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News for friends of 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 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, 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 , 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People's center, from where it projected its other graphics used on the broad­ about music - to provoke Concert was originally made for lens through a specially cut "port­ cast.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 . 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 , 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 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 ; 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 . 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. material. There is simply too . encounter. It is the form of the system at all, but if it is anything Vivaldi may be great brunch much information in the world questions asked that concerns me like that in many other cities, you music, but the prospect of being today for any human to absorb. here. If we ask closed questions to are given a curriculum (or, more actually moved by a performance And that couldn't be more which we have the only answer, gently, a 'framework'), must hand by the BSO is unsettling to many, apparent to young people where is the opportunity for in lesson plans, and administer many people. It's scary and graduating from high school or creative thought? Working with state-sanctioned standardized mysterious territory, where an college. Far too often, schooling music one finds 'right' answers tests. The power left for the actively engaged person meets a ends with a sigh of relief, and the hard to come by. Yes, there are a teacher is in expertise and work of art. It is deeply personal. happy prospect of a grown-up life lot of facts we ought to know - management. (And in many It has never happened before, and ahead without ever having to who wrote that piece and when, schools these days, class manage­ it will never happen the same way crack a book again. But if there are two sharps in D Major ment is even contracted out to again. Art is magical that way. students come out of school - but such knowledge means large guards who are on call.) It is But it takes courage and guidance asking questions, they're going to absolutely nothing to anyone not no wonder then that many to enter unfamiliar places, continue to require content to invested in the subject. If we ask teachers are ambivalent about especially when they are inside support them, and will become ourselves and our students becoming (sorry about the jargon) you. What you are on your way lifelong learners. questions with many possible facilitators and mentors. There's to doing this year is nothing less As a teacher, I often caught answers, there exists the possibility not a lot of room for daring than leading your students by the myself having an answer in mind for making connections with other experimentation, is there? That is hand to the edge of that scary and asking around the room until questions in other disciplines, why, it seems to me, your bold territory, telling them that you've I got it: Josh? Yes, that's good, which lead to ideas - which are, work here this summer is so been there and that there is really 3 but not quite. Jennifer? Very themselves, acts of creation which valuable. In working with the nothing to be afraid of, and then interesting. Anyone else? OK, lead to other questions. In other BSO, the New England Conserva­ showing them how to go into that Adrienne? Yes, right, exactly. words, learning is going on. And tory, and WGBH, you can give magic place. • Adrienne feels fine, as usual. And it's alive. your students a chance to learn Josh and Jennifer won't speak up What happens to the role of about music, which is plenty, but for a week. Even Adrienne the teacher in the question also a chance to learn about suffers, because she is satisfied factory? Well, let's look first at learning. If we can find ways to that I have noticed her intelli- what has happened to the role of value learning as a process, to YOUNG PEOPLE'S CONCERTS

