Spring/Summer 2009 IU's Jacobs School of Music Receives Bernstein Gift

PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2009 IU's Jacobs School of Music Receives Bernstein Gift

by Craig Urquhart

he Family of Leonard Bernstein has given Indiana University's Jacobs School of Music the contents of Leonard Bernstein's Fairfield, Connecticut, composing studio. "We are honored to receive this gift which follows a rich collaborative and professional relationship between the Bernstein family and the Jacobs School that began in the early 1970s," said Gwyn Richards, Dean of the Jacobs School of Music. "In a real sense Leonard Bernstein connected with our School and its leadership, and it is thrilling to know that the link with Indiana continues and is strengthened through this remarkable gesture." "My father's artistic and edu­ cational connection with Indiana University was very strong," said Leonard's son, Alexander Bernstein. "He adored the institution and became close to the Dean, its faculty and, of course, its students. My sisters, Jamie and Nina, join me in celebrating the continuation of this relationship by literally bringing together two of the places in which he was happiest

(continued on page 2) Leonard Bernstein's Fairfield studio wall

West Side Story Takes Leonard Bernstein's 9 My Friend Schuyler Inside ... Over Broadway! Peter Pan Flies Again 10 In the News Leonard Bernstein and in Santa Barbara 12 Some Performances Felix Mendelssohn Jacobs School of Music Receives To Our Bernstein Gift, continued working. We cannot imagine a more fitting home for this exciting Readers new representation of Leonard Bernstein's working life." The Jacobs School plans to recreate Leonard Bernstein's working environment, which will outh, fame and fortune come and contain the items in the collection go, but music lives on forever - Y and be used as a teaching studio and a good thing, too. Lately we've for distinguished guests. Most been painfully reminded in many ways The composing desk of the contents of the room will of how ephemeral the elements of our be available to students, faculty lives can be. We are deeply sorry to prepare my opera." Privately, and the general public, who will have lost the wise and merry company he told Webb, "I hope you know be able to examine the items that of Schuyler Chapin, Lukas Foss and what you have in your school." surrounded the great composer George Perle. But their music lives A Quiet Place was to be Bernstein's during a significant portion of on - in the notes composed by Lukas final opera. his career. and George, and in Schuyler's case, In 1987, after winning the through his potent nurturing of Ernst von Siemens Music Prize, musical environments. "We cannot imagine West Germany's most prestigious Music has a cyclical quality as well. music award, Bernstein established Lately, two Bernstein works that had a more fitting home the Leonard Bernstein Scholarship been seldom heard - Mass and the at the Jacobs School of Music. incidental music for the Barrie play for this exciting new Two thirds of the prize money was of Peter Pan - are enjoying fresh representation of contributed to the scholarship fund, attention and have acquired new reso­ an amount that was matched by nance in today's world. Leonard Bernstein's funds from the late IU Chancellor There are many ways to honor the Herman B Wells. The scholarship, permanence of music; two new ways working life." established to further the education have come along for the music of of talented students, is awarded Leonard Bernstein. Indiana University Bernstein's long-standing to two Jacobs School of Music will shortly receive the contents of relationship with the Jacobs students each year. Bernstein's Connecticut composing School of Music began in 1970, In 1988, the Tanglewood Music studio, which they will lovingly with a one-month tour of Festival in Massachusetts was recreate and make available to future Bernstein's opera Trouble in Tahiti planning a celebration in honor composers and music lovers. In the in Israel to celebrate the 30th of Bernstein's 70th birthday. They more etherial yet no less practical anniversary of Bernstein's first asked the composer which of his environment of the Internet, informa­ conducting there. At that time compositions he would like to see tion about Bernstein's early years Charles Webb was Dean of the performed. He suggested his Mass. in Boston, intensely researched by School, and Bernstein and the "The people at Tanglewood said students and faculty at Harvard, Webb family became close friends. they didn't have the resources to do has been posted on an invaluable The School of Music-Bernstein that - it requires a huge orchestra, web archive. connection intensified in 1981, a jazz band, children's chorus, Without a doubt, the immortal when Webb received a call from regular chorus, ballet dancers," part of Leonard Bernstein is chugging Bernstein's Manager Harry Kraut said Webb. "So once again, Leonard briskly into the 21st century. who said, "Bernstein is working Bernstein said, 'Why don't you call on an opera, A Quiet Place, Indiana University?'" 1 J.B.• After the performance - which i: and seeks a location where .,.Cl. singers could learn parts quickly, involved 250 IU students - Bernstein .., C reportedly said, "This is one of the IQ and where he could discuss his .,C compositions and receive feed ­ greatest concerts I have ever heard." 20 "Then he went on to say, 'I ;a back." Indiana University ~ became that place. don't just mean one of the greatest -aV> concerts of Mass, I mean of any­ :,. While in residence Bernstein ~ said, "It's extraordinary to have thing.' That was quite a statement!" 3" so many talented people in one said Webb. • 3 ~ place. I'm honored that such N 0 0 beautifully prepared students have lC taken time from their studies ... to 8 West Side Story Takes Over Broadway!

Just a few of the reviews from the new Broadway revival of West Side Story that opened on Thursday, March 19th.

