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&Prelude, Fugue Riffs News for Friends of

Leonard Bernstein

Winter 2001

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Leonard Bernstein and his impact on the Vienna PhilharmonicPresented October 14, 1999 at the Vienna State Opera

by Dr. Clemens Hellsberg

Ten years ago, music loversworldwide were shaken bya news report from NewYork. On October 14,

1990, at the age of 72, LeonardBernstein had died. The death ofprobably the most universal musician of his time meant forthe Vienna Philharmonic (VPO),apart from the human and artisticloss, an important turning point,as the 24 years of continuous worktogether had created a strikingchapter in the history of ourorchestra. This was not only trueat the moment of his death, butlooking back today confirmsfrom an historical viewpoint thatthe “Bernstein Era” is part of theidentity of the Vienna Philharmonic.

The first meeting with the VPOcame at the Vienna State Operawhere the Maestro conducted the world premiere of LuchinoVisconti’s production of GiuseppeVerdi’s Falstaff on March 14, 1966,a production long since honoredwith the word “legendary.” Inthe subscription concert seriesthat followed, Leonard Bernsteinconducted and performed Mozart’sPiano Concerto in B-major, K. 450,and conducted Gustav Mahler’sSong of the Earth to end the concert.

Soon an ideal and immenselyconcentrated form of workingtogether developed in close contact

with Bernstein’s manager, HarryKraut, with whom we are stillfriends. We planned the “BernsteinDates,” which included series ofconcerts, television and recordproductions in Vienna lasting several weeks, after which followedextended tours. These dates didnot just take up the entire artisticand organizational capacity ofour ensemble, but also influencedthe musical horizon of the orchestramembers in a lasting way.

For our tours, LeonardBernstein was of very special sig-nificance. As an orchestra thathas no constant artistic leader,during tours we were used toworking with conductors who werenot tied to a certain orchestra.The ideal musical agreement thatcharacterized the collaborationwith “Lenny” led to intensivetouring together. Of the total 197 concerts performed, no less

(continued on page 2)

In this issue... LeonardBernstein.com: How does it make you feel?... page 6

Bernstein’s final

bow in Vienna,

March 1990.

We suspect that Leonard

Bernstein might have been

one of those to point out, some-

what pedantically, that 2001 is the

true start of the new millenium.

Just think of the terrific concert

he’d have been likely give on the

occasion!

Well, we didn’t get the concert,

but in his absence, there continue

to be such an array of Bernstein-

related activities that at this rate,

his influence is likely to take us

into the next millenium.

The tenth anniversary of

Bernstein’s death gave rise to

observances all over the world:

from Paris to Vienna to Beijing.

Boxed sets of Bernstein recordings

are generating rave reviews. A

U.S. stamp is in the offing for this

fall, and very much in keeping

with the new millenium, leonard

bernstein.com continues to grow

as a pleasing, informative and

gratifyingly navigable website.

As it is also the tenth anniver-

sary of this publication, we decided

it was time for a new look. We

hope you approve, while continuing

to enjoy keeping up with news

about Leonard Bernstein.

We further suspect that after

pointing out that 2001 was the

true start of the new millenium,

Leonard Bernstein would then go

back to work and not give the

subject another thought.

J.B.T. ■

(continued from page 1) than 91 were abroad, 34 ofwhich were in the last three yearsof his life. Without knowing it,we said goodbye forever to himin Carnegie Hall, where in March1990, he conducted the orchestrain works by Anton Bruckner,Gustav Mahler and Jean Sibelius.In September 1988, he took theorchestra on its first tour to Israel.That tour was notable for itssymbolic value, conveying throughmusic the message of humanityand reconciliation, a special concern of Leonard Bernstein’s.

Bernstein and the ViennaPhilharmonic worked together tosupport organizations devoted tohumanitarian or cultural goals.The proceeds of no less than 49performances in Vienna were forthe benefit of such organizations.We worked for everyone fromAustrian farmers to UNICEF,from Amnesty International tothe Jerusalem Foundation, fromthe elevator for the disabled inthe Musikvereinsgebäude to the

world famous Archives of theSociety of Friends of Music. Oneinstitution was especially impor-tant to Bernstein — the “MusicalYouth,” in whose performancecycles he appeared 22 times withhis “favorite orchestra,” as hecalled the Vienna Philharmonicoften and openly.