"Cutlets and Addburgers" Such a Good Time

to bring the show out on time. In by Mary Rodgers We had frights: once, in the those now legendary days of live middle of an orchestra rehearsal, television, there was no editing h God, we all had such a Lenny had a pain in his arm and and the network tended to be 0 good time! thought he was having a heart humorless about a show running We had "addburgers" (last attack. He wasn't, but it sure three seconds late. minute informational tidbits) to be scared the hell out of us. Over the years, my job squeezed deftly into the script. We had ludicrousness: in 1962, evolved. People would ask, We had "poss cuts" ("poss"= our first show at the just­ "What do you do?" Eventually, possible) which often became completed Avery Fisher, then faute de mieux, I pared my job actual because we were overlong. Philharmonic, Hall, I spent twenty description down to: "I make sure We had competitions, one of minutes dashing up and down the that everybody else does their which I once won as follows: corridors in search of a ladies' job." Of course I prefer Lenny's My dear little Miss Rodgers: room. There weren't any. All the by Elizabeth (Candy) Finkler version: once he said (and we, I am happy to inform you that bathrooms (regardless of labelling) each of us, remember exactly what you have won the contest for the had been built with urinals - a hose words are very inside Lenny said), "But you're so good best word to replace "classical". small design oversight, rectified Tfunnies and I can think of no at - whatever it is that you do." Your magnificent choice of soon after. other two that would so instantly For the 10th anniversary EXACT will ring down through We had sadnesses: on a Friday transport those who had been on season, our producer-director the centuries, and no doubt enter in November of 1963, during a the inside back to the giggles and Roger Englander decided to put Webster's 567th edition, if only as script conference, Johnny groans, the inspirations and out a brochure which would a footnote. Corigliano burst into the room to perspirations that were the script contain synopses of each of the Congratulations; and please tell us about John F. Kennedy's sessions of the YOUNG PEOPLE'S scripts we had done so far. These accept the enclosed gift as a token assassination. We ended our CONCERTS. precis henceforth became one of of our esteem and gratitude for meeting and Lenny cancelled the When I was first assigned to my projects and it was fascinating your fine thinking. afternoon concert. Nobody could the new series by CBS, I said, "But to condense an entire script into Faithfully yours, talk, let work. I'm not a musician." "That's all one paragraph, using Lenny's Leonard Bernstein We had all (and I'm sure still right," I was told, "everybody else words exclusively. Sometimes it 22 Jan '59 have) our individual warm, funny is." Wonderful. "And I don't would be a breeze, with everything with a check enclosed for fifty memories. Mine is of Lenny at an really read music," I added. falling into place; other times a bucks. I've never cashed it. orchestra rehearsal, handing the "That's all right, too; you won't real sweat - just as those scripts baton to my two-year-old son need to." HAH! The major piece had been. Adam, instructing him, "Now you on the first show was LA VALSE, For a reason I no longer recall, do it." and that is one hell of a piece to I went back over all the scripts, Adam did it; the orchestra find your way around in if you starting with the very first. And I obligingly followed him; the don't really read music. became aware how, very subtly ensuing cacophonous blast nearly I still see, in my mind's eye - and gradually, they had changed blew the kid off the stage. exactly - that first orchestra over the years. Then it hit me : We had great pride in what we rehearsal in . Lenny unwittingly, unconsciously, Lenny were doing; and we had great had on a crimson sweatshirt. He had written them all, directed them affection and respect for each half-crouched on an absurdly high, all to eldest daughter Jamie and other. round stool. Then he slid off the the age she had been at any given Most of all, we had love. For stool; and he was LA VALSE. time! Jamie, of course, took it quite Lenny, and from Lenny, and, as 4 We never got a complete dress in stride. But it was a bit rough on I've already said, Oh God, we all rehearsal on that show, which was Nina - she was somewhere around had such a good time. • very nervous-making because, six or seven when we did ALSO among other things, it was my job SPRACH ZARATHUSTRA. • Mary Rodgers was an assistant to producer-director Roger Candy Finkler was Production Englander. Assistant to producer-director Roger Englander. My Musical Hero Behind the Scenes, continued

