelphia Orchestra; Peter Rubhardt, conductor; Orchestra; Michael Tilson Thomas, conductor; Saenger Theatre. Verizon Hall . 21 Lisbon, Portugal: SYMPHONY N0.1: 19 New Orleans, LA: SYMPHONIC DANCES JEREMIAH; Los Angeles Philharmonic; FROM WEST SIDE STORY; Louisiana Kelley O'Conner, mezzo-soprano; Gustavo Phi lhamonic Orchestra; Carlos Miguel Prieto, Dudamel, conductor; Grande Audit6rio. conductor; Mahalia Jackson Theater. 21,22 Omaha, NE: SYMPHONIC SUITE FROM 25 Munich, Germany: CANDIDE (Concert ON THE WATERFRONT; Omaha Symphony; version); Phi lharmonischer Chor Munchen; Thomas Wilkins, conductor; Hol land Munchner Philharmoniker; Kristjan Jarvi, Performing Arts Center. conductor; Philharmon ie. 22-24 Washington, DC: FANFARE FOR THE 25,26 Nampa, ID: THREE DANCE EPISODES FROM INAUGURATION OF JOHN F. KENNEDY; ON THE TOWN; Boise Philharmonic; Joanne SYMPHONIC DANCES FROM WEST SIDE Falletta, conductor; Brandt Center. STORY; National Symphony Orchestra; Christoph Eschenbach, conductor; John F. Kennedy Center for the Performing Arts. March 25 Cologne, Germany: SYMPHONY N0.1: JEREMIAH; Los Angeles Philharmonic; 6,7 Halle, Germany: OVERTURE TO CANDIDE; Kelley O'Connor, mezzo-soprano; Gustavo Staatskapelle Halle; Karl Heinz Steffens, Dudamel, conductor; Philharmonie. conductor; George Frideric Handel Halle. 29 Lyon, France: SERENADE; Orchestre de 10,11 Plauen, Germany: DIVERTIMENTO; L'Opera de Lyon; Nicolas Gourbeix, violin; Philharmonisches Orchester Plauen Zwickau; Kazushi Ono, conductor; L'Opera de Lyon. Lutz de Veer, conductor; Vogtlandtheater. 11,13 Tacoma, WA: TROUBLE IN TAHITI; Tacoma Opera; Carolyn Kuan, conductor; February Pantages Theater. 17 Zwickau, Germany: DIVERTIMENTO; 1,5 New York, NY: TROUBLE IN TAHITI; Philharmon isches Orchester Plauen Zwickau; Manhattan School of Music; Joshua Bravo, Lutz de Veer, conductor; Neue Welt. conductor; Greenfield Hall. 3 Chattanooga, TN: SYMPHONIC SUITE FROM ON THE WATERFRONT; Chattanooga Symphony; Markand Thakar, conductor; Tivoli Theater. [ Note to Readers] 3,5 Mulhouse, France: OVERTURE TO CANDIDE; Orchestre Symphonique de Prelude, Fugue & Riffs will be or honoring his creative life Mulhouse; Daniel Klajner, conductor; sent upon request. Please send and we shall do our best to Concert Haut-Rhin. ..., all correspondence to: include such information in iil i: 5 Hamburg, Germany: OVERTURE TO Craig Urquhart forthcoming calendars. C. !" Prelude, Fugue & Riffs "Tl CANDIDE; THREE MEDITATIONS FROM C: Prelude, Fugue & Riffs™ is IQ 121 West 27th Street C: MASS; THREE DANCE EPISODES FROM ON a publication of The Leonard Suite 1104 f10"' THE TOWN; SYMPHONIC DANCES FROM Bernstein Office, Inc. ;;o New York, NY 10001 :i: WEST SIDE STORY; NOR Sinfonieorchester; ©2010/11 by The Leonard "' Fax: (212) 315-0643 --n Kristjan Jarvi, conductor; Kampnagel . Bernstein Office, Inc. !!!.. e-mail: ~ Managing Editor: Craig Urquhart 3 · [email protected] &: Editors: Jack Gottlieb, N ':: We appreciate notice of any Jamie Bernstein s2 performances or events featuring Design: Borsa Wallace, NYC sN the music of Leonard Bernstein Visit our website: ~ www.leonardbernstein.com CD PRELUDE, PRESORTED & STAN DARD FUGUE U.S. POSTAGE PAID RIFFS NEWARK , NJ PERMIT NO. 625 121 West 27th Street Suite1104 New York, NY 10001

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Leonard Bernstein: The Symphony Edition

he legacy of Leonard Bernstein mark recordings as Shostakovich's recordings our father made over Tcannot be overestimated. Symphony No.5, and the the course of his extraordinary His uniquely combined roles of Symphony No.2 by Ives. This career could be gathered together, conductor, composer and music limited edition presents each disc to serve as an essential body advocate have left an indelible in an individually repackaged of reference for all those with imprint on several generations design with sixty photographs an interest in classical music: stu­ of musicians and music lovers. of the maestro. The package dents, teachers, the curious and To commemorate the 20th anni­ includes a large-format book the fanatical. We were sure that versary of Bernstein's death with extensive essays by German by having access to the totality and to pave the way for future music critic Klaus Geitel and of these outstanding recordings, generations of music lovers, musicologist Wolfgang Stahr. any music lover could feel they Sony Classical International Jamie Bernstein wrote, "My were in the possession of a truly is pleased to present Leonard brother, sister and I grew up comprehensive resource - not to Bernstein: the Symphony Edition. surrounded by the sounds of mention a trove of beauty. The 60-disc Leonard Bernstein the music our father performed "And now, thanks to Sony, Symphony Edition includes all and recorded with the New our hope has become a reality. 57 of Bernstein's symphonic York Philharmonic and other This superbly assembled set of our recordings with the New York world-class orchestras. These father's symphonic recordings is Philharmonic during his historic performances and recordings sure to give the world the same years with that orchestra. The imbued us with a deep under­ sense we grew up with: that this set features complete cycles of standing and love for this rich repertoire was at our fingertips - Beethoven, Brahms, Mahler and repertoire. It was always our hope always available, always beautiful, Sibelius, as well as such land- that the multitude of symphonic and in the finest of renditions." •