PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Fall/Winter 2003/2004 The Big Day: Memories of a Historic Debut

'he Big Day: November 14, 2003 marks the sixtieth anniversary of Leonard TBernstein's now famous conducting debut with the New York Philharmonic at Carnegie Hall. It is by now the stuff of leg­ end, yet it was really quite simple. Bruno Walter, the scheduled con­ ductor of the New York Philharmonic, was too ill to per­ form, and so his assistant conduc­ tor was called upon to conduct. For some reason this rarely hap­ pens; when it does, the occasion is usually unremarkable. This time was an exception. The best way to tell the story is through Bernstein himself, and a few of his fellow musicians.

From the Podium: Lenny Remembers

In what would prove to be of those days. 'Someday son, this because he had the flu - went Leonard Bernstein's last interview, will be yours,' as they say. But I over the score of Don Quixote he reminisced about his conducting never thought I would have to with me. He showed me a few debut with his brother Burton, walk out there [The Carnegie Hall tricky spots where he cut off here who was preparing an article for stage] on my own. When it came but didn't cut off there, here you Town & Country magazine on the to the time - that very day - all I give it an extra upbeat and so on. occasion of Carnegie Hall's centen­ can remember is standing there in "I called Mama and Daddy at nial in 1991. The interview took the wings, shaking and being so the Barbizon Plaza to tell them and place in Fairfield, Connecticut on scared. There was no rehearsal. I you. And then I just had to hang November 29, 1989. had just come from seeing Bruno around. I mean I was all dressed; "There were times when I must Walter, who very sweetly and very when it came to the crunch on that have fantasized - you know, one quickly - wrapped up in blankets (continued on page 4)

2 Discovering Bernstein 6 Leonard Bernstein : 13 Calendar of Events Inside ... Th rough Mahler A Jewish Legacy 16 Looking Ahead 4 From the Stage: Three 9 In the News Musicians Remember Discovering Bernstein To Our Through Mahler

Readers by Charles Zachary Bornstein dissimilarities among the Jerusalem score, the Bernstein n November 2002, I was score and that of Mahler's. Iengaged as conductor and lec­ Bernstein's has "L.B." initialed on turer at the Rubin Academy for the lower part of page one, as do eonard Bernstein still lives on in Music in Jerusalem. For my lec­ most Bernstein conducting scores Lso many of us: as a musical col­ ture on Mahler's First Symphony, in the Archive. I borrowed the score from the When Barbara put other league (for those members of the Academy library, and was Bernstein scores in front of me to New York Philharmonic who intrigued by the extravagant red look at, I discovered a sense of remember his astonishing debut pen markings that I recalled hav­ his mind at work, his thoughts 60 years ago this November); as a ing seen in the Critical Edition. crisscrossing with his bowings, Could these have been Mahler's source of intellectual fascination metronome marks and little ver­ own corrections? bal notes. These scores exhibited (for scholars who continue to pore I sent sample pages to the a love of thinking about music - over his conducting scores); as a Mahler expert Henri-Louis de La in a more organized fashion than man who embraced God through Grange, in Paris, who confirmed I had ever seen in any other con­ his music (for the American Jewish it was indeed "Mahler's own ductor's scores - and for me, hand." Zubin Mehta, then in they crushed the myth that he community); as a teacher (for the Israel conducting the Israel was impulsive and improvisatory many schools and conservatories Philharmonic, invited me to a as a conductor. with thriving Bernstein-inspired concert so that he could see the Three weeks later Barbara programs); as a performer (for all new-found score. He suggested entrusted me with Bernstein's that I compare it with Mahler's conducting score of Mahler's of us who still thrill to his record­ conducting score of the First Ninth saying, "I want to know ings and videos); and as a compos­ Symphony (1909), residing in The what does Lenny mean." After er (for all of us who continue to New York Philharmonic Archive. three months of carefully analyz­ delight in his Broadway shows and When I returned to New York, ing every marking on each page, Barbara Haws, the Archivist, it gradually became apparent that concert works). And if that sen­ greeted me with the Mahler score the mechanics behind Bernstein's tence had too many parts, it is the as well as Leonard Bernstein's interpretation of the Mahler unsurprising result of Bernstein's conducting score, a copy of a Ninth were profound and con­ sprawling, multifaceted career. First Edition Weinberger printing. vincing in two ways: first, his It was fascinating to see how harmonic and formal partitioning Such a burst of creativity in one Bernstein was directly influenced of each section with a metronome life can lead to bouts of poor by Mahler's interpretive marks, mark, to which he remained grammar in his admirers. Under since he had used Mahler's score faithful whenever that material the circumstances, perhaps these for his initial and subsequent per­ was to appear again; and second, formances with the New York how he completed many details lapses can be forgiven. of tempi, critical expression marks J.B. • These scores exhibited and dynamics implied by Mahler, as if he were co-composer. a love of thinking At a meeting with Barbara and Tom Cabaniss, Director of the about music - in a more Education Department at the New York Philharmonic, I was organized fashion than asked to lecture on Bernstein's score for the Ninth to young con­ I had ever seen in any ductors, a new educational usage other conductor's scores ... for the collection. From the piano I demonstrated and isolated many aspects of the Bernstein interpreta­ Philharmonic. Barbara Haws tion in combination with examples spent over twenty hours with me from Bernstein's own recordings, cataloguing the similarities and sometimes comparing them with

