News for Friends of Fall/Winter 2017/2018

PAMKONER-YOHAI

2 And Away We Go! 6 Wilbur’s New World 11 LB & the NY Philharmonic Inside... 4 Artful Learning 8 Musical Humor in 12 Burton Bernstein 5 LB & Felicia Take a Knee 10 DG Releases 13 In the News

FW1718_PFR_art_draft.indd 1 11/22/17 12:58 PM , n, . , rough with 11/22/17 12:58 PM ill heir Prelude, he Tow , , with t topped the ill. nade s, Mauceri ’ On Bernstein’s Sere rnia has guin s ue escue efforts, West SideWest Story in concert. , , lifo nies 1 No. and 2: n n silence: heim lyrics resonate ho with Principal monic launched its The Age of Anxiety . ious tribute to t and Symp l cal outspokenness th Bernstein on Broadway nic’s annualmonic’s televised ny No. 3: hony Kaddish3: No. Candide Southern Ca In addition to their many Nobody knows in America Puerto in America!Rico’s It was a breathtaking moment On October 25, The New rricane Irma and the subse- West begun its own celebrations. On the and 18, 19, 17, November presented New Symphony West a series of concerts hosted and conducted by conductor John Mauceri. A longtime friend and colleague of Bernstein assembled a program celebrating Bernstein’s theater music. and Clarinet Anthony McG other events, The New York Philhar ConcertEve w New Year’s present with selections from Nézet-Séguin. The following week, back in Philadelphia, the orchestra performancesgave of observe the devastation To of Hu heartbreakquent and controversy surrounding the r Maestro Nézet-Sé orchestra and chorus to let these Stephen Sond into the sudde Jeremiah conducting the Symp speaker Jeremy Irons. Also on the programs were the violinist Joshua Bell, and Fugue & Riffs of of politi the arts, worthy of Bernstein himself. Philhar York own ambit longtime maestro – Philharmonic: A Centennial Festival featuring Bernstein’s three sym- phonies, with Alan Gilbert con- ducting heir has hestra . . That arnegie y We way Go!We ng mong many others, er er the direction of t sco Symphony’s season cisco Symphony’s heir season with a con- heir season with an eonard Bernstein at 100 launched, with Bernstein- As of like this energy. publishing, there are over k, and BSO principal flut- ist Yo-Yo Ma and Tony Ma and Tony llist Yo-Yo Urquhart Meanwhile, up in Boston, On September 22, the John F. Two weeks C later, Two ational Symphony Orc ational Symphony opened opened t cert of Bernstein’s music featur- ing ce winneraward Cynthia Erivo, all conducted by the orchestra’s new Music Director, Gianandrea Noseda. Maestro Andris Nelsons and the OrchestraBoston Symphony opened t all-Bernstein program featur- ing mezzo-soprano host) (and Frederica Stade,von soprano Julia Bulloc 2,300 events on the centennial have don’t calendar! enough We space to report on all of them, but here are a few of the highlights. Kennedy Center for the Perfor- ming Arts officially offkicked the festivities with the opening of the Grammyexhibit, Museum’s Leonard Bernstein at 100 same weekend, Fisher Rob con- ducted a razzle-dazzle evening of music and dance from Bernstein’s shows, whileBroadway the N ist Elizabeth AndRowe. across the continent, was also kicking off the San Fran with an all-Bernstein program featuring, a acclaimed mezzo soprano Isabel Leonard. And all this was just on the firstweekend! OpeningHall’s Night Gala treat- ed its audience to the Philadelphia Orchestra performing Bernstein undworks by by Jamie Bernstein and Craig L dynamic new maestro, Yannick And And A ■

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the un Bernstein barrels forward, let us all take a deep breath and pace our- selves turbulent times we currently sun. For example, the New York Philharmonic recently completed its three week Bernstein festi- val, which concluded with the S one of the Centennial surprises that this long-misun- derst work had audiences standing and roaring their brav er known Bernstein works are now finding their from half a century ago with a renewed eloquence; its thorny anger and ye in imbue Bernstein vide a cathartic resonance for today has shot forth as if out of a musical cannon. The concerts, recordings, initiatives, exhibitions, and more six(on continents and in all 50 states!) are tumbling over each other like rexcited ove puppies – and it A

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11/22/17 12:58 PM

Leonard Leonard Pictured above above Pictured some of are the many pianists that performing are Symphony No. 2: The Age of Anxiety during Bernstein at 100. Left to Right: Row 1: Misha Beatrice Dichter, Rana, Kirill Gerstein, Martin Kasik, Andrew von Oeyen, Orli Shaham, Olga Kern, Markus Schirmer Row 2: Krystian Zimerman, Richard Fountain, Conrad Tao, Sebastian Knauer, Emanuele Philippe Arciuli, Jon Entremont, Kimura Parker Row 3: Jean- Thibaudet, Yves Ran Dank, Gilles Vonsattel, Makoto Ozone, Roland Pontinen, Alon Joyce Yang, Goldstein

■ , . In ; several Yutaka Sado, There will will There ; ’s égé , the latter featuring such as Shostakovich

Tonkunstler Orchestra in Orchestra Tonkunstler presented students by of Serenade by George The We cannotWe stress enough what violinist Vadim Gluzman. Gluzman. Vadim violinist Austria has dedicated their entire season Leonard to Bernstein, Cosmos Bernstein it calling addition many to Bernstein works, the orchestra, under the of baton Bernstein prot ing Bernstein’s one of of Young ConcertsPeople’s with the Philharmonic:New York What Impressionism? is also be a concert chamber of works the Guildhall School Music. of Following a lecture entitled Bernstein: the Man and His Music the final performanceof the day will feature the BBC Symphony Orchestra conducted David by Charles Abell conducting Songfest and Julia Bullock, Maestro Andris Andris Julia Bullock, Maestro von Stade, and Nelsons, Frederica Alexander Bernstein attend the Boston Symphony Gala. will include associated works with Bernstein Symphony No. 5 Piano Concerto in G Major symphonies Gustav of Mahler; and Gershwin. a tiny slice centennial of festivities is reflected in allof above! the

