Fall 2000

by David MermelsteinExcerpted, © 2000 by the NewYork Times. Used by permission.

Even those unmoved byLeonard Bernstein’s exuberant musicianshipfind it impossible to deny

his magnetism. As conductor and pianist, Bernstein energizedaudiences. His exciting podiumpresence was the stuff of legend,and caricature. Yet his enthusiasmfor music was real — innate, even— and not merely generated forpublic consumption.

With Bernstein’s death in 1990,audiences lost a maestro whocould be many things but neverboring. A decade on, no one hascome close to replacing him, eitheron the podium or in the publicimagination. So it is easy tounderstand why Sony Classicalhas opted to ring out the old millennium with a gargantuanseries of midprice CD reissuestitled Bernstein Century.

The appellation is, of course,too grand on several counts.Although Sony’s vaults (formerlyColumbia’s, then CBS’s) contain a trove of Bernstein’s best recordings, most of his early oneswere made for RCA and his laterones for Deutsche Grammophon.Still, his Columbia discs representa signal achievement. Here isAmerica’s first native-born conducting superstar at the verysummit of his powers, driven butnot yet mannered, ebullient butnot yet self-indulgent.

Bernstein recorded around 500works for Columbia from 1950through the 70’s with the NewYork Philharmonic. To date, 80Bernstein Century CD’s are

available, roughly half of the conductor’s Columbia output.

Naturally, Bernstein Centurygives pride of place to the twinpillars of the conductor’s collabo-ration with Columbia: Mahlerand American music. Bernsteinbrought to Mahler lasting publicrecognition and to Americanmusic the wider audiences soughtby his mentor Serge Koussevitzky.But many of the happiest discoveries in this collection liesomewhat off the beaten path.

Although Brahms was hardlyunknown territory for Bernstein,the composer’s scores never occupied the Olympian ground hereserved for Beethoven, favoring

speed and lean textures but alsomajesty. In Brahms, Bernsteinconfounds expectations, upendingthe warm approach maestros likeBruno Walter made standard.Bernstein’s recordings from theearly to mid-60’s lack that lam-bency, substituting pure powerinstead. If precision is sacrificed inthe process, passion certainly isnot: Bernstein’s account of theAcademic Festival Overture (SMK 61846), for instance,charges ahead on more than justcelebratory vim. Yet he was neverinterested in brute force alone, asthe Andante from the ThirdSymphony (SMK 61829), filledwith aching romance, proves.

(continued on page 5)

To OurReaders

How in the world did tenyears go by since the death

of Leonard Bernstein? We misshim terribly, yet in a way he ismore with us than ever andseemingly everywhere. In Europe,there is a Bernstein Day in France,a KADDISH in Nuremburg,while in Italy this summer therewere two major Bernstein events:MASS at the Vatican, no less —and how we wish the Maestrohimself could have been therefor that one! Then in July,WEST SIDE STORY broughtthe diffident Milanese to theirfeet at La Scala. The juxtaposi-tion of La Scala’s ornate goldand velvet boxes with the starkmetal fire escapes onstage was memorable.

There is a flurry of Bernsteinrecordings making news: SonyClassical’s Bernstein Centuryseries is getting deserved praise(see article), while the NewYork Philharmonic is releasing a special 10-CD set of never-before-released live recordings of Bernstein conducting theorchestra, containing all kindsof delights and treasures. As ifall that were not enough,Deutsche Grammophon isreleasing a premiere recording ofA WHITE HOUSE CANTATA,created from Bernstein’s ill-fatedmusical, 1600 PENNSYLVANIAAVENUE. At last, the wonderfulmusic from that lost work willbe available to one and all.

We miss him, yes, but thanksto Bernstein’s prolific creativityand the miracle of recordedsound, there are many ways tokeep him near us. J.B.T. ■

prelude,fugue&riffsNews for friends of Leonard Bernstein

Measuring a Maestro for the Ages (Again)

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Bernstein during the Philharmonic Years.

In the News

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New American Schools and the Bernstein Center

West Side Story at La Scala

“WEST SIDE STORY finallyat La Scala!” wrote the

Italian newspaper La Stampa.Last July the historic Teatro allaScala Opera House presentedeighteen sold-out performancesof WEST SIDE STORY. Thismostly American cast was directedby Joey McKneely. Donald Chanconducted, adding even more performances of WSS to the overone thousand he has alreadydone. The Italians welcomed it aspart of the standard repetoire.Here is what some of the criticshad to say: “WEST SIDE STORY astonishesLa Scala.”

— Corriere Della Sera“[WEST SIDE STORY] miracle inMilan.”

