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News for Friends of Fall/Winter 2020/2021

BOB CATO ©SONY MUSIC ENTERTAINMENT Celebrating Beethoven and Bernstein

2 L(v)B 7 New York and 14 From the Archives Inside... 4 Artful Learning 8 Bernstein Breathes Beethoven 18 In the News 6 10 LB & the United Nations Young Young conduct- Young Young public, tele- . These 15.5%) ~ programmed in The Unanswered Ford Presents Ford programs Beethoven’s music, in some A fervent communicator, Of the roughly 3,677 Throughout the 20th century, the Boston House as a young and six decades boy, later he vised, and recorded performances Bernstein conducted over nearly 50 years, shape or form, was at of least them 571 ( events took place cities in in 124 20 countries (32% outside the ) with 49 (43% with Philharmonic) his beloved New York and more soloists. than He 100 recorded a catalog of 80 individual Beethoven works that were accom- panied by dozens of introductions, lectures, and musical analyses. Bernstein repeatedly turned to Beethoven to help him convey his most passionate ideas about music, especially on cite television. but To a few examples, nine of his ed the Seventh in his fi nal concert ed the Seventh in his fi with at the Tanglewood Boston Symphony on August 14, exactly two 1990, months before his death. His musical responses to sorrow (memorials for mentors, colleagues, and heads of state) and jubilation (new administrations, concert hall inaugurations, the of Fall the were, almost Wall) always, Beethoven. ’s Concerts People with the included Beethoven, cally celebrated him; and two specifi four of his featured Beethoven—including Bernstein in Berlin, which was recorded two years before the Wall was built; and Episode 3, “Musical from Semantics,” Question: at Six HarvardTalks fea- tured an analysis and performance of the Sixth, all of which was subse- quently broadcast on PBS. Bernstein’s combined quests to untangle Beethoven’s dense oeuvre and make it comprehensible for a modern public led to his uncovering countless ground-breaking obser- vations. To Bernstein, Beethoven stood for many things, but most cantly for Bernstein, Beethoven signifi expressed democratic idealism in its most profound sense. On his n the morning of a 1954, November 14, young, 36-year- breezy, old conductor named ’s Concert People Young This groundbreaking, prime- rst television pro- Bernstein’s fi by Jacobby Slattery O Leonard Bernstein was preparing to rst-ever music lecture deliver the fi broadcast on live television with a full symphony orchestra, the Symphony of the He Air. had only conducted ve public concerts that year—a little fi over a decade past his historic debut Philharmonic— with the New York choosing instead to compose three major works of his own: a concerto, a Broadway-bound oper- eleven lm score. Now, etta, and a fi years to the day after his historic debut with the New York Philharmonic, the lights were beam- ing down on a monstrous score paint- oor ofTelevision the CBS ed on the fl Network studio. Bernstein began: are “We going to try a curious exper- iment here today—one that perhaps has never been tried before.” time musical exploration was only the initial scratch on the surface of Bernstein’s lifelong quest to solve the shag- grubby, mystery of why “one gy-headed little man should have been chosen to wallop the galaxies with his This attempt to diminutize music”. the grizzly composer was decidedly tongue-in-cheek, because the truth was that ruled Bernstein’s life. rst gram was about Beethoven; the fi rst book was “Why chapter of his fi Beethoven?”; his international con- ducting debut featured Beethoven; rst public performance as his fi music director of the New York Philharmonic ended with Beethoven. rst television appearance, In his fi rst he conducted the Ninth; his fi televised Philharmonic with the New York rst major included Beethoven; his fi project after leaving the New York Philharmonic was a production of Fidelio. Beethoven even formed the frame of Bernstein’s musical career: rst heard Beethoven’s music (the he fi Seventh) from the second balcony in So You Think You Know L(v)B? Know You Think You So ■ it all. J.B. play end- to enjoy Artful Learning Artful Learning’s strat- Cover of Columbia

Songfest revealed the intense share knowledge and a few precious live performances

s we wend our way through the pandemic, with its manifold depri- Although Bernstein would have been Despite our general inability to con- As for the results of the November Bernstein’s educational legacy is pro-

woefully inept at social distancing, we think he would actually have enjoyed being stuck at home, surrounded by books, music, and family members with whom to gregate, of Bernstein’s own music have been able to take place. In Berlin, Germany, a scaled-down, socially distant perfor- mance of relevance of that work to today’s world; its exuberant celebration of diversity feels utterly contemporary. model, inspired by Bernstein’s philos- ophies about education, has sprung to exibility in moving the fore through its fl creativity-based approaches online. Teachers and parents alike have been deeply grateful for egies to engage housebound students. election: we’re pretty sure we can hear his galactic sigh of relief, all the way down here. viding another silver lining during these pandemic times. The vations and sorrows, we can fi nd a few vations and sorrows, we can fi silver linings of comfort—and one of the silveriest is surely music. Even with pre- nd- cious little live performance, we’re fi ing ways to celebrate Beethoven’s 250th birthday. Recordings, streaming, and radio are always close at hand—and as a lifelong proponent of Beethoven’s music, Leonard Bernstein offers a rich trove of contributions. This issue explores his life- long obsession with the composer who had the power to “wallop the galaxies,” as Bernstein himself put it. less word games—and for once, he would have had the luxury of time Masterworks LP MS 7414; Bernstein Masterworks LP MS 7414; conducts Beethoven—Symphony No. 7; Released February 24, 1970 Photography by Bob Cato Design by Ron Coro ©Sony Music Entertainment On the cover: A

Prelude, Fugue & Riffs Fall/Winter 2020/2021 2 Prelude, Fugue & Riffs Fall/Winter 2020/2021 3 4 5 60 Op. 21 Op. 55 Op. ajor, ajor, B-fl at Major, B-fl Minor Op. 67 in E-fl at Major, in E-fl in Symphony No. Symphony No. 2 Symphony No. 3 Symphony No. Symphony No. 1 in C in C M in D Op. Major, 36 below are a few (continued on page 12) Bernstein’s Bernstein’s approach to Beethoven is so complex that it would take an entire book to capture the whole picture, so highlights and stats that may help to illuminate Bernstein’s love for conducting the music of that “shag- gy-headed little man”. that single year, we can detect how Bernstein’s ect- perception about Beethoven refl icts in his own soul: for ed the confl he spent his entire professional life trying to strike the balance between his opposing impulses to compose or conduct. The Waterfront was nominated for an Academy Award. In just On 92 68 93 6 8 7 9 Op.

Major,

Major, F Op. Major, Major, F Op. Major, A D Minor, D Op. Minor, 125

Symphony No. in Symphony No. in Symphony No. in Symphony No. in

ernstein conducted all Nine of Beethoven’s Symphonies throughout his life. Our data set public includes 341 concerts, recordings, and televised concerts of the symphonies, including a few key performances of individual move-

A Look at the Numbers the at A Look television, Bernstein’s score to Beethoven’s Fifth Symphony changed 1954, the year that his exploration of and the gift of choosing wisely.” In combining the right to choose freely, democracy, freedom is a discipline, Bernstein said: “In Beethoven, as in Philharmonic “Forever Beethoven”, ’s Concert People with the New York . Bernstein Arturo favored Toscanini. the Seventh (at least 84 in our database), while conducting the First only eight times. ments, like a January performance 20, from of 1957 the the Third “Marcia Symphony Funebre” in memory of

