PRELUDE, FUGUE News for Friends of RIFFS Fall/Winter 2009 The Bernstein Project

n September 20, the Southbank OCentre in London launched The Bernstein Project. Inspired by the life of Leonard Bernstein, this innovative project will encompass BERNSTEIN more than 30 events throughout the 2009-2010 season, drawing PROJECT on Bernstein's work as a musician, humanitarian, communicator and educator and providing a multi­ faceted exploration of his life through concerts, films, lectures and participatory workshops. American conductor is the project's Artistic Director. The Bernstein Project kicked off with a day of events called Rally. The day began with a vocal workshop that engaged the public in learning some of the music from Bernstein's Mass. This was followed by a per­ formance of songs from West Side Story featuring pupils from local schools. Then the National Youth Orchestra of Great Britain composed a tribute to Leonard Bernstein through improvisation. The day also included a showing of the film A Total Embrace by Nina Bernstein Simmons, and a discussion of Bernstein's life by Alexander and Jamie Bernstein. The day culminated with Mass Gathering, a concert that featured music from and extracts of Beethoven's Ode to Joy con­ ducted by Alsop. Alsop said, "Leonard Bernstein was a phenomenon ... as Stephen

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3 Discussing Mass 5 Mass on Recording 8 In the News Inside ... 4 Mass at the Vatican 6 Remembering Julia 12 Some Performances The Bernstein Project, continued

Sondheim once wrote about his The Bernstein Project will To Our friend: 'Poor Lenny... 10 gifts include a season of films curated too many.. .' Bernstein wrote hit by Bernstein biographer and for­ musicals like West Side Story mer head of BBC TV's Music and Readers and a great film score to On the Arts, Humphrey Burton. Some of Waterfront; he composed pro­ the films to be screened include found music, serious music, and The Little Drummer Boy, a con­ troversial 90-minute film essay on Mahler's Jewish Heritage; and hen asked which of his composi­ He was a thinker, teacher, Ode to Freedom, a performance tions was his favorite, Leonard W author, television star, of Beethoven's Ninth Symphony Bernstein would reply, "Oh, how in Berlin, celebrating the fall of can you ask me to choose among provocateur, humanitarian the Berlin Wall 20 years ago on them? They're like my children!" But Christmas Day 1989. if pressed, he would confess that he and he was my hero. There will be concerts by held a special place in his heart for -Marin Alsop Southbank Centre's Resident Mass, precisely because it was his most Orchestras, the London misunderstood piece - and perhaps hysterically funny light music; he Philharmonic Orchestra also because it was his most deeply conducted every great orchestra in and the Orchestra of the Age personal piece. Mass contains more the world and brought the Mahler of Enlightenment, as well as by of Bernstein than anything else he Symphonies back to the Vienna visiting ensembles, the Bournemouth ever wrote. It has all the multiplicity Philharmonic; he was a champion Symphony Orchestra and the Nash of musical genres and breadth of at word games and puzzles and Ensemble. There will also be a West language that he himself manifested. loved finding errors in the Oxford Side Story sing-along screening. It has all his angst and irreverence English Dictionary! He was a The Project will conclude with and terror, all his tenderness and thinker, teacher, author, television Alsop performances of bombast and awe. At the time of star, provocateur, humanitarian Bernstein's Mass, on July 10 and Mass' premiere, to inaugurate the and he was my hero. As with all 11, 2010. Performing forces will Kennedy Center for the Performing true mentors, Bernstein taught me include a cast of young dancers Arts in 1971, the world wasn't quite much more than a craft. On a per­ and musicians from London and a ready for such a rich broth of ele­ sonal level, he gave me the courage specially-assembled Mass Orchestra ments. But the world seems to have to be myself. And on a wider level, led by members of the National caught up to Mass, as is evident by I watched him interact with young Youth Orchestra, all of whom the multiple productions, recordings people and professional orchestras, commence rehearsals with Alsop, and rave reviews that have recently constantly mentoring, constantly Matthew Barley and Mary King in sprouted up all over the globe. giving. He showed me - and the Spring 2010. How gratifying to see Mass coming world - the enormous power of For more information: http:// into its own: Bernstein's troubled child music and how important it is to bernstein. sou th bankcen tre. co. uk/ • embraced at long last. share it with as much of humanity J.B.• as is possible. He showed us that classical music is a powerful force that can transform lives as well as inspire and move people and he lived by those principles."

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"'"TI OJ Leonard Bernstein and Marin Alsop ~ ~ - (!? N 0 0 \!) e Discussing Mass

Music critic Edward Seckerson and conductor Marin Alsop discuss Mass. This discussion is fr om a larger article about Marin Alsop that appeared in Gramophone Magazin e.

Does Marin Alsop think it's a masterpiece? E.S.

"Yes, because for Bernstein nothing was ever perfect. For him there was no such thing. He rejoiced in the rough edges of spontaneity in everything he did. Mass is a piece that can and does weather human frailty." M.A.

Just as well. It is extraordi­ narily challenging to perform and in her new Naxos recording (the work's fourth), Alsop went to exceptional lengths to achieve an authentic mix of performers with a keen understanding of the style. With a little help from Leslie Leonard Bernstein and Marin Alsop Stifelman a friend at the sharp end of musical theatre - that is Mass polarizes opinions, Mass doubt its sincerity, if you deny the Music Director on Kander divides as surely as it unites. But its integrity, then you deny every­ and Ebb's "Chicago" in New Alsop thinks, as do I, that the thing Bernstein was. " E.S. York - some 300 young hopefuls open hostility that comes at it from auditioned for the all-important some quarters stems from a refusal So, was Bernstein the "street singers" at the heart of to accept the validity of different eternal optimist or the ever Mass. They have to be the real musics and cultures co-existing. hopeful pessimist? E.S. thing; the range of what is required Which, in short, says more about of them is wild. These aren't pop the naysayers than it does about "I don't know. It tended to be songs, these are far-out-there art the piece. E.S. one or the other. But I think what songs. Challenging sentiments, makes Mass so very special is that still more challenging vocals. E.s. "You know, what's inter- it accepts our limitations as human esting about Mass is just how beings and somehow transcends "Mass is a microcosm prophetic it's turned out to be. them. The ultimate message fa lls All those boundaries between into 'the eternal optimist' camp, of Bernstein's genres, between different styles in that it says - you know, we are of music - they're gone - and going to be ok ... " M.A . personality. If you it may have been less threaten- ing to some had they remained Bernstein's own doubts ran doubt its sincerity, in place, but they didn't. Besides, deep. In that last interview he if you deny its the level of sophistication is daz­ gave me he expressed regret that zling throughout. Tell me that so many of his peers had never integrity, then you the 11-tone second Meditation, embraced his music. Did Alsop, I .,, impregnated as it is with allusions wonder, agree that those musical nl C: deny everything to Beethoven's Ode to Joy, is not a excursions into thorny overgrown Q. ·'"..., touch of genius." M.A. paths (his dabblings with atonality C:

