Inside - Leonard Bernstein
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News for Friends of
Leonard Bernstein
Fall/Winter 2019/2020
COPYRIGHT RUTH ORKIN
2 Centennial Wrap-up 8 “Freiheit” Berlin: 1989 12 BTHVN2020
Inside... 4 Artful Learning 9 Pacific Music Festival 13 In the News
7 On the Town in Japan 10 Remembering Friends 16 Looking Ahead
FW201920_PFR_draft1.indd 1 11/4/19 10:08 AM
Centennial Celebration
Wrap-up
by Heather Wallace with artists, institutions, and festi-
vals throughout the world.
T
he Leonard Bernstein According to Bachtrack.com’s
at 100 Celebration far 2018 statistical performance sur-
exceeded anyone’s expec- vey, Leonard Bernstein was the
T he storm of events celebrating
Bernstein at 100 is finally subsid-
ing. In this issue, we take a bird’s-
tations—even our own.
When The Leonard Bernstein
Office began planning its two-year
third most performed composer
for the year, alongside Beethoven,
Mozart, Bach, and Brahms, taking
eye view of all that transpired—and global venture, we couldn’t predict a top spot among the perpetual
we marvel. the results of our efforts—but we greats. Bachtrack also reported
And yet, in this 101st year, plunged in anyway. that four of the five most played
the force of the Maestro’s ener- We began by organizing “sum- concert works in 2018 were
gy continues to make itself felt mits” in several culturally vibrant Bernstein compositions: Symphonic
in innumerable ways. The Artful cities: gatherings with leaders from Dances from West Side Story,
Learning teaching model, based the area’s major cultural institu- Overture to Candide, Serenade
on Bernstein’s philosophies of edu- tions to brainstorm about their (after Plato’s Symposium), and
cation, has received an enormous ideas for celebrating Bernstein. Chichester Psalms.
boost through the release of a short Cross-pollination was strongly A whopping 612 orchestras
film that illustrates how the model encouraged. performed Bernstein works,
transforms teaching and learning Together with our partners— magnifying the composer’s sig-
into an engaging, creative experi- Concord (Boosey & Hawkes nificance in the canon of 20th
ence for students and teachers alike. and Tams-Witmark), Deutsche century music. In a particularly
Now, so many more people around Grammophon, Hal Leonard, notable expression of enthusi-
the world will be able to discov- Music Theatre International asm, Serenade for solo violin and
er this extraordinary, visionary (MTI), Universal Music Publishing orchestra had 276 performances
approach, which speaks so directly Group, and Sony—we found innu- by 139 orchestras, featuring 80
to the needs of our era. merable ways to make Bernstein’s accomplished violin soloists.
West Side Story is making music accessible on a global scale. Bernstein’s three symphonies
front page news, with an edgy new Between the September 2017 saw a particularly noteworthy
Broadway revival in the works, and kickoff at the John F. Kennedy increase in performances. Leading
a film remake featuring a rather Center for the Performing Arts orchestras that championed all
well-known director (see our back in Washington D.C., and the last three symphonies during the
page). notes played at Ravinia in August Centennial include the New York
While we look excitedly into 2019, over 5,700 Centennial- Philharmonic, Shanghai Symphony
the future, we also contemplate related events have been tabulated Orchestra, Real Orquesta
the past. We’ve lost several friends worldwide. The scope of the cele- Sinfonica de Sevilla, and Orchestra
and associates this year, each of bration was not only astounding, dell’Accademia Nazionale di Santa
whom had a vibrant connection to but wholly fitting. Jamie Bernstein Cecilia. The latter’s recording of
Leonard Bernstein. With every such said, “We quickly realized that the symphonies under the baton of
loss, we re-experience the loss of Leonard Bernstein is especially Antonio Pappano garnered critical
Bernstein himself—which makes the suited to a centennial celebration, acclaim.
legacy he left behind for us all the because he was so multifarious. Opera and theater companies
more precious. There’s something for everyone worldwide embraced Bernstein’s
J.B. ■ to celebrate!” In addition to per- works. To cite one example:
formances in profusion, there Candide, one of Bernstein’s most
were exhibitions, symposia, and popular works for the stage, rose
Prelude, Fugue & Riffs Fall/Winter 2019/2020
documentaries; books and educa- from the 92nd most performed
tional initiatives; broadcasts and opera world-wide in 2017, to the
podcasts; recordings, videos, and 11th most performed opera world-
beyond—all occurring on six con- wide in 2018. A Quiet Place was
tinents and in all 50 states, cele- performed by opera companies in
brating the multifaceted career and Austria, Germany, Hungary, the
life of Leonard Bernstein. Netherlands, and the US. MASS
The Centennial was a unique was another success, with perfor-
opportunity for The Leonard mances in Asia, Europe, North
Bernstein Office to strengthen its America, and South America.
ties with valued associates, as well West Side Story continued
as to explore new relationships its longtime success, and pop-
2
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ularity, with both theatre and
opera companies worldwide.
The Centennial’s performances
included exciting new productions
from Opera Australia’s Handa
Opera on Sydney Harbour;
Takarazuka Revue’s all-female
production in Japan; the Fugard
Theater’s in South Africa; the
Guthrie Theatre’s production in
Minneapolis; the Komische Oper
in Berlin; and SOM Productions in
Spain; to name only a few.
