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News for friends of Spring/Summer 1995 The Day I Met Leonard Bernstein To Our Readers

by Richard Morrison eonard Bernstein came to LTanglewood the year it was n that June afternoon created. Nothing quite like it bad in 1989, Rome is hit ever existed before. For a young by a thunderstorm of mus ician, it must have seemed 0 operatic dimensions. like a paradise itself: inspired In side the concert hall, the air is teachers, eager students, everyone as steamy as a sauna. As the awash in music and thriving in orchestra tunes up, the leaky roof the idy ll ic natura l setting. sudden ly deposits ra in on the Bernstein's indelible experi ­ principal oboist. There is much ence at Tanglewood gave him shouting, for the First Law of what his mentor there, Serge Orchestras states that the most Koussevitzky, liked to ca lJ in his highly strung personality in any thick Russian accent "the central ensemble belongs to the principal line", meaning the thread that oboist. Great music-making pulls a life work together. Surely, seems a long way away. Leonard Bernstein's "centra l line" Then something remarkable was to pass onto younger genera­ happens. Into the auditorium tions the joy of mak ing great rushes a crowd of chattering stu­ music. dents . But they do not progress in In his later years, Bernstein the normal way. The ones in had the opportunity to help create front founder backwards, and two institutions modeled on his consequently crash into cello beloved Tanglewood: the cases and other obstacles. The Schleswig-Holstein Music Festival ones at the side are turned to­ Leonard Bernstein rehearses the Orchestra Sinfo11ica dell'Accademia Nazionales di in , and, in his final year, Santa Cecilia, Rome 1989. wards a hunched, white -haired the Pacific Musical Festival in figure, and jostle for position like , . His grown chil­ middle-distance runners nearing SYMPHONY NO. 4 has raced exultant conclusion. Because this dren had a nickname for him: the last lap. off in a mingled frenzy of is an open rehearsal, he has been Lenny Tangleseed. Had he lived When the crowd reaches the Bernstein angst and Roman . wired for sound. Every grunt, on, he undo ubtedly would have podium, the white-haired one dis­ It is magnificent but short growl, wheeze and "pah, pah-pah continued planting new Tangle- engages himself. The musicians lived. At the climax of the first PAH PAH!" booms through the woods all around the world. • suddenly remember that they are movement a vital clarinet entry is hall. The rehearsal ends in tri­ the Orchestra of the Accademia di missed. High tragedy turns to umph. "Warrgh!" he shouts Santa Cecilia, and that they have low farce in an instant. again as he cuts off the final wa ited all year for this encounter, Bernstein's craggy, creased face - chord with the double-handed notwithstanding the fact that this the legacy of half-a-century of axe-swing of his baton. His podi­ is billed only as an "open booze, cigarettes and 4 a.m. bed­ um is again surrounded by his rehearsal". times - fe igns incredulity and swooning students. "Bravo, Maestro," they shout pain. He cups a hand to his ear Is this the moment for me to in greeting. "Warrgh!" rep li es and cries, "Is there life before edge forward? I have been sent to Leonard Bernstein in a cry of death in the woodwind universe?" get an interview with Bernstein in pure, all-American locker-room The unfortunate clarinetist stares advance of his being exhortation. "Let's go, guys!" he grimly at his shoes, shaking his performed in London. No, more roars. And scarcely do his ador­ head like a man who has put his than that: I have been assured ing students have time to scram­ life's savings on the wrong horse. that the Maestro has allocated an ble for seats and open their minia­ But Bernstein restarts the hour in his schedule for The ture scores than Tchaikovsky's movement and brings it to an (continued on page 3) The BETA Fund

