2003 fall - prelude, fugue and riffs

DATE

aheadLO

OK

ING

®

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

Printed on recycled paper

Record Company Updates

&Prelude, Fugue Riffs

PRESORTED STANDARD

U.S. POSTAGE PAIDNEWARK, NJ

PERMIT NO. 45

MÉCÉNAT MUSICALMécénat Musical records havereleased Yutaka Sado conductingthe Orchestre Lamoureux withvocalist Kim Criswell performingselections from Candide, On theTown and West Side Story alongwith On the Waterfront.

VIRGIN CLASSICSCountertenor David Daniels isjoined by Craig Ogden, guitar,on a Virgin classics release AQuiet Thing which includesBernstein’s songs So Pretty and A Simple Song.

NAXOSNaxos presents the BournemouthSymphony Chorus and Orchestraconducted by Marin Alsop per-forming Chichester Psalms, Onthe Waterfront and Three DanceEpisodes from On the Town

CHERCher has released a DVD of herfarewell tour that includes abonus track of her one-womanperformance of West Side Story asseen on her 1970s television show.

DEUTSCHE GRAMMOPHONDeutsche Grammophon presentsviolinist Anne-Sophie Mutterwith André Previn conducting theLondon Symphony Orchestra ina performance of Serenade.

UNIVERSAL MUSICUniversal Music has releasedStreet Tango by bandoneon artistCarel Kraaenhof. The recordingincludes his arrangements ofsongs from West Side Story, withliner notes by Jamie Bernstein.

The Big Day: Memories of a Historic Debut

&Prelude, Fugue Riffs News for Friends of

Leonard Bernstein

Fall/Winter 2003/2004

The Big Day: November 14,2003 marks the sixtiethanniversary of LeonardBernstein’s now famous

conducting debut with the NewYork Philharmonic at CarnegieHall. It is by now the stuff of leg-end, yet it was really quite simple.Bruno Walter, the scheduled con-ductor of the New YorkPhilharmonic, was too ill to per-form, and so his assistant conduc-tor was called upon to conduct.For some reason this rarely hap-pens; when it does, the occasion isusually unremarkable. This timewas an exception. The best wayto tell the story is throughBernstein himself, and a few of his fellow musicians.

In what would prove to beLeonard Bernstein’s last interview,he reminisced about his conductingdebut with his brother Burton,who was preparing an article forTown & Country magazine on theoccasion of Carnegie Hall’s centen-nial in 1991. The interview tookplace in Fairfield, Connecticut onNovember 29, 1989.

“There were times when I musthave fantasized — you know, one

of those days. ‘Someday son, thiswill be yours,’ as they say. But Inever thought I would have towalk out there [The Carnegie Hallstage] on my own. When it cameto the time — that very day — all Ican remember is standing there inthe wings, shaking and being soscared. There was no rehearsal. Ihad just come from seeing BrunoWalter, who very sweetly and veryquickly — wrapped up in blankets

2 Discovering Bernstein Through Mahler

4 From the Stage: ThreeMusicians Remember

because he had the flu — wentover the score of Don Quixotewith me. He showed me a fewtricky spots where he cut off herebut didn’t cut off there, here yougive it an extra upbeat and so on.

“I called Mama and Daddy atthe Barbizon Plaza to tell them andyou. And then I just had to hangaround. I mean I was all dressed;when it came to the crunch on that

(continued on page 4)

Inside... 6 Leonard Bernstein: A Jewish Legacy

9 In the News

13 Calendar of Events

16 Looking Ahead

From the Podium: Lenny Remembers

CO

URTESY

NEW

YO

RK PH

ILHA

RMO

NIC

2

Prelud

e, Fug

ue &

Riffs


Leonard Bernstein still lives on in

so many of us: as a musical col-

league (for those members of the

New York Philharmonic who

remember his astonishing debut

60 years ago this November); as a

source of intellectual fascination

(for scholars who continue to pore

over his conducting scores); as a

man who embraced God through

his music (for the American Jewish

community); as a teacher (for the

many schools and conservatories

with thriving Bernstein-inspired

programs); as a performer (for all

of us who still thrill to his record-

ings and videos); and as a compos-

er (for all of us who continue to

delight in his Broadway shows and

concert works). And if that sen-

tence had too many parts, it is the

unsurprising result of Bernstein’s

sprawling, multifaceted career.