B Symphonies Conducted by Leonard Bernstein Beethoven Symphonies Conducted by Leonard So You Think You Know L(v)B? Know You Think You So Artful Learning Steps into the Future

by Patrick Bolek using the now-ubiquitous Zoom back for any technical glitches inhibiting in 2017, to take advantage of its many a smooth presentation. We created he past eight months have been sharing features and high-defi nition new systems for supporting schools Tsimultaneously daunting and quality. Pivoting to that platform 100% remotely that, in the years invigorating for the Artful Learning during the pandemic was therefore ahead, will continue in tandem with model. Every summer for the instantaneous, without any lapse in the traditional professional develop- past twenty years, teams of Artful service to our schools. ment training method. Emergent, Learning Trainers would traverse the The challenging but exciting Advanced, Master, and Distinguished country, teaching educators how to endeavor before us this year was to Trainers all contributed their invalu- integrate the arts and the spirit of cre- reimagine how to deliver summer able expertise and thinking. Some of ativity across the curriculum. On-site training and subsequent follow-up our innovations include: training would continue throughout sessions—all of which had relied > “Modular tracks” that allow for the academic year, providing coach- entirely on a physical presence at a simultaneous, synchronous training ing and support to emergent Artful school space. Maintaining our unique for all Artful Learning educators: Learning Schools. This year, however, level of customization while build- from inductees to advanced advo- as was true for so many organizations, ing enduring relationships—these cates of the model, as well as for visu- safe and responsible travel came to a remained the essential components in al and performing arts specialists. halt in mid-March, leaving the Artful our redesign. We harnessed new and > Continued leadership training with Learning trainers no other option but emerging technologies to develop expanded bi-weekly support. to conduct service remotely. fresh pathways for evolving the Artful > An online library of recorded arts- Artful Learning has used remote Learning training. based skills and strategies demonstra- technology for over a decade: both Educators in the fi eld were gener- tions, available for Artful Learning’s internally, with project management ous with their fi ndings of how Artful Emergent and Legacy Schools. platforms to work with a cadre of Learning was working with distance > The addition and inclusion of four national and international trainers; learning. There were three crucial Artful Learning Trainers previously and externally, with public schools months of planning, prototyping, and unable to travel due to pregnancies, through Google. Our team began beta-testing our ideas to compensate recent births, nurs-ing, and childcare

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4 Artful Learning Steps into the Future

responsibilities; they are now easily All of our schools have adapted to Patrick Bolek serves as the Executive part of every team. the ever-changing variables of the pan- Director of Artful Learning, Inc., and > The debut of a three-part IGTV demic. Whether they are entirely back welcomes your conversation about (Instagram TV) broadcast with with students, hybrid, or remote, becoming an Artful Learning School, Distinguished Trainer Ann Ott- teachers committed to the Artful as well as how your donations can Cooper demonstrating the arts-based Learning model have found new continue to support this vital work skill and strategy of Grid Drawing. ways to shape their units of study. during the pandemic. Please reach > A free and ongoing monthly Zoom Nicole Chavira, a 3rd Grade teacher out to [email protected]. Show in November to any of our at Meadow View Elementary School schools and social media followers, in Castle Rock, Colorado, was wor- Our newest team member, David demonstrating successes in Artful ried about effectively reaching all her Jeffers, Project Coordinator—can be Learning programs nationwide. students remotely. She found that the reached at [email protected]. Despite being grounded, we used old ways of teaching from prescribed this time as an opportunity to delve mandates were now unacceptable; into ten years of media archives, instead, she developed a new school 1) Team Artful Learning collaborating this summer cataloguing pictures and movies schedule, putting Artful Learning at on adapted training modules. 2) Artful Learning while connecting with schools for the forefront. Nicole wrote, “Artful Google Site provides everything a school needs to learn and use strategies with students for interviews to recount their unit design Learning is the missing puzzle-piece 100% in-person, hybrid, and remote learning. journeys and outcomes. By develop- for student engagement!” We could 3) Reimagined, COVID-19-proof, Artful Learning ing stories for Insta-gram, Twitter, not agree more. remote summer training. 4) Grid Drawing strategy and our Blog—many with never-be- taught from Portland, Oregon with each square fore-seen content—we were able to realized by 48 remote educators in Lansing, showcase the incredible work of our For the most recent and ongoing Michigan (2,300 miles away) using proportion, inventive network of educators who developments with Artful Learning, ratio, and just eight crayons. 5) 40 teachers use the Artful Learning model. Our click the hyperlinks in this article, and choreographed and performed an original dance— combined social media audiences please follow us on Instagram and remotely —across hundreds of miles to Leonard have increased 561% since May. Twitter @artfullearning ■ Bernstein’s “Something’s Coming.”

ALL IMAGES COURTESY ARTFUL LEARNING, INC.

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(Click to View) Prelude, Fugue & Riffs Fall/Winter 2020/2021 Fall/Winter

5 Bernstein and Beethoven’s Fidelio © LIBRARY OF CONGRESS and James King—Bernstein was reaffirmed as the great Beethoven master, one who seemed to become Beethoven when he conducted. His one studio recording, howev- er, comes from eight years later and with an entirely different cast. Much had happened in Bernstein’s life between 1970 and 1978 and so when he returned to Vienna and Fidelio for a new production of the opera, and the video cameras were ready to preserve the great alliance of two adopted sons of Vienna: Beethoven and Bernstein. For the studio recording—as opposed to the video recording— DGG added a certain cachet by casting Dietrich Fischer-Dieskau, in the deus ex machina role of Don Fernando in the opera’s final scene (and listing him first on the back cover of the original 3-LP release). By the end of his first sentence, Fischer- Dieskau demonstrates why he was the greatest Lieder singer of his age. Bernstein by John Mauceri be the greatest composer of all time, And in spite of what the New York conducts a someone who “never lets you down.” rehearsal critics thought of “Lenny,” DGG set- hen we think of Leonard For a conductor as dramatic and of Fidelio in tled that contretemps with its cover WBernstein as a conductor of transformative as Bernstein, it is Vienna. design: “Beethoven—Bernstein” in European , we prob- particularly illuminating to revisit equal billing above the title of the ably all think of first how he interpreted Beethoven’s one opera. and foremost. It was his championing and only opera, Fidelio. Bernstein What, then, was this magical of Mahler in New York and Vienna first conducted it in January potion? What did Bernstein actual- that is inexorably linked to the 1970 (in concert) with the New ly “do” that no one had ever done legacy of Leonard Bernstein. After York Philharmonic to honor the before, at least in audio-recorded that, it would have to be Beethoven. Beethoven bicentennial year. He history? Bernstein did in fact feel like Bernstein was on record—in his writ- chose to cast it with students from he was the composer of every work ings, interviews, and television broad- the of Music, which he conducted, and since conductors casts—as considering Beethoven to had just moved to . are translators, he felt no pangs of He had already agreed to conduct conscience to apply his feelings onto the opera at the Vienna Festival later the music he was performing, with that year, and it did not go without his unique mixture of scholarship, notice that this looked suspiciously improvisation, and, to his detractors,

Prelude, Fugue & Riffs like an out-of-town try-out, except exaggeration and manipulation. In the town was Vienna and the try-out addition, he always wanted to teach was in New York—and with students us what he felt and knew. He was as an apparent insurance policy like a docent in a great museum, pre- against bad reviews. Those were the paring you for the next masterpiece toxic days for Bernstein and the New on the wall and showing you how to