MICHAEL BLANCHARD -

- - - , and This day- under . In December, . Symphony No. 2: The Age Chichester Psalms Chichester On January 28, the BBC long event will event long feature a screen ing the it next day with Symphony No. 3: Kaddish LSO Music Director Sir Simon Rattle conducted a concert perfor mance Wonderful of Town pianist Krystian Zimerman per formed of Anxiety Symphony Orchestra and Chorus will present a Leonard Bernstein Immersion Total Day. the tutelage London of Symphony Chorus Director Simon Halsey. On November 4, Maestra Marin Alsop hosted a Family Concert: follow Bernstein,” “Celebrating form , - - . . A Hilary Hahn . Additional. concerts Chichester Psalms Chichester West Side Story Film with and Gustavo Dudamel ; Across the pond in October, The Los Angeles Philharmonic the London Symphony Orchestra (LSO) began their Leonard Bernstein at 100 celebration with a “Singing amateur Day:” singers came together learn to and per conducting began its festivities on November 24th with David Newman con ducting Orchestra Live will feature violinist performing Bernstein’s Serenade conducted Miguel by Harth- Bedoya highlight later in the season will be Maestro Dudamel conducting Bernstein’s theatre piece, Mass FW1718_PFR_art_draft.indd 3 Artful Learning: Westward Expansion

by Patrick Bolek California School of the Arts – and securing a $2.4 Million San Gabriel Valley was launched, Dollar Magnet Grant to expand nnovation and progressivism attracting 700 students from 60 arts integration, using Artful Iare just two descriptors used different cities in the inaugural Learning, at the newly consoli- to recognize these entities using year. dated elementary school over the the Artful Learning model to next five years. The plan includes advance their respective, visionary UNIVERSITY OF CALIFORNIA, providing a bus system to bring approaches for student learning DAVIS / MONDAVI CENTER more diversity to the consolidated throughout California. (DAVIS, CA) school, as well as developing a ArtsBridge new theatre space, art room and DUARTE UNIFIED SCHOOL Artful Learning launched its campus art installations. DISTRICT (DUARTE, CA) collaboration with UC Davis | Andres Duarte Arts Academy • Mondavi Center to train the VISTA UNIFIED SCHOOL DISTRICT Duarte Arts Cadre • Leadership ArtsBridge Fellows, preparing (VISTA, CA) Retreat them for arts partnerships in Napa Roosevelt Middle School Superintendent Dr. Allan (Salvador Magnet School / El Roosevelt Middle School Mucerino boldly challenged Centro Elementary School) and launched this past summer as a district with fifteen years of Orangevale (Ottomon Elementary the only Personalized Learning declining enrollment to re-imag- School) in the genre of theatre arts. Middle School in the nation using ine the platform of teaching and the Artful Learning model as learning by putting the arts at the NAPA VALLEY UNIFIED SCHOOL an approach to heighten student center of student engagement and DISTRICT (NAPA, CA) engagement and academic achieve- educator empowerment. The new Salvador Magnet School / El ment while aligning to the Vista Centro Elementary School Unified School District Blueprint Congratulations to Principal for Educational Excellence and Pam Perkins, Project Director Innovation. ■ Christine Gross, NVUSD senior leadership and the remark- Patrick Bolek serves as Advancement able educators at both school Consultant and Master Trainer for sites responsible for authoring Artful Learning, Inc.

ALL PHOTOSPATRICKALL COURTESY BOLEK Clockwise from top left: Members of the Duarte Arts Cadre discuss their differentiated approaches of notating Leonard Bernstein conducting using a Listening Map. Master Trainer Susan Stauter mentors theatre students during the ArtsBridge Scholars Artful Learning Training at UC Davis. Grade 2 students at Salvador Magnet School work

Prelude, Fugue & Riffs collaboratively to elevate an egg into a basket during their Concept Exploration of Interdependence. Roosevelt Middle School educators convey an

Fall/Winter 2017/2018 Fall/Winter emotion using the arts- based skill and strategy of tableau in Oceanside, CA.

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11/22/17 12:59 PM From Leonard Leonard From FBI Bernstein’s file. - - (continued on page 8) The “shitstorm” had word Every afternoon when I came What parents my know didn’t followed up thefollowed up Charlotte Curtis piece with an editorial edito (an rial!): “Emergence the of Black Panthers as the romanticized dar lings the of politico-cultural jet set is an affront the to... memory of Martin Luther King Jr....” yetnot been coined, that but is what the situation became. now parentsMy were condemned and mocked in the press. Their own friends criticized them for “siding” with the Panthers. The thelouder the volume grew, more misunderstood the became. event home from school, I threaded my through way a cluster Jewish of Defense League picketers outside building,my noisily condemning Leonard Bernstein supporting for the anti-Zionist Black Panthers. theat time intensively was how the FBI was inflaming the entire situation their for own purposes. Not until the through 1980’s, the Freedom Information of Act, did - - -

- - - and the silver trays of , Charlotte Curtis,

The day after that, the Times My motherMy pointedly did not After an hour snacks of and He having wound up an The next morning, Charlotte Felicia understood how pol how understood Felicia canapés.” iticians exploited the image a of group like the Panthers panderto whiteto voters; she knew the how news media turned the up volume on fear boost to readership and ratings. (Does this sound familiar? Itshould.) invite any press her to fund-raiser, thebut society writer the for New Times York managed sneak to in, as did a ras cally young journalist named Tom Wolfe. drinks, mother my introduced the Panther representatives, and invited them speak to their about situation and solicit support from the assembled guests. At some point in the proceedings, my father, Leonard Bernstein, arrived from his rehearsal across town, and slipped into the gathering – except, course, of larg father’s my not did personality er-than-life permit him anywhere. in” “slip to All eyes turned him. to exchange with Panther represen tative Donald Cox, during which he asked questions and Cox explained the Panther position further. Wolfe In the corner, Tom was silently ingesting all it, of like a python gradually swallowing a whole. rabbit Curtis’s story appeared on the society page the of Times . (The society The page!) article bristled with scorn the for socialite wife the of Maestro, hobnobbing with Black Panthers: “There they were, the Black Panthers... and the... white lib erals... studying one another cautiously the over expensive fur nishings... with the American Civil Liberties Union had helped her see how easily certain fundamental rights could be withheld from politically groups. controversial ------

