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Home , Anne Akiko Meyers, A Quiet Place (opera), Berlin Philharmonic, Dance Suite (Bernstein), David Oei, Heidi Lehwalder

News for Friends of Fall/Winter 2013/2014

by Garth Edwin Sunderland

Quiet Place was Leonard Bernstein’s final work for the stage. The story of a fractured Afamily struggling to come to grips with its past, and to reconcile, the was conceived with librettist Stephen Wadsworth as a sequel to Bernstein’s jazzy 1952 one-act opera . At its premiere in Houston, in 1983, A Quiet Place was presented as a single 110-minute act in four scenes, using a very large including synthesizer and electric guitar. Bernstein was dissatisfied with this first version, and the opera was revised, becoming a full-length, three act opera. The dramatic structure of the work was significantly altered, and a substantial amount of the A Quiet Place material was cut to ‘make room’ for the incorporation of the entirety of Trouble in Tahiti, now embedded within the later opera as a flashback. This version was finalized for performances in Vienna in 1986, and Bernstein subsequently recorded it for . Bernstein nevertheless continued to consider further possibilities for the work, at one point even proposing that the opera be presented on Broadway. Although the Vienna version is definitive, The Leonard Bernstein Office has long felt that a smaller, shorter version of the opera, using a chamber orchestration, would allow for an alternate, more intimate experience of this very personal work. This new chamber version would not include Trouble in Tahiti, and would restore some of the very fine music that was cut from the Houston version, including full arias for Sam and François. (continued on page 2)

3 Artful Learning 6 Tribute to JFK 10 In the News Inside... 4 Leonard Bernstein Letters 10 Young People’s Concerts, 14 Some Performances Vol. 2 A Quiet Place, continued

At its heart, A Quiet Place legacy was not yet understood is the story of a father and his and appreciated; Bernstein the children grappling with their composer was known principally history of bitterness and anger, as the creator of , and ultimately attempting, and audiences were expecting a tentatively, to overcome it. In the work in the vein of Bernstein’s original Houston version, this popular musical theater works. theme was obscured by too much A Quiet Place is instead a deeply eonard Bernstein’s legacy focus on the secondary characters personal work, exploring difficult Lcontinues to make a powerful introduced in the opening funeral ideas and intricate relationships, impact on the world in typically scene. While there was some and the score reflects that. Today, multifarious ways. His opera, excellent material written for however, I think that audiences A Quiet Place, has a new chamber- can be trusted to understand sized incarnation. A lifetime of that Bernstein’s voice was as letters, both from and to Bernstein, At its heart, A Quiet Place rich and multifaceted as the have been collected in a fascinating is the story of a father man himself. He is one of the book skillfully compiled and edited greatest composers America has by Nigel Simeone. The long-awaited and his children grappling ever produced, and his ability to second volume of Bernstein’s synthesize a plurality of styles inimitable Young People’s Concerts with their history of is seen now as one of his with the greatest gifts. has just been released on DVD. bitterness and anger... For this new version, I have And these are only the top headlines. tried to go back to the original PF&R’s pages have a way of not them, the time spent on these impulse: to take the lean, modern growing shorter! characters diffused the action concept behind the Houston On a personal note: I remember and distracted from the central version, but incorporate the so very well the day fifty years conflict of the opera, the family’s improvements that Bernstein and ago when President Kennedy was struggle to reconcile. Bernstein Wadsworth made for the Vienna assassinated. I had never seen and Wadsworth understood that version, while restoring both the my parents in despair before that this was a problem. As recorded music and the characterization Friday in November; never before in Humphrey Burton’s definitive that was lost in the process of seen them sob. My siblings and I biography of Bernstein, revision. This required a delicate now understand that something “…Wadsworth felt the public approach to the material, a respect broke inside our parents and their did not want to know about Mrs. for the authors’ intentions while friends on that day. With that act of Doc’s lesbian feelings for Dinah.” ensuring that this chamber version violence, their youth was officially For the revised Vienna version would have a dramatic integrity over, and our own youth thereafter of the opera, scenes were cut of its own. acquired a shadow that has followed or adapted to eliminate these I have kept the focus always us all the way into our own secondary characters after the on the family, on the spine of adulthoods. That is why our father’s first Act. At the same time, the the opera, on these damaged words, spoken three days after entirety of the earlier opera people fighting against their President Kennedy’s assassination, Trouble In Tahiti was inserted own instincts, against their continue to resonate with ever into the middle of the opera as a collective past. I have maintained greater power: flashback. This added 45 minutes Vienna’s three — Act structure, to the work, and introduced a which clarified the relentless, intermissionless 2-hour onslaught “This will be our reply jazzy musical language that is only obliquely or ironically referenced of the Houston version. As in the music of A Quiet Place. in Vienna, the secondary Prelude, 2013/2014 Fugue & Riffs Fall/Winter to violence: to make It was felt that this music would characters do not return after music more intensely, provide the audience a ‘break’ the first Act — in fact, due to the from the more complicated music stripped — down, naturalistic more beautifully, more of A Quiet Place. Bernstein had approach of this version, even crafted a complex and challenging the choral writing from Acts devotedly, than musical language to match the II and III has been eliminated. spiky American vernacular I made a substantial cut in ever before.” of Wadsworth’s libretto, fully Act I, eliminating three of the ‘Dialogues’ for the secondary –Leonard Bernstein exploring the repressed emotions and psychology of the characters. characters — it wasn’t necessary At the time, the breadth of to spend so much time establishing their identities and their J.B. ■ Bernstein’s compositional (continued on page 8) 2 Artful Learning National Snapshot: Professional Development, Leadership & Honors © A ll ph o t s Cour Meadow View Elementary community, realized through daily School, Castle Rock, CO action, states: “Hillcrest is more than a school. We are a n the progressive Douglas joyful community of learners. t e s y o f P ICounty School District, led Together through the arts, we by visionary Superintendent