— La Repubblica

“[WEST SIDE STORY] livesagain in its spendor.”

— Il Giorno “The evening ended in triumph.”

— Avvenire “WEST SIDE STORY a success inMilan, with an excellent company.”

— Famiglia Cristiana ■

Boosey & Hawkes, Inc. andArrangers’ Publishing Company

are pleased to announce thelaunch of a brand new series ofmarching band publications.

The initial group of releasesoffers an exciting variety of material for half-time shows,

New Band Arrangements

On September 2 and 3, JamesLevine conducted The

Munich Philharmonic and sopranoJudith Bettina in the Europeanpremiere of Tobias Picker’sSymphony No. 2: Aussöhnung(Reconciliation) for soprano andorchestra. The Leonard BernsteinMusic Publishing Company publishes this work. Originallycommissioned for the HoustonSymphony in 1986, it is dedicatedto Sergiu Comissiona who conducted the premiere. He andthe Houston Symphony laterrecorded it for Nonesuch records

(CD79246-2). The half-hourwork has a dramatic design ofseven movements flanked by aprelude and postlude — all ofwhich elaborate material found in the crucial vocal movementwhich is based on the textAussöhnung by Goethe.

John Van der Slice wrote inthe recording’s program book,“The symphony achieves both aformal balance and a sudden, illuminating shift in perspectivewhich leaves the listener to ponderits implications long after thework has ended.” ■

Picker European Premiere

The Grammy Foundation’sLeonard Bernstein Center for

Learning is pleased to announcethat it has been approved as oneof only nine nationally compre-hensive school reform models,and the only arts-based model, tobe adopted by the non-profitorganization New AmericanSchools (NAS).

New American Schools wasfounded in 1991 by business leaders seeking “break-the-mold”school reform models to improveour nation’s schools. The adop-tion by NAS of the LeonardBernstein Center comes at a timewhen educators, parents, legisla-tors and community groups arevery concerned about theirschools and taking steps tochange this situation. The addi-tion of the Bernstein Center ispart of the effort by NAS to revo-lutionize American classroomsand increase student achievementby offering educators a choice ofdesign models for school reform.

Michael Green, president of theGrammy Foundation remarked atthe announcement event inWashington, DC, “LeonardBernstein’s belief that ‘a greatteacher is one who can light aspark in you... setting you afirewith enthusiasm’ is the underlyingphilosophy of the Bernstein modeland fundamental to learning anydiscipline. The addition of theBernstein model to the NAS portfolio highlights the benefits of arts-based learning, whichgives children a well-rounded education experience.”

The Bernstein model is beingutilized in schools in Portland(Oregon), Cobb County(Georgia), New York City,Lancaster (Pennsylvania),Nashville, Indianapolis, Dallasand Los Angeles.

Alexander Bernstein said, “Myfather would be delighted to knowthat his vision now has the oppor-tunity to be shared directly withteachers and students in classroomsnationwide, thanks to the effortsof the Grammy Foundation andnow with the efforts of NewAmerican Schools.” ■

contests and festival use. WESTSIDE STORY offers numerousopportunities. Tom Wallace hasfashioned several numbers including: Prologue, Maria,Mambo, Cool, America,Procession and Somewhere. ■

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This October, New YorkPhilharmonic Special Editions

— the New York Philharmonic’sown label — will release BernsteinLive!, a 10-CD box set featuringnever-before-commercially releasedlive recordings of Philharmonicperformances led by LeonardBernstein. The release of this limitededition set, which underscoresBernstein’s unique relationshipwith the New York Philharmonic,coincides with the Orchestra’sOctober 2000 performances honoring the memory of Bernstein,who served as the Philharmonic’smusic director from 1958 to 1969,and as its laureate conductor from

1969 to 1990. This release will be thefifth on the Special Editions label.

Bernstein Live! captures 13hours of recordings of Bernsteinconducting the Philharmonic inworks by Beethoven, Copland,Prokofiev, Bruckner, Barber,Mozart, Britten, Stravinsky,Rachmaninoff, Hindemith andothers. Included is the historic1970 concert featuring Scenesfrom Götterdämmerung withEileen Farrell and Jess Thomasand the world premiere recordingof Symphony No. 2 by CharlesIves. Other featured performersare Byron Janis, Jacqueline du Pré.Wilhelm Kempf, Maynard Ferguson,Isaac Stern and others. Bernsteinthe teacher is also represented whenhe discusses and performs 20thCentury music. Bernstein Live!contains a wealth of documentation:two companion volumes providingnew analytical program notes byAlan Rich; a comprehensive list ofBernstein’s recordings with thePhilharmonic; interviews withmusicians; recollections by collea-

conductor and audience is workingits audible magic. It is cause forcelebration that the New YorkPhilharmonic has assembled theseextraordinary performances for usto share. Even posthumously,Bernstein gives us the opportunityto participate in his galvanizingmusical current.” Jack Gottliebreminisces about the Maestro’s adventurous program planning ina nostalgic essay entitled “I TurnedPages for Leonard Bernstein.”

