sign in sign up
<<
Home , Leonard Bernstein

News for Friends of Leonard Bernstein Spring/Summer 2013 Artful Learning Celebrates Success © De rrin B a tt l e s / P olara St udio

Student artists stand proudly with Alexander and Jamie Bernstein in front their glass and light installation during the Jackson Middle School 15 Year Celebration. The project took five months to design and fuse the glass components. Each segment is a metaphoric representation of the Artful Learning model.

n May 14 and 15, 2013, The celebration featured a retro- Artful Learning approach. The Jamie and Alexander spective slide presentation, as well entire faculty and staff was trained Bernstein joined The as current and former Jackson extensively for three consecutive OJackson Middle School Middle School students sharing years. This inspirational method of in Portland, Oregon for a two- how Artful Learning transformed teaching and learning continues to day event to honor and celebrate their lives. The students show- thrive at the school, enthusiastically 15 years of implementation of the cased an ambitious glass and light supported by the Jackson PTA and visionary Artful Learning program. installation which they designed community. Jackson Middle School The dedication ceremony was and created with mentoring from has been transformed into a living attended by Jamie and Alexander, Artful Learning Master Trainer and gallery of creative learning by a whose father's educational phi- Classroom Practitioner, Ann Ott- visionary team of educators and losophy was the inspiration for the Cooper, in collaboration with local leaders who use imagination and Artful Learning model. Alexander glass artist Tracy Paquin. innovation — always in concert expressed the wish that his father In 1998, Jackson Middle School with rigorous academic standards could see how his vision had come teachers received a grant to initiate — to engage all students. to life at Jackson Middle School. a pilot program implementing the (continued on page 2)

3 Film with 6 8 Berlin to Celebrate 10 In the News Inside... Live Orchestra: Creating Archives Update Bernstein 13 the New Orchestration 7 Leonard Bernstein 9 Leonard Bernstein 14 Some Performances and Score Scholar in Residence Young People's Classics Artful Learning Celebrates Success, continued © De rrin B a tt l e s / P olara St udio

mong the many noteworthy Bernstein Aactivities covered in this issue, we are paying special attention to Artful Learning. As a teacher, Leonard Bernstein was his most complete self. Everything he did — from rehearsing an orchestra to telling a good Jewish joke to explaining the link between and Chomskyan linguistics — incorporated his unique process of sharing, asking questions and connecting ideas. Over the past two decades, Alexander Bernstein and his colleagues have been Patrick Bolek, Jamie Bernstein, Ann Ott-Cooper, Alexander Bernstein. patiently developing the Artful Learning school model, based on Leonard Bernstein’s The extraordinarily high student the combined communities of vision of learning as a creative expression of engagement — combined with the teachers, learners and parents one’s own inborn curiosity. fervent commitment to the Artful have become mutually curious, It is thrilling to see Artful Learning Learning model from educators, inspired, and ardently engaged. thriving in so many schools around the parents and the artistic commu- Artful Learning empowers . In May, Jackson Middle School nity — has yielded powerful, long- educators to redesign their in Portland, Oregon celebrated its 15th wished-for outcomes: thoughtful, curricula and daily instruction to anniversary of employing the approach. A empathetic, resourceful and intel- deliver a culture of creativity in the visit to that school reveals the fruits of the ligent young citizens with impressive school that resonates far beyond model, gloriously visible for all to see. First, academic achievement. In a review the students’ school experience. there are the astonishing works of art on of academic data collected over a The elegantly simple yet power- every wall space in the building — each of decade, Jackson Middle School met ful Artful Learning model employs which expresses a specific process of inquiry or exceeded academic standards, four elements: Experience, Inquire, in the students’ classes, from history to with consistent results in reading, Create and Reflect. Artful Learning science to math. Then there are the teachers, writing and mathematics. classrooms systematically employ bursting with enthusiasm and creativity as Artful Learning has already these four quadrants to strengthen they devise ever new connections to explore inspired over 150,000 students understanding, retention, transfer with their students. And then there are the nationwide, who have demonstrated and application. students themselves: surely the most excited, the kind of creative thinking and engaged, un-self-conscious middle schoolers responding that experts agree is the The Artful Learning® to be found in the land. The parents, too, key to success in the 21st century. Sequence: are working closely with the school to help keep this visionary approach to education EXPERIENCE gloriously alive; looking at their kids, What is they “get it.” Artful Learning? Students experience and respond Let us hope that from wherever he is now, to a large Concept using a

Prelude, Fugue & Riffs Spring/Summer 2013 Leonard Bernstein can look down and see Artful Learning is an education pro- Masterwork: anything from The the nimbus of creative engagement glowing gram and transformative learning Declaration of Independence, outward from Jackson Middle School. system that empowers educators to to Beethoven’s “,” use the Arts and the artistic process to Picasso’s “Guernica,” to the J.B. ■ to awaken and sustain a love of Periodic Table of Elements. The learning in all students. Masterwork awakens ideas, Established in 1990, this inno- emotions and new understandings vative educational model has been through visual, auditory and developing for nearly two decades, kinesthetic paths. Students leave using intensive collaborative analy- this phase curious and wanting to sis, field research and implementa- know more. tion in schools. The result is that

2 INQUIRE West Side Story Film with Students begin a substantive investigation, triggered by a Live Orchestra: Creating the Significant Question; they employ a variety of research techniques and explorations to investigate the New Orchestration and Score subject more deeply.

CREATE The first page of "The Rumble" from Students design and complete an and Irwin Original Creation — a tangible, Kostal’s manuscript artistic manifestation that Full Score from synthesizes and demonstrates 1961. No complete full score of the their understanding of their newly 1961 film has ever acquired knowledge. They design been located. a prototype, which leads to the final product, their Original Creation, which they can present to the rest of their community.

