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Home , A Quiet Place (opera), Chichester Psalms, I Feel Pretty, Marni Nixon, Piano Trio (Bernstein), The Lark (play)

News for Friends of Spring/ Summer 2011 Film — with Live

by Steven Smith © MGM

t is fitting that the will host an unprecedented screening of the MGM classic film, West Side Story on July 8th; Iafter all, this legendary concert venue played a role in the birth of the show itself. A 1955 engagement at the Bowl brought Leonard Bernstein to Los Angeles, where a chance meeting with writer reignited the stalled plan, originally conceived by Jerome Robbins, to write a modern musical based on Romeo & Juliet. 56 years later, a new technology developed by Paris-based Audionamix and utilized by Chace Audio by Deluxe, one of the film industry’s top restoration companies, has isolated the vocal tracks, featuring lyrics by , from the 1961 Best Picture winner, allowing conductor Newman and the to present a screening of the film with live orchestra. Explains Cathi Black, Director of Sales at Audionamix, “We teach our source-separation technology the score as it was played in the film, then the technology assists our engineers in effectively removing the score, leaving vocals, dialogue and effects intact.” Creating a technology that makes such sound isolation possible has been “one of the holy grails for motion picture and music repurposing,” says Bob Heiber, Vice President of Chace Audio. The West Side Story; Film with Live Orchestra project was conceived and led by The Leonard Bernstein Office, with the cooperation of Arthur Laurents, Stephen Sondheim, the Estate of Jerome Robbins and MGM. Helping to coordinate the project is the global arts management

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4 at 6 Artful Learning 9 Remembering Inside... 8 The New York Jack Gottlieb 5 Lessons Learned from Philharmonic 10 In the News Chichester Digital Archives 14 Some Performances WSS Film w/ Live Orch... continued

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IMG Artists with a team led by its Senior Vice President Steven A. Linder. Vice President of Artisic Planning for the Los Angeles Philharmonic, Chad Smith, says the July concert is an irresistible s these pages testify, Leonard way to celebrate Leonard Bernstein’s rich and diverse A Bernstein’s long association with accomplishments during his lifetime still the Bowl, as well as a West Side resonate today. There are new books — Story milestone: “2011 is the from a biography for young readers to 50th anniversary of the film, and an examination of the impact of West what better place to premiere this Side Story on western culture. There orchestral version of the score, in a are fascinating new web presences, new HD print, than in Hollywood.” including the ’s “Among the many exceptional groundbreaking Digital Archives Project. Not surprisingly, talks are titles in the MGM library, West Combined with the various CD reissues underway to present this “live” Side Story occupies a unique place and the ubiquitous performances of version of the film in other cities in the hearts of movie fans,” his compositions, these all attest to the here and abroad. ■ notes Simon Graty, Senior Vice- impact that Bernstein's life and work President and General Manager, continue to make on our world. His Steven Smith is an Emmy- MGM HD. “The Hollywood educational legacy alone would have nominated documentary producer, Bowl presentation will give them put him in a position of prominence journalist, and author of the a whole new way to experience in 20th Century history. Today, Artful biography A Heart at Fire’s the film, and MGM HD is proud Learning, Inc.® brings Bernstein's vision Center: The Life and Music of to support it.” directly into schools, where enthusiasm Bernard Herrmann. and rising scores demonstrate that personal creativity has the power to instill a lifelong thirst for knowledge in every child. It is astonishing how West Side Story Did You Know? never loses its lustre. 50 years have passed since the motion picture’s release, © MGM was transferred to an yet it continues to top the charts of earlier scene, the bridal favorite film musicals. And now the latest shop. The location of technology allows us to see the film with Gee, Officer Krupke the original singing accompanied by a live was interchanged with orchestra. What a delightful prospect — Cool. Sondheim also particularly at the Hollywood Bowl! wrote new lyrics for Without a doubt, West Side Story, and America, performed the prominence of the film in particular, by all the Sharks and exponentially increased Leonard Bernstein’s their girls. global reach. As far away as Indonesia or Some of these Russia, people can sing Tonight or The changes were judged Jets’ Song, even if they have no idea who to be necessary to

Prelude, Fugue & Riffs Spring/Summer 2011 Leonard Bernstein is. Although we’d like intensify the oncoming the whole world to delight in Bernstein’s he 1961 Academy Award sense of doom. After all, the wide array of gifts, we’re also glad that this for Best Picture went to the movie was not interrupted by one work has brought his music into so T movie version of West Side Story. an intermission during which an very many far-flung and unexpected places. It earned a total of ten Oscars. audience could recover from the If only we didn’t have to keep losing Although Bernstein did not suffer devastation that took place during precious people. We mourn the passing of the indignity of the mayhem the Rumble. On stage, the bubbly Jack Gottlieb, who devoted so much of his perpetrated on his score in the , at the beginning of time and energies to the life and work of movie of , the Act II, was a kind of extension of Leonard Bernstein. As Jack himself might movie of WSS did make some intermission exuberance. Good have said with a sigh, Oy vey. minor alterations. I Feel Pretty theater, but not good movie. ■

