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News for friends of Spring/Summer 1994 Writing the Life of Leonard Bernstein To Our Readers

:: ike the Japanese gong in L which he collected the stubs of his composing pencils, Leonard Bernstein's life work continues to resonate long after the moment of striking has passed. This yea r marks the 50th anniversary of Bernstein's SYMPHONY NO. 1, "JEREMIAH". Its final move­ ment uses a text from Lamenta­ tions: "How doth the city sit soli­ tary, that was full of people! How is she become a widow!. .. She weepeth sore in the night and her tears are on her cheeks." In the absence of the , his sym­ phony grieves eloquently for Hebron. A happier resonance rings in the air down in Nashville, where the Leonard Bernstein Center for Education Through the Arts has just received a generous donation from The Country Associa­ LB at a Philharmonic rehearsal, , 1960. tion. Leonard Bernstein wou ld surely be gratified to see the many by to settle down to write at home in rial ) editing, the manuscript was cultural streams of Nashville join­ England. Quite soon, however, I boiled down to less than half that ing together to redirect the arts inishing my biography of recognized that unless I got to size. It's sti ll solid but just light into the nation's classrooms. Leonard Bernstein proved work on the book immediately, I enough to read in bed. Perhaps most resonant of all even more difficult than wou ld have forgotten the begin­ I proceeded simu ltaneously on this season is the publication of starting it. After nearly ning of the story before I had two fronts, researching only a few Humphrey Burton's biography of F Leonard Bernstein. Reading about three years, I had grown accus­ reached the end. Basically, I am a years ahead of my narrative. And tomed to my place - the 32nd television man, accustomed to . I ca n't tell you how exciting it was Bernstein's life, with all its breath­ flo or of a tower block opposite relatively short bursts of high in ­ to put anecdotal fle sh and blood taking permutations and astound­ - and to my tensity . A complete change of ap­ on the outline structure of LB's ing creative output, we can only monk-like routine of research and proach was necessary, so my wife life. His letters in particular were marvel, and feel grateful that our writing, interspersed with tennis Christina and I furnished an apart­ a revelation. I was grateful when lifetime coincided with his. • games with my archivist colleague ment and settled in New York. In Shirley Bernstein allowed me to Karen Bernstein, and five-mile jogs September 1991 I composed my see th e very touching letters she had aro und under the first sentence: "He was alm ost received in 1950 from her brother, auspices of th e New York Road born on the kitchen floor ... " It in which LB declared his determi­ Runners Clu b. What a lifeline was a great relief to be on my way. nation to marry Fe lici a Montea legre. Central Park proved to be! I wrote in longhand, covering My heartfelt thanks also to Jam ie When I began work on this bi ­ approxim ately 6,000 note-book Bernstein Thomas, LB's elder ography, in the spring of 1991, I pages. Kelly Briney, my faithful daughter, who made ava ilable her thought naively that I'd have the typist, turned these much-amended mother's correspondence. Espe­ who le thing done in 18 months. I scribbles into nearly 2,000 pages ciall y important are letters written planned to carry out the primary of typesc ript. After further revi­ before they were married - in 19 51 research and interviews and then sions and some savage (but essen- (con tinued on page 5) The BETA Fund

