PRELUDE, FUGUE News for Friends of Leonard Bernstein RIFFS Spring/Summer 2009 IU's Jacobs School of Music Receives Bernstein Gift by Craig Urquhart he Family of Leonard Bernstein has given Indiana University's Jacobs School of Music the contents of Leonard Bernstein's Fairfield, Connecticut, composing studio. "We are honored to receive this gift which follows a rich collaborative and professional relationship between the Bernstein family and the Jacobs School that began in the early 1970s," said Gwyn Richards, Dean of the Jacobs School of Music. "In a real sense Leonard Bernstein connected with our School and its leadership, and it is thrilling to know that the link with Indiana continues and is strengthened through this remarkable gesture." "My father's artistic and edu­ cational connection with Indiana University was very strong," said Leonard's son, Alexander Bernstein. "He adored the institution and became close to the Dean, its faculty and, of course, its students. My sisters, Jamie and Nina, join me in celebrating the continuation of this relationship by literally bringing together two of the places in which he was happiest (continued on page 2) Leonard Bernstein's Fairfield studio wall West Side Story Takes Leonard Bernstein's 9 My Friend Schuyler Inside ... Over Broadway! Peter Pan Flies Again 10 In the News Leonard Bernstein and in Santa Barbara 12 Some Performances Felix Mendelssohn Jacobs School of Music Receives To Our Bernstein Gift, continued working. We cannot imagine a more fitting home for this exciting Readers new representation of Leonard Bernstein's working life." The Jacobs School plans to recreate Leonard Bernstein's working environment, which will outh, fame and fortune come and contain the items in the collection go, but music lives on forever - Y and be used as a teaching studio and a good thing, too. Lately we've for distinguished guests. Most been painfully reminded in many ways The composing desk of the contents of the room will of how ephemeral the elements of our be available to students, faculty lives can be. We are deeply sorry to prepare my opera." Privately, and the general public, who will have lost the wise and merry company he told Webb, "I hope you know be able to examine the items that of Schuyler Chapin, Lukas Foss and what you have in your school." surrounded the great composer George Perle. But their music lives A Quiet Place was to be Bernstein's during a significant portion of on - in the notes composed by Lukas final opera. his career. and George, and in Schuyler's case, In 1987, after winning the through his potent nurturing of Ernst von Siemens Music Prize, musical environments. "We cannot imagine West Germany's most prestigious Music has a cyclical quality as well. music award, Bernstein established Lately, two Bernstein works that had a more fitting home the Leonard Bernstein Scholarship been seldom heard - Mass and the at the Jacobs School of Music. incidental music for the Barrie play for this exciting new Two thirds of the prize money was of Peter Pan - are enjoying fresh representation of contributed to the scholarship fund, attention and have acquired new reso­ an amount that was matched by nance in today's world. Leonard Bernstein's funds from the late IU Chancellor There are many ways to honor the Herman B Wells. The scholarship, permanence of music; two new ways working life." established to further the education have come along for the music of of talented students, is awarded Leonard Bernstein. Indiana University Bernstein's long-standing to two Jacobs School of Music will shortly receive the contents of relationship with the Jacobs students each year. Bernstein's Connecticut composing School of Music began in 1970, In 1988, the Tanglewood Music studio, which they will lovingly with a one-month tour of Festival in Massachusetts was recreate and make available to future Bernstein's opera Trouble in Tahiti planning a celebration in honor composers and music lovers. In the in Israel to celebrate the 30th of Bernstein's 70th birthday. They more etherial yet no less practical anniversary of Bernstein's first asked the composer which of his environment of the Internet, informa­ conducting there. At that time compositions he would like to see tion about Bernstein's early years Charles Webb was Dean of the performed. He suggested his Mass. in Boston, intensely researched by School, and Bernstein and the "The people at Tanglewood said students and faculty at Harvard, Webb family became close friends. they didn't have the resources to do has been posted on an invaluable The School of Music-Bernstein that - it requires a huge orchestra, web archive. connection intensified in 1981, a jazz band, children's chorus, Without a doubt, the immortal when Webb received a call from regular chorus, ballet dancers," part of Leonard Bernstein is chugging Bernstein's Manager Harry Kraut said Webb. "So once again, Leonard briskly into the 21st century. who said, "Bernstein is working Bernstein said, 'Why don't you call on an opera, A Quiet Place, Indiana University?'" 