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Home , Bion Tsang, Fancy Free (ballet), Marlene Dietrich, On the Town (musical), Wonderful Town

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News fo r frien ds of Fall 1994 : To Our A Conversation with Comden and Green Readers

eo ple talk, sometimes disparag­ Pingly, of the Leo nard Be rnstein "i ndustry" that has arisen since the time of his death. But it is not fo r nothing that Mr. Bernstein 's work co ntinues to thrive. In life, Leonard Bernstein had the ability to excite the world-through his mus ic and through the co mmuni­ cation of his ideas. In Mr. Bernstein's abse nce, his music has lost none of its immediacy. If any­ th ing, his compositions so und a more urgent note, whil e his re­ cordings continue to move and amaze . As for his ideas, what seemed outlandish ten years ago see ms prescient today; educational reform in this co untry is embrac­ ing the ve ry notions of learn ing through the arts that Mr. Bernstein propou nded all along. , and Leonard Bernstein, 1949. Leonard Be rnstein's truly "multi-media" archival materials lend themselves naturally to the n 1953, WONDERFUL day and said, "Do you think you BC: She liked the score and we groundbreaking technologies of TOWN opened at the Win­ would come in and do the lyrics wrote a lot of material for her. digital storage and co mputer access. ter Garden Theatre on for this show?" Adolph was But she got us all together one day As the Library of Co ngress begins Broadway to rave reviews. away - but I contacted him and and said, "Listen, Adolph. Listen, I putting the Bernstein arc hives "on­ Forty-one years later, on the eve of he came back. Mr. Abbott asked Betty. Listen, Leonard. I've got line," they are also blazing the a new production of WONDER­ "Who can yo u work with?" We exactly four notes in my voice and FUL TOWN at the said, "Maybe Leonard. " He said, you've got to write for just those digital tra il for other institutions City Opera, prelude, fugue & riffs "Go on over and ask him" and by four notes. " to fo llow su it with their own per­ form ing arts collections. visited the show's lyricists, Betty the time we got to the door, AG: And as for the structure, she Comden and Adolph Green, at Mr. Abbott was on the phone. New productions, new publica­ said, "It should be those four tions, ed ucational brainstorming, Green's record and book-filled AG: Shouting, "Yes or no?" And notes, made up of da-da-da-da­ library overlooking . digital multimedia ventures-yes, much to our surprise, Leonard joke, da-da-da-da-joke." the workshop is humming, and said yes. pf&r: How did Ruth Sherwood's BC: She said she wanted a those who work with Mr. stories of bohemian life in the BC: We were thrilled. Working number that would express her Bernstein's legacy co unt them­ of the with Leonard was heaven. character near the beginning of the selves lucky to be engaged in such come to be a musical? pf&r: Mr. Abbott sounded li ke a show- so ul -enriching labor. • BC: got together director in a hurry. How much AG: And she was right. with Jerome Chodoroff and Jo­ time did you have to write the show ? BC: We did not have this song seph Fields to write the book of AG (smiling}: Four and a half weeks. when we opened in New Haven. this show, to be called WONDER­ pf&r: Film star Then Rosalind had a bad throat FUL TOWN, and they were fum­ played Ruth in that first production. and was in bed. bling. Mr. Abbott called me one How did she enjoy the transition (continued on page 5) from to Broadway? The BETA Fund

