News for Friends of Fall/ Winter 2012/2013 Leonard Bernstein & POTUS

“…I’m a -livered, bleeding heart, NEW YORK PHILHARMONIC ARCHIVE COURTESY liberal, egghead Communist!” The Honorable Josiah “Jed” Bartlet POTUS, “The West Wing” (2000) by Mark Adams Taylor

eonard Bernstein would have loved TV’s President Bartlet. Or imagine him with real life politicos Hillary and . LOr Bernstein alongside Barack! Fantasy aside, Bernstein’s relationships with actual U.S. presidents spanned a period of tremendous change in America. They were as diverse as they are intriguing. They ranged from imaginary to intimate to ill-tempered. And they provide yet another novel way to view the incredible scope of Bernstein’s life. In The Infinite Variety of Music, Bernstein explains his imaginary relationship with President George Washington, which stretched back to his childhood. He envisions General Washington as a traveling companion to whom he explains modern inventions. Washington, in turn, provides Bernstein with questions whose answers are precisely what Bernstein wants to discuss: G.W. You mean we are not a musically cultured nation? But I thought – L.B. No, we’re not, really. Not yet, anyway; although we may be well on the way… History’s most influential music teacher, Bernstein never wavered from his message: music and education enhance society. While he was revered worldwide for his musical genius, he was also a lifelong advocate for peace, civil rights and support for the arts. Bernstein ranks legendary as an American liberal activist. Vice President Richard M. Nixon presents the Institute of International Depending on the politics involved, Bernstein Education's Distinguished Service Award to Leonard Bernstein. In the center (continued on page 2) is Grayson Kirk, President of Columbia University.

4 Bernstein Compares 6 Artful Learning Update 11 Directing Inside... Eisenhower and Kennedy 8 In the News Trouble in Tahiti 5 Meeting President Carter 12 Remembering Carlos Moseley Leonard Bernstein & POTUS, continued COURTESY LIBRARYCOURTESY OF CONGRESS

eonard Bernstein thoroughly broke the Lmold of the insular, obsessive artist who shuts out the world while toiling in a lonely garret. This was a man who made no distinction between being an artist and a global citizen. Every advance he made in his fame and fortune, he put to good purpose in his efforts to make the world a safer and more compassionate place for all of its inhabitants. He was not afraid to hold unpopular opinions, or to speak up when he saw an injustice. As a result, Leonard Bernstein sometimes came to loggerheads with his own government. In this election year, it’s fascinating to read about the wide range of Bernstein’s encounters with Presidents and the . We can’t help wondering: what issues would Leonard Bernstein be championing if he were alive today? Would he be feverishly campaigning for the presidential candidate he believed in? We’re certain of it. Would he be urging Middle Eastern nations to lay down their arms and reach mutual understanding? Would he be participating in fund-raising events for women’s rights, gay rights, enlightened education for one Leonard Bernstein on State Department tour, Moscow 1959. and all? We know he would. And we’re also sure he would still be either hailed to or railed against page by page, starting with: “We advocating for fewer guns and no nukes – the Chief. must rescue patriotism from the and continuing to make his assertion: “War One year before his death, bigots!” Finally, in red: “No more is obsolete.” Maybe one day the rest of the Bernstein and I had a meeting of flag-burning campaigns, white world will come to agree with him, and lay the minds. He asked me to tune down their arms forever. He never lost faith up a draft letter he’d written to Bernstein's last that such a day could come. President George H.W. Bush. A symbolic gesture to garner public White House visit J.B. ■ attention, Bernstein’s letter rejected the National Medal of the Arts to was perhaps his protest censorship. Bernstein chose

Prelude, Fugue & Riff not to “collect a medal in kind most memorable. and gentle silence while hoping for less stifling days ahead.” News against black campaigns, abortion coverage appeared on the front campaigns, tax-breaks-for-the- pages of and rich campaigns.” For a last line, . Bernstein suggested: “Only then s

Fall/Winter 2012/2013 Fall/Winter In exchange, I asked Lenny can we Play Ball!” to review a speech I’d written for Timely even today, Bernstein's Senator Bill Bradley, called Playing edits hearken back to the last liberal Patriotism. My draft for the POTUS he knew: . basketball-legend-turned-politician Both Bernstein and Carter rode intrigued Bernstein. In blue editor’s the wave of patriotism surrounding pencil, he strengthened the speech America’s Bicentennial. Bernstein