BETA Fund Supports The Next Step Trees for Life

ecology, book-making, poetry, , THE music, dance and their own rela­ I tionship to a world outside their own neighborhoods. The project BETA culminated in two final programs in which the children presented FUND what they had learned in the past year, through the book they wrote about trees, through telling stories he Bernstein Education about the experience of watching TThrough the Arts (BET A) the saplings grow - or not grow; Fund is pleased to support the and by dancing their own "Tree Trees For Life Project. As con­ Dances". Craig Urquhart, Managing Editor of pf&r, ceived by Martita Goshen, chore­ t b worked with them throughout ographer and performer as well as Participants in the Bernstein Center's pilot program. director of Turtles Inc, Trees for the year and composed music for Life is an artist residency program th is event. alling it "The Next Step", the The Five Strategies proposed that grew out of Goshen's previ­ Of the Trees for Life project Cten Bernstein Center pilot and implemented by the Bernstein ous work in the New York City Urquhart says, "Working with schools convene for their second Center are: school system. Trees for Life was these children was a rewarding summer session in June 1995 at 1) The arts as a fundamental a year-long program that benefit­ and extremely emotional experi­ Montgomery Bell Academy in model for knowing and learning ed classrooms in two New Yark ence. There is no way you can Nashville, Tennessee. After one 2) Pro-active curricula City public schools. The children measure the depth of a chi ld's full year of operation with the 3) Process-portfolios for authen­ used writing, art, dance, speech reaction hearing a piano played Five Strategies, the Center and tic assessment and music to explore their own live for the first time; the silence schools report striking resu lts. 4) New learning technologies relationship to trees - a relation­ in the room was filled with won­ The arts as a vision for - and 5) Teacher as reflective practitioner der and awe . To see how the chil­ means of - education reform is sh ip that that is easily overlooked Summer Session '95 invites dren grew because of Martita's one of Leonard Bernstein's great in New York City. In October each teacher and school to take loving and special work is a testi­ legacies. Working that vision into 1994, each child was given a "the next step" in developing, mony to the care and nurturing reality is the mission of the sapling to tend throughout the using and integrating each of the year. Through this project, the we must prov id e al l children Nashville-based Bernstein Center everywhere." • Strategies. students have studied biology, for Education Through the Arts. The schedule for Summer The Summer Session '95 provides Session '95 includes perfor­ a critical "next step" in that chal­ mances, workshops, and specia l­ lenging and difficult process. ized presentations, as well as pro­ Like schools everywhere, those viding time to reflect on what has in Nashville have budget been experienced. Professors, restraints, debates over the direc­ artists and national leaders in tion of education, and, most education reform and the arts will important! y, kids of all sizes and participate in the Summer Session colors and interests. Education '95, including Professor David reform is ultimately about them Steiner from The Peabody School and must be for them. 2 of Education, Vanderbilt Un ivers ity; Kathy Rutkowski, edi­ tor and creator of NetTeach News and Dr. Fern Tav lin , direc­ tor of the Portfolio Assessment Project for the State of Vermont. •

Craig Urquhart and Martita Goshen rehearse with students of PS 188. The Day I Met Leonard Bernstein, continued