The Centennial was an occa-
sion for revisiting time-honored
dance works, as well as bringing
exciting new choreographies to
life. Bernstein’s first collaboration
with Jerome Robbins, the ballet
Fancy Free, had performances
by major ballet companies in
New York, Paris, Boston, San
Francisco, Houston, Pittsburgh, Speakers who performed Symphony No. 3: Kaddish (left to right): Row 1: Brigitte Fassbender,
Cincinnati, and Washington, Tamás Dunai, Judith Pisar, Reiner Schoene, Laila Robins, Veselin Budakov; Row 2: Jamie Bernstein,
Jeremy Irons, Brian Caspe, Dame Josephine Barstow, Leah Pisar, Itay Tran; Row 3: Andrew Tarbet,
DC. The Royal Ballet’s Bernstein
Charlotte Blake Alston, Ruth Brauer-Kvam, Vladimír Polívka, Claire Bloom, Thomas Fulton
Celebration, which included new
ballets by Wayne McGregor,
Christopher Wheeldon, and Liam box sets and remastered record- Bernstein’s music reach new audi-
Scarlett, was screened to the- ings for the Centennial. Several ences. The GRAMMY Awards
aters throughout Europe, Asia documentaries were released for paid homage to the composer
and Australia, and later released DVD and telecast; a sampling at the 60th Annual GRAMMY
on DVD. In Germany, Kim includes Leonard Bernstein: A Awards Ceremony with a per-
Brandstrup set a new ballet to Genius Divided; Bernstein and formance of “Somewhere” from
the music of Dybbuk. New York Me; Leonard Bernstein Reflections; West Side Story by TONY and
City Ballet premiered Justin Peck’s Leonard Bernstein: Larger Than GRAMMY award-winning artist
Easy, set to Bernstein’s Prelude, Life, The Genius of Bernstein; and Ben Platt. The Boston Symphony
Fugue & Riffs. In the world of Passions: Bernstein by Dame Kiri Orchestra’s gala concert The
contemporary dance, such chore- Te Kanawa. Bernstein Centennial Celebration
ographers as Larry Keigwin, Tom In addition to the re-release of at Tanglewood was subsequently
Gold, Doug Varone, and Kyle Humphrey Burton’s authoritative broadcast in the US, Germany,
Abraham found inspiration in the Bernstein biography, many new and Japan. The New York
music and celebration of Leonard books graced the Centennial— Philharmonic’s New Year’s Eve:
Bernstein. including such titles as Leonard Bernstein on Broadway con-
New orchestrations appeared Bernstein: I Fell in Love with cert was telecast on “Live from
during the Centennial—including Schleswig-Holstein (Kuhnt/ Lincoln Center.” Bernstein’s music
the premieres of new orchestra- Alexander Bernstein); On the Road was featured on three televised
Prelude, Fugue & Riffs Fall/Winter 2019/2020
tions of the scores to A Quiet & Off the Record with Leonard Fourth of July Specials in 2018:
Place, Fancy Free, and Dybbuk, Bernstein (Harmon); Leonard A Capitol Fourth in Washington
as well as a new arrangement for Bernstein and the Language of D.C.; Macy’s Fourth of July
orchestra of Bernstein’s piano Jazz (Baber); Maestros and Their Fireworks in New York City;
Anniversaries, created by Garth Music (Mauceri); Famous Father and the Boston Pops Fireworks
Edwin Sunderland, Vice President Girl: A Memoir of Growing Up Spectacular in Boston. Bernstein
for Creative Projects at the Bernstein (Jamie Bernstein); and even had his moment on an epi-
Bernstein Office. Leonard Bernstein 100: The sode of Jeopardy! with an entire
Bernstein’s principal record- Masters Photograph the Maestro category of “Leonard Bernstein
ing companies, Sony Classical (Sherman/Jamie Bernstein). at 100.” The Chicago Symphony
and Deutsche Grammophon, National and international tele- Orchestra’s production of MASS,
issued lavish commemorative vision and radio broadcasts helped (continued on page 6)
3
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Artful Learning Update
COURTESY PATRICK BOLEK
Educators use by Patrick Bolek
movement
connected to GREEN SCHOOL - BALI
learning in LEARNING TOUR
A
Lansing, MI.
rtful Learning Executive
DirectorPatrick Bolek trav-
eled to Indonesia in May as part
of an extended expedition to
learn more about the initiatives at
Green School Bali. Sustainability
and entrepreneurship through with Tim Fijal, Director of Kul SUMMER HAPPENINGS
student-centered learning in a
natural environment was the
vision made real by legendary
Kul Connection at Green School
addressed thoughtful expansion, M usic, theatre, movement, and
visual arts were all part of
summer programs in California
regional scalability, consistent
jewelers/founders John Hardy replication of a methodology, and and Michigan exploring Artful
and his wife Cynthia. Discussions arts integration. Multiple tours Learning’s powerful elements. The
throughout the entire facility and highly skilled trainers strength-
an immersive workshop were just ened the use of Artful Learning at
some of the enlightening moments Emergent and Legacy Schools by
validating that a clear mission providing hundreds of hours of
of empowerment can benefit all customized professional learning.
learners. Artful Learning spon-
sored a hand-carved bamboo pole
within the heart of the school to
support future Balinese scholars.
We Need Artful Learning More Than Ever
by Thomas Grube of the system? At the same time, learning model Artful Learning.
young people all over the world During my work on the film—
W e live in a time of radical
change. Values that seemed
safe are eroding. We have many
are showing us today that things
cannot go on like this. Lenny would
certainly have been at their side.
Artful Learning, A Case Study:
How Did You Learn Today?—I
personally observed what creative
questions for the future but few Lenny was a passionate teach- powers and a great desire to learn
Prelude, Fugue & Riffs Fall/Winter 2019/2020
answers. We find ourselves in a er. He already knew in 1990, can generate, and how much
time that portends uncertainty. when he founded the Leonard motivation and joy a school can
How will we work? How will we Bernstein Education Through the provide for children and teach-
communicate with each other? Arts Fund, that each person is an ers. Willow Elementary School
How well will our social cohesion individual who could and should in Napa, CA, is a community
function, and how will our demo- do something: find what he or she dedicated to academic excellence
cratic systems based on tolerance is in the world for, what he or she through art, while awakening
and freedom sustain themselves? is the genius for. The best learn- compassion, curiosity, and joy in
How will we live together in a ing happens, as the neurosciences learning. Here in California, as
world where self-interest and show today, by combining emo- in seventeen other schools in nine
advantage, profit and growth, but tion and experience. This insight states of the United States, Lenny’s
also fear, are among the pillars has led to the transformational idea of learning through creativity
4
FW201920_PFR_draft1.indd 4 11/4/19 10:09 AM
ARTFUL LEARNING, A about our mission, and how to Patrick Bolek serves as the
CASE STUDY: How Did You hold a screening in your com- Executive Director of Artful
Learn Today? A 30-Minute munity to help change the future Learning, Inc. and welcomes your
Documentary Short by Thomas of education using the arts as conversation and support toward
Grube the pathway to engagement and this important work. Please reach
T hrough generous private sup-
port, Artful Learning, Inc.,
is excited to announce the pre-
understanding.
