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Behind the Scenes Readers ;; the YOUNG PEOPLE's CONCERTS in the Making

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Behind the Scenes Readers ;; the YOUNG PEOPLE's CONCERTS in the Making rt News for friends of Leonard Bernstein Fall 1993 To Our Behind the Scenes Readers ;; The YOUNG PEOPLE'S CONCERTS in the Making Almost three decades ago, Leonard Bernstein made the following comments about what the YOUNG PEOPLE'S CON­ CERTS, now available on videocassettes, meant to him. "During the season 1964-65 I spent a sabbatical year away from conducting - away from all orchestras including my own New Yark Phi lharmonic. And in that period I made only one exception: the YOUNG PEOPLE'S CONCERTS. Why? Because these are among my favorite, most highly prized activities of my life. These concerts are not just concerts - not even in terms of the millions who view them at home. They are, in some way, the quintessence of all I try to do as a by Roger Englander were used on occasion, twice as had to provide four or five lighted conductor, as a performing many as on most major studio areas in the auditorium for the musician. There is a lurking ith all the renewed broadcasts). Two mobile cameras audience reaction shots that were didactic streak in me that turns interest in Leonard were on stage, two were placed in taken throughout every program. every program I make into a Bernstein's the audience, one was located in Each of the broadcasts had two discourse, whether I utter a word YOUNG the hall's film projection booth, stage managers: one to maintain or not; my performing impulse has W and the remaining one was hidden general order on stage, and the always been to share my feelings, PEOPLE'S CONCERTS, now available on videotape, you may behind the orchestra, directly stage other for cards, pictures or any or knowledge, or speculations wonder how a Young People's center, from where it projected its other graphics used on the broad­ about music - to provoke Concert was originally made for lens through a specially cut "port­ cast. Both gave instructions to the thought, suggest historical prime-time television. The hole" for head-shots of Bernstein. stagehands operating the equipment. perspective, encourage the formula was a relatively simple For the audio part of each Unlike most studio or remote intersection of musical lines. And one. First, assemble more than a concert, there were some 23 programs, the YOUNG PEOPLE'S from this point of view, the million dollars' worth of mobile microphones overhead and on CONCERTS series had two YOUNG PEOPLE'S CONCERTS television equipment. Next, stage, in addition to the special control rooms - one for audio are a dream come true, especially combine 75 highly trained mike worn by Bernstein (pinned to and the other for video. The since the sharing is done with programming and engineering his necktie) for his explanation of audio control room was located young people - that is, people who specialists and place everyone and the music under discussion. above the stage on the right-hand are eager, unprejudiced, curious, everything in and around a Prior to this, the lighting side of the hall, the video in a sub­ open, and enthusiastic. What concert hall at Lincoln Center. director had designed and installed basement two floors below the more could an old incorrigible Add a famous conductor-narrator the illumination required for the stage level. In the street alongside pedagogue ask for? I hope I shall in the person of Leonard Bernstein, show, since it was obviously very the 65 th Street stage entrance, now never have to give these concerts 106 symphony musicians and then important that the orchestra named Leonard Bernstein Place, up; they keep me young." • members not be blinded by glare. sat a huge mobile truck feed for record for one hour. November 1966 The production involved the In addition to the full light on the the generators and other technical use of six television cameras (eight stage, the lighting director also (continued on page 5) The BETA Fund BETA Fund News Reader Responses scholars and other artists will be on present schoolwide demonstra­ here were many provocative hand throughout the season to give tions and performances. Tresponses to the questions BPO audiences additional insights. While the program is being posed by Alexander Bernstein, The Ellington and Dvorak piloted with young people who president of the Bernstein BETA programs are the basis for the already possess a degree of Education Through the Arts SOUNDSCAPE curriculum musical skill, the eventual goal is (BET A) Fund, in last Spring's issue planned by BPO Artistic Advisor to adapt SOUNDSCAPE for of prelude, fugue & riffs. Here FUND Joseph Horowitz, BPO Education students usually considered "non­ are a few excerpts, which we hope Director Martin Williams, and musical. " This adaptation will you will find of interest. Philippa Schuyler music teacher include the development of basic Theodore