BETA Fund Supports Music School GAP Campaign Benefits BETA Fund The idea of the Special Music College of Columbia University, School has been spearheaded by which will bring its expertise in in­ the efforts of pianist Vladimir tegrated curriculum development, Feltsman. Mr. Feltsman, who assessment and teacher training. BETA emigrated to the The Special Music School of seven years ago from the then America will be unique in its aims, Soviet Union, commented that "in as there is no public school cur­ FUND spite of all the political difficulties, rently operating in the United States the Soviets knew very well how to that offers a combined musical and train students in musical and dance academic instructional program he Bernstein Education ed ucation. " The Special Music designed to address the abilities T Through the Arts (BETA) School of America will emulate and needs of gifted music students Fund is pleased to announce its the model of the great European from elementary school onwards. support of the recently announced music conservatories and will draw As a public school, the Special Special Music School of America. students from around New York Music School will of course ad­ The Special Music School of City, without regard to econom ic, here to New York State require­ bserving that "Leonard America, scheduled to open in the ethnic or social background. ments in all subject areas, while 0 Bernstein wore khakis," The fall of 1995, will be a public Mr. Feltsman will serve as the length of the school day will GAP has made a distinguished ad­ school located in Community Chairman and Artistic Advisor to be increased to provide opportuni­ dition to the cast of notabl es fea­ the School, in collaboration with ties for individualized music in­ School District 3 in the Lincoln tured in its current worldwide ad­ Mrs . Lydia Kontos, Executive Di­ struction. Students will be re­ Center area of Manhattan. The vertising campaign. The fees GAP rector of the Elaine Kaufman Cul­ cruited from the host community School will be designed to identify paid for use of Mr. Bernstein's tural Center, in whose facility, the school district and from other and nurture musically gifted chil­ name and likeness go to The dren of and will Abraham Goodman House, the parts of New York. Bernstein Education Through the Special Music School will be lo­ The Board of Directors and encompass a full academic pro­ Arts (BET A) Fund. cated. Also working with the Advisory Board of the Special Mu­ gram as well as music training The campaign ha s used photo­ within the school day. School will be the Teachers sic School include several people graphs of Miles Davis, , noted in the arts and education, Marilyn Monroe, Ernest including BETA Fund presi- Hemingway, , Ava dent, Alexander Bernstein, con­ Gardner, and many other Ameri- ductor can writers and performers. • and Amberson Executive Vice President, Harry Kraut. As a world-class music acad­ emy, the Special School of America will nurture the impor­ tant talents of this country's young and musically gifted population. The Bernstein Education Through the Arts (BETA) Fund is pleased to be associated with and support the Special Mus ic School of America.•

2 Children in the string ensemble at the Kaufman Center, site of the future Special Music School of America The Leonard Bernstein Center

"Why Nashville?" Nashville Update

by Alexander Bernstein all kinds of music, with its sym­ phony orchestra, opera , "why Nashville?" This is blues and jazz clubs. It is also a a question I am asked magnet for songwriters and per­ as often as "Are you a musician formers of every stripe. Theater, too?" but one that is far more plea­ dance and the visual arts thrive. surable and interesting to respond Educationally, the Metro to, for the answer has many levels. School System is visionary and Teachers at the Summer Session. On an historical level, my fa­ committed to reform. They have ther had been supporting the made The Leonard Bernstein Cen­ he Leonard Bernstein Center As part of a special seminar on Nashvi ll e Institute for the Arts ter a real partner in their long­ T in Nashville, Tennessee, has technology, teachers worked at the years before his death. He was range plans. The teachers I have inaugurated its teacher programs Learning Center of Northern deeply impressed by its work in met and with whom I have with the Summer Session for Telecom to investigate "distance Nashville schools and its investiga­ worked, in collaboration with our teachers, which took place June 20 learning" and the potential uses of tions into the connection between teaching artists, are excited, coura­ through 30, 1994, on the campus the Internet and other branches of art and all learning. When geous and working very hard to of Montgomery Bell Academy the information "superhighway" Schuyler Chapin and I traveled to make their classrooms vibrant in Nashville. in the Bernstein Center's programs Nashvil le in 1991, we saw for our­ places of learning. "Over 200 teachers registered in their schools. selves the seriousness and the scope Geographically, Nashville is at for our first Summer Session, " A highlight of the Summer Ses­ of the work going on there. The the very heart of the country. Per­ said Teacher Center Director Eric sion was the panel discussion on next step, a national center for the sonally, I have found many new Booth. "This exceeded our origi­ school reform and teaching mod­ development and research of pro­ friends in a forward-looking city na l projections, and shows the erated by Ann Holt of Channel 2 grams and the theory of education that can truly represent what is deep interest of teachers in Nash­ News in Nashville, and included through the arts, was a natural. possible in American education. ville in the programs of the panelists David O'Fallon, Director On a cultural level, Nashville I look forward to the day when Bernstein Center." of the Arts Education Partnership is, contrary to many people's no­ someone comes up to me and says, The Bernstein Center Summer at the Kennedy Center in Wash­ tions, extraordinarily diverse and "Oh, Nashville - of course!!" • Session was a two-week series of ington, DC; James Pelligrino, flourishing. "Music City" boasts workshops and artistic events de­ Dean of Peabody College; signed to bring together teachers, Alexander Bernstein, BET A Fund artists, and leading educators to President; and Lou Lovett, Princi­ develop innovative approaches pal of McKissack Elementary and roles for the arts in class­ School of Metro Nashville Public rooms. Three levels of seminars Schools. gave teachers opportunities to in­ The Summer Session of the vestigate the Bernstein Center's Leonard Bernstein Center was strategies for transforming schools supported in large part by a grant 3 through the arts, to design model from the BellSouth Foundation programs for their own schools, to in Atlanta. • work with new learning technolo­ gies, and to study the Center's Pro­ cess Portfolio assessment program. Licensing Leonard Bernstein's Music