hen we fret over the intense hen we fret over the culture polarization in our

In 1970, I was senior a in high most white AmericansTo at So was audacious it Felicia of Leonard and Felicia Take a Knee Take Felicia and Leonard ly due to unfairly to due ly inflated bail amounts, men the were await 21 ing trial what for turned be to out involving accusations trumped-up absurd bomb plots around New The City. money mother my York raised legal the to would go men’s defense fund, and would also help their families stay fed and shel ist; advocating for black empow erment any means “by necessary;” and being for anti-Zionist, which had particularly negative reso cess was observed in a situation ripe abuse. for Her years work of today; when we shrink from the today; when we shrink and social shrill tones of TV news over the media; when we despair House callousness of the White toward issues of race, police bru- tality and peaceful protest – we might gain insight from looking back a handful of decades to see how similarly divided we were in another era. school when mother, my Felicia Montealegre Bernstein, organized a fund-raising gathering our at apartment 21 New help to York Black Panther members were who in jail. Stranded there indefinite tered until the trial came around. (And when the trial finally did come around, the threw judge the casewhole being for out unsub lous.) the time, the Black Panthers were scary. The group had come into being protest to race-based police brutality, the but Panthers gained greater notoriety being for social nance City. in New York advocateto on the Panthers’ behalf. espousing She wasn’t Panther philosophy so much as she was making sure that pro due

stantiated and patently ridicu (This article first appeared in Huffington Post.) W by Jamie Bernstein Jamie by FW1718_PFR_art_draft.indd 5 Richard Wilbur’s New World – or the Battle for Eldorado

The “Ballad of the New World” remains the last new lyrics for Candide and represents Richard Wilbur at his most optimistic.

Hal wanted to go to Eldorado, That’s when I contacted and he really did not like the Richard Wilbur and told him of ballad, even if its words could our problem. What if the music have been adapted. I searched to Eldorado could be a ballad “of the trunk and found a song that the New World?” After all, in had no words and suggested it this new 2-act version, we leave could be sung by two sheep and a our principal characters—with- lion. Steve Sondheim did the rest, out Cunegonde—about to set and the “Sheep Song” was born. sail for the New World. What if Sondheim captured the inherent Candide could sing of his hopes Richard Wilbur. by John Mauceri boredom of perfection, encapsu- in going to a continent that was lated by Paquette’s line, “If we ideal, and where he could find his eonard Bernstein said his don’t leave soon, I’ll scream.” beloved? What if Richard could Lfavorite song in Candide The other reason “Eldorado” write that? Astonishingly, he said was, “The Ballad of Eldorado.” could not be sung as originally yes. Astonishing because it meant Its soft undulating pulse belied written was that the words were throwing himself back a quarter its complex meter shifts that by Lillian Hellman. In the legal of a century to create words that mostly stayed in 5/8, something wrangling to allow for a new were consistent with his earlier akin to the second movement of book, Lillian’s lawyers required, work, true to the new situation Tchaikovsky’s Pathétique. among other things, changes in and, while he was at it, true to “The Ballad of Eldorado” locations, and for none of her himself. had a curious history, beginning words to be in the show. The “Ballad of the New when I was first given Bernstein’s The one-act Candide con- World” remains the last new lyr- trunk of songs and ensembles quered Brooklyn and then ics for Candide and represents from which to supply a score for Broadway, winning a number of Richard Wilbur at his most the Hal Prince-Hugh Wheeler Tonys and other awards. Opera optimistic. Candide is sub-titled adaptation for the Brooklyn houses started asking for a ver- “Optimism;” that word is both Academy in 1973. In its original sion they could produce, and that ironic and, in turning everything 1956 Broadway production, the desire sent me back to Bernstein’s on its head, the true essence of producers did not have enough trunk, and Hal and Hugh and I the novella. “I still love life,” says money to actually go to Eldorado, had the opportunity to restore the Old Lady, after recounting and therefore Candide sang about almost everything Bernstein had her many travails. having gone to it. Thus: “Up a composed for the show. But what The new Eldorado made me seashell mountain, across a prim- of “Eldorado?” I remember a long tear up.

Prelude, Fugue & Riffs rose sea... to a land of happy battle between Hal and Lenny. Now that Richard Wilbur people, just and kind and bold Lenny absolutely insisted on the has passed away, it seems only and free.” song being in the show and Hal right to read these words about had no place for it, which led to America and what it so profound- finding a solution. ly is, in the words of a former The opera house Candide poet laureate. Here is an excerpt would need to be in two acts. from the lyric: Fall/Winter 2017/2018 Fall/Winter That meant adapting the 1956 Act One finale to the new sto- ryline and creating something to start Act Two.

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FW1718_PFR_art_draft.indd 6 11/22/17 12:59 PM Richard Wilbur’s New World – or the Battle for Eldorado

On a noble errand, across the sea I’m bound, Where all things are fair and happiness is found. Richard Purdy There all my past confusion and all my woe shall seem Wilbur: Like a sorrowful illusion, like a dark forgotten dream.

On to the New World. March 1, 1921 – In that new land, so I’ve been told, October 14, 2017 Lovers are not forced to part,

Maidens are not bought with gold, ©SEATTLETIMES Exile does not break the heart. There young men need not wield the sword And wise men need not fear the rope, For in those gardens of the Lord All’s charity and faith and hope.

On to the New World.

In that new land to which I go, People dwell in blissful peace, Raise their children, stitch and sew, Herd their cows and feed their geese; And if by chance they are distressed, They trust that all will come to good, For all things turn our for the best, As my dear master said they should. oet Richard Wilbur died on October On to the New World. P14. He graduated from Amherst College in 1942, then fought in Europe And so, to find that true world, I’ve left a world of lies. during World War II. After a teaching Sure that in the New World I’ll find Paradise. stint at Harvard, he moved to Wesleyan University as Professor of English, a posi- And praying that, out yonder, upon that blessed shore, tion he occupied there for the rest of his I’ll wed my Cunegonde, and be happy evermore. career. He was awarded the Pulitzer Prize and in 1987 was the second U.S. Poet On to the New World. Laureate. Though well known for his many books of poetry, he also was adept at Nothing in Candide is ever but remains a glorious footnote in lyric writing. He provided many of the simple, of course. The opera Candide’s many travels. ■ finer lyrical touches in Leonard Bernstein’s

house version of the show has 1956 musical, Candide, and he and Prelude, Fugue & Riffs been replaced with the last ver- John Mauceri became Leonard Bernstein maintained a lifelong connec- sion that John Welles and I did Bernstein’s assistant in 1972, and for tion. for Scottish Opera in 1988. eighteen years was Bernstein’s choice In an odd added connection between Finally, and to the composer’s to edit and conduct his works in the two artists, Wilbur’s death date, pleasure, all the original locations Vienna, London, , the October 14th, is the same as Bernstein’s. ■ were restored so that the music

