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Home , Daniel Barenboim, Hershy Kay, Rachel Zegler, Sid Ramin, Yutaka Sado

News for Friends of Fall/Winter 2019/2020

COPYRIGHT RUTH ORKIN

2 Centennial Wrap-up 8 “Freiheit” : 1989 12 BTHVN2020 Inside... 4 Artful Learning 9 13 In the News 7 in 10 Remembering Friends 16 Looking Ahead

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11/4/19 10:08 AM played Leading Symphonic Serenade with perfor- and pop-

performed ompositions: c Bachtrack also reported a. The latter’s recording of most Serenade for solo violin and According to Bachtrack.com’s Bernstein’s three Opera and theater companies continued A whopping 612 orchestras with artists, institutions, and festi- with artists, institutions, world.vals throughout the orchestra had 276 performances by 139 orchestras, featuring 80 accomplished violin soloists. saw a particularly noteworthy increase in performances. orchestras that championed all three symphonies during the Centennial include the , Shanghai Orchestra, Real Orquesta Sinfonica de Sevilla, and Orchestra dell’Accademia Nazionale di Santa Cecili the symphonies under the baton of garnered critical acclaim. worldwide embraced Bernstein’s works. To cite one example: , one of Bernstein’s most popular works for the stage, rose from the 92nd most performed opera world-wide in 2017, to the 11th most performed opera world- wide in 2018. A Quiet Place was performed by opera companies in Austria, , Hungary, the Netherlands, and the US. was another success, mances in Asia, Europe, North America, and South America. its longtime success, (after Plato’s Symposium), and Chichester Psalms. performed Bernstein works, magnifying the composer’s sig- nificance in the canon of 20th century music. In a particularly notable expression of enthusi- asm, 2018 statistical performance sur- 2018 statistical performance was thevey, Leonard Bernstein third Beethoven,for the year, alongside Brahms, takingMozart, Bach, and perpetuala top spot among the greats. most that four of the five concert works in 2018 were Bernstein Dances from West Side Story, Overture to Candide, Leonard Bernstein he at 100 Celebration far expec- exceeded anyone’s tations—even our own. We began by organizing “sum- Together with our partners— Between the September 2017 The Centennial was a unique When The Leonard BernsteinWhen The Leonard its two-yearOffice began planning couldn’t predictglobal venture, we wethe results of our efforts—but plunged in anyway. mits” in several culturally vibrant cities: gatherings with leaders from the area’s major cultural institu- tions to brainstorm about their ideas for celebrating Bernstein. Cross-pollination was strongly encouraged. Concord (Boosey & Hawkes and Tams-Witmark), , Hal Leonard, Music Theatre International (MTI), Universal Music Publishing Group, and Sony—we found innu- merable ways to make Bernstein’s music accessible on a global scale. kickoff at the John F. Kennedy Center for the Performing Arts in Washington D.C., and the last notes played at Ravinia in August 2019, over 5,700 Centennial- related events have been tabulated worldwide. The scope of the cele- bration was not only astounding, but wholly fitting. Jamie Bernstein said, “We quickly realized that Leonard Bernstein is especially suited to a centennial celebration, because he was so multifarious. There’s something for everyone to celebrate!” In addition to per- formances in profusion, there were exhibitions, symposia, and documentaries; books and educa- tional initiatives; broadcasts and podcasts; recordings, videos, and beyond—all occurring on six con- tinents and in all 50 states, cele- brating the multifaceted career and life of Leonard Bernstein. opportunity for The Leonard Bernstein Office to strengthen its ties with valued associates, as well as to explore new relationships by Heatherby Wallace T Centennial Celebration Centennial Wrap-up ■ and ee our back s ( which makes the While we look excitedly into And yet, in this 101st year,And yet, in this 101st West Side Story is making J.B. he storm of events celebratinghe storm of events finally subsid- Bernstein at 100 is page). the future, we also contemplate the past. We’ve lost several friends and associates this year, each of whom had a vibrant connection to Leonard Bernstein. With every such loss, we re-experience the loss of Bernstein himself— ing. In this issue, we take a bird’s- ing. In this issue, we transpired— eye view of all that we marvel. the force of the Maestro’s ener- gy continues to make itself felt in innumerable ways. The Artful Learning teaching model, based on Bernstein’s philosophies of edu- cation, has received an enormous boost through the release of a short film that illustrates how the model transforms teaching and learning into an engaging, creative experi- ence for students and teachers alike. Now, so many more people around the world will be able to discov- er this extraordinary, visionary approach, which speaks so directly to the needs of our era. front page news, with an edgy new Broadway revival in the works, and a film remake featuring a rather well-known director legacy he left behind for us all the more precious. T

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Live from Bernstein’s music (continued on page 6) Macy’s Fourth of July Bernstein’s music reach new audi- ences. The GRAMMY Awards paid homage to the composer at the 60th Annual GRAMMY Awards Ceremony with a per- formance of “Somewhere” from West Side Story by TONY and GRAMMY award-winning artist Ben Platt. The Symphony Orchestra’s gala concert The Bernstein Centennial Celebration at Tanglewood was subsequently broadcast in the US, Germany, and Japan. The New York Philharmonic’s New Year’s Eve: Bernstein on Broadway con- cert was telecast on “ Lincoln Center.” was featured on three televised Fourth of July Specials in 2018: A Capitol Fourth in Washington D.C.; Fireworks in ; and the Boston Pops Fireworks Spectacular in Boston. Bernstein even had his moment on an epi- sode of Jeopardy! with an entire category of “Leonard Bernstein at 100.” The Chicago Symphony Orchestra’s production of MASS,

and and On the Road Famous Father

Bernstein); Bernstein and Bernstein).