J.B. ■ 2 The Dubbers

he singing voice of Richard While this was going on, Nixon already been filled with musical TBeymer (Tony, in the movie) was being told that she would inaccuracies, Nixon had to was that of Jim Bryant, a do the full , which compensate for them. On long Hollywood jazz and commercial was hard to believe under the shots there was no problem, arranger and bass fiddler, chosen circumstances. But this delicate but on close-ups she had to because his singing timbre and deliberate game of musical hedge it one way or another. matched Beymer’s spoken sound. pawns was played to ensure there (In fact, Nixon even dubbed Similarly, Betty Wand, a mezzo- would be no clash between star Wood’s speaking voice at the , was hired to do some, and studio until Wood’s visuals very end: “Don’t you touch but not all, of Rita (Anita) had been completely filmed. When him! Te adoro, Anton.”) Moreno’s singing. Wand later she was finally “in the can,” Due to the web of deception, sued to get a percentage of the Wood was informed that Nixon Nixon felt she deserved a cut movie-album sales, a dispute had been elected. Wood’s reaction of the movie-album royalties. settled out-of-court. But the most was understandable anger. (Later Neither the movie nor the convoluted problems on when she filmed her role in record producers would bow to were those for the voice of , no substitutions were her demands. Bernstein broke (Maria). made for her singing voice.) the stalemate by volunteering Marni Nixon was employed Nixon’s job then became a percentage of his income, a on a day-to-day basis (no contract much more complicated than gesture of royalty-loyalty since was signed) to do only the high her dubbing of Nixon had been a performer- or sustained notes that Wood’s in the filming of The King and colleague of his at New York less disciplined voice could not I. There, everything had been Philharmonic concerts. ■ manage. And, indeed, the songs carefully worked out in rehearsal, were recorded in that manner, with Nixon physically next to Copyright 2001 by Jack Gottlieb. with Wood being continually Kerr at all music rehearsals. But All rights reserved. May not be told how “wonderful” she was. since Wood’s performance had used without permission.

West Side Story Film Awards

NEW YORK FILM CRITICS GRAMMY AWARDS © W illiam L o ve lac e/ Hu lton A rchi ve/ Ge tty I mag e s Best Picture West Side Story Best Soundtrack, West Side Story, Johnny Green, Saul Chaplin, ACADEMY AWARDS Sid Ramin, Irwin Kostal · Best Picture, West Side Story · Best Supporting Actor, Writers Guild of America George Chakiris Best Written Musical, Ernest Lehman · Best Supporting Actress, (for the adapted screenplay, 1962) · Best Direction, and New York Film Critics Jerome Robbins Circle Award · Best Cinematography, Color, Best Film, West Side Story Daniel L. Fapp Laurel Awards · Best Art Direction, Color, Boris · Cinematography, Color, Leven (Art Direction), Victor Daniel L. Fapp Prelude, Fugue & Riff s Spring/Summer 2011 Gangelin (Set Decoration) · Female Supporting Performance, · Best Sound, Fred Hynes, Rita Moreno Gordon Sawyer · Best Musical · Best Scoring of a Musical, Saul Chaplin, Johnny Green, Sid Golden Globes (1962) Ramin, Irwin Kostal · Best Motion Picture, Musical · Best Editing, Thomas Stanford · Best Supporting Actor, George Chakiris · Best Costumes, Color, · Best Supporting Actress, Rita Moreno Irene Sharaff · Special Award, Jerome Robbins Directors Guild of America for his brilliant achievement in Outstanding Directorial Achievement Rita Moreno and George Chakiris received the art of choreography in Motion Pictures, Jerome Robbins, Academy Awards for West Side Story Also nominated: Robert Wise and Robert E. Relyea 3 Best Screenplay, Ernest Lehman (assistant director) A Quiet Place at The

© C arol R os e gg Harvard graduate named Stephen Wadsworth who’s since made a distinguished name for himself in the field of opera production rather than libretto writing. Bernstein’s original concept was to have Tahiti done before the interval, with the new work following in a single angst-ridden two-hour slab. It didn’t work. His revision, prompted by the conductor , was radical in the extreme. He sliced Tahiti into two halves, and turned them into flashbacks at the beginning and end of the second act. In performance it’s a bit like hearing the first half dozen variations of Elgar’s Enigma by Humphrey Burton Bernstein goes further: let the son before being presented with the have a kid sister, Dede. Let the theme. Or you could compare it Quiet Place has a complex son be a huge disappointment with a Jean-Luc Godard film: yes, Aback history. Bernstein to his father by growing up gay there’s a beginning, a middle and was always of two minds as and becoming a Vietnam draft an end but in A Quiet Place only to whether he was primarily a dodger who flees to Quebec. Let the end is in the right place. All conductor or a composer. In his his kid sister visit him for his 21st very intriguing, you will say, but debut year, 1943-44, he had big birthday and fall in love with (and does it actually work in the opera hits with his first ballet, Fancy eventually marry) his boutique house? The odds are against it. Free, and his first musical, On owner boyfriend Francois. Darker This family may be dysfunctional, the Town. Then it was non- still, let Dinah have just died in an but it’s ordinary; while fellow stop conducting until he got alcohol-induced car crash, so that American composer married in ’51 and turned back the new opera’s opening scene can chose Nixon and Oppenheimer to composition. Ironically he take place in a funeral parlor. as his operatic heroes, Bernstein spent his extended honeymoon That’s the scenario Bernstein settled for Sam, a New York in Mexico evoking a middle hammered out for A Quiet “Mad Man”, the one time winner class suburban marriage on the Place, with the prompting who’s come to hate the son who rocks in a one-act opera entitled and galvanizing from a young humiliated him. (the name of the The awkward, edgy exchanges movie the heroine goes to see). at the funeral parlor have the ring He wrote the libretto as well as of truth — and yes, to answer the music and both were sharp the question, A Quiet Place does as nails. work, despite some embarrassing Trouble in Tahiti was televised bits of dialogue; quite often by NBC in 1952 (and in 1973 the achingly beautiful music by London Weekend, produced actually tugs at the heart strings. by yours truly). It had a brief The arias, trios and quartet of Broadway run and is still a staple the 1980s composition are in a of universities and music colleges, different musical language from Prelude, Fugue & Riffs Spring/Summer 2011 but it’s too short and too slight Tahiti (less tonal) but they derive — just five voices and a chamber from the same DNA. Bernstein orchestra — to have an opera- displays his customary mastery house life. But thirty years later, of thematic transformation, and Bernstein made an astonishing that’s a musical cement which creative decision: to revisit and helps the opera to hang together. to vastly expand his little opera, Unsung heroes of the evening are New York City Opera’s to imagine Sam and Dinah thirty Top: Dominic Armstrong (François), Managing Director, George Steel, years older, and to bring to life Sara Jakubiak (Dede), and Joshua their son Junior, who’s mentioned Hopkins (Junior), Above: Christopher but never appears on stage. Feigum (Young Sam) and Chorus (continued on page 13)