by Boris Brott expression of his ultimate ratio­ spent over an hour on the phone. nalization of faith through doubt. I went to bed with the music I n February of 2000, I was Bernstein had just experienced knew so well ringing in my ears. Iinvited to conduct Leonard and had been very moved by the Next morning, a phone call Bernstein's Mass at the Vatican. Talmudic process of helping his from Harry. No, you cannot do it! I was excited. I was very close son Alexander with instruction Why? Well, in truth, a book could to this work, having served as for his Bar Mitzvah. He couldn't be written about how it eventually Bernstein's assistant at the New understand why the Church did came to pass. But let me cite one York Philharmonic while he was not view Mass as he intended. example: how do you break a writing it. So this invitation, nearly 30 chalice and a monstrance and spill After its premiere in 1971, the years after Mass' birth, offered the wine (blood of Christ) on the Catholic Church criticized the a magnificent opportunity to ground ... in the VATICAN? commentary "tropes" Bernstein reali ze my mentor's dream: Mass The problems melted away. interjected between the movements at the Vatican! Costumes and the rending of the of the Latin Mass, proclaiming Simple? Well, not really. I called Celebrant's robes - permitted. No them blasphemous. He was Harry Kraut, Bernstein's manager, dancing, but natural movement to deeply hurt. He saw Mass as an who at first was delighted. We the music - permitted. No proper­ ties (chalice, monstrance) allowed but the actions could be mimed. An excellent cast, assembled around Celebrant Douglas Webster, rehearsed at The and flew to Rome where the 14,000 seat Aula Nervi was trans­ formed into a theatre. The altar steps became a multi-level stage, the giant sculpture of Christ ascen­ dant became part of the staging. At the performance Bernstein's spirit was in the room - you could feel his presence. 400 red-zuchetted Bishops filled the front rows. The 14,000 invited guests sat in rever­ ence as Douglas began Simple Song and we were under way. At the Papal audience the fol­ lowing morning, Pope John Paul II took my hand in his and told me it was important this work was performed at the Vatican. "It is a confirmation of faith through life's great trials" he said with the intensity of his cornflower blue eyes. As he said this, I thought of Bernstein and knew at last this great Mass had assumed its right- ful place at the Vatican. •

Boris Brott is Conductor and Music Director of the New West Douglas Webster as the Celebrant Symphony in California; the McGill Chamber Orchestra in Montreal, Canada; the National Academy Orchestra of Canada; and Principal Youth and Family Conductor of the National Arts Center of Canada. He is also Artistic Director of the Brott Musical Festivals, Ontario's princi­ pal classical orchestra music festival.

0 Mass on Recording

fter a long hiatus, two Gramophone Magazine wrote In addition to the new audio A new recordings of Leonard about this Chandos recording, recordings, Kultur Video has Bernstein's Mass have appeared "For a work that was much released a DVD of the Mass per- this year. The first recording of derided by some as much as it formance at the Vatican. • Mass appeared on Sony in 1971 was adored by others upon its conducted by the composer premiere, Bernstein's Mass seems himself, the recording featured now to be a modern classic. This Alan Titus, who created the role new recording is likely to be a of the Celebrant, as well as, the powerful advocate in its wide­ Norman Scribner Choir and spread reassessment. Kristjan Jarvi The Berkshire Boy Choir. This conducts his many and varied recording was, for many years, forces with high-octane energy." the only recording of the work. Later in the year, Naxos Peter G. Davies writing for High released its recording of Mass Fidelity Magazine wrote of it, with The Symphony "Columbia's recording is a Orchestra, Morgan State Choir, faithful replica of the Washington Peabody Children's Chorus, production in almost all particu­ and with as the lars and the spirit of the piece Celebrant, all under the baton of comes across vividly." Bernstein protege Marin Alsop. In 2004, Kent Nagano made The Toronto Star wrote, "This the second recording of the work new, two-CD recording by a for Harmonia Mundi with the cast of hundreds gives Mass its Deutsches Symphonie Orchester full due. The main singing role, Berlin, featuring the late Jerry a priest who loses his faith and Hadley singing the role of the then finds it again, is magnifi­ Celebrant. Writing for Classics cently sung by Jubilant Today David Hurwitz wrote, Sykes. The same holds true for "if you love Bernstein's Mass, the rest of the singers - the you should hear this performance. Morgan State University Choir, the It's very exciting ... " Peabody Children's Chorus, and On one of the new record­ sweet-voiced boy Asher ings, Kristjan Jarvi leads the Edward Wulfman. The Baltimore Tonkunstler-Orchester and Symphony Orchestra, augmented the Absolute Ensemble, with by guitar and percussion, finds the Randall Scarlata as the Celebrant. right cutting edge under Marin Alsop's baton."