York music critics—and they did not Fall/Winter 2020/2021 Fall/Winter experience it. spare him. Unlike paintings, music is Vienna was an entirely differ- invisible. Therefore he “explained” ent experience. Performed at the music’s meaning by using tempo fluc- Theater an der Wien, where Fidelio tuations and pinpointing orchestral had its world premiere in 1805—and details with shifting dynamics and with a cast headed by Gwyneth Jones (continued on page 17) 6 New York and Vienna Assessing Bernstein’s Beethoven Cycles COURTESY NEW YORK PHILHARMONIC ARCHIVES COURTESY by Richard Evidon surprisingly, there seems never to have been a critical consensus about eethoven, of all composers, the two sets. “Bis the most ‘interpretable.’” When asked, the conductor him- Thus wrote Leonard Bernstein in self declined to judge his two cycles’ a letter to the Viennese music crit- respective merits and demerits, ic Franz Endler in 1970, roughly except to express some disappoint- midway between the conductor’s ment on rehearing the New York two recorded traversals of the version of the Fifth Symphony. Or, Nine Symphonies. The New York at least, some disappointment with Philharmonic studio cycle, made its first movement, where he thought for Columbia at Center the motto’s eighth notes weren’t around the time of live performances, sufficiently detached and needed to was begun in September 1961 with be “really agitated and staccato”: “It the Fifth Symphony and concluded was too sung and Brahmsian—I don't in May 1964 with the Seventh and really know what I was getting at.” Ninth. Released in a market teeming The distinguished American with other new cycles of the “Nine”, critic Robert C. Marsh, writing the American dynamo’s Beethoven in High Fidelity about the first LP confronted the more “cultured” read- release, seemed to know: “The ings of “Old World” authorities like Beethoven Fifth wants some breadth Karajan, Klemperer, Walter, and Szell. of phrase, a touch of rhetoric, and The a sense of majesty. Bernstein takes cycle was recorded by Deutsche this approach, and I find the results Grammophon at live concerts in the wonderfully convincing. Unlike Musikverein, again beginning with many German conductors who strive the Fifth, in May 1977. The other for these effects, Bernstein never symphonies followed the next year, bogs down. The line is always firm, with the essential outer-movement Bernstein begins except for the Ninth, which waited the meter clear, and the thrust of the exposition repeats, it makes a ter- his tenure as until September 1979, with the venue phrase evident.” rific impact in both versions. The Musical Director conducting moved to the Staatsoper. For each Both Sony and Deutsche movement timings, as with many of Beethoven symphony, two or three concerts Grammophon have reissued their the other symphonies, hardly vary Symphony No.7. provided a master tape, followed respective Bernstein cycles for the between one cycle and the other. (So by a brief “patching session” (with Beethoven anniversary year in state- much for the allegation that Lenny’s audience still present) to tidy up of-the-art 24-bit remasterings. Sony’s Beethoven got slower.) There is that blemishes. is an improvement over its attempt a “animal ferocity and vitality” which If Beethoven’s symphonies really decade ago; DG’s is augmented by a one critic found throughout his are more “interpretable” than oth- surround-sound Blu-ray Audio disc collaborations with the New York ers—Bernstein was referring specif- and transcripts of the conductor’s orchestra in the 1950s and 60s. The ically to a “simplicity of thought so TV introduction; and don’t forget Vienna Fifth leaves an even stronger basic, so believed-in, so elemental the unpatched, live Vienna perfor- impression. While the first move- that it necessarily invites interpreta- mances on DVD. So, this is a good ment eighth notes aren’t much more tion”—his own readings have proved time for general reassessment. agitated or staccato than before, and comparably “interpretable”. Not To start with the Fifth, graced the inner movements are more overt- ly expressive (not necessarily always

to their benefit), the finale—uplifted Prelude, Fugue & Riffs by fabulous doubled Vienna brass—is simply electrifying. Watch and listen to it on DVD if you can. Turning to the “Eroica”: the 1964 New York performance still feels like

an exuberant young man’s reading. 2020/2021 Fall/Winter It was criticized by High Fidelity on its first release for untidiness and unsteadiness in the inner move- ments, but many commentators still prefer it to the Vienna remake. (continued on page 16) 7 COURTESY UNITEL - - Bernstein conducted these con Gould in the ‘60s, late 1950s/early followed by the Third and Fifth with shortly He thereafter. later recorded the final three with and the Vienna Philharmonic toward the end of his life. They intended to play the cycle but Bernstein died before finishing and Zimerman led the first two from the keyboard. Other gems are a 1966 He is a person who makes music with And as total a honesty. result of this honesty…each work sounds as if it had just been written.” certi throughout his career with the century’s finest including Artur Rubinstein, , Rudolf Serkin, Lee Luvisi, , , Claude Frank, , , and Krystian Zimerman. He left an assort ment of recordings spanning more than three decades from 1957-1989. Philharmonic, With the New York he first recorded the Second, Third, and concertos Fourth with Glenn

-

Polish Polish Krystian Zimerman, honest playful inner child combined with the wisdom of experience. who recorded Beethoven’s final three concertos with Bernstein and the Vienna Philharmonic said of the maestro, “He is perhaps the person who has been most successful at integrating his life into his music. Everything he experiences is imme diately reflected in the evening’s concert. Each concert was different. The experiences, the little things that influence our lives could immediately be found in the music. Here I rate the honesty of the message highest of all. - - - - - n upside to many months at home is the boundless space to “I was struck by one consistent one by struck was “I was a spontaneous and sincere musi cianship, completely connected to an ious pianists of Beethoven’s piano concertos. As I spent many evenings reviewing and absorbing these perfor mances, I was struck by one consis tent feeling—that I was experiencing these familiar works for the very first time. A binding thread common to all A delve deeper into recordings of famil iar warhorses—specifically Leonard Bernstein’s lifelong survey with var by Michael Brown

Krystian Krystian

Bernstein

Zimerman Zimerman familiar works for the very first time.” first very the for works familiar

the Vienna the Vienna feeling—that I was experiencing these and Leonard and Leonard perform with perform with

Philharmonic.

Bernstein Breathes Beethoven Concertos Piano Beethoven’s Legacy of Bernstein’s Leonard into A Look

Prelude, Fugue & Riffs Fall/Winter 2020/2021 8

DON HUNSTEIN ©SONY MUSIC recording of the Third Concerto with like precision. Both of these perfor- Wilhelm Kempff and the New York mances sound like a different piece of Philharmonic and a 1976 performance music, each inhabiting its own sense of Claudio Arrau playing the Fourth of truth and emotion. with the Bavarian Radio Symphony Three Bernstein/NYPhilharmonic Orchestra. Last but not least are two renditions of the Third Concerto performances of First Concerto with exist between 1959-1966—Gould the New York Philharmonic (1960) (1959), Serkin (1964), and Kempff and the Vienna Philharmonic (1970), (1966). Bernstein truly embraces his with Bernstein leading from the key- soloists—conversing and breathing board. with them. Gould’s performance of Compare a few phrases of the the first movement is more ponder- Fourth Concerto with Glenn Gould ous and brooding than Serkin’s, the (1961, New York Philharmonic) and latter highlights the con brio virtuosic Krystian Zimerman, (1989, Vienna nature of the movement. Bernstein Philharmonic). Gould has an improvi- reflects Serkin’s sparkle and breathless satory approach in the performance— perkiness. Gould, however, lingers take note of his opening solo, with his and reflects, creating each note spon- unusual rolling of chords combined taneously. Bernstein leans in and pro- with a complete sense of freedom. vides a spacious world in which Gould formance fearlessly embraces humor, Above: Bernstein enters with the orchestra shines. Kempff’s rendition, a live tenderness, and drama. I can envision Glenn Gould feeding off of Gould’s sublimity—let- performance from 1966, has a wistful Bernstein’s inimitable smile while lis- with Leonard Bernstein. ting the introduction unfold patiently lyricism and spontaneity. His singing tening and I hear in his performance with a broad universal scope and sense combined with Bernstein’s a boyish charm, innocence, and eroti- Below: a rounded string sound. Listen to dramatic flair creates a refreshing cism all at once. In the opening piano Leonard how the Vienna Philharmonic plays and intimate look at this concerto. phrase, Bernstein melts the notes Bernstein with this with Zimerman from 1989—the In looking at Zimerman/Vienna together with supple hands caressing Rudolf Serkin. intensely fast vibrato in the strings Philharmonic from 1989, I was again the keys with a suave legato. In the melts the intervals together which struck by the wailing quality Bernstein video with the Vienna Philharmonic, sounds like crying. Continuing on gets out of the string section—a pain- Bernstein creates a spaciousness filled here, I couldn’t believe the world ful, direct, and impassioned reading with patience and longing. He and of difference in the openings of the by someone who has really lived. the musicians suspend time as they second movement. Gould places Lastly, two performances of linger and squeeze depth out of every universal importance on every sonic Bernstein play/conducting the note. The performance has a youthful creation, with Bernstein echoing that First Concerto with the New York vitality combined with the wisdom of spirit. Contrastingly, Zimerman and Philharmonic (1960) and the Vienna experience. It’s hard not to tear up at the VPO have a swiftness and tight- Philharmonic (1970) took my breath the duet between the clarinet and the ness of the rhythm, along with a laser- away. In the earlier recording, the per- piano near the end of the slow move- ment. With both performances, I

DON HUNSTEIN ©SONY MUSIC thought to myself that I’m hearing this work for the first time. ■

Michael Brown is a pianist-composer who has been hailed by as “one of the leading

figures in the current renaissance Prelude, Fugue & Riffs of performer-composers.” Winner of the Emerging Artist Award from Lincoln Center and an Avery Fisher Career Grant, Brown has performed extensively in major venues through-

out the world and was recently the 2020/2021 Fall/Winter Composer-in-Residence for the New Haven Symphony. An artist of the Society of Lincoln Center, he lives in NYC with his two Steinway D’s Octavia and Daria.