4 Lessons Learned from by Christa Woodall na’im / Shevet ahim / Gam yahad” need to audition overwhelmed me — (“Behold how good, and how there was no way I could pass up the he first time Chichester Psalms pleasant it is, for brethren to opportunity to perform that dearly Tcrossed my path was my dwell together in unity”). beloved work again, let alone with junior year of high school. Little The night we performed a talented and full orchestra in did I know then that Leonard Chichester Psalms was a Costa Mesa’s world-class Segerstrom Bernstein’s gorgeous musical memorable one — not only Concert Hall. work would profoundly impact because I had a minor solo in As soon as auditions were my life for years to come. the piece, but because it was my announced, I scheduled mine, made A new choir director had final time performing on my high the cut, and reveled in every moment started at our suburban Los school’s stage. Due to — dare I of performing again. The choir Angeles school that year — only say it? — “creative differences,” actually became a huge part of my the second director since the I retired from the arts programs 2009 — in addition to singing, I school opened in the 1960s — and, in doing so, left behind what spearheaded the choir’s publicity and his arrival ruffled some had been a defining part of my — and my soul expanded as this feathers, my own included. life since childhood. dormant piece of myself reawakened. Among the points of controversy In singing, I felt like I drew nearer was the director’s selection of to my true self, rediscovering Bernstein’s piece. The rhythmic my talents and remembering my complexity and unfamiliar passions. I felt like the piece drew Hebrew turned off many of my me nearer to God, appreciating the peers (especially the guys, who, beauty of religious texts in all their bless their hearts, never could varieties, from reverent hymns to nail the challenging second rambunctious spirituals. Singing movement, even in concert), but Chichester Psalms in the packed for me, it was the one thing concert hall is still one of my most our new director had done cherished memories. right all year! Instantly I felt a As I’ve begun this project of deep connection to the work, blogging about connections between enthralled by the beauty of the Judaism and my Mormon faith, language, the richness of the Chichester Psalms has taken on a text, and the sophistication new dimension. While listening to it of the musical structure, the recently, that final refrain — “Hineh way the tonal intervals evoked mah tov / Umah na’im / Shevet such a range of emotions — joy, ahim / Gam yahad” — leapt out at anger, unity, peace. It was unlike me. The choir moves from singing anything I’d ever experienced. Fast forward almost a decade. rich harmonies to joining toward a Chichester Psalms, which I may have left behind singing, single note on “yahad,” or “as one,” premiered in 1965, was but Chichester Psalms stayed before unifying on “amen.” In a Bernstein’s first composition with me. I listened to the piece world that is increasingly complex following his Kaddish (Third often, always grinning at the and dissonant, especially in light of Symphony). Where Kaddish is music’s buoyant first movement, recent world events, I can think of mournful, Chichester Psalms loving the gorgeous Hebrew text. few messages more vital than the is vibrant, intense and serene, As an adult in Orange County, beauty of unity and peace among with text pulled from Psalms I’d heard that an LDS choir had the brotherhood of man. It is good 108, 100, 23, 131 and 133. The started up, but despite my friends and pleasant when we can dwell piece opens with the full choir encouraging me to join the together in harmony — as much jubilantly praising God in song, Orange County Mormon Choral today as when David penned the leading in the second movement Organization, I resisted, figuring psalms or when Bernstein composed Prelude, Fugue & Riff s Spring/Summer 2011 to an evocative contrast between my performing days were past. his Chichester Psalms. ■ a blissfully unaware boy soloist, That is, until I heard they representing David, singing the were planning to perform Christa Woodall graduated famed 23rd Psalm in contrast Chichester Psalms. from Brigham Young University to the men angrily lamenting When attending the Christmas in 2004 and has made her career why the nations anger and rage. 2008 OCMCO concert, I received in journalism, public relations and The piece finds resolution in the a flier about their spring 2009 marketing. A devout Latter-day choir accepting God’s wisdom, concert, and when I saw Saint, she blogs on Mormon-Jewish ending with the well-known Chichester Psalms on the lineup, I cultural and religious topics for words “Hineh mah tov / Umah could resist no longer. The urgent jweekly.com.