Maestros and Their

Bernstein); Jamie Leonard Bernstein: A (Mauceri); The Genius of Bernstein;

Leonard Bernstein Reflections;

National and international tele- In addition to the re-release of Kanawa. e Leonard Bernstein 100: The Masters Photograph the Maestro (Sherman/Jamie vision and radio broadcasts helped Girl: A Memoir of Growing Up Bernstein ( box sets and remastered record- ings for the Centennial. Several documentaries were released for DVD and telecast; a sampling includes Genius Divided; Me; Leonard Bernstein: Larger Than Life, Passions: Bernstein by Dame Kiri T Humphrey Burton’s authoritative Bernstein biography, many new books graced the Centennial— including such titles as Leonard Bernstein: I Fell in Love with Schleswig-Holstein (Kuhnt/ Alexander Music & Off the Record with Leonard Bernstein (Harmon); Leonard Bernstein and the Language of (Baber); (left to right): Row 1: Brigitte Fassbender, (left to right): Row 1: Brigitte Fassbender, Speakers who performed Symphony No. 3: Kaddish Budakov; Row 2: Jamie Bernstein, Veselin Reiner Schoene, Laila Robins, Dunai, Judith Pisar, Tamás Tarbet, Row 3: Andrew Itay Tran; Leah Pisar, Caspe, Dame Josephine Barstow, Brian Irons, Jeremy Thomas Fulton Bloom, Vladimír Polívka, Claire Charlotte Blake Alston, Ruth Brauer-Kvam, the Dybbuk, the Komische Oper and SOM Productions in Fancy Free, and to name only a few. Bernstein’s principal record- The Centennial was an occa- New appeared as well as a new for orchestra of Bernstein’s Anniversaries, created by Garth Edwin Sunderland, Vice President for Creative Projects at the Bernstein Office. ing companies, Sony Classical and Deutsche Grammophon, issued lavish commemorative ularity, with both theatre andularity, with both theatre opera companies worldwide. The Centennial’s performances productionsincluded exciting new Handafrom Opera Australia’s Opera on Sydney Harbour; all-femaleTakarazuka Revue’s the Fugardproduction in Japan; Africa; Theater’s in South Guthrie Theatre’s production inGuthrie Theatre’s production Minneapolis; in Berlin; sion for revisiting time-honored dance works, as well as bringing exciting new choreographies to life. Bernstein’s first collaboration with Jerome Robbins, the ballet Fancy Free, had performances by major ballet companies in New York, Paris, Boston, San Francisco, Houston, Pittsburgh, Cincinnati, and Washington, DC. The Royal Ballet’s Bernstein Celebration, which included new ballets by Wayne McGregor, Christopher Wheeldon, and Liam Scarlett, was screened to the- aters throughout Europe, Asia and Australia, and later released on DVD. In Germany, Kim Brandstrup set a new ballet to the music of Dybbuk. premiered Justin Peck’s Easy, set to Bernstein’s Prelude, Fugue & Riffs. In the world of contemporary dance, such chore- ographers as Larry Keigwin, Tom Gold, Doug Varone, and Kyle Abraham found inspiration in the music and celebration of Leonard Bernstein. during the Centennial—including the premieres of new orchestra- tions of the scores to A Quiet Place, Spain; FW201920_PFR_draft1.indd 3 Artful Learning Update COURTESY PATRICKCOURTESY BOLEK

Educators use by Patrick Bolek movement connected to GREEN SCHOOL - BALI learning in LEARNING TOUR Lansing, MI. rtful Learning Executive ADirector­ Patrick Bolek trav- eled to Indonesia in May as part of an extended expedition to learn more about the initiatives at Green School Bali. Sustainability and entrepreneurship through with Tim Fijal, Director of Kul SUMMER HAPPENINGS student-centered learning in a Kul Connection at Green School usic, theatre, movement, and natural environment was the addressed thoughtful expansion, Mvisual arts were all part of vision made real by legendary regional scalability, consistent summer programs in California jewelers/founders John Hardy replication of a methodology, and and Michigan exploring Artful and his wife Cynthia. Discussions arts integration. Multiple tours Learning’s powerful elements. The throughout the entire facility and highly skilled trainers strength- an immersive workshop were just ened the use of Artful Learning at some of the enlightening moments Emergent and Legacy Schools by validating that a clear mission providing hundreds of hours of of empowerment can benefit all customized professional learning. learners. Artful Learning spon- sored a hand-carved bamboo pole within the heart of the school to support future Balinese scholars.

We Need Artful Learning More Than Ever

by Thomas Grube of the system? At the same time, learning model Artful Learning. young people all over the world During my work on the film— e live in a time of radical are showing us today that things Artful Learning, A Case Study: Wchange. Values that seemed cannot go on like this. Lenny would How Did You Learn Today?—I safe are eroding. We have many certainly have been at their side. personally observed what creative

questions for the future but few Lenny was a passionate teach- powers and a great desire to learn Prelude, Fugue & Riffs answers. We find ourselves in a er. He already knew in 1990, can generate, and how much time that portends uncertainty. when he founded the Leonard motivation and joy a school can How will we work? How will we Bernstein Education Through the provide for children and teach- communicate with each other? Arts Fund, that each person is an ers. Willow Elementary School How well will our social cohesion individual who could and should in Napa, CA, is a community function, and how will our demo- do something: find what he or she dedicated to academic excellence Fall/Winter 2019/2020 Fall/Winter cratic systems based on tolerance is in the world for, what he or she through art, while awakening and freedom sustain themselves? is the genius for. The best learn- compassion, curiosity, and joy in How will we live together in a ing happens, as the neurosciences learning. Here in California, as world where self-interest and show today, by combining emo- in seventeen other schools in nine advantage, profit and growth, but tion and experience. This insight states of the , Lenny’s also fear, are among the pillars has led to the transformational idea of learning through creativity

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. dedi- ith award-win- w

a large part of his cinematic Trip To Asia. To Trip Our future depends on dreams ning films such as Rhythm Is It! and contribution to the development of education in the world. and visions. Therefore, from the bottom of my heart, thank you Lenny—because we need your vision today more than ever Patrick Bolek serves as thePatrick Bolek serves of ArtfulExecutive Director Learning, Inc. and welcomes your towardconversation and support Please reachthis important work. out to [email protected]. Thomas Grube is a German direc- Inspired by tor and film producer. Leonard Bernstein, he has cated work to communicating the arts to a large audience, ■