BETA Fund Supports A Touch of Greatness Bernstein Center Gets CMA Support Filmmaker Sullivan first met continues to give his time and ex­ he Leonard Bernstein Center Albert Cullum while studying to pertise to new challenges in the Tfor Education Through the become a teacher at Stonehill Col­ fields of education and the arts. Arts has announced its endorse­ lege in Massach usetts. It was a Under the auspices of the Massa­ ment by The Country Music Associa­ BETA life-changing experience. Su lli van chusetts Department of Youth Ser­ tion (CMA) and receipt of a pledge of says this film is in no way a simple vices, he is currently working with $50,000 to assist in the Bernstein FUND hagiography of Cull um , but sets young adu lts ages 12 to 18 in an Center's program development. out rather to "explore creativity in effort to use the performing arts as "This unprecedented move by the classroom and look at how a a means to instill self-esteem in the CMA Board emphasizes a con­ teacher can create an environment young juvenile offenders. tinuing concern and commitment he Bernstein Education where self-esteem and academic Sullivan envisions A Touch of our industry leaders have for edu­ TThrough the Arts (BET A) success flourish." Greatness as a way of engaging, cation and the role our industry Fund is pleased to announce its A Touch of Greatness will look invigorating and challenging edu­ can play in assuring our country's support of a new documentary back over 30 years of classroom cators before they enter a class­ abi li ty to compete in the 21st cen­ film by Leslie Sullivan. This film expenences, many unconven­ room. As a teacher and a citizen, tury," said Ed Benson, the CMA is entitled A Touch of Greatness tional, some profound. It will mix Albert Cullum has never failed to Executive Director. and has as its subject the life and fascinating footage shot more than recognize that one of the most "Frankly, the idea of the work of the extraordinary educa­ a quarter century ago by then un­ critical political and social issues Bernstein Center using all the arts, tor Albert Cullum. Mr. Cullum is known director Robert Downey facing this country is the deplor­ including country music, to moti­ renowned as a teacher who em­ with Sullivan's own cinema verite ab le state of the American class­ vate students to learn everything braces the unconventional, as well style film of former students in room. In this regard, A Touch of from math, science and history as an author of many books with their surroundings, including Greatness will challenge American [... ] to basic living skills is a very intriguing names such as The Ge­ Emmy award-winning actress educators to involve all children in exciting prospect," Benson ex­ ranium On The Window Sill Just Laurie Heinemen, civ il-rights law­ meaningful and constructive learn­ plained. "While supporting th is Died but Teacher You Went Right yer David Pugh and psychodra­ mg expenences. unique educational reform initia­ On and You Think Just Because matist Louise Lippmann. Les li e Su lli van has been Execu­ tive, we will also be exposing You 're Big You 're Right. Mr. Cullum, who is in his 70s, tive Producer for two other inde­ many young people to country pendent films: The Other Olym­ music, which helps advance the pians, which focused on physically CMA's strategic purpose." disabled athletes and was broad­ Scott Massey, founding presi­ cast on PBS in 1989, and Because dent of the Nashville-based the Dawn, which was screened at Leonard Bernstein Center for Edu­ both the Berlin and Toronto Film cation Through the Arts, noted Festivals. The BET A Fund is that as a creative force, the coun­ pleased to be associated with this try music industry knows firsthand va lu ab le project. • the power of music and the other arts in stimulating the learning process, which is the same power ,I that Leonard Bernstein recognized in his work with young people. The CMA's endorsement opens the door for an on-going working partnership between the Bernstein Albert Cullum and student rehearse for A Midsummer Night's Dream, l 989. 2 Center and the country music industry. "The country music creative community can offer invaluable input on programming and execu­ tion of the Center's education ini­ tiatives," said Massey, "and we're (continued on page 6) YOUNG PEOPLE'S CONCERTS