0 other conductors' recordings to scrappy counterpoint. "Hilarious" musical architecture, to the most make the point even more equaled the circus metaphor for insignificant nuance, is what, in emphatic as to "what Lenny modern and hollow laughter in my view, separates Bernstein from meant!" Scores were scanned for Mahler's big cities, New York and his colleagues. I look forward to overhead projection. Vienna. "Spastic" applied to the many more presentations ahead in The first lecture centered pri­ introductory group of six bars this collection. The Bernstein con­ marily upon the marking system that later reprise the coda. The ducting scores are a source of Bernstein devised to analyze his pretending to be "sophisticated" unlimited knowledge for genera- scores. One of Bernstein's greatest Trio sections trotting out in full tions to come. • insights was how he clarified and dress regalia, whip in hand via the simplified the most complex of hooked sforzandi to the center Charles Zachary Bornstein is a musical sections. What a thrill it ring, the "Sour" sense of the conductor and educator who has was to impart these discoveries to entire dissonant exposition with been working with the New York a new generation of conductors, the off-key Radetsky, then the all Philharmonic Archive and and to feel their enthusiasm as too "pious" (a la Wagner's Education Department to present together we explored the Bernstein Lohengrin) middle-part and all of and help continue the educational thinking process. it over again. process of Leonard Bernstein At a second lecture, we concen­ Since my initial study period I through Bernstein's own materials trated on his tempo and conceptu­ have perused every marked of which this project is an out­ al world. Just as he had parti­ Bernstein conductor score in the growth. Mr. Bornstein's newest tioned sonority, so he rigorously Archive. Each one is an adven­ CD with the Bayerische partitioned tempo, working out ture into his inspirational and Rundfunks has just been released every tempo in a practical and hyper-rational thinking. I keep in Europe on Col Legno. rational way. Accelerandi were coming back to this later aspect calculated with a graded because Bernstein's grasp of the metronome mark for each couple of bars that often increased to indications of the speed for every beat - incredible! We marveled at his interpretation, how tightly controlled yet the most elastic sounding! A musical oxymoron. Bernstein had written at the top of the opening page of the Third Movement: "Nasty/hilari­ Allegro assai. Sehr trotzig. ous, Spastic/sophisticated, 1.2: Sour/pious." What did "this" mean, how could one apply it? I knew the question would come up. Would I be able to crack it? After three months of thinking, almost ready to admit defeat, I realized that the answer was star­ ing directly at me on page 110 where he wrote: "Radetzky .,, quote" over the clarinet line. iil c Suddenly it all came together in C. !O..,, my mind. Bernstein envisioned C: IQ this Burlesque Movement as a cir­ C: ID cus! (Most European circuses play I 110 :

(continued from page 1) go over some of the tricky spots in said, 'Hey, Lenny good luck, Sunday afternoon, I wore the one Don Quixote with the cello and baby!' Oh, he was very fatherly good suit that I had, a double viola soloists and the concertmas­ and gave me big bear hugs. And breasted suit. I had until 2:30 p.m. ter. The thing that was obsessing that was about it. to kill before going to the hall in me, possessing me, was the open­ "As I was about to walk my sharkskin suit. In that hour or ing of the Schumann [Manfred] onstage, I remembered the pills. two, I sat in the drugstore [the Overture, which is very tricky I took them out of my pocket, Carnegie Hall Pharmacy, located at because it starts with a rest - the looked at them, and said 'No!' I the street-level corner of the build­ downbeat is a rest. If they don't flung them as far away from me ing]. I went in for some coffee. come in together the whole concert across the backstage as I could The druggist said, 'What are you is sunk. I mean, I can't once go and said, "I'm going to do this looking so pale about?' and he 'bop, bop, bop,' and make sure on my own." I strode out and I gave me two little pills, a green and that they can do it. So, this was don't remember a thing from that a red one. He said, 'Look, before like a nightmare. I had to go on moment. I don't even remember you go on, just pop these into your and do, untried, this thing of such intermission - until the sound mouth. One will calm you down difficulty. You know, I've heard of people standing and cheering and the other will give you energy.' other people come to grief in that and clapping." • I put them in my pocket. opening bar. Then I finally went The time seemed to hang heavy and talked with the guys, and they © 1990 Burton Bernstein, used till 3:00 p.m., even though I had to said, 'Good luck.' Bruno Zirato by permission.

From t he Stage: Three Musicians Remember

imagine the tension, the thrill, by William Lincer the electricity in the orchestra, because we only found out about "Weknew how to play the it a few minutes before. We had program. We had played very little warning. the Don Quixote twice earlier "We liked him. He was one of that week and the Rozsa three the boys. He hadn't rehearsed it, times the week before that. you know, but we knew [the pro­ We were well rehearsed 'by gram] backwards and forwards. Bruno Walter. After a few bars, we could tell "Of course, that Sunday after­ right away the he had it in him. noon was the first time the pro­ He was a born conductor. We gram was being broadcast - live, could see that, we could sense it over the radio, that was the only when he took over the orchestra. real difference. Because of the "The audience reaction was radio, the pressure was probably Musicians (left The following reminiscences are tremendous because, you know, it greater and especially on Lenny. was a bombshell. You don't to right): excerpts from interviews conduct­ And the newspapers picked up ed by the Philharmonic's expect to see a very handsome on that. William Polisi, Archivist/Historian Barbara Haws boy stepping up [to the podium]; "He was a smart conductor. "ti iil in 1996. Used by permission. that was very important. It was He didn't try to change the way i: John Corigliano, a. during the war years and they Bruno Walter had prepared us. !" .,, lmre Pogany, needed a hero. I've got to say, C: by William Vacchiano And yet, it wasn't a routine con­ IO C: that was one of the big reasons cert. There was something spe­ 11) Leonard 11<> "lmust say, in the thirty-eight everyone was in back of him." cial about it. Lenny conveyed an ;,:, =i: Bernstein, and years that I was in the air of excitement that I have "' William Vacchiano was hired by "~ Leonard Rose, Philharmonic, we never had an never forgotten." Arturo Toscanini in 1936 and s·~ occasion where a conductor was after the debut ~ sick. This was the very first time. served as Principal Trumpet with William Lincer was principal vio­ N 0 Then Bernstein came in. You can the New York Philharmonic from linist with the New York 0 concert. w ;;:; 1943 to 1973. Philharmonic from 1943 to 1972. 0 0 .i,. 0 On the afternoon of Leonard because I hadn't played as long as were all talking about it. They Bernstein's conducting debut, Mr many of the older men. They were saying, 'This was an experi­ Lincer was the soloist in Strauss's had just been through Toscanini, ence.' It didn't seem like the Don Quixote. and they came from a long her­ same orchestra. There seemed to itage of fine conductors. For be a different sound, a different by Jacques Margolies them it was, 'So, all right, Bruno approach. I don't think words Walter's sick, and there's this new can truly say what the difference "Wewere told the day we conductor at the last second.' is. You just have to hear it." • came in, that Sunday. "After the concert, there was There wasn't any preparation. bedlam. The musicians cheered. Jacques Margolies joined the The Maestro was sick and this You could not help it - you just New York Philharmonic in the youngster - who had been sit­ knew, like the movie A Star is fall of 1943 and was on stage ting out in the audience as his Born. I didn't have the nerve to November 14th. He left to pur­ assistant [during rehearsals] - go up to him after the perform­ sue a solo career in 1946 but was going to conduct. For me, it ance, but I am sure that many later rejoined the Orchestra. was more of an experience simply musicians did. The musicians