(continued from page 1) And so it goes on. I never do [London] Times. get him to say anything very use­ False security. From my arrival ful about CANDIDE. Actually, I in Rome I have enco untered wave never really try. I take no notes; I upon obstructive wave of am literally awestruck. Bernstein Bernstein acolytes, managers, PR moves from Larkin to Frost, then advisers, disciples. No, I am told, Auden. He seems to know by the Maestro hasn't forgotten you. heart every poem written in It occurs to me that Bernstein English this century. probably knows nothing of any That extraordinary discourse interview arrangement, and that transforms my view of him. The the likelihood of my returning to prying biographies, the wild sto­ London empty-handed is distress­ ries of gross indulgences, the ingly high. Desperation breeds manipulative emotionalism of his pushiness. I plunge into the music making - all these had led scrum as it pours into the me to expect a monster, not a Maestro's dressing room. Leonard Bernstein performing with the Orchestra Sinfonica dell'Accademia Nazionales man. What I find, however, is Bernstein is sitting at a table, di Santa Cecilia, Rome 1989. wisdom, warmth, sincerity. And signing scores. He is naked to the something else, too. There is an waist, his torso steaming like a approach. "So that's where yo u serene, lies sparkling like some overwhelming sadness in his look racehorse's. His assistant, the got that tune from," I blurt out, ancient treasure. as he watches the light fade on the ferociously protective Craig with what I hope is an endearing I expect to be bullied ve rbally, Eternal City. Urquhart, is toweling his back, gnn. or dazzled with scathing wit. Why? He has achieved so while passing him contracts for Momentarily, I think I have Instead, I find him relaxed, cour­ much, been loved by so many. inspection. Neither this nor the blown it. "Craig, who is this?" teous, and seemingly without But perhaps, like his great hero, cigarette Bernstein clamps Bernstein shouts after his depart­ guile. I am taken aback. My dili­ Mahler, he has also spent too between his lips stops the ing assistant. Before he can come gent reading of the vast Bernstein long staring into the abyss, the Maestro's flow of sardonic back and throw me out, I gabble literature had not prepared me for inescapable darkness that suffo­ humor. His eyes are screwed up my explanation. "I work for The this. Nor had I anticipated how cates rational thought in the against the smoke, but they glint. Times in London," I stutter. "I've our conversation might start. sleepless hours before dawn. Even in his dressing room, he been waiting two days to talk to "Who's the greatest 20th cen­ Suddenly, the reason why he con­ loves an audience. you about CANDIDE." tury poet in the English lan­ ducts as he does, laying bare every Gradually, the students disap­ Bernstein pauses, then switch­ guage?" Bernstein asks, his voice anguish, becomes apparent to me. pear. I hang back, still unnoticed. es on a broad smile. "Oh, The croaky and adenoidal. He is exorcising the demons of Bernstein stops giving a show, Times," he says in a mocking "Oh, I dunno," I falter. the night. No wonder he finds a and exchanges grunted monosyl­ English accent. "Second-finest "Eliot?" kindred comfort in Larkin. lables with Urquhart. The crossword in the world." I clutch The Conductor shakes his I don't delude myself that Maestro suddenly looks ill and at this straw of casual conversa­ head, and looks out across the Bernstein remembered my name tired, but he starts crooning to tion. "Really? Who is the best?" glorious city with a curiously ten minutes after I left. But when himself. And this is the weird "The Listener," Bernstein replies. wistful expression. "As I get he died 16 months later, I thing: the tune starts as the twist­ "Never miss it." older and sleep less and less, I mourned him like a close friend. • ing theme in the opening move­ Urquhart returns. If he is read Larkin," he says. "I know ment ofTchaikovsky's FOURTH ... crestfallen that a journalist has everything he wrote." And, to my Published in The Times, London, penetrated the inner sanctum, he astonishment, this quintessential and then slides into "Maria" from 12/28/94 and reprinted by permis­ 3 WEST SIDE STORY. conceals it graciously. I am invit­ American extrovert begins to sion of the author. Then Bernstein sees me. Panic ed to Bernstein's hotel that declaim line after line of the evenmg. mournful Englishman's subtle, paralyzes my brain. What do I Richard Morrison is a music The hotel is near the top of the reticent poems. say? I decide on the saucy critic and writes for The Times of Spanish Steps. Viewed from the London. roof-top garden of his penthouse suite, Rome, now cloudless and