inspire, challenge and empower.” at r ick Bo l e k Dr. Elizabeth Celania-Fagen, We celebrate these talented Meadow View Elementary educators on this defining School joins the cadre of Artful moment of their journey. Learning Schools. Passionate arts advocate and principal Patti Salvador School, Napa, CA Magby long dreamed that a school using the arts to engage ourly transformation students across the curriculum Hcontinues at this Level III could be a reality. Supported by site. Under the leadership of ground-breaking ideation and Principal Pam Perkins, Magnet district administrative vision, this Lead Teacher Lori Welty and school is poised to be successful a dedicated team of educators, through a collaborative effort that support staff and parents, student re-imagines education at the core. engagement through the arts is Clockwise fom top: making a considerable difference Principal Paul Hillside Elementary School, at the school. After using the West Des Moines, IA Schullo and Artful Learning model for two the Hillcrest years, the school gained 28 points Community School elebrating 10 Years of Artful on the Academic Performance team pose with CLearning, this West Des Index (API) exceeding their Sally Award. Moines Community School is expectations in schoolwide and currently completing the second student group growth targets. the curriculum throughout their Salvador School teachers at the year of Expanded Services Arts Partner development entire school careers. Student data Level III Summer targeting continuous improvement has increased to include the reveals academic improvement Session. of best practices, artistic fluency Symphony Napa Valley and with the integration of site, district, and unit refinement. Dr. Robert Magical Moonshine Theatre. state and Artful Learning initiatives. Educators Davis continues to challenge Congratulations to Grade participate in a his team of educators to push 1 educator Rebecca Lacau Welcome, New Principals Reader’s Theatre their thinking of how best to for attaining National Board using poetry provide learners with what they Certification. She credits the e would like to welcome and literature must “know, understand and do” achievement, in part, to her Wthe new leaders taking the to enhance a through Artful Learning. Artful Learning Unit of Study helm at two Artful Learning new district submission, “Change.” Legacy Schools: initiative led by Hillcrest Community School, Master Trainer, Tommy Richardson Bloomington, MN West Newton Elementary Susan Stauter. Fairview Elementary School, School, Decatur Middle & his unique learning community, Bloomington, IN Meadow View Central High School (ICE educators use entering their third year as T Academy), Indianapolis, IN Kevin Crotchett the arts-based an Artful Learning School, was Jackson Middle School, skill & strategy of recently awarded the Sally Award his is the first K-12 Artful Portland, OR Tableau to convey for Education in St. Paul, MN. TLearning site in the country, a ‘frozen’ moment Prelude, 2013/2014 Fugue & Riff s Fall/Winter This prestigious honor recognizes now in its second year of We wish them both great success in time during an organization that has had a implementation, led by Susan in the year ahead! ■ the Level I significant impact on education Strube, Michael Gath and Todd Summer Session. in the arts and has contributed to Sconce. The synergy between increasing knowledge about the these three school sites will arts throughout the community. allow students to experience The unified mission statement arts-integrated learning across of the school, parents and

3 The Leonard Bernstein Letters

Included in The Leonard When your Mahler started to fill Bernstein Letters are (but that is the wrong word — correspondence with Stephen because it was more this sensitive Sondheim, Aaron Copland, trembling) the Cathedral today — Adolph Green, Bette Davis, I thought it the most beautiful , Betty Comden, music I had ever heard. I am so Martha Gellhorn, Jacqueline glad I didn’t know it — it was this Kennedy, Boris Pasternak, strange music of all the gods who Thornton Wilder, and many were crying. others. Nearly sixty years of — Jacqueline Kennedy to Leonard correspondence are included in Bernstein (June 9, 1968, the night The Leonard Bernstein Letters of Robert F. Kennedy’s funeral) from 1932 until just before Bernstein’s death on October Man, I need you around for 14, 1990. Not only does The some solid criticism. I could use Leonard Bernstein Letters offer a it. crawls along: it’s the fascinating and intimate look at hardest thing I ever tried, and — the man’s life, closest relationships, you won’t believe this — it’s very and private thoughts; it also hard trying to be eclectic. provides an invaluable window — Leonard Bernstein to Aaron onto American culture in the Copland, July 29, 1954 20th century. Musicologist Nigel Simeone is Darling, just a quickie: We’ve a well-known writer and speaker arrived into a glorious kind ale University Press has on music and is the author of of Pacific autumn here, with Yreleased The Leonard Bernstein several books including Leonard marvelous light over the sound, Letters edited by Nigel Simeone. Bernstein: West Side Story. He snow-capped peaks all around, This is the first published lives in Northamptonshire, UK. and really cool air. I’m ensconced selection of Leonard Bernstein’s in this palatial suite at the correspondence of this size and Selections from University, where it is said Queen scope, and most of the letters The Leonard Eliz. was impregnated. Probably in this collection are previously Bernstein Letters a canard. Anyway I’m sleeping in unseen. The candor of this her bed. extraordinary correspondence to What terrifying letters you write: — Leonard Bernstein to Felicia and from Leonard Bernstein tells fit for the flames is what they Bernstein (from Vancouver), us much about this complex man, are. Just imagine how much you August 14, 1960 his collaborators, his mentors, would have to pay to retrieve his enthusiasms, and those close such a letter forty years from to him. now when you are conductor Drawing on the extensive of the Philharmonic. Leonard Bernstein Collection — Aaron Copland to Leonard at the , Bernstein in 1940. (Bernstein was Nigel Simeone has selected a not yet even assistant conduc- wide-ranging selection of letters tor of the Philharmonic when featuring great musicians, famous Copland wrote this letter!) authors and public figures spanning the 20th century.

Prelude, 2013/2014 Fugue & Riffs Fall/Winter Some of the topics covered His Tanglewood beginnings, Bernstein’s post-World War in the letters: his appointment as Assistant II years, featuring his Conductor of The New York triumphs in Europe and Israel The early years (1932-1941): Philharmonic in September 1943, Bernstein’s earliest letters, age and his early triumph with the The stellar success of West fourteen in the 1930s through musical Side Story, with behind-the-scenes his years studying music at glimpses of the creative process Harvard (1935-39) Several collaborations with Jerome Robbins, with Bernstein’s marriage Meeting and working with of the ballet , in particular, and family life; Bernstein’s lifelong mentor and collaborator, captured extensively through protectiveness of his sexual identity, Aaron Copland exchanges of letters though it was known and accepted by his wife and close friends 4 Q Did Leonard Bernstein ever Questions & Answers with imagine or plan that his letters would be published? How did Author Nigel Simeone: this, if at all, influence his writing of them?