Available worldwide at selectTower Records stores beginningOctober 2000, the 10-CD set withtwo companion books is $195. Itmay also be ordered in the U.S.and Canada by calling toll-free 1-800-557-8268. For internationaltelephone orders call 1-317-781-1861. Foreign and domesticorders may also be faxed to 1-317-781-4608. The set is available on-line through theSpecial Editions e-STORE atwww.newyorkphilharmonic.org.■

New York Philharmonic Special Editions

Bernstein Live!

gues; and rare photographs fromthe Philharmonic’s archives.

Bernstein Live! is a collabora-tion with Philharmonic Archivist/Historian Barbara Haws, executiveproducer, and producer SedgwickClark, editor of Musical America,who remarked, “I’m absolutelythrilled that after three years ofsearching, we located an excellentsource for Bernstein’s 1951 world-premiere broadcast of Ives’sSymphony No. 2 — you know,the one where Ives himself waslistening over the radio in hiskitchen and got so excited that hestood up and danced a jig? But,really, what I find most gratifyingoverall is that out of 33 perfor-mances on this 10-CD set, 28 ofthem are of works Bernstein neverrecorded commercially.”

Jamie Bernstein Thomas in herprogram book essay writes,“Because Leonard Bernstein wassuch a brilliant communicator,there is an extra degree of energyin his live recordings, where thatelectrical circuit of musicians,

Disc 1

Disc 2

Disc 3

Disc 4

Disc 5

Stravinsky

Elgar

Rachmaninoff

Thomson

Mozart

Webern

Hindemith

Britten

Schumann

Sibelius

Mozart

Beethoven

Foss

Prokofiev

Markevitch

Varèse

Song of the Nightingale

Cockaigne Overture

Piano Concerto. No. 3 (Lazar Berman)

The Seine at Night

Piano Concerto No. 23 (Byron Janis)

Six Pieces for Orchestra

Symphony, Mathis der Maler

Spring Symphony (Jennifer Vyvyan, Regina Sarfaty,

Richard Lewis, et. al.)

Concerto for Cello and Orchestra (Jacqueline du Pré)

Four Songs (Phyllis Curtin)

The Magic Flute Overture

Piano Concerto No. 3 (Wilhelm Kempf)

Quintets for Orchestra

Piano Concerto No. 2 (Vladimir Ashkenazy)

Icare (U.S. Premiere)

Arcana

Disc 6

Disc 7

Disc 8

Disc 9

Disc 10

Barber

Russo

Ruggles

Ives

Shchedrin

Stravinsky

Henze

Beethoven

Bach

Bruckner

Bernstein

Copland

Xenakis

Brant

Boulez

Cage

Wagner

Second Essay

Symphony No. 2 (Maynard Ferguson, World Premiere)

Men and Mountain

Symphony No. 2 (World Premiere)

Mischievous Folk Ditties

Capriccio (Seymour Lipkin)

Symphony No. 5 (World Premiere)

Triple Concerto

(Leonard Bernstein, John Corigliano, Laszlo Varga)

Brandenburg Concerto No. 5

(Leonard Bernstein, Isaac Stern, John Wummer)

Symphony No. 6

Discusses and Performs Twentieth-Century Music

An Outdoor Overture

Pithoprakta (U.S. Premiere)

Antiphony One

Improvisations sur Mallarmé I (Marni Nixon, U.S. Premiere)

Atlas Eclipticalis

Götterdämmerung , excerpts (Eileen Farrell, Jess Thomas)

Bernstein’s MASS

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Last June Bernstein’s MASSwas performed for the first

time in the Vatican at the SalaNervi, to an audience of over8000 people including cardinals,priests and nuns. This historicevent was presented by theFestival di Pasqua, under the aus-pices of the Vatican’s CentralCommittee for the Grand Jubilee2000 and the President of theItalian Republic, and was fundedby the City of Rome. EnricoCastiglioni produced and directedthis performance. Boris Brottmusical director conducted theorchestra, band and choruses ofthe Santa Cecilia Academy.Douglas Webster was theCelebrant in an all-American castmade up the Street People. Here iswhat the Italian press had to say: “The MASS of Bernstein trium-phant in the Vatican.”