A Japanese CANDIDE

by Kuni Hashimoto

usic has no frontiers, while Mlanguage has many. Lenny, whose love of people equaled his love of music, understood this concept. He learned several lan­ guages and attained a good com­ mand of many more, enabling him to communicate with people worldwide. If you listen to his orchestral pieces such as JEREMIAH, KAD­ DISH and CONCERTO FOR ORCHESTRA "JUBILEE GAMES", it becomes evident that language occupied a prominent place in man y of his works. In the cosmos of Lenny's orchestral Co11cert performa11ce of CANDIDE at the Pacific Music Festival, s11mmer 1994. pieces, words are the important planets and sta rs that give us ref­ density of th e language's so unds. forced to consider. In Japan ese original plot and interpret th e erence points in the infinite spaces While the receptionist remains sentences, the verb always comes authors' will and concept of the evoked by his music. Even if it is painstakingly sweet and the at the end. In addition, it is neces­ musical piece while at the same only one word sung by orchestra politeness seems to go on and on sary to have a particle in the middle time trying to maintain th e origi­ members, like "Mambo! " in the into infinity, your frustration of the sentence. As a result, Japanese nal rhyme scheme. The most SYMPHONIC DANCES FROM begins to boil up as th e fee for the sentences take a longer time to say. important thing is comprehending "WEST SIDE STORY," the sin­ call increases whereas a simple There are also special prob­ the concept and intentions of the gle word becomes a landmark for "hello " in English wou ld have lems created by vocabulary and writer of song and lyric and the mus ical space and time sur­ sufficed. The differences of accents. Take the word "Ka-mi", express it in Japanese without los­ rounding it, much like a light­ longer words and phrases is only for instance; if we put the accent ing any of the intended meaning house punctuating a foggy harbor the beginning of the many prob­ on "Ka", it means "God". But if or mood of the piece. with its light. Similarly, in the lems which haunt the translation we put the accent on "Mi", it This work attempts to show the cosmos of his theatrical pieces, of Eng li sh into Japanese. would mean "paper". So, there is entire Milky Way. It is like select­ the words shine like the Milky Being a sound and syllable a vast difference between Ka-mi ing suitable constellations from Way, glittering across the vast intensive language, Japanese does Wo A-isu (Love God) and Ka-mi the Milky Way, arranging, dispos­ sky, streaming from beyond the not fit easily into the meter of Wo A-i-su (Love Paper). Even ing and scattering them on a celes­ horizon to the other end. songs originally written with one Japanese word like "Shi " has tial body so that Japanese speak­ Last year, as part of the program shorter Eng li sh words in mind. many different meanings such as ers can understand the beauty and of the Pacific Music Festival, the Consider, for example, the trans­ Poem, Death, Four, City, depend­ expanse of the entire Milky Way. concert version of CANDIDE was lation of three simple words such ing on the accent put on the word In this year's Pacific Music performed for the Japanese, by as "I love you". In English, it is which follows "Shi". Terrible Festival, the concert version of the Japanese, in Japanese. It was possible to sing these notes in a things can happen if the wrong ON THE TOWN will be per­ my daunting task to translate the three note musical phrase. In accent is put on the wrong musical formed. This time I will show the 4 English lyrics into Japanese. Japanese, however, eleven notes note. To top it all, we must also Japanese people the galaxy over Have you ever made an inter­ are needed. "I Love You" trans­ try and make it rhyme like the Manhattan and more .... the neon national phone call to a friend lated into Japanese should sound English version. Oh my Ka-mi!! signs over Times Square. • staying in a Japanese hotel? If the like this: "Wa-Ta-Shi (I) Wa (par­ In spite of my claim that receptionist chooses to address ticle) A-Na-Ta (You) Wo (parti­ Japanese does not suit Eng lish Kuni Hashimoto has worked the caller in Japanese and not in cle) A-I-Su (Love)". songs, I dared to translate the as a consultant to The Amberson English, the form of politeness in There are also grammatical English lyrics of CANDIDE for Group since 1984, and with the Japanese takes a great deal longer differences between English and the Japanese. The key challenge Pacific Music Festival since its to express, due to custom and the Japanese that the translator is in this operation is to retain the inception. The Pacific Music Festival No Good-bye to You, Lenny

self. Our distinguished faculty members, including Yutaka Sada, Michael Barrett, Paul Sperry, Irma Vallecillo, and the principal players of the , alleviated our loss with their enormous dedication to the Festival and their selfless by Kazu Tsuchihashi devotion to its students. This summer, 150 talented t was a twist of fate which led instrumentalists, singers and Ito the birth of the Pacific Music pianists selected from competitive Festival. In 1990, Leonard auditions in more than 30 coun­ Bernstein, tries will come to Sapporo for and the London Symphony three weeks to work with world­ Yutaka Sado and Leonard Bernstein at the Pacific Music Festival, 1990. Orchestra had planned to estab­ renowned artists in order to, as lish the "Young China Maestro Eschenbach said last by Yutaka Sada ovations ever in Sapporo, which Orchestra", an orchestral acade­ year, "establish an artistic family." are rarely seen even in , my for young Chinese students, in On August 6, the PMF ummer, 1990. I saw Lenny at proved its resounding success. Beijing and Shanghai. The pro­ Orchestra under the direction of SNarita Airport, Tokyo, for the Since then, every concert of ject, unfortunately, had to be Michael Tilson Thomas will give very last time. Boarding the the PMF Orchestra has been sold aborted due to the tragic incidents a performance at the official cere­ plane, he said, "Be a great con­ out. Last summer, more than in Tienanmen Sq uare in June of mony for the 50th anniversary of ductor! Thanks and good -bye." 4000 people enjoyed our "Picnic 1989. the Hiroshima bombing in memo­ never did say "Good-bye." In the Concert Day" with music from With a similar program in ry of the loss of so many thou­ summer of 1987, I received an noon to 9 PM, ending with my mind, an alternate location in sands of people, as Lenny himself invitation from Maestro Seiji interpretation of CANDIDE in Asia was found on the northern did at the 40th anniversary 10 Ozawa to join his conducting Japanese(! ). Japanese island of Hokkaido, in years ago. • class at Tanglewood, which is Every summer, I discover and the city of Sapporo. Last summer where I first met Lenny. learn new things from Maestro we celebrated our fifth anniver­ Kazu Tsuchihashi works In the summer of 1988, I had Tilson Thomas, Maestro sary. We had good reason to ce l­ for Crystal Arts Planning, Inc. the opportunity to meet Lenny a Eschenbach, principals of the ebrate; the Festival had survived in Tokyo and the Pacific Music second time at the Schleswig­ Vienna Philharmonic, other di s­ its most disastrous crisis, the Festival Foundation, Inc. in Holstein Musik Festival. In 1990, tinguished facu lty, our outstand­ death of its founder and mentor, New York . Lenny, along with Michael Tilson ing academy fellows and audi­ Leonard Bernstein. This could Thomas and the London ences. Yes, I am still a stu dent of have been a catastrophe, if not the Symphony Orchestra, inaugurated Lenny's, to whom I have no need end of the Festival. However, the the Pacific Music Festival in to say good-bye, even now. • blow was eased by the confident Sapporo, Japan. I was invited to vision of our Artistic Directors, coach the new youth orchestra. Yutaka Sado is a former stu­ Michael Tilson Thomas and These 150 exceptional fellows dent of Leonard Bernstein and , a vision stimulated, respected and loved now has an international career as they inherited from Lenny him- one another. Those who attended a conductor. the July 3rd concert witnessed a "miracle", as Lenny later 5 described it. The performance of Schumann's SYMPHONY NO. 2 was fantastic! The first standing In the News

