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Home , Benjamin Britten, Isabel Leonard, John Mauceri, Sviatoslav Richter, Yehudi Menuhin

© VICTOR KRAFT

5/13/16 1:25 PM In The News Some Performances (continued on page 2)

8 11 This was the environment in American example were the main catalysts in freeing main freeing in catalysts the were example my ears, mind and heart from my learned musical prejudices. Bernstein the conductor work that studiously avoided melody or key signature. music when I began my association with . His influence and Bernstein’s Baton Maker Bernstein’s Remembering John Evans

6 7 News for Friends of News for Friends Leonard Bernstein Spring/Summer 2016

conservatory student in theI grew 1970’s, up convinced that was a composer,“Pops” useful for light story ballets, but not much else. Embracing any you made art, thought, American I kind of an intellectual lightweight. Our symphony orchestras and houses were all dedicated to the European past, with the rare nod to an incomprehensible new

IAMA 2016 Artful Learning

3 4 that categorizing music uch of my professional life has been spent on convincing music lovers

I was educated in an environment Fortunately, music so isn’t black and inferior. The European model was the ideal, from Alberti to Xenakis. As a a nearly impenetrable ivory tower, with such a deep ideological moat around it that any other kind of music was deemed times, propagated by our most rigid academic composers and scholars of These wise-1970’s. the men1950’s (and yes, they were all men) had constructed American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the “American Classics.” “American Classics.” that was dismissive of much of our great much of our country’s greatest music, now is “popular,” merely be to thought taking its rightful place in the category of white, and such classifications, especially more ever becoming are music, new of time, of benefit the With anachronistic. music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop errand. not surprisedI’m that people s t i l l c l love classical i masterpieces n may g need t o t h e s e d i v i s i o n s . S o m e w h o M as “classical” or “popular” is a fool’s by Michaelby Barrett Inside...

Bernstein, Gershwin, Ellington, and the Richness of American Music Music American of Richness the and Ellington, Gershwin, Bernstein, High-brow, Low-brow, All-brow Low-brow, High-brow, SS16_PFR_art(14)CX STUDS.indd 1

High-brow, Low-brow, All-brow, continued

(continued from page 1) While Bernstein began his com- studied and performed his Copland, posing career writing for the concert Gershwin, and Richard Rodgers with hall and ballet stage, he kept one the same rigor and thoughtfulness foot in the nightclub world, thanks n the swirl of ongoing Bernstein- that he brought to Brahms, Mahler, to his pals Betty Comden, Adolph Irelated activity worldwide, we had and Stravinsky. He recognized and Green and Judy Holliday, whose to pause to consider how much more honored the value of all great work, act as “The Revuers” Bernstein sublime a place the Beyond recently be it a show tune, an Appalachian frequently attended, sometimes became when Leonard Bernstein and fiddle melody, orThe Symphony accompanying the troupe on piano. Prince were reunited there, 31 years of Psalms. This was a brand new While Judy Holliday went off to after their first and only meeting at perspective for me: one which opened Hollywood, Comden, Green and the Grammy Awards in 1985, when up my ears to immense riches that I Bernstein teamed up to create their Bernstein received the Grammy had been denying myself in the name first Broadway success with On The Lifetime Achievement Award. of “seriousness.” Town. They were still in their 20’s. Bernstein was thrilled by the musi- Bernstein as a composer was Gershwin and Ellington, mean- cality and dynamism of Prince, so he the perfect example of why it was while, were born into the worlds was delighted to find himself receiving important to keep one’s mind open. of entertainment and dance music. his special award on the same night His works inhabited so many of Gershwin was a product of New that Prince was performing. Bernstein our American houses of music: the York City’s Tin Pan Alley. Ellington, caught one of the purple tambourines concert hall, the opera house, the from Washington, D.C., came north that Prince tossed out to the audience. It jazz club, the movies, the ballet, the to New York with his band, and was remained in his house for years. soon ensconced in Harlem’s Cotton Leonard Bernstein and Prince Club. By contrast, Bernstein’s may have come from very different Bernstein’s restless training at Harvard and the Curtis worlds, but they shared a similarly Institute of Music planted him firmly irrepressible energy and charisma, as curiosity about all kinds in the classical world. But Bernstein’s well as an unquenchable curiosity and of music led him to restless curiosity about all kinds of open-mindedness in their respective music led him to explore everything approaches to music. Had each of these explore everything from from traditional blues to bebop jazz artists lived longer, who knows what to Latin music – and all these genres additional musical barriers might have traditional blues to bebop manifested themselves in his own come tumbling down. compositions. Bernstein’s mentor J.B ■ jazz to Latin music... Serge Koussevitsky both chided and praised his protégé when, after hearing a performance of the Broadway stage – and even dwellings Symphony No. 2: The Age of Anxiety that defied classification. HisMASS he declared, “Lenushka, it is a jazz. is both a religious work and a music But… is a nobble jazz!” theater piece, featuring classical, rock Gershwin and Ellington also had and folk music elements. It has been ambitions that went beyond their performed everywhere from a high successful worlds of Broadway and school gymnasium to the Vatican. dance clubs. Gershwin’s desire to In addition to Bernstein, two write in larger forms led to some of other American-born / his most magnificent compositions: composers had similarly omnivorous, his two Rhapsodies, the in

free-range imaginations which F, An American in Paris, his Cuban Prelude, & Riffs continued to expand throughout their Overture, and ultimately his opera careers. And they too wrote music masterpiece, . in a variety of musical styles, Ellington, with his decades lines of genre and classification. of experience writing for his jazz Edward Kennedy (“Duke”) orchestra, found even deeper musi- Ellington (1899-1974) and George cal sophistication through his col-