This love was two-sided. TheVienna Philharmonic awardedLeonard Bernstein the NicolaiMedal in Gold in 1967, as well asthe “Ring of Honor” in 1978,and made him their honorarymember in 1983. The orchestrawas expressing not only its admi-ration for a great artist, but alsothe friendship which developedover the years — a relationshipwhich stood up to all strainswithout the slightest difficulty.When Bernstein came to us, thisalways meant a period of pas-sionate, consequential and con-centrated work, offering an abundance of the deepest musicalimpressions and insights. His lovefor music and his love for peoplegave us experiences which remainunforgotten and for which wethank him, especially today on the10th anniversary of his death. ■

Dr. Clemens Hellsberg is the Pre-sident of the Vienna Philharmonic.

His love for music and his love for people gave usexperiences which remain

unforgotten...

LeonardBernstein andhis impact on the ViennaPhilharmonic, continued

To Our Readers

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Bernstein in Paris

On November 13, Art France-USA presented a tribute to

Leonard Bernstein to benefit theNelson Mandela Foundation for Children with AIDS. TheOchestre National de France wasconducted by Yutaka Sado, andwas joined by Lauren Bacall,Fazil Say, pianist, and a cast ofAmerican singers: June Anderson,Kim Criswell, Brent Barrett,Perry Laylon Ojeda and MichaelSlattery. David Ignatius reportedabout the concert in a WashingtonPost/ Herald Tribune article,“America’s Culture Transcendsthe Feebleness of Its Politics,”which is excerpted here.

PARIS — Much as I’d like toruminate on the battle of Floridaand the breakdown of Americanpolitics, after this week here inthe City of Light, I just can’t addto the gloom.

…The week began for me witha concert Monday night celebratingthe works of Leonard Bernstein,10 years after his death. Nowthere was a man who understoodthe raw, reckless romance of hisnative land. A huge silkscreen ofBernstein hung above the stagebefore the concert began, his whitehair tousled just so, eyes keeningwith intelligence, body hunchedover a score, leaning forward as ifto hear a furtive melody.

The concert opened withBernstein’s score from the movieON THE WATERFRONT, and ifyou closed your eyes and listenedto the staccato music, you couldsee the young Marlon Brandomaking his way along the docks.

The first half closed with amanic piano concerto, called AGEOF ANXIETY, boldly performedby a young Turkish pianist namedFazil Say. At the intermission, abeaming Turkish ambassador wasaccepting congatulations, obviouslyproud to be connected to this celebration of American culture.

Then came Bernstein’sBroadway show tunes — rollicking

numbers such as New York, NewYork and haunting ones such asMaria. They were sung with anAmerican gusto that would havemade Bernstein smile, and whenthe chorus finished the finaleSomewhere the French just went nuts.

They wouldn’t stop clapping.Wouldn’t let go until they forcedthe conductor, Yutaka Sado, toplay an encore. Lauren Bacall,who had just co-hosted theevening with Judith Pisar, tried toget them to go home, but theaudience wouldn’t hear of it. Theyclapped for nearly half an hour. ■

© 2000 The Washington Post Reprinted by permission

Kim Criswell,

Perry Laylon

Ojeda, Joey

McKneely (direc-

tor), Judith Pisar

(presenter), Brent

Barrett, Michael

Slattery, and

Craig Urquhart

(Amberson) share

post-concert fun.

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They wouldn’t stop clapping.Wouldn’t let go until they forcedthe conductor, Yutaka Sado, to play an encore.

Conductor

Yutaka Sado

and Lauren

Bacall enjoy

the audience

reaction.

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by Jamie Bernstein Thomas

It takes 24 hours, from door todoor, to get from Manhattan’s

West Side to the China WorldHotel in Beijing. We left for theairport at 4:30 a.m., our innerclocks disrupted from themoment our trip began. Maybewe dreamed the whole thing.

The China National Symphonyhad never played the music ofLeonard Bernstein. They’d per-formed a Gershwin piece once,we were told; that was the sum of their exposure to American music.But we were going to present twoconcerts of Bernstein music aspart of the Beijing Music Festival.Conductor Michael Barrett hadhis work cut out for him.