Bringing the YOUNG PEOPLE'S CONCERTS into Today's Classrooms

by Mark Putnam and Margaret Officer

erhaps there is no better mea­ Psure of the effectiveness of a teaching strategy than its portabil­ ity across time: combining the past with the present to inform the fu­ ture. This was our first impres­ sion while observing video tapes of Leonard Bernstein's YOUNG PEOPLE'S CONCERTS series be­ ing shown to a group of sixth grade students. Indeed the tapes are in black and white and refer­ ences are made to life in the 1950s and 60s, but today, three decades later, young students still watch and listen as if this were live televi­ sion. Universally, they become engaged learners as Maestro Bernstein draws them into the wonderful (and often foreign) Alexander Bernstein with the students of Eakin Elementary School, Nashville. world of great music. His genuine care and sincere desire for others veloped by our Teaching Artists to learning that is more clearly under­ and they reflect on previous to share in comes enhance the discovery of the ob­ stood and less fatiguing. thoughts. One student exclaimed magnificently through the televi­ ject of study. Each study plan Students have responded posi­ at the end of a lesson, "Wow! sion to each viewer. provokes the teacher and the stu­ tively. Journal sheets have demon­ The music seemed to be simple at As the YOUNG PEOPLE'S dents to ask new and personal mu­ strated that the students are very first and then began to expand and CONCERTS have been re-intro­ sical questions before, during and involved in the lessons. Facial ex­ expand and expand . .. like life! " duced into elementary classrooms, after viewing the tape. It also en­ pressions are filled with extreme What is the role of the Teach­ researchers at the Bernstein Center courages the student to reflect on concentration and are exciting to ing Artist? Central to this discus­ for Education Through the Arts in the growth of his or her musical watch. Some students become in­ sion is the Bernstein Center's com­ Nashville, Tennessee, have asked self. This learning method, driven dignant when hall noises prevent mitment to experiential learning. many fundamental questions, such by curiosity as well as by today's them from hearing details of the Generally, music is taught by spe­ as, "How will teachers decide to classroom dynamics (such as space lectu res or music. Some have indi­ cialists who see it as their respon­ break up the tapes and what effect and time limitations), requires de­ cated that they anticipate and en­ sibility to explain art theory in will that have on students' pro­ viation from the Guide and even joy the YPC lessons more than any technical and historical terms. cessing and enjoyment?" In an at­ from the YPC's themselves. Mae­ other school activity. Students This app roach is an intellectual tempt to capture the successful use stro Bernstein packs into each willingly respond to questions and one, requiring analysis and eva lua­ of this material, teachers and broadcast more musical informa­ record their learning experiences. tion. The Teaching Artist is con­ Teaching Artists have identified a tion than can possibly be investi­ Maestro Bernstein stands before cerned more with a listener's aes­ number of foreground issues. gated in a single viewing or with a the class as a trusted authority. thetic experience rather than with These early insights are helping to single lesson plan, no matter how Students are able to understand cognition alone, making it an ideal 3 clarify and expand the function of comprehensive. And though the his metaphors and create meta­ approach for school children. The the YPC tapes, the accompanying Maestro was able to dovetail idea­ phors of their own. Through par­ TA first searches for an "entry­ Guide Book for Study Groups, the to-idea for an hour-long lecture/ ticipatory activities they internal­ point" that can bring focus to li s­ roles of the classroom teacher and concert, teachers are discovering ize his discussions and question his tening. (For example: develop­ the Teaching Artist, and the stu­ that breaking a single tape into conclusions. They compare their ment in music is much like the struc­ dents as participants. several lessons or stopping the thinking with Bernstein's, their tural development of a building.) The YPC Guide Book was de- tape at intervals creates a kind of classmates', and their teacher's (continued on page 6) ''JEREMIAH" at 50

SYMPHONY NO. 1, "JEREMIAH" and the American Symphony

SYMPHONYNo. 1, "JEREMIAH" his entire output in the form. Re­ was composed between 1939 and sponding to an interviewer, The Pittsburgh Sy rnphon 1942. Leonard Bernstein led the 111rr1 ,, Y O rchesrra 11 11 11 Bernstein once agreed that his l/""<'*11,.,..,.,,., Pittsburgh Symphony Orchestra, symphonies were about faith. with mezzo-soprano Jennie Toure/, ~~~}I'Hr(jf F:;.:::··· ········· Even more to the point, they are in the first performance of the .::,:~:· /,::.·:::..~.. ,;::.::: ... ~,.'~.::, about a sense of loss - the loss (as work on 28 January 1944, at the ' l f!f111, ,, ,,JI! he found in ) accompa­ l'H":·111 .11 . We offer the fol­ Jennie T ourel nying the discovery that, while lowing thought-provoking analysis God created man in His own im­ of "JEREMIAH" in hopes of age, He did not create Himself in stimulating discussion and further the image of man. examination of the work. The melodic style of ,, .. ,,4,.,,, .. ,,.,..,,,.,.. "JEREMIAH" is also recognizably by Benjamin Folkman that of Bernstein's later sympho­