Rights and Wrongs A How-To Guide to Licensing for Leonard Bernstein's Music

by Harry J. Kraut Fo r concert performances of All this may look a bit compli­ fortable with proposals merely to concert suites or SYMPHONIC cated, but that's nothing com­ skim lightly through Bernstein's "w e want to do Leonard DANCES FROM "WEST pared to the "inventiveness" songs with an upright piano and a Bernstein's WEST SIDE SIDf STO RY," without stag­ shown by our friends (as well as few singers dancing from place to STORY for our spring term play." in g, Boosey & Hawkes total strangers) in devising new place. On the other hand, if there So goes a typical letter from an in New York or London, or ways of performing Leonard is some narrative/informative American high school drama class. their agents elsew here. Bernstein 's music. This is where framework, and thus an extra-mu­ Like the hundreds of others the decisions to approve a license sical point being made, that's received each year this is the first or or not can get tricky. something else altogether and we step in a process called licensing. WONDERFUL TOWN Broadway theatrical works, for are happy to consider it. Licensing is a critical step in the For staged performances of ON instance, are controlled by the Simplified arrangements are authorized use of a composer's or THE TOWN or WONDER­ wishes of their authors (Mr. not simple at al l. Always mindful theatrical artist's work and at Am­ FUL TOWN, contact Bernstein is represented by his Ex­ of LB's musical legacy, we under­ berson, we try, along with our Ta ms-Witmark Music Library ecutors) and in no instance do the standably try to discourage ar­ licensing partners, to make it as in New Yo rk for the USA and Bernstein interests alone determine rangements wh ich distort the har­ simple as possible. This is how Ca nada, and Boosey & what can or cannot be approved. monic and/or rhythmic structure it works. Hawkes in Londo n, or their Over the years, the authors' of Bernstein compositions. Al­ For the most part, the requests agents, for other areas. groups have come up with some though arrangements of SYM­ we get in vo lve li censes for stan­ guiding principles about what they PHONIC DANCES FROM "WEST dard theatrical performances of, For concert performances of don 't wish to license. Here are a SIDE STORY" for one pianist (with, say, or ON individual songs or concert few examples of what generally to yes, 12 fingers!), of "Maria" for THE TOWN, or concert perfor­ suites from ON THE TOWN avoid: 12 cellos, and of the mances of works like or WONDE RFUL TOWN, Concert performances of theat­ OVERTURE for piano quartet are or the without staging, co ntact rical works (except CANDIDE); quite astonishing (and sometimes CANDIDE OVERTURE. On the Boosey & Hawkes in New wonderful), others for solo ma­ or concert performances other hand, a sma ll , but regular, York or London, or their rimba or bagpipe band have of excerpts; number of requests come for agents elsewhere. sounded, er, bizarre. We feel obli­ variations on normal performance Ballet or dance choreographies gated to exercise some restraint. patterns and, for a lot of reasons, CANDIDE without explicit permission; All of us at Amberson, along these can be more complicated. with our licensing partners at For staged performances of the Performances including material First, here's how to get permis­ Boosey & Hawkes, Music Theatre Broadway theatrical version of by other authors and composers sions, music, program notes, li­ CAN DIDE, contact Music International, Tams-Witmark Mu­ censes, etc. for performance of Theatre International in New For whole-even ing concerts of sic Library and G. Schirmer, feel Leonard Bernstein's music: Yo rk, or their agents through­ works by Leonard Bernstein, the particularly blessed by, and thank­ out the wo rld. Bernstein Estate must give permis­ ful for, the many requests we re­ WEST SIDE STORY sion prior to granting the usual ceive from all over the world to As to CANDIDE, for staged performing rights society copy­ perform Leonard Bernstein's mu­ For staged performances of per(ormances of the opera right licenses. While the Bernstein sic. I hope that this article has WfST SIDE STO RY, world­ house versions, or concert per­ Estate encourages such concerts, clarified how we in the Amberson wide, co ntact Music Theatre formances of individual songs we do requ ire that the evening be office and our partners deal with International in New York, or or concert suites, contact Boosey truly a concert, not staged or semi­ these requests and what makes up their agents outside the USA & Hawkes in New York or Lon­ staged, and it shouldn't contain the background for our decisions. and Ca nada. don, or their age nts elsewhere. any choreography, narration or If there are any questions, please Fo r concert performances of let us know-we'll get back to you 4 other "dramatic" content. individual songs from WEST ALL OTHER WORKS Lenny! a re a tern pta­ just after we finish looking over SIDE STORY, without stag­ For performances of all other tion to everyone. In fact, when the latest proposed arrangement of ing, and for television or film wo rks, with or without stag­ Lenny was still around, he was un­ for multiple glockenspiel. 1 sy nch I icenses, contact Boosey ing, co ntact Boosey & Hawkes enthusiastic about cabarets and & Hawkes in the USA and in New Yo rk or London, or narrated concerts of this kind and Harry j. Kraut is an executor Ca nada, and, for other areas, their agents elsewhere. in keeping with his wishes, the and tmstee of the estate of Leonard Music Sales Corporation in Bernstein Executors are not com- Bernstein and is Executive Vice London, or their age nts. President of The Amberson Gro up. WONDERFUL TOWN