1995 International Conducting Performing SERENADE Competition Announced

he first Leonard Bernstein October 2, by Robert McDuffie TJerusalem International 1995,and Conducting Competition will take cu lminating hen the idea of learning place next October in Jerusalem, in a Gala WLeonard Bernstein's SERE­ it was announced on Wednesday, Concert with NADE was suggested to me eight February 8, 1995, by Jerusalem the Jerusalem years ago, I must admit I was not Mayor Ehud Olmert MK. The Symphony overwhelmed. Even though I had Conducting Competition inaugu­ Orchestra on never heard of the work, much rates the three- yea r cycle of the fifth less studied the score, I harbored Leonard Bernstein Jerusalem anniversary of the Maestro's a prejudice about the piece. It International Music Competitions. death, October 14, 1995. was the title that turned me off: The Committee of Sponsoring The candidates will be judged SERENADE FOR SOLO VIO­ Institutions, composed of interna­ by a jury appointed by the LIN, STRING ORCHESTRA, tional organizations with which Committee of Sponsoring HARP AND PERCUSSION Robert McDuffie and Leonard Bernstein. Leonard Bernstein had a close Institutions. Entrants will be AFTER PLATO'S SYMPOSIUM. relations hip during his lifetime, se lected to participate in prelimi­ The term 'Serenade' just NADE released in 1990, I have includes: Deutsche Grammophon nary regional auditions following wasn't muscu lar enough for me. had over fifty performances of the Gesellschafr, the Estate of an initial screening by videocas­ When I was at Juilliard, SERE­ work. I am constantly challenged Leonard Bernstein, the Israel sette. The regional live auditions NADE was not considered a and inspired by it. Audiences Philharmonic Orchestra, the will take place in Israel, London, "standard". I'm thrilled to say seem to eat it up, especially when Jeru sa lem Foundation, the Sapporo (Japan), Tanglewood that this is no longer the case. I speak about the programmatic Jerusalem Symphony Orchestra, (USA), and Vienna during June Recently, Juilliard listed SERE­ aspects of SERENADE directl y Israel Broadcasting Authority, the and July of this year. The appli­ NADE as a required competition before the performance. London Symphony Orchestra, the cation deadline for the piece and orchestras worldwide My own view of SERENADE , the Competition was April 15, 1995. program it consistently. is always changing. At times it Pacific Music Festival, the Royal The Competitions reflect the After finally taking a look at feels more philosophical than vir­ Concertgebouw Orchestra, Sony guiding spirit of Leonard SERENADE, studying the work tuosic, and on other occasions, I Classical, the Tanglewood Music Bernstein, who believed strongly and eventually performing and have the urge to let it rip. Like all Center of the Boston Symphony in the importance of the artist's recording it, I realized how great works of art, SERENADE Orchestra, and the Vienna role in society. Maestro Bernstein absurd my ea rly fears were. SER­ invites one to search. I never tire Philharmonic. Other cooperating said, "It's the artists of the world, ENADE is one of the most fulfill­ of seeking to find out what Mr. institutions include the Accademia the feelers and thinkers, who will ing works in the violin repertoire. Bernstein has to say. • Naziona le di Santa Cecilia, the ultimately save us, who can artic­ It has everything a musician looks Bayerische Rundfunk, the ulate, ed ucate, defy, insist, sing for: it is both reflective and lyri­ Robert McDuffie, violinist, is Kennedy Center for the Perform­ and sho ut the big dreams." ca l. Yes, it is meaty. And it is an international concert artist and ing Arts, and for The first Leonard Bernstein brassy, even without brass. has an extensive recording career. the Performing Arts. Jerusalem International Music Since my recording of SERE- Each winner will be named Competition is made possible by "Leonard Bernstein Jerusalem the kind generosity of Erwin and Laureate" and receive a cash award Magdush Herling. The Susan and of $25,000. There will be no rank­ Elihu Rose Foundation, The Israel Honors Bernstein ing of the winners and no limita­ Arison Foundation, and The tions on the number of Laureates. Jerusalem Foundation have also ast February the Israel Postal stamp in 6 The Committee of Sponsoring given substantial support. LAuthority issued a stamp hon­ New York on Institutions will develop conduct­ For more informatio n contact: oring Leonard Bernstein. The March 16. ing opportunities for the The Leonard Bernstein Jerusalem issuing of the stamp coincided The stamp Laureates. International Music Competitions with the announcement of the may be A maximum of 16 candidates 11 Rivka Street/FOB 10185 Leonard Bernstein Jerusalem ordered wi ll be selected to participate in Jerusalem, Israel Conducting Competition . Nina through the the final rounds, which will take Tel: 972-2-735032 Bernstein and Jamie Bernstein Israel Philatelic Agency of North place in Jerusalem, beginning on Fax: 972-2-716380 Thomas were presented with America, 460 West 34th Street, • commemorative editions of the New York, NY 10001. • Looking Ahead