9 COURTEST OF THE NEW YORK PHILHARMONIC DIGITAL ARCHIVES Fidelio. It Nine years later, in his fi rst year Nine years in later, his fi This concert was the second time as Music Director of the New York Philharmonic, Bernstein conducted the orchestra in Human the 1958 Rights AnniversaryDay Tenth con- cert, this time at the United Nations General Assembly Hall. Bernstein began the program with Leonore Overture No 3, the most famous of the four overtures Beethoven com- posed for his only opera, was an appropriate choice for the occasion, as the story of the opera describes a heroic struggle for free- dom. The performance concluded ev’s Fifth Symphony, with Prokofi tting work for the occasion, another fi ev composed the work in as Prokofi amidst the 1944 turbulence of WWII. He stated at the time that he intended hymn to free the and work happyas “a Man, to his mighty powers, his pure and noble spirit.” in just over a month that Bernstein had contributed his talents to the UN. In November Bernstein of 1958, won wide acclaim for his perfor- mances with the Lamoureux Concert Association Orchestra, marking the dedication of the new headquar- tion of the Universal Declaration of Human Rights: a milestone document proclaiming the inalienable rights to which everyone is inherently entitled as a human being. The concert includ- ed an address by Eleanor Roosevelt, rst chair of the UN Commission fi on Human Rights, in which she rmed“will that the Declaration affi be one of the foundations on which the peoples of the world may build by NBC, Televised the peace.” con- rsts: cert marked many historical fi rst television appearance, Bernstein’s fi rst the Boston Symphony Orchestra’s fi rst pro- television broadcast, and the fi gram to be televised from . The program began with the world premiere of ’s with Sir Laurence Olivier“Preamble” narrating text from the Universal Declaration of Human Rights. Bernstein also performed Ravel’s in G, conducting from the piano, and led soloists Irma Gonzalez (soprano), Elena Nikolaidi (mezzo), Raoul Jobin (tenor), (bass), and the Collegiate Chorale in the monumental “Ode to Joy” from Beethoven’s Symphony No. 9. in marks the 75th Anniversary of the A lifelong humanitarian, Leonard Bernstein’s engagement with the United United Nations, founded in 1945 to support international collective action to realize peace, development, and human rights for all. Its Charter gives the United Nations the power to take action on many global issues, including security and peace, climate change, human rights, nuclear dis- armament, humanitarian and health emergencies, and so much more. Bernstein was continually involved with the most pressing social issues of often aligning his himself day, with the work the UN was established to do. Over multiple decades, he conducted several UN-related concerts and celebration of United Nations Day on October 24th and Human Rights Day on December 10th. United Nations began on December when he 1949, conducted 10, the Boston Symphony Orchestra at Carnegie Hall, in celebration of the one-year anniversary of the United ca- Nations General Assembly’s ratifi by Heatherby Wallace 2020 Missa Missa 1955.

Leonard Leonard Bernstein on United on United

Nations Day, Nations Day, Philharmonic Philharmonic the New York the New York with Solemnis with

conducts Leonard Bernstein and the United Nations United the and Bernstein Leonard

Fall/Winter 2020/2021

Prelude, Fugue & Riffs 10 Prelude, Fugue & Riffs Fall/Winter 2020/2021 11 COURTESY OF THE NEW YORK PHILHARMONIC DIGITAL ARCHIVES , Emil Gilels, Leonard Bernstein, and Sir between for rehearsals the 1955 UN Concert. ■ Second Essay Unanswered Unanswered Romeo and Juliet. The CBS Between these two momentous Human Rights Day continues to Heather Wallace is Heather the Wallace Digital Media and Promotions Manager at the ce. Leonard Bernstein Offi Symphony would continue to be a means for Bernstein to communicate most notably in unity, the historic per- formance in Berlin to celebrate the fall of the Berlin Wall. performances, Bernstein, early in his tenure as Music Director of the Philharmonic, dedicated a New York subscription concert on October 24, to United Nations 1959, Day on the anniversary 14th of the founding of the UN. The concert, held at Carnegie Hall, included Barber’s for Orchestra, Ives’s Question, Stravinsky’s Concerto for Piano and Wind Orchestra with soloist , and Berlioz’s radio-broadcast of the concert includ- ed an address by Ambassador Henry Cabot Lodge. be celebrated every year on December celebrating signing the 10th, of 1948 the Universal Declaration of Human Rights. in Available more than 500 lan- guages, it is the most translated docu- ment in the mark world. their To 75th the United Anniversary, Nations has launched the UN75 initiative, seeking to spark dialogue and action building on the founding principles of realizing peace and human rights for all. For more information, visit UN.org. Voices for Voices Missa Solemnis, The New York Philharmonic The New York for which the Philharmonic was joined by Schola Cantorum and solo- ists Adele Addison (soprano), (mezzo), Ernest McChesney (tenor), and Norman Scott (bari- tone). The concert was televised by of the WOR-TV Mutual Broadcasting Network and broadcast by WQXR and WNYC. returned to the UN General Assembly Hall for a concert celebrating the 20th Anniversary on of October UN Day, the For occasion, 24, the1965. Secretary-General invited the eminent British composer to compose a work. Britten’s , an Anthem Today for Chorus (men, women, and children), received its premiere at this and two other con- certs held simultaneously by ensem- bles in London and Russian Paris. composer was also asked to compose a piece for the event; however due to ill- ness, he was unable to complete it. Bernstein, instead, chose to program Shostakovich’s Ninth Symphony, which the Philharmonic was prepar- ing for upcoming concerts. Choosing to end the program once again with Bernstein Beethoven’s “Ode to Joy,” enlisted soloists Martina Arroyo (soprano), (mezzo), (tenor), and Justino Diaz (bass), as well as Schola Cantorum. With its rousing message of universal brotherhood, Beethoven’s Ninth with the “Kyrie” and“Gloria” from and“Gloria” with the “Kyrie” Beethoven’s grand Leonard Bernstein, with the March composed for cor- the 1937 Resnick, and Jon Vickers. Ross, Martina Arroyo, Leonard Bernstein, Secretary-General U Thant, Regina Bernstein, U Thant, Regina Leonard Secretary-General Ross, Martina Arroyo, At a reception following the 1965 UN Day Concert (left to right): Hugh following the 1965 UN Day Concert (left to right): Hugh At a reception the United States. The program ended ty-four years to make a concert tour of was the fi rst Soviet artist in twen- was the fi with Russian pianist Emil Gilels, who Tchaikovsky’s First Piano Tchaikovsky’s Concerto Maza of , Bernstein conducted of the United Nations, and Jose Hammarskjöld, Secretary-General Elizabeth. Following Elizabeth. addresses Following by Dag his onation of King George VI and Queen with Sir William Walton with conducting Sir William Walton UN Secretariat. The program opened eminent guests, and members of the delegates to the General Assembly, the General Assembly were fi lled with the General Assembly were fi the Philharmonic, and the seats of speaker’s rostrum to accommodate was added to what is normally the Assembly Hall. A broad apron stage ance at the United Nations General York Philharmonic’s fi rst appear- Philharmonic’s fi York Tenth Anniversary, was Anniversary, the New Tenth 24, 1955, concert, 24, marking 1955, the UN’s founding of the UN. Their October two important anniversaries of the New York Philharmonic, marked New York Columbia Records. by Gustav Mahler was recorded by Hall. Their performance of Lieder at Lincoln Center’s Philharmonic special benefi tconcert for UNICEF special benefi tone Dietrich Fischer-Dieskau at a and in 1968, and he in accompanied 1968, bari- Nations Children’s Fund (UNICEF), also supported the work of the United Organization (UNESCO). Bernstein Educational, Scientifi c, and Cultural Educational, Scientifi ters in of Paris the United Nations COURTESY OF THE UN AUDIO VISUAL LIBRARY ) New York, NY 3 in E-fl at Major, 3 in E-fl erformance as P No. Movement III. irector of the D ublic P usic M New York Philharmonic Ground-breaking of Lincoln Center Philharmonic New York NY Lincoln Center; New York, Egmont Overture, Op. 84 OCTOBER 2, 1958 First Philharmonic, New York NY Carnegie Hall; New York, Op. 92 Symphony # 7 in A Major, MAY 14, 1959 In memoriam: SEPTEMBER 16, 1989 Wiener Philharmoniker Grosser Musikvereinssaal; Vienna, String Quartet No. 16 in F Major, Op. 135— Dedicated to Marc Blitzstein 1964 23, JANUARY New York Philharmonic Philharmonic Hall; Symphony Op, 55. continued from page 3 page from continued ( Lenox, MA, Opening of the Mann Auditorium Israel Philharmonic Auditorium; R. Mann Frederic Israel Aviv, Tel Piano Concerto No. 5 in E Major, Op. 73; Rudolf Serkin, piano. JULY 19,1944 International Conducting Debut Symphonique de Montreal Orchestre Chalet de la Montagne; Montreal Egmont Overture, Op. 84 OCTOBER 2, 1957 Tel Aviv, Israel New York, NY Arturo Toscanini Movement II. Marcia funebre. Koussevitzky Memorial Concert AUGUST 5, 1955 Boston Symphony Orchestra Koussevitzky Music Shed; Missa Solemnis in D Major, Op. 123. Special concert dedicated to the mem- ory of Maestro Serge Koussevitzky OCTOBER 31, 1953 Israel Philharmonic Ohel-Shem Hall; at Major, Symphony No. 3 in E-fl Op. 55. New York Philharmonic Carnegie Hall; at Major, Op. Symphony No. 3 in E-fl 55— In memoriam: 20, 1957 JANUARY