i btt}::·'.·~.'.-'.,'._·~~·::t:,:: •n,I ~:';,,,~·,:: 74, ,.,.,,,,r· nies, particularly in the soaring n the 50th anniversary of • , .... 1. string theme at the center of the 0 Leonard Bernstein's public ::: ,,;~.:,'.'._;;:·~;;:.;;~~:;:.~.;c:,:;;·.~·: Profanation scherzo and the debut as a symphonist with finale's plaintive wind-meditation "JEREMIAH", it is worth noting on widowed Jerusalem. What is that neither Bernstein, the most not yet present is the hard-edged, celebrated American musician of brash, populist Americanism his time, nor his creative godfather which an older Bernstein would , long hailed as the surely have employed to give an Dean of American , sits air of derision and decadence to squarely within the American sym­ the scherzo, sharpening its pro­ phonic tradition. Copland, at his grammatic point. As it stands, the most characteristic, does not truly Bernstein, by contrast, found it ven was the progenitor of Mah­ movement is not particularly belong to this tradition at all; quite natural to sermonize musi­ ler's RESURRECTION SYM­ "wicked": without verbal prompt­ Bernstein's relationship to it is de­ cally on large issues - indeed, PHONY and Strauss's DON ing, few listeners would hear the cidedly oblique. some critics have resented his QUIXOTE! To put it another brilliant and vigorous transforma­ The American symphony is a compulsion to do so. Where way, the American symphony is tions of first-movement material as Beethovenesque (rather than Bernstein's symphonic homilies essentially a neo-Classical form; "profanations." One doubts, Mozartean) phenomenon. differed from those of colleagues Bernstein's Symphonies are however, that a more evil scherzo "Beethoven's sense of duty," as such as Sessions, Harris, Schuman, unshakably Romantic. would have improved the sym­ musicologist Donald Tovey ob­ Piston, Mennin and Diamond was It is significant that Bernstein phony. The largest issue, even in served, "is to preach," and this is in their dramatic orientation. The wrote the vocal finale of Biblical program music, is still the why Copland is not one of our standard American symphony is "JEREMIAH" long before he be­ power and inevitability with central symphonists, for compos­ an abstract work, aurally enacted gan the other movements - even which one note follows another, ing musical sermons did not come in the theater of the mind; before he realized that his lamen­ and these qualities were so obvi­ naturally to him - his "laying down Bernstein's symphonies are stage tation would figure in a sym­ ously present on page after page of the law" style is oracular rather works that invite us to react with phony. Through instinct, in other "JEREMIAH" that the New York than hortatory. Copland's SHORT both ears and eyes to vis ible pro­ words, he was already a Romantic Critic's Circle selected it on the SYMPHONY, his second and by tagonists: the mezzo-soprano of symphonist before he knew he was first ballot as the best American 4 leaps and bounds his finest, insists "JEREMIAH", the of THE a symphonist. In fact, when the orchestral work of 1943-44. • on modesty both in its and its AGE OF ANXIETY and the twenty-one-year-old composer music - brilliant, lithe, witty with narratrix, mezzo-soprano and pia­ sketched the "JEREMIAH" setting Benjamin Folkman has written no pretense to monumentality; in nist of KADDISH. If the in 1939, he laid the foundations for News as well as program his THIRD SYMPHONY, with its Beethoven of Sessions and Piston not only of his technical and "pro­ notes for the New York Philhar­ obligatory striving after a Major was the ancestor of Brahms' tagonistic" approach to the sym­ monic and Carnegie Hall Presents. Statement, he failed to achieve the THIRD and Stravinsky's SYM­ phony but, also, of the philosophi­ quintessential Copland. PHONY INC, Bernstein's Beetho- cal agenda that would dominate The Biography

Writing the Life of LB, continued Applause for Cover Photo Burton's Background Bernstein