1 J.B.• After the performance - which i: and seeks a location where .,.Cl. singers could learn parts quickly, involved 250 IU students - Bernstein .., C reportedly said, "This is one of the IQ and where he could discuss his .,C compositions and receive feed ­ greatest concerts I have ever heard." 20 "Then he went on to say, 'I ;a back." Indiana University ~ became that place. don't just mean one of the greatest -aV> concerts of Mass, I mean of any­ :,. While in residence Bernstein ~ said, "It's extraordinary to have thing.' That was quite a statement!" 3" so many talented people in one said Webb. • 3 ~ place. I'm honored that such N 0 0 beautifully prepared students have lC taken time from their studies ... to 8 West Side Story Takes Over Broadway! Just a few of the reviews from the new Broadway revival of West Side Story that opened on Thursday, March 19th. "Ms. Scaglione's stunningly natural Maria ... has the confi­ dence associated with young women who are beautiful, willful and unacquainted with sorrow. [T]his Maria is not exclusively sweet. You sense that she's the one who's really in charge, and for the first time I could imagine what Tony and Maria's marriage might be like." "Karen Olivo [Anita] ... delivers big-time." "West Side Story (at the Palace, under the sure­ "Ms. Olivo's worldly Anita ... handed direction of Arthur Laurents, who wrote is a stunner, full of citrusy the musical's original book) is so exciting it zest and acerbity. " makes you ache with pleasure." Ben 0.-antle . The New York Times John Lahr, The New Yorker "Leonard Bernstein ... birthed the "Whether you've seen several mountings of it or brilliant score - unprecedented none, you will want to catch this one." in Broadway history for both its "Best of all remain Leonard Bernstein's enthralling eclecticism and unity (with the music and Jerome Robbins's sensational, innovative tritone interval, no doubt!), not choreography. Good music doesn't age, though to mention sheer invention and much Broadway choreography does; not so this melodiousness." by Robbins. " London Gramophone Magazine "As the more realistic Anita - a role in which Chita Rivera, Rita Moreno and Debbie Allen have at various times dazzled, Karen Olivo manages to be perhaps even more impressive." "There are remarkable performances from Co dy Green as Riff, who's as sardonic as he is threatening, and Curtis Holbrook as Action, another characterful Jet." John Simon, Bloomberg "Leonard Bernstein's majestic score, in particular, is undiminished, shifting fluidly between blasts of syncopated brass fueled by testosterone and rage, and some of the most achingly beautiful expressions of love ever sung." "The show's high points are too many to mention ... " "But the true stars of the production are Robbins' graceful, endlessly expressive choreography and Bernstein's score, which still sounds bracingly modern a half-century after it was first heard." "Performed with a deft balance of percussive fury and caressing gentleness by a robust orchestra under the direction of Patrick Vaccariello, the music is a primal force. It reaches emotional apices more often found in opera than musical theater." Top: The Jets are in gear. .. , Middle: Only you, you're the only one I see ... Bottom: Mambo! David Rooney, Variety 0 Leonard Bernstein and Felix Mendelssohn was beginning to recognize this by Stephen Somary not having spent more time delv­ ing into this "giant composer," fact near the end of his life. Over the course of my years spent with uring a relaxed evening with and was correcting his omission. The Mendelssohn Project, I often Leonard Bernstein at his I realized from the passionate D drew a direct parallel between Dakota apartment in early way he was talking that he was these two towering figures. In November 1989, our conversation admitting to feeling a particular addition to being equally talented turned to an idea I had recently kinship with Mendelssohn. At as teachers, conductors, and developed - an idea which would, that point, I could not see the composers, they were the only many years later, turn into The parallel because I still held the two artists, from any generation, Mendelssohn Project, dedicated to standard two-dimensional view insuring the composer's rightful of the 19th century composer. of whom one can say the follow­ ing: in his respective century, 'he' place in history. I had long regarded Bernstein began forecasting Leonard Bernstein's recording was the most famous, sought-after, what I would encounter in my with the Israel Philharmonic influential, multi-talented, respect­ research; there were, he thought, of Mendelssohn's "Scottish" ed and beloved figure.