REFLECT

Students ponder their journey of discovery; their teachers ask them further thought-provoking ques- tions about what and how they learned. The students then docu- ment this process through detailed narratives, maps, metaphors or whatever they devise. Along the way, students have discovered new ideas and connections that will continue to resonate and gain meaning throughout their lives.

Schools throughout the United States have adopted the Artful Learning approach, and more are on the way. Current participating schools are: Jackson Middle School (Portland, OR), Salvador by Garth Edwin Sunderland the theatrical twenty-eight piece Elementary School (Napa, CA), orchestrations as the foundation, Meadow View Elementary School est Side Story is the most expanding them to a sometimes (Castle Rock, CO), Hillcrest W sophisticated orches- enormous orchestra approach- Community School (Bloomington, tral score ever created for the ing one hundred musicians, with MN), Wright Elementary Broadway stage. Bernstein brought flourishes that could only exist School (Des Moines, IA), Howe his background as a symphonic within the limitless bounty of an Elementary School (Des Moines, conductor and to every MGM recording studio, at some IA), Hillside Elementary School aspect of his work; this is particu- points featuring six , (West Des Moines, IA), Danville larly apparent in his astonishing eight trumpets, and in one partic-

High School - Academy of orchestrations for the show (cre- ularly thrilling passage, five xylo- Prelude, Fugue & Riff s Spring/Summer 2013 Creative Experiences (Danville, ated with Sid Ramin and Irwin phones, doubled by five pianos! IL), Fairview Elementary School Kostal), which are staggering in In adapting the film (Bloomington, IN), West Newton their unprecedented detail, com- orchestrations for live performance, Elementary School (Indianapolis, plexity and transparency. the challenge was to find a IN), Decatur Middle School Bernstein’s obliga- balance between Bernstein’s (Indianapolis, IN), Decatur tions forced him to turn over to original orchestrations and the Central High School — ICE his collaborators the process of film’s elaborations upon them. Community (Indianapolis, IN) and adapting the score from stage to This was necessary for both Midway Elementary — School of screen. When Ramin and Kostal musical and practical reasons. the Arts (Sanford, FL). ■ began work on the film, they used (continued on page 4)

3 West Side Story Film with Live Orchestra, continued

The same page from the new live performance edition, The same page from the original film conductor’s "short score", including the click, punches, and streamers notation the only complete source that was found for the 1961 film. This that the conductor uses to keep the orchestra in sync score reduces all the information from up to forty staves of with the film. down to just three or four staves.

A recorded score can be mixed minutes of music throughout create something in between the and finessed as much as necessary; the Prologue, creating orchestral two. Often this required a mix of eight screaming trumpets can be scores for new underscore and creativity and perspiration; you turned into a whisper, a lonely transitional cues, re-ordering won’t miss those five xylophones solo flute can be made to roar. numbers (Cool and Gee, Officer and five pianos (here played on But in live performance, what Krupke traded places for the three xylophones and one piano), the musicians play is what you film), etc. but only because of weeks spent are going to hear — there are no I closely studied both orches- tweaking every detail of just thirty tricks that can be played after trations to determine where the seconds of music. Additionally, the fact. Further, it simply isn’t best representation of the music many of the dance-music percus- Prelude, Fugue & Riffs Spring/Summer 2013 sensible for an orchestra to engage would lie for live performance sion cues were improvised by the five to play for only thirty with the film. Sometimes the best musicians in the film sessions, as seconds (to say nothing of finding choice was simply the untouched was the stratospheric trumpet solo space for all those pianos on an theatrical or film orchestration, in Mambo, and it was necessary already crowded concert stage). but usually it was necessary to to transcribe them by ear from the The first step was to go back to the source, the original Broadway ...the challenge was to find a balance score, and begin the process of incorporating the many musical between Bernstein’s original orchestrations changes that were made for the film — adding five additional and the film’s elaborations upon them.

4 soundtrack. To further complicate click and streamers. For this things, no complete full score of edition, the click, streamers and West Side Story Film the 1961 film has ever been locat- punches were created by conductor ed, and the original parts have and film music historian David been lost. The only beginning-to- Newman, who conducted the first with Live Orchestra end source for the film orchestra- performances of West Side Story tion was a conductor’s “short with Live Orchestra with the score”, which condenses all of Philharmonic at the the information from up to forty in June, 2011. staves of music down to just three It is always a thrill to work or four staves — a feat which is with this music. No matter accomplished by omitting most of how many times I hear it (and the information that would be most after this project I have heard it valuable to reconstructing it in full! many, MANY times), Mambo Then there was the laborious never ceases to be anything less process of cross-checking the new than thrilling, Somewhere any- score against the original film thing other than transporting. soundtrack. Many small cuts and Recreating the one hundred min- changes had been made to the utes of this extremely elaborate WSS Film with live orchestra recorded score by the film editors, was a unique challenge and these were not reflected in and a multi-year process, but it he West Side Story Film with Live Orchestra the manuscript musical materials. was hugely rewarding. I am grate- concert continues to delight audiences To ensure that these changes ful to Sid Ramin for his blessing T worldwide. It has recently been performed in were reflected in the new edition of this new performing edition; Houston, TX; Indianapolis, IN; Melbourne, of the film score, it was often to Peter West for his superlative Australia; Milwaukee, WI; Minneapolis, MN; necessary to track down one engraving work on this new edi- and Ottawa, Canada. This spring and summer missing quarter-second or added tion; to Tom Hooper for his tire- will bring additional performances worldwide. bar in a dense thicket of music, less and exacting proofing; and or determine the best way to to for his kind Toronto, Canada represent things like impossible counsel, expertise, and support in Roy Thompson Hall fade-outs of music that could not tackling the many challenges of May 28, 29; Toronto Symphony; be played at anything but full recreating this magnificent film Steven Reineke, conductor volume, or negotiate the cross- score for live performance. ■ fades of overlapping cues. Garth Edwin Sunderland is Vice Detroit, MI It is always a thrill to President of Project Development Orchestra Hall and Senior Music Editor for June 7, 8; Detroit Symphony; work with this music. the Leonard Bernstein Office, Jayce Ogren, conductor and Music Supervisor and No matter how many Orchestrator for “West Side Story , MD Film with Live Orchestra”. Strathmore Music Center times I hear it... June 13; Baltimore Symphony Orchestra; , conductor The last stage of the process was incorporating into the score Baltimore, MD the information the conductor Meyerhoff Hall needs to ensure that the orchestra June 14-16; Baltimore Symphony Orchestra; stays in sync with the film. This Marin Alsop, conductor is accomplished through several complementary systems. The Amsterdam, The Netherlands conductor and musicians have Koninklijk Theater Carre a click track coming through