"Ms. Scaglione's stunningly natural Maria ... has the confi­ dence associated with young women who are beautiful, willful and unacquainted with sorrow. [T]his Maria is not exclusively sweet. You sense that she's the one who's really in charge, and for the first time I could imagine what Tony and Maria's marriage might be like." "Karen Olivo [Anita] ... delivers big-time." "West Side Story (at the Palace, under the sure­ "Ms. Olivo's worldly Anita ... handed direction of Arthur Laurents, who wrote is a stunner, full of citrusy the musical's original book) is so exciting it zest and acerbity. " makes you ache with pleasure."

Ben 0.-antle . The New York Times John Lahr, The New Yorker

"Leonard Bernstein ... birthed the "Whether you've seen several mountings of it or brilliant score - unprecedented none, you will want to catch this one." in Broadway history for both its "Best of all remain Leonard Bernstein's enthralling eclecticism and unity (with the music and Jerome Robbins's sensational, innovative tritone interval, no doubt!), not choreography. Good music doesn't age, though to mention sheer invention and much Broadway choreography does; not so this melodiousness." by Robbins. "

London Gramophone Magazine "As the more realistic Anita - a role in which Chita Rivera, Rita Moreno and Debbie Allen have at various times dazzled, Karen Olivo manages to be perhaps even more impressive." "There are remarkable performances from Co dy Green as Riff, who's as sardonic as he is threatening, and Curtis Holbrook as Action, another characterful Jet."

John Simon, Bloomberg

"Leonard Bernstein's majestic score, in particular, is undiminished, shifting fluidly between blasts of syncopated brass fueled by testosterone and rage, and some of the most achingly beautiful expressions of love ever sung." "The show's high points are too many to mention ... " "But the true stars of the production are Robbins' graceful, endlessly expressive choreography and Bernstein's score, which still sounds bracingly modern a half-century after it was first heard." "Performed with a deft balance of percussive fury and caressing gentleness by a robust orchestra under the direction of Patrick Vaccariello, the music is a primal force. It reaches emotional apices more often found in opera than musical theater." Top: The Jets are in gear. .. , Middle: Only you, you're the only one I see ... Bottom: Mambo! David Rooney, Variety 0 Leonard Bernstein and Felix Mendelssohn

was beginning to recognize this by Stephen Somary not having spent more time delv­ ing into this "giant composer," fact near the end of his life. Over the course of my years spent with uring a relaxed evening with and was correcting his omission. The Mendelssohn Project, I often Leonard Bernstein at his I realized from the passionate D drew a direct parallel between Dakota apartment in early way he was talking that he was these two towering figures. In November 1989, our conversation admitting to feeling a particular addition to being equally talented turned to an idea I had recently kinship with Mendelssohn. At as teachers, conductors, and developed - an idea which would, that point, I could not see the composers, they were the only many years later, turn into The parallel because I still held the two artists, from any generation, Mendelssohn Project, dedicated to standard two-dimensional view insuring the composer's rightful of the 19th century composer. of whom one can say the follow­ ing: in his respective century, 'he' place in history. I had long regarded Bernstein began forecasting Leonard Bernstein's recording was the most famous, sought-after, what I would encounter in my with the Israel Philharmonic influential, multi-talented, respect­ research; there were, he thought, of Mendelssohn's "Scottish" ed and beloved figure. In my vast amounts of undiscovered Symphony as the seminal record­ opinion there is no one about music and letters, as well as a ing of this work. It would still be whom one can say all of those deeply troubling story of posthu­ a few more years before I would things except Leonard Bernstein mous attacks on Mendelssohn's encounter his recording of the and Felix Mendelssohn. • life. And, Bernstein said, "despite "Italian," but that performance what the history books claimed, would also soon replace all Stephen Somary is a conduc­ Felix Mendelssohn was a fascina­ others for me in terms of its tor, and Artistic Director of ting, tortured, and complicated direct yet deeply introspective The Mendelssohn Project with man." He was correct on all counts. passion. Bernstein had not, up foundations in Germany and As it turned out, Bernstein until then, spent much time on New York City. The mission of had recently began a fresh study this composer. The musical The Mendelssohn Project is to of Mendelssohn's life in prepa­ connection was intense and expose the world to the hundreds ration for performances and a immediate - as with Mahler, of unpublished music manuscripts recording of Elijah, which was Shostakovitch and Beethoven. and artworks, thousands of to have taken place in late 1990. Based on my 1989 unpublished letters, and the This would have marked the first Mendelssohn discussion with true story surrounding Felix time he had ever conducted this Bernstein, I came to realize many Mendelssohn and his family. Mendelssohn masterpiece. He years later that the connection For information, please visit: further explained that he regretted between these two masters was www.TheMendelssohnProject.org. profound, and I believe that he