5 Artful Learning Summit June 17 & 18, 2011 — Vernon Hills, Illinois

by Karen Cencula & Betsy Sostak each element of the model so Concept of Perspective and that we could maximize each the series Significant Question: ownline Elementary School component, constructing a deeper “What causes something to Tand School of Dual Language understanding of the concept have a lasting impact?” Group are pushing their thinking and the across curricular areas through sessions will focus on the Artful Learning® Model to a new a Bernstein Artful Model of following components: Experience, level with a year-long focus on Learning Unit.” Each aspect of Masterworks, Significant staff professional development. the Artful Learning Model has Questions, Concepts, Inquiry been interwoven into every session Centers, Original Creations, Leonard Bernstein had the to show how the components and Reflections. Exciting are utilized to encourage deeper additions to the weekend will capability to change who student inquiry in the classroom. include conversations with The purpose of designing Alexander Bernstein addressing we are and how we think a customized professional his father’s creative process with development series is to grow as the iconic musical and other as educators and leaders. teachers, artists, and scholars in Arts-based Skills & Strategies order to have a greater impact workshops that will conclude with Leonard Bernstein had the on student learning via the Artful a multi-media Original Creation capability to change who we are Learning Model. from all participants. and how we think as educators In celebration of this The Artful Learning Summit and leaders. The goal is to move work, Hawthorn District 73 will be held in Vernon Hills, beyond Artful Learning as being administration and Townline Illinois at Townline Elementary something we do everyday in the Elementary School will be hosting School on June 17 & 18, classroom and have it become a an Artful Learning Summit as a 2011. For reservations or more part of our everyday lives. weekend opportunity to share information, please e-mail info@ In the summer of 2010 our their work with a Professional leonardbernstein.com. ■ Bernstein Team met to plan staff Learning Community focus with development for the upcoming all schools currently implementing Karen Cencula and Betsy academic year. Principal Karen the model. The musical score Sostak serve as principal leaders Cencula describes, “We wanted from West Side Story will serve at Townline Elementary School in our staff to delve deeper into as the Masterwork all under the Vernon Hills, Illinois.

Ingredients for Success

A report from Midway Elementary accountability school grade from Theatre, Dance, Strings, and Band, School of the Arts, Sanford, Florida a C to a B. operating in isolation from the While this recipe might seem regular classrooms. Without the hat are the ingredients a bit obvious, it’s important to key integration of the arts across Wfor success? Take one note: this recipe is founded in the the entire curriculum, results for Prelude, Fugue & Riffs Spring/Summer 2011 low-performing school that has real world that is education today. Midway were mediocre at best; languished at the bottom of For many years, Midway had the school floundered between the district’s collective ranking indeed been the lowest performing accountability grades of D and C. system for numerous years. school in Seminole County, Enter the Artful Learning Add in a healthy heaping of Florida — a suburban county model. In 2008, Midway Artful Learning®. Mix well with located just north of Orlando. embarked on a school-wide generous portions of critical In its infancy as an arts magnet initiative to improve the level of thinking, rigor, creativity and school, Midway for the first eight instruction, targeted at weaving inquiry. Bake well in convection years of its existence operated the arts into the fabric of daily oven fueled by teacher almost as two schools within instruction in the regular academic and commitment — and voila! the same campus. There were classrooms in addition to the arts Midway Elementary School the academic classrooms, grades special area courses. Teachers began of the Arts raises its Florida K-5, and then there were the to immerse themselves in the world 6 arts classrooms like Art, Music, Snapshot: Artful Learning & Mathematics at Midway

by Patrick Bolek now employed the strategy using sculpture to convey their ne of the most challenging understanding of thousands, Oacademic areas of hundreds, tens and ones. Each instruction is the arts-alignment color of the modeling clay of mathematics. The inventive represented a numeric entity, 1st and 2nd grade teams at but students could sculpt their Image 1 - #678 – Grade 1 Midway brilliantly solved this personal number anyway they by incorporating the Artful desired using only shape and Learning Arts-Based Skill & a pre-determined color-key of Strategy of Realistic & Abstract white, blue, yellow and red. The Art Exploration over a two- challenge was for each student year period. Grade 1 teachers to correctly determine the introduced the strategy by number represented by a different modeling for their students how to classmate’s sculpture. The shape reinterpret their understanding of and color combinations varied hundreds, tens and ones through as no two sculptures were alike, abstract art, using symbolic yet students could identify any representation. This engaged the number combination regardless of Image 2 – Grade 2 - 9,999/5,762/4,956/4,233 students at the visual level by the variance of the individualized practitioners of this methodology comparing and contrasting real amorphous shapes. See Image 2. who inspired their students to do versus abstract using only color The power of Artful Learning great work are: Catherine Zeuli, and line. There was collaborative allows for differentiation of Scheshin Quinn, Kelly Ecker, discussion and sharing as each creative expression to convey Anthony Ingram, Tracy Thomas, student’s creation was different, understanding of the content Rayna Schusster, Avalla Cleveland, yet each accurately depicted the learned. These student artifacts, Jason Bass and Louise Perkins. ■ three-digit number kinesthetically in both their content and their using the act of drawing and artistic fluency, serve as indicators Patrick Bolek is an education various media. See Image 1. of the school’s transformation, as design consultant for his company One year later, Grade 2 well as the cultural shift toward Momentum ProjectLab. He students used the same Arts- valuing the arts as an essential currently serves as Advancement Based Skill & Strategy they part of the core curriculum. Consultant and National Lead had previously learned, but Recognition to the incredible Trainer for Artful Learning, Inc.

Ingredients for Success

of Artful Learning, embracing the to take their own learning as students were assessed on the model and its power to impact to significantly deeper levels. states FCAT (Florida Comprehensive instruction wholeheartedly. Guided Challenging themselves in their Achievement Test). Significant gains by master trainers Patrick Bolek, unit development teams to analyze in all curricular areas, filtered through Jo Ann Isken and Susan Stauter, standards and go beyond what was the state’s school assessment system,