Spring/Summer 2016 Gershwin (1898-1937) both started laboration with Billy Strayhorn. out as composers of popular music, Strayhorn, who was conservatory- but their music found its way into trained, wrote music that had greater theatres, movie houses and the chromaticism, with atmosphere and concert hall as their composing skills colors closer to Debussy than to the developed. world of jazz. (continued on page 4) 2

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5/13/16 1:25 PM ■ and a Artful Artful

www.artfullearning. , please email www.facebook.com/ www.youtube.com/ school websites and @artfullearning

www.artfullearning.org transports the reader to If you want to learn more about atrick Bolek maintains service units of study, as well as testimonials use the model – and, most importantly, [email protected] from the teachers and principals who watch?v=66EjfLzdHPc learning journeys. learning program in context with his father’s we hear student voices sharing their you. In addition, an informative overview, putting the the putting overview, informative an representative will be in touch with material. interactive some of the inventive teacher-designed Learning, Inc. Inc. Learning, Learning Facebook: Learn More P Follow us on: org as Summer Session Director, Director, Session Summer as and Master forTrainer Artful educational legacy. areWe shown Twitter: Web: YouTube: Artful-Learning-157083841326707/ Artful Learning Artful Advancement Consultant harnesses the arts and creativity to amplify the the harnesses to amplify the arts and creativity

- Artful Artful Artful Artful Artful Learning Artful Artful

Artful Learning Artful

: President Alexander methodology. Many schools currently offer Exceeding Expectations Exceeding Schools often findit challenging The long-awaited masks, while an intricate network of yarn demonstrated connections between students. curriculum. For their unit on identity and community, students created over 400 individual over 400 individual students created community, curriculum. For their unit on identity and Two examples of how examples Two Schools that completed three years team members use – in tandem with the summer of 2016. to train new teachers in the rigor to learning the various arts-based Promotional Video Promotional had administration, staff and district district and staff administration, had promotional video has premiered provide an interactive approach program will re-energize veterans as well as empower newcomer teach and “overwhelming” are words new national pilot program launches in and complexity of the new platform in Spring 2016. skills and strategies. “Daunting” Learning Learning Learning Bernstein provides the viewer with ers. Fairview Elementary School on all social media platforms. one to two-day ‘boot camps’ that of of the intensive training, but have changes. This new one-year intensive (Bloomington, IN) will pilot this Sustain & Train Artful Learning Artful Learning

COURTESY PATRICK BOLEK “thrilling” and “exceptional.” The - - -

, : - - Schools national national On The Town The On : Revival Artful Learning Artful

Artful Learning Artful has created a new and

Artful Learning Artful

Artful Learning Artful

two e are thrilled to announce that

Inspired by the recent Broadway Congratulations to principals The

We bid We farewell to two superb Artful Learning: both schools forward to receive this by Patrick Bolek Patrick by School (Des Moines, IA). Wasting Salvador Magnet School (Napa, CA) tors to teachers and students alike, the kindergarten’s unit of study on on study of unit kindergarten’s the team, Ron Nathan with Barb Keller tional change at each school – so the honor is of keen significance. professional development train panied by a cash award for each welcome welcome Michelle Hurlbert as the year, both schools moved to the were awarded Magnet Schools of ing module titled revivals of Leonard Bernstein’s and Patti Magby (Castle Rock, CO). CO). Rock, (Castle Magby Patti and no time, Michelle hosted a resi new principal of Wright Elementary and Scheshin Quinn, for moving moving Quinn, for Scheshin and recognition. requires evidence of real transforma and Midway Elementary – School New Horizons granted Schools of Distinction. This support and revive setting a high standard for all. site. A rigorous application process Revival. This training is designed to Both have been inspirational motiva Lindsey Cornwell (Des Moines, IA) Pam Perkins and (CA), the Florida Excellence category, which is accom Excellence by the Magnet Schools educators and principal leaders, dependence. dency with globally renowned dance company Pilobolus in support of cadre of schools would like to of the Arts (Sanford, FL) were were FL) Arts the (Sanford, of of of America organization. Last year, Welcome & Farewells Welcome West Side Story Artful Learning Artful

Artful Learning W SS16_PFR_art(14)CX STUDS.indd 3 - - - - - ; he 5/13/16 1:25 PM Young Young Young series on the with the New York . He relished the Porgy and Bess and Porgy instrument!) that But he loved doing those It It was such a lucky coincidence As for Bernstein, his composi When my brother, sister and keyboard, where my father would beginning, the concerts were broad usually be listening to the pop music So William Paley of CBS was only too happy to take up Bernstein to the underscoring to cartoons. to form to the Mixolydian tive explanations would eventually that Leonard Bernstein and televi he wrote in longhand on yellow legal pads, to the frenetic same-day library. I wish you could have heard how interesting the theme from heard would get him talking about played on was usually the harpsichord in the as Music Director of the New York its infancy, and those three lonely networks were starved for content. air four or five times a year. In the not yet been invented. Can you imag ine what my father went through?! re- and de-construct everything from advertising jingles to movie themes mode. And many of these automo station on the radio. The songs we sion came along at the same time. People’s Concerts People’s Concerts People’s People’s Concerts People’s In 1957, when my Infather 1957, took over Philharmonic, television was still in Philharmonic’s traditional I were in the car, with our father Philharmonic. find their way into my father’s entire process: from the scripts everything progressions from blues on his suggestion of putting the cast live, and the teleprompter had (Incidentally, the nearest keyboard (God help atus) the wheel, we’d young, at 38, of a brain tumor, just after completing was just starting hisdemonstrate to full abilities as a composer. tions were mostly shunned by the musico-academic cartel, as well as by the critics. It was not until after Bernstein’s death in 1990 that a more “The Flintstones” sounds when COURTESY FRANK EMOUS I FEMOUS - - continued Nor Nor was it just our parents who But this heady mixture of music All three composers faced keen friends from the classical world, but but world, classical the from friends from multiple sources didn’t end triot, . Claudio triot, their friends too. And not just the theatre, where my father felt equally there. If we were watching TV, there provided the ground of being: it was would be quick runs to the nearest many years with her Chilean compa also friends from the world of musical indelible musical contributions. comfortable, and made his share of challenges. Ellington labored for most of his career touring in segre gated America. Hailed in Europe as a musical genius, he and his band had to travel within the U.S. in Pullman train cars to avoid the problems of finding lodging, especially in the south. Gershwin died tragically