June 23; Holland Festival; Radio Filharmonisch Prelude, Fugue & Riff s Spring/Summer 2013 their headphones that gives them Orkest; Wayne Marshall, conductor the film’s tempo at important moments in the score. Further, the London, UK conductor has a series of color- coded streamers on his video July 4-6; Royal Philharmonic; screen that indicate where phrases Jayce Ogren, conductor begin or music ends, warnings to speed up and slow down, and Lenox, MA where the click track comes in The Shed and out, as well as ‘punches’, July 13; Music Festival; flashes of light that reinforce the Boston Symphony Orchestra; David Newman, conductor 5 New York Philharmonic Archives Update

Marked COUR percussion part TE SY N E W YORK PHILHARMONIC ARCHIV from Leonard Bernstein’s set recently digitized for the New York Philharmonic’s Digital Archives

by Barbara Haws Many of the parts are signed by launch of the parts, the weekly visi- the principal players, with the dates tors have more than tripled, aver- n late February, the New York of performances. It is quaint to see aging 5,000. IPhilharmonic Digital Archives small lines marking out the beats On the personal side, Robin released 550,000 pages of music of the oboe cadenza that interrupts Brightman, an orchestra leader parts marked by Philharmonic the first movement of Beethoven’s from Maidstone Kent in the musicians. The lion’s share were Symphony No. 5, probably marked United Kingdom wrote, “Bowings those used for Leonard Bernstein’s by the orchestra’s principal oboist, are a tradition, a philosophy — performances. With most of Mr. Harold Gomberg.” something which is salted down Bernstein’s marked conducting The latest release is the over generations, not something scores launched two years ago, the successful culmination of a three which the leader puts together like parts now show another side of year project made possible by a a jig saw. And now your archive those performances: not only the generous grant from the Leon Levy is open to the public — bowings instructions of the conductor, but Foundation to digitize 1.3 million from Bernstein and company. also some of the “tricks” used by pages of archival material from This is a truly excellent service... I musicians to get through a difficult 1943 through 1970 — or what cannot tell you how over the passage, or their own quirky sense we call The International Era — moon I am.” ■ of humor, frustration or relief when spanning the time from Bernstein’s a long work is finally over. Philharmonic conducting debut Barbara Haws has been the New Dan Wakin in The New York through the end of his Music York Philharmonic's Archivist Times wrote, “ on Directorship with the Orchestra. and Historian since 1984. music stands provide the road map The recent launch took place for an orchestra’s performance, on the University of Michigan but scribbled annotations by the campus sponsored by the School of players impose a conductor’s ideas Music and Information Sciences, and serve as simple reminders to and was marked by a live webcast make an entrance or count presentation about the project

Prelude, Fugue & Riffs Spring/Summer 2013 correctly… The universal symbol by the Philharmonic’s Archivist to Watch! — a sketch of eyeglasses and Historian Barbara Haws and — abounds, along with added Digital Archives Manager dynamic markings and reminders Mitchell Brodsky. at the top left of a page of how Since the launch of the proj- many measures’ rest were noted at ect, there have been more than the bottom of a previous page, a 210,000 visits from 135 countries. sign of how the human brain needs Leonard Bernstein’s score for the to be reminded to concentrate over Mahler Ninth has been studied a the time it takes to turn a leaf. whopping 25,000 times! Since the

6 Leonard Bernstein Scholar in Residence

or the past year, writer and COUR Fmusic historian Harvey Sachs has TE SY N E W YORK PHILHARMONIC ARCHIV been The New York Philharmonic’s Leonard Bernstein Scholar in Residence. Sachs has presented numerous lectures at the New York Philharmonic, including “Toscanini: The Philharmonic Years” and Insights Series Event — “Gazing into the Totalitarian Abyss: Dallapiccola’s Il Prigioniero.” He also participated in a conversation with conductor David Zinman entitled “The Modern Beethoven.” Sachs has published nine books in seventeen languages. He has written biographies of and . He has also written co-authored memoirs with Placido Domingo Sachs is also on the faculty of of the ’s and Sir . His numerous the Curtis Institute of Music. He Cullman Center for Scholars and articles about music have appeared has lectured at universities in North Writers, and he was awarded in The New Yorker, New York America and Europe, including a National Endowment for the Times, Wall Street Journal, Times , University of Humanities fellowship for 2010-11. Literary Supplement (London), La Chicago, Juilliard School, UCLA, The Leonard Bernstein Office Stampa and dozens of other news- Boston University, Loyola University, is pleased to have such a papers and periodicals as well as McGill University, University of distinguished Leonard Bernstein for BBC, Arte, PBE, CBC (Canada) Toronto, and Freie Universität Berlin Scholar in Residence at the New RAI (Italy), RSI (Switzerland), and just to name a few. He has been a York Philharmonic. ■ other radio and television networks. Guggenheim Fellow, and a Fellow