ernstein is often remembered today as a “Mahler Conductor” because he championed the Austrian compos- er’s music internationally throughout the including 20th the century, historic televised performance of the ach of these performances has an elaborate and fascinating story E and history, but and here history, is just a tasting of places where LB chose LvB. “Resurrection” Symphony “Resurrection” following Bernstein the However, per- assassination Kennedy in of 1963. President John F. formed Beethoven equally as often to memorialize his fallen mentors and colleagues, including these notable events: Bernstein Performs Beethoven to Honor Mentors and Colleagues Beethoven to Honor Mentors Bernstein Performs B

Major performances throughthroughperformances performances Major Major the the decades... decades... So you think you know L(v)B? know you think you So

Fall/Winter 2020/2021

Prelude, Fugue & Riffs 12 (continued from page 3) ernstein overwhelmingly favored Beethoven Piano Concerti Conducted by Leonard Bernstein So you think you know L(v)B? Bprogramming Beethoven’s First Piano Concerto, which he enjoyed Piano Concerto No. 5 conducting from the piano; he did in E Major, Op. 73 so nearly 100 times. He wrote to his beloved lifelong secretary, Helen Coates, in 1948, after performing Piano Concerto the First Concerto with Orchestre No. 4 in G Major, National de in Paris: “I came Op. 58 to the Beethoven concerto and the old thing happened with my fi ngers— they went dead. I played horribly. I was terribly depressed, of course, especially as everyone insisted it was Piano Concerto Piano Concerto so good.” He conducted the piano No. 3 in C Minor, No. 1 in C Major, concerti throughout his career with Op. 37 Op. 15 some of the leading pianists of the day including Artur Rubinstein, Rudolf Serkin, Lee Luvisi, Eugene Istomin, Jorge Bolet, Claude Frank, Wilhelm Kempff, and Claudio Arrau. Piano Concerto No. 2 in B-fl at Major, Op. 19

Beethhoven Piano Concerto Soloists, Conducted by Leonard Bernstein

Jacob Slattery is a musician, writer, and arts crusader based in . He founded the Orpheus Bureau in 2019 to promote the sound of the Americas and works to uplift com- posers, conductors, and orchestras at the forefront of creating real change, including Leonard Bernstein, Dave Brubeck, , and the New York Philharmonic.

Major performances through the decades... SEPTEMBER 23, 1962 MAY 18, 1976 OCTOBER 22, 1983 Opening Night at Concert of the Century Met Opera Centennial Gala Philharmonic Hall New York Philharmonic (members), Orchestra New York Philharmonic Carnegie Hall; New York, NY Metropolitan Opera House; New York, NY

Philharmonic Hall; New York, NY Leonore Overture No. 3, Op. 72a Leonore Overture No. 3, Op. 72a Prelude, Fugue & Riffs Missa Solemnis in D Major, Op. 123, “Gloria”; Eileen Farrell, Jon Vickers. AUGUST 25, 1978 AUGUST 19, 1990 Recorded live, aired on the same day. 60th Birthday at Wolf Trap Leonard Bernstein’s Final Concert National Symphony Orchestra Boston Symphony Orchestra MAY 26/27, 1969 Wolf Trap—Performing Center Tanglewood Shed; Lenox, MA 100th Anniversary of the Performance; Vienna, VA Symphony No. 7 in A Major, Op. 92 Triple Concerto for violin, cello, and 2020/2021 Fall/Winter Wiener Philharmoniker piano in C Major, Op. 56; Yehudi Grosser Musikvereinssaal Wiener Menuhin, , André Philharmoniker; Vienna, Austria Previn. Missa Solemnis in D Major, Op. 123; Walter Berry, Willi Boskovsky, , .

13 ------s pen ’ Op. 80 and the ” Missa s city on the ’ s Beethoven ’ Eroica s first Beethoven “ ’ including a cycle of My first performance — the (continued on page 17) “ Choral Fantasy s Ninth was a triumph! — ’

. Then, in the he early 1980s, ” the big test in every conduc were all but revolutionary for — — s life. Two of Bernstein Two From 1958 to 1969, Leonard to From 1969, 1958 In early Leonard April 1966, Whenever the goal was to attract a ’ olemnis painstakingly edited studio recordings of Herbert von Karajan. Especially when it comes to Beethoven, Bernstein and Karajan are considered artistic antipodes to this day. recordings with the New York Philharmonic Fifth dence, Bernstein wrote euphorically to his parents: of Beethoven I have been very worried about this event tor Bernstein was Musical Director of Philharmonic. During the New York this time, many recordings were made under his all nine Beethoven symphonies. Bernstein made his debut with the Vienna Philharmonic, becoming a wel come guest in Beethoven Danube. Bernstein program in the Austrian capital came three years in withlater, May 1969, three performances of the S recorded all nine Beethoven sympho nies with the Vienna Philharmonic. These live recordings were released by Deutsche Grammophon as a clear counterweight to the heavily and a gesture of political inclusiveness, the Maestro reinforced the Bavarian Radio Symphony Orchestra with mem bers of the Sächsische Staatskapelle from Dresden; the orchestra of the Kirov Theatre in Leningrad; the London Symphony Orchestra; the Philharmonic; and the New York . large audience, Bernstein soon turned to Beethoven. At the benefit concert Philharmonic for the New York sion fund Bernstein on 1960, May 15, combined the with a the work Ninth that Symphony, was important to him from the first time he performed it As in evi 1952. - s ’ - As - as ” m pretty Freude ’ I s late piano “ t mind. ’ “ ’ (freedom). ” Missa solemnis Freiheit music which left the father “ — And most famously, on And Christmas most famously, The political activist Leonard (joy) to 1989, Bernstein conducted 1989, a leg endary performance of the Ninth Symphony at the Schauspielhaus (now the Konzerthaus) in East Berlin to celebrate the fall of the Berlin Wall. the For occasion, Bernstein famously made one small alteration in Schiller text, changing the word “ When interviewed about this change, Bernstein said, smiling: sure Beethoven wouldn al by with his father Samuel in Boston, where they heard one of Beethoven sonatas completely cold, but profoundly moved the son. Bernstein considered Beethoven a kin dred spirit, often invoking him when it came to making sweeping humani tarian statements. example, For at the ceremony commemorating the 10th anniversary of the United Nations on Charter October in 24, New York Bernstein conducted 1955, the New Philharmonic in the and Kyrie York Gloria from the part of the program.