- -

Jump For Joy , were ambitious, ambitious, were – you know: like air Black, Brown and

Beggar’s Holiday ;

Sacred Concerts grew up in a household where where household a in up grew our ground of being was music. large-form works designed for the concert hall, as well as for the theater and the church. (continued from page 2) Ellington began to venture into forms much larger than the three-minute 78 rpm record. His Beige and the IAMA (International Artist to a bird, or water to a fish. That’s how just because of my father: my mother, ing is an excerpt from her talk. music was in our house. And not not And house. our in was music actress Felicia Montealegre, was her self a trained pianist who studied for Jamie Bernstein recently spoke at Managers Association) Conference in in Conference Association) Managers Utrecht, The Netherlands. The follow Ground of being I

High-brow, Low-brow, All-brow, A Talk at IAMA at Talk A

Prelude,Prelude, FugueFugue && RiffsRiffs Spring/SummerSpring/Summer 20162016 4

SS16_PFR_art(14)CX STUDS.indd 4 A Talk at IAMA

rehearsals and last-minute cuts and were also eventually broadcast For Leonard Bernstein, teaching rewrites, all the way to patiently all over the world, from France to signing hundreds of autographs for Mexico to Japan. My father, with the and learning were one the kids backstage after the concert. , actually After all, every single thing raised an entire generation of continuous, creative process. Leonard Bernstein did in life – from classical musicians and their fans. composing, to rehearsing and The word that keeps coming , to reciting his favorite up for me when I think about my successful teaching model in the U.S. Lewis Carroll passage, to telling father’s extraordinary output is how called Artful Learning. a good Jewish joke – it was all the broadband he was. He wasn’t just Leonard Bernstein put his same essential act of tugging at your a conductor; he was also a teacher, music-making to greater purpose sleeve and saying, “Hey! Listen to from Tanglewood to Harvard to whenever he could. We think of this: I have to share this with you!” Schleswig-Holstein to Sapporo, and his Beethoven 9th at the fall of the Everyone could sense his joy in the of course right into our living rooms Wall; we think of the songs sheer act of communication. That’s through the medium of television. reflecting feminism, civil rights and a big part of what made him such But he wasn’t just a conductor and gay rights within his piece Songfest; a good teacher. Viewers of all ages teacher; he was also a composer. we think of his theatre piece , could feel that sleeve-tugging energy And not just a symphonic composer; which protested the Vietnam War; reaching out to them, right through he wrote Broadway shows, , we think of his Journey for Peace television screens. song cycles and ballets. And he concert in Hiroshima, and his It was such a different world back wasn’t even just a musician! He was “Music for Life” concerts to benefit then, of course. To take just one also a writer of books and poetry; he AIDS research. example: have you ever stopped to spoke five languages, loved puzzles As we all plan our celebrations count how many screens you have in and anagrams, was a voracious for Bernstein at 100, we’re far from your current household? Go ahead, reader and a restless seeker of looking backward; on the contrary, think about it: count your phones, knowledge – plus he was a lifelong his example helps us to contemplate your laptops, your tablets, your TV advocate for world peace and the future. This is where music is monitors, maybe an intercom for human rights. And did I mention going: music in the service of oth- your front door – or perhaps there’s that he married a beautiful Chilean ers; music to heal an ailing planet; one in your car for when you’re back- actress and had three kids?! And that music to raise hope and neutralize ing up? We’re counting that one too! he could eat more corn on the cob at hatred; music as a manifestation of How many are you up to? Eight? one sitting than anyone else on the love. These are the ingredients of Ten? Twelve?? planet, and could retell every joke he Leonard Bernstein’s unique legacy, Well, we have to remember that ever heard? Broadband, I tell you! and what a wonderful opportunity back in the 1950’s and 60’s, entire But maybe the most essential his 100th birthday is – for orches- families sat down together and ingredient in everything Leonard tras, soloists, and music fans of watched television together on Bernstein did was his curiosity. every stripe – to celebrate Leonard that big, clunky TV set in the living The element of curiosity is what Bernstein: not only as the iconic room – the one and only screen in keeps a mind flexible and creative, 20th century composer that he was, the house. and allows a human being to remain but also as a template for the pas- What this meant was that by the a student all their life. For Leonard sionate – and compassionate – late 1960’s, pretty much everybody Bernstein, teaching and learning musician of the 21st century. ■ in the United States, young and old, were one continuous, creative had watched Leonard Bernstein and process. And by the way, my father’s the New York Philharmonic on TV. approach to embracing and sharing And the Young People’s Concerts knowledge has been turned into a Prelude, Fugue & Riffs High-brow, Low-brow, All-brow, continued favorable re-assessment of Bernstein’s into their music. They opened the celebrations and meditations, their work began. door for audiences, musicians, and comfort and their joy – regardless of One has to admire the collective composers to embrace a greater genre or category. inquisitiveness of these three great musical universe, regardless of genre American composers: their continual or style. Michael Barrett was Leonard