Follow us on Instagram and
■ out to patrick@artfullearning.org.
miere of a compelling documen- Twitter @artfullearning
tary-short: Artful Learning, A
Case Study: How Did You Learn
COURTESY PATRICK BOLEK
Today?
Filmed over four days on-site
and throughout the Napa Valley,
Boomtown Media (Berlin,
Germany) captured the voices
of students (both current as well
as alumni now attending high
school), parents, artists, teachers,
school leadership, and others.
These advocates candidly share
their enthusiasm about Willow
Elementary and how Artful
Learning has helped magnify their
vision and continues to support
this successful learning communi-
ty. The film is aimed at a global
audience to activate conversa-
tions and actions toward creating
powerful learning experiences for
youth and adults.
Visit artfullearning.org to 3rd Grade students in Napa prepare a tableau for their Original Creation. These students are
watch the trailer and learn more featured in the Artful Learning documentary film.
is lived. As a magnet school in the of potential development. All the contribution to the development of
Napa Valley, the school is focused skills being taught there—cognitive education in the world.
on Artful Learning to integrate flexibility, emotional intelligence, Our future depends on dreams
the arts and artistic processes into coordination with others, creativ- and visions. Therefore, from the
daily teaching. ity, critical thinking for complex bottom of my heart, thank you
At Willow Elementary, I saw problem solving—are essential for Lenny—because we need your
Prelude, Fugue & Riffs Fall/Winter 2019/2020
that Artful Learning is not only a the future. vision today more than ever. ■
model for the future or an import- The time for action is ripe.
ant contribution to the current dis- Never before has the window for Thomas Grube is a German direc-
cussion; it actually exists and flour- fundamental change been so wide tor and film producer. Inspired by
ishes. The approach has been eval- open. The students are frustrated, Leonard Bernstein, he has dedi-
uated and proven; the results are the parents are overwhelmed, the cated a large part of his cinematic
tangible and perceptible in every economy is dissatisfied—many work to communicating the arts to
child and every teacher. In Napa, believe that something is wrong. a large audience, with award-win-
with Artful Learning, it became Many feel our world and what it ning films such as Rhythm Is It!
clear how urgently we need a new needs no longer fit with the old and Trip To Asia.
learning culture, a culture of appre- school model. Artful Learning
ciation of relationships, a culture is poised to make an important
5
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Centennial Wrap-up (continued)
Conductors who performed MASS (left To right): Row 1: David Afkham, Andreas Stoehr, Cailin Marcel Manson,
Clark Rundell, Keth Lockhart, Michael Gerdes, Oskar Rozsa, Constantine Kitsopoulos; Row2: Marin Alsop, Peter Bay,
Gustavo Dudamel, Dennis Russel Davies, John Axelrod, Joshua Kangming Tan, Lukas Grimm, Robert Porco;
Row 3: Wayne Marshall, Yannick Nézet-Séguin, Alexandre Bloch, Carl Clausen, Scott Weiss, Kristjan Järvi, David
Brunner, Rasmus Baumann, Louis Langree; Row 4: Bassem Akiki, Eric Holtan, Isaac Karabtchevsky, Jeffrey Meyer,
Karin Hendrickson, Jorg Dobmeier, Michael Slon, Andrew Mast, Riccardo Minasi
(continued from page 3) There were several large- travelled to Brandeis University in
recorded this past summer at the scale museum exhibitions on Boston and is currently on exhibit
Ravinia Festival, will be broadcast Bernstein in the Centennial year. at the Maltz Museum of Jewish
on “PBS Great Performances.” The Grammy Museum’s travel- Heritage in Cleveland until March
Leonard Bernstein’s legacy as ling exhibit Leonard Bernstein 2020. The fascinating relationship
a composer, conductor, educator, at 100 opened at The Kennedy between Bernstein and Vienna
and humanitarian was brought to Center in Washington D.C., was explored in two major exhib-
the forefront during the centennial and subsequently moved to The its there, curated by the Jewish
through numerous educational New York Public Library for the Museum Vienna and the Haus der
initiatives. Symposia were held at Performing Arts in New York Musik Vienna in collaboration
the Musikverein in Vienna; the City; the Skirball Cultural Center with the Archive of the Vienna
Tucson Desert Song Festival; the in Los Angeles; the New England Philharmonic Orchestra.
Juilliard School; Colorado College; Conservatory in Boston; the To say we are thrilled about
and Chichester Cathedral. Panel Sherwin Miller Museum of Jewish the magnitude of Bernstein activ-
discussions, pre- and post-concert Art with the Woody Guthrie ity these past two years is a vast
Prelude, Fugue & Riffs Fall/Winter 2019/2020
talks, and classes were held at Center in Tulsa; the Ravinia understatement, and we desperate-
performance spaces, major venues, Festival in Chicago; and, current- ly wish Lenny had been there to
schools, and libraries around the ly, the Oregon Jewish Museum see it all. No other contemporary
globe. These initiatives introduced in Portland (through January musician could have received
Leonard Bernstein to a new gen- 2020). The National Museum such a multifaceted centennial
eration of young audiences and of American Jewish History in celebration. It seems that Leonard
performers—including emerging Philadelphia mounted a large-scale Bernstein’s time has indeed come. ■
conductors, soloists, and educa- exhibition Leonard Bernstein:
tors—all immersing themselves in The Power of Music, illustrating Heather Wallace is the Digital
Bernstein’s music. Bernstein’s life, Jewish identity, Media and Promotions Manager at
and social activism. The exhibit The Leonard Bernstein Office.