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unfor — The Joy of s relationship L.B. s music made ’ that appears ’ “ ” as we can witness — . 2020 Spring/ ” s first book, van ’ issue of Prelude, Fugue, m rather a nut on the subject. . If you transfer this question Why Beethoven? ’ ffs) I i “ Early on, Beethoven “ n September 1989, n while September in 1989, conducting several concerts as part music educator, music and educator, also the composer. a lasting impression on Bernstein. At the age he of attended 14, a solo recit to the artistic existence of Leonard Bernstein, it cannot be answered in one sentence. Bernstein with Beethoven is close, complex and multi-dimensional through Bernstein the the conductor, Bernstein attributed these words to himself, in a fictitious dialogue enti tled in Bernstein Music of the 33rd Beethovenfest, Leonard Bernstein took the opportunity to visit the on Bonngasse. He left behind a musical message, hand-written on the back of an envelope, signing it tunately not (as printed in the Summer R & I by Arnd Richter Arnd by Beethoven and Bernstein and Beethoven

Prelude, Fugue & Riffs Fall/Winter 2020/2021 14 Prelude, Fugue & Riffs Fall/Winter 2020/2021 15 Bernstein’s Bernstein’s final bow in Vienna, March 1990.

©SUSESCH BAYET, COURTESY OF DEUTSCHE GRAMMOPHON - the - —

Ring “ as he ” served as in whose perfor ”

a relationship which stood in 1978, and in made 1978, him ” favorite orchestra, — “ This love was two-sided. The Musical Youth, work, offering an abundance of the deepest musical impressions and insights. His love for music and his love for people gave us experiences which remain unforgotten and for which we thank him, especially today on anniversary the 10th of his death. Clemens Dr. Hellsberg President of the Vienna Philharmonic. famous Archives of the Society of Friends of Music. One institution was especially important to Bernstein “ mance cycles he appeared 22 times with his called the Vienna Philharmonic often and openly. Vienna Philharmonic awarded Leonard Bernstein the Nicolai Medal as well as the in Gold in 1967, of Honor their honorary member The in 1983. orchestra was expressing not only its admiration for a great artist, but also the friendship which developed over the years up to all strains without the slightest When Bernstein camedifficulty. to us, this always meant a period of passion ate, consequential and concentrated

” - - - - Lenny “ s. ’ Bernstein and the Vienna UNICEF, from Amnesty International UNICEF, to the Jerusalem from Foundation, the elevator for the disabled in the Musikvereinsgebaude to the world Philharmonic worked together to support organizations devoted to humanitarian or cultural goals. The proceeds of no less than 49 perfor mances in Vienna were for the benefit of such worked organizations. for We everyone from Austrian farmers to ideal musical agreement that charac terized the collaboration with working with conductors who were not tied to a certa in orchestra. The That tour was notable for its symbolic value, conveying through music the message of humanity and reconcili ation, a special concern of Leonard Bernstein led to intensive touring Of together. the concerts total performed, 197 no less were than abroad, 91 34 of which were in the last three years of his life. Without knowing it, we said good bye forever to him in Carnegie Hall, where in he March conducted 1990, the orchestra in works by Anton Gustav Bruckner, Mahler and . In he September took 1988, the orchestra on its first tour to Israel.

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Bernstein Era “ ffs) i Bernstein Dates, “ to end the concert.

In the subscription concert series For our For tours, Leonard Bernstein Soon an ideal and immensely The first meeting with the VPO en years ago, music lovers world wide were shaken by a news ”

on Philharmonic Vienna the Leonard Bernstein and His Impact Impact His and Bernstein Leonard orchestra that has no constant artistic during leader, tours we were used to was of very special significance. As an members in a lasting way. the musical horizon of the orchestra artistic and organizational capacity of our ensemble, but also influenced followed extended tours. These dates did not just take up the entire lasting several weeks, after which included series of concerts, television and record productions in Vienna planned the Bernstein's manager, Bernstein's Harrymanager, Kraut, with whom we are still friends. We concentrated form of working togeth er developed in close contact with and conducted Gustav Mahler's of the Earth Piano Concerto in K. B-major, 45 that followed, Leonard Bernstein conducted and performed Mozart since honored with the word ary. on March 14, 1966, a on production 1966, March long 14, premiere of duction of came at the Vienna State Opera where the Maestro conducted the world is part of the identity of the Vienna Philharmonic. cal viewpoint that the the moment of his death, but looking back today confirms from an histori striking chapter in the history of our orchestra. This was not only true at tinuous work together bad created a human and artistic loss, an important turning point, as the 24 years of con Philharmonic (VPO), apart from the probably the most universal musician of his time meant for the Vienna 14, 1990, at the 1990, age 14, of 72, Leonard Bernstein had died. The death of report from New York. On report October from New York. T (as printed in Winter issue the of2001 Prelude, Fugue, & R by Dr. Clemens Dr. by Hellsberg Presented October 14, 1999 Presented 1999 October 14, at the Vienna State Opera - ■ -

- - - ad - - is an admirable New Grove — apart from the lack of really

— 1989 event1989 at the Berlin Wall, Bernstein told an interviewer Its message of humanity joyously, American musicologist/writer musicologist/writer American London the on was Evidon Richard editorial staff of the Dictionary of Music and Musicians and for many years was managing editor at Deutsche Grammophon in . hoc but there the message overwhelmed the music. The fineYorkNew perfor mance soft playing that mars the set as a conducted, stiffly rather a and whole patchily sung finale early sketch of an interpretation that would develop a flexibilityof tempo and phrasing Bernstein(did admire Furtwängler’s Ninths?) over the next 15 years. It did not slow down on the journey from the New to World the Old: the movement timings are virtually identical. But in Vienna, helped by a fervently committed Philharmonic and first-rate chorus and soloists, Beethoven’s, Schiller’s and Bernstein’s message is articulat ed and delivered far more eloquently. This fully-lived, life-enriching Ninth Symphony crowns not only Leonard Bernstein’s Vienna Beethoven cycle but arguably his entire conducting career. is sometimes missing in Vienna, but the maturity of those later perfor mances betrays no sign of compla cency. This is most apparent in the Ninth Symphony. after a rehearsal in 1980: “The only way I have knowing whether I've done a really remarkable perfor mance is when I lose my ego com pletely and become the composer and have the feeling that I'm creating the piece on stage.” On the evidence of the Vienna Philharmonic per formance, the piece he must have identified with most completely was Beethoven’s Ninth. lovingly bound together under divine providence and mutual respect was also Leonard Bernstein’s message. It is what we took away from his ------lit - — ) but more like — one critic called it roll“a — At least one record reviewer The NewFirst, York Second and The white-knuckle New York continued searching but also more reverential, even comfortable. That doesn’t necessarily hold up to direct compar isons, especially if you factor out the fundamentally different sound-cul Philharmonics two the of tures erally and figuratively worlds apart. There is certainly a sense of discov ery in the Newrecordings York that er-coaster ride” is most impressive in the inner movements, with perfectly judged and related tempos in the Scherzo and Trio that maximize lilt and maintain momentum. can You sense the musicians’ elevated adren alin levels in the first movement. And yet it all somehow pales next to the even more characterful, colorful, genuinely bacchanalian Vienna version, again showing the fruits of the conductor’s decade and a half of study and experience. The whole performance is quicker, especially the Scherzo (unlike in New York, Bernstein does slow down but not unduly for theand Trio) finale. The dancing rhythms have even more spring in their step. discerned a trajectory in Bernstein’s Beethoven interpretations: tense strictness post-Toscanini driving and in Newinvaded York by creeping Furtwänglerization and ending up in Vienna as something freer, more can always turn to ’s sublime last recording a brisk jog through Central Park. I findit utterly irresistible. Butoverall, the advantage goes to the Viennese timbres, distinctive its for orchestra unmatched in this music. Eighth, even the Fourth, are charged with adrenaline, but are also wit tily redolent of Bernstein’s Haydn, another of his special composers. His hyperalert orchestra is with him all the way. In Vienna, the readings are substantially unchanged, slightly less taut, with stretches where the orchestra seems less fully engaged than they did 20 years earlier record ing some of these symphonies under Monteux. Seventh