as a tool in preaching the Gospel. did include "non-believers" and LEONARD BERN STEIN Today's Mass However, I soon realized this was gays in his inaugural speech. And not going to happen. And although of course, the war rages on in the I can't say attending Mass made Middle East. When I was struggling by Tony Napoli me give up my vocation and with my faith and sexuality, I found Al>-,,.,.-.,r.,~~ .' "~~•"".P' .c ·"" · [> ,~., pursue a career in the theater, it solace in Mass. The whole Credo I be/ieue tn God. But does God was certainly an expression of sequence mirrored the turmoil I believe in me? what I and many were feeling dur­ was going through that I could not ing those dark days of the 1970's. express out loud or confide to any s a seminarian, I was shaken It was an era of questioning the priest in a confessional. to the core by these words A establishment, anti war protests, and the all-enveloping theatrical ? gas rationing, sexual freedom, Lord, I could go confess c experience of seeing Bernstein's Q. and re-examining one's values. Good and loud, nice and slow f.D... Mass in 1973 at the Metropolitan C Sound familiar? Get this load off my chest 10 Opera House. Ironically, critics C It is no coincidence that Yes, but why, Lord - I don't know. ID then and now cite these lines l!O Bernstein's Mass has sparked when castigating the piece. But :Ii"' Ill renewed interest and has recently Mass is not a passive event. V, maybe times have finally caught "O received numerous productions. Bernstein did not write a reflective §· up with Mass with today's sense People are still questioning their requiem, but a theatrical tour de ~ C: of apprehension and insecurity, 3 faith as atheism is becoming less force that envelops the audience, 3 in government and finance as !!: and less a dirty word. Society is confronting them with the disin­ N well as in matters of the spirit. 0 still leery of gay marriage and tegration of the Celebrant and his 0 As a seminarian, I thought I

arvard University Department Hof Music has launched a web archive created by faculty, students and librarians that brings original research on Leonard Bernstein and his Boston roots to the public for the first time. The material, collected during undergraduate seminars and over the course of an inter­ national Bernstein Festival at Harvard, includes items as wide-ranging as the discovery of a Bernstein arrangement of Rhapsody in Blue and interviews with individuals who performed in the teenaged Bernstein's back­ yard theatrical productions. The largest bulk of material are video Back: Liza Vick, (Public Services Librarian), Luci Mok (graduate student), Sarah Adams (Keeper interviews conducted by students of the Isham Memorial library), Therese Condit (Academic Technology Coordinator, Academic with Bernstein colleagues and Technology Group), Elizabeth Craft (graduate student). Bottom row: Professor Kay Shelemay, Professor Carol Oja, and Ryan Banagale (graduate student). Missing from photo: Drew Massey family members such his children (graduate student), Virginia Danielson (Library Director) (Alexander Bernstein, Nina Bernstein Simmons and Jamie Boston Latin High School, daughter Jamie talks about grow­ Bernstein), his brother (Burton Harvard class of '39, the Boston ing up in the Bernstein home; Bernstein), and Sid Ramin, his Symphony Orchestra, among Sid Ramin discusses discovering childhood friend and orchestrator others) that shaped Bernstein's Gershwin's Rhapsody in Blue for West Side Story. What makes formative years. Students with Bernstein in the early 1930s; the effort unique is that the unearthed a wealth of exciting Ricky Leacock, Bernstein's Harvard seminar's original work - done materials now available on the classmate, shares memories about collaboratively by undergraduate website, some of which has been mounting productions of Peace and graduate students supervised published in a special issue of and The Cradle Will Rock; by faculty - has now been stored the Journal of the Society for soprano Marni Nixon, the in a permanent research reposi­ American Music (January 2009). perennial singing voice behind tory and can be used to inform The seminar was timed to the Hollywood stars who sang future scholarship. precede "Leonard Bernstein - Maria in the film version of The project emerged from the Boston to Broadway," a major West Side Story, discusses course, "Before West Side Story: international festival and confer­ working with Bernstein when Leonard Bernstein's Boston," ence about Bernstein, co-directed he was conductor of the New taught by Professors Carol J. Oja by Carol J. Oja and Judith York Philharmonic; and director and Kay Kaufman Shelemay at Clurman, that took place at Harold Prince reminisces about Harvard University in spring, Harvard in October of 2006. Bernstein's role as a teacher, 2006. Working in teams, students The interviews, now archived mentor and conductor. fused ethnography and archival on the website both on video and To visit the site: research to explore the interlinking as transcripts, include information http://my.harvard.edu/icb/icb. communities and institutions on many facets of Bernstein's do?keyword=bernstein • (Congregation Mishkan Tefila, life. Among the many entries, his

Today's Mass, continued love. And of course, this being Mass speaks to us today as elo­ speaking those comforting final Lenny, it culminates musically and quently as it spoke to me in 1973 words directly to me: "The Mass dramatically with the community when I left the priesthood and is ended; go in peace." • finding hope and salvation in each became an Off Broadway theater other. It is a mass for believers director. The music gave my soul Tony Napoli is a native New and non-believers, fulfilling all of a voice. I still sit in the darkened Yorker, entrepreneur and writer. our human need for ritual and theater at the end of the piece www.tonynapoli.com connectedness. Even the "outsider," with tears in my eyes, imagining the Celebrant, is included and Leonard Bernstein as the Celebrant given a place at the table. 0 Leonard Bernstein's Peter Pan Flies Again in Santa Barbara