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A Screwball, Highbrow Spectacle
A fitting end to the Leonard Bernstein Centennial
by Carol J. Oja Side Story—and the work’s sym-
© MAIKO MIYAKAWA/HYOGO PERFORMING ARTS CENTER
phonic writing is ambitious for
A s Leonard Bernstein’s cen-
tenary draws to a close—a
celebration that has extended
Broadway. In HPAC’s produc-
tion, the choreography (by Ashley
Page) was thoroughly balletic,
around the world and over several with little of the swing dance
years—two separate productions from Robbins’s original. Sado’s
of his first Broadway musical On orchestra drew out the symphonic
the Town were mounted this year richness of the score while also
in Japan: one by the conductor savoring its witticisms and paro-
Yutaka Sado and the Hyōgo dies. When the show shifted into
Performing Arts Center (HPAC), big-band mode, the orchestra jived
and the other by the all-female à la Benny Goodman, benefiting
Takarazuka Revue, also located in from the addition of ace jazz
Hyōgo Prefecture. Their concep- musicians from Tokyo (Tomonao Takarazuka adhered so closely A scene from the
tions of Bernstein’s World War II Hara, trumpet; Ko Kanza, drums; to the published text that I started HPAC production
musical couldn’t have been more Tatsushi Otsu, saxophone; Jun to wonder what had happened to of On the Town.
different. Yet each in its way was Shiraishi, piano). its characteristic razzmatazz. But
utterly right, reflecting together In Osaka, a separate pro- when the musical ended, strobe
the flexibility of Bernstein’s dis- duction of On the Town by the lights ricocheted around the
tinctive crossover aesthetic. famed Takarazuka Revue—a packed hall and a Rockettes-style
Yutaka Sado worked with the Japanese troupe of all-female “On the Town Revue” kicked into
British opera and theater director performers—delivered its own gear. The predominantly female
and designer Antony McDonald, version of dazzling virtuosity. audience went wild as the perform-
who imported the largely white Takarazuka’s lavish productions ers reprised some of the show’s
cast from London (the singing are often over-the-top, and its rep- core numbers: “I Can Cook Too,”
chorus was local, thus Japanese), ertory includes Broadway musicals “Carnegie Hall Pavane,” “Lonely
and the Takarazuka Revue drew alongside staged renditions of Town,” “Lucky To Be Me,” “New
on its stable of Japanese singers Japanese folk tales and Western York, New York”—all performed
and dancers, yielding its own ver- theater works. The concept of a with bristling intensity. The audi-
sion of a mono-racial cast. Sado “revue” is central to its identity, ence clapped along, gasped as the
and McDonald approached On with expert step-and-kick chore- performers fanned into the aisles,
the Town as a fusion of screwball ography featuring feather-laden and participated enthusiastically in
comedy and highbrow art, and costumes and elaborate proces- a final singalong.
Takarazuka drew on the compa- sions down a grand staircase. Neither of these productions
ny’s signature style of spectacle With On the Town, acknowledged that the US and
entertainment, leaning into the Takarazuka presented the entire Japan were mortal enemies
show’s Broadway lineage. I suspect show, which is long, and they during the Second World War.
Bernstein would have loved both delivered the book and lyrics in Yet their separate artistic visions
productions. Japanese. Six different choreog- together offer a holistic represen-
Yutaka Sado, born in Kyoto, raphers tackled individual scenes, tation of the open-mindedness
launched his career as a protégé and the performance overall was and love for a good joke that
of Bernstein. With his exquisite polished and compelling. The characterized Bernstein and his
production of On the Town, Sado three sailors were all played by collaborators. These first-rate
burnished the classical side of a otokoyaku (women acting as manifestations of global classical
crossover work. The three sailors men) and two of the troupe’s stars music and global Broadway are
Prelude, Fugue & Riffs Fall/Winter 2019/2020
(Charles Rice, Alex Otterburn and took center stage: Ryō Tamaki a fitting way for the Bernstein
Dan Shelvey) did not appear as (Gabey) and Sakura Misono (Ivy). centennial to wind down. ■
American hicks but rather as deb- The vision of Japanese women
onair, operatically trained cosmop- cross-dressing while singing in Carol J. Oja is the author of
olites with a ready sense of humor. Japanese to depict white male Bernstein Meets Broadway:
While a musical theater performer American sailors from the Second Collaborative Art in a Time of
played Ivy (Katie Deacon), oper- World War—in a show that War (Oxford University Press).
atic training defined the other two originally featured a Japanese
female principals (Jessica Walker American dancer as a symbol The complete article, of which this is an
excerpt, appeared in TLS (The Times
and Aoife Miskelly). of racial difference—presents
Literary Supplement): https://www.the-
On the Town brims with something of a cross-cultural, tls.co.uk/articles/private/a-screwball-high-
dance—more so even than West cross-gender riddle. brow-spectacle/
7
FW201920_PFR_draft1.indd 7 11/4/19 10:09 AM
“Freiheit” Berlin: December 1989
Thirty years after the fall of the Berlin for freedom, took the liberty of for those who watched the live
Wall, Craig Urquhart, Bernstein’s changing the Schiller text from television broadcast—over 100
Assistant at the time, reflects. “Freude” to “Freiheit.” He said at million viewers worldwide. All
the time, smiling, “I’m sure that were moved by the magic of hear-
I t was late December when
Leonard Bernstein and I arrived
in Berlin. Berlin was an excited
Beethoven would have given us
his blessing.”
Under the gray winter skies, the
ing the word “Freiheit” blazing
from the rafters. No words can
describe the reverent energy, hap-
city; historic change was taking muted sound of hammers chisel- piness and grave responsibility
place there. It was just weeks ing at the Berlin Wall became the that was felt in the hall. Even as
before that the government of soundtrack of the city. During the I write all these years later, my
East Germany had allowed its rehearsal period, Bernstein took eyes well up with tears, for we
citizens to visit West Germany; the pleasure in walking through the all felt a great divide had been
decades-long division of the city now opened Brandenburg Gate, healed. Lenny did not believe in
was literally crumbling. The thrill mingling with the citizens of a soon division, and here was a dream
of this new-found freedom was to be reunited Berlin. The moment of reunification that had come
electric in the air. Bernstein knew weighed heavily on his heart as he true. Everyone gave their all, and
that this was a time for a grand remembered all the suffering the the performance was a historic
musical gesture: he would conduct city’s bifurcation had caused. moment captured forever, both on
an international orchestra, made On Christmas Eve, Bernstein audio and video.
up of members of the Bavarian and his musicians presented the As a final gesture after the
Radio Symphony Orchestra, sup- first “Freiheit Concert” in West concerts and receptions, Lenny
plemented by musicians from the Berlin’s Philharmonie. It was and I, with a couple of friends,
New York Philharmonic, London also projected by a live feed onto drove to the western side of the
Symphony Orchestra, Orchestre a large screen for a freezing but wall behind the Reichstag: no
de Paris, Staatskapelle Dresden appreciative audience on the television, no reporters, just us
and the Orchestra of the Kirov plaza of the Gedänkniskirche private citizens of the world.