The Debut Sony Music Celebrates Recording Bernstein

n August 25, 2003, Sony Music honored the O85th birthday of Leonard Bernstein with the release of two uniquely conceived three-CD pack­ ages that highlight his distinctive dual careers as conductor and composer. There are more than three hours of music on each deluxe fold-out package, Leonard Bernstein - A Total Embrace: The Conductor and Leonard Bernstein - A Total Embrace: The Composer. The Conductor offers twenty-nine tracks span­ ning the years 1950 to 1975, while The Composer features forty-nine performances by a multitude of artists, recorded between 1950 and 1977, with one CD covering Concert Works, and two CDs devoted he New York Philharmonic's to Theater Works. This is one of the most ambi­ Special Editions continues to T tious and far-reaching retrospectives ever assembled make the compact disc of for Leonard Bernstein, who recorded exclusively for Leonard Bernstein's historic debut the Columbia Masterworks label from 1956 to the available for purchase. The disc early '70s. contains the original radio broad­ Adding insight into Bernstein's artistic contribu­ cast of Sunday, November 14, tions are newly commissioned liner notes in each 1943. Included on the CD are collection, written by Maurice Peress. Peress was performances of the Star Spangled chosen by Bernstein in 1961 to be an assistant c@n­ Banner, The Manfred Overture ductor of the New York Philharmonic. He also by Schumann, Theme, Variations conducted the world premiere performances of and Finale by Rozsa and Strauss' MASS at the Kennedy Center. • Don Quixote. To order visit: www.leonardbernstein.com. •

0 Leonard Bernstein: A Jewish Legacy

by Jack Gottlieb took place about 1926 at Mishkan Tefila (then located in Roxbury, The following tribute was writ­ Massachusetts) where, to quote Milken Archive ten for the CD by Bernstein's him from an 1989 interview: "I long-time associate who co-pro­ felt something stir within me, as duced the CD with composer though I were becoming subcon­ of American Michael Isaacson sciously aware of music as my rai­ son d'etre." In fact, his first sur­ Jewish Music I\ t the 1969 funeral of Leonard viving completed piece was a set­ /-\Bernstein's father, which took ting of Psalm 148 which he place at Temple Mishkan Tefi la in recalled as having been written Chestnut Hill, Massachusetts, between 1932 and 1935, recorded Rabbi Israel Kazis eulogized and performed here for the first Samuel J. Bernstein as one who time. During the following was completely involved in wor­ decades he was to write some ship by always having "his mind in twenty works on Jewish themes, contemplation, his heart in love, about one-quarter of his orchestral his voice in song and his limbs in works, half of his choral composi­ dance." Like father, like son. tions, songs and other pieces that Early on, critics often were dis­ have had broad appeal for Jews tracted by the Maestro's dance-like and Gentiles everywhere. style as a conductor. But was this The greater part of Bernstein's deliberate conduct? He said no; output was sparked by the interac­ and certainly never for the show­ tion of his American conditioning off reasons faultfinders may have and his Jewish heritage, as in ascribed to him. His podium man­ Symphony No.3: Kaddish and ner had to be a burning need to Chichester Psalms, both written in axos American Classics and The communicate the composer's Hebrew-Aramaic, but with a NMilken Archive of American Jewish thought processes to both orchestra touch of his West Side Story Music have released a compact disc of and audience, whatever the physi­ sound. Other Jewish works are Bernstein's mostly unknown Jewish com­ cality it took to make it manifest. electric with American kinetic At times it was as if he were, in positions: Leonard Bernstein - A Jewish The greater part of Legacy. The October 2003 release is part the title of one of his songs from On the Town, Carried Away. One of an extensive, multiyear recording series Bernstein's output was from The Milken Archive. An ongoing is reminded of words from Psalm CD project, it presents a broad spectrum 35: Kol atsmotai tagilna badonai! sparked by the interac­ of sacred and secular compositions that (All my bones shall exult in the express the rich variety of Jewish life in Lord!). This is the article of faith tion of his American America and its relevance to people of all by which Leonard Bernstein lived faiths. The CD features the BBC Singers, his life and created his works. conditioning and his Eastman Players, Cantor Howard Stahl, But it is one thing to be carried Angelina Reaux, soprano, Michael Sokol, away as a performer and quite Jewish heritage ... baritone, Hans Peter Blochwitz, tenor, another matter as a composer. Bonita Boyd, flute, Jack Gottlieb, Jean A conductor displays his art with a energy even though they are con­ Barr and Barry Snyder, pianists and con­ finished product; a composer is cerned with events that took place ductors, Samuel Adler and Avner Itai. concerned with the yet-to-be, the "over there." Among them are Much of the music will be heard for the making of that product. There Jeremiah, his 1942 symphony first time including Hashkiveinu, are, of course, musicians like a red­ written in response to early Bernstein's only work written specifically hot jazz improviser, or a cantor reports of Nazi anti-Semitism, and for the synagogue. • possessed by spiritual fervor, who Hali!, his flute "rhapsody" about can achieve the best of both worlds young lives laid waste in the For more information please visit: simultaneously, as creator and re­ Israeli Yorn Kippur War of 1973 www.mff.org or www.leonardbernstein.com creator. Bernstein worked mightily (a premiere recording here in its to realize that paradoxical state of chamber version). controlled spontaneity above all More fascinating is how some of else in his own compositions. the non-Jewish works are flavored His earliest memory of music with Hebraicisms, including his 0 musical comedy On the Town. long friendships which always "Between Two Worlds." In that Two songs from that show, Ya came before his work. On the timeless void he must have Got Me and Some Other Time are other hand, he was unhappiest achieved the Hasidic ideal of fusion redolent of a cantorial mode when not working; idleness made known as d'veikut, a kind of cos­ known as Adonai Malakh (The him melancholy. Music was his mic glue that leads one towards a Lord is King). Elsewhere I have fix, and he experienced it as sphere where mystical powers shown how other samples are to few of us ever will. It is no acci­ dwell, where joy is its own reward. be found in the Finale of his dent he identified himself so Some of that transcendent uplift Symphony No.2: The Age of keenly with the youthful fiddler can be sensed in the opening of his Anxiety and in Mass, his theater who drives his listeners to fren­ Dybbuk ballet, here presented for piece based on the Roman zied ecstasy in the Yiddish the first time in its version for two Catholic rite, but imbued with poem "Oyf mayn khas'eneh" pianos and two voices. hidden Jewish symbolism. from Arias and Bar carol/es (on Bernstein may not have been Many people pleaded with this recording). traditionally observant, but he was Bernstein to write a complete I recall how drained he deeply Jewish in every other way. Jewish service. (His setting of the was after a performance of In fact, he once described himself Hashkiveinu prayer was the only Tchaikovsky's Pathetique as a "chip," not off the old block, attempt.) However, I have come Symphony in the late 1980s. He but "off the old Tanach," the across an undated jotting on a said he was "on the brink," mean­ Hebrew acronym for the complete Leonard and work he was contemplating, but ing he was transported to a place Bible. As a teenager he even never followed through: that had no beginning or end. At briefly flirted with the idea of Felicia Bernstein "A Cantata on Hebrew-Yiddish such enviable moments, Bernstein becoming a rabbi. As it turned in Jerusalem, Materials That Move Me. What was suspended, as in the subtitle of out, he did become a kind of rabbi, are the Jewish roots I long for? Anski's classic play The Dybbuk, (continued on page 8) 1953 Nostalgia for youth? Guilt towards my father? First real cul­ tural exposure? First real music I heard (Braslavsky)! Seeking a larger identity, with a race or creed?, with a supernatural force? (But the latter word doesn't account for so many "Yiddish" responses). Seeking any identity? Common roots with siblings? Speaker (English), the singer (Heb. & Yiddish)." He concluded with titles of prayer, Bible and Haggadah pas­ sages: Yigdal, Sholem Aleichem, Judith, Psalms (proud humility), Song of Songs, "And it Came to Pass at Midnight" (Vay'hi b'chatsi halaila) and "It is Enough" (Dayeinu). Too bad he never wrote this Cantata, but parts of the above list do exist in various works of his. Bernstein was an unabashed eclectic, an ecumenical lover of the world, and it loved him in return. This, too, was part of his Jewish nature, for Judaism is based on commonality. (Jewish prayer, for example, calls on k'lal Yisrael, all of Israel. There are many fewer Hebrew prayers for the individual.) Bernstein was fiercely loyal to life- 0 Leonard Bernstein: A Jewish Legacy, continued