A Q How did the idea come to Above all that, there’s the I don’t think he did. Yes, you for publishing the collected importance of family to Bernstein, from about 1945 onwards he letters of Leonard Bernstein? especially his sister Shirley, his kept everything, carefully filed brother Burton and, of course, by Helen Coates, and even kept A For my book about West his wife Felicia and their children. copies of his own drafts. But Side Story, I’d been working in There’s a warmth and true affection there isn’t a single letter in the the Library of Congress with that shines through his letters book where I read it and found its amazing Leonard Bernstein about Felicia and the kids that myself thinking “I wonder if he Collection. Once that book was might surprise some people. intended this one to be published finished, I knew I wanted to fifty years later?” take on another Bernstein project. Q Which groups of correspon- However, I wasn’t completely sure dence made a particular impression Q In the 1950s, Leonard what that might be. Chatting one on you? Bernstein came under pressure, day with Mark Horowitz (curator during Joseph McCarthy’s “Red of the Bernstein Collection), he A I think the Copland-Bernstein Scare” years, to defend himself asked me, “Why don’t you do letters — these are an amazing against suspicions that he was a something with the letters?” Since group of letters — are a special communist sympathizer. What do I’d already read many of them — case in some ways. For Bernstein, his papers, including his affidavit and knew how exciting they Copland was a kind of father- that he wrote to apply for a were — it took me less than a figure, confessor, mentor, passport, reveal about this time? minute to decide that this had advisor on all matters musical A to be the next thing I did. (and personal): someone who They reveal quite a bit. Bernstein knew would act as his By about 1950 Bernstein was Q What were some of the conscience at times. Copland’s understandably scared: he wrote revelations about Bernstein, as replies show just how much he to his sister Shirley that they’d learned in his letters, that might liked Bernstein, and admired him, better get their heroic defenses most surprise people? especially as a conductor. And ready, as he saw friends from he is also extremely amusing too: Hollywood and elsewhere being A Well, there are quite a few. right from the start, this was a summoned to testify, and some of First, the complexity of his correspondence full of jokes as them crumbling under pressure. It relationships before he met Felicia, well as words of wisdom. was a cruel ploy to make the State and the warmth of his friendships The correspondence with Department be the organization with people whose significance in Sondheim is slightly different. Bernstein had to face, forcing him Bernstein’s life was well known Bernstein was devoted to him, but to write an affidavit testifying that but whose letters generally weren’t — while Copland was “the Dean,” he had never been a communist people like David Oppenheim, the Sondheim was a brilliant younger as a condition of renewing his dedicatee of the Clarinet Sonata in man, and the person who made passport at a time when his career 1943 and a really close friend at sure West Side Story actually got in Europe and Israel was really the time. written — they had dozens of starting to flourish. Then there’s Bernstein’s meetings working on it together. occasional insecurity about his Bernstein always stayed loyal to Q The letters between Leonard composing — including some Sondheim afterwards, and vice- Bernstein and his wife Felicia are lean spells that really concerned versa. It was a special kind of particularly intimate and honest. him — and his frequent grumbles friendship right to the end. How did their marriage endure about how he’s going to give up The correspondence with over the years? Was the candor maintained throughout? conducting for good to spend Jerome Robbins is also fascinating: Prelude, 2013/2014 Fugue & Riff s Fall/Winter more time composing. Of course, Robbins was never easy to work A he actually tried that with a with, but he always brought out There’s no doubt that sabbatical (which turned out to the best in Bernstein — from Bernstein’s relationship with be a bit of a disaster). The trouble Fancy Free onwards. I think that’s Felicia was by far the most is, I think he enjoyed conducting why they always got on so well: important of his life. His letters to too much. He said that if it wasn’t they knew how good they were her have a quality that is utterly “fun” (in the deepest sense), he’d for each other. distinctive: an absolute honesty, have given it up long ago. But tremendous affection, a marvelous for him, conducting was nearly eye for detail when he was writing always fun. (continued on page 8)

5 Tribute to John F. Kennedy © C OUR T E S Y O F AMB ER N H LDINGS LLC.

Bernstein’s speech in his own hand.

n November 22, 1963, “... in my office at Philharmonic and children all day at the TV, OPresident John F. Kennedy Hall [now Avery Fisher Hall]. and answering phone-calls. Dozens was assassinated in Dallas, Texas. Script-meeting with TV staff of friends and acquaintances Leonard Bernstein never entirely on Young People’s Program to arrived, curiously magnetized to recovered from the loss of his be performed and televised the our apartment, to huddle together beloved President and friend. following day. The Philharmonic for comfort, as at a wake... In In the Leonard Bernstein Librarian heard report on radio of the midst of all this weeping and Collection at the Library of shooting, and rushed in to report mourning CBS called to ask if I Congress there is a copy of a it. We all instantly broke up our could put together a memorial questionnaire that Bernstein meeting, and huddled around the program on the following day. answered, in response to an radio to learn whether the shot I did, somehow, prepare the inquiry by a Christopher Blasdale had been fatal.” multitudinous forces needed for from the UK. We don't know [After the news that the Mahler Symphony No. 2: The the purpose of the questionnaire President was dead, Bernstein “Resurrection,” and performed it or whether it was ever used, but went] “Directly home, in shock nation-wide the following evening. we're grateful to have a record and tears, to sit with my wife Needless to say, the Young Prelude, 2013/2014 Fugue & Riffs Fall/Winter of Bernstein’s responses. People’s Concert was summarily cancelled. I still feel now, almost 20 years later, as I did then; I We love him for the honor in which he held believe that America has still not recovered from the shock (nor art, in which he held every creative impulse wishes to), and that a revelation of truth is to come within the of the human mind... next five years.”