Bernstein’s assistant conductor search for what else they might Each season, American music Spring/Summer 2016 accomplish, and their indefatigable comes and goes with the fashion of for many tours and projects in creative work in new genres and . But the really good music the 1980s. He currently is Music musical styles. They were able to see never goes away. Instead, it joins Director of the Moab Music Festival America writ large, with its many the ranks of Bernstein, Gershwin, and is also active in Bernstein ethnicities, religions, and classes – and Ellington as the beloved music Centennial projects. ■ and incorporate that immense vision American people turn to for their 5

SS16_PFR_art(14)CX STUDS.indd 5 5/13/16 1:25 PM Leonard Bernstein’s Batonmaker

by his batons made out of birch. Lenny In 1972 I gently asked Dick if he never went back to Goodman and his would make me a baton – not any Excerpted from “Leonard Bernstein’s maple sticks. Dick provided Bernstein baton, but one that was exactly made Batonmaker,” Huffington Post with batons until the maestro’s death to the specifications used for my new in 1990 – and, I should say, batons for mentor, Leonard Bernstein. Perhaps ast November we learned of me, too. this was a mistake since Lenny was Lthe death of Dick Horowitz at All of us who watched the a good deal shorter than I am, but I the age of 91. You perhaps never magic of Bernstein could see Dick's did not care – and still do not care – heard of him. But if you went to the brilliant improvement on an ancient because this apprentice wanted his or listened to instrument – the instrument that sorcerer's wand. And wouldn't you? its broadcasts any time from 1946 makes no sound but that extends I just checked. I have 13 Dick until two years ago, you definitely the reach of the conductor, clarifies Horowitz batons. I am 70 years old. heard Dick Horowitz. He played the intention of the beat, and saves The birch doesn't snap. I think I am percussion and was the opera house‘s our arms from early retirement due OK, especially knowing that Lenny principal timpanist. to repetitive stress. The ideal baton and Dick will come with me wher- I first met him in 1972 when I must also rest in the hand, perfectly ever I go and help me make music. assisted Leonard Bernstein for a balanced, without any need to grab They are both, after all, in the palm new Met production of that it, unless for effect. The “hand end” of my hand. starred and James is cork. It must rest safely in the palm McCracken. He became one of my of one's right hand so the baton does John Mauceri recently was awarded inadvertent angels. not slip out. the Ditson Conductor’s Award for I last saw Dick on September 2, In his studio on Long Island, Dick his five decades of commitment to 2012. He and his grandson David Horowitz used a lathe and carved the performing and editing American were cleaning out his Met cupboard perfect cork handle and inserted the music. He is currently writing a of percussion instruments. Dick birch stick, which he had shaped to book on the art and alchemy of had retired after some 10,000 per- a gentle point, painted it with a thin conducting for Alfred A. Knopf. ■ formances and he was taking all his shellac, and then signed and dated “toys,” as percussionists call their the finished masterpiece. instruments, home to Manhasset. I had come to pick up six batons COURTESY JOHN MAUCERI that Dick had made for me. Each of them says “30 Aug 12 JM” and just below, they are signed perfectly and minutely “R. Horowitz.” They are now priceless. During the summer of 1971, I was a conducting fellow at the Berkshire Music Festival (Tanglewood). That’s when I met Leonard Bernstein. At that time, he was using batons made by Saul Goodman, the New York Philharmonic’s timpanist (from 1926 until 1972). One year later, while Bernstein was rehearsing at the Met for the

Prelude, Fugue & Riffs New York premiere of MASS, he broke his Goodman baton. “Saul was making them out of maple,” Dick told me. “He got it all wrong. Maple is hard and snaps.” An emergency call went out from C-level (in the bowels of the Met)

Spring/Summer 2016 and Dick, who was in the house that fateful day, provided one of

John Mauceri and Dick Horowitz. 6

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COURTESY CRISTINA BURTON - ■ resigned, sold up everything and came home. He had recently moved into a marvelous apartment on the seafront at Hove – just an hour from London – when he died of a heart attack. Such a loss! He was a warm- man passionate and incisive hearted, – and we shall miss him mightily. Burton Humphrey April11 2016 association long Burton’s Humphrey with Leonard Bernstein began in 1959 at the BBC, followed by twenty years of intense production of concert films and produc two including documentaries, tions of , and culminating in with1988 the televised 70th birthday bash at Tanglewood. Burton’sMr. was Bernstein of biography acclaimed 1994. in published After twenty years masterminding After Bernstein’s death in 1990, John Evans, Humphrey Burton, and Leonard Bernstein. Burton, and Leonard John Evans, Humphrey his very wide circle of friends. So he of of the NewPhilharmonic York in and1943; talking to old friends such as Adolph Green and Betty Comden. the world's most sophisticated classical music station, John decided on another career move. He surprised his friends by taking the post of president and chief executive of the . He spent seven years in the job, but he grew homesick: he longed to see his close- knit Welsh family, and catch up with proceedings with incredible clarity, sacrificing noneof the orchestral details that help to make Candide such a delightful score. John devised a number of special events exploring the Bernstein legacy. The best fun was probably the Bernstein Day we did together in NewCity York – leaping in and out of taxis to visit such haunts as the maestro's former studio in when he was assistant conductor Sondheim. Leonard Bernstein took to John without reservation – no surprises there, since John had done some very clever repair jobs in the editing suite and captured the stage .