(continued from page 7) • an eloquent sermonizer on major in college, I wondered what albeit one without portfolio; and in nuclear disarmament from syna­ it would have been like to have fact, Hebrew Union College gogue and church pulpits; known Mendelssohn, Liszt, awarded him an honorary degree. • a defender of causes for the Mahler and Gershwin. Now I Indeed he was a thoroughly oppressed and disenfranchised in know. Lenny was a bit of all of imbued, inbred, and as he labeled his benefit concerts for Amnesty them and more. He was my men­ his Diaspora Dances from Jubilee International, and for victims of tor and I was privileged to be in Games, a "socio-cultural, geo­ AIDS in "Music for Life" concerts; his company. May his memory be Judaic" Jew by being: • an inspiring teacher, in the a blessing for all of us. • • a practitioner of tzedaka, Talmudic style, for a generation of Composer Jack Gottlieb recently a believer in the efficacy of chari­ music lovers, many of whom were completed a book Funny, It table giving; first introduced to the delights of Doesn't Sound Jewish: How • a benefactor for a host of stu­ music by his televised concerts; Yiddish Songs and Synagogue dents, endowing scholarships, pro­ • a counselor to the troubled and a Melodies Influenced Tin Pan Alley, viding instruments, and sponsoring source of Solomonic wisdom, Broadway and Hollywood. A talented youngsters; which he freely dispensed to any­ joint publication by The Library of • a fierce devotee of book-learning, one in earshot (sometimes, truth to Congress and SUNY Press central to Jewish culture, and a tell, not always welcome); and one (Albany), it is scheduled for release master of word-play, as well; of the few celebrated 20th century in the spring of 2004. • a champion of the State of Israel composers whose catalog consists from its inception, as performer in large proportion of works on Copyright 1993, 2003 by Jack and artistic ambassador; a musi­ Jewish themes. Gottlieb. May not be reproduced cian-soldier who performed in the No question about it, Leonard without written permission from field during war-time conditions, Bernstein was one of God's the author. All rights reserved. under threat of military attack; favorites. When I was a music

Recommended Reading

by Jack Gottlieb passionately protested Bernstein's decision to add the recitation of the kaddish prayer over orchestral David M. Schiller, a professor at music, contrary to the composer's instructions and the University of Georgia School desire to avoid "particularity" so that his music of Music, explores the common might embrace "all mankind." What especially dis­ links among Bloch's Sacred turbed Ms. Bloch was how the Bernstein approach Service (1933), Schoenberg's A subsequently became the model for subsequent per­ Survivor from Warsaw (1947) formances of the Service. and Bernstein's Symphony No.3: Bernstein's own Kaddish Symphony of 1964 Kaddish (1963). He demonstrates is, of course, post-Holocaust. But Schiller reminds how each composer responded to us that in the preface to Findings, a collection of the Holocaust through these the maestro's writings between 1935 and 1980, works. Schoenberg, who wrote Bernstein wrote: "Perhaps the most stunning sur­ :.r~ws • his cantata after the dimensions prise I have had in the last swift rereading is the l) ,\VJI) M. of the holocaust were fully gaping hiatus between my university graduation SCHILi.LR revealed, had to cope with ironic (1939) and the end of World War II (1945). criticisms that somehow his can­ There is literally nothing there; and this surprises ~ Bloch, Schoenberg tata gave legitimacy to that darkest chapter in the me so strongly because it was not only a period of annals of infamy. and Bernstein : war, but especially of the Holocaust ... ". Schiller Bernstein never performed the Schoenberg argues that the Kaddish Symphony is, in part, Assimilating work, but he did record Bloch's Sacred Service in Bernstein's 'atonement' for that gap, for having

Jewish Music 1961. We learn that Bloch's daughter, Suzanne, failed, in his own words, "to document my emotions of the Hitlerzeit." • 0 THEINfle