he first reviews of Humphrey erschel Levit, whose 1960 TBurton's new biography of Hphotograph of Leonard Leonard Bernstein, published by Bernstein appears on the dust jacket Doubleday in the of Humphrey Burton's upcoming and Faber & Faber in the United Bernstein biography, was a long­ Kingdom and Commonwealth, are time friend of the Maestro's and a calling it "unlikely to be sur­ Renaissance man himself, working passed" and "simply the best of as a professional photographer, the biographies." Publishers artist, designer, writer and profes­ Weekly goes on to comment that sor of design and photography at "[Bernstein] has long needed a so­ the Pratt Institute, in . ber, well-researched and encom­ In 1960, when the New York passing biography, and this is it." Philharmonic was still at Carnegie The Kirkus Reviews say Burton 's Hall, Bernstein invited Levit to biography is "a sensitive, well-bal­ photograph the orchestra during anced account of the great Ameri­ rehearsals there. Bernstein placed can maestro's life and works." Levit next to the cellos. The or­ Bernstein friends, colleagues chestra was rehearsing Ravel 's and collaborators are also praising SHEHERAZADE. At the mo­ Leonard Bernstein and Humphrey Burton, 1978. the book. writes: ment the photograph was taken, (continued from page 1) years. I've experienced so many "This painstakingly-researched Levit later wrote on the back of it was Felicia who was urging LB aspects of his life as I've listened to tome traces Lenny's bigger-than­ the picture's enlargement, to make up his mind! Also valu­ his music and pored over the let­ life life from beginning to end. It Bernstein was "holding back the able for Broadway historians are ters, date-books and press clip­ is the frantic tale of a sacred mon­ brass," which explains the striking the letters they exchanged during pings collected over half a century. ster who, in his flawed perfection, left hand gesture. Levit used a the out-of-town run of WEST All I can do now is wait for publi­ changed the way the world lis­ Hasselblad camera and, because SIDE STORY in 1957, when cation and critical response. Er­ tens." Actors and writers Adolph he was so close to Maestro Felicia was in Chile. rors will be detected, I'm sure, but Green and Green Bernstein, a standard lens. Upon Stories about LB, concert pro­ I doubt whether anybody will per­ call Burton's biography "a book seeing Levit's work, Bernstein grams and private recordings were suade me I should have written a to be treasured," while lyricist wrote: "I love the photos and send still being forwarded to me long different kind of book. For ex­ says it is "a beautiful, many thanks for them." after Doubleday's copy editor had ample, early on, I became con­ loving, important record of the Not only does this photograph cried "Basta!" Indeed, I should vinced that there was no substitute many lives that made up the extra­ appear on the dust jacket of the like to thank every one of you, for a chronological narrative, and ordinary life of Leonard Bernstein."• American edition of the new several hundred in all, who re­ I was equally certain that LB's Bernstein biography by Humphrey sponded to my request for compositions were an integral part Burton published by Doubleday, Bernsteiniana issued in prelude, of his life and had to be discussed but it is also shown on the front fugue & riffs back in 1992. Much as the tale unfolded rather than jacket of the British and Common­ - too much - had to be put being confined to separate discus­ wealth edition of the biography, aside for another time. Inciden­ sion elsewhere. I hope you'll published by Faber & Faber. In tally, my next endeavor in this approve. And in closing may I say addition, it is used on the latest re­ field has the working title LB and that I'm not unduly proud: I'll lease by Friends: Selected Correspondence. be happy to receive comments, of the compact disc entitled The 5 So please look through your criticisms and corrections from Joy of Bernstein. • caches of letters from Mr. any reader of pf&r, for consider­ Bernstein and if at all possible, ation in what I hope will be the send me a copy in care of The Second Edition. • Leonard Bernstein Society. Meanwhile, I shall greatly miss the unique proximity to LB that I have enjoyed these past three In the News

The Boston Symphony Announces CMA Support, Bernstein Memorial continued

n April the Boston Symphony (continued from page 2) IOrchestra announced the nam­ genuinely looking forward to that ing of 's new Concert collaboration." Hall in honor of . The The Leonard Bernstein Center naming gift was given by Norio for Education Through the Arts, Ohga, president of the Sony Cor­ founded in 1992, is an interna­ poration. It was also announced tional research and development that the new Hall will be located center that uses the arts and tech­ on the Leonard Bernstein nology as a new approach to Campus at the former "Highwood" learning. Its programs use the arts estate, 120 acres adjoining and technology to teach all sub­ Tanglewood which were pur­ jects, including math, science, his­ chased by the Orchestra in 1986. tory and reading. The Center is The Bernstein Campus now will currently developing programs in become the location of much of 10 model schools in the metropoli­ the activity of the Tanglewood tan Nashville region and will be Music Center, the summer train­ exporting programs nationwide as ing programs operated by the Bos­ ton Symphony Orchestra patrons ing these sites after Bernstein, early as the '94-'95 school year. ton Symphony. Leonard Bernstein George and Elizabeth Krupp. This Ozawa and Copland, the Boston "The diverse resources and tal­ was a student at the TMC in its building comprises the rehearsal Symphony Orchestra and ent within the country music in­ first year, 1940, and returned vir­ rooms, recording facilities, dress­ Tanglewood have made lasting dustry will play a vital role in our tually every year to teach the stu­ ing rooms, and student center for tributes to three musicians and development of programs," said dents and conduct the BSO. the new Seiji Ozawa Hall. The friends always dedicated to the Massey. "This partnership is a Also named for Leonard newly expanded TMC library on education of young musicians. • prime example of how the profes­ Bernstein is the Performer's Pavil­ the campus will be named in sional, corporate and private sec­ ion in the new hall, given by Bos- honor of Aaron Copland. In nam- tors can work together in support of education." •