LB Day at The Two Bernstein Programs Debut on Home Video Metropolitan Museum

he Metropolitan Museum of Philharmonic Orchestras. The TArt in New York has desig­ program, previously telecast in nated May 20, 1995 as Leonard the on the Arts & Bernstein Day. This special day Entertainment Network, is ill us­ at the Museum, hosted by tra ted with performances span­ Bernstein biographer and film ning four decades. director Humphrey Burton, will THE LITTLE DRUMMER follow much the same format as BOY is a video essay on the inner character of a composer close to last year's very successful Readers of pf&r interested in Bernstein's heart - Gustav Bernstein Day. There will be ordering these videos by credit Mahler. The program is punctu­ three lectures/screenings of films card may call the Leonard ated by biographical interludes made by Mr. Burton: The Art of Bernstein Society at 1-800-382- and illustrated with musical the Conductor, The Other 6622. Please specify item #2020 wo programs newly available examples drawn from the Mahler NINTH (about Shostakovitch's and source code 8888 for THE on home video offer revealing cycle Bernstein recorded in the NINTH SYMPHONY) and T LOVE OF THREE ORCHESTRAS insights into Leonard Bernstein as 1970s and 80s. Featured orches­ Bernstein's Beethoven. The and item #2021 and source code a conductor and as an interpreter tras include the Vienna screenings will be followed by a 8888 for THE LITTLE of Mahler. Philharmonic, the London concert, Bernstein and Friends, DRUMMER BOY. Shipping and THE LOVE OF THREE Symphony and the Israel presented by the New York handling costs are $4.95. • Festival of Song. • ORCHESTRAS is a 90-minute Philharmonic Orchestra. investigation into Bernstein's inti­ Both programs are mate relationships with the New Uni tel/ Amberson productions, Yark Philharmonic, the Vienna directed by Humphrey Burton. Philharmonic, and the Israel The price of each video is $19.95.