Theater, as well as the Bavarian in West Berlin. But it was the Lenny borrowed a hammer from
Radio Choir, Children’s Choir of concert on Christmas morning a young boy, and he took his turn
the Dresden Philharmonic and the in the Schauspielhaus (now the at tearing down a piece of this
Radio Choir of East Berlin—not Konzerthaus) in East Berlin that physical wall, to add to all those
to mention a stellar cast of solo- caught everyone’s imagination; psychological and spiritual walls
ists—in a historic performance not only among the public who he’d worked so hard to dismantle
of Beethoven’s Symphony No. 9. watched on the big screen on in the hearts and minds of human
Bernstein, a lifelong advocate the Gendarmenmarkt, but also beings around the world. ■
Leonard
ANDREAS MEYER-SCHWICKERATH
Bernstein and
Craig Urquhart
at the Berlin
Wall.
Prelude, Fugue & Riffs Fall/Winter 2019/2020
8
FW201920_PFR_draft1.indd 8 11/4/19 10:09 AM
Pacific Music Festival Remarks: July 13, 2019
inspired my father to create two
COURTESY PACIFIC MUSIC FESTIVAL
new music festivals, modeled after
his beloved Tanglewood: one in
Schleswig Holstein, Germany, and
the other right here in Sapporo.
The Pacific Music Festival was
one of my father’s last accom-
plishments. At the opening in June
of 1990, he was already quite
Jamie Bernstein addressed the weakened from the disease that
audience at the opening concert of would end his life later that same
the 2019 PMF. year. But he felt strongly that the
greatest thing he could do with
G reetings to everyone in
Sapporo, and hello to the
Pacific Music Festival!
his remaining time on this earth
was to share his learning with oth-
ers—and to create an environment
It is one of the continuing where learning and beauty could
honors of my life to visit this beau- continue to be shared, even after
tiful place, and this remarkable he was gone.
Festival, which my father, Leonard Leonard Bernstein always
Bernstein, launched thirty years believed in the power of young
ago this summer. people to help make the world a
When my father was young, he more compassionate place for one
participated in the opening years and all. He also understood the
of the Tanglewood Music Festival unique power of music: how it can that brings gifted young musicians Jamie Bernstein
in his home state of Massachusetts. bring people of all backgrounds together from around the world joins Maestra
His experience as a student there together, to give them the expe- and gives them the opportunity Marin Alsop at
was so profoundly inspiring and rience of working together. An to play and study with luminaries Pacific Music
nurturing that after his own career orchestra of young people accom- Festival.
from the world’s leading orches-
was established, he returned nearly plishes a kind of miracle: it creates tras—including the great ensembles
every summer to Tanglewood, to a template for a world that works: of Vienna and Berlin.
participate on the other side of the an environment where all the par- I travel around the world,
equation: now as a teacher to the ticipants are in alignment. They narrating concerts and talking
young musical students. are literally working in harmony about music. And I will tell you
My father always said that and are creating something bigger that everywhere I go—and I mean
teaching and learning are connect- than their individual selves. There everywhere—I meet musicians in
ed. “When I teach, I learn; when I is no greater training, therefore, orchestras who tell me that they
learn, I teach,” he said. He under- for those who are inheriting the participated in PMF, which helped
stood that this cycle—of absorbing work of caring for this planet. them achieve their current orches-
new information and sharing it I find it a little ironic that the tral positions. PMF’s influence is
with others—is the essence of Pacific Music Festival is not so visible, and audible, all over the
maintaining lifelong liveliness of well known here in Japan, while world. It is one of the principal
mind and spirit. My father was, in its influence is felt so strongly in incubators for the accomplished
fact, exactly that way to his final the rest of the world. We have to musicians of the future, and in so
breath. And this deep understand- fix that! I hope everyone here will doing, is also creating enlightened,
ing of the connectedness between tell their friends and colleagues compassionate citizen artists who
Prelude, Fugue & Riffs Fall/Winter 2019/2020
teaching and learning is what about this magnificent program, will make priceless contributions to
their respective communities.
Japan is most honored and for-
Leonard Bernstein always believed in tunate to host such an influential
program. And I trust that the peo-
the power of young people to help make ple and institutions of Japan will
the world a more compassionate place put all their talents and resourc-
es behind the preservation and
for one and all. strengthening of PMF as it enters
its next thirty years. ■
9
FW201920_PFR_draft1.indd 9 11/4/19 10:09 AM
Hal Prince (1928-2019)
J amie, Nina, and I are heartbro-
ken to have lost our beloved
Hal Prince. He was part of
theater (and theater people!) were
an inspiration.
I had the privilege of observing
our lives as far back as we can much of the preparation of Merrily
remember—famously “rescuing” We Roll Along and will always
West Side Story at the last minute, remember Hal’s constant delight in
when it had lost its producer; then working with that very young cast.
championing Candide—from the He was warm, welcoming,
intimate “Chelsea” version; to its generous, funny and fun—all of
expanded Broadway incarnation; which can be said also of Judy,
to the iconic City Opera produc- Daisy, and Charley, whom we
tion; and back to City Opera just are thinking about daily with so
a few years ago. Hal’s energy, much love. ■
brilliance, and sheer love of the —Alexander Bernstein
Phyllis Newman (1933-2019)
passing of Phyllis Newman Green, Her marriage to Adolph
whose influence on us all has been Green was a marvel of unlikely
incalculable. durability. Adolph, our father’s
To begin with, she had a longtime friend and colleague,
life force that could light up the was as eccentric as human beings
sky from New Jersey, where she come—but Phyllis found a way to
began, all the way to Central Park knit their family together, making
West, where she concluded her them a stable entity, and a wel-
journey. Her talent, wit, and sheer come addition to all of our living
effervescence were irresistible to rooms and Seder tables.
Broadway and television audiences Her children, Amanda and
alike. In our family, we delighted Adam, are nearly cousins to us—
in the sound of Phyllis’s raucous so we extend our warmest love
It’s been a very tough season for
The Leonard Bernstein Office
and family; we have lost some
laughter. We were so grateful
for her unfailing ability to bring
smiles to both of our parents’
to them and their families in this
very sad time. The sky between
New Jersey and Central Park West
deeply important loved ones. faces, no matter how dire the cir- has definitely grown dimmer. ■
All too soon after losing cumstances. —Jamie Bernstein
Harold Prince, we had to face the
Ellen Adler (1927-2019)
When sorrows come, they come not both of whom we see often.
single spies, but in battalions. Ellen was a superb painter, smart
as a whip, funny as all get-out, and
S till reeling from having lost
our beloved tante Phyllis, we
learned just days later that we had
—on top of it all—drop-dead gor-
geous. Her laugh was irresistible.