Midway teachers pushed their accepted, teachers were able to brought Midway to its proud current Prelude, Fugue & Riff s Spring/Summer 2011 own thinking and creativity in incorporate Inquiry Centers, and grade of B. an effort to do the same for their Original Creations that pushed the As the 2010-2011 school year students. While Level I training envelopes of ability and depth of marches onward, rest assured that and implementation may have learning. Careful implementation the recipe for success is still the main been more about grasping the of rubric-based projects and course at Midway Elementary School model and how it works, Level II assignments, combined with of the Arts. When the baking’s finally and Level III work has focused on the continuous ratcheting up of done, we’ll all sit down to a heaping a single specific goal: rigor. teacher expectations, led to deeper helping of a grade A school. ■ As Midway teachers worked learning. This deeper, extended and moved through amazing learning translated directly into JP Royer III is the Magnet Artful Learning Units of Study, application of skills mastered Facilitator and Artistic Director at they began to see areas where through Artful Learning units Midway Elementary School of the students could be pushed more Arts in Sanford, Florida. 7 The New York Philharmonic Digital Archives

Shostakovich greeting Bernstein at the stage. A long-term strategy is being developed to make all of this material available in the not-so- distant future. By the end of 2012 all of the archival material from 1943 through 1970, from the letters of Presidents to the smallest scrap of paper, will be available in the Digital Archives — an estimated 1.3 million pages. The New York Philharmonic has one of the largest music score collections in the world, created principally from the orchestra library that began acquiring scores in 1842. Numbering nearly 15,000 items, the collection contains by Barbara Haws time period was selected for a rare first editions as well as the number of reasons. It is the time material used and marked by he New York Philharmonic when the United States becomes the Orchestra’s Music Directors TArchives, which serves as a a world power and New York and guest conductors, including repository for more than 165 years City its cultural capital; when , Leonard Bernstein, of Philharmonic history, is one the New York Philharmonic Erich Leinsdorf, , of the oldest and most important emerges as a worldwide symbol and Andre Kostelanetz. Today, orchestral research collections of this new cultural position; 1100 hundred scores marked by in the world. It traces the entire when Government begins funding Bernstein, Kostelanetz and a couple history of the Philharmonic and its the arts; when women join the by Mahler are viewable. more than 15,000 performances Orchestra; when the Philharmonic The Archives maintains around the world and is an opens Lincoln Center for the 84,000 pages of press clippings, important record of cultural Performing Arts; when the some dating as far back as the history in New York City. Orchestra musicians win 52-week 1890s; more than 27,000 images contracts; when television (photographs, drawings, posters, Bernstein’s Mahler 9 score becomes main stream and the lantern slides, and transparencies); Long Playing record is invented; and a complete set of the New was viewed 6546 times. and it is the time of Leonard York Philharmonic programs (1842 Bernstein’s leadership. to the present). The Archives has recently made The International Era is the In the first month over 22,000 available online the Orchestra’s time period with the greatest unique visitors came to the Digital vast performance history — the variety of formats for the Digital Archives. After the United States, largest single performance history Archives, allowing us to test our Japan and Germany provided in the world — for easy searching assumptions about searching the largest number of visitors. and specific queries. across document formats: scores, Bernstein’s Mahler 9 score was Currently, the Philharmonic programs, press clippings, viewed 6546 times. Six people Archives is engaged in a major business documents, images, film, from Kootenai, Idaho (pop 441) Prelude, Fugue & Riffs Spring/Summer 2011 effort to digitally preserve, and audio and video. Even though searched for Bernstein or clarinet make available to the public, the the audio and video currently sonata or Brahms. One user in Leonard Bernstein multimedia available are only samples, they Pensacola, Florida spent 2 hours collection, funded through the include the radio broadcast of 15 minutes with Bernstein’s score Save America’s Treasures program. Bernstein’s 1943 conducting of Holst’s The Planets. A user on In February, due to the debut, the first movement of Offutt Air Force Base in Nebraska generosity of the Leon Levy Mahler’s Symphony No. 9 looked through 25 pages, and 11 Foundation the Philharmonic’s from 1965 (follow along in his visitors from Guatemala averaged Digital Archives launched its score while you listen) and an 10:42 minutes on the site. It’s a first phase of what is referred to excerpt from the Philharmonic’s wonderful start. ■ as the International Era. This 1959 tour to Moscow showing

8 The New York Philharmonic Remembering Jack Gottlieb Digital Archives October 12, 1930 – February 23, 2011 e sy th l onard be rnst in offic e, inc co u rt By Jamie Bernstein meta-nanny, Julia Vega, became deep, lifelong friends – and Julia ack Gottlieb was so very much didn’t make those kinds of friends Jmore to us than merely our with just anyone. That summer father’s musical (and for a while when my brother Alexander fell personal) assistant. He was truly a off his bike, he remembers: “Jack member of the family, as far back helped, after almost fainting, as we can remember. to get me cleaned up and to a Jack’s importance to Leonard doctor.” Julia would have taken Bernstein cannot be properly note of that. accounted for in this small And then there was the matter space. Not only did Jack have of Jack’s profound spirituality. the musical knowledge and One summer long ago, Alexander intellectual dexterity to perform and I were walking around with all the complex tasks our father Jack outside our rented house demanded of him, but of equal on Martha’s Vineyard; I couldn’t importance, Jack was able to have been more than six. Jack was withstand the late nights, the telling my brother and me that

Jack had his own rich musical life. He was a gifted composer in his own right, and made an especially strong impact with his Jewish liturgical compositions.