The parts had arrived late, sothe first rehearsal was basically a sight-reading exercise. My sisterNina, along with documentaryfilmmaker Ellen Spiro, caught theagony on video. Drenched insweat, Michael dragged theorchestra through the rhythmicbrambles of SYMPHONICDANCES from WEST SIDE STORYand THREE DANCE EPISODESFROM ON THE TOWN. Itseemed as if they couldn’t getthrough more than five bars with-out breaking down. By the end ofthe first day, we were all discour-aged and apprehensive. Would theorchestra really be able to performtwo concerts of Bernstein music

Bringing Bernstein to Beijing

by the end of the week? Meanwhile, I was squeezing in

meetings with the translatorsassigned to our various events.There was one to translate a sem-inar on Bernstein at Peking University on Friday afternoon.There was another to translatemy narration for Saturday night’sconcert of Bernstein’s Broadwaymusic. And there was to be athird translator for Sunday after-noon’s performance of THEBERNSTEIN BEAT, the children’sconcert Michael and I developedin homage to my father’s YoungPeople’s Concerts with the NewYork Philharmonic. But itemerged that the Festival hadn’tactually located a translator forthe kids’ concert yet. All weeklong I wondered whether theywould find someone suitable —or anyone at all — in time.

Then there was the matter ofthe shofar. THE BERNSTEINBEAT points out the connectionbetween the shofar call on YomKippur, which Bernstein heard in the synagogue since earliestyouth, and the first three notes ofWEST SIDE STORY. But whereto find a shofar in Beijing? EllenSpiro’s father, a rabbi, tried to mailus one from the States, only todiscover that ram’s horns were considered “live animal material,”and would be held in quarantineuntil long after the concert date.

Then we had the idea of goingto the Israeli Consulate. Sureenough, some “important diplomat”there, whose name was neverrevealed to us, owned a shofar —and could he please play it him-self? I told Michael he shouldprepare himself for an extraorchestra member. In the end,the mysterious diplomat evidentlydeveloped a case of stage fright;he simply sent over the shofar,and Michael blew the instrumenthimself from the podium.

At the dress rehearsal on themorning of the first concert, theChina National Symphony’sMusical Director, Muhai Tang,casually asked me whether wewere planning to use the superti-tles that ran electronically above

the stage of the Poly Theatre.They had supertitles? No onehad ever told us! We could havetranslated all the song lyrics wewere presenting from five differ-ent Broadway shows!

We all huddled together, tooka collective deep breath anddecided: we would translate thelyrics. Right there. That day. Wewould have them ready by evening.We would have supertitles!

And so for the next few hours,half a dozen of us, American andChinese, sat in an overheateddressing room and figured outways to translate everything from “Best of All Possible Worlds”to “Pass that Football” to “ILike to Be in America.” It was aprodigious feat of last-minute,steel-nerved linguistic acrobatics.That night, Nina sat in the lightbooth during the concert and cued the supertitles herself. Frommy narrator’s seat onstage, Iwatched with deep satisfaction asthe audience members smiled upat the Chinese characters floatingabove the American singers’ heads.

The orchestra rehearsals werean ordeal for one and all, but byconcert time, by golly, it wassounding a lot like Bernsteinmusic. Many orchestra members came up to us to say, in theirhalting English, how much they’denjoyed playing Bernstein. Theyparticularly liked playing THEBERNSTEIN BEAT for the kids.The Festival did in fact find awonderful woman to translatenext to me onstage: Gan Li, ananthropologist and Yale graduate,no less, who had just the rightcombination of kid-friendlinessand language smarts. I knew she’ddone a splendid job all aroundwhen I held up my “MAMBO!”sign at the right spot in themusic, and the kids roared soloud I nearly fell off my stool.

As the musicians filed offstageafterwards, many of them raisedtheir fists in the air and shouted“MAM-BO!” They, and we, alltraveled farther together in thosefour days in Beijing than the dis-tance we’d covered to get thereand back home again. ■

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Orchestra, soloist adeptly meet ‘West Side Story Suite’ challenge

by John Fleming

Reprinted by permission. © St. Petersburg Times, publishedDecember 2, 2000

TAMPA — All the famous tuneswere there: Maria, Tonight,

Somewhere, I Have a Love, I FeelPretty and suggestions of much ofthe rest of Leonard Bernstein’sscore for West Side Story, the1957 classic that revolutionizedmusical theater. But the WESTSIDE STORY SUITE, arrangedfor violin and orchestra byWilliam D. Brohn, had somethingelse that Bernstein would haveloved: a virtuoso soloist to makethe songs new.

Joshua Bell premiered the suiteThursday night with the FloridaOrchestra, Jahja Ling conducting,in Ferguson Hall of Tampa BayPerforming Arts Center.

While listening to Bell’s per-formance, naturally the words ofthese deeply familiar songs cameto mind, but what was fascinatingwas how the violinist brought a singing quality all his own to the music.