by Albert Ihde us as honorary producers. Thanks casts its magic spell. Parents were to them and to Alexander Frey, awestruck seeing their TV addict­ was not a director in 1950. I who recorded the 2005 Koch ed kids caught up in a live theater Ididn't even know what directors Classic CD of the work, SBT: production. How retro! And how do, when I was five. But ever since The Santa Barbara Theatre wonderful that an old fashioned then I've known that the Peter Pan produced the first production play with music, a hit over half a I saw on Broadway that year was of Leonard Bernstein's complete century ago, still enthralls young better than any that came after­ music for Peter Pan in December and old today. wards. In 2007, I thought I might 2008. I directed and my wife It's not easy explaining this have a hard time explaining this and business partner, Ellen to someone who wasn't there. to potential donors for our non­ Pasternack, produced. Fortunately, Mark Swed of the profit, Equity theatre. However, As Ellen and I watched the Los Angeles Times came to when I pitched Peter Pan with young people in the audience the opening and gave SBT's music by Leonard Bernstein, sitting on the edge of their seats, production a stellar review. people listened, and many joined we could tell that the show still For all those who missed this Bernstein gem in 1950 or 2008, we are remounting Peter Pan this December at the Lobero Theater in Santa Barbara. Call SBT at 805-963-7282 for tickets. •

Albert Ihde is the Producing Director of SET: The Santa Barbara Theatre, a professional Actors' Equity Association theatre company and a 501 {c){3) non­ profit corporation.

Peter Pan 0 More Peter Pan by Alexander Frey stage directors on two different The Santa Barbara Theatre continents: Tito da Costa in production was a thrilling event he 2008-2009 season finds Lisbon, Portugal; and Albert for the Southern California Tcelebrations all over the world Ihde in Santa Barbara, California. theater scene. Albert's superb commemorating the 90th birthday Both had heard my Peter Pan directing included a great cast of Leonard Bernstein. Unique CD and invited me to conduct and beautifully elaborate sets among the many concerts and their own productions. and costumes. We also had a productions occurring during Tito staged and produced the wonderful orchestra in the pit. this period are the first perfor­ world premiere of the concert Each of the 14 performances mances of the complete songs version of the score, with narra­ at Santa Barbara's historic and incidental music of Leonard tion adapted by Nina Bernstein Lobero Theater left its audience Bernstein's Peter Pan. Simmons from the original Barrie thoroughly impressed by the cast But first, a little bit of the history leading up to these performances. In 1997, I learned that nearly 50 years earlier (1950), Leonard Bernstein had composed a theatri­ cal score for a production of Sir J.M. Barrie's classic play, Peter Pan, and that there was a song entitled Dream With Me that had been cut from the original production. I knew some of the songs from the show already, but this new information piqued my curiosity completely. I thought that if there was one song cut from the original production, there might be more music existing that met a similar fate. Thus began a project that lasted seven years. Bernstein's score for the 1950 Broadway production of Peter Pan included dances, instrumental interludes, and 6 songs: Who Am I?, Build My House, Never/and, Peter, Peter, Pirate Song and Plank Round. With the help of Alexander Frey (Music Director and Conductor), Ge. aldine James (Narrator), John Sackville West The Leonard Bernstein Office (Peter Pan), Nicholas Lester (Captain Hook), Charlotte Ellett (Wendy) and the Library of Congress, I examined the composer's manu­ novel Peter and Wendy. Albert, and touched by the gorgeous script material and discovered working with his wife and pro­ music. There weren't many dry that in addition to Dream With ducing partner Ellen Pasternack, eyes in the house at the end of Me, several other cues, including directed and produced the first the show when the character Captain Hook's Soliloquy (a staged production of the Barrie Wendy sang the wistful, yearning major aria for Hook that opens play to incorporate the complete, Dream With Me surrounded by the last act) and music for uncut score. soft twinkling stars at night. Tinkerbell's death scene had also The Lisbon concerts were held I look back at how it all been cut. These efforts resulted outdoors on a large stage in a began in 1997. It made me in a recording of the complete beautiful park directly by the think of a line from Dream With score, with all of the songs ocean and were attended by several Me that I thought beautifully and incidental music for Peter thousand very enthusiastic listeners. described everyone involved in Pan heard together for the first It included a marvelous cast from the recording and productions: time. The CD, released by Koch Great Britain, a Portuguese chorus All of us, then as now, "dreamed International Classics, features and a full symphony orchestra. the same sweet dream". • Broadway superstar Linda Eder The narrator was the great British and acclaimed baritone Daniel actress Geraldine James. Tito Alexander Frey is a conductor, Narducci, with myself conducting. staged the production, featuring a pianist, recording artist and organ­ Now, cut to this banner huge screen behind the performing ist living in Berlin, Germany. season and enter two visionary forces onto which various images were projected. 0 Something Came, and It was Good