@artfullearning The time for action is ripe. Follow us on Instagram andFollow us on Instagram 3rd Grade students in Napa prepare a tableau for their Original Creation. These students are These students are a tableau for their Original Creation. Grade students in Napa prepare 3rd Artful Learning documentary film. in the featured about our mission, and how toabout our mission, your com- hold a screening in the futuremunity to help change the arts asof education using andthe pathway to engagement understanding. of potential development. All the skills being taught there—cognitive emotional intelligence, flexibility, coordination with others, creativ- critical thinking for complex ity, problem solving—are essential for the future. Never before has the window for fundamental change been so wide open. The students are frustrated, the parents are overwhelmed, the economy is dissatisfied—many believe that something is wrong. Many feel our world and what it needs no longer fit with the old school model. Artful Learning is poised to make an important Twitter Twitter - A 30-Minute

Artful Learning, A

, Artful Learning, Inc. Artful Learning, it became

Artful Learning is not only a Filmed over four days on-site artfullearning.org to Visit At Willow Elementary, I saw Elementary, At Willow Artful Learning to integrate hrough generous private sup- hrough generous private port, ARTFUL LEARNING, A CASE How Did STUDY: You Learn Today? by ThomasDocumentary Short Grube and throughout the Napa Valley, and throughout the Napa Valley, Boomtown Media (Berlin, Germany) captured the voices of students (both current as well as alumni now attending high school), parents, artists, teachers, school leadership, and others. These advocates candidly share their enthusiasm about Willow Elementary and how Artful Learning has helped magnify their vision and continues to support this successful learning communi- The film is aimed at a global ty. audience to activate conversa- tions and actions toward creating powerful learning experiences for youth and adults. watch the trailer and learn more Case Study: How Did You Learn You Case Study: How Did ? Today is excited to announce the pre- is excited to announce documen- miere of a compelling tary-short: clear how urgently we need a new learning culture, a culture of appre- ciation of relationships, a culture ishes. The approach has been eval- uated and proven; the results are tangible and perceptible in every In Napa, child and every teacher. with that model for the future or an import- ant contribution to the current dis- cussion; it actually exists and flour is lived. As a magnet school in the the school is focused Napa Valley, on the arts and artistic processes into daily teaching. T FW201920_PFR_draft1.indd 5 More Than Ever Than More We Need Artful Need We Learning ■ 11/4/19 10:09 AM

To say we are thrilled about travelled to Brandeis University in Boston and is currently on exhibit at the Maltz Museum of Jewish Heritage in Cleveland until March 2020. The fascinating relationship between Bernstein and Vienna was explored in two major exhib- its there, curated by the Jewish Museum Vienna and the Haus der Musik Vienna in collaboration with the Archive of the Orchestra. the magnitude of Bernstein activ- ity these past two years is a vast understatement, and we desperate- ly wish Lenny had been there to see it all. No other contemporary musician could have received such a multifaceted centennial celebration. It seems that Leonard Bernstein’s time has indeed come. Heather Wallace is the Digital Heather Wallace Media and Promotions Manager at The Leonard Bernstein Office. Leonard Bernstein: There were several large- scale museum exhibitions on Bernstein in the Centennial year. The Grammy Museum’s travel- ling exhibit Leonard Bernstein at 100 opened at The Kennedy Center in Washington D.C., and subsequently moved to The New York Public Library for the Performing Arts in New York City; the Skirball Cultural Center in Los Angeles; the New England Conservatory in Boston; the Sherwin Miller Museum of Jewish Art with the Woody Guthrie Center in Tulsa; the Ravinia Festival in Chicago; and, current- ly, the Oregon Jewish Museum in Portland (through January 2020). The National Museum of American Jewish History in Philadelphia mounted a large-scale exhibition The Power of Music, illustrating Bernstein’s life, Jewish identity, and social activism. The exhibit the the ) Centennial Wrap-up (continued) Colorado College; PBS Great Performances.” Leonard Bernstein’s legacy as “ and Chichester Cathedral. Panel discussions, pre- and post-concert talks, and classes were held at performance spaces, major venues, schools, and libraries around the globe. These initiatives introduced Leonard Bernstein to a new gen- eration of young audiences and performers—including emerging conductors, soloists, and educa- tors—all immersing themselves in Bernstein’s music. (continued from page 3 recorded this past summer at the Ravinia Festival, will be broadcast on Juilliard School; a composer, conductor, educator, and humanitarian was brought to the forefront during the centennial through numerous educational initiatives. Symposia were held at the Musikverein in Vienna; Tucson Desert Song Festival; (left To right): Row 1: David Afkham, Andreas Stoehr, Cailin Marcel Manson, Manson, Cailin Marcel Stoehr, right): Row 1: David Afkham, Andreas Conductors who performed MASS (left To Bay, Oskar Rozsa, Constantine Kitsopoulos; Row2: Marin Alsop, Peter Clark Rundell, Keth Lockhart, Michael Gerdes, Grimm, Robert Porco; Lukas Joshua Kangming Tan, John Axelrod, , Dennis Russel Davies, Kristjan Järvi, David Scott Weiss, Bloch, Carl Clausen, Nézet-Séguin, Alexandre Marshall, Yannick Row 3: Wayne Meyer, Jeffrey Row 4: Bassem Akiki, Eric Holtan, , Rasmus Baumann, Louis Langree; Brunner, Minasi Mast, Riccardo Slon, Andrew Michael Karin Hendrickson, Jorg Dobmeier,