Kennedy Center, Milan’s , 2017/2018 Fall/Winter for Paris took place in Paris, Tel Aviv, and on Broadway. He is Venice in Venice, and Eldorado the author of Maestros and Their could both be visited and subse- Music – the Art and Alchemy of quently described. The “Ballad of Conducting, published by Alfred the New World” had no further A. Knopf. place in the fully restored work,

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FW1718_PFR_art_draft.indd 7 11/22/17 12:59 PM Happiness Indeed: Musical Humor in Candide DANWEINER of his and Stephen Wadsworth’s heartbreaking opera . And so it is no surprise that a man who loved to laugh, loved jokes. Musical jokes of one kind or another appear in almost all of Bernstein’s music, but his mag- num opus on the art of musical joke telling is surely Candide. The rate at which gags come at the lis- tener is relentless. Like a clown’s suitcase crammed until the socks spill out the sides, the score over- flows with delight. No less a sage than has written that Bernstein’s music and Richard Wilbur’s lyrics for Candide “con- stitute the most scintillating set of songs yet written for the music theater.” In large measure, what makes the score scintillate is the omnipresence of humor, verbal and musical. It was one of Bernstein’s high- est forms of praise to find some- Bernstein, his by George Steel ing Keats on Truth and Beauty, I thing funny, as his mash note to wife Felicia, think he felt the same way about Prokofiev’s Classical Symphony and the original eonard Bernstein loved to Humor and Truth: what’s funny is makes clear: Broadway cast Llaugh. rooted in what is deeply true. Joke “I think this is the only piece of Candide He loved the tellers (good ones, anyway) are, of music I ever laughed out loud in the record- communion of laughter – nothing made him hap- like composers, truth-tellers. at. I still remember the first time I ing studio, pier than a tableful of loved ones Bernstein loved the of heard it, on the radio when I was December 1956. catharsis bent double, pounding their fists laughter. He knew that, because about fifteen years old. I remem- in paroxysms of delirium. To him, of its inherent candor, laughter ber lying on the floor and laugh- a fit of laughter was honest, equal- can at the same time lay bare ing till I cried.” izing, and shared. anxieties and absolve them. It is Bernstein shared insights He loved the authenticity of laughter, after all, that opens the about musical humor in many laughter. Fond as he was of quot- door to reconciliation at the end places – in his own music, and in

Leonard and Felicia Take a Knee, continued

Prelude, Fugue & Riffs (continued from page 5) band’s “party.” When Wolfe’s so much of the bureau’s work by we learn that most of those pick- article came out soon afterward in discrediting the left-wing New eters outside our building were book form with the title Radical York Jewish liberals while simul- FBI plants. What was more, the Chic, the misinterpretation and taneously pitting them against the hate mail piling up on my father’s mockery were set in stone. black activist movement – thereby desk had also been churned out It’s likely that to this day, Tom disempowering both groups in a by the the FBI. Wolfe may not understand the single deft stroke. Fall/Winter 2017/2018 Fall/Winter A few months later, Tom degree to which his snide little Today, as I observe the hyste- Wolfe’s infamous article appeared piece of neo-journalism rendered ria surrounding the Black Lives in New York magazine, with the him a veritable stooge for the FBI. Matter movement, and the ways title “That Party at Lenny’s.” My J. Edgar Hoover himself may well in which our media – and poli- mother’s very serious fund-raiser have shed a tear of gratitude that ticians – distort and inflame the had become her celebrity hus- this callow journalist had done issues for their own purposes, I

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FW1718_PFR_art_draft.indd 8 11/22/17 12:59 PM his books, TV shows, and espe- ON HAYDN: ON THE MIKADO, by his beloved cially in his performances. His “Sudden pauses, sudden louds Gilbert and Sullivan: performances of Haydn, Mahler, and softs . . . fast scurrying “Katisha, suddenly deserted by Prokofiev, Shostakovich, and (alas themes that remind us of a little her lover, sings an operatic recita- too infrequently) Offenbach and dachshund puppy skittering all tive [“Alone, and yet alive!”] that Chabrier, showcase his gift for over the floor . . .and just plain has to make you laugh, because finding jokes in music, and his speed,” [like the] “tongue-twister she such a phony old ham that gift, like that of a great joke-teller, songs of Gilbert and Sullivan . . . you can’t take her seriously.” for putting them over. a bag full of tricks coming at you His Young People’s Concert so fast you almost can’t follow There are passages in Candide “Humor in Music” includes some them.” that vividly match each of these of his best-known observations descriptions. about musical joke-telling. Less ON SHOSTAKOVICH: [the 9th As a composer, Bernstein well-known—but worth hear- Symphony] worked hard to achieve a sense ing—is a studio LP version of a “This is Haydn-ish humor, of inevitability: as he liked to say, talk similar to that Young People’s replete with pert, piping little finding “the only possible next Concert, “Leonard Bernstein tunes, tricky accents, tipsy phras- note.” That quest could often be a Discusses Humor in Music,” more ing, all those delightful elements lonely business. geared to grown-ups and includ- of surprise.... He adopts with But by studying his observa- ing a performance of Strauss’s amazing freshness Haydn’s classi- tions about humor in other com- Till Eulenspiegel. His landmark cal sonata form: Exposition with posers’ work, one senses that, in Omnibus program “American exact repeat, development section, writing Candide, Bernstein didn’t Musical Comedy,” and—less recapitulation, and coda.” feel alone in the struggle of com- obviously—his insightful talk posing: he was in the hilarious on Shostakovich’s irreverent 9th COPLAND’S “BURLESQUE” from good company of dear friends and Symphony (1986) both contain Music for the Theater beloved masters. ■ excellent insights. In a tweed- “Just when you expect the ier mode, his Norton Lectures music to be even and symmetri- George Steel has worked around the at Harvard brilliantly uncover cal—equal—it loses its balance, world as a conductor, composer, musical allusions in Stravinsky’s sort of like a clown pretending and impresario. In November 2017, Oedipus Rex: including evoca- to be drunk. . . .This music of he was appointed Abrams Curator tions of Aida, hora, kazatzki, Copland’s is constantly falling of Music at the Isabella Stewart hoochi-koochi, a football fight down and picking itself up again, Gardner Museum. song, and a Greek dance “as and, in the very end it slips for the played in any Greek restaurant.” last time, and just stays there with His analyses of humor in other a very puzzled look on its face composers’ music shed light on . . . like a Vaudeville act at the his own use of musical humor in Paramount Theater.” Candide.