Discussing Mass, continued

"Yes and no. I really think it Just so. Only Bernstein could More importantly, the music is was sheer curiosity and the need pull a torch song out of a tone­ his. And with that in mind, I go to stretch himself, musically and row. Perhaps the problem with back to the transcripts of a 1989 intellectually, that took him off his music in our lifetime was our interview Bernstein gave me. These on those experimental paths. inability to get any distance from words leap out at me: 'Tm not real­ He loved the gamesmanship it. Alsop cites ly needed on this Earth for another of composition and sometimes who firmly believes that no one Ring Cycle, or another Magic Flute, the game gets better the more can judge a composer's work until or another whatever. Really. But constraints you put on it. As the composer is dead. E.S. nobody, for better or worse, can you know, he premiered and write my music except me. E.S. championed his mentor Aaron "Particularly, a composer like Copland's big twelve-tone piece Bernstein, whose work was so Used by permission of Connotations, and he did so irrevocably bound-up in who he Gramophone Magazine. because he passionately identi­ was. Everyone was influenced, for For the complete article please fied with Copland's curiosity. In better, for worse, by the persona visit: http://www.gramophone. a sense, twelve-tone music was of Lenny and it was that, rather net/Issue/Page/August% 20 symbolic for him. It represented than the quality of the music, that 2009/36/1002073/A • a conflict that required some led to the skepticism and derision. kind of resolution." M .A. The music is brilliant ... " M.A. 0 Remembering Julia

by Jamie Bernstein Julia was renowned for her dis­ cretion. Had she chosen, she could ulia Vega, longtime have written the ultimate tell-all JBernstein family governess about the myri ad luminaries who and housekeeper, died on came through the Bernstein house­ June 7th of complications hold over the years. But she took from stomach surgery. her secrets with her. Above all, she Raised on a farm in the was a fierce defender of fa milial foothills of the Chilean Andes, privacy in a world of persistent Julia came to work for our public scrutiny. fa mily in 1954, when the eldest Julia has been our ground of of us was just two. Julia helped being: like water to a fi sh, like air raise all three Bernstein children, to a bird. It is very hard for us to filling in both as nanny and imagine life without her, since we housekeeper when our parents have never known such a thing. were abroad. She acquired excel­ But harder still to imagine lent English speaking and reading is that Julia Vega - governess, skills, eventually becoming a U.S . housekeeper, kitchen whiz, faithful citizen, a proud voter and an fr iend and beloved great-aunt, avid follower of national politics. letter-writer, birdkeeper, news After our mother's death in junkie, prodigious horticulturalist, 1978, Julia became our fa ther's seamstress and laundress extra­ li ve-in housekeeper. After he died ordinaire - is now, finally, in 1990, Julia acquired the role incomprehensibly, at rest. Surely the of elder-in-chief of the Bernstein most well-deserved rest we know. • fami ly. At our new family head­ quarters on West 56th Street, where various friends and rela­ tives dropped by daily, Julia held a kind of inverse court, making indelible friendships with all who passed through our doors through her unique combination of attentive service, charming conve rsation and delicious, nourishing soups. Her fr iends traversed all walks of society, fro m the building doormen to Peter Jennings. Julia Vega with Nina Bernstein

Julia Vega was a devoted In her final years, Julia experi­ Those who wish to contribute to parishioner at the Church of enced increasing difficulty in the Julia Vega Memorial Stairway Street. Francis de Sales on East climbing the steep marble steps to Heaven (as we like to call it) 96th Street, directly across the to the church sanctuary. For can make donations in her name street from her small apart­ this reason, Nina, Alexander to the Leonard Bernstein Family ment where she spent her days and I have initiated a fund in Foundation, 121 West 27th Street, off since the 1950s. Julia's memory, to install a verti­ suite 1104, New York, NY 10001 . • cal platform lift at the church entrance, so that no parishioner at St. Francis de Sales will ever again have to struggle to enter and worship. Construction has commenced this fall. 0 Taking Bernstein to Venezuela

by Jamie Bernstein stool to Maestro Dietrich's left, officials and members of the youth trembling in my high heels. The orchestra. We'd been sitting a few t's never a simple matter to go hall was engulfed in a sicken- minutes when suddenly the musi­ Ito Caracas. The city is chaotic, ing silence. Maestro Dietrich cians burst into applause: Antonio choked with traffic and bursting started the music again. And the clarinet player had walked in. at the seams with poverty. But the clarinet player did it a third The musicians all jumped up from music lovers still think of it as time. This time the conductor just the table and surrounded him with a privilege to brave the inconve­ kept everyone going, and things hugs, back slaps, jokes and words nience in exchange for witnessing eventually righted themselves, of encouragement. He half-jokingly - and with extra luck, being but it was a tough start for one covered his face in embarrassment, a part of - the miracle that is and all - especially, of course, but of course resistance was futile, , Venezuela's unique for the clarinet player, who never and he was soon smiling and music education program that has raised his head again and fled returning the hugs. enrolled over 300,000 children offstage the moment the con­ I watched all this with my in orchestras across that nation, cluding note of the concert was mouth open and my eyes filling and has produced, among other world-class musicians, the Philharmonic's new Music Director, . On this trip, I had that extra luck to be a participant. I was invited to narrate my youth concert, The Bernstein Beat, en espaii.ol, with one of El Sistema's extraordinary youth orchestras, Orquesta Sinf6nica Juvenil de Caracas, conducted by a dynamic young Venezuelan, Dietrich Paredes. Maestro Dietrich worked the orchestra hard to master the complexities of excerpts from On the Town, Fancy Free and West Side Story. I was so impressed by the teenagers' focus and good humor. By the end of the week, they were playing the music like champs. The concert went beautifully, with only one glitch - painfully Jamie Bernstein and Jose Antonio Abreu enough, right at the beginning. For some reason the clarinet play­ played. Between the final bows, with tears. I had never in all er, who had never had this trouble just offstage, Maestro Dietrich my life seen such a magnificent before, added one extra note to was frantically looking for him. demonstration of support and the series of repeated notes he "Donde esta Antonio? Donde esta compassion for a fellow musician plays at the opening of the Times Antonio?" But Antonio was gone. in trouble. Truly, this was the Square ballet from Three Dance The concert was a great suc­ essence of El Sistema. As one Episodes from On the Town, cess; the kids in the audience representative of the organization thereby putting himself one disas­ shouted "MAMBO!" for all they said afterwards: "We don't build trous beat behind the rest of the were worth. Afterwards, Maestro musicians; we build human beings." orchestra. After an 8-bar train Jose Antonio Abreu, the saint-like It will be exciting indeed if .,, wreck, Maestro Dietrich stopped founder of El Sistema, embraced El Sistema succeeds in finding iil c a. the players, waited for the clari­ me and invited me to return to its way into the neighborhoods !" -n net player to collect himself, and Venezuela to present more con­ and hearts of young people in C:

C: then started the piece over. The certs. I was as thrilled as if I'd the . • "'m 120 same thing happened. Maestro been blessed by the Dalai Lama. ;;o Dietrich stopped the orchestra, After the concert, there was ~ again. I sat motionlessly on my a lunch in a hotel dining room for Maestro Dietrich and me and our guests, plus some Sistema 0 THEINfle

Leonard Bernstein Award

he Schleswig Holstein Music Gidon Kremer and Anne-Sophie TFestival has presented the Mutter. As a recitalist, Leonard 10,000 Euro Leonard Bernstein has performed with pianists Award to cellist Leonard Anna Vinnitskaya, Marc-Andre Eischenbroich. The award is Hamelin, Martin Helmchen and given to young artists at the Polina Leschenko. beginning of careers to enable Born in 1985 in Frankfurt, them to pursue performing. Leonard was invited at the age Previous recipients are Lang of 10 to study at the Yehudi Lang, Lisa Batiashvili, Erik Menuhin School in London. He Schumann, Jonathan Biss, Alisa finished his degree at the Music Wei lerstein, Martin Grubinger College of Cologne. He held a and Anna Vinnitskaya. Fellowship at the Royal Academy Eischenbroich has performed of Music in London and is with international orchestras currently a fellow at the Trinity under such conductors as Semyon College of Music in London. Bychkov, The award is made possible and Paavo Jarvi. He has performed by the generosity of the chamber music with violinists Sparkassen Finanzgruppe. • Leonard Eischenbroich receiving the prize

Leonard Bernstein Excellence Award

he University of North TCarolina School of the Arts (UNCSA) has presented this year's Leonard Bernstein Excellence Award to James Baron Fenwick III. The school's Chancellor John Mauceri created this award with the auth­ orization of The Leonard Bernstein Office. It will be awarded annually to a music student at UNCSA who is talented and demonstrates a commitment to bettering society in the same spirit as Leonard Bernstein. Fenwick, 15, is a pianist and a violist. Mauceri has called him "absolutely inspirational." •

Chancellor John Mauceri and James Baron Fenwick Ill

0 Historic OMNIBUS Programs Return on DVD

release the seven newly-restored The New York Times dubbed its programs as a four-DVD set. executive producer Robert Saudek Bernstein's Omnibus programs "the alchemist-in-chief of what earned him a national reputa­ is often called the golden age of tion and formed the basis of television," adding that he "gave his best-selling book The Joy of the era of live television some Music. They also feature his 1954 of its most elevating and electrify­ television debut at the age of 36, ing moments." Beethoven's Fifth Symphony, an In a 1993 article for The examination of the force that Atlantic Monthly, David Schiff compels creative artists. Other said of Bernstein's Omnibus titles address The World of Jazz, presentations, "I am startled The Art of Conducting, American again and again at the subtlety or the first time since their Musical Comedy, his Introduction and sophistication of the lessons Flive broadcast a half-century to Modern Music, The Music of Bernstein chose to teach .. .I have ago, Leonard Bernstein 's legend­ J.S. Bach (a Grammy winner), and never witnessed better teaching, ary appearances on the historic What Makes Grand? As a anywhere ... The Omnibus shows Omnibus television series will bonus, the DVD set also includes illuminated music like a pillar return to the public this December. a rare performance of Handel's of fire." • El Entertainment, in col­ Messiah, with Bernstein conduct­ laboration with the National ing from the harpsichord. Academy of Television Arts and Omnibus, produced by Robert Sciences under its "Archives of Saudek Associates, was an initia­ American Television" banner, will tive of the Ford Foundation and aired over commercial network television from 1952 to 1961.

Leonard Bernstein: The Political Life of an American Musician

he University of California to sign a deposition to regain his TPress has published Leonard passport. Making extensive use Bernstein: The Political Life of of FBI files as well as materials in an American Musician by Barry the Library of Congress, Seldes Seldes. In this examination of illuminates the ways in which Bernstein's political life, Seldes Bernstein's career intersected with examines his career against the some of the twentieth century's backdrop of Cold War America, most momentous events. • during which time Bernstein was blacklisted by the State Department and, in 1950, had

0 Leonard Bernstein Scholar-in-Residence

merican baritone brings an exciting A Hampson has been named new dimension to the Scholar­ the Leonard Bernstein Scholar­ in-Residence position and to in-Residence at the New York the many speaking events he Philharmonic for the 2009- 2010 will lead." season in conjunction with his The Leonard Bernstein role as The Mary and James Scholar-in-Residence position at G. Wallach Artist-in-Residence. the Hampson will present two Insight honors and recognizes the endur­ Series events, as well as the Annual ing contributions of Leonard Erich Leinsdorf Lecture in a series Bernstein. It was created in the entitled "Listening to Thought," 2005- 2006 season to coincid e exploring the interplay of verbal and with the 15th anniversary of musical languages in vocal music. Bernstein's death. Charles Zachary "Thomas Hampson truly Bornstein served as the first combines his artistry with prob­ Leonard Bernstein Scholar-in­ ing scholarship," says Theodore Residence, from 2005-2006 Wiprud, Director of Ed ucation through 2007-2008. New York at the New York Philharmonic. Philharmonic Program Annotator "His intellectual curiosity informs James M. Keller served in this everything he does, whether it's post in the 2008- 2009 season. • Thomas Hampson singing Schubert or exploring the riches and cultural connections of American song. As a performer,