Brohn, best known as a musicaltheater orchestrator, had a trickytask to create something morethan simply a medley of much-loved melodies. He succeededadmirably by reconceptualizing alot of the score. For example, thesuite begins in the cellos, not withfamiliar material but with aslurred, drawn-out phrase fromthe Jet Song, followed by jazzyalto sax, then a burst of Mambo.

All this happens in less than25 measures, yet it provides anartful framework for the entrance

of the solo violin, which gives asurprising gypsy flavor to snatchesof Something’s Coming and I Feel Pretty.

If there was anything not tolike about the WEST SIDE STORYSUITE, it would have to do withthe essentially light-weight nature of thework. Call it thecurse of crossover, theeffort to straddle theworlds of classical andpop. Nobody, ofcourse, pulled thattrick off better thanBernstein himself,composing Broadwaymusicals around thesame time he wasmusic director of theNew York Philharmonic.

In some ways, the Bernstein/Brohn suite was a dream cometrue for a pops program, exceptfor one crucial difference: thesoloist for whom it was written.Bell is an amazing technician,sure, but what elevated the workwas his spontaneity and expressivefreedom. If the suite has a model,it would be Sarasate’s CarmenFantasy, a 19th-century show-piece for violin and orchestradrawn from the Bizet opera. It’sa piece that Bell has played manytimes, and that experience seemedto inform his approach to thesuite. His performance felt like athrowback to another age, whenviolin masters such as FritzKreisler thrilled concertgoers bymarrying a classical sensibility topopular music.

WEST SIDE STORY SUITE,just over 18 minutes long andplayed without pause, may stillbe a work in progress. “Itevolved up until this morning,”Bell said in a talk-back sessionwith audience members after the

concert. He wrote his cadenza inthe last week or so, and playedfrom a score. Thursday night, 10minutes before the concert began,Brohn huddled backstage withFlorida Orchestra librarian EllaFredrickson, correcting a note ortwo in the score.

The audience gave Bell astanding ovation. Brohn took abow from the mezzanine, wherehe was seated with representativesfrom Sony Classical and theBernstein estate.

Later this month, Bell will bein London to record an all-Bernstein program, including theWEST SIDE STORY SUITE, forSony with the PhilharmonicOrchestra, David Zinman conducting. The compact disc isscheduled to come out in June. ■

Something’s Coming...

www.westsidestory.org

Jahja Ling,

Joshua Bell and

Harry Kraut after

the premiere.

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LeonardBernstein.com: How does it make you feel?

by Daniel Shiffman

In 1958, at the New York Philhar-monic’s Young People’s Concerts,

Leonard Bernstein said “There’s nolimit to the different kinds of feelingsmusic can make you have...everyonce in a while we have feelings sodeep and so special that we have nowords for them and that’s wheremusic is so marvelous; because musicnames them for us, only in notesinstead of words.”

In the world of the technophile(aka ‘geek’), there’s another kind ofdeep and special feeling. You know;the one made by a humming harddrive, 512 MB of RAM, a T3 connection, some nice shockwaveeffects, or perhaps just some reallyreally really well written code. Imean, c’mon. Is there any limit tothe different kinds of feelings thatreally really really well written codecan make you have? For these tooare feelings for which there are nowords — only 0’s and 1’s. Sure,you’re probably thinking: “Um, areyou crazy? I mean, what kind ofperson gets beyond words over dis-covering an extra stack of Dual

Inline Memory Modules? I mean, Idon’t even know what those are.I’m sticking with my MahlerKindertotenlieder for my indescrib-able feelings.”

Ok, I won’t argue. That’s notan unreasonable response. Never-theless, whether it’s music you love,or well designed active serverpages, there’s one thing we can allagree on: LeonardBernstein.com isthe place for you. For the musicfan, there are news articles, CD recommendations, a calendar ofevents, interviews, and archival

materials. For the technology lover,there are audio clips, video clips, adatabase of Leonard Bernstein content, and information aboutPBS’ Reaching for the Note DVD.And for those who just want totalk, there’s a lively message boardwhere fans and friends discussLeonard Bernstein, web technologies,and other music-related topics.

LeonardBernstein.com was originally developed in 1996 inpartnership with N2K, Inc, but isnow under the full control ofAmberson, Inc. and offers up-to-dateBernstein content.

Most notably, the site now dis-plays an active list of Bernsteinnews stories on its homepage. Youcan find out about an Austrian auc-tion of a piano signed by LeonardBernstein, view a 7-part video inter-view with Jamie Bernstein Thomas,read recent articles about LeonardBernstein in the New York Times,

Philadelphia Inquirer and BaltimoreSun, and view the program fromthe recent La Scala production ofWEST SIDE STORY.