To be in on a joke with Ellen made
Prelude, Fugue & Riffs Fall/Winter 2019/2020
also lost our dear Ellen Adler. you feel, at least for the moment,
Daughter of Stella Adler, Ellen was that you were as smart as she was.
part of that extraordinary cultural Ellen surrounded herself with
gang in New York City starting in witty people and beautiful things. She
the forties, when she briefly dated had no use for small talk or social
our father. (She was also simultane- awkwardness; her dinner parties
ously dating Marlon Brando, a fact were always great (and delicious) fun.
she enjoyed sharing often.) Later, We send Tom and Sara armfuls
she married LB’s age-old friend of love and raise a glass to a mar-
David Oppenheim, with whom she velous lady. ■
had two children, Tom and Sara, —Nina Bernstein Simmons
10
FW201920_PFR_draft1.indd 10 11/4/19 10:09 AMSid Ramin and His Lifelong Pal, Lenny:
A Remembrance
Celebrated orchestrator and com- Lenny and Sid at
poser Sid Ramin – who was also the piano.
a childhood friend of Leonard
Bernstein’s—died on July 1,
2019 at the age of 101. His son,
Ron Ramin, made the following
remarks at the Lark Theatre on
August 3, 2017.
M y father, Sid Ramin, was a
lifelong friend of Lenny’s.
They met as pre-teens in Boston,
and shared a love of music. It’s
likely that my dad is the only
person still with us who attended
Leonard Bernstein’s Bar Mitzvah!
He hung around Lenny’s house,
and got to know his mom, Jennie man turned out to be? guys from New York, they asked?
(“a lovely lady”), his dad Sam My dad was only 6 months But Lenny was steadfast—he
(“a rather stern guy”), his sister younger than Lenny, but there was insisted that Sid and Irv do it. The
Shirley, and younger brother no doubt who was the teacher and studio relented. The Oscar defined
Burtie. Their friendship last- who was the pupil. Lenny gave my my dad’s career, and he owed
ed 60 years. My dad became a dad informal music lessons while much of his future successes to his
sought-after music arranger and they were in high school. When old pal, who stood firm and was
orchestrator in New York, and Lenny entered Harvard, my dad his strong advocate.
Lenny called on him many times wanted to continue studying with I’ve examined the famous
from the 1950s thru the 1980s to him but thought it only fair that Bernstein red pencil markings
work on various composing proj- he pay his friend something for made while reviewing Sid and co-
ects. Sid orchestrated the music his efforts. After high level nego- orchestrator Hershy Kay’s work
for West Side Story, both the tiations, they agreed upon a fee of and tried to imagine what it must
Broadway musical and the movie, $1 plus a Three Musketeers candy have felt like: knowing every note
as well as the Symphonic Dances bar. My dad got pretty sweet deal. you put on paper will be scruti-
from West Side Story, a staple for Even though the West Side nized by Leonard Bernstein. There
symphony orchestras around the Story movie won 10 Academy were exclamation marks when he
globe. Bernstein dedicated this Awards, guess who did not receive was pleased, crossed out musical
concert work to my dad. The first an Oscar? Leonard Bernstein. notes when he was not, and new
page of the score reads: “To Sid Why? The score was ineligible, ones added when he preferred a
Ramin, in friendship.” since it was not originally written different approach. Lenny cared
Over the years I heard sto- for the film. My dad, who did win about every single measure—no,
ries about Lenny from my dad, an Oscar for Music Supervision make that every single note. It cer-
who absolutely idolized him. on the film (along with conductor tainly keeps you on your toes!
One of the earliest takes place in Johnny Green, music director Saul When Sid worked with Lenny
Boston in the early 1930s. They Chaplin and co-orchestrator Irwin in later years, he would go up to
were walking down a neighbor- Kostal), used to tease Lenny about his house in Fairfield, CT and
hood street and heard someone this, and lament the absurdity of stay overnight. Over dinner with
butchering a popular song of the the situation. friends and family, they played all
Prelude, Fugue & Riffs Fall/Winter 2019/2020
day on the piano. Lenny was so Bernstein showed his friendship sorts of word games, especially
distressed that, despite my dad’s and loyalty to my dad by insisting, anagrams. It was a party, but then
warnings, he entered the house even though Lenny himself was the serious work would begin late
through a partially open side not actively involved in the movie, at night. Lenny was an insomniac,
window, then told the astonished that my dad and Irv Kostal go to and just assumed that others had
woman sitting at the piano that LA and orchestrate the movie’s no problem staying up and work-
she was playing it all wrong, sat music. The local producers and ing until dawn.
down on the piano bench and studio in Hollywood really wanted That was tough on Sid, but
proceeded to show her how it to hire the LA local orchestrators getting to hang with Leonard
should be played. No one was who were, indeed, supremely tal- Bernstein was well worth the
arrested. I wonder if that lady ented and well-known quantities. struggle. ■
ever found out who that young Why do we need to import these
11
FW201920_PFR_draft1.indd 11 11/4/19 10:09 AMBTHVN2020
R ecently Craig Urquhart sat
down with Malte Boecker,
Artistic Director of BTHVN2020,
celebrate from December 2019
until December 2020, a full year
of events with performers and
Zimerman as soloist, and a DVD
of the Vienna State Opera perfor-
mance of Fidelio.
a year-long celebration of partners from all over the world.
CU: I understand you’re going
Beethoven at 250. Here are a few The main idea is that we would
to be doing an exhibit about
excerpts from that conversation. like to encourage and invite peo-
“Bernstein and Beethoven.”
ple to rediscover Beethoven anew.