Le Sacre!

session. Fifty-five years later, this , and legendary album still sounds as Claude Debussy. galvanizing and revolutionary as This reissue of Bernstein’s 1958 Le Sacre du Printemps itself, a recording of Le Sacre du Printemps work that Bernstein characterized in both CD and a limited edition as “only one of your everyday LP, is a brand new audio transfer volcanic masterpieces… a from the original analog reels. It miraculous new creation of such also includes the original cover art originality and power that still of the now-iconic image by Gray today it shocks and overwhelms Foy that would turn out to be the us.” It was exactly a century quintessential visual equivalent to

ago the Le Sacre du Printemps Stravinsky’s music. In addition, the Prelude, Fugue & Riff s Spring/Summer 2013 ow!” a galvanized Igor shocked and overwhelmed its package has photos of Bernstein “WStravinsky reportedly first audience, provoking a and Stravinsky, plus images from exclaimed after listening to now-legendary riot at its Paris the New York Philharmonic Leonard Bernstein’s astonishing premiere whose notoriety and recording sessions and an essay by recording with the New York magnitude was unprecedented in Jonathan Cott, writer and editor Philharmonic of Le Sacre du the history of classical music. The for Rolling Stone Magazine. ■ Printemps (), opening-night audience included, a performance that was captured among the ladies, gentlemen and more than a half-century ago in a diplomats, such luminaries as single electrically-charged recording Pablo Picasso, Marcel Proust,

7 Berlin to Celebrate Bernstein

© G abri e l Se nf t All of these concerts were November 12 noteworthy, but it is the historic Leonard Bernstein Anniversaries; Berlin Celebration Concert on Sebastian Knauer, piano; Jamie Christmas Day, 1989, that will Bernstein, speaker. always be especially remembered. As euphoric Berliners chipped November 13 away at the Wall that had cleaved Cabaret of Bernstein songs the city in two for so long, a featuring , Jamie unique assemblage of members Bernstein and Wayne Marshall. from great orchestras around the November 14 world gathered to play Beethoven’s Works by Bernstein, Copland 9th Symphony. The global televi- and others; Kammerensemble des sion broadcast on Christmas Day Konserthausorchesters Berlin; was viewed by millions — and Ferenc Gábor, conductor. Bernstein’s change of one crucial word in the Schiller text, trans- November 15 forming the “Ode to Joy” to Symphony No. 2: The Age Of the “Ode to Freedom,” made Anxiety; Symphony No. 3: ; the performance a deeply emo- Konzerthausorchester Berlin; Ernst tional experience. Senff Chor; Kapellknaben des To celebrate all of this rich his- Staats; Domschors Berlin; Benyamin tory, the Konzerthaus in Berlin will Nuss, piano; , speaker; be honoring Leonard Bernstein Kelly Nassief, soprano; Wayne with a celebration in November Marshall, conductor. of 2013 – Hommage an Leonard Bernstein. Also, during that month, November 16 the Komische Oper in Berlin will Works by Bernstein and Gershwin; present a new production of West Wayne Marshall, organ. Side Story. November 24 Leonard Bernstein eonard Bernstein first visited West Side Story, directed by Barrie rehearsing The L Berlin in 1959, as part of a November 8 Kosky; Komische Oper. Berlin Celebration European tour with the New York and Mahler Symphony Concert, 1989. Philharmonic. He made subsequent No. 4; Konzerthausorchester November 27 visits with the orchestra in 1960, Berlin, Ning Feng, violin; , premiere of new 1968 and 1976. Though he con- Lucy Crowe, soprano; Iván chamber version arranged by Garth ducted the Fischer, conductor. Edwin Sunderland; Ensemble only once, in 1979, he brought Modern; Kent Nagano, conductor. November 9 many a touring orchestra through Family Concert with the the city over the years. Other concerts and events are music of Leonard Bernstein; It was in 1984, when the planned. All events take place in the Konzerthausorchester; Konzerthaus in was Konzerthaus unless otherwise noted. Iván Fisher, conductor. reopened, that Bernstein’s real love For more information: affair with the city began. “I love November 11 http://www.konzerthaus.de ■ this house,” Bernstein said; “I love Film screening The Gift of Music. the people and I love this public,

and I will come again.” And he did. © S on j a -G u t sch e ra , Le if -He nrik -O s hoff His first performance in the Konzerthaus was with the Vienna Prelude, Fugue & Riffs Spring/Summer 2013 Philharmonic in 1984. Three years later, he conducted three concerts there with the Royal Concertgebouw Orchestra. In 1988 he brought the London Symphony Orchestra to the hall, and in the summer of 1989 he returned there to conduct the student orchestra of the Schleswig Holstein Music Festival.

