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News for Friends of Leonard Bernstein Spring/Summer 2019 COURTESTY OF AMBERSON ENTERPRISES, INC. (MUSIC DIVISION) 2 Annus Mirabilis 5 Bernstein, Blitzstein and Weill 8 Remembering Friends Inside... 4 Artful Learning 7 Candide as Existential 10 In the News Vaudeville 12 New Releases BorsaSS2019_PFR_final.indd Wallace studs.indd 1 1 4/24/194/25/19 10:08 8:03 AM 1944: Bernstein’s Annus Mirabilis by Heather Wallace seem to have had my little say as far as that piece is concerned.” eonard Bernstein’s legendary Catching wind of Reiner’s enthu- Carnegie Hall debut with siasm for the piece, Koussevitsky the New York Philharmonic invited Bernstein to premiere it in s the Leonard Bernstein at 100 on November 14, 1943, was Boston. But Jeremiah was already Acelebrations begin to subside, Ljust the starting point for several slated to have its premiere in we’re catching our collective breath, extraordinary accomplishments that Pittsburgh. Bernstein conducted his trying to make sense of all that we’ve took place in little more than a year, symphony there with the Pittsburgh experienced: the whirlwind of per- causing Bernstein’s double career Symphony Orchestra on January formances; the exhibits and docu- as a conductor and composer to 28, 1944 (just two months after the mentaries; the books and articles and skyrocket. Carnegie Hall debut), with mezzo-so- re-issues of recordings. What a marvel Toward the end of 1942, prano Jennie Tourel as the soloist. it’s been. Bernstein was rushing to complete The performance was a complete But it’s the people who have his Symphony No. 1: Jeremiah for success. Three weeks later, Bernstein amazed us the most: the performers entry into a competition organized conducted his piece with the Boston who gather Bernstein’s music to their by the New England Conservatory. Symphony, where it triumphed hearts, then share it with their public; Although the symphony did not once again. In March and April, he the audiences—so varied in age, in win the competition, Jeremiah conducted it four more times with nationality, in field of interest; and the was destined for great success. the New York Philharmonic. The presenters—all those folks who cooked Bernstein sent the work to both New York Music Critics Circle voted up the myriad celebrations, from the- his Tanglewood mentor, Serge Jeremiah “outstanding new classical atre companies to universities to dance Koussevitzky, and his Curtis Institute work of the season.” companies, from museums to libraries conducting teacher, Fritz Reiner, for Guest conducting invitations to orchestras of every stripe—and feedback. Reiner loved it and imme- began flooding in to Bernstein’s beyond. diately invited Bernstein to conduct representative, Arthur Judson [1881- And perhaps best of all are the it with the Pittsburgh Symphony, 1975], the founder of Columbia young people. What a rare oppor- while encouraging him to add a Artists Management. Bernstein tunity the centennial has been for more uplifting fourth movement. made several conducting debuts introducing Leonard Bernstein to a In a letter to his friend and mentor with orchestras throughout North new generation of performers and Aaron Copland, Bernstein wrote, America, greatly broadening his rep- young audiences. Not surprisingly, “He is most anxious for the fourth ertoire in the process. On March 7, kids really respond to the galvanic movement; insists it’s all too sad and 1944, 25-year-old Bernstein made his energies of Bernstein music. We saw defeatist. Same criticism my father international debut, conducting Les it happen to the kids in the Artful had, which raises Pop in my estima- Concerts Symphoniques de Montréal Learning programs nationwide; in tion no end. I really haven’t the time (now the Orchestre symphonique school systems like the one in Darien, or energy for a fourth movement. I de Montréal). The performance got CT that explored Bernstein all year long; and in the El Sistema-inspired youth orchestras around the country, whose young members shared the song “Somewhere” in a special arrangement created just for them. There is something about the com- bined elements of emotionality, deep spiritual longing, and the sheer joy of Prelude, Fugue & Riffs Prelude, existence in Bernstein’s music-making, that makes his public feel authentically connected to him. All that dynamism and sensitivity and, yes, love that Bernstein put into the world has come pinging back at all of us through these Spring/Summer 2019 centennial celebrations—and nothing could have been more touching. J.B. ■ 2 BorsaSS2019_PFR_final.indd Wallace studs.indd 2 2 4/24/194/25/19 10:08 8:03 AM a rave review in the Montreal Star: Story) and for John La Touche to OF CONGRESS NEW YORK WORLD-TELEGRAM & SUN COLLECTION COURTESY OF THE LIBRARY FRED PALUMBO, “The strings of this