On the homepage you can alsofind a link to download this verynewsletter as a PDF file (you’ll needAdobe Acrobat Reader to view thefile). There’s a brief survey to fillout there as well, where you canindicate if you’re interested indownloading more Bernstein PDF’sand digital music files.

If you click on events on thehomepage, you can find a newBernstein calendar of events. Thiscalendar is updated often and con-tains all the information you needto find a Bernstein event whereveryou may be.

The Leonard Bernstein Store hasbeen expanded to include a com-prehensive listing of all availableBernstein recordings. You canbrowse by composer as well asview the entire list of Sony’sBernstein Century. Also availableat the store are videos, includingLeonard Bernstein’s Young People’sConcerts and The UnansweredQuestion, and DVDs, such asWEST SIDE STORY and theAmerican Masters programReaching for the Note. For books,

Most notably, the site now displays anactive list of Bernstein news stories on itshomepage.

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you can buy both LeonardBernstein’s Findings and HumphreyBurton’s biography, LeonardBernstein, directly fromLeonardBernstein.com through anAmazon zShop (find the link on thehomepage). Finally, there is a limitedlisting of sheet music online and wewill be making more printed musicavailable via both download andmail-order.

LeonardBernstein.com has alsoentered the field of web developmentwith the launch of two new sites: ■ The Betty Comden & Adolph

Green site (to be located initiallyat: http://www.leonardbernstein.com/comdenandgreen) and

■ The West Side Story web site (to be located initially at: http://www.westsidestory.org). The Betty Comden and Adolph

Green site features biographicalinformation on the writing duo anda database of content about theirBroadway musicals. The WESTSIDE STORY web site makes available an archive of materialabout the development of the 1957musical, current news about WESTSIDE STORY, an official registry of WEST SIDE STORY productionsand performers, information onhow to license material from theshow, and WEST SIDE STORYmerchandise.

The site will also feature a user-friendly “Now Playing” section,where anyone anywhere in theworld can enter information abouttheir production of WEST SIDESTORY to be listed online. Inaddition, users will also be able tosearch through an archive of pastperformances. And if you are per-forming in WEST SIDE STORY,you can sign the WEST SIDESTORY register — a comprehensive“official” list of everyone who hasever performed in or worked onWEST SIDE STORY, where andwhen the production took place,and their character or position.

Stay tuned also for LeonardBernstein music downloads, musicquizzes, and other interactive onlinefeatures. Just go to http://www.leonardbernstein.com and sign upfor the LB.com mailing list andwe’ll send you e-mails about thelaunch of new content. And wewould like your input. If you haveany suggestions for what you’d liketo see online, or comments on theexisting content, please let us know.

You can post a message on the message board or e-mail us at questions@leonardbernstein.com.We’d really like to know — howdoes the web site make you feel?Can you describe it in words? Orwill you need some musical notes?Or some 0’s and 1’s? ■

Daniel Shiffman is webmaster forleonardbernstein.com

Did you know?September 9, 1951

Fifty years ago, on this date, Leonard Bernstein married Chilean

actress Felicia Montealegre. They honeymooned for several

months in Cuernavaca, Mexico, while Bernstein continued to

work on his opera, TROUBLE IN TAHITI. The subject of the

opera? Marital discord! ■

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news IN THE

Remarks by Professor PeterWeiser at the unveilingOctober 14, 2000

It is known by many that LeonardBernstein debuted in 1948 as a

conductor and pianist at theKonzerthaus in Vienna. Also, it iswell known that he had a deep lovefor the music of Gustav Mahler.

But not many people willremember that in the spring of1968, Bernstein accompaniedChrista Ludwig and Walter Berry in an exceptional rendition ofMahler’s Des Knaben Wunderhorn.After the concert Bernstein stoodby Mahler’s Plaque, which was bythe entrance to the concert hall,and said: “I would love to be onthe other side some day”.

Thirty years later, the discussionbegan about a remembrance for the

The Bernstein Plaque10th anniversary of the passing ofLeonard Bernstein. Elly Weiser, thewife of the former head of theVienna Konzerthaus, offered to fulfill Bernstein’s wish, which shehad heard herself. She pledged thecost of a plaque for Bernstein tocomplement the Mahler plaque thathung at the other side of the con-cert hall.