PEOPLE'S CONCERTS when I (continued from page 1) device, while John followed the reached my junior high and high gear involved in the broadcast. musical score. school years, despite (or perhaps In the sub-basement, imagine Sandy Bell, the engineer-in­ because of) my parents' serious 22 TV sets in a space about the charge, supervised the installation lack of enthusiasm. In these size of your living room; this is of all electronic equipment. The programs, Mr. Bernstein intro­ what the video control room intricacies of broadcasting the duced me, as well as several looked like. As director, I was later concerts in color, at that time thousand others, to a world which flanked by one associate and one technically demanding, made this I did not even know existed. technical director. The three of us responsibility far greater and more There I learned about composers sat at a long table facing a bank of complex than when the concerts who wrote wonderful works that 12 monitors and equipped with were first broadcast in black-and­ were more accessible than I would microphones and control buttons. white. have imagined; I learned about When I selected the camera angles, In a darkened part of the video magical instruments that could be framing, order and pace of the control room, additional engineers played solo or in concert with shots, the associate director kept watch on another bank of 10 others; I learned about the human relayed this to the camera monitors to be sure the electronic voice as a musical instrument. I personnel and set up the pictures scope sent out the optimum do not remember the details of the requested. The technical director signals for transmission. programs, but I do remember the pushed the button that put the The audio engineer Larry The following is the transcript of a patience and clarity of Mr. prescribed picture on the air when Schneider handled the placement letter from Ms. Janice Mercure Bernstein's manner and presenta­ it was wanted. of microphones, setting levels and concerning Mr. Bernstein's tion, and I remember raptly Seated behind us were a "riding" the controls that picked YOUNG PEOPLE'S CONCERTS listening to the pieces as and after production assistant, Candy up the overall sound of the entire which was recently read over he explained them . I remember Finkler, my assistants, Mary orchestra, the individual sections National Public Radio. him as my mentor and my friend, Rodgers and John Corigliano, Jr., or soloists, the audience response " I approach this subject with albeit through the electronic and a secretary, Liz Hoover. and, of course, Bernstein's voice. nostalgia, because there are medium of my age. Candy was primarily concerned Seated next to him was the so many people in my past who And the joy these concerts with clocking the exact time music coordinator, Tom Shepard, have influenced my musical brought me lasted well beyond the elapsed on each portion of was a musically trained education - mostly friends who programs themselves, beyond the script and music. Mary followed specialist in recording and sound are either active participants in football games that followed them the script and the prompting balancing. Tom approached his making music or avid listeners. In on TV, into my adult life, opening job with the ears of an artist, which the end, however, there is one a window for me and countless complemented Larry's "technical prominent figure who is certainly others to pursue the pleasures of a ear" in obtaining the proper my greatest hero, and, I imagine, variety of musical experiences, balance for this large orchestra. the hero of many of my genera­ from Yo Yo Ma to The Bobs, from The total number of produc­ tion: Leonard Bernstein. P. D. Q. Bach to , from tion, technical and special In my home as a child we had Johannes Brahms to John Adams. personnel needed to get a YOUNG only a few records - 78s of My passion for music was PEOPLE'S CONCERT on video­ popular and childrens' music. I sparked by Mr. Bernstein and the tape amounted to 75. Add to this remember my mother's favorite, YOUNG PEOPLE'S CONCERTS; the conductor and orchestra, plus singing Mockingbird because of him, I have sought the the staff, Hill. I accidentally broke it one company of others whose interest and around 220 people in all were day (78s were fragile); this mishap in music is equally strong, and I involved in putting a 'simple' music 5 was brought up again and again. have continued to listen and learn. program on the television screen. • Our radio was tuned to a popular Thank you, Mr. Bernstein, station, and I simply had never from all of us." • Roger Englander is the Pro­ heard . ducer/Director of the YOUNG So it was with unimaginable PEOPLE'S CONCERTS on curiosity that I developed an avid CBS-TV. interest in watching the YOUNG Roger Englander in 1958, with John Corigliano, Jr. , at right rear. YOUNG PEOPLE'S CONCERTS, Cont'd