6 On November 24, Bernstein for three years looked to the © Cour

and the New York Philharmonic White House with unaccustomed t e s y th L ib r a ry o f Co ng re ss gave a memorial performance confidence and warmth. We love of Mahler’s Symphony No. 2: him for the honor in which he Resurrection. The following night held art, in which he held every Bernstein spoke at the United creative impulse of the human Jewish Appeal benefit at Madison mind, whether it was expressed Square Garden. We reprint here in words, or notes, or paints the words Bernstein spoke as a or mathematical symbols. This tribute to John F. Kennedy. reverence for the life of the mind was apparent even in his last My dear friends: speech, which he was to have Last night the New York made a few hours after his death. Philharmonic and I performed He was to have said, “America’s Mahler’s Second Symphony — leadership must be guided by “The Resurrection” — in tribute learning and reason.” Learning to the memory of our beloved late and reason: precisely the two President. There were those who elements that were necessarily asked: Why the “Resurrection” missing from the mind of anyone Symphony, with its visionary who fired that impossible bullet. concept of hope and triumph Learning and reason: the two over worldly pain, instead of basic precepts of all Judaist a , or the customary traditions, the twin sources from Funeral March from the “Eroica?” which every Jewish mind from Why indeed? We played the Abraham and Moses to Freud Mahler symphony not only in and Einstein has drawn its living terms of resurrection for the soul power. Learning and Reason: of one we love, but also for the the motto we here tonight must resurrection of hope in all of us continue to uphold with redoubled of John Kennedy’s were not who mourn him. In spite of our tenacity, and must continue, at uttered in time to save his own shock, our shame, and our despair any price, to make the basis of all life; but every man can pick them at the diminution of a man that our actions. up where they fell, and make follows from his death, we must It is obvious that the grievous them part of himself, the seed of somehow gather strength for the nature of our loss is immensely rational intelligence without which increase of man, strength to go aggravated by this element of our world can no longer survive. on striving for those goals he violence involved in it. And This must become the mission cherished. In mourning him, we where does this violence spring of every artist, of every Jew, and must be worthy of him. from? From ignorance and of every man of goodwill: to I know of no musician in the hatred — the exact antonyms of insist, unflaggingly, at the risk of country who did not love John F. Learning and Reason. Learning becoming a repetitive bore, but Kennedy. American artists have and Reason: those two words to insist on the achievement of a world in which the mind will have ©Cour triumphed over violence.

t e s y Ne w Y or k P hilha r m o nic Ar chiv We musicians, like everyone else, are numb with sorrow at this murder, and with rage at the senselessness of the crime. But this sorrow and rage will not inflame us to seek retribution; rather they will inflame our art. Our music will never again be quite the same.

This will be our reply to violence: Prelude, 2013/2014 Fugue & Riff s Fall/Winter to make music more intensely, more beautifully, more devotedly than ever before. And with each note we will honor the spirit of John Kennedy, commemorate his courage, and reaffirm his faith in the Triumph of the Mind. ■

Snapshot of televised broadcast.

7 A Quiet Place, continued

(continued from page 2) and really, unlike anything else Garth Edwin Sunderland relationship with Dinah when in opera. It contains some of is Vice President of Project we will never see them again. Bernstein’s very finest music Development & Senior Music Two short arias for Sam have (in my opinion, the Postlude to Editor for The Leonard been combined into a single aria Act I is the most powerful music Bernstein Office. opening Act II. Most significantly, he ever wrote), and tackles a I have restored the 3 arias cut challenging subject in a way that © Copyright 2013 by Amberson from the last Act, and reassigned is both radical and true, and Holdings LLC. the reading of Dinah’s letter, utterly compelling. Like other ‘Dear Loved Ones’ from Junior to works of Bernstein’s later period, François. This aria has a twinned it was not appreciated at the time role in the opera with another aria of its premiere for the daring, The new chamber version I have restored for François, ‘Stop. provocative vision he brought to of A Quiet Place received its You Will Not Take Another Step.’ us, but now we have caught up to premiere on November 27 The letter aria allows Sam and his him. The opera is finally becoming at the Konzerthaus in , children to come together in their recognized as the culmination performed by Ensemble grief, and François’ fury in his of Bernstein’s many gifts as a Modern, conducted by climactic aria brings his character composer, a theater artist, and a Kent Nagano. into focus, as he castigates the communicator. Working on this family for their refusal to be new version of the opera has been The chamber version worthy of their loss, and tears the a powerful experience for me, features an 18-piece orchestra letter to pieces. The arias allow his and I hope that it will offer new (1.1.3.1 - 2.1.1.0 - Perc(2) — role as the outsider in the family audiences a similar experience of Pno/Cel - Strings 1.1.1.1.1), and runs approximately to have dramatic meaning. this great American opera. ■ A Quiet Place is unlike anything 100 minutes. else in Bernstein’s catalogue,

The Leonard Bernstein Letters, continued

(continued from page 5) disappointment and triumph. American Opera that he longed from abroad (from Italy when And, above all, perhaps, someone to write. I think his last years he was working with Callas at who gave him the deepest love. are marked by frustration. La Scala, from Japan when he It was a love that was always There are some very good pieces was on tour with the New York marked by almost brutal honesty (I particularly like Halil), and of Philharmonic, and so on). But when difficult things needed to course he was feted the world also, they had so much humor! be said. I think the candor was over as a conductor, in places such The letters to her about the final maintained. After Felicia’s death, as Vienna, Israel, Paris, London, few weeks of preparation for he was never the same again. and New York. But deep down West Side Story are magnificent. there’s a certain melancholy in Until Jamie was born, I think Q In his final years, what the last years. Felicia has died, Prelude, 2013/2014 Fugue & Riffs Fall/Winter he regarded the whole idea of were the things that mattered composing no longer happened being married as a bit of a social most to Bernstein? with the fluency he had enjoyed in experiment. But he began to the 1940s and 50s. I think what realize that Felicia was someone A That’s quite a difficult probably cheered him most at the he could trust absolutely, someone question to answer. He wanted very end of his life was knowing who provided him with a kind of to create something special that he could pass on the torch stability he had never had — and as a composer — something to others — to brilliant young clearly craved. Judging from their people would regard as a lasting musicians like . ■ letters, she was someone with masterpiece — and he hoped he’d whom he could share everything: done that with A Quiet Place. jokes, tragedies, joy, pain, But that wasn’t the Great