COURTESY THE VIENNA PHILHARMONIC ARCHIVES -

for that we — here, for once, — , one of Bernstein’s , with a daring ral David Gutman, Eroica refined orchestral playing and

The two “Pastorals” are virtually identical in conception, except for a slightly less precipitous arrival in the country in Vienna. The New York first movement is no leisurely stroll in the Vienna Woods Lewisohn Stadium. The Vienna funebre Marcia lentando in the coda, sounds like a genuine dirge, truly tragic. This is a profound finest achievements on the podium. generally broader the movement timings are longer, expansive more much the although Adagio is actually a tad quicker than in Bernstein’s American 1953 Decca recording from New York’s “Eroica,” abetted by significantly more a wider dynamic range, discloses a productive further decade and a half of Bernstein’s engagement with this inexhaustible score. The climaxes have more impact. It’s relentless... In his second Beethoven symphony cycle, [Bernstein] seems more reverential, more conscious of the music's greatness.” Is that a fault? Heard back to back with New York, the Vienna Philharmonic’s (continued from page 7) Gramophone’s in 1990 called it “powerful and

Bernstein Bernstein

conducting conducting Beethoven in

Salzberg, 1979. New York and Vienna ( Vienna and York New

Prelude, Fugue & Riffs Fall/Winter 2020/2021 16 Prelude, Fugue & Riffs Fall/Winter 2020/2021 17 ■ ■

-

For For the these made — re listening to ’ published by ) Mauceri prepared

” John with Bernstein andin 1975 And you had better fasten your This thought recurs frequently Alfred A. Knopf. by Rocco in the final scene is both outrageous and totally apt for a man who loved the movies. seatbelt when Bernstein and his spectacular musicians end this story with a presto that transforms sound into light—exactly what Beethoven had in mind and his alter ego Leonard Bernstein achieves on this recording. Longtime colleague of Leonard Bernstein, Fidelio conducted eleven performances at The Metropolitan Opera with Gwyneth Jones and in a production directed by Otto Schenk. He is the author of Love of Music—A Conductor’s Guide to Listening then chances are you Beethoven. whenever Bernstein made public statements about Beethoven. Compositional perfection, combined with downright revolutionary non conformism and an unconditional commitment to liberty Ludwig van Beethoven a figure with whom Leonard Bernstein passionately identified throughout his entire life. winning WDR Big Band. He is also curating a special exhibition on Bernstein and Beethoven for the Beethovenhaus in Bonn. Alexa Translation: Nieschlag Arnd Richter is a German music he journalist. Since September 2019 has been manager of the Grammy-

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- - ” - - continued . The s the word! Leonore III ’ West Side West that Ring “O namenlose . Another clear — from ” s daughter Jamie ’ MASS s ’ s fifth piano concerto! ’ Indeed, the long acceler long the Indeed, ) Somewhere s yearning for a world in which That song embodies all my ’ . Bernstein “ “ Bernstein’s way with the opening In the fictitious dialogue men Beethoven broke all the rules, and accompaniment a passionate whis per. In an interview quoted in the liner notes, Bernstein spoke of film scoring when he cut the opening notes of the interpolated to link with the quiet ending of the preceding love duet Freude.” ation in the unraveling of the tale relationships, like an andante per formed as precisely half the speed of a preceding allegro. Apollo and Dionysus recline comfortably with Aristotle. of Act II transforms it into some thing from Wagner’s opening of the “Prisoners’ Chorus” is played without vibrato, until the Second Prisoner’s entrance in which vibrato returns but Bernstein adds mutes to the strings to make the ritardandos and accelerations sur prise us, along with classical tempo whatever note succeeds that last is the only possible note that can rightly happen at that instant, in that context, upward-reaching opening interval. And, in a felicitous additional connec tion between Bernstein and Beethoven, that opening phrase happens to be a near-perfect quo tation from the slow movement of Beethoven tioned Bernstein earlier, wrote: “ turned out pieces of breath-taking rightness. Rightness Whenever you get the feeling that for the second orchestral meditation in Bernstein Beethoven quote can be found in the song Story says: father can we care for one You another. hear the in message that right away, - - series, s var ’

continued Omnibus ( s lifelong commitment ’

s very first television appear ’ begins as if it were a comic

Bernstein the scholar knows that Not only as a but conductor, also Beethoven always played an

Beethoven and Bernstein ( Bernstein and Beethoven movie scoring become partners with Professor Bernstein. Long unwritten Here is where late 19th-century tone painting and 20th-century into Beethoven’s genre-busting plan. short and the bowing light, until No. 5 (Terzett) when we start getting close to his heart—and so the Vienna string section is reduced, the notes opera by Haydn—another composer Fidelio recapitulation. some of these techniques by adding an unwritten accelerando into its attention.”) From the opening of the overture, Bernstein establishes signal “something’s coming so pay there acceleration(the to create excitement and the deceleration to here, an acceleration or deceleration (continued from page 6) articulations—an unwritten accent Fidelio idol. A sequence from the Ninth Symphony became the motivic basis as a Leonard composer, Bernstein often made references to his musical which was painted on the television studio floor. across the opening page of the score, he famously launched his exploration of the Fifth Symphony by walking Bernstein ance, as part of the ious television presentations. On important role in Bernstein audiences about the music he was presenting. to communicating verbally with his himself. These were but two examples of Bernstein introductions from the conductor (continued from page 14) the times: the discs featured spoken Dr. Jack Gottlieb Jewish Music Studies Endowment Fund COURTESY OF THE ESTATECOURTESY OF JACK GOTTLIEB Foundation, which was established by Gottlieb’s bequest to promote and nurture the ongoing promulga- tion and development of serious and innovative music for the synagogue. The Dr. Jack Gottlieb Jewish Music Studies Endowment Fund will serve several purposes: to support the teaching, research, and publica- tions of the Dr. Jack Gottlieb Scholar in Jewish Music, the first recipient to be named in 2021; to provide annual support and recognition for compos- ers over the age of 50; and to present an annual award to a composer of new Jewish worship music. It will thus further Gottlieb’s principles and tangible work in the foreground of Jewish music worldwide, as well as sustain Gottlieb’s estimable leg- by Craig Urquhart of Bernstein’s compositions, music acy. writings, recordings and television Despite Dr. Gottlieb’s many r. Jack Gottlieb, (1930—2011), features, known as The Red Book. accomplishments, his gentle, affable Dwas an internationally recognized Gottlieb continued his association personality made him “Jack” to one composer of Jewish liturgical music with all things Bernstein through the and all. Alexander Bernstein said, as well as choral, opera, theater, and Leonard Bernstein Office newsletter, “Our beloved Jack was always a cher- orchestral works. Through his profes- Prelude, Fugue & Riffs. ished presence in our lives. He was sional association with Bernstein over Gottlieb was a frequent contrib- invaluable to our dad, as an assistant 30 years, Gottlieb became a leading utor of liner notes for audio record- at the New York Philharmonic in the authority on Leonard Bernstein’s ings, and program notes for orches- 50s and 60s, and later as chronicler, music. He studied with Bernstein tras. He was also the author of two advisor, and publications director. at Brandeis University, and wrote books: Funny, It Doesn’t Sound Like an uncle, he doted on us ‘kids’ - his doctoral thesis on Bernstein’s Jewish, and a memoir, Working with once even rescuing me after a bloody compositional methods in A Study of Bernstein. fall from my bicycle. Jack was hon- Melodic Manipulations (1964). From Gottlieb was also Professor of orable, conscientious, loving, and 1958 to 1966 he was Bernstein's assis- Music and Composer-in-Residence wonderfully kind.”