Such a burst of creativity in one

life can lead to bouts of poor

grammar in his admirers. Under

the circumstances, perhaps these

lapses can be forgiven.

J.B. ■

To Our Readers by Charles Zachary Bornstein

In November 2002, I wasengaged as conductor and lec-

turer at the Rubin Academy forMusic in Jerusalem. For my lec-ture on Mahler’s First Symphony,I borrowed the score from theAcademy library, and wasintrigued by the extravagant redpen markings that I recalled hav-ing seen in the Critical Edition.Could these have been Mahler’sown corrections?

I sent sample pages to theMahler expert Henri-Louis de LaGrange, in Paris, who confirmedit was indeed “Mahler’s ownhand.” Zubin Mehta, then inIsrael conducting the IsraelPhilharmonic, invited me to aconcert so that he could see thenew-found score. He suggestedthat I compare it with Mahler’sconducting score of the FirstSymphony (1909), residing in TheNew York Philharmonic Archive.When I returned to New York,Barbara Haws, the Archivist,greeted me with the Mahler scoreas well as Leonard Bernstein’sconducting score, a copy of aFirst Edition Weinberger printing.

It was fascinating to see howBernstein was directly influencedby Mahler’s interpretive marks,since he had used Mahler’s scorefor his initial and subsequent per-formances with the New York

Philharmonic. Barbara Hawsspent over twenty hours with mecataloguing the similarities and

dissimilarities among theJerusalem score, the Bernsteinscore and that of Mahler’s.Bernstein’s has “L.B.” initialed onthe lower part of page one, as domost Bernstein conducting scoresin the Archive.

When Barbara put otherBernstein scores in front of me tolook at, I discovered a sense ofhis mind at work, his thoughtscrisscrossing with his bowings,metronome marks and little ver-bal notes. These scores exhibiteda love of thinking about music —in a more organized fashion thanI had ever seen in any other con-ductor’s scores — and for me,they crushed the myth that hewas impulsive and improvisatoryas a conductor.

Three weeks later Barbaraentrusted me with Bernstein’sconducting score of Mahler’sNinth saying, “I want to knowwhat does Lenny mean.” Afterthree months of carefully analyz-ing every marking on each page,it gradually became apparent thatthe mechanics behind Bernstein’sinterpretation of the MahlerNinth were profound and con-vincing in two ways: first, hisharmonic and formal partitioningof each section with a metronomemark, to which he remainedfaithful whenever that materialwas to appear again; and second,how he completed many detailsof tempi, critical expression marksand dynamics implied by Mahler,as if he were co-composer.

At a meeting with Barbara andTom Cabaniss, Director of theEducation Department at theNew York Philharmonic, I wasasked to lecture on Bernstein’sscore for the Ninth to young con-ductors, a new educational usagefor the collection. From the pianoI demonstrated and isolated manyaspects of the Bernstein interpreta-tion in combination with examplesfrom Bernstein’s own recordings,sometimes comparing them with

Discovering BernsteinThrough Mahler

These scores exhibited

a love of thinking

about music — in a more

organized fashion than

I had ever seen in any

other conductor’s scores...

3

Prelud

e, Fug

ue &

Riffs


other conductors’ recordings tomake the point even moreemphatic as to “what Lennymeant!” Scores were scanned foroverhead projection.

The first lecture centered pri-marily upon the marking systemBernstein devised to analyze hisscores. One of Bernstein’s greatestinsights was how he clarified andsimplified the most complex ofmusical sections. What a thrill itwas to impart these discoveries toa new generation of conductors,and to feel their enthusiasm astogether we explored the Bernsteinthinking process.

At a second lecture, we concen-trated on his tempo and conceptu-al world. Just as he had parti-tioned sonority, so he rigorouslypartitioned tempo, working outevery tempo in a practical andrational way. Accelerandi werecalculated with a gradedmetronome mark for each coupleof bars that often increased toindications of the speed for everybeat — incredible! We marveledat his interpretation, how tightlycontrolled yet the most elasticsounding! A musical oxymoron.