8 Leonard Bernstein, My Rabbi © dan f e d er, t l aviv by Josh Feigelson Bernstein’s teaching and texts — about music, society, life eonard Bernstein would be and meaning — invite a dialogue L95 this year. I never met him, with Jewish sources, and I have and it’s one of the great regrets begun to collect pieces of this . C OUR of my life. He died when I was Torah of Leonard Bernstein. T E S Y th e lib r a ry o f c ng re ss . 14 years old. Here’s one wonderful example: Before I became a rabbi, I On a famous night in musical dreamed of being an orchestra history in April 1962, Bernstein conductor. From the time I was conducted the Brahms first piano just out of diapers, I flapped concerto with Glenn Gould as my arms to the living room soloist at . In a stereo as it played Mozart and surprising move, he spoke to the Bernstein at the Wailing Wall, Jerusalem. Beethoven and Mahler. I chose audience before the performance. my college, in part, because it had While there was always creative Yet I am not a perfect balance. a lot of student , and tension between a soloist and I tend slightly to the text side of I conducted one of them for two the conductor, Bernstein said, in the text-people dialectic. I get years. But by graduation I realized this case the differences between frustrated with people more easily just how hard it was to make it as Gould and himself were so vast than I get angry with texts. And a conductor, not to mention as a that he felt the need to say that he that’s why I love Bernstein. conductor who wouldn’t roll on couldn’t endorse the final product. “I believe in the potential Shabbos. And I discovered that I “Then why am I conducting of people,” Bernstein wrote in loved learning and teaching Torah it?” he asked. “Because I am an essay for the This I Believe even more than I loved Brahms fascinated,” he said, “glad to have series in the 1950s. “I cannot and Stravinsky and Haydn. the chance for a new look at this rest passively with those who And yet I still can’t get over give up in the name of ‘human not meeting Bernstein, because nature.’ Human nature is only Bernstein is still my idol. He was At the heart of all animal nature if it is obliged to so much more than simply the his activity, Bernstein remain static. Without growth, man on the podium. He was without metamorphosis, there first and foremost an educator. was a teacher. is no godhead.” Bernstein was a He was always teaching, always believer, a person who saw the connecting people with each other image of God in human beings. through music, culture, words, much-played work… Because He believed in human creativity, and history, whether he was we can all learn something from in the human capacity for change leading a rehearsal or taping a this extraordinary artist, who is and becoming. That isn’t always young people’s concert or giving a thinking performer. And finally easy, and it frequently leads lectures or writing books. At the because there is in music… that to being disappointed. But, he heart of all his activity, Bernstein factor of curiosity, adventure, wrote, “the laborious, loving way, was a teacher. experiment. And I can assure the way of dignity and divinity, When I think of Leonard you that it has been an adventure presupposes a belief in people and Bernstein, my rabbinic mind this week collaborating with Mr. in their capacity to change, grow, takes me to the image of Hillel Gould on this Brahms concerto communicate, and love.” the Elder, whose ability to and it’s in this spirit of adventure I never met Leonard Bernstein. welcome, listen to, understand, that we now present it to you.” I never saw him conduct, never and embrace people made him It was a Hillelian moment. played in his orchestra. But 23 the stuff of Talmudic legend. The That’s perhaps the biggest years after his death, he continues stories of Hillel accepting converts reason I continue to draw to be one of my rebbes. ■ inspiration from Leonard where Shammai shooed them Prelude, 2013/2014 Fugue & Riff s Fall/Winter away, or of patiently answering Bernstein. I think most rabbis Rabbi Josh Feigelson was a silly questions when a nudnik are probably a combination of music major and principal tuba tried to provoke him, remind me text people and people-people. of the Yale Symphony Orchestra of the stories people tell about I love learning and studying, I before becoming an orthodox Bernstein — of his hugging love thinking and the life of the rabbi. He has served as rabbi at them, welcoming them, smiling mind. And I love people. I love Northwestern University Hillel, at them. It makes me think of a their capacity to create and care, and now works at the iCenter for clip of Bernstein conducting the I’m fascinated by their needs and Israel education in Chicago. finale of Haydn’s 88th Symphony contradictions. I became a rabbi using only his face — such was because I wanted to help people the power of his persona, and his make their lives better through ability to get out of the way. learning and living Torah. 9 Young People’s Concerts With The New York Philharmonic, Volume 2

Bernstein’s historic concerts his enthusiasm and insight for young people introduced will continue to inspire more than one generation to the future generations.” world of . His The 27 concerts in this 9-disc inspirational commentary, coupled set took place from 1960-1972, with world class performances and cover a broad range of by the New York Philharmonic, musical topics, including the conveyed an infectious excitement music of Bach, Liszt, Strauss, about the music. Televised Hindemith, and American nationally on CBS from composers Aaron Copland 1958-1972, and eventually and Charles Ives. Over the telecast around the world, The years, Bernstein used the Young Young People’s Concerts were People’s Concerts as a platform to broadcast to millions in the introduce exciting new performers and abroad, and to the musical world, as seen the immensely popular series was in the nine Young Performers the winner of multiple Emmy®, programs included in this new Peabody, and Edison awards. set, which include appearances The Young People’s Concerts by , Lynn Harrell continue today as part of the and a young André Watts, among New York Philharmonic’s many others. Young conductors include educational programs. , , “Bernstein left us with a , James DePreist, tremendous legacy, the heart Sylvia Caduff and Helen Quach. of which is a passion for and Upon assuming his duties as curiosity about music,” said the Philharmonic’s Music Director New York Philharmonic Music in 1957, Bernstein persuaded the Director Alan Gilbert. “The CBS network to broadcast the eonard Bernstein said that The Philharmonic Young People’s orchestra’s 30-year old education LYoung People’s Concerts were Concerts that he led were a series on the relatively new “among my favorite, most highly magnificent manifestation of this medium of television, thereby prized activities of my life.” legacy, and the telecasts inspired bringing classical music to an Kultur International Films, a generation of music lovers and enthusiastic national audience. the New York Philharmonic and even professional performers. With his first televised Young The Leonard Bernstein Office are His conviction that music can People’s Concert in 1958 through excited to release Volume 2 of the be presented in a way that both his last in 1972, Bernstein New York Philharmonic’s Young illuminates and entertains is one created a sparkling music-with- Prelude, 2013/2014 Fugue & Riffs Fall/Winter People’s Concerts with Leonard that I share, and is experienced commentary format which would Bernstein. This set features 27 most palpably in these events. become a national treasure. Each digitally restored videos of the This release will ensure that program was painstakingly televised concerts, on nine DVDs. This second release of Young People’s Concerts, coming more “These programs get better with age… the than 20 years after the release of Volume 1 in 1993, makes the Young People’s Concerts set the standard for entire series of Bernstein’s Young People’s Concerts available on teaching music to children and adults alike.” DVD for the first time. –The Boston Globe