Flanders Celebrates Bernstein

his September, deFilharmonie Symphonic Dances from West This season the Vlaamse T(Royal Flemish Philharmonic) Side Story and Symphony No.3: Opera will present seven perfor­ launched a year-long celebration Kaddish. Participating conduc­ mances of Candide in Antwerp of the music of Leonard Bernstein tors are Mikhai l Agrest, Sir Peter and five performances in Ghent. in Antwerp and Bruges. The Maxwell Davies, Paul Watkins Thi s production wil l be directed launch began with Jukebox and Yutaka Sado. Soloists will by Nigel Lowery and conducted Bernstein, an evening devoted to be Laurent Korcia, violin; Ke ll y by Yannis Pouspourikas and discussion of the life and work Naisieff, soprano and Samuel will feature Michael Spyres of Bernstein featuring Craig Pisar, speaker. In addition to as Candide, Jane Archibald ,, Urquhart, former assistant to the symphonic concerts, the as Cunnegonde and Graham iil i: Leonard Bernstein; Ludo Abicht, Concertgebouw Bruges will Valentine as Pangloss/Martin. Q. !"..., philosopher; and host Fred present The Unforgettable Songs For more information: C: IO Browers. Concerts in both cit- of Leonard Bernstein featuring http://www. vlaamseopera. be C: II) ies throughout the season will Clarion McFadden and http://www.defilharmonie.be • J10 :,:, include Serenade, Divertimento, with the :Ji "'..., Flemish Radio Chorus. ~

::,~ ~ N 0 0 Idomeneo and sincere. Ranging from the had its premiere), it seemed the jingle-like crooning of the vocal perfect opportunity to address this Scene from , Bayerische Staatsoper trio to major, show-stopping issue, and create a reduced orches­ serio-comic arias for main char­ tration that might allow the work didn't even notice that the orches­ acters Sam and Dinah, the music a wider variety of homes. tra had been reduced! While this pulls out every pop-cultural It was with great pleasure orchestration cannot be a true 1950's stop, while never losing that I undertook to create this substitute for Bernstein's brilliant sight of the genuine pathos of its new orchestration. It was my original, I hope that it might allow characters: a couple in a troubled primary goal throughout the Trouble in Tahiti to find an even marriage, desperate to find the project to maintain a strict fealty wider reach, and allow more way back to that "Quiet Place" to Bernstein's original intentions, performers and audiences the of their love for one another. and for presenters of the new chance to experience this hilarious, A 50-minute, one-act opera, orchestration not to have to feel exuberant melancholy opera. • with a small cast of 5 and mini­ that they were compromising by mal staging requirements, Trouble performing it. The reduction takes Garth Edwin Sunderland is in Tahiti is ideal for small venues a 'one of each' chamber orchestra a composer and interdisciplinary and small companies, but a tricky approach, with an 14-15 piece artist. He is Artistic Director of obstacle has always been its instrumentation of l.l.l.1-1.l.l.0- the Lost Dog New Music Ensemble, orchestra - at a bare minimum Perc (1 or 2 players)-Pno-1.l.l.l.l. and Music Editor for the Leonard of 26 players (assuming only a The premiere performance on Bernstein Office. string quintet rather than the July 7, with Maestro Nagano preferred full string sections), it conducting the Mahler Chamber is just a little too big to comfort­ Orchestra, was a great success, ably fit in many of the small halls launching a sold-out run. It was that might otherwise be ideal very gratifying to hear a number venues for it. of people comment that they

Leonard Bernstein Center Update by Alexander Bernstein Elementary in Sanford, Florida, Leonard Bernstein Center for Learning and Comeaux High School in he Leonard Bernstein Center Lafayette, Louisiana. Tfor Learning's Artful Learning With the superior leadership model continues expanding, and collaboration of Patrick reaching new teachers, students Bolek, the LBC's trainers are car­ and communities across the rying forward Leonard Bernstein's country. We welcome Wright educational vision with truly Elementary and Howe Elementary remarkable commitment, skill and in Des Moines, Iowa, Midway imagination. My father would be beyond proud of this work. • For a complete listing visit: Some Performances www.leonardbernstein.com Fall/Winter 2009