aspect of the whole sorry episode of the Other, and setting minori- think back to what my parents Prelude, Fugue & Riffs went through in 1970: the cour- was the involvement of the FBI. ty groups one against the other, age they had to do the right thing The bureau had been tracking all our tyranny alarms should be for a politically vulnerable group, Leonard Bernstein and his left- ringing at full volume. I know if and the dignity they maintained wing activities since the 1940’s. my parents were alive today, their as they became engulfed by the His file, when he finally saw it in tyranny alarms would be waking hype, melodrama, and persistent the 1980’s, was 800 pages long. up the whole neighborhood by Fall/Winter 2017/2018 Fall/Winter misrepresentation of events. I also Democracy’s hardest job is to now. At the very least, they would think about how police brutality find that tricky balance between a both, most somberly, be taking against blacks was the galvanizing government that protects its citi- a knee. ■ element in both eras; the lack of zens, and a government that leaves progress is discouraging. its citizens alone. When we see Maybe the most sobering our government inflaming the fear

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FW1718_PFR_art_draft.indd 9 11/22/17 12:59 PM Leonard Bernstein at 100 on Deutsche Grammophon

and the Chichester Psalms. It Scheherazade dating back to the also includes a number of fresh early 1940s. As a whole, they recordings made expressly for this provide a fascinating insight into edition, notably American pianist Bernstein’s development as a Katie Mahan’s survey of his piano conductor. music, from the early Sonata Candide and West Side Story (1938) right through to Thirteen made music history as stage works Anniversaries (1988). Bernstein that defied all existing generic – Complete Works comprises conventions. Bernstein recorded 25 CDs and 3 DVDs, and will be both works himself, and his read- released in April 2018. ings will be released in January Bernstein – Complete Record- 2018 in newly presented deluxe ings on Deutsche Grammophon hardcover editions. The Candide and Decca contains all Bernstein’s box brings together for the first recordings as a conductor for time the live concert recording DG and Decca, together with with The London Symphony eutsche Grammophon is his complete DG/Unitel DVD Orchestra (on DVD) and the stu- Dmarking Leonard Bernstein catalogue. Comprising 121 CDs, at 100 in suitably monumental 36 DVDs and a Blu-ray Audio style. For the first time, Bernstein’s disc, it features such legendary complete works will be available recordings as Wagner’s Tristan on CD in a single boxed set, as und Isolde (1981), Bizet’s will his legacy as a conductor. In (1972), works by Stravinsky and addition, there will be a series of Shostakovich and, of course, new releases and reissues reflect- the complete symphonies of ing some of the many high points Beethoven and Mahler. It is sched- of this multifaceted musician’s uled for release in February 2018. rich and varied career – the leg- As a prelude to the centennial endary Beethoven recordings of year celebrations, November 2017 the 1970s, for example, as well as saw the release of the Bernstein dio recording on CD (both dating previously unreleased live record- recordings of all nine Beethoven from December 1989), with a ings from ; Mass symphonies with the Vienna bonus in the form of a brief but with Yannick Nézet-Séguin; and Philharmonic. Not only are they highly amusing introduction to Bernstein’s celebrated work in artistic and musical benchmarks; the plot of this operatic satire by musical theatre. they also established new techni- Bernstein himself. At the heart of the DG project cal standards through their use The new West Side Story are the two editions of Bernstein’s of quadraphonic sound. These edition will present the 1984 œuvre as composer and per- legendary performances from recording with José Carreras and former, respectively. Bernstein – 1977/78 can now once again be , while the accom- Complete Works is the first full enjoyed, both on 5 CDs and on a panying “Making of” DVD shows set of recordings of Bernstein’s Blu-ray Audio disc on which they Bernstein’s rehearsal process. A published works, making avail- are presented for the first time in booklet of over 100 pages with able less familiar pieces such as surround sound. They will also be libretto, articles and photographs his chamber music or his song released on vinyl as a 9-LP limited completes the offering. cycles alongside West Side Story edition in March 2018. Among the many other pro-

Prelude, Fugue & Riffs The Tanglewood Tapes, to ductions associated with the be issued in June 2018, will Bernstein centennial, one in par- comprise 5 CDs of previously ticular deserves special mention. unreleased live recordings from A two-disc recording of Mass is the Tanglewood Festival – the set for release by DG in February music festival whose early days 2018. Yannick Nézet-Séguin were presided over by Bernstein’s directs the Philadelphia Orchestra, Fall/Winter 2017/2018 Fall/Winter mentor Serge Koussevitzky and three choirs and a line-up of no with which Bernstein himself fewer than 19 vocal soloists. maintained close links through- out his life. Audio files spanning www.deutschegrammophon.com/ almost half a century include Bernstein100 excerpts from Rimsky-Korsakov’s leonardbernstein.com ■ 10