— Corriere Della Sera“Bernstein’s MASS conquers theVatican, a grand success.”

— Il Messaggero“At the Sala Nervi Bernstein’sMASS was performed for 8000fortunate people.”

— Il Giornale ■

of order — religious as well as political. Bernstein’s genius was tochannel such upheavals into hismusic, and the dramatic structureof the Catholic liturgy proved to bethe perfect vehicle for his expression.

Imagine the scene. The powerelite of Washington, the func-tionaries of the Nixon-Kissingerwar, crowded the opulent newconcert hall for what all expectedto be the society event of the season. The conflicts of the erahad been distilled by then into thegenerational clash between youngand old, and there were very fewyoung people in the audience.Thus the first shock of MASS was that the priest-celebrant washimself so young, a boy clothed insilk robes. He seemed so ill at easein the baroque vestments of theweighty past. The timeless recita-tion of the arcane formulas keptgetting interrupted by “epistles”from the present moment, and the powerful audience began tosquirm as MASS made its refer-

MASS Revisited

By James Carroll©2000 by the author used by permission

In the late 1960’s JacquelineKennedy asked Leonard

Bernstein to compose a mass inhonor of her slain husband to beperformed at the dedication ofWashington’s Kennedy Center forthe Performing Arts. The resultwas Bernstein’s “MASS: A TheaterPiece for Singers, Players andDancers,” an extraordinary composition [written in collabora-tion with Stephen Schwartz] thatcombined the production valuesof opera, choral magnificence, thehip choreography of Broadway,intricate symphonic harmonies —and a heartbreaking narrativeturning on the figure of an all-too-human young priest. I wassuch a priest when I attended aperformance of MASS in its opening run in 1971, and it leftme shaken.

As I recall, critics did not knowwhat to make of Bernstein’s work,although President Kennedy’swidow pronounced herself wellsatisfied. Most audience membersseemed to find the compositiondifficult since it squared not at allwith the liturgical masterpieces ofMozart, Bach, or even Britten.Bernstein’s subject was not the“holy order” of a mass at all;rather, his subject was the fright-ening disorder of those unholytimes. The assassination, after all,was its foundational event, andwhile Bernstein composed andbrought his MASS to the KennedyCenter stage, the war in Vietnamwas undercutting the very idea

ences to the Vietnam conflict everclearer. One “epistle” was anactual letter that had been writtenby an anti-war protester fromprison, and the text evoked thecounter-priests of Philip andDaniel Berrigan, Philip in prisonat the time (as he is today, Godbless him), and Daniel a fugitive,soon to be jailed. These referencesprompted the celebrant to sing alyric prophetically challenging the audience itself: “You can lockus up,” the priest sang in behalfof a throng outside that hall, “butyou cannot imprison the Word of the Lord.”

My thoughts have returned toBernstein’s MASS because I readrecently that it was to be performedin the Vatican as part of theChurch’s Jubilee 2000 celebration.The news report defined MASS as“exploring a crisis of faith,” as ifthe young priest had the problem,not the institution. The perfor-mance took place in the papalaudience hall in June. One picturesa squirming audience of the clericalcensors and inquisitors who havetried so hard to preserve the patri-archal system of power that MASSstands against. But in truth, theinner circle of the Catholic Churchincludes, as well, men and womencapable of recognizing themselvesin this cosmic drama of renewal.One imagines that a wily Vaticanmisfit arranged for the staging ofBernstein’s prophetic work in theheart of the Church, a signal thatits renewal is inexorable. Now ifBernstein’s MASS could onlyreturn to Washington. ■

MASS at theVatican

Vatican program

Douglas Webster as Celebrant

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Measuring a Maestro for the Ages (Again), continued

(continued from page 1)A similar melding of muscularity

and ardency characterizesBernstein’s approach to Baroquemusic, not an area normally associated with him. In unortho-dox, big-boned approaches toBach’s St. Matthew Passion andHandel’s Messiah, Bernstein’sabundant verve and idiosyncraticspirituality go far toward mitigating the violence he inflictson the scores. The Messiah(SM2K 60205; two CD’s), thoughgrandly conceived and burstingwith ardor, is mercilesslyrearranged by Bernstein. Yet hisinclusion of the countertenorRussell Oberlin among thesoloists is inspired and forward-looking. The St. Matthew Passion(SM2K 60727; two CD’s), rendered in English and severelycut, proves more problematic.Still, the sextet of committedsoloists, including the sopranoAdele Addison (also featured inMessiah) and the mezzo-sopranoBetty Allen, is worth hearing. Anda 16-minute lecture by Bernstein,somewhat perversely tucked in asfiller, offers an intelligent intro-duction, delivered in the conductor’sinimitably accessible style.