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This DVD set of Leonard Weldon Berry Jr., Clarinet, Bernstein’s Young People’s Shulamith Ran, Piano, Stephen Concerts Volume 2 includes Edward Kates, the following hour-long The Genius of Paul programs in their entirety: Hindemith February 23, 1964 Young Performers No. 1 Farewell to Nationalism March 6, 1960, performed November 30, 1964 planned and scripted by the February 13, 1960 Young Performers No. 6 maestro himself, based on Young Conductors: Seymour January 28, 1965, performed repertoire from the New York Lipkin, Stefan Bauer-Mengelberg, January 23, 1965 Philharmonic’s regular concert Kenneth Schermerhorn Young Soloists: Patricia Michaelian, season. And, as with many live Young Soloists: Daniel Domb, Piano, James Oliver Buswell, televised events of the time, the Cello, Barry Finclair, Violin, IV, Violin actual production schedule was Alexandra Wager, Narrator Young Performers No. 7 grueling: technical rehearsals Unusual Instruments of the “Pictures at an Exhibition” began as early as 6 a.m. on the Present, Past, and Future February 22, 1966, performed day of the concert, with full March 27, 1960 February 19, 1966 orchestra rehearsals at 8 a.m. Overtures and Preludes Young conductors: James DePreist, and dress rehearsal at 10 a.m. January 8, 1961 Jacques Houtmann, Edo De Waart The concerts were broadcast live Aaron Copland Birthday Young soloists (all piano): Paul (in later years taped live), leaving Party Schoenfield, Stephanie Sebastian, no opportunity to correct the February 12, 1961 David Oei, Horacio Gutierrez occasional technical problem. Young Performers No. 2 Young Performers No. 8 On January 18, 1958, March 19, 1961, performed March February 27, 1967, performed Leonard Bernstein conducted 18, 1961 December 17, 1966 his first Young People’s Concert, Young Conductors: Gregory Millar, Young Conductors: Sylvia Caduff; just two weeks after becoming Elyakum Shapira, Russell Stanger Juan Pablo Izquierdo Music Director of the New York Young Soloists: Lynn Harrell, Cello, Young Soloists: Elmar Oliveira, Philharmonic. Bernstein conducted Jung Ja Kim, Piano, Veronica Tyler, Violin, Donald Green, Cello, over 50 Young People’s Concerts , Henry Chapin, Narrator Mark Salkind, Oboe, Fred Alston, from 1958 to 1972. Originally The Road to Paris Bassoon, Stephen Dominko, broadcast live by CBS on Saturday January 18, 1962 Accordion, George Reid, Bass, mornings, they quickly became Young Performers No. 3 Young-Uck Kim, Violin the “must-watch” event across the April 14, 1962, performed Charles Ives: American country. The programs became so April 7, 1962 Pioneer vital to the network that for three Young Conductors: John Canarina, February 23, 1967 years they aired during prime-time Seiji Ozawa, Maurice Peress Alumni Reunion at 7:30 p.m., underlining their Young Soloists: Gary Karr, Bass, April 19, 1967 importance to CBS, as well as to Ruth Segal, Piano, Naomi Segal, Forever Beethoven the millions who tuned in each Piano, Paula Robison, Flute, Paul January 28, 1968 week. The concerts then moved Green, Clarinet, Tony Cirone, Young Performers No. 9 to Sunday afternoons, where Xylophone, David Hopper, March 31, 1968, performed entranced families regularly tuned Glockenspiel January 27, 1968 in for their dose of the inimitable The Sound of a Hall Young Conductors: Helen Quach, Bernstein. Eventually, the concerts November 21, 1962 Alois Springer were translated into more than a Young Performers No. 4 Young Soloists: Lawrence Foster, dozen languages and syndicated to January 15, 1963, performed Cello, Martin Vann, Piano, Steven over forty countries. January 12, 1963 Vann, Piano Over the course of the series, Young Conductors: Serge Fournier, Fantastic Variations Bernstein and the Philharmonic Yuri Krasnopolsky, Zoltan December 25, 1968 received thousands of letters Rozsnyai Bach Transmogrified and telegrams from well-wishers Young Soloists (all Piano): Claudia April 27, 1969 Prelude, 2013/2014 Fugue & Riff s Fall/Winter who had been influenced by his Hoca, Pamela Mia Paul, Andre The Anatomy of a love and knowledge of music, Watts, Joan Weiner Symphony Orchestra his innovative teaching methods A Tribute to Teachers May 24, 1970 and boundless enthusiasm. He November 29, 1963 A Copland Celebration touched many through his Young Performers No. 5 December 27, 1970 methods, and created a generation December 23, 1963; performed Thus Spake of music lovers and teachers, as November 30, 1963 April 4, 1971 well as amateur and professional Young Conductors: Claudio Liszt and the Devil musicians of every stripe. ■ Abbado, Pedro Calderon, February 13, 1972 Zdenek Kosler Holst: Young Soloists: Heidi Lehwalder, March 26, 1972 Harp, Amos Eisenberg, Flute, 11