CU: How did you get into classical MB: I think the general under-
Everybody thinks everything has
music? standing is that Bernstein is the
been said about Beethoven, but we
MB: I started playing the piano Mahler conductor. So if you talk
believe there’s so much more to
as a kid, went to many concerts. about Bernstein, you immediately
discover. So we present many dif-
There were so many great pianists start talking about the way he
ferent kinds of projects. We believe
and conductors in the 70s and rediscovered Gustav Mahler’s
that through this multi-perspective
80s. Then I attended the Schleswig music and his engagement for this
on Beethoven, everybody can find
Holstein Music Festival in 1988, composer. Of course, it’s true, but
new angles and perspectives.
as we both remember. at the same time, he had been very
It’ll start on the 16th of
engaged with Beethoven’s music
CU: Yes, that’s where we met. December this year with the
throughout his life.
MB: I was at the rehearsal of presentation of two new exhi-
In this little exhibition, we
Bernstein’s Songfest. This was the bitions with loans from all over
really want to give the whole
starting point for many encoun- the world, one at the Beethoven
picture of how Lenny interpreted
ters all over Europe. It made me house and one at the federal art
Beethoven, what he told us about
believe that music can change hall, the Bundeskunstthalle, a huge
him—and we ask the question: is
society. It certainly changed a lot exhibition space with 1,600 square
this still the way we see Beethoven
for me personally, these meet- meters. It will really be a must
today? Has he left some footprint
ings. I felt I would like to study see exhibition for everybody who
in the way we perceive Beethoven?
music, so I picked up musicology loves classical music and wants to
My strong belief is that Bernstein
as a second study next to my law learn about Beethoven. It will end
was the biggest communicator on
examinations. In the end, I became with the concerts one year later
classical music and there’s a lot to
interested in everything in this area in Bonn with the West-Eastern
learn from how he spoke about
of music management. That was Divan Orchestra under the Baton
Beethoven.
the starting point of my career. of Daniel Barenboim, and a full
European youth choir that we CU: Malte, thank you for mak-
CU: You actually spent time with
formed specifically for this event. ing this fascinating connection
Bernstein in Bonn during the
So I think there’s a big range of between these musical giants.
Beethoven/Bernstein Festival in
activities and a huge invitation for
1989?
everybody to find this personal The Bernstein Exhibit and
MB: Yes, Lenny was artist in res-
approach to Beethoven. additional events will begin July
idence at the Beethoven Festival
Also, we have partnered with 2020.
on the invitation of Dennis Russell
Deutsche Grammophon and For more information about
Davies... And there were many
created Beethoven—The New BTHVN2020, please visit: www.
Bernstein related concerts and
Complete Edition consisting of BTHVN2020.de ■
of course, a lot of Beethoven. I
118 CDs, 3Blu-ray audio discs and
remember really well the perfor-
2 DVDs. Bernstein is represented
mances of the piano concertos
by performances of Symphonies
with Krystian Zimerman and
No:1, No: 2 and No: 9; Piano
the Vienna Philharmonic, and
Concerto No: 5 with Krystian
the unforgettable performance
Prelude, Fugue & Riffs Fall/Winter 2019/2020
of the Seventh Symphony. I had
that same feeling a few months
later when I attended the Ninth
Symphony in Berlin, the famous
performance of “Ode to Freedom.”
CU: Can you tell me a little bit
about what’s being planned for
Beethoven 2020?
MB: For our “Little Beethoven
Birthday Bash,” Bonn is going to
12
FW201920_PFR_draft1.indd 12 11/4/19 10:09 AMThe Schleswig Holstein Music Festival
Leonard Bernstein Award 2019
Grand Finals. She made her Met Nina Bernstein
AXEL NICKOLAUS
debut at the end of 2018 with Simmons and
Mozart’s The Magic Flute. The Intendant
Christian
August concert featured her per-
Kuhnt present
forming works by Bach, Mozart and
The Leonard
Rossini, with the Schleswig Holstein Bernstein
Festival Orchestra conducted by Award.
Maestro Christoph Eschenbach. ■
Previous recipients are:
2002 Lang Lang (piano)
2003 Lisa Batiashvili (piano)
2004 Erik Schumann (violin)
2005 Jonathan Biss (piano)
2006 Alisa Weilerstein (cello)
2007 Martin Grubinger (percussion)
2008 Anna Vinnitskaya (piano)
2009 Leonard Elschenbroich (cello)
A t a concert in August, the
Schleswig Holstein Music
Festival and the Sparkasse
sensation.” At a very young
age—she was born in 1994—the
Canadian-Italian singer has won
2010 Kit Armstrong (piano)
2011 David Aaron Carpenter (violin)
2012 Cameron Carpenter (organ)
Finanzgruppe and Nina Bernstein an impressive number of first 2013 Jan Lisiecki (piano)
Simmons presented this year’s prizes in prestigious competitions, 2014 Christopher Park (piano)
Leonard Bernstein Award to most recently the Operalia 2015 Krzysztof Urbański (conductor)
mezzo-soprano Emily d’Angelo. Competition. In 2016, she won 2016 Felix Klieser (horn)
She has already been called the New York Metropolitan 2017 Kian Soltani (cello)
“Canada’s newest opera Opera National Council Auditions 2018 Charles Yang (violin)
Battistoni Honors Leonard Bernstein
by Gianni Battistoni that I am forever grateful.
To honor Leonard Bernstein I
I t was always a special time in
Rome when Leonard Bernstein
came there, usually in the month
have designed a women’s shawl
and a men’s tie using the Leonard
Bernstein “B” as the main design
Prelude, Fugue & Riffs Fall/Winter 2019/2020
of May, to conduct the Orchestra element. I am grateful to the
dell’Accademia Nazionale di Maestro’s family for allowing me
Santa Cecilia. And for me it was to create these unique tributes to
an honor. The Maestro would the great musician and my dear
always make an appointment to friend. ■
come to my atelier and purchase a
few articles of clothing. Over the Available at Battistoni in Rome
years a genuine friendship devel- and in Beverly Hills. For more
oped between the two of us: for information: info@battistoni.com
13
FW201920_PFR_draft1.indd 13 11/4/19 10:09 AMNew Books
Selected T wo of Leonard Bernstein’s
classic books have been recent-
ly translated. The Unanswered
Performances Question is now available in a
French translation with a preface
by Renaud Machart. Published
Dear Readers, by Minerve, the French title is La
question sans réponse. Findings
A lthough the Bernstein Centennial
Celebration is winding down, we are
still experiencing the wonderful problem of
has been translated by Bernstein
friend Giovanni Gavazzeni into
Italian. Published by il Saggiatore
lacking space in these pages to list all the as Scoperte.