by Ira Glasser color separation in public schools. of Congressman John Lewis, And in 1955, a black woman whose skull had been cracked eonard Bernstein was born named Rosa Parks sat down, and in 1961 during the Freedom and grew up in an America a 27-year old, then unknown, Rides, and who himself had where skin-color separation and Baptist minister named Martin spoken along with King on that subjugation was legal in the South Luther King, Jr., stood up. The day in 1963 as the fiery young and customary everywhere else. modern civil rights movement was head of the Student Non-Violent "Separate but equal" was a lie; launched, and an atmosphere of Coordinating Committee; and as indeed, the purpose of separation hope became tangible. I recalled my own attendance at was inequality. And all this was so In 1957, Leonard Bernstein the March on Washington that firmly entrenched that it seemed expressed that hope in West Side day as a 25-year old, I thought nearly impossible to imagine a Story, when he imagined what for about all those travelers along the time when it might be different. so long had been unimaginable. road to this moment who had not Bernstein struggled against this "Could it be? Yes, it could," he completed the journey, but whose stubborn reality all his life, not wrote. "Soinething's coining, steps had helped us get there. always successfully, but always something good." I remember as It is sweet to imagine how hopefully. By the time he wrote a 19-year old tearing up at those Leonard Bernstein would have felt West Side Story, equal opportunity lines. But if something good at that moment when hope and had become possible to imagine, was coming, it was not coming imagination became reality, when and imagine it he did. quickly. In the years that followed, something came, something good, In the years after World War Leonard Bernstein was there, in when "Yes it could" became "Yes II, the seeds of change began to parades and demonstrations in the we can" and then "Yes we did!" sprout. In 1947, Jackie Robinson South, joining hands to bring the How he would have loved it. inspired generations of children, hope a day closer. And what he might have written black and white, when he broke But like many others of that to celebrate the moment. • the color line in major-league time, he never saw "Yes it could" baseball. In 1948, President Harry become "Yes we did!" And so as Ira Glasser was the Executive Truman desegregated the armed I watched the historic moment Director of the New York Civil forces, whose racial separation when Barack Obama climbed the Liberties Union, r970- 78, and the during World War II had mocked stand to take the oath of office American Civil Liberties Union, the ideals for which we fought. on the spot where 45 years earlier, r978-2oor, when he retired. He In 1954, a surprisingly unanimous Martin Luther King, Jr. had voiced is currently President of the Drug Supreme Court struck down skin- his dream; as I watched the face Policy Alliance.

Remembering Lukas Foss

by Alexander Bernstein There was always something of the absent-minded professor ukas, or "Lukie" as my in Lukas. At my father's 70th Lfather called him, was as Birthday festivities at Tanglewood, warm as the fireside at the Lukas came on stage, sat at the Foss family apartment on the piano and, after a moment Upper East Side. He was as announced, "I've left my music unconventional, intellectually in my car. Excuse me." At which stimulating and thoroughly point he went, with purpose, but charming as his compositions. without hurry, to fetch it. He He was as quick, playful and came back and, of course, moved profound as his playing of Age my father and all of us to tears of Anxiety (in my opinion the with his beautiful performance of definitive performance). For Lenny, written especially for We loved Lukas and we love the occasion. • his family: Cornelia, a great friend, especially to our mother; his son Christopher, true-blue and a wonderful father; and daughter Eliza, fine actress and mother. 0 Lukas Foss a , Leonard Bernstein My Friend Schuyler by Alexander Bernstein I will always be personally grateful for Schuyler's early and chuyler Chapin was a con­ fervent support of the Leonard Sstant presence in our lives: a Bernstein Center for Learning. presence that was simultaneously It was my good fortune to be diverting, reassuring, urbane, able to spend many hours with thoughtful and warm. In addition him on planes and in hotels from to being a close family friend, he Nashville to Los Angeles: listening, was a longtime trusted advisor learning and laughing. It was on to our father, starting with the one of those occasions that he early days of Columbia Records, told me, all but blushing like an continuing with his stewardship adolescent, that he had found a of Amberson Productions, all new love and her name was Catia. the way to co-Executor of the It was good to see him happy and Leonard Bernstein Estate and excited again after the loss of his continuing to the very last as a first wife, Betty. trusted board member of The The last time I saw Schuyler, Leonard Bernstein Office, Inc. he grinned with pleasure as he Even during his last difficult year, described how astounded he Schuyler attended the board was to be a great-grandfather. meetings, immaculately dressed, His ability to take delight in his of course, dispensing his ever-sage surroundings was one of the many advice from his wheelchair. aspects of Schuyler that makes As we grew up, Schuyler, him such a grand role model. Betty and their sons Hank, Ted, But above all, I will always be in Sam and Miles were practically awe of Schuyler's ability to limit family. At Christmas time, we himself to exactly three cigarettes waited impatiently for our a day. • beloved "Chapin cookies" to arrive; only then did the holidays begin in earnest.