5 Louisville, KY: THREE DANCE VAR IATION S October FROM FANCY FREE; Louisville Orchestra ; Jorge Mester, conductor; Whitney Hall. 2 Antwerp, Belgium: SERENADE; 7 Berlin, : CHICHESTER PSALMS; deFilharmonie; Laurent Korcia; vio lin; Berliner Domkantorei, Sinfonieorchester Mikhail Agrest, conductor; Desingel. Schbneberg; Stanley Dodds, conductor; 6-9 Hyogo, Japan: OVERTURE TO CANDID E; Berliner Dom. Hyogo Performing Arts Center Orchestra; 7 Storrs, CT: SYMPHONY NO .1 • JEREM IAH; Ch ikara lwamura, conductor; Hyogo SERENADE; Bruckner Orchester Linz; Performing Arts Center. Kathryn Handsaker, mezzo-soprano; 9,10 Charlotte, NC: THREE DANCE EPISODES Renaud Capi~on, violin; Dennis Russe ll FROM ON THE TOWN; Charlotte Symphony Davies, conductor; Jorgensen Center. Orchestra; Che lsea Tipton II, conductor; 10 Winston-Salem, NC: SYMPHON IC Blumenthal Perform in g Arts Center. DANCES FR OM WEST SIDE STORY; Bruckner 11 Berlin, Germany: CHICHESTER PSALMS; Orchester Lin z; Dennis Russell Davies, Berli ner Domkantorei, Sinfon ieorchester conductor; Wait Chapel Aud itorium. Schbneberg; Stanley Dodds, conductor; 11 Chapel Hill, NC: SYMPHONIC DANCES Phi lh armonie. FROM WEST SIDE STORY; Bruckner 14 Linz, Austria: SYMPHONY NO.1 • Orchester Linz; Dennis Russe ll Davies, JEREMIAH; Bruckner Orchester Linz; conductor; Memorial Hall. Kathryn Handsaker, mezzo-soprano; Dennis 12-15 Evanston, IL: MASS; Northwestern Russell Davies, conductor; Brucknerhaus. University School of Music; Ryan Nelson, 17-19 Portland, OR: SYMPHONY NO.2: Music Director; Cahn Auditorium. THE AGE OF ANXIETY; Oregon Symphony; 13 Jacksonville, FL: SYMPHONY NO.1: Kiril l Gerstein, piano; Carlos Ka lmar; JEREMIAH; SER ENADE, SYMPHON IC conductor; Arle ne Schn itzer Concert Ha ll. DANCES FROM WEST SIDE STORY; 21,22 Salzburg, Austria: MASS; Bruckner Orchester Linz; Kathryn Junge Philharmonie Salzburg; Handsaker, mezzo-soprano; Renaud Florianer Sangerknabe; Studierende de Capi~on, violin; Dennis Russe ll Davies, Mozarteum; Vox cantabi lis Bis; John conductor; Lazzara Performance Hall. Cashmore, Celebrant; Elisabeth Fuchs, 14 Daytona Beach, FL: SYMPHONY NO.1: conductor; Elisabethkirche. JEREMIAH; SERENADE, SYMPHON IC 27,28 Hyogo, Japan: OVERTURE TO CAND IDE; DANCES FR OM WEST SIDE STORY; Hyogo Performing Arts Center Orchestra; Bruckner Orchester Linz; Kathryn Chik Naohiro Totsuka, conductor; Handsaker, mezzo-soprano; Renaud Hyogo Perform ing Arts Center. Capi~on, vio lin; Dennis Russell Davies, conductor; Peabody Aud itoriu m. 16 Charleston, SC: SYMPHONY NO.1: November JEREMIAH; SERENADE, SYMPHONIC DANCES FROM WEST SIDE STORY; Bruckner Orchester Linz; Kathryn ""~ 3 , Germany: SYMPHON IC i: Handsaker, mezzo-soprano; Renaud C. DANCES FROM WEST SIDE STORY; !"..., Capi~on, violin; Dennis Russe ll Davies, C: MDR Sinfonieorchester, Fabrice Ba ll on, "'C: conductor; Peabody Auditorium . 11) conductor; . JI<) :» 4,5, Dresden, Germany: CAND IDE (Scottish 19,20, Atlanta, GA: PRELUDE, FUGUE AND RIFFS; ~ 22 Atlanta Symphony Orchestra; Laura Ardan, -n 12 Opera Version); Staatsoperette Dresden; ~ clarinet; Robert Spano, conductor; Atlanta ~ Windried Schneider, director; Ernst ;::;. Theis Staasoperette. Symphony Hall . ~ N 0 0 \D e 20 Antwerp, Belgium: DIVERTIMENTO; deFilharmonie; Sir Peter Maxwell Davies, January conductor; Desingel . 4-6 21 Bruges, Belgium: DIVERTIMENTO; Bremerhaven, Germany: SYMPHONIC deFi lharmonie; Sir Peter Maxwell Davies, DANCES FROM WEST SIDE STORY; conductor; Concertgebouw. Stadtisches Orchester Bremerhaven; Stephen Tetzlaff, conductor; Stadttheater. 21,24, Hildesheim, Germany: ON THE TOWN; 6 25 Orchester des Stadttheaters Hildesheim; Oberndorf, Austria: OVERTURE TO Craig Simmons, director; Manfred Knaak, CANDIDE; Schuler Orchester Bremerhaven; Reinhold Wieser, conductor; Stadtha lle. conductor; Stadttheater. 7 Sophia, Bulgaria: CHICHESTER PSALMS; Amateurorchester; Ljubka Biagioni zu December Guttenberg, conductor; Saal Bulgaria . 9 Dessau, Germany: CANDIDE (Scottish Opera version); Cordu la Dauper, director; Daniel 1,13, Hildesheim, Germany: ON THE TOWN; Carlberg, musical director; Anhaltisches Theatre. 31 Orchester des Stadttheaters Hildesheim; Craig Simmons, director; Manfred Knaak, 9,12, Ghent, Beligium: CANDIDE; Symphony conductor; Stadttheater. 14, 15, Orchestra and Choir the Vlaamse Oper; 17,20, Nigel Lowery, director; Yannis Pouspourikas, 3-5 Naples, FL: THREE DANCE VARIATIONS 27,29, conductor; Ghent Oper. FROM FANCY FREE; Naples Philharmonic Orchestra; Jorge Mester, conductor; 10,11 Hannover, Germany: SYMPHONIC Hayes Hall. SUITE FROM ON THE WATERFRONT; Niedersachsisches Staatsorchester; 4 Vienna, Austria: SYMPHONY NO. 2: Christian Muthspiel, conductor; Staatsoper. THE AGE OF ANXIETY; Radio Symphonieorchester Wien; 11 Reutlingen, Germany: SYMPHONIC Andres Haefliger, piano; Hugh Wolff, SUITE FROM ON THE WATERFRONT; conductor; Konzerthaus. Wurttembergische Philharmonie Reutlingen; Marc Tardue, conductor; Friedrich List Halle. 4-6 San Diego, CA: MASS; La Jolla Symphony and Chorus; Ken Anderson, 13,26 Hildesheim, Germany: ON THE TOWN; Celebrant; Steve Schick, conductor; Orchester des Stadttheaters Hildesheim; Mandeville Auditorium. Craig Simmons, director; Manfred Knaak, conductor; Stadttheater. 4,6, Dessau, Germany: CAND IDE (Scottish 10,20 Opera version); Cordula Dauper, 15 Heidelberg, Germany: OVERTURE director; Daniel Carlberg, musical TO CANDIDE; Akademische director; Anhaltisches Theatre. Philharmonie Heidelberg; Jesko Sirvend, conductor; Stadthal le. 12 , Germany: PRE LUDE, FUGUE AND RIFFS; NDR Sinfonieorchester; 16 Seattle, WA: OVERTURE TO WEST John Axelrod, conductor; . SIDE STORY; Seattle Symphony; Carolyn Kuan, conductor; S. Mark Taper 15,17, Dessau, Germany: CANDIDE (Scottish Foundation Auditorium. 22,20, Opera vers ion); Cordu la Dauper, director; .,, 29 21 Neuhausen, Germany: SERENADE; BR ~ Daniel Carlberg, musical director; C Munchner Rundfunkorchester; Ulf Schirmer, C. Anhaltisches Theatre. !D.,, C conductor; Herz Jesu Kirche. IC 31 Dayton, OH: GLITTER AND BE GAY; C rt> Dayton Symphony Orchestra; 22 Luxembourg, Luxembourg: CLARINET 110 :,, Laura Portune, soprano; Nea l Gittleman, SONATA; Emil Johnson, clarinet; Peter Friis :ii "'"n conductor; Schuster Center. Johansson, piano; Philharmonie, Salle de ~ Musique de Chambre . ~ :i ~ 22 Munich, Germany: SERENADE; rv 0 0 BR Munchner Rundfunkorchester; '° Ulf Schirmer, conductor; Funkhaus. e 26,29 Gorlitz, Germany: PRELUDE, FUGUE 6 Baden-Baden, Germany: OVERTURE AND RIFFS; Neue Lausitzer Philharmonie; TO CANDIDE, ORCHESTRAL SUITE FROM Nicola Jurhensen, clarinet; Eckehard Stier, CAND IDE; Mahler Chamber Orchestra; conductor; Theater. Kristjan Jarvi, conductor; Festspielhaus. 27 Hoyerswerda, Germany: PRELUDE, 6,19, Hildesheim, Germany: ON THE TOWN; FUGUE AND RIFFS; Neue Lausitzer 20 Orchester des Stadttheaters Hildesheim; Philharmonie; Nicola Jurhensen, clarinet; Craig Simmons, director; Manfred Knaak, Eckehard Stier, conductor; Lausitzhalle. conductor; Stadttheater. 28 Bautzen, Germany: PRE LUDE, FUGUE 8-9 Gelsenkirchen, Germany: SYMPHONIC AND RIFFS; Neue Lausitzer Philharmonie; DANCES FROM WEST SIDE STORY; Neue Nicola Jurhensen, clarinet; Eckehard Stier Philharmonie Westfalen; Heiko Mathias conductor; Theater. Forster, conductor; Zeche Hibernia. 28 Dessau, Germany: CANDIDE (Scottish 10, 11 Chemnitz, Germany: SYMPHONY NO.1: Opera version ); Cordula Dauper, JEREMIAH; Robert Schumann Philharmonie; director; Daniel Carlberg, musical Tina Penttinen, soprano; Domonkos Heja, director; Anhaltisches Theatre . conductor; Stadhalle, Grosser Saal. 28,29 Dresden, Germany: CANDIDE 14 Dessau, Germany: CANDIDE (Scottish (Scottish Opera Version); Staatsoperette Opera version); Cordula Dauper, Dresden; Windried Schneider, director; director; Daniel Carlberg, musical Ernst Theis Staasoperette. director; Anhaltisches Theatre . 28-30 Washington, DC: THREE DANCE 19-21 Sarasota, FL: THREE DANCE EPISODES EPISODES FROM ON THE TOWN; FROM ON THE TOWN; Sarasota Orchestra; National Symphony Orchestra; Leif Bjaland, conductor; Neel Performing Ivan Fischer, conductor; Kennedy Center. Art Center. 29 Bruges, Beligium: THE UNFORGETABLE 20 Chemnitz, Germany: SYMPHONY NO. 3: SONGS OF LEONARD BERNSTEIN; KADDISH, (Premiere of a new ballet); Clarian McFadden, singer; Concertgebouw. SERENADE (Premiere of new ba llet); 29-31 Oxnard, CA: OVERTURE TO CANDIDE; Ballett der Stadtischen Theater Chemnitz; New West Symphony, Boris Brott, Lode Devos, choreographer; Theater. conductor; Oxnard Performing Arts Center. 20 Hannover, Germany: ON THE TOWN; 29,30 Ludwigshafen, Germany: WEST Orchester des Stadttheaters Hildesheim; SIDE STORY CONCERT SUITE NO .1; Craig Simmons, director; Manfred Knaak, Deutsche Staatsphilharmonie Rheinland conductor; Theater am Aegi . Pfalz; Sean Newhouse, conductor; 20,21 Dresden, Germany: CANDIDE BASF Feierhabendhaus. (Scottish Opera Version); Staatsoperette 30 Zittau, Germany: PRELUDE, FUGUE Dresden; Windried Schneider, director; AND RIFFS; Neue Lausitzer Philharmonie; Ernst Theis Staasoperette. Nicola Jurhensen, clarinet; Eckehard Stier, 21 Wi.irzburg, Germany: CHICHESTER conductor; Theater. PSALMS; Hofer Symphoniker; Dorothea 31 Kamenz, Germany: PRELUDE, FUGUE Volker, conductor; St. Johanneskirche. AND RIFFS; Neue Lausitzer Ph ilharmon ie; 21 Pittsburg, PA: THREE DANCE EPISODES Nicola Jurhensen, clarinet; Eckehard Stier, FROM ON THE TOWN; Pittsburgh conductor; Theater. Symphony Orchestra; Leonard Slatkin, conductor; Heinz Hal l. .,, 26-28 Albuquerque, NM: CHICHESTER PSALMS; ~ New Mexico Symphony Orchestra and C: February a. !" Chorus; Michael Nesterowicz, conductor; -n C: Popejoy Hall. IQ C: 5 Antwerp, Belgium: SYMPHONIC DANCES (I> 110 FROM WEST SIDE STORY; deFilharmonie, ;;,;, Paul Watkins, conductor; Desingel . .,,ai ~ 6 Bruges, Belgium: SYMPHONIC DANCES ~ FROM WEST SIDE STORY; deFilharmonie, ~ ~ Paul Watkins, conductor; Concergebouw. aN a \!) e March April