YPC in Today's Classrooms, continued

(continued from page 3) Students and teacher learn to­ know that Maestro Bernstein's de­ For information on how to ob­ In the YPC tapes, Maestro gether, causing both to think, sire for all to experience the joy of tain the YOUNG PEOPLE'S Bernstein has clearly outlined question, and respond. The en­ music continues through his own CONCERTS videotapes and many such entry-points for us. thusiasm for discovery is a shared teaching legacy. • Guide Book for Study Groups, The Teaching Artist works with experience. Both music specialists please : the classroom teacher to clarify a and teachers with limited musical Mark Putnam is a teaching artist The Leonard Bernstein Society particular concept. Then, to­ knowledge can provide excellent for the Nashville Institute for the 25 Central Park West, Suite 1-Y gether, they invent activities that learning opportunities through the Arts and music teacher at Belmont New York, N.Y. 10023 will elicit a feelingful reaction expertise of Leonard Bernstein, University. Margaret Officer is a Fax: (212) 315-0643 within each student. The hope is with the collaboration of a Teach­ 6th grade teacher at Eakin El­ 6 that, upon reflection, the student ing Artist, the use of the Guide ementary School, Nashville. will connect with the music on a Book, and the teacher's own will­ visceral level and apply this expe­ ingness to take chances. rience to other musical situations. The original YOUNG The YOUNG PEOPLE'S PEOPLE'S CONCERTS broad­ CONCERTS videotapes open up a casts became a watershed in the whole new dimension of instruc­ lives of many young music enthu­ tion for the classroom teacher. siasts. How rewarding it is to Looking Ahead

Holocaust Scottish Opera The Joy of Bernstein from Memorial Concert in Deutsche Grammophon at Vatican St. Louis Premiere

n April 7, 1994, Pope John his coming May and June, n May 3, 1994, Deutsche 0 Paul II, accompanied by TThe Opera Theatre of St. 0 Grammophon will release a Chief Rabbi Elio Toaff of Rome, Louis will perform the United new compact disc entitled The Joy attended a concert commemorat­ States staged premiere of the Scot­ of Bernstein. This CD features ing the victims of the Shoah in the tish Opera vers ion of Leonard over 70 minutes of Maestro Aula Paolo VI in the Vatican. Bernstein's CANDIDE. Reworked Bernstein's favor ite music played Maestro Gi lbert Levine led the for numerous revivals since its by hi s favor ite orchestras, includ­ Royal Philharmonic Orchestra Broadway ope nin g in 1956, ing selections from Gustav from and the Capella CANDIDE was revised again in Mahler's FIFTH SYMPHONY, Giulia Choir of St. Peter's Basilica. 1988 with the co ll aboration of its Aaron Copland's APPALACHIAN The program included Max composer. The St. Louis cast wi ll SPRING, 's RITE Bruch's wordless KOL NIDRE, feat ure Constance Haumann as OF SPRING, and George , ON THE WA­ followed by the Adagio movement Cunegonde, with John Stevens, Gershwin's RHAPSODY IN TERFRONT, of Beethoven's NINTH SYM­ Josepha Gayer and Stephen BLUE, with Maestro Bernstein and DIVERTIMENTO. PHONY, and PSALM 92 by Franz Combs. Co lin Gra ham is the di­ him se lf at the . It will also The joy of Bernstein will come with Schubert. Closing the memorial rector. For more information on include the first release of a CD booklet containing notes by concert were two excerpts from performance rim es and rickets, Bernstein the Vienna Bernstein biographer and longtime Leonard Bernstein's SYMPHONY please contact The Opera Theatre Philharmonic Orchestra in his colleague Humphrey Burton, plus NO. 3, "KADDISH", and of Sr Louis at (3 14) 961-0644. • own work, PRELUDE, FUGUE & excerpts from Bernstein 's writings, . • RIFFS. Also on this compact disc films and interviews. • are selections from ,