George Perle by Margaret Mercer affection for one another, a gift my son will always cherish. The met the composer George Perle last time my family dined with Iand his wife, Shirley, in 1982 at George and Shirley was two a party that I have long forgotten years ago. He had us in stitches but which was the catalyst for a recounting a "laughing machine" close and enduring friendship. he remembered from his child­ Many other people can speak hood. Every time he began to more appropriately about George's tell the story of this box that brilliance as a composer, author, played a recording of raucous theorist, scholar and teacher. I laughter, he would interrupt can speak to what he gave me, himself with giddiness. and later my family, over the We listened to Louis Armstrong twenty-odd years I had the privi­ together, discussed literature lege of knowing him. He was a (Henry James was a favorite), the mysteries of life. He will be soft-spoken man without a shred exchanged stories and shared sorely missed, but remembered of artifice, someone who was ideas. To be with George was with great love, and gratefulness. • genuine in all he said and did. to be in the presence of a great He delighted in my young son and rare sensibility; one with Margaret Mercer is Program and the two developed a strong integrity, humor, candor, and a Director of 96.3 FM WQXR, NYC. sense of modesty and respect for 0 IN THE

The Bernstein Project

talks and seminars. An unusual outspoken, outstanding and feature of the project will be the thought-provoking artistic creation of the Mass Orchestra. personalities. The season-long This orchestra will be assembled project will be punctuated by from former members of the concerts and talks. Film pro­ National Youth Orchestra of Great ducer and Bernstein biographer he Southbank Centre in London Britain and young musicians who Humphrey Burton will curate will focus its 2009-10 season will be recruited from a broad a season of films by and about around the life and music of range of youth groups. Workshop Bernstein. Also included during Leonard Bernstein. Under the leader and teacher, cellist Matthew the season will be performances artistic direction of conductor Barley, will train the musicians of Bernstein's Symphony No.2: Marin Alsop, The Bernstein Project throughout the year. The Bernstein The Age of Anxiety with the will provide non-professional Project culminates in July 2010 London Philharmonic Orchestra musicians and enthusiasts from with Alsop conducting the Mass and Mahler's Symphony No.2: surrounding communities with Orchestra and Project participants Resurrection with the a year-long opportunity to in a performance of Mass at the Bournemouth Symphony rehearse and perform Leonard Royal Festival Hall. Orchestra, Alsop conducting. Bernstein's compositions along­ Leonard Bernstein was a Additional concerts will include side some the world's finest musician who expanded the the National Youth Orchestra professional musicians. definition of classical music. of Great Britain, the Orchestra The cornerstone of The In choosing Mass as the central of the Age of Enlightenment, Bernstein Project will be focus of the Project, Alsop's Southbank Centre's Voicelab Bernstein's Mass. In September, goal is to reinvent for the 21st and the Nash Ensemble. • Alsop will launch the project Century Bernstein's broader with a day of workshops, films, global achievements as one of the 20th Century's most

Pacific Music Festival 20th Anniversary Season

his summer the Pacific Music Michael Tilson Thomas will TFestival (PMF) in Sapporo, conduct the PMF Orchestra in Japan, founded by Leonard a program that will include an Bernstein, will celebrate its 20th original composition and Mahler's Anniversary. Two conductors Symphony No.5. Tilson Thomas closely associated with Bernstein will tour this program to Osaka will make up the teaching faculty. and the Festival will return to and Tokyo. The composition department will conduct and to teach. Another program will feature offer new music in their Pacific Christoph Eschenbach will conductor Xian Zhang and Soundings Concert and The Tokyo conduct the PMF Anniversary pianist Andre Watts performing String Quartet will offer a string Orchestra, comprised of PMF Beethoven Piano Concerto No.5: quartet course. alumni. He will conduct The Emperor. The program will It is our guess that Leonard V, ~ s Symphony No.2 by Schumann, also include La Valse by Ravel, Bernstein would be thrilled to see lf?._ V, a symphony Bernstein himself and Stravinsky's Firebird Suite. a thriving Pacific Music Festival C 3 conducted in the first year of Following in PMF's tradi- educating so many young musicians 3 ~ the PMF. He will also conduct tion, members of the Vienna from around the world. • N 0 0 the PMF Orchestra in Mahler's Philharmonic, Berlin Philharmonic lD Symphony No.2: The Resurrection. and other international orchestras Receive Prelude, Fugue & Riffs by Email! Dresden Remembrance Dear Friends! Many of our readers have expressed interest in receiving Prelude, Fugue & resden Remembrance Day, Kaddish and the composer's Riffs exclusively by email, eli minating DFebruary 13, 2009, marked Three Meditations from Mass, the snail mail version. We w ill be happy the 60th anniversary of the featuring Leonard Bernstein to oblige. destruction of Dresden by Allied Jerusalem International If you would like to receive Prelude, bombers. As part of the "peace Competition prize winners, Fugue & Riffs by email exclusively, and reconciliation" theme, the Kelly Naisieff, soprano and please send your name and email Dresden Philharmonic presented Yutaka Sado, conductor. • address to pfr@leonardbernstein .com. Bernstein's Symphony No.3: You may also continue to read current and past editions of the newsletter at www.leonardbernstein.com. There will be no interruption in service if you w ish to continue to receive the print version of Prelude, Fugue & Riffs. • New Stamp ,,,, ,,...... ! PRELUDE. " r FUGUE & RIFFS ~ Honors ; i Bernstein l ' Mj he Republic of Guinea has Tissued a commemorative stamp honoring Leonard Bernstein. •

West Side Story Opening Night

he Broadway opening night Tparty of West Side Story included Carol Lawrence, the original Maria; Lauren Bacall, Phyllis Newman and Kathleen Turner; and the cast of Ugly Betty: Vanessa Williams, America Ferrera, Ana Ortiz, Mark Indelicato and Eric Mabius. •