2 campaigned for Carter’s first NEW YORK PHILHARMONIC ARCHIVE COURTESY presidential bid, and again at Carter’s reelection attempt. Their friendship transcended borders. Bernstein’s last White House visit was perhaps his most memorable. At a gathering preceding the Kennedy Center Honors, honoree Bernstein received permission from the President to take his entire family to the Lincoln Bedroom to light the Hanukkah candles. As the time arrived to leave for the Kennedy Center, Bernstein placed the still-burning candles on the bathroom sink, praying he wouldn’t burn the White House down that night. It’s interesting that Bernstein’s White House relationships didn’t always fall along party lines. In the mid-1940s, Democrat Harry Truman launched Bernstein’s now- infamous FBI file. In 1950, thanks to Bernstein’s early and insatiable Leonard Bernstein, President Eisenhower, Leonard Warren, and Rise Stevens at the Lincoln liberal activism, Truman banned Center ground breaking ceremony. Bernstein’s music from overseas State Department libraries and opinion abroad. In the spring of also invited behind the scenes for functions. Truman cancelled his 1959, shovel in hand, Eisenhower less formal presidential gatherings. own attendance at a New York joined Bernstein in New York at After a White House dinner function with Chaim Weizmann, Lincoln Center’s groundbreaking celebrating Igor Stravinsky’s 80th the first president of Israel, where ceremony. Later that year, the US birthday, for example, Bernstein Bernstein was to perform. (There government sent Bernstein and and his wife were among a small was no love lost between them, the New York Philharmonic to group invited to the family quarters. however; years later, Bernstein was Moscow to gain an advantage in So comfortable did Bernstein among the celebrities to appear the arts over the Soviet Union. feel in the private rooms of the during a televised celebration The mission scored Eisenhower for former President Truman’s some political success. Not only were the Diamond Jubilee.) From the mid-50s to the early Bernstein developed a closer ‘60s, America saw Rosa Parks Bernsteins frequently on personal relationship with refuse to budge; the Surgeon Republican President Eisenhower General link cigarettes to lung Kennedy guest lists; they than with Truman. However, cancer; Eisenhower sign the Civil Eisenhower followed Truman’s Rights Act; West Side Story open were also invited behind lead by also covertly expanding on Broadway; and for the first Bernstein’s FBI file. In 1953, citing time ever in presidential politics, the scenes for less formal security risks, Eisenhower’s State a televised debate between Nixon presidential gatherings. Department pulled Bernstein’s and JFK. passport, releasing it only after Beyond tapping the power Prelude, Fugue & Riff Bernstein signed an affidavit of TV, Bernstein and JFK had Executive Residence that he sat disavowing Communism. (Bernstein in common their home state himself down in JFK’s favorite made it to Milan’s La Scala in the of Massachusetts and their rocking chair and pretended not nick of time to conduct Maria Callas alma mater, Harvard. President to hear Felicia Bernstein’s urgent in her legendary Sonnambula.) Kennedy and his wife attended admonitions for him to get up. s Eisenhower in turn used the opening of Candide – itself It’s been argued that in some 2012/2013 Fall/Winter Bernstein as ammunition in his an attack on the stifling days of ways Bernstein never fully “cultural” Cold War. Eisenhower anti-Communist fervor under recovered from the assassination believed that the U.S. needed Truman and Eisenhower. Not only of JFK. Bernstein kept a signed to compete culturally with the were the Bernsteins frequently photo of President Kennedy USSR in order to sway public on Kennedy guest lists; they were (continued on page 13)

3 Bernstein Compares Eisenhower and Kennedy

COURTESY JOHN F.COURTESY KENNEDY LIBRARY which point there was a horrified silence. Trying to save it, I said, (I shouldn’t have said anything, but you couldn’t not say anything, I mean the silence was so heavy and tense) and to break it I said, “You mean the ‘Rhapsody in Blue’ ... You mean you like music with a beat, with a rhythmic pulse?” He said, “No, I like music with a theme.” And so I just gave that one up. I decided not to press it any further because it would be provoking him, but then he charged back to the fray with a line that will forever be engraved in my mind, saying, “I like music with a theme, not all them arias and barcaroles.” And, that’s accurate, I have witnesses, I have lots of Philharmonic members, my wife. I didn’t ask him what he meant by those terms either.

First Lady On July 21, 1964, Leonard You couldn’t smoke at the dinner And suddenly the Jacqueline Bernstein gave journalist Nelson table, you couldn’t smoke before Kennedy speaks Aldrich a recorded oral history dinner and you couldn’t smoke President said, “I like about his relationship to President after dinner. I am an inveterate at the National that last thing you Cultural Center John F. Kennedy. This excerpt smoker, and I had to perform compares the White House of afterwards, and I got more and benefit at the President Dwight D. Eisenhower more nervous. There were no played, I like music National Guard to that of Kennedy. drinks served before dinner Armory in with a theme,” at either. The guest line formed Washington, D.C. eing at the White House on by protocol, not by alphabet. which point there was Also pictured: Bthe occasion of the [Pablo] Everything was different then, it President John F. Casals dinner in November 1961 was very stiff and not even very a horrified silence. Kennedy; Leonard when there were many artists pleasant. Dinner was at a huge Bernstein; Mrs. about, I couldn’t help comparing horseshoe shaped table at which Compare that to the Casals Earl Warren and it with the last time I had been seventy-five or so people were dinner at the White House in Lyndon B. Johnson, at the White House, which had seated so that nobody could ever November 1961 at which you Vice President. been in the reign of Eisenhower really talk to anybody. were served very good drinks first; where there were ashtrays when I had played with about The food was bad, and the thirty members of my orchestra wine was bad, and you couldn’t everywhere just inviting you to parts of a Mozart piano concerto smoke. By the time I got to play, poison yourself with cigarettes; and an abbreviated version of I was a wreck, and by the time I where the line is formed

Prelude, Fugue & Riff the Rhapsody in Blue. I can’t finished playing, I was more alphabetically; and where, when remember what the occasion of a wreck. you do line up, you are in a less was. I think the President of President and Mrs. Eisenhower querulous mood than otherwise Colombia was there. It was a came downstairs to greet the because you have a drink and State Dinner, anyway, and I was members of the orchestra and a cigarette; where, when the the entertainment after dinner. thank them. The orchestra had moment comes for you to greet s

Fall/Winter 2012/2013 Fall/Winter To compare that dinner with been given ice-cream and coffee the President and the First Lady, the Casals dinner is to compare and everybody stood around two ravishing people appear in the night and day. In the case of the with nothing much to say. And doorway who couldn’t be more Eisenhower dinner: well, for one suddenly the President said, “I charming if they tried, who make thing you couldn’t smoke, that like that last thing you played, was number one on my mind. I like music with a theme,” at (continued on page 13)