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in in Town The On Leonard Bernstein Scholar-In-Residence at The New York Philharmonic ©C OUR Broadway: Collaborative Art in Bernstein, the Orchestra’s Music T E S Y th e n w yor k philha r m o nic a Time of War, is in production Director from 1958 to 1969 and with Oxford University Press. Dr. subsequent Laureate Conductor. Oja’s Making Music Modern: The position was created in the New York in the 1920s won the 2005–06 season to coincide with Lowens Book Award from the the 15th anniversary of Bernstein’s Society for American Music and death, on October 14, 1990. an ASCAP-Deems Taylor Award. Charles Zachary Bornstein served Her other books include Aaron as the first Leonard Bernstein Copland and His World (co-edited Scholar-in-Residence, from with Judith Tick); Colin McPhee: 2005-06 through 2007-08. Composer in Two Worlds; A New York Philharmonic Program Celebration of American Music: Annotator James M. Keller served Words and Music in Honor of H. in this post in the 2008-09 season; Wiley Hitchcock; and American Thomas Hampson Music Recordings: A Discography combined the role with that of of 20th-Century U.S. Composers. The Mary and James G. Wallach Dr. Oja has held fellowships from Artist-in-Residence in the r. Carol J. Oja, a noted the Guggenheim Foundation, 2009-10 season; Jack Gottlieb Dmusic historian and author the Newhouse Center for the held the post in 2010-11 until whose most recent book Humanities at Wellesley College, his untimely passing in February examines Leonard Bernstein’s the National Humanities Center, 2011; and Harvey Sachs held the work on Broadway, has been NEH, and the Mellon Faculty post through the 2012-13 season. ■ appointed the sixth Leonard Fellows Program at Harvard. Bernstein Scholar-in-Residence at She is past-president of the the New York Philharmonic for Society for American Music. the 2013–14 season. The Leonard Bernstein During her tenure she will Scholar-in-Residence at the New present the Insights Series York Philharmonic program event “Leonard Bernstein honors and recognizes the Emerges: Defying Boundaries enduring contribution of Leonard and Challenging Racial Politics During World War II” and will conduct research in the Philharmonic Archives. Dr. Oja is William Powell Mason Professor of Music at Harvard University, where she is also on the faculty of the graduate program in American Studies. Her newest book, Bernstein Meets

Prelude, Fugue & Riffs will be and we shall do our best to sent upon request. Please send include such information in all correspondence to: forthcoming calendars.

Craig Urquhart ® Prelude, 2013/2014 Fugue & Riff s Fall/Winter Prelude, Fugue & Riffs is a Prelude, Fugue & Riffs publication of The Leonard 121 West 27th Street Bernstein Office, Inc. Suite 1104 ©2013 by The Leonard New York, NY 10001 Bernstein Office, Inc. Fax: (212) 315-0643 Managing Editor: Craig Urquhart e-mail: Editor: Jamie Bernstein curquhart@leonard­bernstein.com Design: BorsaWallace, NYC We appreciate notice of any Visit our website: performances or events featuring www.leonardbernstein.com the music of Leonard Bernstein or “Like” us on Facebook: honoring his creative life www.facebook.com

13 For a complete listing visit: www.leonardbernstein.com Fall/Winter 2013/2014 November December

1, 2 Philadelphia, PA: OVERTURE TO CANDIDE, 1 Southampton, UK: FACSIMILE; ; Yannick Nézet- Southampton University Symphony Séguin, conductor; Verizon Hall. Orchestra; Robin Browning, conductor; Turner Sims Concert Hall. 2 Pasadena, CA: SERENADE; Pasadena Symphony; Anne Akiko Meyers, violin; 2 Cardiff, UK: HALIL; BBC National Orchestra David Lockington, conductor; Los Angeles of Wales; Adam Walker, flute; Carlos County Arboretum. Kalmar, conductor; St. David’s Hall. 8-10 Berlin, Germany: THREE DANCE EPISODES 5,6 St. Gallen, : THREE DANCE FROM ON THE TOWN, SERENADE; EPISODES FROM ON THE TOWN, Konzerthaus Orchestra; Ning Feng, violin; SYMPHONIC DANCES FROM WEST SIDE Iván Fischer, conductor; Konzerthaus STORY; Sinfonieorchester St. Gallen; Wayne Grosser Saal. Marshall, conductor; Tonhalle. 10 New York, NY: ; 5,8 Vienna, : DIVERTIMENTO; ; Amor Artis Chorus Wiener Jeunesse Orchester; John Axelrod, and Chamber Orchestra; Stephen Somary, conductor; Konzerthaus. conductor; Basilica of St. Patrick’s Old 14 Leipzig, Germany: SYMPHONY Cathedral. NO. 2: THE AGE OF ANXIETY; MDR 12 Berlin, Germany: ANNIVERSARIES; Sinfonieorchester; Wayne Marshall, piano; Sebastian Knauer, piano; Jamie Bernstein, Kristjan Jarvi, conductor; Gewandhaus. narrator; Konzerthaus Kleiner Saal. 21 Berlin, Germany: PRELUDE, FUGUE & 13 Berlin, Germany: A BERNSTEIN CABARET; RIFFS; Berlin Philharmonic; Sir Simon Rattle, Kim Criswell, singer; Wayne Marshall, conductor; Philharmonie. pianist; Jamie Bernstein, host; Konzerhaus 31 Munich, Germany: OVERTURE TO Otto Werner Saal. CANDIDE; SYMPHONIC DANCES FROM 15,16 Berlin, Germany: SYMPHONY NO. 2: WEST SIDE STORY; Orchester des THE AGE OF ANXIETY, SYMPHONY NO. Staatstheateres am Gärtnerplatz; Marco 3: KADDISH; Konzerthaus Orchestra, Comin, conductor; Herkulessaal. Ernst Senff Choir Berlin, Kapellknaben des Staats, Domchores Berlin; Benjamin Nuss, piano; Kelly Nassief, soprano; Samuel Pisar, speaker; Wayne Marshall, conductor; January Konzerthaus Grosser Saal.