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FW201920_PFR_draft1.indd 6 A Screwball, Highbrow Spectacle A fitting end to the Leonard Bernstein Centennial

by Carol J. Oja Side Story—and the work’s sym- © MAIKO MIYAKAWA/HYOGO CENTER PERFORMING ARTS phonic writing is ambitious for s Leonard Bernstein’s cen- Broadway. In HPAC’s produc- Atenary draws to a close—a tion, the choreography (by Ashley celebration that has extended Page) was thoroughly balletic, around the world and over several with little of the swing dance years—two separate productions from Robbins’s original. Sado’s of his first Broadway musical On orchestra drew out the symphonic the Town were mounted this year richness of the score while also in Japan: one by the conductor savoring its witticisms and paro- Yutaka Sado and the Hyōgo dies. When the show shifted into Performing Arts Center (HPAC), big-band mode, the orchestra jived and the other by the all-female à la Benny Goodman, benefiting Takarazuka Revue, also located in from the addition of ace jazz Hyōgo Prefecture. Their concep- musicians from (Tomonao Takarazuka adhered so closely A scene from the tions of Bernstein’s World War II Hara, trumpet; Ko Kanza, drums; to the published text that I started HPAC production musical couldn’t have been more Tatsushi Otsu, saxophone; Jun to wonder what had happened to of On the Town. different. Yet each in its way was Shiraishi, piano). its characteristic razzmatazz. But utterly right, reflecting together In Osaka, a separate pro- when the musical ended, strobe the flexibility of Bernstein’s dis- duction of On the Town by the lights ricocheted around the tinctive crossover aesthetic. famed Takarazuka Revue—a packed hall and a Rockettes-style Yutaka Sado worked with the Japanese troupe of all-female “On the Town Revue” kicked into British opera and theater director performers—delivered its own gear. The predominantly female and designer Antony McDonald, version of dazzling virtuosity. audience went wild as the perform- who imported the largely white Takarazuka’s lavish productions ers reprised some of the show’s cast from London (the singing are often over-the-top, and its rep- core numbers: “I Can Cook Too,” chorus was local, thus Japanese), ertory includes Broadway musicals “ ,” “Lonely and the Takarazuka Revue drew alongside staged renditions of Town,” “Lucky To Be Me,” “New on its stable of Japanese singers Japanese folk tales and Western York, New York”—all performed and dancers, yielding its own ver- theater works. The concept of a with bristling intensity. The audi- sion of a mono-racial cast. Sado “revue” is central to its identity, ence clapped along, gasped as the and McDonald approached On with expert step-and-kick chore- performers fanned into the aisles, the Town as a fusion of screwball ography featuring feather-laden and participated enthusiastically in comedy and highbrow art, and costumes and elaborate proces- a final singalong. Takarazuka drew on the compa- sions down a grand staircase. Neither of these productions ny’s signature style of spectacle With On the Town, acknowledged that the US and entertainment, leaning into the Takarazuka presented the entire Japan were mortal enemies show’s Broadway lineage. I suspect show, which is long, and they during the Second World War. Bernstein would have loved both delivered the book and lyrics in Yet their separate artistic visions productions. Japanese. Six different choreog- together offer a holistic represen- Yutaka Sado, born in , raphers tackled individual scenes, tation of the open-mindedness launched his career as a protégé and the performance overall was and love for a good joke that of Bernstein. With his exquisite polished and compelling. The characterized Bernstein and his production of On the Town, Sado three sailors were all played by collaborators. These first-rate burnished the classical side of a otokoyaku (women acting as manifestations of global classical

crossover work. The three sailors men) and two of the troupe’s stars music and global Broadway are Prelude, Fugue & Riffs (Charles Rice, Alex Otterburn and took center stage: Ryō Tamaki a fitting way for the Bernstein Dan Shelvey) did not appear as (Gabey) and Sakura Misono (Ivy). centennial to wind down. ■ American hicks but rather as deb- The vision of Japanese women onair, operatically trained cosmop- cross-dressing while singing in Carol J. Oja is the author of olites with a ready sense of humor. Japanese to depict white male Bernstein Meets Broadway:

While a musical theater performer American sailors from the Second Collaborative Art in a Time of 2019/2020 Fall/Winter played Ivy (Katie Deacon), oper- World War—in a show that War (Oxford University Press). atic training defined the other two originally featured a Japanese female principals (Jessica Walker American dancer as a symbol The complete article, of which this is an and Aoife Miskelly). of racial difference—presents excerpt, appeared in TLS (The Times Literary Supplement): https://www.the- On the Town brims with something of a cross-cultural, tls.co.uk/articles/private/a-screwball-high- dance—more so even than West cross-gender riddle. brow-spectacle/ 7

FW201920_PFR_draft1.indd 7 11/4/19 10:09 AM “Freiheit” Berlin: December 1989

Thirty years after the fall of the Berlin for freedom, took the liberty of for those who watched the live Wall, Craig Urquhart, Bernstein’s changing the Schiller text from television broadcast—over 100 Assistant at the time, reflects. “Freude” to “Freiheit.” He said at million viewers worldwide. All the time, smiling, “I’m sure that were moved by the magic of hear- t was late December when Beethoven would have given us ing the word “Freiheit” blazing ILeonard Bernstein and I arrived his blessing.” from the rafters. No words can in Berlin. Berlin was an excited Under the gray winter skies, the describe the reverent energy, hap- city; historic change was taking muted sound of hammers chisel- piness and grave responsibility place there. It was just weeks ing at the Berlin Wall became the that was felt in the hall. Even as before that the government of soundtrack of the city. During the I write all these years later, my East Germany had allowed its rehearsal period, Bernstein took eyes well up with tears, for we citizens to visit West Germany; the pleasure in walking through the all felt a great divide had been decades-long division of the city now opened Brandenburg Gate, healed. Lenny did not believe in was literally crumbling. The thrill mingling with the citizens of a soon division, and here was a dream of this new-found freedom was to be reunited Berlin. The moment of reunification that had come electric in the air. Bernstein knew weighed heavily on his heart as he true. Everyone gave their all, and that this was a time for a grand remembered all the suffering the the performance was a historic musical gesture: he would conduct city’s bifurcation had caused. moment captured forever, both on an international orchestra, made On Christmas Eve, Bernstein audio and video. up of members of the Bavarian and his musicians presented the As a final gesture after the Radio Symphony Orchestra, sup- first “Freiheit Concert” in West concerts and receptions, Lenny plemented by musicians from the Berlin’s Philharmonie. It was and I, with a couple of friends, New York Philharmonic, London also projected by a live feed onto drove to the western side of the Symphony Orchestra, Orchestre a large screen for a freezing but wall behind the Reichstag: no de Paris, Staatskapelle Dresden appreciative audience on the television, no reporters, just us and the Orchestra of the Kirov plaza of the Gedänkniskirche private citizens of the world. Theater, as well as the Bavarian in West Berlin. But it was the Lenny borrowed a hammer from Radio Choir, Children’s Choir of concert on Christmas morning a young boy, and he took his turn the Dresden Philharmonic and the in the Schauspielhaus (now the at tearing down a piece of this Radio Choir of East Berlin—not Konzerthaus) in East Berlin that physical wall, to add to all those to mention a stellar cast of solo- caught everyone’s imagination; psychological and spiritual walls ists—in a historic performance not only among the public who he’d worked so hard to dismantle of Beethoven’s Symphony No. 9. watched on the big screen on in the hearts and minds of human Bernstein, a lifelong advocate the Gendarmenmarkt, but also beings around the world. ■