FW1718_PFR_art_draft.indd 10 11/22/17 12:59 PM How Leonard Bernstein Made the New York Philharmonic the Most Beloved Orchestra in the World COURTESY NEW YORK PHILHARMONIC, LEON LEVY DIGITALARCHIVES LEVY LEON PHILHARMONIC, YORK NEW COURTESY by Barbara Haws

eonard Bernstein remains an Linternational icon today as a transcendent interpreter, gift- ed composer, and life-changing educator. It is obvious why the entire world is saluting him this year, which would have been his 100th, and why the New York Philharmonic, with which he forged a vibrant and para- digm-changing relationship, is holding a central place in those celebrations through Bernstein’s Philharmonic: A Centennial Festival (October 25 - November 14). But while the Orchestra’s performanc- es and activities were enriched by the many sides of his gargantuan talents, the greatest mark he left was in his relationship with the musicians. I decided, as the keeper sions, I calculate that he appeared a major figure in the world, so Leonard of the Philharmonic flame, so to before the New York players you felt a certain awe, but there Bernstein and speak, to let you in on the more almost 5,000 times. So much was also a very personal connec- members of intimate side of that connection, together time can create either tion. You somehow felt that you The New York and why we still think of him as Philharmonic. tension or affection, and to see were playing just for him at that our Lenny. which prevailed, all one needs to moment – that he wanted each During his years here, remember are the great bear hugs. person to really do his utmost, Bernstein revolutionized the At the beginning of rehears- and for all of us to put in our per- way conductor and player work al he would go from chair to sonalities. Lenny had the ability together. Though demanding, he chair, greeting each musician to inspire us individually as well was not dictatorial. He believed with the obligatory yet sincere as collectively. I’ve not experi- in inspiring, explaining, teach- hug. By further calculation, I enced that kind of oneness on a ing, and – above all – that love posit that Bernstein bestowed collective emotional level with any would achieve remarkable musical almost 500,000 of these hugs on other conductor.” results. The late Walter Botti, Philharmonic musicians; I’m going Upon retiring as music director a member of the bass section to go out on a limb and claim in 1969, at the ceremony where he from 1952 to 2002, said: “Lenny that the New York Philharmonic was named Laureate Conductor, loved everybody and he wanted is the most loved orchestra in Bernstein said, “It’s been a family to be loved by everybody, but the world – and that is due to association in many ways, and music came first. He pushed the Leonard Bernstein, personally. even though faces change, the Orchestra, but he never, never Mindy Kaufman, flute and piccolo entity, the totality of the New embarrassed anybody or put since 1979, recalls, “Lenny always York Philharmonic remains solid, people on the spot. He was a conveyed love, both as a musician and I remain bound to it by mys-

real .” This was a whole Prelude, Fugue & Riffs mensch and as a person.” terious cords which tie me to the new mode of podium behavior Of course, it is Bernstein’s orchestra as long as I live. In some that now defines the modern con- music-making and particular funny, spiritual sense, they will ductor, the standard throughout insight that are his objective always be my orchestra, no matter today’s orchestra world. achievements, but I do think his who else’s orchestra they may be.” Between Bernstein’s respect and caring for each indi- Today, the New York Philharmonic debut in 1943 and vidual musician and, yes, those Philharmonic still feels that inti- 2017/2018 Fall/Winter his final appearance in 1989, he hugs played a major role in the mate connection. ■ conducted this Orchestra in 1,247 success of their performances. performances. That’s more than Evangeline Benedetti, a cellist in anyone before or since. Adding to Barbara Haws is the archivist/histo- the Philharmonic from 1967 until that rehearsals and recording ses- rian at the New York Philharmonic. 2011, captures it: “Lenny was

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FW1718_PFR_art_draft.indd 11 11/22/17 12:59 PM Burton Bernstein January 31, 1932 – August 26, 2017

staff writer at gave us. Accompanied by his magazine for 35 years, where his brother on the piano, who usually work frequently appeared. Some vamped in a Hungarian-sounding of his writings were “casuals” – style, BB would coax actual notes short comic pieces turning on a out of the monstrous thing – at joke or pun, such as his “Chic of least a few, anyway, before hilari- Araby.” Often, his books were ty overtook him. excerpted in the magazine’s pages, Anyone who knew BB even a as with his loving account of our little could tell you how much he family’s history, Family Matters. reviled Christmas and everything As close as the brothers were, about it. Nevertheless, he came to

COURTESYTHE FAMILY OF LEONARD BERNSTEIN they differed in many and pro- our Christmas Eve dinner every found ways. BB was a proud year, accompanied by his wonder- army man, whereas our asthmatic ful wife Jane. He came because father never served. BB preferred he loved us all: fiercely loved a quiet, country life and especially this family. Not even Christmas loathed New York City. Also, he could keep him from being with inherited his father Sam’s appre- us, especially after losing first ciation for the value of a dollar, his brother and then his sister, something that eluded our father Shirley. We needed to keep close. Leonard and amie, Alexander, and I are all his life. With Burton’s death, we Burton Bernstein Jbeyond bereaved to have BB played the bugle during note the passing of a genera- skiing in lost our dear uncle Burton, our his army years, and that skill tion. The three of us, along with Aspen, CO. father’s younger brother by thir- served him well on evenings when our beloved cousins, Karen and teen years. While we were grow- we would gather at our house Michael, are the “grown-up” ing up, “Uncle BB,” as we called in Connecticut. After dinner, Bernsteins now, though we will him, was reliably hilarious, witty, he would take down the four- never fully believe it. and irreverent. A consummate teen-foot Andean shepherd’s horn man of letters, BB worked as a our mother’s Chilean relatives Nina Bernstein Simmons ■

Leonard Bernstein Award

AXEL NICHOLAUS AXEL The 10,000 Euro award is made joined Ivan Monighetti’s class at possible by the Sparkassen- the Basel Music Academy. He was Finanzgruppe. The award was chosen as an Anne-Sophie Mutter presented by Christian Kuhnt, Foundation scholarship holder in the festival’s Intendant; Reinhard 2014, and completed his further Boll, president of the Sparkassen- studies as a member of the Young Finanzgruppe; and Alexander Soloist Programme at Germany’s Bernstein at a gala concert Kronberg Academy. He received with the Schleswig Holstein additional important musical Prelude, Fugue & Riffs Music Festival Orchestra. The training at the International Music concert featured the Dvorak Academy in Liechtenstein. Cello Concerto in B minor and Soltani, 25, gained worldwide Meditation No. 3 for Cello attention in April 2013 as the and Orchestra from Leonard winner of the International Paulo Bernstein’s Mass. The conductor Cello Competition in Helsinki

Fall/Winter 2017/2018 Fall/Winter was Christoph Eschenbach. where he was hailed by Ostinato Kian Soltani was born in magazine as “a soloist of the high- his past July, the Schleswig Bregenz, Austria in 1992 to a est level among the new generation THolstein Music Festival award- family of Persian musicians. He of cellists.” ■ ed its annual Leonard Bernstein began playing cello at age four, Award to the cellist Kian Soltani. and was only twelve when he