Colorado Symphony to Note to Readers Celebrate Bernstein

n May 20 and 21, the Colo­ prelude, fugue & riffs will be sent prelude, fugue & riffs"' is a publi­ 0 rado Symphony wi ll present upon request. cation of The Leonard Bernstein "A ll Bernstein Pops". This con­ Please send all correspondence to: Society. ce rt wi ll be under the of Craig Urquhart © 1994 by The Amberson Bernstein protegee prelude, fugue & riffs Group, Inc. and will feature the Colorado 25 Central Park West, Suite 1Y Executive VP: Harry]. Kraut Symphon y and Chorus presenting New York, NY 10023 Manager: Craig Urquhart THREE DANCE EPISODES Fax: (212) 315-0643 Editorial: Ned Davies FROM "ON THE TOWN", Design: BorsaWallace, NYC Tax-deductible donations to CHICHESTER PSALMS, The Bernstein Education Through PRELUE, FUGUE & RIFFS, as the Arts (BET A) Fund, Inc. may be well as THREE SYMPHONIC Marin Alsop. sent in care of the same address. DANCES FROM "WEST SIDE We appreciate notice of any STORY". This concert will take 7 performances or events featuring place in Boettcher Hall in .• the music of Leonard Bernstei n or honoring his creative life and sha ll do our best to include such in for­ mation in forthcoming Calendars. Calendar of Events,

'· Parrial Lisring. Please nore rhar all dares and programs are subject ro change.