WONDERFUL TOWN, continued

AG: Then came those triumphant notices. As a matter of fact, it was Marlene Dietrich who ran down to Times Square to bring back the notices. BC: She was a good newsboy to have around. pf&r: How do you feel WON­ DERFUL TOWN has held up over 41 years? Does it still speak to today's audiences? AG: You bet! BC: Absolutely. It's all about young people coming to New York to seek their fortunes, and the aspirations of people who want to make good. It's full of energy and fun and the color of that period, the late 30s, but it holds true for today. (continued from page 1) pf&r: Why did you set the time in pf&r: Was the condition of her the 1930s instead of the , throat re lated to the absence of the when the musical was being written? opening number? BC: Lenny went to the piano and BC: (laughs) No, she was not started to play a vamp used by that kind of woman. Adolph and Eddie Duchin, the great orchestra I and Lenny met and wrote this leader and pianist of the Thirties. new number, "100 Easy Ways to AG: As soon as Lenny started Lose a Man." Then we wheeled the piano down the hallway in playing that, we felt inspired. the hotel. BC: We knew that the show AG: In front of her bedroom. would have a style and be rooted in that period. It would have a BC: We could play it to her from /I conga, there would be swing, there the hall, yelling the song into her would be jazz. With all kinds of room. That's how she first heard it. wonderful music to work with, we pf&r: And of course "100 Easy felthome. WONDERFUL TOWN's Ways to Lose a Man" became the overture starts with that vamp. show-stopper. WONDERFUL AG: We think City Opera's TOWN was a hit, eventually win­ WONDERFUL TOWN will be a ning four , including terrific production. Best Musical. What was opening night like? BC: We are just heartbroken that 5 BC: After the opening, there was Leonard's not here. • A this big party at the home of Josh Rosalind Russell and the original cast of WONDERFUL TOWN. and Nedda Logan. We were all up there and we were nervous, be­ cause you're never sure. You never know what on earth the re­ views are going to say. In the News