4 Meeting President Carter by Nina Bernstein Simmons understand, but ON AIR FORCE engaged President Portillo in ONE. I comported myself as best singing many a Mexican folksong, n February, 1979, when I could. I sat next to Cy Vance. including a dirty version of IPresident Carter went on an They served lobster Thermidor. Rancho Grande. Me, I just official visit to Mexico to meet Or was it Newberg? wanted to get away with as little with President Lopez Portillo, my On the evening of the concert, attention as possible. father went along as a cultural as we were dressing at the hotel, “gift.” He gave a concert with Daddy asked what I was going to And then Daddy the Mexican National Symphony do with my hair. Good question. Orchestra which included a My mother wasn't there to see to interrupted everyone's performance of Copland's El it that I looked ready to attend an Salon Mexico. elegant evening concluded by a conversation to say: “Look I was about to turn seventeen. state dinner at the U.S. embassy. I My mother had died the previous declined to put my hair in a bun, at Nina. Isn't she lovely? June and, I realize now, Daddy which is what Daddy wanted, must have been at a loss for and went with the 1979 default: She reminds me so much what to do about my birthday, brushed out hippie. of her late mother.” what with his being away from The concert was wonderful New York. So he got the inspired and spirits were high, especially idea of getting me invited to Daddy's. At the dinner, we were And then Daddy interrupted Mexico as part of the whole U.S. seated at a big table with both everyone's conversation to say: entourage. Not traveling there on presidents, their first ladies, and “Look at Nina. Isn't she lovely? a commercial plane with him, you two sets of ambassadors. Daddy She reminds me so much of her late mother. She has her neck. But I wish she would wear hair up so everyone could see. Nina, show them what you look like with your hair up. Go on!” I glared. But it was no use. I had to do it and I did. Polite applause and murmurs of admiration from everyone. There is a Spanish expression: “Tierra, tragame.” Literally: “Earth, swallow me.” Finally, it was time to leave. There was a queue where President Carter stood to say goodbye to the departing guests. This picture was taken just after he said, “Nina,” (he pronounced it Ninnah) “I like you with your hair up. I like you with your hair down. I like you.” Even the birthday cake presented to me by Rosalynn on the return flight could not top that. ■ Prelude, Fugue & Riff s Fall/Winter 2012/2013 Fall/Winter

5 Artful Learning Update

Fifth grade understanding learned over students completing several months. original creations Jackson Middle School that demonstrate educators have expounded on their understanding Leonard Bernstein's belief that of the concept when we express our understanding through metaphor, we internalize of "risk" by meaning, and retain it. combining social With the Artful Learning studies, literacy and approach, educators are free multimedia. to explore new pathways for challenging their students’ thinking while simultaneously increasing their fluency in any subject. One unit of study, designed by Jackson Middle School educators Ann by Patrick Bolek into permanent exhibitions at the Ott-Cooper, Michael Lang and middle school. A combination Lora Giles, explored geometry, Building a of students, educators, parents specifically fractals. By combining Sustainable Future and skilled artists working the advanced mathematical together truly models how Jackson Middle School principle of fractals and the everyone is important in the expressive artistic process of he framework of the Artful collaborative learning process. Jackson Pollock, students built TLearning system is to develop a their knowledge of how the sustainable future for schools using the An experience for language of math can define the methodology. This is accomplished relationship between art and nature. by building relationships with the students, and a Students began with a prototype the local community to support they created to demonstrate and amplify the learning in math unit they will their understanding of the the classroom. Jackson Middle mathematical elements of fractals School, an Artful Learning never forget. (Image 1: Prototype). Inspired by Legacy School located in Portland, the Jackson Pollock masterwork Oregon, has been leading the Parents raise funds to bring Blue Poles, Resident Artist Tracy way for over a decade with an artists into the classroom for Broughton had students use black annual function titled The Art of extended residencies. Artists work electrical tape to create a template the Jaguar. This event auctions with the classroom educators to of their fractal prototype. Using stunning, student-produced connect their expertise with the Pollock’s technique of dribbling original creations that are tangible academic content the students and throwing liquid house paint artistic representations of their are mastering. Using the fertile, onto a wood surface, students rigorous learning journeys. These interdisciplinary content harvested combined the exactness of the works are finding their way during the inquiry phase, students geometric fractal design with the into community installations produce an original creation chance layering application of throughout the city as well as that is a manifestation of their a pre-determined color palette. Prelude, Fugue & Riff s Fall/Winter 2012/2013 Fall/Winter

Image 1 Image 2

6 8th Grade student Addison Houck realized this stunning work as another way to express her understanding of math through the visual arts (Image 2: original creation). This and other student works are personalized abstractions of the unit concept of Patterns as demonstrated with Image 3: Prototype and Image 4: original creation by 8th Grade student Celeste Brown. No two original creations were alike, yet the educators could assess deep understanding of the subject matter while allowing for differentiation of student expression. An experience for the students, and a math unit they cultural event, situated in the Fike, Amy and Mort Friedkin, 2nd grade will never forget. midst of the one of the most Farah and M Jay Jazayeri, students in an You can learn more about this creative and entrepreneurial Shahpar and Darioush Khaledi, remarkable school at http://www. inquiry center communities in the world, raised Jose Luis Nazar, Charles Rashall, pps.k12.or.us/schools/jackson/ or research the an unprecedented $55,000 at Judy Ratto, Anousheh and Ali by scheduling a site visit. concept of the Gala Auction to support Razi, Jan and Maria Manetti "diversity" and the Fund-A-Need community Shrem, Alexander Shustorovich, begin to make Salvador Elementary initiatives. In addition to other Claire and Steven Stull, Elizabeth new hypotheses. School organizations receiving support, and Clarke Swanson, Karen and ny new school using Salvador Elementary School, a Richard Walker and Mahvash Athe Artful Learning Level II Artful Learning School, and Farrok Yazdi. methodology must immediately received $34,000 to fund 12-14 The Artful Learning Inc. begin building its sustainability arts residencies during the organization and Alexander plans. Community relationships 2012-2013 academic year. This Bernstein would like to express cultivated during the three- generous donation will allow an additional note of gratitude year implementation process each grade level at the school to Festival Director Richard will help establish a network of to collaborate with fully-funded Walker, Artistic Director Barrett partnerships to provide ongoing and qualified artisans. We are Wissman, Event Producer Lisa support to the educators, leaders excited to see the outcomes as this Brown and Principal Pam Perkins and students – as Jackson community begins its partnership. for raising the awareness of the Middle School has done. One With exuberance on behalf of transformative power of the arts such partnership emerged this every student about to be inspired to empower learners summer during the 2012 Napa and enriched, we wish to thank: of all ages. ■ Valley Festival del Sole (www. Tatiana and Gerret Copeland, festivaldelsole.org). This 10-day Andrea Eddy, Kay and Steven Patrick Bolek is an education design consultant for his company Momentum ProjectLab. He currently serves as Advancement Consultant and the National Lead Trainer for Artful Learning, Inc. Prelude, Fugue & Riff s Fall/Winter 2012/2013 Fall/Winter