.. Three West Des Moines Schools to use Arts in All Classes

The elementary schools will use art in their classes to increase test scores.

by Dana Boone Bolek said the teaching method The Grammy Foundation took Staff Writer, Aug 1, 2003 has proven effective for so-called over the center in 1999, but "at-risk" - typically defined as Bernstein's concepts had been est Des Moines [Iowa] minority and low-income - stu­ used in some schools since the W school officials have turned dents. All three West Des Moines late 1980s. Under the Bernstein to the West Coast in their effort schools have a large number of model, children are "not going to to improve test scores at three students who meet the definition, just regurgitate facts later," Bolek elementary buildings. The district officials said. said. "This is hands-on learn­ will be the first in Iowa to try a Phenix Principal John Villotti ing," he said. "It's not about sit- seven-year-old teaching method said traditional methods aren't that puts the arts at the center of working. "Right now, we don't An opportunity to transform all subject areas. teach with very much integra­ kids by changing the process Called the Grammy Foundation tion," he said. "We teach reading Leonard Bernstein Center for when it's reading time; math by which they learn ... Learning model, it will be tried at when it's math time." three West Des Moines elemen­ Eighty-five percent of West ting at a desk with a worksheet." tary schools this fall. "What we Des Moines' fourth-graders read The Bernstein model is differ­ are seeing with schools across the at the level expected of their age ent from the approach used at the country - what's currently in group, Iowa Tests of Basic Skills Des Moines school district's place isn't working," said Patrick data show. That's down slightly Edmunds Fine Arts Academy. Bolek, project manager of the from a year ago. Edmunds students focus on the California center. "You're going Donations and money from arts to learn about that subject, to walk into these West Des the Gifted and Talented program but don't use them much to teach Moines community schools in a will pay for a majority of the all the other subjects, school offi­ couple months and see a change, $40,000 Bernstein effort, which cials said. a transformation." began this week with training for Jo Ann Isken, principal of Twenty schools across the 70 West Des Moines teachers, Moffett Elementary School in Los country have adopted the idea. employees, parents and professors Angeles, has used the Bernstein For example, kindergartners in from Drake University, Iowa State model for two years. The school New York focused on the theme University and the University of has 1,400 students, more than 90 "community" with the celebrated Northern Iowa. percent of whom are from low­ painting "Harlem"- also known Deb Vail, a third-grade teacher income families. Most are learn­ as "Rooftops" - by Jacob at Phenix, said the training ing to speak English. Isken, who Lawrence. All subjects explored inspired her to think creatively. helped with this week's training, the same theme and culminated in "I absolutely feel that it's worth said attendance at her school has students' artwork. the jump and effort," she said. increased and disciplinary prob­ West Des Moines administrators Deb Swander's fifth-grade son, lems have decreased. think the approach will boost test John, 10, attends Clegg Park. "It happened because students scores at Rex Mathes, Clegg Park She calls the experiment "an are 100 percent interested, excited and Phenix Elementary. All Rex opportunity to transform kids by and engaged about what's going Mathes and Clegg Park students changing the process by which on in the classroom," she said. • and Phenix fourth-graders will they learn." "They'll see the attend the new Hillside Elementary connection between subject areas Copyright © 2003, The Des School when it opens in 2004. in ways they haven't before," Moines Register. Reprinted she predicted. by permission. G Schleswig Holstein Music Festival

favorites, as well as the European premiere of the Orchestral Suite from 1600 Pennsylvania Avenue. Conductor Carl St. Clair report­ ed, "The audience, enjoyed the work and gave it resounding applause." At the final concert of the season, the Leonard Bernstein Award was presented to violinist Elisabeth Batiashvili. Still in her early twenties, she has performed throughout the world with conductors Christoph Eschenbach, Sir Colin Davis and Lorin Maazel, among others. BBC Music Magazine nominated her London Prom with Osmo Vanska and his BBC Scottish Symphony as the most outstand­ ing debut of the year. The Leonard Bernstein Award is given to a young artist at the Rolf Beck, his past summer the spirit of the inspirational force, the festi­ beginning of a promising career. Leonard Bernstein was alive val was founded in July, 1986. The annual award comes with Director of the T and well at the Schleswig This August, the festival paid €10,000, a prize donated by the Festival, pre­ Holstein Music Festival (SHMF) tribute to Bernstein at a gala con­ SparkassenFinanzgruppe, one of in Germany. With Bernstein as cert presenting some Bernstein the main sponsors of the SHMF.• senting the prize

to Elisabeth

Batiashvili. The Boston A Bernstein Workshop Conservatory

uring the first two weeks of formed music from Candide, s part of a year-long celebra­ DSeptember, the Royaumont Wonderful Town, On the Town Ation of the music of Leonard Foundation in France sponsored a and West Side Story, as well as Bernstein, the Boston Conservatory workshop on the music of Bernstein's opera, Trouble in will stage Candide and Wonderful Leonard Bernstein. The singer Tahiti. Criswell said, "Using the Town. The performance of Kim Criswell acted as mentor and music of Bernstein was a natural Candide will be the American pre­ teacher to twelve students. Ms. for me, and what better way to miere of the recently acclaimed Criswell, who has performed introduce these young singers to Royal National Theater (England) many all-Bernstein programs, as this wonderful American genre version. Performances begin on well as the role of Ruth in than using this wonderful music." October 29 and are repeated on Wonderful Town at the BBC Founded in 1964 and located in November 1 and 2. Candide will Proms and at the Berlin a Medieval abbey, the Royaumont be directed by Neil Donohoe with Philharmonic's New Year's Eve Foundation brings together differ­ Bill Casey as the musical director. concert last year. The workshop ent artistic disciplines. This is the In March of 2004, the participants learned about per­ first time that Royaumont present­ Conservatory will mount a pro­ forming in musical theatre ed music from Broadway. • duction of Wonderful Town through the musicals of Bernstein. directed by Paul Daigneault, with The students, who were unfamil­ musical direction by Janet Roma. • iar with Broadway musicals, per- The Brooklyn Conservatory Bernstein Awards