Leonard ANDREAS MEYER-SCHWICKERATH Bernstein and Craig Urquhart at the Berlin Wall.

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FW201920_PFR_draft1.indd 8 11/4/19 10:09 AM “Freiheit” Berlin: December 1989 Pacific Music Festival Remarks: July 13, 2019

inspired my father to create two PACIFICCOURTESY MUSIC FESTIVAL new music festivals, modeled after his beloved Tanglewood: one in Schleswig Holstein, Germany, and the other right here in . The Pacific Music Festival was one of my father’s last accom- plishments. At the opening in June of 1990, he was already quite Jamie Bernstein addressed the weakened from the disease that audience at the opening concert of would end his life later that same the 2019 PMF. year. But he felt strongly that the greatest thing he could do with reetings to everyone in his remaining time on this earth GSapporo, and hello to the was to share his learning with oth- Pacific Music Festival! ers—and to create an environment It is one of the continuing where learning and beauty could honors of my life to visit this beau- continue to be shared, even after tiful place, and this remarkable he was gone. Festival, which my father, Leonard Leonard Bernstein always Bernstein, launched thirty years believed in the power of young ago this summer. people to help make the world a When my father was young, he more compassionate place for one participated in the opening years and all. He also understood the of the Tanglewood Music Festival unique power of music: how it can that brings gifted young musicians Jamie Bernstein in his home state of Massachusetts. bring people of all backgrounds together from around the world joins Maestra His experience as a student there together, to give them the expe- and gives them the opportunity Marin Alsop at was so profoundly inspiring and rience of working together. An to play and study with luminaries Pacific Music nurturing that after his own career orchestra of young people accom- from the world’s leading orches- Festival. was established, he returned nearly plishes a kind of miracle: it creates tras—including the great ensembles every summer to Tanglewood, to a template for a world that works: of Vienna and Berlin. participate on the other side of the an environment where all the par- I travel around the world, equation: now as a teacher to the ticipants are in alignment. They narrating concerts and talking young musical students. are literally working in harmony about music. And I will tell you My father always said that and are creating something bigger that everywhere I go—and I mean teaching and learning are connect- than their individual selves. There everywhere—I meet musicians in ed. “When I teach, I learn; when I is no greater training, therefore, orchestras who tell me that they learn, I teach,” he said. He under- for those who are inheriting the participated in PMF, which helped stood that this cycle—of absorbing work of caring for this planet. them achieve their current orches- new information and sharing it I find it a little ironic that the tral positions. PMF’s influence is with others—is the essence of Pacific Music Festival is not so visible, and audible, all over the maintaining lifelong liveliness of well known here in Japan, while world. It is one of the principal mind and spirit. My father was, in its influence is felt so strongly in incubators for the accomplished fact, exactly that way to his final the rest of the world. We have to musicians of the future, and in so breath. And this deep understand- fix that! I hope everyone here will doing, is also creating enlightened,

ing of the connectedness between tell their friends and colleagues compassionate citizen artists who Prelude, Fugue & Riffs teaching and learning is what about this magnificent program, will make priceless contributions to their respective communities. Japan is most honored and for- Leonard Bernstein always believed in tunate to host such an influential the power of young people to help make program. And I trust that the peo-

ple and institutions of Japan will 2019/2020 Fall/Winter the world a more compassionate place put all their talents and resourc- es behind the preservation and for one and all. strengthening of PMF as it enters its next thirty years. ■

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■ ■ ing - 11/4/19 10:09 AM tein Simmonstein ns —Jamie Bernstein —Jamie

—Nina Ber Ellen surrounded herself with We send Tom and Sara armfuls Ellen was a superb painter, smart Her children, Amanda and Her marriage Adolph to —on top of it all—drop-dead gor- geous. Her laugh was irresistible. To be in on a joke with Ellen made you feel, at least for the moment, that you were as smart as she was. witty people and beautiful things. She as a whip, funny as all get-out, and had no use for small talk or social awkwardness; her dinner parties were always great (and delicious) fun. of love and raise a glass to a mar- velous lady. both of whom we see often. them a stable and entity, a wel come addition all to our of living rooms and Seder tables. Adam, are nearly cousins us— to so extend we our warmest love themto and their families in this very sad time. The sky between New Jersey and Central Park West has definitely grown dimmer. Green was a marvel unlikely of durability. Adolph, our father’s longtime friend and colleague, was as eccentric as human beings come—but Phyllis to found a way knit their family together, mak ■ - Merrily Merrily —Alexander Bernstein —Alexander