Wiprud, Education ith support from the Martin Gigler. Alexander playing and composition tech­ Program Manager of Meet the WBernstein Education Bernstein is providing assistance niques enabling young people of Composer, Inc., from New York, Through the Arts (BET A) Fund, and consultation. The final varying musical abilities to explore writes: "Can authentic and the Brooklyn Philharmonic curriculum and lesson plans will new musical - and other -worlds. standardized assessment work Orchestra (BPO) will launch be developed in conjunction with In future years, the BPO wishes together? Meet the Composer's SOUNDSCAPE, a new interdisci­ a team of teachers at Schuyler who to expand this program into experience with portfolio plinary program to help young represent various arts disciplines additional secondary schools. The assessment of student learning in people understand music and as well as history, social science Orchestra also hopes to present composer residencies suggests that other art forms in wider cultural, and literature. SOUNDSCAPE as a model for yes, they reinforce each other." historical and social contexts. The These teams will teach this other music organizations to Dr. Bruce C. MacIntyre of program will take place this special class for a nine-week term develop interdisciplinary, in-school Brooklyn feels that "the arts autumn and winter at Philippa beginning mid-October. Guest programs which do not rely on the should indeed be taught as discrete Schuyler Middle School for the artists and scholars will also travel presence of musically sophisticated disciplines in the schools. Trying Gifted and Talented, a public to the school to teach the class and students or school orchestras. • to make the arts only an idealistic school located in the Bushwick link for all disciplines is unrealistic section of Brooklyn. The BET A and educationally unsound. The Fund is providing funds to support 'integrated curriculum' is a silly the development phase of idea dreamed up by conscientious SOUNDSCAPE as well as its but bored administrators who crucial first year of operations. have to slash budgets and who like SOUNDSCAPE's curriculum anything that sounds 'new."' Mr. relates directly to the BPO's main Walter Paul of Manhattan concert programming for the suggests that "if the arts can be 1993/94 season. Entitled taught meaningfully, then they can SOUND WAVE, the season stand beside reading and math in consists of a series of interdiscipli­ the curriculum. With emphasis nary festivals, each centered on a today on holistic education, music particular theme, such as the is probably the most valuable music of Duke Ellington; the role subject; it certainly was regarded of Antonin Dvorak in American as such by the ancient Greeks." musical history, and the Native Ms. Jane Nordli Jessup of American and African-American Wilton, Connecticut, writes: "It is influences on Dvorak; and the sad that there are graduation 2 Russian roots of Igor Stravinsky. requirements which insist on four Composers, writers, dancers, years of English but only a few credits in the Arts. And usually those 'arts' courses are not considered to be as important. Students from Philippa Schuyler Middle School in a concert with the Brooklyn Philharmonic school program. Why? Is it the Puritan style of esthetics which remains with us? "• The Question Factory Below are excerpts from capture the joy in making Alexander Bernstein's speech connections, creating ideas, then given to the teachers of the Boston we are well on our way to Music Education Collaborative at transforming school from a place the Tanglewood Music Festival on where students graduate as good August 28, 1993. or bad products, to a place where students graduate with a passion "I heard a story recently about to learn more. a woman who went through I was talking the other day to school a straight A student, went someone who said how much they to Radcliffe, graduated cum laude looked forward to the day (in the and promptly had a nervous near future, I believe) when it breakdown when she realized that could be shown, quantifiably and she had never had an original idea without question, that education in her entire life. Imagine that. in music and all the arts improves You have the opportunity to scores and makes for better all­ create an environment in your around students. Our case would classrooms this year which, be made. The end. But I through music and its processes, wondered if even then people can be an idea factory, a question would be convinced. I suspect factory. If I might stretch the Alexander Bernstein that there is a widespread fear of metaphor a bit, the question art in education and in life. In our factory uses answers (or content, gence. She has done her job, and the teacher in the answer factory. culture art is viewed as entertain­ as we are wont to say) as its raw hasn't learned a thing from the I don't know the Boston school ment to be enjoyed passively.
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