Image 3 Image 4

7 West Side Story with Live Orchestra

and the Baltimore Symphony will present the film on June 14-16. For more information about venue(s) and tickets, go to: www. facebook.com/leonardbernstein.

Review of the Tokyo performance:

“The music from "West Side Story" is more than a soundtrack; it stands on its Jamie Bernstein fter successful screenings at Indianapolis Symphony under the own as a highly accomplished and conductor London's Royal Albert Hall; baton of David Newman. Sarah A modern classic. Yutaka Sado Wolf Trap, Virginia; Tokyo and Hicks will lead two performances Yutaka Sado on and the Tokyo Philharmonic Osaka, Japan; Philadelphia and in Milwaukee with the Milwaukee a break from a vividly recreated New York's Melbourne, West Side Story Film Symphony (November 23-24) press conference West Side of the 1960's right With Live Orchestra continues as well as performances in in Tokyo here in 2012 Tokyo. The to dazzle audiences. Since its Minneapolis with the Minnesota announcing majority of today's audience, premiere in Los Angeles last Orchestra (February 9-10). Jayce Maestro Sado's who grew up with this summer, over 100,000 people from Ogren will lead performances performance of monumental work, were once four continents have attended with the National Arts Centre again in tears witnessing West Side Story performances. The international Orchestra in Ottawa (January Tony taking his last breath in Film With Live tour continues this fall/winter with 17-19). Steven Reineke will Maria's arms.” Orchestra. several performances beginning conduct the Houston Symphony Mr. Masayuki Tamaki, journalist, on November 16-18, with the March 22-24 and Marin Aslop Yanase Company Papers ■

West Side Story Comes to Paris

Jamie Bernstein Reviews in France: with Maria (Elena Sancho Pereg) and “Still fresh, the passionate, Tony (Liam Tobin). thrilling West Side Story, the mother of modern musicals, is back in Paris with all the energy of a young girl. It’s got rhythm. It’s got emotion,

Prelude, Fugue & Riff color and savagery, too.” Les Echoes

“Ever higher, ever faster. This enthralling troop of actors pours out their hearts for

s us, ... this performance is Fall/Winter 2012/2013 Fall/Winter he BB Promotion production The show now finds itself in thrilling! Very!" Tof West Side Story has Paris at the Théâtre du Châtelet Le Figaro ■ taken Berlin, Leipzig, Cologne, until January 1, 2013. Hamburg and Essen by storm. For tickets: www. The public and critics alike have bb-promotion.com/ been unanimously enthusiastic. veranstaltungen/west-side-story/

8 Prelude, Fugue & Riffs Fall/Winter 2012/2013 9 © ANGELICA GREKOVICHE

■

ee pact ger continue to Bettina Heinen-Kösters from 'And the project'And has only just this semester; this learning is the US Embassy spoke with the that they longer laugh no at from thetook away experience the another of role person. the potential a long-term for im great experience slip to into reported. “They free felt and at students after their participation. begun: the school and police s it asit a continuing violence important, and inspires.” it in the Wedding neighborhood enjoyed working together,” she working enjoyed together,” ease with each other, emphasizing each other listened but what to every They student had say. to effective tool to solve problems. prevention program.” prevention program.” agreed that idea a major they acting and said that was a it as well as greater Berlin and are discussing establish to how was that violence is an not They were very ea Conductor Philip Simmons and the cast take their bows. Conductor Philip Simmons “They us that told they greatly ■ in Berlin that tells them up of students of up e US Embassy is again velopment of short of velopment skits inner I am beauty. grateful in Belarus in Ms. Winterfeld said, “The The Leonard Bernstein Office The Leonard Bernstein abling me and team my to helped them connect to their to that th that they are second-class, which this the work kids built self- that perform to is also listen to cometo school to and learn. It confidence. They experienced see the same gro space where the kids wanted en and share mutual respect. This arts-based created work a own we knowwe is true. not Through The participating students the de that were presented an to students began react to to by anby environment each personal other’s stories. audience peers of and parents. work affectedwork the kids in many Theseways. kids are surrounded These improvisations led to this production to life. this production to life. choreographers Emerson Paul aid to in casting Simmons, conducted who the is grateful to the United States is grateful to the United in bringing Embassy for their help premiere. The Embassy also donated percussion instruments and microphones the for shows. and Jason Ignacio from the and rehearsals, as well asthe visits U.S. of conductor Philip