The Fabled Music Lessons That Technically Speaking Captured Them All

by Carlos Moseley the day by a dress rehearsal which by Gary Bradley cleaned up and improved using in reality was itself a concert with digital techniques. The programs T here is no happier chapter in tickets sold to an audience of 2600 ver the past year, Handmade recorded on videotape have the long annals of the New people, and these often fell on the 0 Video has been preparing received the same scene-by-scene York Philharmonic than that of same day as the regular Saturday new master tapes for 25 of the treatment, just as the color shows The New York Philharmonic evening subscription concert (with YOUNG PEOPLE'S CONCERTS have been adjusted to overcome YOUNG PEOPLE'S CONCERTS different programs, of course). originally broadcast by CBS the inconsistencies of early with Leonard Bernstein. These Those triple-header days were Television between 1958 and cameras. Tape dropouts and televised events - and each one tough for the Orchestra but must 1973. The YOUNG PEOPLE'S scratches have been painstakingly was a revelatory event - brought have been physical nightmares for CONCERTS had been recorded in removed. For of a few of the later together, four times a year, Bernstein. He, who was a late- a variety of ways and each method broadcasts, stereo soundtracks Bernstein, the Orchestra, music into-the-night worker, seldom required a specific technology to were recorded and these have now itself, and the children of the arose before noon or later, but on insure the best quality possible for been synchronized to the color­ world - to say nothing of the vast these days he had to be in the hall the new masters. The earliest corrected picture, resulting in audience of adults who were as by 6 AM for all sorts of technical concerts were recorded on programs that are now actualfy avid listeners as any youngster. work - taping of illustrations at kinescope: the picture seen on the technically superior to those The universal appeal of the the on camera, make-up broadcast monitor was simply YOUNG PEOPLE'S CONCERTS YOUNG PEOPLE'S CONCERTS sessions, reworking scripts under filmed with a camera; Transferred which viewers enjoyed two was so great that they were pressure as TV time requirements to video, the picture has been decades ago. • eagerly lrought by television dictated. It sometimes meant that adjusted at each camera cut for outlets throughout the world - Bernstein did not go to bed at all the best contrast, while the sound, Gary Bradley is the head of East and West - with translations the night before. which had picked up pops and Handmade Video. (simultaneous) in many foreign Working with him was a crackles over the years, has been languages. At first they were wonderful team - producer broadcast live in the daytime, but Roger Englander, "Candy" as their renown and popularity Finkler, Mary Rodgers, John grew, they were moved by CBS to McClure, John Corigliano, Jr., Leonard Bernstein Place prime time, filmed on videotape at Jack Gottlieb, Helen Coates, and the daytime children's concerts. the Philharmonic cohorts. Emmys and Peabody and Edison Many orchestras and conduc- awards came to them year after year. tors have tried through the years The program was written and It was the magic of Bernstein, to imitate the YOUNG PEOPLE'S hosted by Jamie Bernstein Thomas the teacher sans pareil, at work, CONCERTS, but this Bernstein- with the musical direction of dealing always with real musical Philharmonic series remains Michael Barrett. Directed for substance, never condescendingly unique and inimitable. The New television by Bernstein-biographer but rather aiming just above the York Philharmonic-Symphony Humphrey Burton, the birthday young ones' probable levels, Society looks back in enormous celebration featured Michael making them open their ears to pride on those YOUNG Tilson Thomas, Christoph listen, hear, learn, and to have a PEOPLE'S CONCERTS with its Eschenbach, Tyne Daley, Isaac glorious, good time in the process. one and only Leonard Bernstein. • Stern and Lauren Bacall, among Just look at a sampling of titles of others, and was broadcast live to concerts: "What Makes Music Carlos Moseley is Chairman Japan on NHK-TV and rebroad­ Symphonic?"; "Musical Atoms, a Emeritus of the New York n a ceremony on August 25, cast in the US by the A&E Study of Intervals"; "What is Philharmonic. 1993, Mayor David Dinkins of 6 I Network and in Germany by the American Music?"; "What Does New York renamed the corner of Bayerischer Rundfunk. • Music Mean?"; "A Birthday Broadway and 65th Street Present for ". "Leonard Bernstein Place." The concerts themselves, on Following this, in nearby Alice Saturdays, were preceded earlier in Tully Ha ll , was a commemoration of the Maestro's 75th birthday. Looking Ahead

New Recordings Findings Leonard Reissued Bernstein Retrospective

ohn Mauceri and the Holly­ and his own FANCY FREE and imon & Schuster announces elebrating Maestro wood Bowl Orchestra are the THREE DANCE EPISODES Sthe reissuing of Leonard CBernstein's 75th birthday Jperformers on a new Philips Classics FROM "ON THE TOWN." Bernstein's Findings. Findings is a year, Jack Gottlieb presented a release called AMERICAN Finally, Koch International collection of writings and Leonard Bernstein Retrospective CLASSICS. Celebrating Maestro Classics has recently released a photographs spanning 50 years of on August 6-8 at Circle Lodge, Mauceri's third successful new recording of H~LIL, Leonard Bernstein's musical and Hopewell Junction, New York, season at the Hollywood Bowl, this featuring flutist Doriat Anthony intellectual life. This 384-page under the auspices of the cultural recording features Leonard Dwyer and the London Symphony book, for the first time available in wing of The Workmen's Circle. Bernstein's SYMPHONIC Orchestra under the baton of paperback, includes early essays, Among other activities, Gottlieb DANCES FROM "WEST SIDE James Seda res. • writings, poetry, and letters from lectured on "Symbols of Faith in STORY." Bernstein to friends and family, the Music of Leonard Bernstein," To commemorate Leonard plus over 100 photographs from assisted by Cantor Gershon Sillins. Bernstein's 75th birthday, Deutsche the Bernstein archives. • Recently, Gottlieb co-produced a Grammophon of Canada has compact disc recording of the released a set of recordings titled LEONARD Jewish music by Bernstein, at the MAGNIFICENT 7, in honor of the BERNSTEIN Eastman School of Music, to be number of composers included on released in 1994. This recording the disc. This set features recordings included 13 pieces never before Maestro Bernstein made with the recorded. • Israel Philharmonic Orchestra of works by Tchaikovsky, Mendelssohn, Stravinsky, Dvorak,