Bernstein’s astonishing abilityto convey the meaning of musicthrough speech was among hismain strengths. And in a series ofpublic talks, often televised orfilmed, he eloquently and plainlyelucidated for countless Americans,especially the young, the power ofmusic to enrich. Bernstein Centuryreveals this talent on a disc couplingBeethoven’s Eroica Symphonywith How a Great SymphonyWas Written, a 15-minute lecturerecorded in 1965 (SMK 60692).In his characteristic nasal, gravellyvoice, the conductor explains

Beethoven’s genius and the creationof a masterwork in terms thatchallenge without alienating theuntrained ear.

Getting audiences to feel as hedid about music was perhaps atthe core of Bernstein’s being, andone senses that generous andenthusiastic spirit particularly inperformances of the big-hearted19th-and 20th-century orchestralworks that were central to hisrepertory. A 1959 recording ofRimsky-Korsakov’s Scheherazade(SMK 60737), for example, thoughless supple and refined than celebrated versions by ThomasBeecham and Fritz Reiner, brimswith tension and color.

Similarly, a 1960 recording ofTchaikovsky’s Capriccio Italien(SMK 61556), included as a fillip ona CD dominated by an indifferentaccount of the composer’s FourthSymphony, shows Bernstein at hisgrandiose best in a piece that benefits from the theatrics. Andthough his expansive account ofSibelius’s Second Symphony(SMK 61848) will not be to alltastes, some listeners may delightin its sanguine embrace.

Listeners of all stripes will bedrawn to the recordings of Mahlerand American music that BernsteinCentury has so attractivelyrepackaged. In the scores, theconductor’s interpretive powersreached their summit, and althoughmuch has been written about hisextraordinary sympathy for thisrepertory, the greatest tribute to hispowers as a world-class Mahlerianand American-music advocate maylie less in praising these outstandingrecordings than in noting whatfollowed in their wake.

Mahler was hardly unknownwhen Bernstein began championinghis music on record in 1960.

(Bruno Walter, Otto Klemperer,Dimitri Mitropoulos and HermannScherchen, among others, hadrecorded individual symphonieswell before then.) But Bernsteinwas the first to record all ofMahler’s symphonies and a gooddeal of his vocal music as well.Since then, most major conductorshave committed Mahler cycles todisc. If anything, we have a surfeitof Mahler records today.

The situation may be less clearwith regard to American music,which many insist still suffersfrom neglect. But if Koussevitzkycleared the path, in concert andon record, then Bernstein pavedthe road. Certainly, the conductorsMichael Tilson Thomas, LeonardSlatkin and Gerard Schwarz, thebest-known current advocates ofAmerican music, benefited fromBernstein’s resoluteness.

At present, Bernstein Centuryoffers a dozen solidly packed CD’sof American music, not countingthe eight featuring Bernstein’sown scores. For some, Bernstein’saccounts of Copland, Ives,Gershwin, Barber and WilliamSchuman are not so much bench-mark recordings as holy writ, forthe conductor enjoyed deep associations with these composers.

Those less familiar with thismusic should relish two potpourri

discs. In American Masters (SMK60594), Bernstein leads two symphonies feelingly: Roy Harris’ssearing Third and RandallThompson’s propulsive Third. In American Masters, Volume 2(SMK 61849), he indulges in theraucous pleasures of WalterPiston’s Incredible Flutist and,with Orson Welles as narrator, heblunts the political cant of MarcBlitzstein’s Airborne Symphony.

Naturally, no discussion ofBernstein is complete withoutmentioning his own compositions,works that place the conductor ina singular category. Like his heroMahler, Bernstein excelled at bothconducting and composing, butMahler, who died in 1911, left noreal recorded legacy. Yes, otheresteemed conductors also composed, but how many musiclovers today clamor for the symphonies of Wilhelm Furtwängleror Jean Martinon?

For all the prejudicial commentsleveled at Bernstein’s concertworks — derivative, slight, turgid— no one disputes the seriousnesswith which he approached theircomposition. That he left recordingsof his own works only enhancesour appreciation of them, for whobetter than this gifted maestro tointerpret the work of a majorAmerican composer, especially ifthe composer is himself?

Unlike the conductors whowere famous in life but left onlyfaint footprints, Bernstein seemsassured of his place in the collectivememory. And with this series,Sony has finally done an indis-putably great artist proud. Likethe man himself, BernsteinCentury is grandly ambitious,abundantly intelligent and oftenintensely moving.