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West Side Story Project West Side Story Side West By Craig UrquhartBy Craig theatrically on these themes. the students improvise to turf possession and peer pressure. to addressto youth violence and the BSAMT in identifying U.S. this project, the United States throughout Belarus. support To run fifty times in Minsk and Palestine, Syria and Turkey. students came from an array Prevention Network and the specialists assist to with this neighborhood, infamous its for U.S. copyright and holder helped Schering School Violence State Academic Musical Theater Soviet state B identified themes they related to: film heard or of improve youth-police relations. implement The Embassy made possible visits by Embassy funded the purchase ever fully-licensed staging an of profound relevance them. for production. In particular, the production on May 23 and 24, Berlin Police Department to [Germany] paired the up Ernst and relative newcomers, so the of locations:of Bosnia, Lebanon, of a one-yearof license from the wars” between native Berliners

with students all of aged 12-14, Arab were of whom descent. The F (BSAMT) premiered their Project 2012 The students had never seen the They live in Berlin's Wedding Tea The project uses the sh After a difficult start, the After watching the film, they American musical in Belarus, will West SideWest Story Leonard Bernstein Award

n August 18, The Schleswig © ALEX NICKLAUS OHolstein Music Festival awarded the 11th annual Leonard Bernstein Award to organist Cameron Carpenter. The 10,000 Euro award is made possible by the Sparkassen- Finanzgruppe. Jamie Bernstein was on hand to present the award at a gala solo concert featuring Carpenter’s arrangement of The Overture to Candide and his own Variations on Themes of Leonard Bernstein. The American born Carpenter is a virtuoso composer-performer unique among keyboardists. His approach to the organ smashes the stereotypes for organists and organ music while generating a level of acclaim, exposure and controversy unprecedented for an organist. His repertoire – from the complete works of J.S. Bach to his hundreds of transcriptions of non-organ works, to his original compositions as well as his collaborations with Reinhard Boll (President for Sparkassen), Cameron Carpenter, Burkhard Stein jazz and pop artists – is perhaps (Vice-Intendant Schleswig-Holstein Musik Festival), Jamie Bernstein. the largest and most diverse of any organist. He is the first organist 2009 Leonard Elschenbroich ever nominated for a GRAMMY® Previous winners: 2010 Kit Armstrong Award for a solo album. 2002 Lang Lang 2011 David Aaron Carpenter The Los Angeles Times 2003 Elisabeth Batiashvili has written about Carpenter, 2004 Erik Schumann For more information visit. “Carpenter is already the most 2005 Jonathan Biss www.cameroncarpenter.com gifted organist in many a 2006 Alisa Weilerstein generation. And he’s only 2007 Martin Grubinger just begun.” 2008 Anna Vinnitskaya

Library of Congress Honors Bernstein's Carnegie Hall Debut

Prelude, Fugue & Riff n November 14, 1943, concert that was largely responsible or aesthetically significant.” The OLeonard Bernstein climbed for changing Bernstein’s fortunes. collection at the Library is as the podium on the stage of The sound recording of this now diverse as the nation itself, with Carnegie Hall to conduct the famous concert has recently been titles ranging from I Feel Love by New York Philharmonic, added to the National Recording Donna Summer to a 1977 concert stepping in for the ailing Bruno Registry at The Library of Congress. by the Grateful Dead recorded at s Fall/Winter 2012/2013 Fall/Winter Walter – and became famous Recordings in the Registry are Cornell University. ■ literally overnight. It was the selected for preservation because national broadcast of this they are “culturally, historically,

10 Leonard Bernstein Award Directing Trouble in Tahiti

by Jamie Bernstein someone else’s rehearsal began The trio had strived to polish in Star Hall – not to mention their coordinated moves; they ver recent years, as Michael rehearsing the orchestra; the pulled them off flawlessly, and the OBarrett and I rehearsed this young trio from the University audience loved it. Michael Barrett or that concert presentation of Utah; and our brilliant stars, worked hard with the chamber Heather Johnson and Kelly orchestra, who pulled together to featuring musicians, singers and Markgraf. So many notes to give a warm, moving performance a narrator (the latter being me), I learn, so many lyrics and stage of the score. would be the least busy one – the moves to memorize – all in five A big success! But, as always, one who could scurry out to the days! And all around us, the the performance itself is a blur in seats to see how things looked combined delirium of the other my mind. The part I remember – from there. On one of these musicians and concerts of the and treasure – is sitting out in the occasions, the realization came Music Festival; the surreally darkened house during rehearsal, over me that pondering the shape magnificent Utah landscape, the studying the stage and pondering of the action on the stage was the dry, fragrant desert air – and oh the moves. ■ most fun thing I had ever done. yeah: my birthday. My first real opportunity Star Hall was packed for the to direct came last year, when final concert. The performance Timothy Long invited me to went terrifically well. Heather direct his students in the opera Johnson’s Dinah was heartbreakingly program at Stony Brook University vulnerable, while also manically in a production of my father’s hilarious in her big aria “What a short 1952 opera, Trouble Movie!” Kelly Markgraf pulled in Tahiti. On the first day of off the great challenge for anyone rehearsal, I felt less confident with singing the role of Sam: he made every passing mile on the Long him sympathetic; we could see Island Railroad; I didn’t have a through his bluster to his despair. clue what I was going to do when I got there. I continued to have © CHRISTOPHER LAYER Michael Barrett and that same feeling for all the weeks Jamie Bernstein to come. But every time the class introducing Trouble began, a gear I didn’t know I had clicked in, and the time flew in Tahiti at Moab by as we worked on character, Music Festival's blocking, and always, how the Star Hall. music tells the story. And oh, that music. Trouble in Tahiti sounds as fresh as the day it was written – maybe even better now, to our contemporary ears. The Stony Brook production was thrilling for me, with its wonderful student singers who traveled so far in their characterizations and musical nuance. What was more, it turned out to be a crucial preparation for my next directing job: the same opera – this time with professional singers, a chamber orchestra and Michael Barrett conducting – at

the Moab Music Festival this Prelude, Fugue & Riff past September, to conclude the Festival’s 20th anniversary season. Gone was the luxury of six weeks in a classroom, discussing character motivation and trying different approaches. Now it was s a breakneck job of throwing the 2012/2013 Fall/Winter opera together at warp speed: gathering props and costumes; organizing the scenery changes; installing the lighting plan in the slim wedge of time before