Bernstein had written at thetop of the opening page of theThird Movement: “Nasty/hilari-ous, Spastic/sophisticated,Sour/pious.” What did “this”mean, how could one apply it? Iknew the question would comeup. Would I be able to crack it?After three months of thinking,almost ready to admit defeat, Irealized that the answer was star-ing directly at me on page 110where he wrote: “Radetzkyquote” over the clarinet line.Suddenly it all came together inmy mind. Bernstein envisionedthis Burlesque Movement as a cir-cus! (Most European circuses playthe Radetzky March [JohannStrauss, Sr.] for elephants or some-thing.) Everything worked!“Nasty” equaled thorny derisivemain theme groups plus the rough,

scrappy counterpoint. “Hilarious”equaled the circus metaphor formodern and hollow laughter inMahler’s big cities, New York andVienna. “Spastic” applied to theintroductory group of six barsthat later reprise the coda. Thepretending to be “sophisticated”Trio sections trotting out in fulldress regalia, whip in hand via thehooked sforzandi to the centerring, the “Sour” sense of theentire dissonant exposition withthe off-key Radetsky, then the alltoo “pious” (à la Wagner’sLohengrin) middle-part and all ofit over again.

Since my initial study period Ihave perused every markedBernstein conductor score in theArchive. Each one is an adven-ture into his inspirational andhyper-rational thinking. I keepcoming back to this later aspectbecause Bernstein’s grasp of the

musical architecture, to the mostinsignificant nuance, is what, inmy view, separates Bernstein fromhis colleagues. I look forward tomany more presentations ahead inthis collection. The Bernstein con-ducting scores are a source ofunlimited knowledge for genera-tions to come. ■

Charles Zachary Bornstein is aconductor and educator who hasbeen working with the New YorkPhilharmonic Archive andEducation Department to presentand help continue the educationalprocess of Leonard Bernsteinthrough Bernstein’s own materialsof which this project is an out-growth. Mr. Bornstein’s newestCD with the BayerischeRundfunks has just been releasedin Europe on Col Legno.

(continued from page 1)Sunday afternoon, I wore the onegood suit that I had, a doublebreasted suit. I had until 2:30 p.m.to kill before going to the hall inmy sharkskin suit. In that hour ortwo, I sat in the drugstore [theCarnegie Hall Pharmacy, located atthe street-level corner of the build-ing]. I went in for some coffee.The druggist said, ‘What are youlooking so pale about?’ and hegave me two little pills, a green anda red one. He said, ‘Look, beforeyou go on, just pop these into yourmouth. One will calm you downand the other will give you energy.’I put them in my pocket.

The time seemed to hang heavytill 3:00 p.m., even though I had to

go over some of the tricky spots inDon Quixote with the cello andviola soloists and the concertmas-ter. The thing that was obsessingme, possessing me, was the open-ing of the Schumann [Manfred]Overture, which is very trickybecause it starts with a rest — thedownbeat is a rest. If they don’tcome in together the whole concertis sunk. I mean, I can’t once go‘bop, bop, bop,’ and make surethat they can do it. So, this waslike a nightmare. I had to go onand do, untried, this thing of suchdifficulty. You know, I’ve heardother people come to grief in thatopening bar. Then I finally wentand talked with the guys, and theysaid, ‘Good luck.’ Bruno Zirato

Memories of a Historical Debut, continued

The following reminiscences areexcerpts from interviews conduct-ed by the Philharmonic’sArchivist/Historian Barbara Hawsin 1996. Used by permission.

by William Vacchiano

“Imust say, in the thirty-eightyears that I was in the

Philharmonic, we never had anoccasion where a conductor wassick. This was the very first time.Then Bernstein came in. You can

From the Stage: Three Musicians Rememberimagine the tension, the thrill, the electricity in the orchestra,because we only found out aboutit a few minutes before. We hadvery little warning.

“We liked him. He was one ofthe boys. He hadn’t rehearsed it,you know, but we knew [the pro-gram] backwards and forwards.After a few bars, we could tellright away the he had it in him.He was a born conductor. Wecould see that, we could sense itwhen he took over the orchestra.

“The audience reaction wastremendous because, you know, itwas a bombshell. You don’texpect to see a very handsomeboy stepping up [to the podium];that was very important. It wasduring the war years and theyneeded a hero. I’ve got to say,that was one of the big reasonseveryone was in back of him.”