Elly Weiser would not live to seethis project completed. She died in1999. But to honor her request,Prager Bildhauer Zdenek Kolasky,one of the most respected metalworkers in Europe, started to workon the plaque. This plaque includesnot only the signature of LeonardBernstein, but also his music writing.The background includes his“skizze” which he had once writtenin the notebook of Franz Endler.The bronze of the plaque came

from Prague, from the mines ofKarel Mraz.

Let this plaque be not only apart of the concert hall, but also letit be a reminder of Vienna’s gratitude to Bernstein for manywonderful evenings of music. ■

Peter Weiser

(former

Konzerthaus

director),

Helmut Zilk

(former mayor of

Vienna), Cathy

Hall (American

ambassador), and

Peter Marboe

(Viennese city

counselor for

culture) at the

unveiling

ceremony.

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Last autumn, Tobias Picker received two pre-miere performances, one the European premiere

of his Symphony No. 2: Aussöhnung as well asthe world premiere of his new song cycle Tressonetos de amor.

The symphony was performed in September bythe Munich Philharmonic with James Levine con-ducting and Judith Bettina as soprano soloist.The newspaper Münchner Merkur wrote “it ispowerful music” and the Tagesblatte Zeitungwrote, “Picker’s Symphony No. 2 was the mostimpressive piece of the evening.”

November saw the world premiere of a songcycle commissioned by Franklin and MarshallCollege. The song cycle Tres sonetos de amor is amusical setting of three sonnets by Pablo Neruda:Áspero amor, No te amo and No estés lejos.Once again Judith Bettina was the soprano soloistaccompanied by James Goldsworthy, pianist. The

pair will present the cycle’s New York City pre-miere at the Merkin Concert Hall on May 24, 2001.

On January 30, 2001, the Chamber Society ofLincoln Center will perform Invisible Lilacs forviolin and piano with Robert McDuffie on violinand Christopher Taylor on piano. Picker hasrecently completed his opera Theresè Raquin,based on a novel by Emile Zola to be premieredby the Dallas Opera in November 2001. Thisopera will also receive performances by theMontreal and San Diego Operas. ■

Tobias Picker

The United States Postal Service hasannounced plans to issue a stamp hon-

oring Leonard Bernstein. The stamp willbe issued in September 2001, with first dayof issue planned for New York City. Thefirst class stamp features the Maestro inconducting dress holding a baton.

Also, the country of Tadjikistan hasissued a stamp honoring Bernstein, JamesBaldwin and James Dean. ■

Bernstein Stamps

upDATE

Tobias Picker,

Judith Betlina

and James

Levine receiving

applause.

Leonard Bernstein Music Publishing Company Artist

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2 Hamburg, Germany: BERNSTEIN DANCES; Hamburg Ballet; John Neumeier, choreographer; Staatsoper.

5,7, Munich, Germany: CANDIDE (CONCERT 10 VERSION); Orchester des Staatstheaters am

Gärtnerplatz; David Stahl, conductor; Prinzregententheater.

11 Norrkoping, Norway: SYMPHONY NO. 2 “THE AGE OF ANXIETY”; Norrkoping Symphony Orchestra; Goran W. Wilson, conductor; Geerhallen.

12 Grosseto, Italy: SERENADE; Orchestra Regionale Toscana; Kolja Blecher, violin; MarioBrunello, conductor; Teatro Industri.

13 Figline, Italy: SERENADE; Orchestra Regionale Toscana; Kolja Blecher, violin; MarioBrunello, conductor; Teatro Garibaldi.

13,14 National Public Radio: Bernstein’s Broadwayfrom ON THE TOWN to 1600 PENNSYLVANIA AVENUE; National Public Radio’s Broadway Revisited; check local listings.

19,20 Leipzig, Germany: SYMPHONIC DANCES FROM WEST SIDE STORY; Gewandhaus Orchestra; John Mauceri, conductor; Gewandhaus.

28 Bethlehem, PA: TROUBLE IN TAHITI (piano accomp.); Moravian College Opera Ensemble; BillBauman and Bill Brownyn, directors; Auditorium.

30 New York, NY: Tobias Picker, INVISIBLE LILACS; Robert McDuffie, violin; Christopher Taylor, piano; Alice Tully Hall.

*Partial listing. Please

note that all dates and

programs are subject

to change. For a more

complete listing visit

leonardbernstein.com

4 Leipzig, Germany: DIVERTIMENTO; Gewandhaus Flute Ensemble; Gewandhaus.

8 Tenerife, Canary Islands: SYMPHONIC DANCES FROM WEST SIDE STORY; Tenerife Symphony Orchestra; Alejandro Posada, conductor; Sala Teatro Powar.