, televised by me for BBC

ith the unexpected death of music producer and writer Journeying Boy

For For John the were Bach, Eventually, John exchanged his

Candide Remembering John Evans matched by an equal passion for the American musical, particularly the Broadway works of Bernstein and invited him to produce the sound track of the Scottish Opera version of 2 in love 1988. of John’s Britten was Britten and Bernstein, and he was like a boy with a new toy when I of of the network's entire output of operas and classical music programs, most of them live performances. whatever he tackled. He spent twenty years at Broadcasting House, rising from producer to become head proved to be one of those rare birds who is both an excellent organizer and an enterprising impresario, bringing taste and erudition to quiet days of scholarship for the hurly-burly of broadcasting at the BBC's cultural hub, Radio 3. Here he edited collection of Britten’s diaries, titled House in , , the headquarters of the Britten world. This devotion led to his meticulously in the operas of . He spent six years doing research and administration at The Red one of the UK's most influential supporters of the music of Leonard Bernstein. John studied at the University of Wales and majored W John Evans at the desperately early age of 62, we have said goodbye to following appreciation. spring. His friend and long time colleague at the BBC, Humphrey Burton, provided PF&R with the John Evans, a close colleague of Leonard Bernstein’s on many video projects, died unexpectedly this SS16_PFR_art(14)CX STUDS.indd 7 COURTESY INGVI KALLEN

■ ■ 5/13/16 1:25 PM I took the opportunity to stop for family, food and fun. My aunt Nancy family. their enormous and ever-expanding was to be able to bring my father’s across from a cinematically snow- music to my mother’s country, and reminisce about them both to such an appreciative audience! a few days in Santiago to delight in in their and90’s, are delighting in Frutillar – jutting out on a lake, capped volcano. How wonderful it (Felicia’s sister), (Felicia’s and her husband, Society. In he2012 served as a panelist in a worldwide discussion, sponsored by the New York Philharmonic Archives, of Leonard Bernstein’s tours with the New York Philharmonic. Arturo Alessandri, are going strong

Musica ” (a favorite” (a Award ,” concentrated,” on Gracias a La Vida La a Gracias fter our successful tour in China last May, Carla Dirlikov Dr. Dr. Mugmon has presented at The connections were many from the American Musicological Society and Harvard University. His paper “Making Mahler French: Bernstein’s Case for the Composer in 1960” received the Hollace Anne Schafer Memorial from the New Chapter of the American Musicological studies, Dr. Mugmon’s research focuses specifically on the relationship between ’s music and an intimate network of four influential figures in American : Nadia Boulanger, Aaron Copland, , and Leonard Bernstein. regional, national, and international conferences, as well as colloquia. He has received grants for his research by Alexander Bernstein Alexander by the house. That “house” was the the Latin influences in Leonard which was my own Chilean mother, magnificentTeatro del Lago in a similar program to Chile in and inspiring. For an encore, Carla sang the popular Violeta Parra song, “ Bernstein’s music – not the least of Felicia Montealegre! In fact, I Canales, Justin Snyder and I brought delivered the narration in Spanish. of Felicia’s), which of Felicia’s), brought down January. This one, called “ Con Con Amor A COURTESY ARCHIVE TEATRO DEL LAGO

r. Matthewr. Mugman has been serving as The Leonard Dr. Dr. Mugmon received his Drawing from historical The Leonard Bernstein Scholar-in- Philharmonic York New the at Residence Music and Love in Chile in Love and Music musicology, oral history, sociology, American studies, and Jewish Philharmonic Archives, Dr. Mugman has presented two Insights at the Atrium events: “Sibelius in New AnYork: Archival Exploration,” and “Discovering The Song of the Earth.” Ph.D. in historical musicology from Harvard University in 2013, and he taught at the University of Massachusetts Amherst (2013) before joining the faculty at the University of Arizona in 2014. D Bernstein Scholar-in-Residence at the NewPhilharmonic York for season.the 2015–16 In addition to conducting research in the Justin Snyder, Carla Dirlikov Canales, and Justin Snyder, Alexander Bernstein.

Prelude, Fugue & Riffs Spring/Summer 2016 8 SS16_PFR_art(14)CX STUDS.indd 8 Prelude, Fugue & Riffs Spring/Summer 2016 9 5/13/16 1:25 PM ■ at

New World SymphonyNew World ák’s ř Together with the New York for which the hall was principally presented the world premiere of an early Carnegie Hall appearance – inand 1893 the Oratorio Society music shrine. Philharmonic – which had Dvo fitting tributeYork’s toNew classical of of New– theYork organization conceived – these great artists paid a ■ ch ĕ

ch ĕ ch Dyk

ĕ

ŠImon Cabani ch Dyk thrilled ĕ

Bernstein is also represented in For For more information: by Jennie accompaniedTourel by brought together some of the most the 85th anniversary of Carnegie their performance with the New the concerto). There is also a recital hallowed hall from demolition. who 16 whoyears 16 earlier had mounted when ’s “unorthodox” witty prefatory remarks to the a successful campaign to save the iconic names in classical music: interpretation of the Brahms D minor Concerto was disavowed by audience are heard here along with , Vladimir Vladimir Rostropovich, Mstislav Leonard Bernstein in 1969. Hall in May Hailed of 1976. as the Horowitz, Leonard Bernstein, Dieskau and, not least, , evening which occurred in 1962, conductor Leonard Bernstein before Yehudi , Dietrich Fischer- York Philharmonic.York (Bernstein‘s breathtaking and the main Some reviews: Some the audience. The show is creatively www.bernsteinmass.cz www.bernsteinmass.cz Bernstein‘s Mass in Ostrava Dyk brought a new dimension Bernstein’s Mass with Vojt Dyk: all boundaries been have protagonist Vojt vigor by the Slovak conductor and conducted with remarkable not not have even dreamed of. impressive audio-visual show, seems to know no bounds... an ideal Eva Polívková, 18.3.2016 Milan Ostravan.cz Bátor, 16.3.2016 to the work Operaplus.cz exceeded directed by Michal and Oskar Rozsa. Great soloists, excellent orchestra, celebrant – an actor Bernstein might Gong: the amazing Vojt “Concert of the Century,” this event “...the vocal“...the masteryĕě of Vojt - - jovice, jovice, ĕ and leading eské Budě Č Č ch Dyk is(who the in the Czech Republic Czech the in ĕ BAND

ch Dyk, the Celebrant, is a

ĕ and returning in the autumn, eginning in March this year Leonard Bernstein is represented ver since its opening night in May