ON THE TOWN Recording Bernstein Exhibit at Carnegie Hall

Garrison, Samuel Ramey, Evelyn he Rose Museum at New Congress and from the archives of Lear and Cleo Laine, under the TYork City's Carnegie Hall the Estate of Leonard Bernstein. direction of Michael Tilson will celebrate the 50th anniversary This exhibit is curated by Carnegie Thomas conducting the London of Leonard Bernstein's Carnegie Hall archivist Gino Francesconi Symphony Orchestra. Lyricists Hall debut with an exhibition and designed by Barbara Kuhr of Betty Comden and Adolph Green focusing on the years leading up to Plunkett + Kuhr. are narrators in the video version . Bernstein's 1943 success. The Rose Museum at Carnegie This new release of ON THE Entitled "Here We Go!! Love, Hall is located at the corner of TOWN includes several songs that Lenny" (a phrase he wrote to 57th Street and Seventh Avenue in were cut from the original Helen Coates above an article . Museum hours Broadway production, including from are from 11.30 am to 4.30 PM. "Gabey's Coming" and "The announcing his appointment as The museum is also open for eutsche Grammophon has Intermission's Great." assistant conductor of the New concert patrons during events in just released ON THE D In the video version of ON York Philharmonic), the exhibi­ the Main Hall. There is no 7 TOWN in both compact disc and THE TOWN, DG has included tion will open on the anniversary admission charge. The museum is videotape formats. This latest original archival footage from the date of the celebrated concert, closed Wednesdays. If you wish production of the 1944 hit musical 1940s showing New York, its November 14, and will run further information, please was recorded live at the Barbican people, and the Navy. Patricia through March 1, 1994. Original telephone the Rose Museum at Centre, London, and stars Birch directed the staged action material in this exhibition will be Carnegie Hall at (212) 903-9629.• Frederica von Stade, Tyne Daly, and Christopher Swann directed on loan from the Library of Marie McLaughlin, Thomas the cameras. Hampson, Kurt Ollmann, David • Calendar of EventS'

*Partial Listing. Please note that all dates and programs are subject to change.