May May, continued June, continued Edinburgh: THR EE DANCE VARIA- 25 : Memories of Lenny; 21 Florence: SYMPHONIC DANCES TIONS FROM "ON THE TOWN"; Janice Levit, lecturer; YMHA FROM ""; National Youth Orchestra of Sco tl and; Kaiserman Branch. Chi cago Youth Symphon y Orchestra; Sian Edwa rd s, conductor; Royal Con- 24 Macon, GA: CHICHESTER PSALMS; Daniel Hege, conductor; Teatro Comunale. cert Hall. Mercer University Choru s; Richard 27 Brno, Czech Republic: CHICHESTER 9 Fullerton, CA: PREL UDE, FUGUE & Zielinski, conductor; First Baptist Church. PSALMS; Masterworks Chorale; RIFFS; Ca li forn ia State Uni ve rsity 26 Geneva: SYMPHONY NO . 2, "THE Ga len Ma rshall , conductor; The Ma han Band; Mitch Fennell , cond uctor. AGE OF ANXIETY "; Orchestre de la . 15,16 Ca nton, OH: FACSIMILE; Canton Suisse Romande; Jese Lopex-Cobos, 29 Kracow, : CHICHESTER Sy nt1ony Orchestra; John Russo, conductor; David Li vely, pianist; PSALMS; Masterworks Choral e; con uctor; William E. Ulm stattd Geneva Opera. Ga len Marshall, conductor; Kracow Performing Art Hall. 27-29 Palermo: SYMPHONIC DANCES Ca thedral. 14 Burlington, VT: CHICHESTER FROM "WEST SIDE STO RY "; PSALMS; Ve rm ont Symphony Orches- Orchestra Sinfonica Siciliana; Donato tra and Chorus; Kate Tamarkin, Renzetti, conductor; Teatro Go lden. conductor; Flynn Theatre. Welwyn, England: ; July Ca rillon Cha mber Choi r; Derek Harrison, conductor; St. Mary's Chu rc h. 2 : CHI CHESTER PSALMS; June Masterworks Choral e; Ga len Ma rsha ll , 16 Milwaukee: ; Milwau- conductor; Vigado Concert Hall. kee Chamber Orchestra; Stephen 2,4,8 St. Louis, MO: CAN DID E (Scorti sh Colburn , conductor; Vogel Hall. 4 Bratislava, Slovakia: CHI CHESTER 11,12 Opera version); Opera Theatre of St. PSALMS; Masterworks Choral e; Galen 18 Ann Arbor: WEST SIDE STORY; Ann 14,18 Loui s; Co lin Gra ham, Director; Stephen Marshall, conductor; International Arbor Civic Theater. 23 Lord, co nducto r; Opera Theatre. Concert Series. Frederick, MD: SYMPHON IC 3-4 Glendale, CA : WEST SIDE STORY; 7 Lenox, MA: Leonard Bernstein Cam - DA NCES FROM "WEST SIDE Hoo ver High Sc hoo l. pus and Leonard Bernstein Performers STORY"; The Symphony; 3-4 New York: ; Pavillion dedication ceremony; David Lockington, conductor; Gover- 10-11 The American Chamber Opera; Tanglewood Mus ic Center. no r Thomas Johnson High Schoo l. Do uglas Ande rso n, conductor; : SYMPHONIC DANCES 19 Hartford, CT: CHI CHESTER Ma rymount Co ll ege. FROM "WEST SIDE STORY"; PSALMS· Hartford Symphony Orches- 4-5 San Mateo, CA: CHI CHESTER Philharmonic Orchestra; Anto ni o tra and The Worcester Choru s; Mich ae l PSALMS; Masterwo rks Chorale; Galen Pappano, conductor; Mann Auditorium. Lankester, co nductor; The Bushnell Marshall, co nductor; San Mateo Memorial Hall. 8 Prague: CHICHESTER PSALMS; Mas- Perfoming Arts Ce nter. terwork s Chorale; Galen Marshall, con- Anchorage, AK: CONCERT SU IT E 6 London: SONGFEST; Philharmoni a; ductor; The Rudolphinum. FROM "WEST SIDE STORY"; Leonard Slatk in , co nductor; Linda 19,20 Sapporo: CANDIDE (1989 Narrated Anchorage Co nce rt Choru s; Gra nt Hohenfeld, Jean Rigby, Thomas Cochran, conductor. 21 Co ncert Version, Japanese translation Hampson , Cy nthi a Clarey, Jerry by Kunihiko Hashim oto); Sapporo 20 Worcester, MA: CH ICHESTER Hadl ey, Willliard Wh ite, soloists; Sy mph ony Orchestra; Pacific Music PSALMS; Hartford Symph ony Orches- Royal Festival Hall. Festi va l Choru s; Kunihiko Hashim oto, tra and The Wo rcester Choru s; Michael Darmstadt: CONCERT SUITE FROM narrator; Yutaka Sada, conductor; Lank ester, co nductor; Mechani cs Hall. "WEST SIDE STORY"; Mi tgli eder Sapkoro Shimin Kaikan, Sa pporo Art 20-21 Denver: THREE DANCE EPISOD ES des Orcheste rs Darmstadft; We rk start- Par Outdoor Stage. FROM "ON THE TOWN"; buhne Sta atstheater Darmstadt. 23 Lenox, MA: The Leonard Bernstein CHICHESTER PSALMS; PR ELUDE, 7 Jerusalem: SERENADE; Jeru sa lem Memorial Concert, SERENADE; FUGUE & RIFFS; and THREE Symt1ony Orchestra; David Shallon , The SYMPHONIC DANCES FROM con uctor; Anna Ak ik o-Meyers, so loist; Orch estra; Seiji Ozawa, conductor; "WEST SIDE STORY"; Colora do Sym- Jeru sa lem Th eatre . , ; The Shed. '.:? phony Orchestra; Marin Alsop, conduc- :5· 11 -19 Upland, CA: WEST SIDE STORY; The ;:;; tor; Boettcher Concert Hal l. Cl.. Grove Th ea ter. 21 Modena: CONCERT SUITE FROM g "WEST SIDE STORY"; PRELUDE, 14 Halle: THREE DAN CE EP ISODES ~ '< FRO M "ON THE TOWN "; r, FUGUE & RIFFS; Nederlands August ;, Blazersensemble; Richard Duffalo, con- Handelfestspi elorchester; Steven Sloan, Cl.. co ndu ctor; Opernha us Hall e. 11 -21 -0 ductor; Teatro Co munale. Rolling Meadow, IL: WEST SIDE t)" 8 17 Harrisonburg, VA: CH ICHESTER STORY; Up and Co ming Theatre ~ 23 Milan: SYMPHONY NO. 2, "THE Co mp any. AGE OF ANXIETY"; Orchestra PSALMS; Shena nd oa h Valley Bach Fes- Filharmonica della Scalia; Robin ri val; Kenneth J. Nafz ige r, conductor; 15,16 Lenox, MA: in th e Cla ss- Sutherland, piano; Seiji Ozawa, C.K. Lehman Auditorium. room (ed uca tional workshop); conductor; Teatro alla Scala. 16,18 Chicago: SYMPHONIC DANCES Alexander Bernstein, host; Berkshire 21,28 Co untry Day School. Philadelphia: Memories of Lenny; . FROM "WEST SIDE STORY"; Janice Levit, lecturer; YMHA Center City. Chicago Youth Symphony Orchestra; 20-24 Wichita: WEST SIDE STO RY ; Music Daniel Hege, conductor; Orchestra Hall. Th ea tre of Wich ita.