1891, Carnegie1891, Hall has held sway MASS by the famous, if not infamous, box set of treasures from the RCA tion contains, among other treasures, the essential venue for all great art the contemporary Czech cultural photographs. piano recital by , partnership with Carnegie Hall, is presenting an extraordinary 43-CD place in Olomouc, professional instrumentalists. Other presented by BUJOART with Josef young performers from the Czech as many facsimile documents and and is accompanied by a 104-page notes by Director of Carnegie Hall‘s a a complete previously unreleased and Columbia archives, featuring live recordings from many of the world‘s as the undisputed shrine of classical music in America. It was and remains ists. celebrate To Carnegie Hall‘s return to Brno, and Hradec musical participants are the Czech most prominent personalities at greatest musicians. This deluxe edi graduate of the Prague Academy of scene. The orchestra is made up MASS has been touring the Czech Králové in September. Republic. Performances have taken Brno, Ostrava and Prague and will Ensemble Baroque and the Pueri Performing Arts, and is one of the Buchta and Vojtě Republic. This production was Gaudentes Boys . The Street Chorus is made up of acclaimed Celebrant) as producers. The Head coffee table book, which includes of of the B-SIDE

of of Production is Lucie Karafiaátová. B

Vojtě E

Archives Gino Francesconi as well SONY Honors Carnegie Hall SONY Honors Carnegie 125th anniversary, Sony Classical, in SS16_PFR_art(14)CX STUDS.indd 9 ■ 5/13/16 1:25 PM . Bianca Marroquin, a Broadway When the chorus of two hundred flâneur, entrepreneur and writer. writer. and entrepreneur flâneur, bravado demanded by the Jets’ Riff/ beyond the ages, as envisioned by undaunted by the presence of Chita for all of us, somewhere – then they Stark emitted the sexiness and Shakespeare and the creators of the Sharks. teenagers surrounded the players they bore witness as a community, that that there is, indeed, a place www.tonynapoli.com. the joy of first love that grows up all too soon into the heart wrenching tragedy of adulthood. They truly that Bernstein intended when think Lenny would have misted up he composed what is, in fact, the place for us, a time and place for us,” place. If this was the intention of performance. Anita’s and Maria’s yearning to make their world a better veteran, danced brilliantly as Anita, who was sitting ringside at the first menacing Bernardo as the leader of at the tragic end and sang a “there’s meets-girl peck. Morgan Hernandez, a student from The Boston along with the audience as the two succeeded beyond all expectations. stage debut, filled her Maria with sang “Your love is your life.” Manny Mercutio. Donald Jones madeJr. a Rivera, Broadway’s original Anita, Love” rose to the emotional heights Conservatory making her New York duet,Boy Like“A That/I Have a quintessential American opera. I conveyed the star-crossed lovers Tony NapoliTony is a native New York The Somewhere Project – to assert West Side Story

© CHRIS LEE Skylar Astin (star of the movie The environmental staging kiss with his Maria/Juliet seemed buoyed by their youth and desires. felt like an event – or, as we would the Jets, and purple for the Sharks. those very first iconic finger snaps that drew us all in. Some hip hop times when it seemed that the entire predestined, and not just a boy- a just not and predestined, was their adolescent passion, youthfulness and vitality of the cast was set on a long runway strip of a city street with seating on three and street dancing was added gangs were multi-ethnic. Only the something better that his first say in the old days, a happening. sneakers set them apart: Red for swept the audience away – from sides, and with the orchestra and Bronx to Brooklyn. The production filled with so much longingfor drawn along ethnic lines. Both devastatingly emotional ending. City neighborhoods, from the cast was frozen, jumping in mid-air, comprising both love and hate. The of the Prologue all the way to that chorus of 200 on the fourth side. choreography a cinematic sweep over the “Dance at the Gym” to contemporize the steps. There were The Jets and the Sharks were not This gave ’s original What bound them all together “Pitch Perfect”) was a Tony/Romeo - - that , that brought more West Side Story mean to you?” The This was a The production involved fifteen he Weill Institute of Carnegie Hall partnered with The Somewhere by Bernstein’s esteemed protégée, esteemed protégée, by Bernstein’s formers learning all the dance steps; from all the boroughs; professional that Carnegie Hall would produce than 10,000 New Yorkers together to explore the question, “What does high schoolers as apprentice per provided a welcome platform for project culminated in an ambitious, youthful performance of the musical a forty piece orchestra conducted arts have been eliminated from the impact their everyday lives. at the Knockdown Center, a convert musical theater? a chorus of 200 high school students Somewhere students to realize how the arts can spoke directly to today’s New York such a contemporary interpretation Marin Alsop. At a time when the Broadway actors and dancers; and Project, a city wide exploration of ed factory in the depths of industrial Queens. Who would have guessed curriculum, The Somewhere Project of of one of the classics of American West Side Story A Ringside Appraisal by Tony Napoli Tony by Appraisal A Ringside T There’s a Place for Us... in Queens in Us... for Place a There’s Conductor Marin Alsop (center) and cast take their bows. Conductor Marin Alsop (center) and cast

Prelude, Fugue & Riffs Spring/Summer 2016 10 SS16_PFR_art(14)CX STUDS.indd 10 Bernstein Through a Jazz Lens

This album features his all-star band, Bochumer Symphoniker, with conductor and arranger Vince Mendoza and singer Janis Siegel of the legendary vocal group, the Manhattan Transfer. Nils Landgren writes: “I have always been a fan of Bernstein, as a musician, as a conductor, as a composer and simply as a person. His music is unique, the way he writes is distinctive, emotional and always so human.”