October November November, continued 2-4 Houston: SYMPHONY NO. 2, "THE 4-9 Paris: Leonard Bernstein Tribute on 26-27 Sanjose: THREE DANCE EPISODES AGE OF ANXIETY"; James Tocco, piano; Film; presented by the Classiques en FROM "ON THE TOWN"; San Jose Stephen Stein, conductor; Jones Hall. Images Department of the Louvre in Symphony Orchestra; Leif Bjalan, con­ 8 Tel Aviv: Naming of Kikar (Square) cooperation with Unite!; Musee du ductor; Center for the Performing Arts. Leonard Bernstein, in front of Mann Louvre Auditorium. 26-28 North York, Ontario: Bernstein Anni­ Auditorium. 6 Bloomington, IN: CANDIDE (Opera versary Celebration; FANCY FREE, 9 Jerusalem: Naming of Kikar (Square) House Version); Indiana School of SUITE FROM "ON THE WATER­ Leonard Bernstein, in front of Music; Robert Porco, conductor; FRONT", SYMPHONY NO. 2, "THE Jerusalem Theater and Crown Audito­ Musical Arts Center. AGE OF ANXIETY"; Lukas Foss, con­ rium, Mayor Teddy Kolleck, presiding. San Diego: SYMPHONIC SUITE ductor; Jeffrey Siegel, piano; North York Performing Arts Center. Jerusalem: Leonard Bernstein FROM "ON THE WATERFRONT"; Memorial Concert; Jerusalem Symphony San Diego Symphony; Murry Sidlen, Orchestra; David Shallon, conductor; conductor; Copley Symphonic Hall. Crown Auditorium. 10-11 Vienna: SYMPHONY NO. 1, 12, 13 Greifswald, Germany: SYMPHONY 14 "JEREMIAH"; Vienna Symphony December NO. 1, "JEREMIAH"; Greifswald Orchestra; Elizabeth Laurence, mezzo­ 11-13 Houston: SUITE FROM "A QUIET soprano; David Shallon, conductor; Symphony Orchestra; Doris Hadrich, PLACE"; Houston Symphony Grosser Saal, Konzerthaus. mezzo-soprano; Ekkehard Klemm, Orchestra; , conductor; Theater Greifswald. 11-12 Knoxville, TN: THREE DANCE conductor; Jones Hall. 14 Arts & Entertainment Network: North EPISODES FROM "ON THE American Premiere Telecast of The TOWN"; Knoxville Symphony; Bruce 22 PBS: Great Performances on PBS, 0 N Love of Three Orchestras, A Unite! Pollay, conductor; Tennessee Theater. THE TOWN in Concert, check local Production recorded in 1986. 11-12 New York: Program Dedicated to listings. 16,23 Bloomington, IN: CANDIDE (Opera 13,16 Leonard Bernstein; New York Philhar­ 29 PBS: Great Performances on PBS, 30 House Version) Indiana University monic; Vladimir Feltsman, pianist; Leonard Bernstein: The Gift of Music, School of Music; Robert Porco, Carl St. Clair, conductor; Avery check local listings. conductor; Musical Arts Center. Fisher Hall. 16 Charleston, SC: CANDIDE (Scottish 11,13 San Antonio: FANCY FREE; Opera version); Charleston Symphony San Antonio Symphony Orchestra; Orchestra; David Stahl, conductor; Christopher Wilkins, conductor; Note to Readers Gaillard Auditorium. Majestic Theater. Paris: SYMPHONY NO. 1, 13 Billings, MT: CHICHESTER PSALMS; prelude, fugue & riffs will be sent upon "JEREMIAH"; Jerusalem Symphony Billings Symphony Orchestra; Uri request. Please send all correspondence to: Barnea, conductor; Alberta Bair Theater. Orchestra; David Shallon, conductor; Craig Urquhart Theatre des Champs Elysees. 14 New York: "Here We Go!! Love, prelude, fugue & riffs Opening of Exhibition at Rose Vienna: Bernstein Celebration Concert; Lenny" 25 Central Park West, Suite 1Y Museum, Carnegie Hall (through 3/1/94). Vienna Philharmonic; Zubin Mehta, New York, NY 10023 conductor; Theater Ronacher. 15 New York: SERENADE; Juilliard Sym- Fax: (212) 315-0643 18 Maastricht, Holland: SYMPHONY phony Orchestra; Richard Bradshaw, NO. 1, "JEREMIAH"; Jerusalem conductor; Juilliard Theater. Tax-deductible donations to The Bernstein Symphony Orchestra; David Shallon, 17 Frankfurt: CHICHESTER PSALMS; Education Through the Arts (BETA) Fund, Inc. conductor; Theater aan het Vrijthof. South Thuringia Philharmonic of Suh!; may be sent in care of the same address. 19 Enschede, Holland: SYMPHONY Christian Kabitz, conductor; Alte Oper. We appreciate notice of any performances NO. 1, "JEREMIAH"; Jerusalem Weimer: DIVERTIMENTO; or events featuring the music of Leonard Symphony Orchestra; David Shallon, Orchestra of the Musikhochschule Bernstein or honoring his creative life and shall 2 conductor; Music Center. "Franz Liszt"; Gunter Kabler(" " ' • do our best to include such information in 21 New Yor~: SYMPHONY NO. 2, conductor; Musikhochschule. forthconiing Calendars. "THE AGE OF ANXIETY"; 18-20 Louisville, KY: CHICHESTER PSALMS; TO OUR READERS IN GERMANY: To Concordia Orchestra; Lukas Foss, The Louisville Orchestra; Lawrence · · coµtjgµ17Jb receive this newsletf~r, Pt~~e:c ' pianp; Marin Alsop, conductor; Alice Leighton Smith,conductor; Whitney Hall. advise. us of your new posta,Lcode. . . Tµlly Hall. 19 Madis<>ri,WI: CANDIE>£ (Opera . prelu'cl~, fugue & riffs™ i~1t;puBlit~tion of The 28 Miami: SYMPHONIC DANCES HoustVersion); Maclison Orera;; ( ·. Leona(g BernsJe,j.n So9j\7fy, . 30-31 FROM "WEST SIDE STORY"; New Roland Johnson, conouctor; Oscar'~\ © 1993 by Jaln.i"Pul).liqitions,.Inc.· WorldSymphonyOrchestra; Michael .. Meyer Theatre. · . . Ex~lltive \ffi~ /f4tf2VJ. Kt4Ut .. Tilson.Thomas, coriductorrtincoln 2():I21 Charlotte, NC: SYMPHONIC DPJNCES Theater. · :.FROM "WEST SIDE STORr; .. . Manager: Craigl}iquhart . ·---"-,/;.- ""· ..... ' CharlotteSymphony Orchestra; Peter Editorial: N~d bavies McCoppin, wnductor; Ovens Design: Borsa Wallace, NYC Auditorium. ··· ---,;-·-,