Bernstein-related performances worldwide. Longtime associate of Leonard
For a complete listing of upcoming perfor- Bernstein John Mauceri has
recently published two books. In
mances, we request once again that you visit
partnership with iBooks, Mauceri
our website:
presented a personal account wrote, “Having grown up with
of his time with Bernstein, a father whose passion for music
https://leonardbernstein.com Leonard Bernstein: A Centenary was tsunami-like in its intensity, I
Celebration. Penguin Books has quickly recognized and welcomed
published For the Love of Music: a similar joy in John Mauceri’s
A Conductor’s Guide to the Art meditations on the repertoire he
of Listening. Jamie Bernstein loves so much.” ■
Prelude, Fugue & Riffs will be sent upon request.
It’s Gotta Be Bad to Be Good:
Please send all correspondence to:
Craig Urquhart
Songs of Leonard Bernstein
Prelude, Fugue & Riffs
121 West 27th Street
Suite 1104
P ianist and Leonard Bernstein
associate Michael Barrett,
with rising soprano Amy Owens,
have released a new album paying
tribute to the vocal repertoire of
Bernstein. This collection show-
New York, NY 10001 cases songs from such diverse
Fax: (212) 315-0643 works as Peter Pan; Arias and
e-mail: curquhart@leonardbernstein.com Barcarolles; I Hate Music; A Quiet
Place; and Candide, among oth-
We appreciate notice of any performances
ers. In addition, Barrett performs
or events featuring the music of Leonard Bernstein
selections from Bernstein’s piano
or honoring his creative life and “Anniversaries.” Released by
we shall do our best to include such infor- Music Unlimited and available on
mation in forthcoming calendars. all major platforms. ■
Prelude, Fugue & Riffs® is a publication
of The Leonard Bernstein Office, Inc.
©2019 by The Leonard Stamps
Prelude, Fugue & Riffs Fall/Winter 2019/2020
Bernstein Office, Inc.
Managing Editor: Craig Urquhart
Editor: Jamie Bernstein
T he Inter-Governmental
Philatelic Corporation (IGPC)
had issued new commemorative
Design: BorsaWallace, NYC
stamps in honor of Leonard
Visit our website: Bernstein’s 100th. Presented in
www.leonardbernstein.com two blocks of four individual icon-
“Like” us on Facebook: ic images of Bernstein. The stamps
www.facebook.com are issued by Nevis and Antigua
& Barbados. The stamps are
available on the website: https://
www.igpc.com ■
14
FW201920_PFR_draft1.indd 14 11/4/19 10:09 AMA New West Side Story on Broadway
W est Side Story will begin
Broadway previews on
December 10, 2019, and will offi-
An D’Huys. Sound and Video
Design will be conceived by Tom
Gibbons and Luke Halls, respec-
cially open on February 6, 2020. tively.
This new production will be The cast, in this new version
directed by Ivo van Hove (A View without intermission, will feature
from the Bridge, The Crucible, Isaac Powell as Tony and Shereen
and Network). New choreography Pimentel as Maria. Bernardo will
will be conceived by Anne Teresa be played by Amar Ramasar,
De Keersmaeker. Set and Lighting Anita by Yesenia Ayala, and Riff
Design will be provided by Jan by Ben Cook. ■
Versweyveld, costume design by
West Side Story Around the World
©JEFF BUSBY
W est Side Story continues to thrill audiences worldwide; besides the
upcoming Broadway production (and the film remake in December
2020), there are many other opportunities to experience the show. Here
Deutsches Nationaltheater und
Staatskapelle, Weimar, Germany:
April 2020-July 2021
is a listing of non-amateur productions throughout the world. SOM Produce, Barcelona (and vari-
ous), Spain: Through June 2020
USA/CANADA EUROPE Estonian National Opera, Tallin,
Estonia: June 2020
Musical Fare Theatre, Buffalo, NY: Theater der Bundesstadt, Bonn
September-October 2019 Germany: September 2019-July 2020
AUSTRALIA
Milwaukee Repertory Theatre, Cultus Ruzinov, Bratislava (and vari-
Milwaukee, WI: September-October ous), Slovakia: October 2019 BB Promotions Tour: Sydney Opera
2019 Theatre & Music Production Centre, House: Through Early October 2019
Niagara Symphony Association, St. Varna, Bulgaria: October 2019 BB Promotions Tour: Canberra
Catherines, Ontario: October 2019* Stiftung Staatstheater, Nürnberg, Theatre Centre: October 2019
Prelude, Fugue & Riffs Fall/Winter 2019/2020
North Caroline Theatre, Raleigh, Germany: October 2019-July 2020 BB Promotions Tour: Adelaide
NC: October 2019 Theater Lübeck, Lübeck, Germany: Festival Theatre: November-
Short North Stage, Columbus, OH: Through December 2019 December 2019
October-November 2019 Komische Oper, Berlin, Germany:
Billings Symphony Orchestra, October-December 2019 ASIA
Billings, MT: March 2020* Curve, Leicester, England: IHI Stage Around, Tokyo, Japan:
Indianapolis Symphony, November 2019-January 2020 Through Summer 2020
Indianapolis, IN: April 2020* Teatro Lirico di Cagliari, Sardegna,
Italy: March-April 2020 For more information visit:
Royal Exchange, Manchester, WestSideStory.com
England: April-May 2020
*Denotes Symphonic Version
15
FW201920_PFR_draft1.indd 15 11/4/19 10:09 AMPRESORTED
STANDARD
U.S. POSTAGE PAID
NEWARK, NJ
PERMIT NO. 625
121 West 27th Street
Suite 1104
New York, NY 10001
Printed on recycled paper
West Side Story
Film
O ne of the most exciting
upcoming Bernstein projects is
the film remake of West Side Story,
directed by no less than Steven
Spielberg. Here is a letter he wrote
at the conclusion of principal pho-
tography, which took place around
New York City during the summer
months of 2019. ■
NIKO TAVERNISE
David Alvarez (Bernardo), Ariana DeBose (Anita), Steven
Spielberg, Rachel Zegler (Maria), Ansel Elgort (Tony)
FW201920_PFR_draft1.indd 16 11/4/19 10:09 AMYou can also read