Harry Kraut Honored by Stoltzman Premiere of Newly Dallas Concert Orchestrated SONATA FOR CLARINET arry Kraut, longtime friend NO. 1, "JEREMIAH," and eonard Bernstein's first pub­ Hand manager of Leonard Gustav Mahler's SYMPHONY Llished work, SONATA FOR Bernstein, was honored in Dallas, NO. 1, a work championed by CLARINET, premiered as a con­ , "for his dedication to Amer­ Maestro Bernstein. certo for clarinet and orchestra on ican orchestras and to the legacy July 23, 1994, in a concert in of Leonard Bernstein," at a concert Eniwa, Japan, featuring Richard on June 16, 1994, performed by Stoltzman as soloist with the Pa­ the Houston Symphony under the cific Music Festival Orchestra led direction of Christoph Eschenbach. by Yutaka Sado. This work was "We are delighted to recognize orchestrated for Stoltzman by Harry Kraut's unique role in the Bernstein's lifelong friend and col­ symphony world and his special laborator Sid Ramin, whose or­ See New BMC Releases. friendship with Christoph chestrations of so many works, Eschenbach and the Houston Sym­ including WEST SIDE STORY, phony," said David M. Wax, ex­ are classics. • ecutive director of the Houston Symphony, prior to , which featured a program of Bernstein's own SYMPHONY -. Leonard Bernstein with Harry Kraut, 1985.

New Work for Clarinet Free CD-ROM with and Piano The Joy of Bernstein

his is a tribute that Leonard office, he mailed the music to an eutsche Grammophon has re­ T Bernstein would have loved! amazed Ron. Odrich and D leased in North America a Dr. Ron Odrich, an extraordinary pianist-arranger-producer Larry new multimedia edition of The Joy jazz clarinetist and periodontist to Fallon worked out some harmonies of Bernstein. The 73-minute CD Leonard Bernstein, has released a and made a fragment into anthology of Bernstein works and CD entitled Visions which in­ Leonardo's Vision." • performances comes with a free cludes Leonardo's Vision. To CD-ROM, containing a multime­ quote from the liner notes, used by dia catalogue of works by and permission from Don Nelson: about Leonard Bernstein. Pre­ "Maestro Leonard Bernstein [... ] pared by The Leonard Bernstein was sitting in the dental chair Society, the catalogue includes video, audio, graphic, and text awaiting the Odrich touch when eludes free demonstration soft­ samples illustrating the Maestro's he noticed an odd eye chart on the ware. The two-disc set is available artistic and educational legacy. wall. The chart, designed by pia­ for $14.95, the same regular price Exploring the CD-ROM re­ 6 nist-composer Norm Richards, as for the compact disc alone. quires an Apple Macintosh or had musical notations next to the Readers interested in ordering the IBM PC (with Windows) com­ letters. Bernstein, intrigued by the CD-ROM edition by credit card puter with a CD-ROM drive and chart, jotted down the notes and may call The Leonard Bernstein stereo speakers. based the Visione Fugitiva melody Society at 1-800-382-6622. Please The special double-disc edition, on them. [... ] After leaving the specify item #1017 A, code 9999, presented in association with the and allow $3.95 for shipping. • WordPerfect Corporation, also in- Looking Ahead

WONDERFUL CANDIDE 1n New BMG Releases TOWN at NYC Chicago Opera he New York City Opera has n November 26, 1994, the MG Classics announces the re­ T announced a new production 0 Lyric Opera of Chicago wi ll Blease of two new compact of the 1953 hit musical WON­ present the New York City Opera discs of special interest to readers DERFUL TOWN. Featuring a Edition of Leonard Bernstein's of prelude, fugue & riffs. The first book by and Jerome CANDIDE. This production, di­ is Leonard Bernstein - The Early Chodorov, lyrics by Betty Comden rected by and under Years III, which is a sequel collec­ and Adolph Green (see accompa­ the musical direction of George tion to the previous two in this se­ nying article), and music by Manahan, will feature soprano ries. Included is a historical per­ Leonard Bernstein, WONDERFUL Elizabeth Futral as Cunegonde formance of Marc Blitzstein's AIR­ TOWN will open at the New York and Barry Banks in the role of BORNE SYMPHONY with the City Opera at The New York Candide. The scenery has been RCA Victor Chorale, Robert Shaw State Theater in on designed by Clarke Dunham and as narrator, Charles Holland as for clarinet and orchestra by Sid the evening of November 8, 1994 costumes are by Judith Dolan. tenor, and Walter Scheff as bari­ Ramin, and WEST SIDE VARI­ and run for 14 consecutive perfor­ The Lyric Opera's CANDIDE will tone and the New York City Sym­ ANTS, arranged by Frank mances through November 20. run through December 22, 1994. • phony Orchestra led by Bernstein. Bennett. This recording features This production is directed by There is currently no other record­ Richard Stoltzman on clarinet, Richard Sabellico, making his ing of this work available. with the London Symphony Or­ New York City Opera directing The second CD release is of chestra and Michael Tilson-Tho­ debut, and has Eric Stern as Bernstein's SONATA FOR mas and Eric Stern, conductors. • musical director. • CLARINET, newly orchestrated