For more information visit:www.leonardbernstein.com ■

Spearheading the choral sideof the project is the ZimriyahChorale, the Choral Society ofSouthern California, the El CaminoReal High School Camerata Choir,the Lachen Choir (Toronto, Canada)and two choral groups fromIsrael, the Efroni Children’s Choirand the Tel Aviv Chamber Choir.

In addition to the performanceseducational aspects will also beincluded. In Los Angeles, the dressrehearsal in Royce Hall prior tothe November 13th performancewill host 2700 Los Angeles highschool students. These studentswill be prepared using a curriculumprepared by an educational coordinator and also providedprogram materials speciallydesigned for “Sounds of Healing.”It is hoped that the program isalso in the works to be aired inthe spring of 2001.

For more information on“Sounds of Healing,” please contact Judy Fenton at (310) 670-5080. ■

Upcoming Events

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October 14th marks the 10thanniversary of the death of

Leonard Bernstein. The Octobreen Normandie Festival in Francewill commemorate this occasionon October 15 with a day devotedentirely to the Maestro. The daywill feature concerts, films, andan exhibition of photographs.Seven ensembles will gather topresent twelve programs coveringthe Maestro’s legacy.

Among the highlights areBernstein Story, a program of thecomposer’s piano compositions;the complete ANNIVERSARIESand TOUCHES with accompa-nying narration by Judith Pisar.There will be a performance ofthe original version of ARIASAND BARCAROLLES, as well as a jazz concert-arrangement ofWEST SIDE STORY performedby the Andre Ceccarelli Quartet.There will be screenings of theHollywood versions of WESTSIDE STORY and ON THETOWN and a special show ofexcerpts from the Broadway shows.Capping the festival will be a performance of the SYMPHONYNO. 2: THE AGE OF ANXIETY,FANCY FREE, and SYMPHONICDANCES FROM WEST SIDESTORY by the BBC Philharmonic,with Peter Donohoe at the pianoand David Atherton conducting. ■

Bernstein Dayin France

Fifty-five years after the end ofWorld War II, choral groups

from Los Angeles, Toronto andIsrael will combine forces with theNuremberg Symphony Orchestrain Germany for two historic performances of LeonardBernstein’s SYMPHONY NO. 3KADDISH. The concerts, scheduledfor November 25 and 26, 2000,will take place in the cradle ofAdolf Hitler’s Third Reich andsite of the post-war trials of Naziofficials. A pretour performance isplanned for Monday, November13, at UCLA’s Royce Hall, in Los Angeles.

“Sounds of Healing: LeonardBernstein’s KADDISH atNuremberg” is conceived as both a cross-cultural artistic collaboration and a mission ofreconciliation. “This unprecedentedundertaking will demonstrate thepower of music to help heal eventhe most painful wounds,” saysNick Strimple, the project’s artistic director.

Some 285 Jewish and Germanmusicians will participate in thefirst-ever performances of Bernstein’s

KADDISH in Nuremberg, Germany

symphony in Nuremberg. TheAmerican, Canadian and Israelisingers will be hosted by the Jewishcommunity of Nuremberg, whichhas experienced a resurgence overthe last decade and now includesmore than 900 members.

“Sounds of Healing” coincideswith the opening of a new museumchronicling events in Nurembergduring the Nazi era. It also comesten years after the passing ofBernstein, who wrote three settingsof the Jewish prayer recited forthe dead, with a text that cele-brates life.

The performances will be heldonly a few days following theanniversary of Kristallnacht, theinfamous night in 1938 when theNazis incited anti-Semitic rampagesin major German cities. Addingfurther resonance is the venue forthe concerts, Nuremberg’sMeistersingerhalle, an auditoriumbuilt over the ruins of theamphitheater where Hitler heldhis early rallies.

“This will be an emotionallydifficult experience for many ofour singers,” says Strimple. “Butwe also feel there’s a tremendousopportunity to highlight howhumanity can transcend even themost pernicious evil and replace it with the spirit of tolerance and friendship.”

We appreciate notice of any performancesor events featuring the music of LeonardBernstein or honoring his creative life and shalldo our best to include such information inforthcoming Calendars.

prelude, fugue & riffsTM is a publication ofThe Leonard Bernstein Society. © 2000 by Amberson, Inc.Executive VP: Harry J. KrautManaging Editor: Craig UrquhartEditor: Jack GottliebDesign: BorsaWallace, NYCVisit our website: www.leonardbernstein.com

Note to Readers

prelude, fugue & riffs will be sent uponrequest. Please send all correspondence to:

Craig Urquhartprelude, fugue & riffs25 Central Park West, Suite 1YNew York, NY 10023 Fax: (212) 315-0643e-mail: craigamb@aol.com

12-14, New York, NY: SYMPHONY #1: 17 JEREMIAH; New York Philharmonic;

Rinat Shaham, mezzo-soprano; Leonard Slatkin, conductor; Avery Fisher Hall.