The Konzerthaus in Berlin

8 Leonard Bernstein Young People's Classics

al Leonard Corporation and HThe Leonard Bernstein Office have launched Leonard Bernstein Young People’s Classics™, a series of educational publications for the music classroom. The purpose of the series is to feature essential recordings conducted by Leonard Bernstein with education units of study built around them, and to present the Artful Learning™ methodology in a general format that is practical for direct use in any setting. The Artful Learning™ model, inspired by Leonard Bernstein’s educational philosophy, stimulates and deepens academic learning by allowing educators and students to use the Arts and the artistic process to awaken and sustain a love of learning in all students. (see page 2) The first release in this series, , The Music of an Uncommon Man: Lesson and Activities Based on the Works of Aaron Copland, serves as a general music resource for all ages, but especially for middle school grades 5 through 9. Part I contains lessons and activities for some of Aaron Copland’s more popular works, including Fanfare for the Common Man, and his ballets Billy the Kid, Appalachian Spring and Rodeo. The material is presented through Book, contains supporting Textbook Manager at Hal reading activities, listening maps materials, audio folksong Leonard Corporation; and Norma and singing. Part II presents an recordings and student handouts Freeman, Clinician, Author and in-depth study of Copland’s ballet for duplication or projection. A Choral Director, Saline High Rodeo, specifically “Hoe-down,” Classroom Kit is also available School, Michigan. Published by based on the Artful Learning with 1 Teacher Book/Enhanced Hal Leonard Corporation and educational model. Working CD, 20 Student Books and the The Leonard Bernstein Office, together in learning centers, Bernstein Century Copland CD. this resource is available through students engage in cross-curricular The lessons and activities numerous music retailers. Visit activities that are incorporated were developed by Patrick www.halleonard.com for into the music lessons, such as Bolek, President & Founder more information. ■ Language Arts, Reading, History, at Momentum ProjectLab and

Fine Arts and more. Managing Consultant for Artful Prelude, Fugue & Riff s Spring/Summer 2013 Components available include Learning; Linda Rann, Choral a Teacher Book/Enhanced CD, full color Student Book 5-Pak and The purpose of the series is to feature the Bernstein Century Copland CD (featuring Leonard Bernstein essential recordings conducted by Leonard conducting the New York Bernstein with education units of study Philharmonic). The Enhanced CD, which is included in the Teacher built around them...

9 West Side Story at HMP Erlstoke C our This was Pimlico . prisoners sang “There’s a Place te sy P imloco O p e ra They began opera in prison in For Us,” even this hard-bitten 1991 at Wormwood Scrubs in old cynic had a tear. I have never London, with, appropriately, experienced a more emotional Sweeney Todd. Their outreach moment in all art. program costs about $200,000 God knows what Anita, Maria a year which they raise from and the other girls made of donations and ticket sales. The it, dancing and acting with lights went down and the Jets serious thugs. Or how the cast were on stage. Tattoos. Muscles. felt after ten curtain calls, and A bit self-conscious. And then then back to their cells. But the the Sharks. Black. Also a bit final reconciliation between the awkward except when it came gangs, when so many of the cast to the fighting and the looking must have been, themselves, in mean. Family in the audience, too. gangs, was simply profound. But boy could they do a knife This was highly professional fight. And by the end of the show, theatre and West Side Story at we and they had all forgotten its very best. ■ that they were prisoners. They lost themselves and us completely John Minch is the CEO of Robin Bailey By John Minch and they were sensational. I have Boosey & Hawkes. B&H has as Tony, Caryl never seen a more hilarious “Gee administered Leonard Bernstein’s Hughes as Maria. hey had six weeks to rehearse, Officer Krupke.” And when the music licensing for many years. the prisoners. And all of the T C our actors, apart from Tony, and the te sy P imloco O p e ra girls, were prisoners. Four of them were lifers. In for murder. “Every night, about 80,000 people in the UK go to sleep in a prison bed. All but 300 of them will be released one day. We want to make sure that each of them gets a chance to change their lives during their time here,” said Andy Rogers, the Governor at HMP Erlstoke. We had lined up to be searched. We’d been through the sort of airlock system that Prelude, Fugue & Riffs Spring/Summer 2013 gets you through the razor wire perimeter fencing. We’d walked past the uniformed guards and under signs that warned of a maximum sentence of 25 years for smuggling a cell phone. We were sitting, about 75 of us, in the prison theatre of a category C prison in Wiltshire, England, about 15 miles from Stonehenge. The Balcony Scene

10 West Side Story on Tour C our he BB Promotion tour of West Monte Carlo te sy BB P romo t ion TSide Story continues to thrill Grimaldi Forum audiences throughout the world. July 9-13 This production, directed by Joey McKneely and conducted Dresden, Germany by Donald Chan, will resume Sempeoper performances beginning in June. July 17-August 4

London, UK Naples, Italy Sadler’s Wells San Carlo Theatre August 8-September 22 June 21-27

Tel Aviv, Israel Montpellier, France Opera House Folies Lyriques October 31-November 10 July 2-6

Peter Pan © Re inhold Mö ll e r

Carl Gollnast as The Cast of Peter Pan

his past February, the the incidental music Leonard was Wendy and TEducation Department of the Bernstein wrote for the 1950 was performed by Jisu Park. The Bamberg Symphony presented a Broadway production of the play. orchestra was conducted by Till semi-staged concert version of Translated into German for the Fabian Weser. ■ Peter Pan to a packed auditorium occasion, the performance was of delighted children. Recently imaginatively staged by director Prelude, Fugue & Riff s Spring/Summer 2013 created by Nina Bernstein, Martin Timphus. Carl Gollnast this version incorporates all was Peter Pan, Bele Kumberger