Kultur Video New Release Leonard Bernstein Jerusalem International Competitions Update

urther expanding its series of he Leonard Bernstein A brochure has been prepared Fvideos by and about Leonard T Jerusalem International by the Competitions offices in Bernstein, Kultur Video has an­ Music Competitions have an­ Jerusalem to provide general back­ nounced plans to release LEONARD nounced a schedule for the first ground information regarding the BERNSTEIN PLACE this fall. Conducting Competition to take Competitions and their format, as LEONARD BERNSTEIN PLACE place in 1995. Preliminary com­ well as to appeal for the financial is the celebration which took place petitions will be held in Jerusalem, support required for a project of at Ali ce Tully Hall in New York London, New York, Tokyo and this scope. (This Competitions bro­ on August 25, 1993, to com­ Vienna throughout th e months of chure is available upon request to memorate Mr. Bernstein's 75th May and June. Final rounds will readers of prelude, fugue & riffs birthday. It features, among its be held in Jerusalem between Oc­ via the Leonard Bernstein Society.) many performers, June Anderson; tober 7 and October 21, 1995, Many friends and colleagues of Lauren Bacall; Alexander hosted by the Jerusalem Symphony Mr. Bernstein have joined together Bernstein; Nina Bernstein; Jamie Orchestra and the Israel Broadcast to form the Honorary Advisory Bernstein-Thomas; Betty Comden; Authority, with a gala concert led Committee and will be overseeing 7 ; Adolph Green; Wynton by the competition winner(s) on the work of the Competitions. • Marsalis; ; Isaac A Musical~ in Cdebration of Octa ber 21st. Leonard B,•rnstein's 75th Birthday Stern; and Michael Tilson Thomas.• , Ali('(: 'l'ully Hall, Uncoln Cctttcr,N('w York August 25, 1993 Calendar of Events·

*Pa rtial Lisring. Please nore rhar all dares and programs are subject to change.