emotional storms and the God was present in everything. wild centrifugal forces of our “Everything?” I said. “Even in father’s personality. Not just our dog?” “Yup, even in Henry.” anybody could do it — and do “What about in this pine tree?” I it with humor, patience and said. “Yup, God is in every single undimmed love. tree,” Jack said. Jack had his own rich musical I was thinking hard as we life separate from our father. He walked along the dock that stuck was a gifted composer in his own out into the lagoon. I was sure I right, and made an especially could come up with something strong impact with his Jewish that God wasn’t in. “What about liturgical compositions. this seagull poop on here?” I And he was a wonderful said triumphantly, pointing to writer. Not only did he write the the white mess on top of the excellent program notes for all weathered piling. “Yup, God’s in of Bernstein’s works; his various there,” Jack said matter-of-factly. books were learned, well written Jack Gottlieb was the first and never lacking in wit. As person ever to blow my mind. ■ co-editor of this publication, he Prelude, Fugue & Riff s Spring/Summer 2011 was indispensably perceptive and punctilious; we will sorely miss his penciled corrections in the margins. All this my siblings and I understand and appreciate now, as adults. When we were little, what we mostly knew was that Jack was warm and funny and clearly happy in our company, as we were in his. Jack and our beloved

9 Something’s Coming, Something Good

pplause Theatre and Designed for fans of the show on West Side Story in relation to ACinema Books, an imprint and movie, as well as actors, ; as a recording of Hal Leonard, has published directors, teachers, students and phenomenon; as a film rated the Something’s Coming, Something others, Something’s Coming is the second-best movie musical of Good: West Side Story and the first book devoted to the many all time by the American Film American Imagination by Misha dimensions of West Side Story to Institute; as part of a wave of Berson. This book takes a critical, be written with a general audience juvenile delinquency dramas; as comprehensive look at one of in mind. It contains chapters the first great choreographer- the most beloved Broadway auteur musical; and as the precursor of “youth musicals” such as Hair and Rent. This book takes a critical, The author, Misha Berson, a lifelong West Side Story fan, comprehensive look at one of is the theatre critic for the Seattle the most beloved Broadway Times, a frequent contributor to American Theatre magazine musicals of all time. and the author of the books The San Francisco Stage and Between Worlds: Contemporary Asian musicals of all time — from American Plays. She has taught its inception by its creators at San Francisco State University, (Robbins, Bernstein, Sondheim, University of Washington and at and Laurents) to its success on the USC Annenberg School for film, to its ongoing popularity Journalism and Communication, on stages around the world and and was a National Arts its potent impact on the Great Journalism Program fellow at American Musical. Columbia University. ■

Bernstein’s Orchestral Music

madeus Press, an imprint of as his much-beloved orchestral AHal Leonard, has published adaptations of music from the another book about the legacy Broadway shows. Bernstein’s of Leonard Bernstein: Bernstein’s Orchestral Music provides Orchestral Music by respected a detailed but approachable Prelude, Fugue & Riffs Spring/Summer 2011 music critic David Hurwitz. overview for listeners who want Bernstein’s fame as a conductor, to better acquaint themselves with as well as his successes on this rich body of work. ■ Broadway, have tended to overshadow his orchestral works. This book, in tandem with an accompanying CD of Bernstein conducting his compositions, explores all of Bernstein’s significant concert music: three symphonies and several works for soloist and orchestra as well

10 Music Was IT!

usan Goldman Rubin has Swritten a new biography of Leonard Bernstein for younger readers: Music Was IT (Young Leonard Bernstein), published by Charlesbridge. Beginning with Bernstein’s childhood in Boston and ending with his triumphant conducting debut at with the New York Philharmonic when he was just twenty-five, Music Was IT draws readers into the energetic, passionate, challenging, music-filled life of young Leonard Bernstein. The biography features archival photographs, mostly from the Leonard Bernstein Collection at the Library of Congress, and a foreword by Bernstein’s daughter Jamie. Extensive back matter includes biographies of important people in Bernstein’s life, as well as a discography of his music. ■

The Reviews Are In For West Side Story Music Was IT: Souvenirs

“ s. Rubin’s book is written vibrant, colorful life… Music he Shop at WestSideStory.com Mspecifically for 9–12 year Was It is an engrossing, warm, Tnow offers merchandise from olds, but anyone who is curious and comprehensive read, and the recent Broadway revival & about Bernstein would do well to should be considered an essential current national tour, including check out this book. The author’s purchase for most libraries. All a 50-page souvenir book, many writing style is simple and direct readers will appreciate Bernstein’s different T-shirt designs, hooded

but not condescending, and she story of proficiency, perseverance, sweatshirts, silk screen print Prelude, Fugue & Riff s Spring/Summer 2011 weaves a compelling story sure to and passion.” posters, mugs, caps, magnets, tote capture the interest of Bernstein – School Library Journal. bags and more. fans at any age.” WestSideStory.com is also – The New York Journal of Books. “A remarkable celebration of your one-stop shop on the web a uniquely American musical for West Side Story sheet music “Rubin’s sparkling biography genius.” – Kirkus Reviews and CDs. Use Code WSS311 for looks at one of the most 15% off your first order. ■ influential and acclaimed Music Was IT is available from composers/conductors in recent www.leonardbernstein.com ■ history and brings his story to

11 New Publications

he Leonard Bernstein Music Garden Grow from for Broadway Songs for Easy Piano. TPublishing Company is soloists and chorus. For the first Bernstein’s Theatre Songs are excited to announce many new time ever, all of Bernstein’s music now available for High and publications in cooperation with for piano has been published in Low voice as well as a collection Boosey & Hawkes and Hal one book. This includes all the of Theatre Songs, Duets and Leonard. The publications include Anniversaries, the Sonata, Touches Ensembles. The song cycle I Hate a new edition of the Sonata for and first time publications of Four Music is now available for high Clarinet, 10 Selections from Sabras, Music for the Dance, No. and medium voices. All these new Candide for piano 4 hands, a new II, Non Troppo Presto and Bridal publications are available from revision of vocal selections from Suite (1 piano, 4 hands). Also, for www.leonardbernstein.com. ■ Candide as well as Make Our piano is a collection of Bernstein