From left to right: Carol Lawrence, Kathleen Turner, Vanessa Williams and Mark Indelicato For a complete listing visit: Some Performances www.leonardbern stein .com Spring/Summer 2009

28 Rendsburg-Neuwerk, Germany: MASS April (CHAMBER VERSION); Kantorei der Christuskirche; Roland M0hle, conductor; Christuskirche. 3 Regensburg, Germany: TROUBLE IN TAHITI (ORIGINAL ORCHESTRAL VERSION); 30 St. Lake City, UT: MASS; Utah Symphony Christina Schmidt, director; Theater Orchestra; Keith Lockhart, conductor; Regensburg; Arne Willimczik, conductor; Abravanel Hall. Theater am Haidplatz. 4, 5, 7 Baltimore, Maryland, USA: OPENING PRAYER/BENEDICTION FROM MASS; June Baltimore Symphony Orchestra; Marin Alsop, conductor; Music Center 5 Paris, France: SERENADE; SYMPHON IC at Strathmore. DANCES FROM WEST SIDE STORY; Orchestre 18 Santa Ana, CA: BERNSTEIN BEAT; Philharmonique de Radio France; Myung Pacific Symphony; Jamie Bernstein, narrator; Whun Chung, conductor; Salle Pleyel. Maxim Eshkenazy, conductor; Renee and 6, 7 Dresden, Germany: SYMPHONY NO.1: Henry Segerstrom Concert Hall. JEREMIAH; Dresdner Philharmonie; 22, 23 Aachen, Germany: SYMPHONY No.1: Alexander Liebreich, conductor; JEREMIAH; Daniela Denschag, mezzo- Festsaal im Ku lturpalast. soprano; Sinfonieorchester Aachen; 8 Vienna, Austria : CANDIDE OVERTURE; Marcus R. Bosch, conductor; Eurogress. CHICHESTER PSALMS; THREE MEDITATIONS 26 Hamburg, Germany: OVERTURE TO FROM MASS; Radio-Symphonieorchester CANDIDE; Hamburger Symphoniker; Wien, Wayne Marshall; Musikverein. Brune Merse, conductor; Laeiszhalle. 19 Amsterdam, Netherlands: SYMPHONY 29 Reutlingen, Germany: CONCERT SUITE NO.2: THE AG E OF ANXIETY; Royal No.1 : WEST SIDE STORY; Wurttembergische Concertgebouw Orchestra; Fazil Say, Philharmonie Reutlingen; Thomas Herzog, piano; Dennis Russell Davies, conductor; conductor; Hochschule, Aula . Concertgebouw. 30 Paris, France: SLAVA!; THREE DANCE 19 Baden, Switzerland: SERENADE; AKO EPISODES FROM ON THE TOWN; Aargauer Kammerorchester; Cristofor ORCHESTRAL SUITE FROM CANDIDE; Spagnuolo, conductor; Kongresshaus. Orchestre National de Radio France; Krystian 19 Erfurt, Germany: SYMPHONIC DANCES Jarvi, conductor; Theatre du Chatelet. FROM WEST SIDE STORY; Orchestrer des Theaters Erfurt; Walter E. Gugerbauer, conductor; Grosses Haus. May 20 Wettingen, Switzerland: SERENADE; AKO Aargauer Kamme rorchester; Cristofor 10 Wi.irselen, Germany: THREE MEDITATIONS Spagnuolo, conductor; Klosterkirche. FROM MASS; Frauke Muller, cello; 20, 21 Darmstadt, Germany: CHICHESTER Sinfonieorchester Aachen; Frank Flade, PSALMS; Philharmonie Merck; Wolfgana conductor; St. Sebastian . Heinzel, conductor; Mathildenhbhe. 22, 31 Kaunas, Lithuania: MASS; Lithuani an 21 Barcelona, Spain: CHICHESTER PSALMS; Symphony Orchestra; Gintaras Rinkevicius, Grand Teatre del Liceu; Salvador Brontons, conductor; Congresshall. conductor; Palau de la Musica. 22, 23, Luneburg, Germany: MASS; 21 Kassel, Germany: SONGFEST; Students 29, 31 St. Johannis-kantorei; Luneburger of the Musikakademie Kasse; Hans-Dieter Sinfoniker; Joachim Vogelsanger, Uhlenbruck, conductor; Musikakademie. conductor; St. Johannes Kirche. 26 Bonn, Germany: OVERTURE TO CANDIDE; SYMPHONIC DANCES FROM WEST SIDE August STORY; Beethoven Orchester Bonn; Stefan Blunier, conductor; Beethovenhalle. 12-15 Schroon Lake, NY: CAND IDE (SCOTTISH 26 Dusseldorf, Germany: SYMPHONIC OPERA VERSION); Seag le Music Company; DANCES FROM WEST SIDE STORY; Richard Kagey, conductor; Oscar Seag le JSO der Tonhalle Dusseldorf; Ernst von Memorial Th eater. Marschall, conductor; Tonhalle. 20 Flensburg, Germany: PRELUDE, FUGUE 26 Cardiff, UK: SYMPHONIC DANCES FROM AND RIFFS; NOR Radiophilharmonie Hannover; WEST SIDE STORY; Cardiff Philharmonic Arthur Fagen, conductor; Deutsches Haus. Orchestra; Michael Bell, conductor; 21 Lubeck, Germany: PRELUDE, FUGUE AND St. David's Hall. RIFFS; NOR Radiophilharmonie Hannover; 27 Dresden, Germany: CANDIDE (SCOTTISH Arthur Fagen, conductor; Kongresshalle. OPERA VERSION); Winfried Schneider, 21 Aspen, CO: ARIAS AND BARCOROLLES; director; Staatsoperette Dresden; Jamie Burton, mezzo; Ryan McKinny, Ernst Theis, conductor; Staatsoperette. bass-baritone; Aspen Chamber Symphony; 27 Linz, Austria: SYMPHONIC DANCES FROM Murray Sidlin, conductor; Benedict Music Tent. WEST SIDE STORY; Bruckner Orchester 22 Notingham, UK: SYMPHONIC DANCES Linz; Dennis Russell Davies, conductor; FROM WEST SIDE STORY; National Volksgarten. Children's Orchestra Great Britain; TBD, conductor; Royal Concert Hall . July September 1, 3 Manchester, UK: CAND IDE (CONCERT VERSION); Royal Northern College of Music; 4-6 Melbourne, Australia: PRELUDE, FUGUE James Holmes, director; RNCM Concert Hall. AND RIFFS; Melbourne Symphony Orchestra; 1-4 Hirth, Germany: CANDIDE; Staatsoperette David Thomas, clarinet; Keith Lockhart, Dresden; Ernst Theis, conductor; Stadttheater. conductor; Hammer Hall. 3 Le Mans, France: OVERTURE TO CANDIDE; International Youth Orchestra; Sam King, conductor; Palais de Congres. 4 Grafenedd, Austria: OVERTURE TO CANDIDE; Tonkunstler-Orchester Niederbsterreich; Wayne Marsha ll , conductor; Wolkenturm. 6 Paderborn,Germany: OVERTURE TO [ Note to Readers CANDIDE; International Youth Orchestra; Sam King, conductor; Paderhalle. 7, 8, Munich, Germany: TROUBLE IN TAHITI; Prelude, Fugue & Riffs will be and we shall do our best to 10 Mahler Chamber Orchestra; Kent Nagano, sent upon request. Please send include such information in conductor; Cuvilles-Theatre. all correspondence to: forthcoming calendars. 8 St. lngebert, Germany: OVERTURE TO Craig Urquhart Prelude, Fugue & Riffs™ is CANDIDE; SYMPHONIC DANCES FROM Prelude, Fugue & Riffs a publication of The Leonard WEST SIDE STORY; Bruckner Orchester 121 West 27th Street Bernstein Office, Inc. Linz; Dennis Russell Davies, conductor; Suite 1104 © 2009 by The Leonard lndustriekathedrale Alte Schmelz. New York, NY 10001 Bernstein Office, Inc. Fax: (212) 315-0643 10, 11 Hof, Germany: THREE DANCE EPISODES Managing Editor: Craig Urquhart e-mail: FROM ON THE TOWN; Hofer Symphoniker; Editors: Jack Gottlieb, [email protected] Johannes Wildner, conductor; Theater. Jamie Bernstein We appreciate notice of any Design: Borsa Wallace, NYC 22 Wells, UK: OVERTURE TO CANDIDE, performances or events featuring Visit our website: SYMPHONIC DANCES FROM WEST the music of Leonard Bernstein www.leonardbernstein.com SIDE STORY; Amadeus Orchestra; Philip or honoring his creative life MacKenzie, conductor; Musikhochschule. ead