14 Antwerp, Belgium: SYMPHONIC DANCES FROM WEST SIDE STORY; Royal Flanders Philharmonic Orchestra; Jacques Lacomb, conductor; Koningin Elisabethzaal.

26 Wilmington, DE: PRELUDE, FUGUE AND RIFFS (arr. Foss); Cinncinati Symphony; Richard

Stolzman, clarinet; Grand Opera House.

15,16, Milan, Italy: CANDIDE OVERTURE, 17 DIVERTIMENTO, THREE DANCE EPISODES

FROM ON THE TOWN, SYMPHONIC DANCES FROM WEST SIDE STORY; Orchestra Sinfonica G. Verdi de Milano; Yutaka Sado, conductor; Auditorium.

21 Amsterdam, Netherlands: THREE MEDITA-TIONS FROM MASS; Alisa Weilerstein, cello; David Laughton, piano; Concertgebouw.

January

8,9 Bilbao, Spain: DIVERTIMENTO; Bilbao Symphony Orchestra; Yves Traub, conductor; Palacio Euskalduna.

8,9, Boston, MA: HALIL; Boston Symphony 10 Orchestra; Jaques Zoon, flute; Bernard

Haitink, conductor; Symphony Hall.

11 Washington, DC: THE BERNSTEIN BEAT; National Symphony Orchestra; Jamie Bernstein Thomas, narrator; Elizabeth Schulze,conductor; Kennedy Center.

12 Antwerp, Belgium: SYMPHONIC DANCES FROM WEST SIDE STORY; Royal Flanders Philharmonic Orchestra; Jacques Lacomb, conductor; Koningin Elisabethzaal.

13,14 Montreal, Canada: SYMPHONIC SUITE FROM “ON THE WATERFRONT”; Montreal Philharmonic; Marin Alsop, conductor; Salle Wilfrid-Pelletier.

16,18 Brussels, Belgium: DIVERTIMENTO, THREE DANCE EPISODES FROM ON THE TOWN; National Orchestra of Belgium; Roman Kofman, conductor; Salle Henry Lebeuf.

February

Calendar of EventsWinter 2001

Event Spotlight BERNSTEIN DANCESJohn Neumeier’sHamburg Ballet willonce again performthe acclaimedBERNSTEINDANCES at theStaatsoper Hamburg,Germany in January,March, and April.

March

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25,26 Hamburg, Germany: BERNSTEIN DANCES; Hamburg Ballet; John Neumeier, choreographer; Rainer Mühlbach, conductor; Staatsoper.

27 Ayr, Scotland: CLARINET SONATA, PRELUDE,FUGUE AND RIFFS; Scottish Symphony Orchestra; Richard Stolzman, clarinet; AndrewLitton, conductor; Town Hall.

28 St. Andrews, Scotland: CLARINET SONATA, PRELUDE, FUGUE AND RIFFS; Scottish Symphony Orchestra; Richard Stolzman, clarinet; Andrew Litton, conductor; Younger Hall.

29 Edinburgh, Scotland: CLARINET SONATA, PRELUDE, FUGUE AND RIFFS; Scottish Symphony Orchestra; Richard Stolzman, clarinet; Andrew Litton, conductor; Queens Hall.

30 Glasgow, Scotland: CLARINET SONATA, PRELUDE, FUGUE AND RIFFS; Scottish Symphony Orchestra; Richard Stolzman, clarinet; Andrew Litton, conductor; City Hall.

1 Richmond, CA: CANDIDE (CONCERT VERSION); California Symphony; Noelle Richardson, Soprano; Richard Nickoi, Tenor; Barry Lekowsky, conductor; Dean Lesher Regional Center for the Arts.

1,2, Hamburg, Germany: BERNSTEIN DANCES; 19 Hamburg Ballet; John Neumeier,

choreographer; Rainer Mühlbach, conductor; Staatsoper.

19 Seville, Spain: SERENADE; Orquestra de Sevilla; Serguei Teslia, violin; Christian Badea, conductor; Teatro de la Maestranza.

29 New York, NY: Leonard Bernstein: Teacher;Spirit Ensemble and Guests; Bert Konowitz, artistic director; Teachers College Columbia University.