MASS in

his April saw a new Tproduction of the Chamber Version of in Vienna presented by Neue Oper Wien in a coproduction with OsterKlang Wien. This production was under the musical direction of Walter Kobéra conducting the combined forces of the Amadeus Ensemble- Wien, Wiener Kammerchor, and Opernschule der Wiener Staatsoper featuring Alexander Kaimbacher as the Celebrant. This production was directed by Hendrik Müller, with sets and Prelude, Fugue & Riffs Spring/Summer 2011 costumes by Matthias Werner, choreography by Nikolaus Adler. MASS was presented in the Semperdepot and was sold out. The newspaper said “Vienna’s Osterklang festival hit a high point on Palm Sunday with a work that was once accused as being blasphemous. Vienna’s Neue Oper turned Leonard Bernstein’s challenging Mass into an enthralling spectacle.” ■

12 Candide In Berlin

n June the Staatsoper im Levi. Celebrated fashion designer F. Valentine as Dr. Pangloss, ISchiller Theater (Berlin) will Christian Lacroix will provide the Stephanie Atanasov as Paquette present its first production costumes. Wayne Marshall will and Anja Sitja as the Old ever of Candide. This new conduct the production. Lady. The premiere is scheduled production will be led by Candide will be performed for June 24, with subsequent dramaturg Katharina Winkler by Leonardo Capalbo; Maria performances on June 28 and 30. with direction by Vincent Bengtsson will sing Cunegonde. For more information visit: Boussard, set designs by Vincent Other performers include Stephan http://www.staatsoper-berlin.org ■ Lemaire and light design by Guido Loges as Maximillian, Graham

Bernstein on Display

he Musical Instrument TMuseum in Phoenix, Arizona has included a display tribute to Leonard Bernstein. The display includes a white bow tie and a vest that he used when conducting, as well as a baton. The articles are on loan to the museum courtesy of Flavio Chamis, a conductor who studied with Bernstein. Chamis also acted as an assistant conductor for the Maestro. ■

A Quiet Place... continued

(continued from page 4) composer and singer), handled the © C arol R os e gg big orchestra calmly but with flair, and director Christopher Alden. and brought powerful emotion to Alden goes for unity. He uses the the orchestral interludes. 32-strong chorus in every act, So does AQP have a future? even though it’s only specified Scouts were sighted from Paris, for the funeral ceremony. Their Toronto and London (ENO has presence adds a dimension of an impressive Bernstein track grandeur, making the whole record) but I would expect other show more distinctively operatic. American companies to be the Prelude, Fugue & Riff s Spring/Summer 2011 Another insight (originally Steel’s) first to take the plunge after the is to have Tahiti’s deliciously cool glowing notices AQP received. jazz trio sung by the soprano, Bernstein defined his goal when and who take the still in his twenties: it was “to roles of Dede, Francois and Junior write something simple yet serious in the other two acts: in retrospect and wholly American, something it’s an obvious unifying device but everybody would understand... nobody (not even Bernstein) had If I can do that I shall die a happy thought of it before. man”. The consensus — better An impressive young late than never — is that he pulled Judith Christin (Susie), Sara Jakubiak (Dede), conductor, Jayce Ogren (also a it off. ■ and Patricia Risley (Dinah)

13 For a complete listing visit: www.leonardbernstein.com Spring/Summer 2011 April May

2,8,10, Görlitz, Germany: CANDIDE (Scottish 4 Minneapolis, MN: SYMPHONIC DANCES 16,24 Opera Version); Ensemble Theater FROM WEST SIDE STORY; Minnesota Görlitz; Neue Lausitzer Philhamonie; Orchestra; Courtney Lewis, conductor; Christian von Gotz, director; Eckehard Orchestra Hall. Stier, conductor; Theater. 6,7 Cincinnati, OH: THREE DANCE EPISODES 8,10 Santa Barbara, CA: TROUBLE IN TAHITI; FROM ON THE TOWN; Cincinnati Symphony Opera Santa Barbara; Mark Morash, Orchestra; Paavo Järvi, conductor; Music Hall. conductor; Lobero Theatre. 13,14 Dayton, OH: MASS; Dayton Philharmonic; 10 Leipzig, Germany: SYMPHONY NO. 2: THE John Welsley Wright, Celebrant; Neal AGE OF ANXIETY; MDR Sinfonieorchester, Gittleman, conductor; Schuster Theatre. Orli Shaham, piano; Steve Sloane, 19,20 Erfurt, Germany: SERENADE; conductor; Gewandhaus. Philharmonisches Orchester Erfurt; Erik 17,19, Vienna, Austria: MASS; (Chamber Fenton/Wesley Chong, violin; Samuel Bachli, 22,25 Version); Neue Oper Wien, Amadeus conductor; Theatre Great Hall. Ensemble Wien, Wiener Kammerchor; 19,21 Villingen – Schwenningen, Germany: Hendrik Müller, director; Walter Kobéra, SYMPHONIC DANCES FROM WEST SIDE musical director; Semper Depot. STORY; Orchester der Staatlichen Hochschule 19,20, Stralsund, Germany: SYMPHONY NO. für Musik Trossingen; Sebastian Tewinkel, 21 1: JEREMIAH; Philharmonisches Orchester conductor; Franziskaner Konzerthaus. Vorpommern; Wiebke Dambolt, mezzo- 28 Wiesbaden, Germany: CHICHESTER soprano; Karl Prokopetz, conductor; Theater. PSALMS; Ringkirchenkantorei: Hans Kielblock, 23,24, Cottbus, Germany: CANDIDE; (Scottish conductor; Ringkirche. Opera version); Staatstheater Cottbus; 29 30 Vienna, Austria: CHICHESTER PSALMS; Wolfgang Lachnitt, director; Marc Niemann, Wiener Singakademie; Heinz Ferlesch, conductor; Staatstheater. conductor; Konzerthaus. 26 Denver, CO: MASS (Chamber Version); University of Colorado; Jeffrey Gemmell, conductor; Boetcher Concert Hall. 29 Strasbourg, France: ORCHESTRAL SUITE FROM CANDIDE; Orchestre Philharmonique de Strasbourg; Wayne Marshall, conductor; Palais de la Musique. 29 New York, NY: ; National Chorale; Martin Josman, conductor; Avery Fisher Hall.