WEST SIDE STORY SUITE at Reaux Sings ABETA Bernstein Wedding

he New York City Ballet oprano Angelina Reaux and he Bernstein Education Tannouced that it will present Sbaritone Michael Sokol will TThrough the Arts (BET A) the premiere of Jerome Robbins' present an evening of Bernstein Fund is pleased to announce the on songs in New York on May 24. engagement of Elizabeth Velazquez May 18, to be followed by five The program, taking place at the and Alexander Bernstein of the other performances. New York Historical Society, BETA Fund . The couple wi ll be Conceived and choreographed consists of less familiar Bernstein married on May 20, 1995. by Jerome Robbins, WEST SIDE songs, such as I Hate Music, La Won't you join in celebrating STORY SUITE features the music Bonne Cuisine, Dede's Aria from this joyous occasion by sending a of Leonard Bernstein and the A QUIET PLACE, and selections special, generous donation to the lyrics of , set from SONGFEST, ARIAS AND BETA Fund? des igns by , costume BARCAROLLES, PETER PAN Your contribution is tax 7 designs by Irene Shara££ and light­ and MASS among others. She deductible to the full extent per­ ing designs by Jennifer Tipton. Leonard Bernstein and Jerome Robbins. will be assisted in this program by mitted by law. A copy of the The music will be conducted by pianist Ken Noda, who will per­ financial report filed with the Paul Gemignani and will include the original show, including: form the 13 ANNIVERSARIES Department of State may be guest vocalists. Ta ken from the Prologue, Dance at the Gym, for piano throughout the evening. obtained by writing to: Tony Award winning show, Cool, America, The Rumble and Miss Reaux had a close worki ng NY Department of State, Office WEST SIDE STORY SUITE will the Somewhere Ballet. • relationship with Maestro Bernstein, of Charities Registration, Albany, feature the main dance music of who greatly admired her ta lent. • NY 12231, or the BETA Fund. • Calendar of Events"

'·Partia l listing. Please note that all dates and programs are subject to change.