Celebration of Leonard BROOKLYN Bernstein." The day long event n June 2003 the American Society of CONSERVATORY consisted of a film screening of IComposers, Authors and Publishers (ASCAP) of West Side Story, free mini-lessons and the American Symphony Orchestra and workshops by the faculty, League (ASOL) presented the Leonard M ·U ·S . I ·C lectures about Bernstein and con­ Bernstein Award for Education Programming certs by the faculty. Jamie to the New York Youth Symphony. Upon n September 7, the Brooklyn Bernstein also participated, shar- receiving the award Barry Golberg, executive OConservatory in New York ing memories of her father. • director, remarked, "We are thrilled to have hosted "Open House: A this recognition of our 40 years of educational projects for talented young musicians. We feel particularly honored in having our name asso­ ciated with America's most important music educator." This is the first time the honor was Pennsbury given to a youth organization. Also in June, the Longy School of Music in Boston, Bernstein Festiva I Massachusetts presented their Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society to conductor Leonard Slatkin. • three day festival of Bernstein's guest speaker on this evening. Avocal music begins on Guest artists joining the school November 6 with an evening of and community choirs will be cabaret music at Odette's in New soloists Sara Blann, Alyson Hope, Pennsylvania. Friday Harvey, Cindy Lesser, Robin evening, the Pennsbury Comm­ Massie, Kathryn Thomas, Charles unity Chorus will be joined by the Walker, Scott Williamson, and Pennsbury High School Concert Leon Williams. • Choir and guest soloists for a pro­ gram of Bernstein music from the Tickets are available by theatre. Saturday evening closes contacting the Pennsbury High the festival with a performance of School Choral Music Office at Chichester Psalms and other 215-949-6779. music with the Pennsbury choir, Conductor Leonard Slatkin, Longy President Kwang­ guest orchestra, and guest soloists. Wu Kim and Linda Nathan, Headmaster of the Alexander Bernstein will be the Boston Arts Academy

Rotterdam Salutes Bernstein

uring October, the Rotterdam baritone Graham Fandrai and the Side Story. The Festival culmi­ DPhilhamonic Orchestra in the Choir of the National Opera. nated with performances of Netherlands presented a Bernstein Terrel will also accompany the Candide in the 1989 Scottish Festival, focusing on Bernstein's singers on piano in a concert of Opera concert version. • Broadway compositions. Scott songs from the shows. The reper­ Terrel conducted the concerts toire included Three Dance For more information: which featured soprano Esther Episodes from On the Town, and http://www.rpho.nl Heideman, tenor Todd Willander, the two Concert Suites from West Wonderful Town to Open on November 23

Mass in Dallas

he Dallas Symphony TOrchestra will present the Dallas premiere of Leonard Bernstein's Mass: A Theatre Piece for Singers, Players, and Dancers on November 22 and 23, 2003. The performances will commem­ orate the fortieth anniversary of the assassination of President he Leonard Bernstein-Adolph David Margulies, Raymond John F. Kennedy. Baritone TGreen-Betty Comden show Jaramillo McLeod, Stanley Douglas Webster will star as the Wonderful Town has an opening Wayne Mathis and Timothy Celebrant in a role for which he date on Broadway. The first Shew among others. Barry and has become famous. Guest Broadway revival of the Tony Fran Weissler and Roger Berlind Conductor William Eddins of the Award winning show will open will produce. Kathleen Marshall Chicago Philharmonic will lead November 23 at the Al Hirschfeld will direct. Wonderful Town is the Dallas Symphony Orchestra Theatre. The revival will star based on Ruth McKinney's New and Chorus, Children's Chorus of two time Tony Award winner Yorker short stories which were Greater Dallas and soloists at the Donna Murphy as Ruth. Other adapted into a 1940 Broadway Morton H. Meyerson Symphony members of the cast include: hit My Sister Eileen by Joseph Center. Jamie Bernstein will host Jennifer Westfelt as Eileen and Fields and Jerome Chodorv. The an open rehearsal for Dallas will also feature Gregg Edelman, original production ran for school children the day before Nancy Anderson, Randy Danson, 559 performances. • the first performance and will Peter Benson, Michael McGrath, give a pre-concert talk before each performance. In conjunction with the per­ formance, The Sixth Floor Museum at Dealy Plaza will cre­ Broadway Stars Salute Bernstein ate an exhibition exploring the history of the Kennedy Center II Bravo Bernstein!," a star- Jamie Bernstein and Nina and Mass. studded celebration of the Bernstein Simmons, as well as A corresponding exhibit will Broadway career of Leonard Betty Comden, Barbara Cook, be on display at the Meyerson Bernstein, will be held on Monday, Phyllis Newman and Chita Symphony Center. The exhibi­ November 24, 2003 at the historic Rivera. This one-night-only con­ tion will contain reproductions of Hudson Theatre in New York City. cert - featuring songs from West historic photographs and selected This gala night benefits Musical Side Story, Candide, On The artifacts that highlight the cre­ Theatre Works, New York's only Town and Wonderful Town - ation of the John F. Kennedy not-for-profit theatre dedicated will be directed by Emmy winner Center for the Performing Arts exclusively to creating new musi­ Lonny Price. Tony-winning com­ and Mass. cals. David Hyde Pierce, the poser Jason Robert Brown will Jacqueline Kennedy Onassis Emmy-winning star of the NBC conduct an orchestra composed commissioned Mass for the 1971 series Frasier, will host the evening. of Broadway musicians. A limit­ opening of the Kennedy Center Many leading Broadway perform­ ed number of tickets, priced from for the Performing Arts in ers, including Harolyn Blackwell, $50 to $1000, are available by Washington, DC. • Judy Blazer, Betty Buckley and calling 212-677-0040. More Audra McDonald are scheduled to details are also available online at appear. The honorary committee www.mtwnyc.org includes Alexander Bernstein, • *Partial listing. Please note that all dates and Calendar of Events prog rams are subject to change. For a more complete listing visit Fall/Winter 2003/2004 leonardbernsteln.com

October October, cont. 2,3 Bergen, Norway: SYMPHONIC DANCES 30,31 Phoenix, AZ: CHICHESTER PSALMS, FROM WEST SIDE STORY; Bergen A SIMP LE SONG, SYMPHONY NO .3: Philhamonic Orchestra; David Delta Gier, KADDISH; The Phoeni x Symphony and conductor; Greighallen. Chorus; Robert Moody; conductor; Jamie Bernstein, speaker; Symphony Hall. 7 Montreal. Canada: SERENADE (after Plato's 'Symposium'); Orchestre Symphonique de Montreal; Jonathan Crow, violin; Timothy Vernon, conductor; Sa lle Wilfrid-Pelletier. 9, 10 Rotterdam, Netherlands: WEST SIDE STORY CONCERT SU ITES NOS.1 and 2, ON THE TOWN, Selections for Concert Performance; THREE DANCE EPISODES FROM ON THE TOWN; Rotterdam Philharmonic Orchestra; Scott Terrell, con ­ ductor; Esther Heideman, soprano; Todd Wil lander, tenor; Graham Fandrai, baritone, piano; Jurriaanse Zaal. 11 Kahsiuing, Taiwan: WEST SIDE STORY CONCERT SUITE NO.1; Kahsiuing City Symphony Orchestra; Su-Si Chen, conduc­ tor; Concert Hall.