11 Remembering Carlos Moseley 1914-2012

Carlos Moseley and NEW YORK PHILHARMONIC ARCHIVE COURTESY history database CARLOS Leonard Bernstein not only to honor him, but to arrive in Osaka, replicate what I did in a pinch: Japan, August 1970. “Ask Carlos.” He loved to make things happen, to move something forward, to get the job done – whether it was working to complete the new concert hall in time for Jackie Kennedy to attend the first concert at Lincoln Center conducted by Leonard Bernstein; or negotiating a 52-week contract for the musicians – the first of its kind; or imagining Central Park’s Sheep Meadow as a place to hold free concerts; or replacing the seats in Avery Fisher Hall with pillow cushions for the newly conceived Rug Concerts. He wasn’t just a manager, or a public relations guy. He was A message from Jamie by Barbara Haws a visionary – he embraced Bernstein, Alexander Bernstein visionaries – and he took and Nina Bernstein Simmons: arlos Moseley was a absolute pleasure in making the remarkable person. At the C impossible a reality. Our father began his tenure at New York Philharmonic, Carlos His nearly 50-year relationship the New York Philharmonic just was the only person in the with Leonard Bernstein began two years after Carlos Moseley Orchestra’s 170 year history when they met in Bavaria after the began his. So to us, Carlos was an to have held so many different War, and it extended to Lenny’s inseparable part of the orchestra. positions, and everyone still liked wife, Felicia, and the three “kids” His combination of quiet him. It’s hard to convey just who still think of Carlos as their brilliance, old-school dignity and how remarkable this is. In his great uncle who loved them as Southern twinkle were irresistible many jobs, he had to say “no” or much as they loved him. And to one and all. We’ll always be the bearer of disappointing that brings us to that laugh. It remember Carlos with utmost decisions. He had to tell some of was infectious. How could you admiration and love – and we the biggest, most difficult egos not laugh along whenever he got leave it to our dear Philharmonic in the world that they couldn’t started? Lenny’s youngest, Nina, friend, Barbara Haws, to say do what they wanted or that it wrote that “Carlos's giggle is the rest. was too expensive or maybe their embedded in my very DNA.” latest idea just wasn’t that good. For all his many talents, I And yet, no one ever resented think the secret to Carlos’s him. Because at the same time, unparalleled success was his they knew he worked tirelessly ability to love, laugh, and for them (no detail was too small)

Prelude, Fugue & Riff embrace everyone he encountered. and, most importantly, he “loved Following one concert, as he them to bits.” stood backstage watching the Not only was Carlos my musicians depart, he opened his mentor, sharing all the traditions, arms, and proudly and quietly stories and gossip from the exclaimed to no one in particular, past, but in my job as the

s “my children.” Carlos will always Fall/Winter 2012/2013 Fall/Winter Philharmonic’s historian and be remembered and beloved. ■ archivist, I get to read all of his letters, memoranda, jottings – Barbara Haws has been the New and no one writes like Carlos. I York Philharmonic’s Archivist and named our online performance Historian since 1984.

12 Leonard Bernstein & POTUS, continued

(continued from page 3) summer of 1971, the FBI warned White House. Under the generic President Nixon to avoid the season’s greetings Bernstein on his piano. He dedicated his premiere performance of Mass, scribbled: “With special love from Symphony No. 3: Kaddish to Bernstein’s de facto protest Dick & Pat.” the late president and composed against Nixon’s war machine. In the wake of Nixon’s his Mass for the opening of the According to Nixon aides, the resignation due to Watergate, John F. Kennedy Center for the Latin text of the piece might Bernstein breathed a sigh of Performing Arts, at the request contain secret anti-war messages. relief: “We have come out of the of Mrs. Kennedy. The specific reference, it turned muddy, murky and treacherous Bernstein on JFK: “Of all the out, was the standard liturgical period that has been going on political men that I have ever line “dona nobis pacem,” or since Kennedy’s murder.” met, [JFK] was certainly the most “grant us peace.” Hardly a radical Bernstein’s vision for America moving and compassionate sentiment; nonetheless, the Nixon was clear and steady. During the and lovable.” administration concluded that last year of his life, I saw him While Bernstein’s relations it might cause embarrassment striving still to make the world with JFK were as warm as should the President be televised a better place. He continued to they could be, his connection applauding. So, no Nixon. display a purity of passion and to Richard Nixon was more Upon Nixon’s reelection, purpose. He espoused peace on the ill-tempered side. As a Bernstein conducted Haydn’s over war. Always – education sort of political warm-up act to Mass in the Time of War at is our lifeblood. Music should Bernstein's State Department- National Cathedral, and called be listened to and learned, not sponsored cultural exchange the event the Anti-Inaugural. merely overheard. And of all we concerts, Vice President Nixon No surprise then, when Nixon can feel, what matters most is also toured the Latin American handily added Bernstein to his love. Let’s get those Bernstein capitals. Crowd after crowd illustrious Enemies List – a notions into a Presidential speech. booed Nixon, while Bernstein Who’s Who of powerful leftists Then, indeed, we may be well subsequently received who were subject to undue on the way. ■ standing ovations. IRS scrutiny and other intense By the time Nixon became investigation. Leonard Bernstein and Mark POTUS, the U.S. was a world But sometimes the White Taylor became friends in 1989. power with New York City as its House wires got crossed For years, They traveled together to cultural capital. Bernstein, now in a bathroom of Bernstein’s Washington, D.C.; Key West, leader of the NY Philharmonic, Connecticut home hung a framed Florida; Germany during the fall played a lofty role. Perfunctory piece of double presidential of the Berlin Wall; and Japan for were the public exchanges memorabilia: Nixon’s infamous the establishment of the Pacific between Bernstein and Nixon. “Enemies List” (available at the Music Festival. One very high-level public time in novelty stores) set next to appearance by President Nixon a holiday card from the Nixon was cancelled altogether. In the