12 Villa Louvigny, Luxembourg: THREE DANCE EPISODES FROM ON THE TOWN, SYMPHONIC DANCES FROM WEST SIDE STORY, TWO MEDITATIONSFROM MASS, SYMPHONY #1: JEREMIAH; Orchestre Philharmonique de Luxembourg; David Shallon, conductor; Conservatoire de Musique.

13 Vienna, Austria: CANDIDE OVERTURE,SYMPHONIC DANCES FROM WEST SIDE STORY, DIVERTIMENTO, WON-DERFUL TOWN; Radio Symphony Orchestra of Vienna; Kim Criswell, Audra McDonald, Thomas Hampson, soloists; Wayne Marshall, conductor; Wiener Konzerthaus.

14 Utrecht, The Netherlands: CANDIDE SUITE, HALIL; Radio Filharmonisch Orkest; Alexander Liebrich, conductor; Vredenburg Centrum.

14 Asheville, NC: SERENADE, SYMPHONICDANCES FROM WEST SIDE STORY, CANDIDE OVERTURE: Asheville Symphony Orchestra; Daniel Heifitz, violin; Robert Hart Baker, conductor; Thomas Wolfe Auditorium.

15 Amsterdam, The Netherlands: HALIL, CANDIDE SUITE; Radio Filharmonisch Orkest; Jacques Zoon, flute; Alexander Liebriech, conductor; Concertgebouw.

16 Villa Louvigny, Luxembourg: SONATA FOR CLARINET AND PIANO, SONATA FOR PIANO AND VIOLIN, TRIO FOR VIOLIN, VIOLONCELLO AND PIANO, SONGS; members of the orchestra; Roberta Alexander, soprano; Roger Vignoles, piano; Theatre de la V. Esch-Sur-Alzette.

18 London, England: CANDIDE (Scottish OperaVersion); London Philharmonic; Wayne Marshall, conductor; Royal Festival Hall.

20 Villa Louvigny, Luxembourg: CHICHE-STER PSALMS, HALIL, SYMPHONY #3:KADDISH; Orchestre Philharmonique du Luxembourg; David Shallon, conductor; Conservatoire de Musique.

25 Cologne, Germany: Leonard Bernstein 10th Memorial Anniversary Events;Humphrey Burton, lecturer; Students of the Hochschule for Music; Hochschule.

27-29 Los Angeles, CA: SYMPHONY #1: JEREMIAH; Los Angeles Philharmonic Orchestra; Florence Quivar, mezzo-soprano; Christoph Eschenbach, conductor; Dorothy Chandler Pavillion.

Calendar of Events *

*Partial listing. Please note that all dates and programs are subject to change.

28 Beijing, China: Leonard Bernstein 10th Memorial Anniversary Concert; Selectionsfrom CANDIDE, WEST SIDE STORY, ON THE TOWN, WONDERFUL TOWN, AND 1600 PENNSYLVANIA AVENUE; Beijing Music Festival Orchestra; Michael Barrett, conductor; Poly International Theatre.

29 Beijing, China: BERNSTEIN BEAT; BeijingMusic Festival Orchestra; Jamie Bernstein Thomas, narrator; Michael Barrett, conductor; Xhongshan Concert Hall.

3,4 Perth, Australia: SYMPHONIC DANCES FROM WEST SIDE STORY; West Australia Symphony Orchestra; Marin Alsop, conductor; Concert Hall.

8,9 Paris, France: CANDIDE OVERTURE, THREE DANCE EPISODES FROM ON THE TOWN, PRELUDE FUGUE AND RIFFS, SYMPHONIC DANCES FROM WEST SIDE STORY; Orchestre National de France; Yutaka Sado, conductor; Théâtre des Champs-Elysées.

12 Portland, OR: THREE DANCE EPISODES FROM ON THE TOWN; Oregon Symphony; Murry Sidlin, conductor; Schnitzer Hall.

13 Paris, France: Bernstein Memorial Concert:Orchestre National de France; Yutaka Sado,conductor; Théâtre des Champs-Elysées.

20 Munich, Germany: CANDIDE (Concert Version); Orchester des Staatstheaters am Gärtnerplatz; David Stahl, conductor; Prinzregententheater.

1,2 Cincinnati, OH: SELECTIONS FROM MASS; Cincinnati Symphony Orchestra; Erich Kunzel, conductor.