11

12

the world”). the this book, Smith takes an in-depth in-depth an takes Smith book, this

heedlessness of the Reagans of of Reagans the of heedlessness Smith, published by Ashgate. In In Ashgate. by published Smith,

the carelessness, and the the and carelessness, the by Dr. Helen Helen Dr. by Bernstein Leonard

brainlessness, the mindlessness, mindlessness, the brainlessness, of Works Theatre Musical

and politics (lamenting, “the “the (lamenting, politics and There’s a Place For Us: The The Us: For Place a There’s

madman, a megalomaniac”), megalomaniac”), a madman, is book notable Another

psychotic frenzy. He was a a was He frenzy. psychotic

(“Wagner was always in a a in always was (“Wagner

Gershwin”), to great composers great to Gershwin”),

the best songwriters since since songwriters best the

music (“ were were Beatles (“the music array of topics, from popular popular from topics, of array

s Spring/Summer 2013 Fugue & Riff Prelude,

pointed comments on a wide wide a on comments pointed

singing, humming, and making making and humming, singing,

Musicological Society. Society. Musicological

■ with a Ballentine's in hand, hand, in Ballentine's a with

book award from the American American the from award book

Bernstein comes alive again, again, alive comes Bernstein

Music in American Culture Culture American in Music

the unabashedly personal. personal. unabashedly the

Scarecrow, received the 2013 2013 the received Scarecrow,

psychological, spiritual, and and spiritual, psychological,

Elizabeth Wells, published by by published Wells, Elizabeth

musical, pedagogical, political, political, pedagogical, musical,

by by Musical American an on

humor, and intensity on matters matters on intensity and humor,

by . University Oxford by

Cultural Perspectives Perspectives Cultural : Story Side

with disarming frankness, frankness, disarming with

dynamo. This book is published published is book This dynamo.

West the interest, of Also

in which Bernstein discourses discourses Bernstein which in candid, and inspiring American American inspiring and candid,

of this remarkable dialogue dialogue remarkable this of with this gregarious, witty, witty, gregarious, this with

provides a complete account account complete a provides on what it was like to converse converse to like was it what on

, Cott Cott , Lenny with Dinner unique, you-are-there perspective perspective you-are-there unique,

Now, in the acclaimed acclaimed the in Now, version provides the reader with a a with reader the provides version

frank twelve-hour conversation. twelve-hour frank revelatory.” Now, this full-length full-length this Now, revelatory.”

unprecedented and astonishingly astonishingly and unprecedented the interview “astonishing and and “astonishing interview the

to be his last major interview–an interview–an major last his be to analysis.” called called Terkel Studs analysis.”

Connecticut for what turned out out turned what for Connecticut with “passion, wit, and acute acute and wit, “passion, with

his country home in Fairfield, Fairfield, in home country his

extraordinary interview” filled filled interview” extraordinary

invited writer Jonathan Cott to to Cott Jonathan writer invited

praised it as “an “an as it praised Tribune Chicago

I

before his death, Bernstein Bernstein death, his before of the conversation in 1990, the the 1990, in conversation the of

n November 1989, just a year year a just 1989, November n published an abridged version version abridged an published

magazine magazine Stone Rolling After

constitutes the Bernstein “sound”. Bernstein the constitutes

works, and shows what it is that that is it what shows and works,

dialogue...

overview of the theatre musical the of overview

Smith provides an indispensable indispensable an provides Smith

of this remarkable remarkable this of

the sphere of symphonic writing. writing. symphonic of sphere the

the realm of Broadway and into into and Broadway of realm the

complete account account complete

tions, which take the scores out of of out scores the take which tions,

- composi theatre his in motifs Cott provides a a provides Cott

examined is Bernstein's use of of use Bernstein's is examined

works. One important aspect aspect important One works. Lenny, with

orchestral, choral and chamber chamber and choral orchestral,

Dinner Dinner acclaimed while also looking at Bernstein's Bernstein's at looking also while

of musical and social context, context, social and musical of

Now, in the the in Now,

considered against a background background a against considered

These works are analyzed and and analyzed are works These

great performance.” great

1600 Pennsylvania Avenue. Pennsylvania 1600 and

their works, then it won't be a a be won't it then works, their

MASS , Story Side West ,

Stravinsky when I'm conducting conducting I'm when Stravinsky

in Tahiti, , Town, Wonderful Tahiti, in

Brahms or Tchaikovsky or or Tchaikovsky or Brahms become

Trouble Trouble for music composed he

if you can't, you're not. If I don't don't I If not. you're can't, you if

1983. In between these two pieces pieces two these between In 1983.

do that, you're a conductor and and conductor a you're that, do

in in Place Quiet A opera last and

were the composer. If you can can you If composer. the were

start of his career, to his second second his to career, his of start

and make it come alive as if they they if as alive come it make and

the 26-year-old composer at the the at composer 26-year-old the

students “to look at the score score the at look “to students

written by by written Town the On early

talks of conducting, advising advising conducting, of talks

musical theatre works, from the the from works, theatre musical

And of course, Bernstein Bernstein course, of And look at all eight of Bernstein's Bernstein's of eight all at look New and Notable Books Notable and New New and Notable Books MASS

© V ik t or D mi ri e v MASS in Novosibirsk

his year has seen numerous Herendeen and conducted by Dr. This July the Festival de Radio Tproductions of MASS. In Randi Von Ellefson. Scott Guthrie France et Montpellier, France January the Novosibirsk Opera was the Celebrant. will also present MASS. This and Ballet Theatre gave the To celebrate the 50th anni- performance will feature Jubilant Russian premiere of the work. versary, Penn State’s College of Sykes as the Celebrant. The This performance was also Arts and Architecture presented Orchestre National de Montpellier Webcast live worldwide. Viktor its own production of MASS to Languedoc Roussillon, Choeur Dmitriev sang in the role of the over 1000 people. The production de la Radio Lettone and Opera Celebrant; Musical Director of the included Penn State’s Philharmonic Junior will be conducted by Novosibirsk Opera and Theatre, Orchestra, Concert Choir, Essence James Judd. ■ Ainars Rubikis, conducted. of Joy, singers and dancers from The Canterbury Choral the schools of Music and Theatre, Society and the Oklahoma City and a community children’s choir. University School of Music & Jim Hogan, a bachelor of fine arts Theatre in Oklahoma City pre- major in the School of Theatre, sented the Oklahoma premiere played the Celebrant, and Ted of MASS this past April. This Christopher directed. production was directed by David