3,5, Hildesheim, Germany: ON THE TOWN; 1,3 Portland, OR: TROUBLE IN TAHITI 7,27 Orchester des Stadttheaters Hildesheim; (Original orchestral version); Portland Opera; Craig Simmons, director; Manfred Knaak, Mic Muni, director; Robert Ainsley, conductor; conductor; Stadttheater. The Hampton Opera Center. 4 London, UK: SYMPHONIC DANCES FROM 3 Cottbus, Germany: CANDIDE (Scottish WEST SIDE STORY; London Symphony Opera version); Staatstheater Cottbus; Orchestra; Kristjan Jarvi, conductor; Wolfgang Lchnitt, director; Marc Niemann; Barbican Hall. conductor; Staatstheater. 12-14 Albuquerque, NM: SYMPHONY NO . 2: 5 Dessau, Germany: CANDIDE (Scottish Opera THE AGE OF ANXIETY; New Mexico version); Cordula Dauper, director; Daniel Symphony Orchestra; Norman Krieger, Carlberg, musical director; Anhaltisches Theatre. piano; Guillermo Figueroa, conductor; 8, 11, Hildesheim, Germany: ON THE TOWN; Popejoy Hall. 12, 15, Orchester des Stadttheaters Hildesheim; 18 Baton Rouge, LA: SYMPHONIC DANCES 30 Craig Simmons, director; Manfred Knaak, FROM WEST SIDE STORY; Baton Rouge conductor; Stadttheater. Symphony Orchestra; Timothy Muffitt, 10 Regina, SK, Canada: OVERTURE TO conductor; River Center Theatre for the CANDIDE; Regina Symphony; Victor Sawa; Performing Arts. conductor; Conexus Arts Center. 18, 19 Tucson, AZ: CHICHESTER PSALMS, 11 Gelsenkirchen, Germany: TROUBLE IN TAHITI; CANDIDE SELECTIONS FOR PERFORMANCE; Musiktheater im Revier; MIR Jungendorchester; Tucson Symphony Orchestra; George Carsten Kirchmeier, director; Clemens Jungling, Hanson, conductor; Tucson . conductor; Musiktheater im Revier. 19,21, Nancy, France: TROUBLE IN TAH ITI 13 Berlin, Germany: SYMPHONIC DANCES FROM 23,25, (Original orchestral version) (New production); WEST SIDE STORY; Deutsche Symphonie Orchester 26 Ensemble and Choir de !'Opera national Berlin; Eva Ollikainen, conductor; Philharmonie. Lorraine, Orchestre symphonique et lyrique de Nancy; Benoit Benichou, 19 Seattle, WA: SYMPHONIC DANCES FROM director; Jonathan Schiffman, conductor; WEST SIDE STORY; Seattle Symphony Orchestra; Opera Nancy. Dennis Russell Davies, conductor; S. Mark Taper Foundation Auditorium. 20 Bruges, Belgium: CHICHESTER PSALMS; Vlaams Radio Chor; Bo Holton, conductor; 21 Essen, Germany: SYMPHONIC DANCES FROM Concergebouw. WEST SIDE STORY; Orchestre National de France; , conductor; Alfried Krupp Saal. 21 Koln, Germany: CLARINET SONATA; Emil Jonason, clarinet; Peter Friis Johansson, piano; Philharmonie. 26,28 Portland, OR: TROUBLE IN TAHITI (Original orchestral version); Portland Opera; Mic Muni, director; Robert Ainsley, [ Note to Readers] conductor; The Hampton Opera Center. 27 North Bethesda, MD: CHICHESTER Prelude, Fugue & Riffs will be or honoring his creative life PSALMS; National Philharmonic; Stan sent upon request. Please send and we shall do our best to all correspondence to: include such information in I Engebretson, conductor; Music Center Craig Urquhart forthcoming calendars. at Strathmore. Prelude, Fugue & Riffs Prelude, Fugue & Riffs™ is 27 Garmisch-Partenkirchen, Germany: 121 West 27th Street a publication of The Leonard THREE DANCE EPISODES FROM ON THE Suite 1104 Bernstein Office, Inc. New York, NY 10001 TOWN; Nordwestdeutsche Philharmonie; © 2009 by The Leonard Fax: (212) 315-0643 Ivan Meylemans, conductor; Kongresshaus. Bernstein Office, Inc. e-mail: Managing Editor: Craig Urquhart 27,28 Des Moines, IA: OVERTURE TO CANDIDE; curquhart®leonardbernstein.com Des Moines Symphony Orchestra; Joseph Editors: Jack Gottlieb, Giunta; Civic Center of Greater Des Moines. We appreciate notice of any Jamie Bernstein performances or events featuring Design: Borsa Wallace, NYC the music of Leonard Bernstein Visit our website: www.leonardbernstein.com PRELUDE, PRESORTED & STANDARD FUGUE U.S. POSTAGE PAID RIFFS NEWARK, NJ PERMIT NO. 625 121 West 27th Street Suite 1104 New York, NY 10001