. e till reeling from having lost our beloved tante Phyllis, we I had the privilege observing of He was warm, welcoming, begin with,To she hada When sorrows come, they come not single spies, but in battalions. S learned just days later that we had also lost our dear Ellen Adler. Daughter of Stella Adler, Ellen was part of that extraordinary cultural gang in New York City starting in the forties, when she briefly dated our father. (She was also simultane- ously dating Marlon Brando, a fact she enjoyed sharing often.) Later, she married LB’s age-old friend David Oppenheim, with whom she had two children, Tom and Sara, theater (and theater people!) were theater (and theater an inspiration. themuchof preparation of Roll always Along will We and remember constant Hal’s delight in working with that very young cast. generous, funny and fun—all of which can be said also Judy, of andDaisy, we Charley, whom are thinking daily about with so much lov passing Phyllis of Newman Green, whose influence on us all has been incalculable. life force that could light the up sky from New where she Jersey, began, all Central the to way Park her concluded she where West, Her talent,journey. wit, and sheer effervescence irresistible were to andBroadway television audiences alike. In our family, delighted we in the raucous sound Phyllis’s of were so gratefullaughter. We herfor unfailing ability bring to smiles both to our of parents’ faces, matter no dire how the cir cumstances. Candide—from the All too soon after losing amie, Nina, and I are heartbro- amie, Nina, and I are beloved ken to have lost our t’s been a very tough season for been t’s The Leonard Bernstein Office HalPrince (1928-2019) Ellen Adler (1927-2019) Hal . He was part of Hal Prince. He was as we can our lives as far back “rescuing” remember—famously Side Story at the last minute, West producer; then when it had lost its championing version; to its intimate “Chelsea” incarnation; expanded Broadway produc- to the iconic City Opera tion; and back to City Opera just energy, a few years ago. Hal’s brilliance, and sheer love of the I J and family; we have lost some deeply important loved ones. Harold Prince, had face we to the Phyllis Newman (1933-2019) Newman Phyllis

Prelude, Fugue & Riffs Fall/Winter 2019/2020 10 FW201920_PFR_draft1.indd 10 Sid Ramin and His Lifelong Pal, Lenny: A Remembrance

Celebrated orchestrator and com- Lenny and Sid at poser Sid Ramin – who was also the piano. a childhood friend of Leonard Bernstein’s—died on July 1, 2019 at the age of 101. His son, Ron Ramin, made the following remarks at the Lark Theatre on August 3, 2017.

y father, Sid Ramin, was a Mlifelong friend of Lenny’s. They met as pre-teens in Boston, and shared a love of music. It’s likely that my dad is the only person still with us who attended Leonard Bernstein’s Bar Mitzvah! He hung around Lenny’s house, and got to know his mom, Jennie man turned out to be? guys from New York, they asked? (“a lovely lady”), his dad Sam My dad was only 6 months But Lenny was steadfast—he (“a rather stern guy”), his sister younger than Lenny, but there was insisted that Sid and Irv do it. The Shirley, and younger brother no doubt who was the teacher and studio relented. The Oscar defined Burtie. Their friendship last- who was the pupil. Lenny gave my my dad’s career, and he owed ed 60 years. My dad became a dad informal music lessons while much of his future successes to his sought-after music arranger and they were in high school. When old pal, who stood firm and was orchestrator in New York, and Lenny entered Harvard, my dad his strong advocate. Lenny called on him many times wanted to continue studying with I’ve examined the famous from the 1950s thru the 1980s to him but thought it only fair that Bernstein red pencil markings work on various composing proj- he pay his friend something for made while reviewing Sid and co- ects. Sid orchestrated the music his efforts. After high level nego- orchestrator Hershy Kay’s work for West Side Story, both the tiations, they agreed upon a fee of and tried to imagine what it must Broadway musical and the movie, $1 plus a Three Musketeers candy have felt like: knowing every note as well as the Symphonic Dances bar. My dad got pretty sweet deal. you put on paper will be scruti- from West Side Story, a staple for Even though the West Side nized by Leonard Bernstein. There symphony orchestras around the Story movie won 10 Academy were exclamation marks when he globe. Bernstein dedicated this Awards, guess who did not receive was pleased, crossed out musical concert work to my dad. The first an Oscar? Leonard Bernstein. notes when he was not, and new page of the score reads: “To Sid Why? The score was ineligible, ones added when he preferred a Ramin, in friendship.” since it was not originally written different approach. Lenny cared Over the years I heard sto- for the film. My dad, who did win about every single measure—no, ries about Lenny from my dad, an Oscar for Music Supervision make that every single note. It cer- who absolutely idolized him. on the film (along with conductor tainly keeps you on your toes! One of the earliest takes place in , Saul When Sid worked with Lenny Boston in the early 1930s. They Chaplin and co-orchestrator Irwin in later years, he would go up to were walking down a neighbor- Kostal), used to tease Lenny about his house in Fairfield, CT and hood street and heard someone this, and lament the absurdity of stay overnight. Over dinner with

butchering a popular song of the the situation. friends and family, they played all Prelude, Fugue & Riffs day on the piano. Lenny was so Bernstein showed his friendship sorts of word games, especially distressed that, despite my dad’s and loyalty to my dad by insisting, anagrams. It was a party, but then warnings, he entered the house even though Lenny himself was the serious work would begin late through a partially open side not actively involved in the movie, at night. Lenny was an insomniac, window, then told the astonished that my dad and Irv Kostal go to and just assumed that others had

woman sitting at the piano that LA and orchestrate the movie’s no problem staying up and work- 2019/2020 Fall/Winter she was playing it all wrong, sat music. The local producers and ing until dawn. down on the piano bench and studio in Hollywood really wanted That was tough on Sid, but proceeded to show her how it to hire the LA local orchestrators getting to hang with Leonard should be played. No one was who were, indeed, supremely tal- Bernstein was well worth the arrested. I wonder if that lady ented and well-known quantities. struggle. ■ ever found out who that young Why do we need to import these 11