Bernstein Compares Eisenhower and Kennedy, continued

(continued from page 4) the wines are delicious, there are little high, just so delighted to be cigarettes on the table, people there, so glad that they had been Prelude, Fugue & Riff you feel utterly welcome, even are laughing, laughing out loud, asked, feeling that they had finally with a huge gathering. You are telling stories, jokes, enjoying been recognized as honored artists then brought in to dinner. Dinner themselves, glad to be there. of the Republic. You know, I’ve turns out to be not at a horseshoe I’ll never forget the end of never seen so many happy artists table but many little tables, that evening when there was in my life. ■

seating about ten people apiece, s dancing. The Marine Band was 2012/2013 Fall/Winter fires roaring in all the fireplaces, playing waltzes or something, and these tables are laid out in and [composers] Roy Harris and three adjacent rooms so that it’s Walter Piston were kicking up almost like having dinner with their heels in the White House, a friends. The food is marvelous,

13 For a complete listing visit: www.leonardbernstein.com Fall / Winter 2012/2013

20,23 Rotterdam, Netherlands: SYMPHONY NO. 2: THE AGE OF ANXIETY; Wayne Marshall, October piano; Kristjan Järvi, conductor; de Doelen. 22-24 Hannover, Germany: A MUSICAL TOAST, 3,5,6 Bergen, Norway: THREE DANCE EPISODES SYMPHONIC DANCES FROM WEST SIDE FROM ON THE TOWN, SELECTIONS FROM STORY; Orchester der Hochschule für Musik; WONDERFUL TOWN, ON THE TOWN, Eiji Oue, conductor; Richard Jakoby Saal. TROUBLE IN TAHITI; Evelyn Johns, Ronald Samm, singers; Bergen Philharmonic 23 Aveiro, Portugal: SYMPHONIC SUITE Orchestra; Wayne Marshall, conductor; FROM ON THE WATERFRONT; Averio Grieghallen. University Orchestra; Luis Machado, conductor; University. 6 Magdeburg, Germany: CHICHESTER PSALMS; MDR Rundfunkchor, Leipziger 24 São Paulo, Brazil: HALIL; Orquestra Synagogalchor, MDR Sinfonieochester; Sinfônica da Universidada da São Paulo; Kristjan Järvi, conductor; Johanniskirche. Michael Bellavance, flute; Ricardo Bologna, conductor; Sala São Paulo. 20 Rio de Janeiro, Brazil: SYMPHONY NO. 2: THE AGE OF ANXIETY; Orquestra Petrobras Sinfônica; Alexandre Dossin, piano; Isaac Karabtchevsky, conductor; Teatro Municipal. December

5 Budapest, Hungary: SYMPHONIC SUITE November FROM ON THE WATERFRONT; Hungarian National Philharmonic Orchestra; Michael Stern, conductor; Béla Bartók National 4 Edinburgh, UK: SYMPHONIC DANCES Concert Hall. FROM WEST SIDE STORY; Royal Scottish National Orchestra; Christian Kluxen, 9 Hiroshima, Japan: ORCHESTRAL SUITE conductor; Hall. FROM CANDIDE; Hiroshima Junior Orchestra; Hiroshima, Japan. 9 Munich, Germany: SYMPHONIC DANCES FROM WEST SIDE STORY; Munich Symphony; 14 Bielefeld, Germany: THREE DANCE Georg Schmöhe, conductor; Philharmonie. EPISODES FROM ON THE TOWN, SYMPHONIC DANCES FROM WEST SIDE 10,11 Basel, Switzerland: SYMPHONIC DANCES STORY; Bielefelder Philharmoniker; Marc FROM WEST SIDE STORY; Symphony Piollet, conductor; Oetkerhalle. Orchestra Lemberg; Dieter Wagner, conductor; Stadtcasino. 17 Ljubljana, Slovenia: THREE DANCE EPISODES FROM ON THE TOWN; Nova 14 Poele, UK: CHICHESTER PSALMS; Filharmonija; Simon Percic, Conductor; Bournemouth Symphony Orchestra and Concert Hall. Choir; David Hill, conductor; Lighthouse. 17,18 Mannheim, Germany: SYMPHONIC Prelude, Fugue & Riff 16 Tampere, Finland: HALIL, SYMPHONIC DANCES FROM WEST SIDE STORY; DANCES FROM WEST SIDE STORY; Tampere Nationaltheater Orchester Mannheim; Dan Philharmonic Orchestra; Annaleena Puhto, Ettinger, conductor; Mozartsaal. flute; Eugène Tzigane, conductor; Tampere Hall.

s 20 Essen, Germany: SYMPHONIC DANCES Fall/Winter 2012/2013 Fall/Winter FROM WEST SIDE STORY; Brüsseler Philharmoniker; Michael Tabachnik, conductor; Philharmonie.