12 Rotterdam, Netherlands: CANDIDE, Select­ ions arranged for piano four-hands, Selections from ON THE TOWN, PETER PAN, TROUBLE IN TAHITI, WEST SIDE STORY, WONDER- FUL TOWN, CANDIDE; Esther Heiderman, soprano; Todd Willander, tenor; Graham November Fandrai, baritone; Scott Terrell, piano; Jurriaanse Zaal. 1 Phoenix, AZ: CHICHESTER PSALMS, A SIMP LE SONG, SYMPHONY NO .3: 17, 18 Cincinnati, OH: FANCY FREE ; Cincinnati KADDISH; The Phoenix Symphony and Symphony Orchestra; Michael Morgan, chorus; Robert Moody; conductor; Jamie conductor; Music Hall. Bernstein, speake r; Symphony Hall. 17, 18 Rotterdam, Netherlands: CANDIDE, 6, 8 Adelaide, Australia: SERENADE; Concert Version; Rotterdam Philharmonic Adelaide Symphony Orchestra; Like Dal l­ Orchestra; Choir of the Nationale man, conductor; Vadim Gluzman, violin; Reisopera; Scott Terrell, conductor; Esther Town Hall. Heiderman, soprano; Todd Willander, tenor; Graham Fandrai, baritone; Jurriaanse Zaal. 8,9 New York, NY: FANCY FREE; The American Ballet Theatre; City Center. 22 New York, NY: Beethoven by Mahler and Bernstein, a lecture by Charles Bornstein; 10 New York, NY: SYMPHONY NO.3: sponsored by the New York Philharmonic; KADDISH; The Jui lliard Symphony and Avery Fisher Ha ll Board Room. Chorus; Gerald Schwarz, conductor; Judith Clurman, choral preparation; Tova 29- 31 Boston, MA: CANDIDE; The Boston Torah Feldshuh, speaker; The Juilliard Conservatory; Bill Casey, music director; School of Music. Neil Donohoe, director; Conservatory Theater. [ Calendar of Events ]

November, cont. November, cont. 13, 14 Montreal, Canada: CANDIDE OVER­ 22,23 Cincinnati, OH: ON THE TOWN; TURE; Orchestre Symphonique de University of Cincinnati College Montreal; Yakov Kreizberg, conductor; Conservatory of Music. Sa lle Wilfrid-Pelletier. 22,23 Dallas.TX: MASS (fu ll y staged); Da ll as 19 Washington, DC: Selection from MASS; Symphony Orchestra; Douglas Webster, Catholic University of America; Murry Celebrant; William Eddins, conductor; Sid lan, conducting; Doug Webster, Morton Meyeran Center. Celebrant; John F. Kennedy Center for 28,29 Boston, MA: CANDIDE (New York City the Performing Arts. 30 Opera version ); Opera Boston; Culter Theatre. 19,20 Santa Ana, CA: ON THE TOWN and CANDIDE, Selections for concert perform ance; PRELUDE, FUGUE & RIFFS, December SYMPHONIC DANCES FROM WEST SIDE 1 New York, NY: Songs of Leonard STORY, ORCHESTRAL SUITE FROM 1600 Bernstein; Lincoln Center for the PENNSYLVAN IA AVENUE (West Coast Performing Arts Winter Gala, A Tribute to prem iere); Pacific Symphony Orchestra; the American Songbook; Kristin Chenoweth, University Singers, CSU Fullerton; Carl St. Christine Ebersole, Michae l Fei nste in, Judy Clair Segerstrom Hall, Orang e County Kuhn, Rebecca Luker, Maureen McGovern, Performing Arts Center. Brian Stokes Mitchell, Bebe Nuewirth and 20,21, Seattle, WA: SYMPHONY NO.3: others; Alice Tully Hall. 23 KADD ISH; Seattle Symphony; Gerard 6 Rotterdam, The Netherlands: SYMPHO­ Schwarz, conductor and speaker; NY NO .2: THE AGE OF ANXIETY; Radio Marina Belenky, soprano; Benaroya Hall. Philharmonic Orchestra; Ulf Schirmer, con ­ 20-23 Cinncinnati, OH: ON THE TOWN; ductor; James Tocco, piano; Jurriaanse Zaa l. University of Cincinnati Co ll ege­ Conservatory of Music; Roger Grodsky, musical director; Aubrey Berg, director; January Corbett Aud itorium. 10 Coeur d'Alene, ID: AR IAS AND 21 Trenton, NJ: THREE DANCE EPISODES BARCAROLLES; Spokane Symphony; Fabio FROM ON THE TOWN; New Jersey Mechetti, conductor; Adriana Zabala, Symphony; Yakov Kre izberg, conductor; mezzo-soprano; Steve Mortier, baritone; Patriot's Theatre . Boswell Hall. 21,22 Berlin, Germany: MASS (in conce rt); 11 Spokane, WA: ARIAS AND BAR­ Deutsches Sinfonie Orchester and Choir; CAROLLES; Spokane Symphony; Fabio Jerry Hadley, Ce le brant; Kent Nagano, Mechetti, conductor; Ad riana Zabala, conductor; Philharmonie. mezzo-soprano; Steve Mortier, baritone; Metropolitan Performing Arts Center. 22 Charleston, SC: SYMPHONY NO .3: KADD ISH; Charleston Symphony Orchestra; 15 Munich, Germany: CH ICHE STER PSALMS; David Stahl, conductor; Jennifer Luiken, Bavarian Radio Symphony and Chorus; soprano; John Edwa rd s, narrator; Ga ill ard Mariss Jansons, conductor; Herkulessal . Municipal Auditorium. 16 Oak Ridge, IA: TROUBLE IN TAHITI; 22,23 Newark, NJ: THREE DANCE EPISODES Oak Ridge Music. FROM ON THE TOWN; New Jersey 17, 18 Singapore, Singapore: SERENADE; Symphony; Yakov Kreizberg, conductor; N Singapore Symphony Orchestra; Lan Shui, 0 0 New Jersey Performing Arts Center. w ;::; conductor; Kam Ning, vio lin ; Esplande 0 ...0 Concert Hall. January, cont. March, continued 22 Munich, Germany: SERENADE; 14 Miami Beach, FL: THE BERNSTE IN BEAT: Munchner Kammerorcheste r; Ja nine WHAT MAKES MUSIC DANCE?; New World Jansen, violi n; Alexander Liebreich, Symphony; David In-Jae Cho, conductor; conductor; Herku lessaa l. Jam ie Bernstein, narrator, Li ncoln Th eatre .