Prelude, Fugue & Riffs Spring/Summer 2011 30 Santa Fe, NM: SERENADE; Santa Fe Pro Musica; Colin Jacobson, violin; Thomas O’Connor, conductor; St. Francis Auditorium.

14 June July

1 London, UK: CANDIDE (Scottish Opera 4 Wuppertal, Germany: SYMPHONIC DANCES Version); London Symphony Orchestra; FROM WEST SIDE STORY; Orchester Wuppertaler Kristjan Järvi, conductor; Barbican Hall. Schüler; Toshiyuki Kamioka; Stadhalle. 2-4 Washington, DC: ORCHESTRAL 5 Eugene, OR: WE ARE WOMEN: SONGS OF LEONARD SUITE FROM ON THE WATERFRONT; BERNSTEIN; Oregon Bach Festival; Philip Cutlip, Jeffrey SYMPHONY NO. 3: KADDISH; National Picon, Elizabeth Shammash, Lauren Worsham, singers; Symphony Orchestra; Cathedral Choral Jamie Bernstein, narrator; Soreng Theatre. Society; Kelley Naissief, soprano; Samuel 9 Leipzig, Germany: OVERTURE TO CANDIDE, Pisar, Speaker; John Axelrod, conductor; SYMPHONIC DANCES FROM WEST SIDE STORY; Kennedy Center. (Selections for concert 5 Cologne, Germany: SYMPHONIC performance); Gewandhausorchester; Kim Criswell, DANCES FROM WEST SIDE STORY; singer; Wayne Marshall, conductor; Rosental. Ford-Sinfonierichester; Bernhard Lang, 11 Gozo, Malta: CHICHESTER PSALMS; Laudate conductor; Philharmonie. Pueri Choir and the Malta Philharmonic Orchestra; 9,10 Dessau, Germany: THREE DANCE Joseph Vella, conductor; St. George’s Basilica. EPISODES FROM ON THE TOWN; 17 Dresden, Germany: PRELUDE, FUGUE & RIFFS; SWR Anhaltische Philharmonic Dessau; Big Band; Wayne Marshall, conductor; Kulturpalast. Russell N. Harris; Theater. 15,16 Stralsund, Germany: DIVERTIMENTO; Philharmonisches OrchesterVorpommern; Karl Prokopetz, conductor; Theater. August 15 Vienna, Austria: ; Wiener Klaviertrio; Konzerthaus, Mozart Saal. 5 Harlech, UK: OVERTURE TO CANDIDE; College Harlech Orchestral Summer School; Wyn Davies, 17 Bonn, Germany: OVERTURE TO conductor; Harlech Theatre. CANDIDE, ORCHESTRAL SUITE FROM CANDIDE; Beethoven Orchester Bonn; 8 Freiburg, Germany: OVERTURE TO CANDIDE; Kristjan Järvi, conductor; Beethovenhall. MDR Sinfonieorchester; Karl Heinz Steffens, conductor; Sektkellerei. 18,19 Cedar Rapids, IA: CANDIDE; (New York City Opera version); Cedar Rapids Opera Theatre; Daniel Kleinknecht, conductor; Theatre Cedar Rapids. 21 Greifswald, Germany: DIVERTIMENTO; Philharmonisches Orchester Vorpommern; Karl Prokopetz, conductor; Theater. 24,26, Berlin, Germany: CANDIDE (Scottish Prelude, Fugue & Riffs will be honoring his creative life 28,30 Opera Version); Staatsoper Berlin; sent upon request. Please send and we shall do our best to Vincent Boussard, director; Wayne all correspondence to: include such information in Marshall, conductor; Schillertheater. Craig Urquhart forthcoming calendars. Prelude, Fugue & Riffs TM Prelude, Fugue & Riffs is 25 Sapporo, Japan: OVERTURE TO 121 West 27th Street a publication of The Leonard CANDIDE, SERENADE, SYMPHONIC Suite 1104 Bernstein Office, Inc. DANCES FROM WEST SIDE STORY; New York, NY 10001 ©2011 by The Leonard Sapporo Symphony Orchestra; Ken Fax: (212) 315-0643 Bernstein Office, Inc. Takaseki, conductor; Art Park. e-mail: Managing Editor: Craig Urquhart curquhart@leonard­bernstein.com Editor: Jamie Bernstein We appreciate notice of any Design: BorsaWallace, NYC performances or events featuring Visit our website: the music of Leonard Bernstein or www.leonardbernstein.com 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

ony Classical Original- S Series has newly released several recordings with Bernstein conducting. In addition to a recording of the Maestro conducting A Faust Symphony by Franz Liszt and Beethoven Symphonies No. 5 and No. 7 with the New York Philharmonic, there is a recording of Bernstein conducting the Israel Philharmonic with Christa Ludwig and René Kolo in Mahler’s Das Lied von der Erde. Also newly available is a New York Philharmonic. For all these new releases, recording of Bernstein conducting That release includes Gershwin’s Sony Classical is providing the and performing Gershwin’s An American in Paris with The original packaging artwork and Rhapsody in Blue with the Columbia Symphony. program notes. ■