orchestra have pen the lyrics (La Touche later wrote never before produced such quantity lyrics for Candide). But Bernstein and quality of tone or so much fine- insisted on bringing in his friends ness of shading.” Betty Comden and Adolph Green. Bernstein received similar praise From June to December of 1944, the later that summer for his conducting three young authors wrote and com- debuts with the Chicago Symphony posed On the Town, expanding on Orchestra at the Ravinia Festival and Fancy Free’s story of the three sailors. the Los Angeles Philharmonic at the The new show followed the sailors’ Hollywood Bowl, as well as other 24-hour shore leave in New York City, outdoor concerts in Montreal and tracking their amorous adventures on New York. In the fall, he led the New the eve of their steaming off to war- York Philharmonic in five different torn Europe, to meet what fates they programs; gave a series of radio con- could not know. certs in Detroit; and conducted the Following a tumultuous ten-day Cincinnati Symphony Orchestra, his tryout in Boston, On the Town tri- tenth orchestra in that year. umphantly premiered on Broadway Throughout this busy time, on December 28, 1944, at the another facet of Bernstein’s career Adelphi Theatre (barely a year after was also gaining momentum. In the the Carnegie Hall debut). As Jack fall of 1943, the young choreogra- O’Brien of the Associated Press put pher Jerome Robbins knocked on the it, “a reviewer gets an opportunity to door of Bernstein’s studio apartment heave his hat into the stratosphere, above Carnegie Hall, to discuss an send up rockets and in general start idea he had for a one-act ballet about the sort of journalistic drooling over This feverish flurry of conducting Bernstein in three sailors on shore leave in New a musical comedy that puts an end to and composing successes propelled 1944. York City. Instantly, a great partner- all adequate usage of superlatives.” Leonard Bernstein to the status of a ship was born. MGM immediately bought the rights must-have conductor for orchestras Left: Articles and Bernstein found time to compose to On the Town for a subsequent worldwide, and a must-get composer programs from the thirty-minute score of Fancy Free movie. for both the concert hall and the 1944. in between his conducting engage- This abundance of activity— stage. Thus it was in that very com- ments. The Ballet Theatre (later the including Bernstein’s New York pressed period that the foundation American Ballet Theatre) premiered Philharmonic stipend; major city for the rest of Bernstein’s legendary the work at the Metropolitan Opera conducting fees; a recording con- career was firmly set. ■ House on April 18, 1944 (just four tract with RCA Victor; publishing months after the Carnegie Hall proceeds; income from Fancy Free; Heather Wallace is the Digital Media debut). Fancy Free was a huge On the Town royalties; and proceeds and Promotions Manager at The success, breaking Met box office from the On the Town movie rights— Leonard Bernstein Office. records, with performances extend- jointly led to a tenfold increase in ed for an additional two weeks. Bernstein’s income in 1944 and 1945. Bernstein conducted additional per- Bernstein also managed to find formances in San Francisco and at time for his political and humanitar- the Hollywood Bowl. ian causes. Despite his parents’ con- Following the success of Fancy cerns regarding his outspokenness, Free, the scenic designer Oliver Smith Bernstein proudly told the press, persuaded Robbins and Bernstein to in reference to Jeremiah, about his Fugue & Riffs Prelude, develop their ballet into a Broadway sense of identification with the Jews musical. Smith and his friend Paul in Europe and their terrible plight at Feigay produced the show, with the the hands of the Nazis. He spoke at esteemed George Abbott directing. a pro-Roosevelt rally and appeared Robbins was pushing for Arthur in “An Evening with Paul Robeson... Laurents to write the book (Laurents under the auspices of: The Joint Spring/Summer 2019 later wrote the book of West Side Anti-Fascist Refugee Committee, the Council on African Affairs,” as referred to in Bernstein’s already copious FBI file. 3 BorsaSS2019_PFR_final.indd Wallace studs.indd 3 3 4/24/194/25/19 10:08 8:03 AM Artful Learning Update COURTESY PATRICK BOLEK COURTESY PATRICK Director Thomas by Patrick Bolek Grube oversees the capture LIGHTS, CAMERA, ACTION! of a dynamic oomtown Media, based in Berlin, Artful Learning BGermany, secured funding from classroom. two European foundations to create a global awareness message that educa- tion must improve how students learn if they are to be productive and con- fident in a changing world. An Artful Learning School provides that hope. Two documentary short films will be created from a week-long residency learning; Original Creation demon- Kappel.