September October, continued December

1 Houston: CANDIDE OVERTURE; 16 Munich: Various Guitar transcriptions 1-3 San Francisco: PRELUDE, FUGUE & Houston Symphony; Stephen Stein, of music by Leonard Bernstein; Lucian RIFFS; Or- conductor; Jones Hall. Plessner, guitar; Gasteig. chestra; Alasdair Neale, conductor; Davies Hall. 3 Santa Ana, CA: DIVERTIMENTO, 20 Hamburg: Various Guitar transcrip- SYMPHONIC DANCES FROM tions of music by Leonard Bernstein; 3,6,9 Chicago: CANDIDE (NY City Opera "WEST SIDE STORY"; Pacific Sym- Lucian Plessner, guitar; Musikhalle. 12,14 Edition); Lyric Opera of Chicago; phony; Carl St. Clair, conductor; Or- 16,18 25 New York: CHICHESTER PSALMS; Harold Prince, director; George ange County Performing Arts Center. 20,22 Choir of Saint Thomas Church; Gerre Manahan, musical director; Civic 26,29 Opera House. 16-18 Tampa: CANDIDE OVERTURE, Hancock, conductor; Saint Thomas DIVERTIMENTO, SYMPHONIC Church. 18 New York: Memories of "Lenny"; DANCES FROM "WEST SIDE 29 Tulsa, OK: ; Tulsa Phil- Janice Levit, lecturer; ]ASA (Jewish STORY"; The Florida Orchestra; Jahja harmonic Orchestra; Bernard Association for the Aged). Ling, conductor; Tampa Bay Perform- Rubenstein, conductor; Chapman 25 Graz, Austria: WEST SIDE STORY; ing Arts Center. Music Hall. Roland Seiffarth, musical director; 17 Columbus, IN: CANDIDE OVER- Bernd Palma, director; Schauspielhaus. TURE; Columbus Pro Musica; David Bowden, conductor; Erne Auditorium. 17 Madison, WI: CHICHESTER November PSALMS; Madison Civic Music Asso- Note to Readers ciation; John DeMain, conductor; 5 La Crosse, WI: THREE DANCE EPI- Oscar Mayer Theatre. SOD ES FROM "ON THE TOWN"; La prelude, fugue & riffs will be sent upon request. 21 Zurich: ; Crosse Symphony Orchestra; Daryl One, Please send all correspondence to: Tonhalle Orchester; Susan Maclean, conductor; Viterbo Fine Arts Center. mezzo-soprano; Cheyne Davidson, bari- 11 Chicago: TROUBLE INT AHITI·; New Craig Urquhart tone; Paul Taylor, conductor; Grosser Millenia Theater Company; Tom Murray, prelude, fugue & riffs Tonhallesaal. conductor; Robert DeWitt, director. 25 Central Park West, Suite 1Y New York, NY 10023 Poughkeepsie, NY: TWO MEDITA- 23-25 11 Amsterdam: PRELUDE, FUGUE & Fax: (212) 315-0643 TIONS FROM "MASS"; Hudson Val- RIFFS; The Netherlands Wind En- ley Phi lharmonic; Bion Tsang, cello; semble; Stephen Mosko, conductor; Tax-deductible donations to The Bernstein Randolph Fleischer, conductor; Concertgebouw. Education Through the Arts (BET A) Fund, Inc. Bardovan Opera House. may be sent in care of the same address. 17,18 Tucson, AZ: THREE DANCE EPI- We appreciate notice of any performances or SODES FROM "ON THE TOWN"; events featuring the music of Leonard Bernstein Tucson Symphony Orchestra; Paul An- or honoring his creative life and shall do our thony McCrae, conductor; Music Hall best to include such information in forthcom- October at the Tucson Convention Center. ing Calendars. 26,29 Chicago: CANDIDE (NY City Opera prelude, fugue & riffs™ is a publication of 1 Huntsville, AL: THREE DANCE EPI- Edition); Lyric Opera of Chicago; The Leonard Bernstein Society. SODES FROM "ON THE TOWN"; Harold Prince, director; George © 1994 by The Amberson Group, Inc. Huntsville Symphony Orchestra; Manahan, musical director; Civic ::,-' Ronald Feldman, conductor; Von Executive VP: Harry]. Kraut 5· Opera House. 8 Managing Editor: Craig Urquhart c.. Braun Civic Center Concert Hall. 0 26 Amsterdam: SYMPHONY NO. 1, ::, Editor: Ned Davies i;" 8 Las Vegas, NV: SYMPHONY NO. 2, "JEREMIAH"; Radio Filharmonisch n '< Design: Borsa Wallace, NYC n "THE AGE OF ANXIETY "; Nevada Orkest; David Robertson, conductor; ;, c.. Symphony Orchestra; Virko Baley, Angelina Reaux, soprano; ;;F 'O conductor; Artemus Ham Concert Hall. Concertgebouw. ~ 8 10,14 Lisbon: CANDIDE (Scottish Opera ver- 27 Beurs van Berlage, The Netherlands: 16 sion) ; Portuguese SONATA FOR CLARINET; Lars Symphony Orchestra; John Mauceri, Wouters, clarinet; AGA Zaal. conductor; Teatro S. Carlos. 30 San Francisco: PRELUDE, FUGUE & 14,15 Charlotte, NC: PRELUDE, FUGUE & RIFFS; San Francisco Symphony Or- RIFFS; Charlotte Symphony Orchestra; chestra; Alasdair Neale, conductor; Peter McCoppin, conductor; Davies Hall. Blumenthal Performing Arts Center.