iTunes Essential: Classical

he iTunes music store has Tlaunched iTunes Essential – Prelude, Fugue & Riffs will be and we shall do our best to Classical, a new campaign which sent upon request. Please send include such information in highlights 30 of the greatest classi- all correspondence to: forthcoming calendars. cal recordings in history. Featuring Craig Urquhart ® Prelude, Fugue & Riffs is a a new high definition audio stan- Prelude, Fugue & Riffs publication of The Leonard Prelude, Fugue & Riff s Spring/Summer 2013 dard, these 30 recordings will 121 West 27th Street Bernstein Office, Inc. help introduce a new generation Suite 1104 ©2013 by The Leonard of listeners to classical music. Two New York, NY 10001 Bernstein Office, Inc. recordings of Leonard Bernstein Fax: (212) 315-0643 Managing Editor: Craig Urquhart with The New York Philharmonic e-mail: Editor: Jamie Bernstein have been chosen: the Adagio curquhart@leonard­bernstein.com for Strings by and Design: BorsaWallace, NYC by Gershwin, We appreciate notice of any Visit our website: featuring Bernstein conducting performances or events featuring www.leonardbernstein.com from the piano. ■ the music of Leonard Bernstein or “Like” us on Facebook: honoring his creative life www.facebook.com

13

For a complete listing visit: www.leonardbernstein.com Spring/Summer 2013

15 Mönchengladbach, Germany: DIVERTIMENTO; Niederrheinsche Sinfoniker; April Mihkel Kütson, conductor; Konzerthall. 16 Vienna, Austria: SERENADE; New York 4-6 Atlanta, GA: SYMPHONIC DANCES FROM Philharmonic; , violin; Alan WEST SIDE STORY; Atlanta Symphony Gilbert, conductor; Konzerthaus Orchestra; , conductor; Groasser Saal. Woodruff Arts Center. 17 Bialystok, Poland: SYMPHONY NO. 3: 5,6 University Park, PA: MASS; Penn State KADDISH; Opery i Filharmonii Podlaskiej; University Schools of Music and Theater; Jacob Chrenowicz, conductor; Sala James Hogan, Celebrant; Gerardo Edelstein, Filharmonii i Opery. conductor; Eisenhower Auditorium. 18 Saskatoon, SK, Canada: SYMPHONIC 12-14 Pittsburgh, PA: SERENADE; Pittsburgh DANCES FROM WEST SIDE STORY; Symphony Orchestra; Joshua Bell, violin; Saskatoon Symphony Orchestra, Victor Juanjo Mena, conductor; Heinz Hall. Sawa, conductor; TCU Place. 13 Oklahoma City, OK: MASS; Oklahoma 23,24 Rotterdam, Netherlands: PRELUDE, City University and the Canterbury Choral FUGUE & RIFFS; Rotterdam Philharmonic Society; Scott Guthrie, Celebrant; Randi Von Orchestra; James Gaffigan, conductor; Ellefson, conductor; Civic Center Music Hall. de Doelen. 17-20 New York, NY: SERENADE; New York Philharmonic; Joshua Bell , violin; , conductor; Avery Fisher Hall. 20,21 Lodz, Poland: WONDERFUL TOWN; Theatr June Muzyczny Lodz; Zbigniew Macias, director; Leslaw Salacki, music director; 1 Austin, TX: TO CANDIDE; Teatr Muzyczny. Austin Symphony Orchestra; Peter Bay, conductor; Dell Hall – The Long Center. 1-10 Boston, MA: ; Lyric Stage Company Theatre of Boston; Spiro May Veloudos, director; Jonathan Goldberg, musical director; Lyric Theatre. 5 Zürich, Switzerland: SERENADE; New 4 Highland Park, IL: SONGFEST; (arranged York Philharmonic; Joshua Bell, violin; Alan by Alexander Platt); Ensemble Del Niente, Gilbert, conductor; Tonhalle Grosser Saal. singers from The Patrick G. and Shirley W. 9,10 Debrecen, Hungary: OVERTURE TO Ryan Opera Center, actors from Writer’s CANDIDE, ; Kodály Theatre; Alexander Platt, conductor; Philharmonic Orchestra; Dániel Somogyi- Ravinia. Tóth, conductor; Kodály Center.

Prelude, Fugue & Riff s Spring/Summer 2013 7,8 Detroit, MI: WEST SIDE STORY FILM WITH 10-31 Boston, MA: ON THE TOWN; Lyric LIVE ORCHESTRA; (Detroit Symphony Stage Company Theatre of Boston; John Orchestra; Jayce Ogren, conductor; Ambrosino; Phil Taylor; Zachary Eisenstat; Orchestra Hall. Aimee Doherty; Lauren Gemelli; Michele 13 North Bethesda, MD: WEST SIDE STORY A. DeLuca; Sarah DeLima; J.T. Turner; Ilyse FILM WITH LIVE ORCHESTRA; Baltimore Robbins; Spiro Veloudos, director; Jonathan Symphony Orchestra; Marin Alsop, Goldberg, musical director; Lyric Theatre. conductor; Music Center at Strathmore. 14-17 Krefeld, Germany: DIVERTIMENTO; Niederrheinsche Sinfoniker; Mihkel Kütson, conductor; Seidenweberhaus.