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FW1718_PFR_art_draft.indd 12 11/22/17 12:59 PM A Return to Vienna © VPO, TERRY LINKE TERRY VPO, ©

his past spring, on the occasion with the Vienna Philharmonic and Vienna Philharmonic both Tof the Vienna Philharmonic’s in 1966, Bernstein, in a fit of celebrated their 175th anniver- 175th birthday, the New York sentiment, kept the score, which saries this year. The New York Philharmonic and the family had been lent to him from the orchestra presented their gift of Leonard Bernstein jointly pre- Vienna Philharmonic Archives. to their Viennese counterpart sented the orchestra with a special He treasured it for the rest of his at the opening of “Vienna and gift: Bernstein’s marked conduct- life. After his death, the score New York: 175 Years of Two ing score of Mahler’s “Das Lied was transferred to the New York Philharmonics,” a joint exhibit in von der Erde.” Except it wasn’t a Philharmonic Archives along with Vienna of archival material drawn gift, so much as a case of returned the rest of his marked conducting from both orchestras’ histories, property. scores. on display at Vienna’s Haus der Following his very first concert The New York Philharmonic Musik until January 2018. ■

The GRAMMY Museum Leonard Bernstein Exhibit

he GRAMMY Museum has official exhibit of the centennial enables visitors to explore some of Tmounted a traveling exhibit and is the most comprehensive ret- Bernstein’s most noted works; and as part of the worldwide cele- rospective of Bernstein’s life and a karaoke-style vocal booth gives bration of the 100th birthday of career ever staged in a museum visitors the chance to sing songs Leonard Bernstein. The exhibit, setting. Items on display include: from West Side Story. Another titled Leonard Bernstein at 100, Bernstein’s conducting baton; his interactive feature gives visitors opened in September at the first childhood piano; the desk the opportunity to step into John F. Kennedy Center for the used to compose West Side Story; Bernstein’s conducting shoes and Performing Arts in Washington, handwritten score sheets for lead the New York Philharmonic. Prelude, Fugue & Riffs D.C as part of the kick-off the songs from West Side Story, includ- Leonard Bernstein at 100 two year celebration of Bernstein’s ing “America,” “Tonight,” and was curated by the GRAMMY life and work. It will travel next to “Maria;” Bernstein’s handwritten Museum in collaboration with The New York Public Library for Harvard study notebook from The New York Public Library the Performing Arts in December, 1939; and much more. for the Performing Arts and the and will be the Skirball Cultural In addition to the objects and Bernstein Family, and is presented

Center in Los Angeles in 2018. the multi-media presentations, the in cooperation with the Bernstein 2017/2018 Fall/Winter Drawing from more than 150 exhibit includes a number of inter- Family, The Leonard Bernstein photographs, personal items, active displays, designed to allow Office, Inc., Brandeis University, papers, scores, correspondence, the museum visitor deep access and the Indiana University Jacobs costumes, furniture, and films, into Bernstein’s creative mind and School of Music. ■ Leonard Bernstein at 100 marks the music legacy. A “listening bar”

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FW1718_PFR_art_draft.indd 13 11/22/17 12:59 PM - - ■ - - - - - ’ 11/22/17 12:59 PM . American, Alexander Bernstein, Leonard Leonard Bernstein: The Ivy Weingram, NMAJH ence that experiences it.” Bernstein’s son and member the of Committee, Advisory exhibition’s said, “While the Museum looks greatback at figures in American Jewish history, also it is so active sonality: a charismatic conductor, devoted and educator, skilled musician. This exhibition will intodelve his memorable works while also exploring a lesser known Bernstein: of side the second-generation American Jew inspiredwho social progress, both on and off the stage. As our nationcontinues confront to issues race, of religion, and what meansit be to an ‘ Bernstein’s music takes on new, personal meanings every for audi lookingly forward. sisters My and I are very conscious bringing of our legacy father’s a new to gen eration, and the Museum is doing a fantastic doing of job exactly that.” Power of Music received gener ous support from the National Endowment the for Humanities, which awards grants programs to demonstrating the highest schol arship and excellence. The exhi bition will be complemented by public and educational programs, beto announced a later at date. more information,For visit NMAJH.org/Bernstein Associate Curator and curator theof exhibit says, “Leonard Bernstein is remembered as a passionate, larger-than-life per - - - - (1944); (1971). , a large-scale ; and giving a Leonard Bernstein: West Side Story but (1957), Audiences be may familiar he National Museum of American History Jewish West Side Story Leonard Bernstein: Music of Power The T (NMAJH) in Philadelphia has announced The Power of Music museum exhibition illustrating the famed conductor and composer’s social and identity, Jewish life, fea will exhibition The activism. ture approximately 100 historic artifacts, from Bernstein’s piano and conducting tails family to heirlooms, along with original films and immersive sound instal lations. The exhibit will be on view March – September 16 2, 2018. with many Bernstein’s of works, notably necessarilynot his how approach musicto was informed the by political and social crises his of Bernsteinday. used the arts to express the restlessness, anxiety, fear, and an hope of American Jew living II through War World and the Holocaust; the Vietnam andWar; the turbulent social changes that shook his faith in God, in humanity, and in govern ment. The exhibition will focus on what Bernstein himself referred asto his “search to a solution for the 20th century crisis faith.” of It will he explore confronted how this example, for crisis break by, ing racial barriers in his casting Town decisions the On for addressing changing America’s ideas race about and immigration in thevoice to conflictsduring the Vietnam era in his provocative theater piece, MASS