7,11, Lille, France: SYMPHONY #1: JEREMIAH;12 Orchestre de Lille; Leonid Grin,

conductor; Nouveau Siècle.

15 Brussels, Belgium: CHICHESTER PSALMS, SYMPHONIC DANCES FROM WEST SIDE STORY; National Orchestra of Belgium; Roman Kofman, conductor; Salle Henry Leboeuf.

September October, continued2 Munich, Germany: Tobias Picker,

SYMPHONY NO. 2 “AUSSÖHNUNG”; Munich Philharmonic; James Levine, conductor; Philharmonie des Gasteig.

12 Adelaide, Australia: MASS; Helpmann Academy and Adelaide Conservatory.

14 Amsterdam, Netherlands: SERENADE; Royal Concertgebouw Orchestra; Joshua Bell, violin; Dennis Russell Davies, conductor; Concertgebouw.

15-17, San Diego, CA: CANDIDE (Scottish Opera22-24, Version); San Diego Comic Opera; Martin

Wright, musical director; Casa del Prado.

24 Berlin, Germany: HALIL, SYMPHONY #2: THE AGE OF ANXIETY, CANDIDE OVERTURE, THREE DANCE EPISODES FROM ON THE TOWN, SYMPHONIC DANCES FROM WEST SIDE STORY; Berliner Symphoniker; Lior Shambadal, conductor; Philharmonie.

24 Paris, France: HALIL; Orchestre National de France; Yutaka Sado, conductor; Théâtre des Champs-Elysées.

26,28 Montreal, Canada: CHICHESTER PSALMS;Montreal Symphonic Orchestra; Charles Dutoit, conductor; Salle Wilfrid-Pelletier.

28,30 Gothenburg, Sweden: SYMPHONY #1: JEREMIAH; Gothenburg Symphony Orchestra; B. Tommy Andersson, conductor; Konserthuset.

29,30 Munich, Germany: WEST SIDE STORY; R. Klingele, musical director; Staatstheateram Gartnerplatz.

30 Rio de Janeiro, Brazil: CANDIDE; Theatro Municipal of Rio de Janeirio.

1-3 London, UK: ON THE TOWN; BBC Concert Orchestra with the London Voices; Kim Criswell, Brent Barrett, Karl Daymond, George Dvorsky, Ned Sherrin; Paul Daniels, conductor; Royal Festival Hall.

1,3, San Antonio, TX: BERNSTEIN BEAT; 4,5 San Antonio Symphony; Jamie Bernstein

Thomas, narrator; Dave Mairs, conductor; Majestic Theater.

8 Amsterdam, The Netherlands: THE BERNS-TEIN BEAT; Radio Filharmonisch Orkest;Alexander Liebrich, conductor; Concertgebouw.

10 Amsterdam, Netherlands: SYMPHONIC DANCES FROM WEST SIDE STORY; Rotterdam Philharmonic Orchestra; Gianandrea Noseda, conductor; Concertgebouw.

October, continued

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A WHITE HOUSE CANTATArepresents the first time the musicand lyrics will be available on CD.This performance features theLondon Symphony Orchestra andthe London Voices conducted byKent Nagano. Featured soloistsare Thomas Hampson in multi-presidental roles and June Andersonas the First Ladies. BarbaraHendricks performs the role ofSeena and Kenneth Tarver performsthe role of Lud, her husband.Warren Hoge in The New YorkTimes wrote after the Londonpremiere of A WHITE HOUSECANTATA, “…the result is an exuberant work.”

®

Looking Ahead

Premiere Recordings from Deutsche Grammophone

prelude,fugue&riffs25 Central Park West, Suite 1YNew York, NY 10023

in a performance of Mozart’sPiano Concerto No. 17, K.453.Also featured are recordings withother orchestras, includingBernstein’s last concert of theBeethoven Symphony No. 7 andthe Britten Four Sea Interludes;the Beethoven Piano ConcertoNo. 5 with Krystian Zimermanand the Brahms Double Concertowith Gidon Kremer and MischaMaisky; Mozart’s Mass in Cminor; Mahler’s Symphony No. 5; and a CD of Americancomposers featuring Gershwin,Copland, Barber and Harris. ■

AWHITE HOUSE CANTATAis the concert adaptation of

the Bernstein – Lerner failedmusical 1600 PENNSYLVANIAAVENUE. The musical was neverrecorded, so DG’s recording of

Printed on recycled paper

Also this autumn, DG willrelease a commemorative box setentitled: Lenny, The Legend LivesOn. Included in this six CD setwill be the first-time release ofBernstein conducting the ViennaPhilharmonic from the keyboard

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