14 14-16 Baltimore, MD: WEST SIDE STORY FILM WITH LIVE ORCHESTRA; Balitmore Symphony Orchestra; Marin Alsop, conductor; August Meyerhoff Hall. 18,20 Antwerp, Belgium: CANDIDE (Scottish 12 Salzburg, Austria: SERENADE; Camerata 22,23 Opera version); Flemish Opera; Michaels Salzburg; Benjamin Schmid, violin; Hans Graf, 26,28 Spyres, Candide; Leah Partridge, conductor; Residenzhof. 30 Cunnegonde; Nigel Lowery, director; Yannis 16,17 Arbon, Switzerland: SYMPHONIC DANCES Pouspourikas, conductor. FROM WEST SIDE STORY; Sinfinisches Orchester 23 Amsterdam, Netherlands: WEST SIDE Arbon; Leo Gschwend, conductor; Schlosshof. STORY FILM WITH LIVE ORCHESTRA; Radio 31 Chorin, Germany: WEST SIDE STORY CONCERT Filharmonisch Orkest; Wayne Marshall, SUITE NO. 1; Brandenburgisches Staatsorchester conductor; Koninklijk Theater Carré. Frankfurt; Howard Griffiths, conductor; Kloster. 20,27 San Francisco, CA: WEST SIDE STORY 28,30 and Chorus; Cheyenne Jackson; Alexandra Silber; Jessica Vosk; Kevein Vortmann; Justin Keyes, Action; September , conductor; Davies Hall. 26 North Bethesda, MD: SYMPHONY NO. 2: 28 São Paulo, Brazil: SYMPHONIC DANCES THE AGE OF ANXIETY; Jean Yves Thibaudet, FROM WEST SIDE STORY; Orquestra Sinfônica piano; Marin Alsop, conductor; Music Center at de Estado de São Paulo; Marin Alsop, Strathmore. conductor; Sala São Paulo. 26-28 New York, NY: SYMPHONIC DANCES FROM WEST SIDE STORY; New York Phiharmonic; Alan Gilbert, conductor; Avery Fisher Hall. July 27 Baltimore, MD: SYMPHONY NO. 2: THE AGE OF ANXIETY; Jean Yves Thibaudet, piano; Marin Alsop, conductor; Meyerhoff Symphony Hall. 2 San Francisco, CA: WEST SIDE STORY; San Francisco Symphony and Chorus; Cheyenne 28 Windsor, UK: ; Windsor Jackson; Alexandra Silber; Michael Tilson and Eton Choral Society; Tim Johnson, conductor; Thomas, conductor; Davies Hall. Eton College School Hall. 4-6 London, UK: WEST SIDE STORY FILM WITH LIVE ORCHESTRA; Royal Philharmonic; Jayce Ogren, conductor; Royal Albert Hall. October 11 Montpellier, France: MASS; Orchestre National de Montpellier; James Judd, 1 New York, NY: SYMPHONIC DANCES FROM conductor; Montpellier. WEST SIDE STORY; New York Philharmonic; Alan 12 Nürnberg, Germany: SYMPHONIC DANCES Gilbert, conductor; Avery Fisher Hall. FROM WEST SIDE STORY; Staatsphilharmonie 16 Salzburg, Austria: SYMPHONIC DANCES FROM Nürnberg; Anthony Hermus, conductor; WEST SIDE STORY; Orquestra Sinfônica de Estado Meistersingerhalle. de São Paulo; Marin Alsop, conductor; Grosse 13 Richmond, UK: THREE DANCE EPISODES Festpielhaus. FROM ON THE TOWN; Thames Youth 24 Englewood, NJ: SERENADE; New Jersey Orchestra; Simon Ferris, conductor; St. Symphony Orchestra; Vadim Gluzman, violin; Matthias Church. Jacques Lacombe, conductor; Bergen Performing 13 Lenox, MA: WEST SIDE STORY FILM Arts Center.

WITH LIVE ORCHESTRA; Boston Symphony Prelude, Fugue & Riff s Spring/Summer 2013 25 Princeton, NJ: SERENADE; New Jersey Symphony Orchestra; David Newman, conductor; The Orchestra; Vadim Gluzman, violin; Jacques Shed at Tanglewood. Lacombe, conductor; Richardson Auditorium. 21 Highland Park, IL: OVERTURE TO CANDIDE; 26 Red Bank, NJ: SERENADE; New Jersey Symphony Chicago Symphony Orchestra; James Conlon, Orchestra; Vadim Gluzman, violin; Jacques conductor; Ravinia Pavillon. Lacombe, conductor; Theatre.

15 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

New and Noteworthy

ony Music has reissued on and discussing SCD a Columbia Masterworks both works. recording, Humor in Music. As part of a project by the This recording features Leonard ’s Historic Bernstein’s lecture Humor Recordings project, Orfeo Records in Music and several of his has released a performance of performances with the New Bernstein conducting the New York Philharmonic: The York Philharmonic at Salzburg. Sorcerer’s Apprentice by Dukas; The recording has a performance Mussorgsky’s A Night on of Bernstein’s Symphony No. 2: Bald Mountain; Saint-Saën’s The Age of Anxiety, with solo- Danse Macabre; as well as Till ist Seymour Lipkin, and the Eulenspiegel’s Merry Pranks by Symphony No. 5 by Shostakovich. R. Strauss. Warner Classics has released ICA Classics has recently a performance by violinist released a DVD of Bernstein Rachael Kolly d’Albe performing conducting the London Bernstein’s Serenade. John Symphony Orchestra performing Axelrod conducts the Orchestre Stravinsky’s Rite of Spring National des Pays de la Loire. ■ and the Symphony No. 5 by Sibelius. As a bonus, there is a conversation between Bernstein