New Releases l!'JiWl:21!i"1'fl'TBDf1

ony Masterworks has released Deutsche Grammophon has two new box sets of Bernstein released a DVD of Die Schopfung conducting the New York by Haydn. This performance, Philharmonic. The first box conducted by Bernstein, features set is a newly remastered set the Bavarian Radio Symphony of Bernstein's complete Mahler and Chorus and was filmed in recordings made with the New the opulent Ottobeuren Abbey in York Philharmonic, when he Germany, which makes this not was that orchestra's Music only a musical delight but a visual Director. The second box set one as well. is a celebration of Bernstein's Chandos Records has released famed recordings of the music of a new recording of Mass: A Haydn. The 12 CD set includes Theatre Piece for Singers, The Creation; Harmoniemesse, Players and Dancers. Conductor Mass "In Time of War"; Nelson Kristjan Jarvi harnesses the forces ,BERNSTEl'N Mass; Symphony No.88, Six Paris of the Tonkiinstler Orchester Symphonies Nos.82-87 and the Niederosterreich, Absolute complete London Symphonies. Ensemble, Chorus Sine Nomine, MASS The recordings were made Tolzer Knabenchoir, and the with the National Symphony Company of Music. The role of Orchestra, New York the Celebrant is performed by Philharmonic and the London Randall Scarlata. • Symphony Orchestra.

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