18,19 Augsburg, Germany: SYMPHONY NO. 1 Karlsruhe, Germany: THREE DANCE 3: KADDISH; Augsburger Philharmoniker, EPISODES FROM ON THE TOWN; Opernchor, Philharmonisher Chor; Cathrin Badische Staatskapelle; Justin Brown,

Prelude, 2013/2014 Fugue & Riff s Fall/Winter Lange, soprano; Brigitte Fassbaender, speaker; conductor; Staatstheater. Dirk Kaftan, conductor; Kongress am Park. 1 Potsdam, Germany: OVERTURE 24 Beijing, China: DIVERTIMENTO, SYMPHONY NO. 2: THE AGE OF ANXIETY; TO CANDIDE; Brandenburgisches China Philharmonic Orchestra; Jean-Yves Staatsorchester Frankfurt; Howard Griffiths, Thibaudet, piano; Yu Long, conductor; conductor; Nikolaissal. Forbidden City Concert Hall. 1 Stuttgart, Germany: SYMPHONIC 27 Berlin, Germany: A QUIET PLACE. DANCES FROM WEST SIDE STORY; World Premiere of new chamber version; Staatsorchester Stuttgart; Sylvain Ensemble Modern; Kent Nagano, Cambreling, conductor; Opernhaus. conductor; Konzerthaus Grosser Saal.

14 12 Leipzig, Germany: ; Leipzig Brass; Schaubühne in Lindenfels. March 15-17 Salzburg, Austria: OVERTURE TO CANDIDE; ; Manfred 8,9 Zürich, Switzerland: SYMPHONIC Honeck, conductor; Grosses Festspielhaus. DANCES FROM WEST SIDE STORY; Tonhalle 21,22 Dortmund, Germany: THREE DANCE Orchester Zürich; David Zinman, conductor; EPISODES FROM ON THE TOWN; Grosser Sall. Dortmunder Philharmoniker; Fabrice Bollon, 14,15 Newport News, VA: ORCHESTRAL SUITE conductor; Konzerthaus. FROM CANDIDE; Virginia Symphony; 22,24 Omaha, NE: THREE DANCE EPISODES Thomas Wilkins, conductor; Ferguson FROM ON THE TOWN; Omaha Symphony; Center for the Arts. Thomas Wilkins, conductor; Holland 14,15 Grand Rapids, MI: SYMPHONIC DANCES Performing Arts Center. FROM WEST SIDE STORY; Grand Rapids 25,26 Spokane, WA: SYMPHONIC DANCES Symphony; Mei-Ann Chen, conductor; FROM WEST SIDE STORY; Spokane DeVos Performance Hall. Symphony Orchestra; Eckart Preu, 22 Norwich, UK: SYMPHONIC DANCES FROM conductor; Martin Woldson Theater. WEST SIDE STORY; Norwich Philharmonic 31 Milwaukee, WI: THREE DANCE EPISODES Orchestra; Matthew Andrews, conductor; FROM ON THE TOWN; Milwaukee St. Andrew’s Hall. Symphony Orchestra; Francesco Lecce- 28,29 Indianapolis, IN: SYMPHONIC DANCES Chong, conductor; Uihlein Hall. FROM WEST SIDE STORY; Indianapolis Symphony Orchestra; Michael Francis, conductor; Hilbert Circle Theatre. February 30,31 Kassel, Germany: SYMPHONIC DANCES FROM WEST SIDE STORY; Staatsorchester Kassel; Yoel Gamzou, conductor; 1 Milwaukee, WI: THREE DANCE EPISODES Staatstheater. FROM ON THE TOWN; Milwaukee Symphony Orchestra; Francesco Lecce- Chong, conductor; Uihlein Hall. 1 Hamburg, Germany: SYMPHONIC April DANCES FROM WEST SIDE STORY; Harvesthunder Sinfonieorchester; Harish 4 Vienna, Austria: SYMPHONY NO. 1: Shankar; Laeiszhalle. JEREMIAH; Radio Symphonieorchester 7-9 Kansas City, KS: SYMPHONIC SUITE Wien; Michelle DeYoung, soprano; Marin FROM ON THE WATERFRONT; Kansas City Alsop, conductor; Konzerthaus. Symphony; Michael Stern, conductor; 11,12 Salt Lake City, UT: OVERTURE TO Kauffman Center for the Performing Arts. CANDIDE; SERENADE; Utah Symphony; 13-16 Hartford, CT: SYMPHONIC DANCES FROM Kathryn Eberle, violin; Thierry Fischer, WEST SIDE STORY; Hartford Symphony conductor; Abravanel Hall. Orchestra; Carolyn Kent, conductor; Belding 12 Leipzig, Germany: SYMPHONIC SUITE Theater. FROM ON THE WATERFRONT; MDR 15 London, UK: SYMPHONIC DANCES FROM Sinfonieorchester; James Gaffigan, WEST SIDE STORY (Piano Duo); Ian Brown, conductor; Gewandhaus. Simon Crawford-Phillips, pianos; Wigmore 25,26 Cincinnati, OH: SYMPHONY NO. 2: Prelude, 2013/2014 Fugue & Riff s Fall/Winter Hall. THE AGE OF ANXIETY; THREE DANCE 24,25 Mannheim, Germany: OVERTURE TO EPISODES FROM ON THE TOWN; Cincinnati CANDIDE, SYMPHONIE NO. 1: JEREMIAH; Symphony Orchestra; Orli Shaham, piano; Nationaltheater Orchester Mannheim; David Robertson, conductor; Music Hall. Edna Prochnik, sopreano; Dan Ettinger, 26,27 Buffalo, NY: SYMPHONIC DANCES FROM conductor; Rosengarten. WEST SIDE STORY; Buffalo Philharmonic Orchestra; JoAnn Falletta, conductor; Kleinhaus Music Hall.

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What’s New

CA Classics has released a (Variation IX) has been held up IDVD of Leonard Bernstein to disbelief verging on ridicule...” rehearsing and performing Watch it and judge for yourself. Elgar’s with A recent publication, Making the BBC Symphony Orchestra. Music for Modern Dance This is a fascinating document of edited by Katherine Teck, is a Bernstein’s sole engagement with compilation of essays by Agnes that orchestra. This performance De Mille, Paul Taylor and Erick of the Enigma Variations has Hawkins among others. Included been both worshipped and in the book is Bernstein’s essay vilified. The DVD features an “Fun” in Music and Dance. essay by television producer Bernstein wrote the essay in Humphrey Burton. He writes, 1946, at the age of 28, during “There has been criticism that the productive period when he Bernstein makes some of the was composing Fancy Free slower variations unnecessarily and Facsimile. ■ ponderous. In particular, his version of ‘Nimrod’