May July July, continued

6 Santurce, Puerto Rico: SYMPHONY 7-15 Muskegon, MI: WEST SIDE STO RY; 28 Vienna: J:l.ALIL; The London Symphony NO. 3, "KADDISH"; Puerto Rico Cher ry County Playhouse. Orchestra; Paula Robison, flu te; Michael Symphony Orchestra; Sarah Ca ldwell, 8 Sapporo, Japan: FANFARE FOR THE Tilson Thomas, conductor; Konzerthaus. conductor; Centro de Be ll as Artes. 25th ANNIVERSARY OF THE HIGH 29 Vienna: CHICHESTER PSALMS; 12,14 Richmond, VA: PRELUDE, FUGUE & SCHOOL FOR MUSIC AND ART; The London Symphony Orchestra and RIF FS; Richmond Symphony and the Grea t Members of the Vienna Ph ilh armonic and Choir; Michael Tilson Thomas, conduc- American Music Ensemble; George the Pacific Music Festival Orchestra; Art tor; Konzerthaus. Ma nahan, con ductor; David Niethamer, Park Outdoor Stage. cl ar inet; Co llegiate Ans Theatre for the 15 Lenox, MA: The Leonard Bernstein 30 Sapporo, Japan: ON THE TOWN Ans. Memorial Concert, SYMPHONIC (Japanese Premi ere), Narrated Concert 12,14 Berkeley Heights, NJ: WEST SIDE STORY, DANCES FROM "WEST SIDE STORY"; Version, Japa nese Translation by SUITE NO. 2; New Jersey Yo uth The Tanglewood Music Cen ter Orchestra; Kunihiko Hashim oto; Sapporo Symphony; Barbara Barstoe, cond uctor; , conductor; Koussevitzky Symphony Orchestra; PMF Chorus; Richardson Auditorium at Princeton Mus ic Shed. Yutaka Sado, conductor; Art Park Outdoor Stage. University. 15 Cleveland: SERENADE; SYMPHONIC 20,22 Richmond, VA: SYMPHONY NO. 2, DANCES FROM "WEST SIDE STORY"; "THE AGE OF ANXIETY"; Richmond The Cleve land Symphony Orchestra; Symphony; George Ma nahan, conductor; Jahj a Ling, conductor; Robert McDuffie, Jacquelyn Heli n, piano; Carpenter Center. violin; The Blossom Music Festival. August 20 New York: LEONARD BERNSTEIN 15 Sapporo, Japan: SYMPHONY NO. 2, DAY; Humphrey Burton, host; "THE AGE OF ANXIETY"; Pacific 2-9 Galveston, TX: WEST SIDE STORY; The Metropolitan Museum of Art. Music Festival Orchestra; Michael Ti lson Ga lvesto n Island Outdoor Musicals. Th omas, conductor; Rob in Sutherland, New York: BERNSTEIN AND FRIENDS; 5,6 Hiroshima: SYMPHO NY NO. 2, piano; Art Park Outdoor Stage. The New York Festival of Song; "THE AGE OF ANXIETY"; Pacific Michael Barrett and Step hen Blier; 16 Sapporo, Japan: SYMPHONY NO . 2, Music Festival Orchestra; Michael The Metropolitan Museum of Art. "THE AGE OF ANXIETY"; Pacific Tilson Thomas, conductor; Robin 24 New York: An Evening of Bernstein Songs; Music Festiva l Orchestra; Michae l Ti lson Sutherland, pia no; Ph oen ix Ha ll. Thomas, conductor; Robin Sutherland, Angelina Reaux, soprano; Michael Sokol, 7-23 Hamburg: ON THE TOWN; piano; Sapporo Shimin Kaikan. baritone; Ken Noda, piano; Hamburger Staatsorchester and New York Historical Society. 23 London: SYMPHONY NO . 2, "THE AGE Hamburg Ballet; John Neumi er, pro- OF ANXIETY"; CHICHESTER PSALMS; ducer and choreographer; Gregor SYMPHONIC DANCES FROM "WEST Buhl/Rainer Muhlbach, conductors; SIDE STORY"; Th e London Symp hony Hamburgische Staatsoper. Orchestra; Michael Tilson Thomas, 8 Tokyo: SYMPHONY NO. 2, "THE June conductor; Robin Sutherland, piani st; AGE OF ANXIETY"; Pacific The Barbican Centre. Music Festival Orchestra; Micha el 1-3 St. Paul, MN: SERENADE; The Sa int Paul 27 Vienna: SYMPHONY NO. 2, "THE AGE Til son Thomas, cond uctor; Robin Chamber Orc hestra; Hugh Wolff, conduc- OF ANXIETY"; The London Symph ony Sutherland, pi ano; Hitomo Kin en Hall. to r; Robert McDuffy, violi n; Ord way Orchestra; Michael Til son Thomas, con- 12 Santa Cruz, CA: TROUBLE IN TAIBTI; Music Theatre. ductor; Robin Sutherland, pianist; Loretta Bybee, mezzo-soprano; Konzerthaus. 8-24 Albuquerque, NM: WEST SIDE STORY; Larry Alexander, baritone; Marin Albuq uerque Civic Light . 27 Sapporo, Japan: ON THE TOWN Alsop, conductor; Civic Auditoriu m. (Japanese Premiere), Narrated Concert 15 -31 Little Rock, AR: WEST SIDE STORY; 11-17 St. Louis. MO: WEST SIDE STORY; Version, Japanese Translation by Arkansas Repertory. The Mun y. Kunibiko Hashimoto; Sapporo Symphony 15 Hamburg: SYMPHONY NO. 3, Orchestra; PMF Chorus; Yutaka Sado, 18-29 Albert Lea, MN: WEST SIDE STORY; "KADDISH"; Studenten der cond uctor; Sapporo Shi min Kaikan. Minnesota Festival Theatre. Musikhochschule Hamburg; Musikhochschule. 31 Buenos Aires; HAUL; Philharmonic Orchestra ofBuenos Aires; Yeruham Scharovsky; cond uctor; Teatro Co lon.

8 Note to Readers Tax deductible donations to The Bernstein prelude, fugue & riffsrn is a pub lication prelude, fugue & riffs will be sent upon request. Education through the Arts (BETA) Fund, Inc. of The Leonard Bernstein Society. © 199 5 Pl ease se nd all correspondence to: may be sent in care of the sa me address . by The Amberson Grou p, Inc. Craig Urquhart We appreciate notice of any performances or Executive VP: Harry J. Kraut prelude, fugue & riffs even ts featuring the music of Leo nard Bernstein Managing Edito r: Craig Urquhart 25 Central Pa rk West, Suite lY or honoring his crea tive life and shall do our Editor: Ned Davies New York, NY 10023 Fax: (212) 315-0643 best to include such information in fort hcoming Design: Borsa Wallace, NYC e-mail: craiga mb@ao l.com Calendars.