30,31 Miami Beach, FL:ORC HE STRA SUITE 19,21, Rennes, France: CAND IDE (Concert FROM A QUI ET PLACE ; New World 23 Vers ion); Orchestra of Bretag ne; Opera de Symphony; Michae l Til son Th omas, con ­ Rennes; Gu iseppe Grazio li , conductor. ductor, Lincoln Theatre. 27-29 Houston, TX: SYMPHONY NO .3: KADD ISH; Houston Symphony; So loists February tba; Lawre nce Foster, conductor; Jo nes Hal l. 1 Chemnitz, Germany: SYMPHON IC 28 Basel, Switzerland: WEST SIDE STORY, DANC ES FROM WEST SIDE STORY; Robert SYMPHON IC DANCES; Rad io-S infonie­ Schumann Ph ilharmonie Chemn itz; Robert Orchester Frankfurt; Hugh Wolff, Hane ll , conductor; Stadha ll. conductor; Stadt; Musik-Akadem ie Base l. 5,8 Bamberg, Germany: SYMPHONY NO.2: 30,31 Montreal, Canada: THREE DANCE TH E AG E OF ANXIETY; Bamberg Symphony EPISOD ES FROM ON THE TOWN, Orchestra; Carl St. Clair, conductor; SYMPHONIC SUITE FROM ON THE Concert Ha ll. WATERFRONT; Orchestre Symphonique 12 Rome, Italy: ORC HESTRA SU ITE FROM A de Montreal; Ro lf Bertsch, conductor; QU IET PLAC E; Nationa l Academy of St. Sa ll e Wi lfrid Pe ll etier. Ceci li a; Michael Ti lson Thomas, conductor; 30,31 Montreal, Canada: TH REE DANCE Auditorium Pa rco de ll a Musica. EPISODES FROM ON THE WATERFRONT, 20,21 Spain: SER ENAD E (after Plato's SYMPHON IC SU ITE; Orchestre 'Symposium'); Barcelona Symphony Symphonique de Montreal; Ro lf Bertsch; Orchestra; Angel Jesus Garcia, violi n; conductor; Sa ll e Wilfrid-Pe lletier. Eiji Oue, conductor; Aud itori.

26,28, Cleveland, OH: WEST SIDE STORY, 29 SYMPHON IC DANCES; The Cleve land Orchestra; Franz We iser-Most, co nductor; Serverence Hall. [ Note to Readers ]

Prelude, Fugue & Riffs will be Prelude, Fugue & Riffs™ is March sent upon request. Please send a publication of The Leonard all correspondence to: Bernstein Society. 1-4 London, UK: Leah a bal let to DYBBUK; Craig Urquhart © 2003 by The Leonard Moscow Dance Theate r; Alexe i Ratmansky, Prelude, Fugue & Riffs Bernstein Office, Inc. choreog rapher; Nina Ananiashvil i, bal lerina; 25 Central Park West, Suite 1Y Executive VP: Harry J. Kraut Sad ler We ll s. New York, NY 10023 Managing Editor: Craig Urquhart Fax: (212) 315-0643 Editors: Jack Gottlieb, 2 Cleveland, OH: WEST SID E STORY, e-mail: Jamie Bernstein SYMPHON IC DANC ES; The Cleve land [email protected] Design: Borsa Wallace, NYC Orchestra; Franz We iser-Most, conductor; We appreciate notice of any Visit our website: Serverence Hal l. performances or events featuring www.leonardbernstein.com 4-7 Boston, MA: WONDER FUL TOWN ; Th e the music of Leonard Bernstein or honoring his creative life and Boston Conservatory; The Boston PRELUDE, we shall do our best to include & Conservatory Theater. such information in forthcom­ FUGUE ing Calendars. RIFFS ead Record Company Updates

DEUTSCHE GRAMMOPHON MECENAT MUSICAL NAXOS Deutsche Grammophon presents Mecenat Musical records have Naxos presents the Bournemouth violinist Anne-Sophie Mutter released Yutaka Sado conducting Symphony Chorus and Orchestra with Andre Previn conducting the the Orchestre Lamoureux with conducted by Marin Alsop per­ London Symphony Orchestra in vocalist Kim Criswell performing forming Chichester Psalms, On a performance of Serenade. selections from Candide, On the the Waterfront and Three Dance Town and West Side Story along Episodes from On the Town UNIVERSAL MUSIC with On the Waterfront. Universal Music has released CHER Street Tango by bandoneon artist VIRGIN CLASSICS Cher has released a DVD of her Carel Kraaenhof. The recording Countertenor David Daniels is farewell tour that includes a includes his arrangements of joined by Craig Ogden, guitar, bonus track of her one-woman songs from West Side Story, with on a Virgin classics release A performance of West Side Story as liner notes by Jamie Bernstein. Quiet Thing which includes seen on her 1970s television show. Bernstein's songs So Pretty and A Simple Song. IINSTEIN IIITaWITBfflOlfl' u1a•as(oo- iomCRISWELl • 2"~08Cllffll lAMIHJRllll

PRESORTED PRELUDE, STANDARD & U.S. POSTAGE PAID FUGUE NEWARK,NJ RIFFS PERMIT NO . 45 25 Central Park West, Suite 1Y New York, NY 10023

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