FW201920_PFR_draft1.indd 11 11/4/19 10:09 AM ■ - is -

11/4/19 10:09 AM

about and we ask the question: Malte, thank you for mak- I understand you’re goingI understand you’re The Bernstein Exhibit and For more information about In this little exhibition, we this still the way we see Beethoven today? Has he left some footprint in the way we perceive Beethoven? My strong belief is that Bernstein was the biggest communicator on a lot to classical music and there’s learn from how he spoke about Beethoven. CU: ing this fascinating connection between these musical giants. additional events will begin July 2020. BTHVN2020, please visit: www. BTHVN2020.de Zimerman as soloist, and a DVDZimerman as soloist, Opera perfor State of the Vienna mance of Fidelio. CU: aboutto be doing an exhibit “Bernstein and Beethoven.” under MB: I think the general is thestanding is that Bernstein So if you talk Mahler conductor. immediatelyabout Bernstein, you start talking about the way he rediscovered ’s music and his engagement for this true, but Of course, it’s composer. at the same time, he had been very music engaged with Beethoven’s throughout his life. really want to give the whole picture of how Lenny interpreted Beethoven, what he told us him— huge The New everybody can find Beethoven— with loans from all over No: 2 and No: 9; Piano It’ll start on the 16th of Also, we have partnered with celebrate from December 2019celebrate from December a full yearuntil December 2020, andof events with performers the world.partners from all over we wouldThe main idea is that invite peo- like to encourage and anew. ple to rediscover Beethoven hasEverybody thinks everything but webeen said about Beethoven, more to so much believe there’s many dif- So we present discover. believe ferent kinds of projects. We that through this multi-perspective on Beethoven, new angles and perspectives. December this year with the presentation of two new exhi- bitions the world, one at the Beethoven house and one at the federal art hall, the Bundeskunstthalle, a exhibition space with 1,600 square meters. It will really be a must see exhibition for everybody who loves classical music and wants to learn about Beethoven. It will end with the concerts one year later in Bonn with the West-Eastern Divan Orchestra under the Baton of Daniel Barenboim, and a full European youth choir that we formed specifically for this event. a big range of So I think there’s activities and a huge invitation for everybody to find this personal approach to Beethoven. Deutsche Grammophon and created Complete Edition consisting of 118 CDs, 3Blu-ray audio discs and 2 DVDs. Bernstein is represented by performances of Symphonies No:1, No: 5 with Krystian -

I had . Ode to Freedom.” Songfest. This was the

I started playing the pianoI started playing the Can you tell me a little bit How did you get into classicalHow did you get into we met. where that’s Yes, ecently Craig Urquhart sat ecently Craig Urquhart down with Malte Boecker, BTHVN2020 mances of the piano with and Philharmonic, and the Vienna the unforgettable performance of the Seventh Symphony that same feeling a few months later when I attended the Ninth Symphony in Berlin, the famous performance of “ CU: being planned for about what’s Beethoven 2020? MB: For our “Little Beethoven Birthday Bash,” Bonn is going to Artistic Director of BTHVN2020, Artistic Director of celebration of a year-long are a few Beethoven at 250. Here conversation. excerpts from that CU: music? MB: concerts.as a kid, went to many There were so many great and conductors in the 70s and 80s. Then I attended the Schleswig Holstein Music Festival in 1988, as we both remember. CU: MB: I was at the rehearsal of Bernstein’s starting point for many encoun- ters all over Europe. It made me believe that music can change a lot It certainly changed society. meet- these for me personally, ings. I felt I would like to study music, so I picked up as a second study next to my law examinations. In the end, I became interested in everything in this area of music management. That was the starting point of my career. actually spent time with CU: You Bernstein in Bonn during the Beethoven/Bernstein Festival in 1989? Lenny was artist in res- MB: Yes, idence at the Beethoven Festival on the invitation of Dennis Russell Davies... And there were many Bernstein related concerts and of course, a lot of Beethoven. I remember really well the perfor R

Prelude, Fugue & Riffs Fall/Winter 2019/2020 12 FW201920_PFR_draft1.indd 12 The Schleswig Holstein Music Festival Leonard Bernstein Award 2019

AXEL NICKOLAUS Grand Finals. She made her Met Nina Bernstein debut at the end of 2018 with Simmons and Mozart’s The Magic Flute. The Intendant August concert featured her per- Christian Kuhnt present forming works by Bach, Mozart and The Leonard Rossini, with the Schleswig Holstein Bernstein Festival Orchestra conducted by Award. Maestro . ■

Previous recipients are: 2002 (piano) 2003 (piano) 2004 Erik Schumann (violin) 2005 Jonathan Biss (piano) 2006 Alisa Weilerstein (cello) 2007 Martin Grubinger (percussion) 2008 Anna Vinnitskaya (piano) 2009 Leonard Elschenbroich (cello) t a concert in August, the sensation.” At a very young 2010 Kit Armstrong (piano) ASchleswig Holstein Music age—she was born in 1994—the 2011 David Aaron Carpenter (violin) Festival and the Sparkasse Canadian-Italian singer has won 2012 Cameron Carpenter (organ) Finanzgruppe and Nina Bernstein an impressive number of first 2013 Jan Lisiecki (piano) Simmons presented this year’s prizes in prestigious competitions, 2014 Christopher Park (piano) Leonard Bernstein Award to most recently the Operalia 2015 Krzysztof Urbański (conductor) mezzo-soprano Emily d’Angelo. Competition. In 2016, she won 2016 Felix Klieser (horn) She has already been called the New York Metropolitan 2017 Kian Soltani (cello) “Canada’s newest opera Opera National Council Auditions 2018 Charles Yang (violin)

Battistoni Honors Leonard Bernstein

by Gianni Battistoni that I am forever grateful. To honor Leonard Bernstein I t was always a special time in have designed a women’s shawl IRome when Leonard Bernstein and a men’s tie using the Leonard

came there, usually in the month Bernstein “B” as the main design Prelude, Fugue & Riffs of May, to conduct the Orchestra element. I am grateful to the dell’Accademia Nazionale di Maestro’s family for allowing me Santa Cecilia. And for me it was to create these unique tributes to an honor. The Maestro would the great musician and my dear always make an appointment to friend. ■ come to my atelier and purchase a Fall/Winter 2019/2020 Fall/Winter few articles of clothing. Over the Available at Battistoni in Rome years a genuine friendship devel- and in Beverly Hills. For more oped between the two of us: for information: [email protected]