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New Releases

ony Classical has released a Medici Arts had released Stwelve-CD set of all of the two DVDs: Leonard Bernstein recordings of the music of Haydn Reflections, a film by Peter that Bernstein made with the Rosen, and Ode to Freedom. In New York Philharmonic. This Reflections, Bernstein discusses his box set includes the 12 London Boston childhood and his musical Symphonies, 6 Paris Symphonies, growth at Harvard and the Curtis Die Schopfung, Harmoniemesse, Institute, and shares thoughts Missa in Tempore Belli, Missa about his musical mentors. Ode to in Augustiis, Nelsonmesse and Freedom is a special commemora­ Theresienmesse. Also released tive edition of Bernstein's historic by Sony CD is Bernstein's his­ performance of Beethoven's Ninth toric recording of Strauss' Die Symphony, celebrating the reunifi­ Rosenkavalier with Christa cation of Germany and the fall of Ludwig, Gwyneth Jones, Lucia the Berlin Wall. Popp, Walter Berry, Placido Naxos Records has released Domingo and the Vienna a new critically acclaimed Philharmonic. In addition Sony recording of Mass with Marin released a new box set of the Alsop conducting the Baltimore complete Mahler symphonies Symphony Orchestra, Morgan recorded by Bernstein with the State University Choir and New York Philharmonic. Peabody Children's Chorus, with Jubilant Sykes as the Celebrant. •