Prelude, Fugue & Riffs tant at the New York Philharmonic. at the Debbie Friedman School of The announcement of the Fund In 1977 he joined Amberson, Inc. Sacred Music (DFSSM) at Hebrew took place on October 13, which as publications director, where he Union College-Jewish Institute of would have been Gottlieb’s 90th ■ edited and brought together in book Religion (HUC). His influence now Birthday. form Bernstein’s best-selling televi- extends to generations of cantorial sion lectures, The Joy of Music, and students. Gottlieb’s distinguished

Fall/Winter 2020/2021 Fall/Winter The Infinite Variety of Music. He also musical legacy will be perpetuated compiled a comprehensive catalogue through of the Dr. Watch the recording at: Jack Gottlieb Jewish Music Studies https://vimeo.com/467872418 Endowment Fund at HUC’s DFSSM by a gift from the Theophilous

18 The Schleswig Holstein Music Festival Leonard Bernstein Award 2020 MIROSLAV DERMENDJIEVA he Greek flautist Stathis Pipkov in Sofia at 13. In addition to TKarapanos has received the his studies he played regularly with Schleswig-Holstein Music Festival the National Youth Orchestra, won Dr. Jack Gottlieb Jewish Music Studies Leonard Bernstein Award 2020. various international competitions, The award of the 10,000 Euro and performed as soloist with profes- prize is donated by the Sparkassen- sional orchestras. Endowment Fund Finanzgruppe. Karapanos has performed as The internationally coveted soloist with numerous orchestras Leonard Bernstein Award is usu- and ensembles, including the Athens ally presented in the middle of the State Symphony Orchestra (), summer in the Lübeck Music and FM Classic Radio Orchestra Congress Hall, showcasing the (Bulgaria), Ensemble Zeitlose Musik winner as soloist with the Schleswig- (Germany), and many more. He is Holstein Festival Orchestra. also an active recitalist, current- This year, the Leonard Bernstein ly performing duo-recitals with Award took place on camera due to on piano. His the coronavirus. A film was made unceasing desire to seek inspiration of the award ceremony and the and to explore has led him to play award-winner’s concert, in which the transverse flute, piccolo, alto-, 2008 Anna Vinnitskaya (piano) Greek flautist Stathis Karapanos, together with bass-, and contrabass-flutes, in an 2009 Leonard Elschenbroich (cello) Stathis Christoph Eschenbach at the piano, array of contemporary styles includ- 2010 Kit Armstrong (piano) Karapanos performed works by Bach and ing free jazz and hard rock. ■ 2011 David Aaron Carpenter (violin) Debussy, among others. 2012 Cameron Carpenter (organ) Stathis Karapanos was born in Previous recipients are: 2013 Jan Lisiecki (piano) Athens, Greece in 1996. Determined 2002 (piano) 2014 Christopher Park (piano) to become a flute soloist from the 2003 (piano) 2015 Krzysztof Urbański (conductor) age of 5, he enrolled in the National 2004 Erik Schumann (violin) 2016 Felix Klieser (horn) Conservatory in Athens at an early 2005 Jonathan Biss (piano) 2017 Kian Soltani (cello) age and was accepted into the 2006 Alisa Weilerstein (cello) 2018 Charles Yang (violin) National School of Music Lyubomir 2007 Martin Grubinger (percussion) 2019 Emily D’Angelo (mezzo-soprano)

Leonard Bernstein’s Songfest Receives Performance in Germany

ongfest was originally commis- Ssioned in 1976 for the celebra- tions of the 200th anniversary of Watch the promotional video at: the USA, but it also speaks directly https://youtu.be/2a6J2ChN7ZM to today's audience with its timeless message. Bernstein's setting of the Further Reading:

inspired words of thirteen American "I, Too, Sing America" Prelude, Fugue & Riffs poets, including Gertrude Stein, How the Coronavirus lockdown Edgar Allan Poe and Walt Whitman, and Black Lives Matter protests led comes together to create a masterly to Bernstein’s “Songfest” in Berlin score that explores racial injustice, by Garrett Keast women's rights, gay rights and many (originally published on 8 Sept 2020

other topics. The fascinating work is on Medium.com) 2020/2021 Fall/Winter highly topical, especially in view of https://link.medium.com/ the corona pandemic and the Black mBSGVwns29 Lives Matter movement in America.

19 Leonard Bernstein and Washington, D.C. Works, Politics, Performances

collection of new essays demon- The collection also contributes new Astrates how Leonard Bernstein perspectives on twentieth-century influenced American culture, society, American history, government, and and politics through his conducting, culture, helping to elucidate the polit- composing, political relationships, ical function of music in American and activism. democracy. Leonard Bernstein had a rich The essays in Leonard Bernstein association with Washington, DC. and Washington, DC, all newly writ- Although he never lived there, the ten by leading authorities, situate this US capital was the site of some of important American cultural figure the most important moments in his at the heart of United States govern- life and work, as he engaged with ment. The result is a fresh new angle the nation's struggles and triumphs. on Leonard Bernstein, American pol- By examining Bernstein through the itics, and American culture in the sec- lens of Washington, DC, this book ond half of the twentieth century. ■ offers new insights into his life and music from the 1940s through the 1980s, including his role in building the city's artistic landscape, his polit- More info: https://boydellandbrew- ical-diplomatic aims, his works that er.com/leonard-bernstein-and-wash- received premieres and other early ington-dc.html performances in Washington, and his relationships with the nation's lib- eral and conservative political elites.

Prelude, Fugue & Riffs will be sent upon request. Please send all correspondence to: Craig Urquhart Prelude, Fugue & Riffs Dear Readers, 121 West 27th Street Suite 1104 he Coronavirus pandemic has had a devastating effect on New York, NY 10001 Tthe performing arts. It will be some time before people will Fax: (212) 315-0643 feel comfortable gathering in enclosed spaces to hear music, e-mail: curquhart@leonard­bernstein.com watch dance, or experience live theatre. Just two years ago, we We appreciate notice of any performances or events had so many performances of Bernstein music to report that we featuring the music of Leonard Bernstein or honoring couldn’t fit them all in these pages; now we have barely any live his creative life and we shall do our best to include such performances to share with you at all. information in forthcoming calendars. A world without live music is a diminished one. However, we applaud the musicians and organizations that have embraced Prelude, Fugue & Riffs is a publication of alternative formats to bring music to us. We encourage you all to The Leonard Bernstein Office, Inc. — support these efforts and we look forward to the day when once ©2020 by The Leonard Bernstein Office, Inc. ’ ■ again, live audiences can gather to enjoy Bernstein s music. Managing Editor: Craig Urquhart Editor: Jamie Bernstein Editorial Assistants: Jacob Slattery & Heather Wallace Design: BorsaWallace, NYC

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