■ expe-

am proud to see my biography of I Leonard Bernstein brought out again, and with such a lovely endorsement on the cover from Alex Ross! Twenty- three years have passed since the original publication, so it is a terrific vote of confidence that Faber has decided to if I include my own memoirs,

most important achievement. Humphrey Burton October 2017 Since turning to biography I have become With this new publication, I hope first With

which I hope one day to finish. As a conse- quence, I can slip from one decade to anoth- and no mat- er on a dime, as LB would say, ter where you drop in on Bernstein he is a presence, a mensch. I love re-visiting him in his Harvard days, or when he was bumming bohemian style, around Greenwich Village, while writing outrageous letters to Aaron Copland; I relive his adventurous conducting tour in newly-founded Israel, and watch him fighting for his notes during of Side StoryWest . It was the following year, when he came to London to see Candide, that I first met him. I count myself among the luckiest of men to have lived within his orbit, and I look upon this biography as my rience Bernstein at first hand – both as rience Bernstein at first hand – both as a That defini- composer and as a conductor. agetion would bring in anybody under the may be many but I suspect there of forty, toolder music-lovers who have come round lon- Bernstein since he died in 1990. One no guiltger needs to feel the slightest sense of about enjoying Chichester Psalms. It is not just his show music that has proved durable. thea time traveller: I’ve been up and down twentieth century three times in the com- pany of Bernstein, Menuhin and William – four Walton give the book a new lease on life, adding ongive the book a new lease on life, adding - my survey of 21st century Bernstein publi mae- cations, as well as a photograph of the stro in action that I had never seen before. of theand foremost to capture the attention generations who were born too late to

Re-released Bernstein Biography

Prelude, Fugue & Riffs Fall/Winter 2017/2018 14 FW1718_PFR_art_draft.indd 14 New Recordings Celebrate Bernstein

everal new recordings have Sbeen released celebrating the Selected music of Leonard Bernstein during the composer’s centennial. Performances The piano works of Bernstein are receiving new attention. Bridge Records has released a recording Dear Readers, of pianist Andrew Cooperstock performing all the Anniversaries; e have a wonderful problem: the the Sonata for Piano; Four WLeonard Bernstein centennial is gener- Sabras; and Touches. The record- ating so many upcoming performances and ing includes Bridal Suite, which events that it is physically impossible to Bernstein composed for the wed- with the Württembergisches share them all with you in the pages of this ding of his friends and collabo- Kammerorchester Helibronn. newsletter. And so, for a complete listing rators, and Phyllis The Tonkunstler Orchestra of upcoming performances, we request that Newman, as well as Bernstein’s (Austria) has released “Tribute early piano transcription of to Leonard Bernstein,” conduct- you visit our website: Copland’s El Salon Mexico. ed by Bernstein protégé Yutaka The pianist Leann Osterkamp Sado. This recording features The https://leonardbernstein.com/at100 has recorded the complete piano Overture to Candide, Symphonic works of Bernstein on the Dances from West Side Story, As of this writing, the number of centen- Steinway & Sons label. In addi- Symphonic Suite from On The nial-related events has passed 2,300! tion to all the published works Waterfront, and Fancy Free. A – the Anniversaries, the Sonata for special feature is a recording from Piano, Four Sabras, Touches, the the 1980’s of Leonard Bernstein Bridal Suite, Music for Dance No. himself singing his blues song, II – Osterkamp includes several Big Stuff. unpublished works, heard on this As part of Conductor Marin Prelude, Fugue & Riffs will be sent upon recording for the first time. Alsop’s ongoing recordings of request. Please send all correspondence to: Bernstein’s Serenade for Violin the music of Leonard Bernstein,  Craig Urquhart after Plato’s Symposium is repre- Naxos has released Symphony. Prelude, Fugue & Riffs sented by two new recordings. No: 3: Kaddish. This record- 121 West 27th Street Orange Mountain Music presents ing features Claire Bloom as Suite 1104 the violinist Renaud Capuçon with Speaker and Soprano Kelley New York, NY 10001 the Bruckner Orchestra Linz con- Nassief who are joined by the Fax: (212) 315-0643 ducted by Dennis Russell Davies. Baltimore Symphony Orchestra, e-mail: curquhart@leonard­bernstein.com Coviello Classics has also released The Washington Chorus, The a new performance of Serenade Maryland State Boychoir, and We appreciate notice of any performances with violin soloist Kolja Blacher The São Paulo Symphony Choir. ■ or events featuring the music of Leonard Bernstein or honoring his creative life and we shall do our best to include such infor- mation in forthcoming calendars. SONY releases Leonard Prelude, Fugue & Riffs® is a publication Bernstein Remastered of The Leonard Bernstein Office, Inc. ©2017 by The Leonard Prelude, Fugue & Riffs Bernstein Office, Inc. n the eve of his centennial the quality of these half-centu- Managing Editor: Oin 2018, Sony Classical has ry-old recordings, excellent for Craig Urquhart released Leonard Bernstein’s their time, up to the standards of Editor: Jamie Bernstein classic American Columbia today’s audiophiles. Design: BorsaWallace, NYC recordings, remastered from This comprehensive display of Visit our website: their original 2- and multi-track the legendary American conduc- www.leonardbernstein.com 2017/2018 Fall/Winter analogue tapes. This remastered tor’s unparalleled dynamism and “Like” us on Facebook: 100 CD set has allowed for the versatility is offered in a single www.facebook.com creation of a natural balance (for package. Many of Bernstein’s example, between the orchestra most memorable and critically and solo instruments) that brings (continued on page 16)

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FW1718_PFR_art_draft.indd 15 11/22/17 12:59 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

SONY New Releases, continued

(continued from page 15) acclaimed interpretations are brought together here. Space permits only the men- tion of highlights, but they will convey a sense of the breadth and depth of this new set. There are his two classic com- plete opera recordings with the Vienna Philharmonic: Verdi’s Falstaff (1966) starring Dietrich Fischer-Dieskau, and Strauss’ Rosenkavalier (1971) with Christa by Carl Nielsen, whose sympho- ries fill the collection, featuring Ludwig, Gwyneth Jones, Lucia nies Bernstein brought to a wide symphonies, overtures, symphonic Popp, and Walter Berry. Included new public. poems, dances, choral and vocal in the set are Bernstein’s 1966 Bernstein’s Beethoven Fifth works, as well as countless concer- Haydn Creation and Bernstein’s Symphony from 1961 includes his tos with soloists like Isaac Stern New York Philharmonic record- talk about the work, one of many and Glenn Gould, not to mention ings that launched the “Mahler spoken-word commentaries in this Bernstein himself conducting from Renaissance” in the 1960s. Also set delivered by Bernstein. Scores the piano in Gershwin’s Rhapsody here are the recordings of works of composers from several centu- in Blue. ■

FW1718_PFR_art_draft.indd 16 11/22/17 12:59 PM