April

March, continued

Prelude, Fugue & Riffs will besent upon request. Please sendall correspondence to:

Craig UrquhartPrelude, Fugue & Riffs25 Central Park West, Suite 1YNew York, NY 10023 Fax: (212) 315-0643e-mail: craigamb@aol.comWe appreciate notice of any

performances or events featuringthe music of Leonard Bernsteinor honoring his creative life andshall do our best to include suchinformation in forthcomingCalendars. &Prelude,

Fugue Riffs

Prelude, Fugue & RiffsTM is apublication of The LeonardBernstein Society. © 2000 by Amberson, Inc.Executive VP: Harry J. KrautManaging Editor: Craig UrquhartEditors: Jack Gottlieb, Jamie Bernstein ThomasDesign: BorsaWallace, NYCVisit our website: www.leonard-bernstein.com

[ Note to Readers ]

West Side Story Hits High SchoolsAlbany High School, Albany, CA March 2-11Antwerp High School, Antwerp, OH March 22-25Archbishop Curley High School, Baltimore, MD March 16-18Baldwin High School, Wailuku, HI January 27-February 4Beach Channel High School, Rockaway Park, NY February 9Bedford High School, Bedford, PA March 23-24Brandon High School, Ortonville, MI March 30-31Broken Arrow High School, Broken Arrow, OK March 15-17Butler High School, Louisville, KY March 23-31Cambria Heights High School, Patton, PA March 2-4Carle Place High School, Carle Place, NY March 30-31Centennial High School, Champaign, IL January 5-6Central High School, Manchester, NH January 12-13Clay High School, Green Cover, FL February 22-23Dacula High School, Dacula, GA February 8-11Dr. Phillips High School, Orlando, FL February 22-24Edwardsville High School, Edwardsville, Ill March 30-April 1Elkins High School, Missouri City, TX January 25-27Friends of the Arts School, Lexington, KY March 15-17Gonzaga High School, St. John's, Newfoundland Mar 30-Apr 1Hamilton High West, Trenton, NJ March 9-17Jefferson Township High School, Oak Ridge, NJ March 29-31Jesuit High School, Portland, OR March 1-11John Glenn High School, East Northport, NY March 23-25Metuchen High School, Metuchen, NJ March 29-31Northville Central School, Northville, NY March 23-24Pittsford Sutherland High School, Pittsford, NY March 29-31Shanley High School, Fargo, ND March 22-25St. Xavier High School, Louisville, KY March 19-28Valhalla High School, El Cajon, CA March 21-30West High School, Denver, CO March 14-17Woods Cross High School, Woods Cross, UT February 9-26

For a more extensive listing, go towww.leonardbernstein.com

DATE

aheadLO

OK

ING

®

25 Central Park West, Suite 1Y New York, NY 10023

Printed on recycled paper

Bulk RateU.S. Postage

PAIDPermit #45Newark, NJ

The New York Philharmonic’s 10 CD set Bernstein Live has

been praised throughout the world.Here are some reactions:

“Bernstein Live is astonishing for its variety and power.”

— Howard Kissel, New York Daily News

“An absolute treasure!” — Martin Goldsmith,

NPR Weekend Edition

“Bernstein Live a thrillingachievement … a fitting tribute toa legendary musician.”

— Allan Ulrich, San Francisco Examiner

Sony will release the recordingsthat helped start the renais-

sance Gustav Mahler. This 12 CDbox will present all nine of thesymphonies, the Adagio fromSymphony No: 10, and two per-formances of the Kindertotenlieder:one with Jennie Tourel and anotherwith Dame Janet Baker. Alsoincluded are the Four RückertLieder, also performed by Tourel.The orchestras featured are theNew York Philharmonic, the IsraelPhilharmonic and the LondonSymphony Orchestra. The chorusesare the Collegiate Chorale andthe London Symphony Chorus.Other performers include DameGwyneth Jones, Donald McIntrye,Martha Lipton and Reri Grist. ■

SONY to ReleaseComplete MahlerSymphonies

Bernstein Live!“A must for every collector’s shelf.”

— John Von Rhein, Chicago Tribune

“A thrilling box of Bernstein.” — Rob Cowan,

Independent (London)

Available worldwide at selectTower Records stores; the 10-CDset with two companion books is$195. It may also be ordered inthe U.S. and Canada by callingtoll-free 1 (800) 557-8268. Forinternational telephone orderscall 1 (317) 781-1861. Foreignand domestic orders may also befaxed to 1 (317) 781-4608. Theset is available on-line throughthe Special Editions e-STORE atwww.newyorkphilharmonic.org.■

&Prelude, Fugue Riffs

&