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FW201920_PFR_draft1.indd 13 11/4/19 10:09 AM New Books

wo of Leonard Bernstein’s Selected Tclassic books have been recent- ly translated. The Unanswered Performances Question is now available in a French translation with a preface by Renaud Machart. Published Dear Readers, by Minerve, the French title is La question sans réponse. Findings lthough the Bernstein Centennial has been translated by Bernstein ACelebration is winding down, we are friend Giovanni Gavazzeni into still experiencing the wonderful problem of Italian. Published by il Saggiatore lacking space in these pages to list all the as Scoperte. Bernstein-related performances worldwide. Longtime associate of Leonard For a complete listing of upcoming perfor- Bernstein John Mauceri has recently published two books. In mances, we request again that you visit partnership with iBooks, Mauceri our website: presented a personal account wrote, “Having grown up with of his time with Bernstein, a father whose passion for music https://leonardbernstein.com Leonard Bernstein: A Centenary was tsunami-like in its intensity, I Celebration. Penguin Books has quickly recognized and welcomed published For the Love of Music: a similar joy in John Mauceri’s A Conductor’s Guide to the Art meditations on the repertoire he of Listening. Jamie Bernstein loves so much.” ■

It’s Gotta Be Bad to Be Good: Prelude, Fugue & Riffs will be sent upon request. Please send all correspondence to: Songs of Leonard Bernstein Craig Urquhart Prelude, Fugue & Riffs ianist and Leonard Bernstein have released a new album paying 121 West 27th Street Passociate Michael Barrett, tribute to the vocal repertoire of Suite 1104 with rising soprano Amy Owens, Bernstein. This collection show- New York, NY 10001 cases songs from such diverse Fax: (212) 315-0643 works as ; Arias and e-mail: curquhart@leonard­bernstein.com Barcarolles; I Hate Music; A Quiet Place; and Candide, among oth- We appreciate notice of any performances ers. In addition, Barrett performs or events featuring the music of Leonard Bernstein selections from Bernstein’s piano or honoring his creative life and “Anniversaries.” Released by we shall do our best to include such infor- Music Unlimited and available on mation in forthcoming calendars. all major platforms. ■ ® Prelude, Fugue & Riffs is a publication of The Leonard Bernstein Office, Inc.

Prelude, Fugue & Riffs ©2019 by The Leonard Stamps Bernstein Office, Inc. Managing Editor: Craig Urquhart he Inter-Governmental Philatelic Corporation (IGPC) Editor: Jamie Bernstein T had issued new commemorative Design: BorsaWallace, NYC stamps in honor of Leonard Visit our website: Bernstein’s 100th. Presented in Fall/Winter 2019/2020 Fall/Winter www.leonardbernstein.com two blocks of four individual icon- “Like” us on Facebook: ic images of Bernstein. The stamps www.facebook.com are issued by Nevis and Antigua & Barbados. The stamps are available on the website: https:// www.igpc.com ■

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FW201920_PFR_draft1.indd 14 11/4/19 10:09 AM A New West Side Story on Broadway

est Side Story will begin An D’Huys. Sound and Video WBroadway previews on Design will be conceived by Tom December 10, 2019, and will offi- Gibbons and Luke Halls, respec- cially open on February 6, 2020. tively. This new production will be The cast, in this new version directed by Ivo van Hove (A View without intermission, will feature from the Bridge, The Crucible, Isaac Powell as Tony and Shereen and Network). New choreography Pimentel as Maria. Bernardo will will be conceived by Anne Teresa be played by Amar Ramasar, De Keersmaeker. Set and Lighting Anita by Yesenia Ayala, and Riff Design will be provided by Jan by Ben Cook. ■ Versweyveld, costume design by

West Side Story Around the World ©JEFF BUSBY

est Side Story continues to thrill audiences worldwide; besides the Deutsches Nationaltheater und Wupcoming Broadway production (and the film remake in December Staatskapelle, Weimar, Germany: 2020), there are many other opportunities to experience the show. Here April 2020-July 2021 is a listing of non-amateur productions throughout the world. SOM Produce, Barcelona (and vari- ous), Spain: Through June 2020 USA/CANADA EUROPE Estonian National Opera, Tallin, Estonia: June 2020 Musical Fare Theatre, Buffalo, NY: Theater der Bundesstadt, Bonn

Germany: September 2019-July 2020 September-October 2019 AUSTRALIA Milwaukee Repertory Theatre, Cultus Ruzinov, Bratislava (and vari- Milwaukee, WI: September-October ous), Slovakia: October 2019 BB Promotions Tour: Sydney Opera 2019 Theatre & Music Production Centre, House: Through Early October 2019 Niagara Symphony Association, St. Varna, Bulgaria: October 2019 BB Promotions Tour: Canberra

Catherines, Ontario: October 2019* Stiftung Staatstheater, Nürnberg, Theatre Centre: October 2019 Prelude, Fugue & Riffs North Caroline Theatre, Raleigh, Germany: October 2019-July 2020 BB Promotions Tour: Adelaide NC: October 2019 Theater Lübeck, Lübeck, Germany: Festival Theatre: November- Short North Stage, Columbus, OH: Through December 2019 December 2019 October-November 2019 Komische Oper, Berlin, Germany: Billings Symphony Orchestra, October-December 2019 ASIA

Billings, MT: March 2020* Curve, Leicester, England: IHI Stage Around, Tokyo, Japan: 2019/2020 Fall/Winter Indianapolis Symphony, November 2019-January 2020 Through Summer 2020 Indianapolis, IN: April 2020* Teatro Lirico di Cagliari, Sardegna, Italy: March-April 2020 For more information visit: Royal Exchange, Manchester, WestSideStory.com England: April-May 2020 *Denotes Symphonic Version

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FW201920_PFR_draft1.indd 15 11/4/19 10:09 AM PRESORTED STANDARD U.S. POSTAGE PAID NEWARK, NJ PERMIT NO. 625 121 West 27th Street Suite 1104 New York, NY 10001

Printed on recycled paper

West Side Story Film

ne of the most exciting Oupcoming Bernstein projects is the film remake of West Side Story, directed by no less than . Here is a letter he wrote at the conclusion of principal pho- tography, which took place around New York City during the summer months of 2019. ■ NIKO TAVERNISE

David Alvarez (Bernardo), Ariana DeBose (Anita), Steven Spielberg, Rachel Zegler (Maria), Ansel Elgort (Tony)

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