14 16 Greenley, CO: SYMPHONY NO. 2: THE AGE OF ANXIETY; Greenley Philharmonic Orchestra; John January Musto, pianist; Glen Cortese, conductor; Union Colony Civic Center. 1 Berlin, Germany: OVERTURE TO CANDIDE, 27 Glasgow, UK: SYMPHONIC DANCES FROM WEST THREE DANCE EPISODES FROM ON THE SIDE STORY; BBC Symphony Orchestra; Miguel TOWN; Orchester der Komische Oper Berlin; Harth-Bedoya; conductor; City Halls. Henrik Nánási, conductor; Komische Oper. 1 Wuppertal, Germany: DIVERTIMENTO; Sinfonieorchester Wuppertal; Peter Schneider, conductor; Opernhaus. March 9 Budapest, Hungary: SERENADE; Budapest Festival Orchestra; Janine Jansen, violin; Ivan 1,2 Charleston, SC: THREE DANCE EPISODES FROM Fischer, conductor; Béla Bartók National ON THE TOWN; Charleston Symphony Orchestra; Concert Hall. Jacomo Bairos, conductor; Sottile Theatre. 11-13 Lancaster, PA: THREE DANCE EPISODES 2 North Bethesda, MD: SERENADE; National FROM ON THE TOWN; Lancaster Symphony Philharmonic; Elena Urioste, violin; Piotr Gajewski; Orchestra; Stephen Guzenhauser, conductor; conductor; Music Center at Strathmore. Fulton Opera House. 9,11 Vancouver, BC: SERENADE; Vancouver 13 Mainz, Germany: SERENADE; Symphony Orchestra; Vadim Gluzman, violin; Philharmonisches Orchester des Staatstheaters James Gaffigan, conductor; Orpheum Theatre. Mainz; Caroline Adorneit, violin; Catherine 14,16 Vienna, Austria: SYMPHONY NO. 2: THE Rückwardt, conductor; Staatstheater. AGE OF ANXIETY; Niederösterreichsches 17,18 Plauen, Germany: SONGFEST; Tonkünstlerorchester; Marc-André Hamelin, piano; Philharmonisches Orchester Plauen-Zwickau; Yutaka Sado, conductor; Musikverein Grosser Saal. Lutz de Veer, conductor; Voglandtherter. 18 St. Pölten, Austria: SYMPHONY NO. 2: 18,22 Vienna, Austria: CANDIDE THE AGE OF ANXIETY; Niederösterreichsches 25 (concert version); Volksoper Wien; Robert Tonkünstlerorchester; Marc-André Hamelin, piano; Meyer, narrator; Joseph R. Olefirowicz, Yutaka Sado, conductor; Festspielhaus conductor; Volksoper. Grosser Saal. 20 New York, NY: SERENADE; Budapest Festival 19 Vienna, Austria: THREE DANCE EPISODES FROM Orchestra; Janine Jansen, violin; Ivan Fischer, ON THE TOWN; BBC Philharmonic; HK Gruber, conductor; Avery Fisher Hall. conductor; Konzerthaus Grosser Saal. 24 Zwickaw, Germany: SONGFEST; 20 New York, NY: CLARINET SONATA; Narek Philharmonisches Orchester Plauen-Zwickau; Arutyunian, clarinet; Mariko Furukawa, piano; Lutz de Veer, conductor; Voglandtherter. Morgan Library. 23,24 St. Louis, MO: SERENADE; Saint Louis Symphony Orchestra; David Halen, violin; David Robertson, February conductor; Powell Hall.

4 Berlin, Germany: SYMPHONY NO. 2: THE AGE OF ANXIETY; Deustches Symphonie- Orchester Berlin; Joyce Yan, piano; James Conlon, conductor; Philharmonie. 7,8 Bamberg, Germany: PETER PAN (concert Prelude, Fugue & Riffs will be and we shall do our best to narration); Theater Bamburg; Bamberger sent upon request. Please send include such information in Prelude, Fugue & Riff Symphoniker; Till Fabian Weser, conductor; all correspondence to: forthcoming calendars. Craig Urquhart ® Kongresshalle. Prelude, Fugue & Riffs is a Prelude, Fugue & Riffs publication of The Leonard 14-17 Naples, FL: ORCHESTRAL SUITE FROM 121 West 27th Street Bernstein Office, Inc. CANDIDE; Naples Philharmonic Orchestra; Suite 1104 ©2012 by The Leonard Thomas Wilkins, conductor; Philharmonic New York, NY 10001

Bernstein Office, Inc. s Center for the Arts. Fax: (212) 315-0643 2012/2013 Fall/Winter Managing Editor: Craig Urquhart 15,16 St. Louis, MO: SYMPHONY NO. 2: THE AGE e-mail: Editor: Jamie Bernstein OF ANXIETY; Saint Louis Symphony Orchestra; curquhart@leonard­bernstein.com Design: BorsaWallace, NYC Orli Shaham, piano; David Robertson, We appreciate notice of any Visit our website: conductor; Powell Hall. performances or events featuring www.leonardbernstein.com the music of Leonard Bernstein or “Like” us on Facebook: honoring his creative life www.facebook.com 15 PRESORTED STANDARD U.S. POSTAGE PAID NEWARK, NJ PERMIT NO. 625 121 West 27th Street Suite 1104 New York, NY 10001

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New Releases

t is always exciting to see Choir and Orchestra recorded by des Bayerischen Rundfunks Inew releases of Bernstein the BBC live at Saint Augustine’s concert of Haydn’s Missa recordings and DVDs, and this Church, London, April 16 1977. in Tempore Belli. And Sony cycle is as exciting as ever. For Unitel Classica and C Major Classical offers us a 5 CD set the first time, classicarchive/ Entertainment present a new of Bernstein and The New idealeaudience have released DVD of Bernstein conducting the York Philharmonic performing Bernstein conducting the Bach Vienna Philharmonic in a Haydn’s London Symphonies Magnificat, BWV 243 and performance of Beethoven’s String (Nos. 93 -104). ■ Stravinsky’s Mass. This DVD Quartet No. 16. This DVD also features the English Bach Festival includes a Symphonieorchester