cclaimed Swedish “The great Leonard Bernstein Aplayer Nils Landgren – known would recognise a kindred as “The Man With The Red Horn” spirit in Nils Landgren, the – together with ACT music, have Swedish trombonist, singer released “Some Other Time,” a new and all-round musical prodigy Bernstein recording of Leonard Bernstein’s who conceived this expansive music. The album features music tribute to him...” Meets from Bernstein stage works West Landgren achieves exactly Side Story, On the Town, MASS and the right blend of classical and Wonderful Town. popular modes. ” Broadway ■ Wins Award On the Town ernstein Meets Broadway: BCollaborative Art in a Time n May 25, 26, 28 and 29, the of War, by Harvard Professor OSan Francisco Symphony and Carol J. Oja, has been awarded Chorus, under the baton of Michael the Music in American Culture Tilson Thomas, will present a semi- Award from the American staged concert version of On The Musicological Society. This Town. With Tyne Daly and David award, first presented in 2009, Garrison as narrators, the cast will each year honors a book of include Clyde Alves (Ozzie), Jay exceptional merit that both illu- Armstrong Johnson (Chip) and Tony minates some important aspect Yazbeck (Gabey), Megan Fairchild of the music of the United States (Ivy), Alysha Umphress (Hildy) and and places that music in a rich Isabel Leonard (Claire) – many of cultural context. whom performed in the acclaimed In her book, Oja chronicles recent Broadway revival. Also join- the earliest professional ing the cast will be Shuler Hensley adventures of Leonard Bernstein, as Pitkin and Sheri Greenawald as Betty Comden, Adolph Green,

Madame Dilly. Ragner Bohlin will and Jerome Robbins by zeroing in Prelude, Fugue & Riffs direct and James Darrah will be the on Fancy Free and On the Town stage director. ■ from 1944. She also explores the work of The Revuers, Comden and Green’s early comedy team, for which Bernstein was an occasional pianist. A central

theme in her book focuses Spring/Summer 2016 on the groundbreaking role of On the Town in the racial desegration of Broadway musicals. ■

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For a complete listing visit: listing For a complete www.leonardbernstein.com CANDIDE (Scottish CANDIDE (Scottish SYMPHONIC DANCES FROM PRELUDE, FUGUE AND RIFFSPRELUDE, FUGUE AND OVERTURE TO CANDIDE, ; Seattle “MAMBO” FROM WEST SIDE THREE DANCE EPISODES FROM

Opera version); Volkstheater Rostock; Rostock; Opera version); Volkstheater Nashville, TN: Vinay Nashville Symphony; WEST SIDE STORY; Parameswaran, conductor; Schermerhorn Symphony Center. Rostock, Germany: Hermann Manfred Johanna Schall, director; Volkstheater. musical director; Lehner, Frankfurt am Main, Germany: Hatfield, UK: Philharmonic Lukas Foss) De Havilland (arr. conductor; West Robin Browning, Orchestra; of Hertfordshire. Auditorium at University Seattle, WA: Symphony; Ludovic Morlot, conductor; Hall. Benaroya Rostock, Germany: Rostock; Opera version); Volkstheater Hermann Manfred Johanna Schall, director; Volkstheater. director; musical Lehner, The Netherlands: , (arranged for two pianos); SIDE STORY Katia Labeque, Marielle Labeque, pianos; Concertgebouw. conductor; BBC Proms; Royal Albert Hall. conductor; BBC Proms; NC: Brevard, Music Center Orchestra; ; Brevard ; JoAnn Falletta, Robert McDuffie, conductor; Whittington-Pfohl Auditorium. SYMPHONIC DANCES FROM WEST Frankfurter Opern and SIDE STORY; conductor; John Axelrod, Museumsorchseter; Alte Oper. Lenox, MA: Music Center ON THE TOWN; Tanglewood Seiji Jacques Lacombe, conductor; Orchestra; Ozawa Hall. London, UK: BBC Philharmonic; Alpesh Chauhan, STORY;

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6, 10 , , July 3 3 8 3, 19 23 23 29 29 10 23,24 ; SERENADE; Euskadi SERENADE; Euskadi SYMPHONIC

SYMPHONIC DANCES SERENADE; Euskadi SYMPHONIC WONDERFUL TOWN SERENADE; Euskadi SERENADE; Euskadi FANCY FREE; Pacific Northwest FANCY Spring/Summer 2016 Principal Theatre. San Sebastian, Spain: Jennifer Koh, violin; Juraj Valcuha, Orchestra; conductor; Kursaal. Berlin, Germany: DANCES FROM WEST SIDE STORY; Berlin; Ivan Fischer, Konzerthausorchester conductor; Konzerthaus. FROM WEST SIDE STORY; Philharmonisches FROM WEST SIDE STORY; Hagen; Kristina Poska, conductor; Orchester Stadthalle. Pamplona, Spain: Jennifer Koh, violin; Juraj Valcuha, Orchestra; conductor; Baluarte. Bilbao, Spain: Jennifer Koh, violin; Juraj Valcuha, Orchestra; Euskalduna Palace. Vitoria, Spain: Jennifer Koh, violin; Juraj Valcuha, Orchestra; (Concert version); WDR Funkhausorchester (Concert version); WDR Funkhausorchester Musical Köln; Students of the Fachbereichs Musical an der Folkwang an der Fachbereichs OlgaHochschule Essen; with Kim Criswell, Listova, Sébastien Lemoine, Zachary Halley, LeRoy Villan; Wayne Vincent Ordenneau, Marshall, conductor; Philharmonie. San Sebastian, Spain: Jennifer Koh, violin; Juraj Valcuha, Orchestra; conductor; Kursaal. Hagen, Germany: Seattle, WA: Marion choreography; Robbins, Ballet; Jerome Olivier McCaw Hall. , Germany: DANCES FROM WEST SIDE STORY Shelley, Alexander Gewandhausorchester; conductor; Gewandhaus. Köln, Germany:

17,19 16 17 14 15 14 13 10 2–4, 9–11 9,10 June

Prelude, Fugue & Riffs Spring/Summer 2016 11 SS16_PFR_art(14)CX STUDS.indd 12 Beyond the Basics:

Supplemental programming ideas for LB at 100.

s the Leonard Bernstein August ACentennial fast approaches, the Leonard Bernstein Office is helping to expand the celebra- 3 Ravinia, IL: SYMPHONIC DANCES FROM tions with an additional resource: WEST SIDE STORY; Chicago Symphony Beyond the Basics: Supplemental Orchestra; Jeffrey Kahne, conductor; Pavillion. Programming for Leonard Bernstein at 100. This thought- 9 Ravinia, IL: SYMPHONY NO. 2: THE AGE provoking new resource is OF ANXIETY; Chicago Symphony Orchestra; designed to supplement Boosey and symposia, including a list of Misha Dichter, piano; Pavillion. & Hawkes’s programming guide, suggested participants. There is 18 London, UK: SYMPHONIC DANCES FROM which lists Bernstein’s composi- information about licensing film WEST SIDE STORY; BBC Concert Orchestra; tions. and television related to Bernstein “Beyond the Basics” includes Keith Lockhart, conductor; BBC Proms; Royal — including West Side Story and all sorts of ideas, from educa- Albert Hall. On The Waterfront, both with tional programs for orchestras, live orchestra. 22 , UK: CHICHESTER PSALMS; to performances for small This guide, as well as other Sao Paulo Symphony Orchestra, Edinburgh venues, cabarets, and Chamber valuable programming informa- Festival Chorus; Marin Alsop, conductor; Ensembles. There is information tion, is available on the Leonard Usher Hall. about less well known works Bernstein website for download. for concert and theater. The Please visit www.leonardbern- resource also suggests ideas stein.com/bernstein-at-100.htm ■ September for pre-concert talks, lectures,

13–15 New York, NY: WEST SIDE STORY FILM WITH LIVE ORCHESTRA; New York Philharmonic; David Newman, conductor; David Geffen Hall. Prelude, Fugue & Riffs will be Managing Editor: Craig Urquhart sent upon request. Please send Editor: Jamie Bernstein October all correspondence to: Design: BorsaWallace, NYC Craig Urquhart Visit our website: Prelude, Fugue & Riffs www.leonardbernstein.com 2 Saalfeld, Germany: CHICHESTER PSALMS; 121 West 27th Street “Like” us on Facebook: Thüringer Symphoniker; Oratorienchor Suite 1104 www.facebook.com Saalfeld; Andreas Marquardt, conductor; New York, NY 10001 Johanneskirche. Fax: (212) 315-0643 e-mail: 18 Berlin, Germany: SYMPHONIC DANCES curquhart@leonard­bernstein.com FROM WEST SIDE STORY; Orchester der Prelude, Fugue & Riffs We appreciate notice of any Deutschen Oper Berlin; ; August 25, 2018 will performances or events featuring Deutsche Oper Berlin. mark the 100th birthday of the music of Leonard Bernstein Leonard Bernstein, and events 30 Darmstadt, Germany: MASS; Konzertchor or honoring his creative life and are already being planned Darmstadt, TU-Chor, Beethoven Akademie we shall do our best to include worldwide. Celebrations kick

Orchester Krakau; Kirsten Uttendorf, director; such information in forthcoming off on August 25, 2017 (the Spring/Summer 2016 Wolfgang Seeliger, conductor; Darmstadtium. calendars. ® start of Bernstein’s 100th year), Prelude, Fugue & Riffs is and run through the 2018-19 a publication of The Leonard season. The Leonard Bernstein Bernstein Office, Inc. Office is interested in hearing ©2016 by The Leonard your plans and assisting you to Bernstein Office, Inc. help make them successful. 12

SS16_PFR_art(14)CX STUDS.indd 13 5/13/16 1:25 PM PRESORTED STANDARD U.S. POSTAGE PAID NEWARK, NJ PERMIT NO. 625 121 West 27th Street Suite 1104 New York, NY 10001

Printed on recycled paper

Leonard Bernstein Collection: Volume 2

eutsche Grammophon has This 64 CD set includes Orchestras represented are Dreleased the second volume of Bernstein’s complete recordings of the Bavarian Radio Symphony Leonard Bernstein’s complete recorded Mahler, and works by Mendelssohn, Orchestra, Israel Philharmonic, legacy. This original-jackets collection Mozart, Schubert, Schumann, New York Philharmonic, Orchestre comes in an LP-size box with a deluxe Shostakovitch, Sibelius, R. Strauss, National de France, The Royal book featuring a welcome by Jamie Stravinsky, and Tchaikovsky – as Concertgebouw Orchestra, Santa Bernstein, essays by Nigel Simeone well as Puccini’s La Boheme and Cecilia Orchestra and the Vienna and Michael Gray, and synopses of La Wagner’s , both Philharmonic. Also included are Boheme and Tristan und Isolde. operas in their entirety. Bernstein’s indelible performance of Ravel’s in G with the Vienna Philharmonic, and Bernstein’s early Decca recordings from 1953. A bonus CD of selections from Bernstein’s own Fancy Free and On the Town rounds out the collection. In her introduction, Jamie Bernstein writes: “Herein reside some of the most exalted examples of human harmo- ny that can be found anywhere on this earth.” ■

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