William Vacchiano was hired byArturo Toscanini in 1936 andserved as Principal Trumpet withthe New York Philharmonic from1943 to 1973.

said, ‘Hey, Lenny good luck,baby!’ Oh, he was very fatherlyand gave me big bear hugs. Andthat was about it.

“As I was about to walkonstage, I remembered the pills. I took them out of my pocket,looked at them, and said ‘No!’ Iflung them as far away from meacross the backstage as I couldand said, “I’m going to do this on my own.” I strode out and Idon’t remember a thing from thatmoment. I don’t even rememberintermission — until the sound of people standing and cheeringand clapping.” ■

© 1990 Burton Bernstein, used by permission.

Musicians (left

to right):

William Polisi,

John Corigliano,

Imre Pogany,

Leonard

Bernstein, and

Leonard Rose,

after the debut

concert.

by William Lincer

“We knew how to play theprogram. We had played

the Don Quixote twice earlierthat week and the Rozsa threetimes the week before that. We were well rehearsed by Bruno Walter.

“Of course, that Sunday after-noon was the first time the pro-gram was being broadcast — live,over the radio, that was the onlyreal difference. Because of theradio, the pressure was probablygreater and especially on Lenny.And the newspapers picked up on that.

“He was a smart conductor.He didn’t try to change the wayBruno Walter had prepared us.And yet, it wasn’t a routine con-cert. There was something spe-cial about it. Lenny conveyed anair of excitement that I havenever forgotten.”

William Lincer was principal vio-linist with the New YorkPhilharmonic from 1943 to 1972.

4

Prelud

e, Fug

ue &

Riffs


CO

URTESY

NEW

YO

RK PH

ILHA

RMO

NIC

Prelud

e, Fug

ue &

Riffs


5

On the afternoon of LeonardBernstein’s conducting debut, MrLincer was the soloist in Strauss’sDon Quixote.

by Jacques Margolies

“We were told the day wecame in, that Sunday.

There wasn’t any preparation.The Maestro was sick and thisyoungster — who had been sit-ting out in the audience as hisassistant [during rehearsals] —was going to conduct. For me, itwas more of an experience simply

The New York Philharmonic’sSpecial Editions continues to

make the compact disc ofLeonard Bernstein’s historic debutavailable for purchase. The disccontains the original radio broad-cast of Sunday, November 14,1943. Included on the CD areperformances of the Star SpangledBanner, The Manfred Overtureby Schumann, Theme, Variationsand Finale by Rozsa and Strauss’Don Quixote. To order visit: www.leonardbernstein.com. ■

The Debut Recording

On August 25, 2003, Sony Music honored the85th birthday of Leonard Bernstein with the

release of two uniquely conceived three-CD pack-ages that highlight his distinctive dual careers asconductor and composer. There are more than threehours of music on each deluxe fold-out package,Leonard Bernstein — A Total Embrace: TheConductor and Leonard Bernstein — A TotalEmbrace: The Composer.

The Conductor offers twenty-nine tracks span-ning the years 1950 to 1975, while The Composerfeatures forty-nine performances by a multitude ofartists, recorded between 1950 and 1977, with oneCD covering Concert Works, and two CDs devotedto Theater Works. This is one of the most ambi-tious and far-reaching retrospectives ever assembledfor Leonard Bernstein, who recorded exclusively forthe Columbia Masterworks label from 1956 to theearly ’70s.

Adding insight into Bernstein’s artistic contribu-tions are newly commissioned liner notes in eachcollection, written by Maurice Peress. Peress waschosen by Bernstein in 1961 to be an assistant con-ductor of the New York Philharmonic. He also conducted the world premiere performances ofMASS at the Kennedy Center. ■

Sony Music CelebratesBernstein

because I hadn’t played as long asmany of the older men. Theyhad just been through Toscanini,and they came from a long her-itage of fine conductors. Forthem it was, ‘So, all right, BrunoWalter’s sick, and there’s this newconductor at the last second.’

“After the concert, there wasbedlam. The musicians cheered.You could not help it — you justknew, like the movie A Star isBorn. I didn’t have the nerve togo up to him after the perform-ance, but I am sure that manymusicians did. The musicians

were all talking about it. Theywere saying, ‘This was an experi-ence.’ It didn’t seem like thesame orchestra. There seemed tobe a different sound, a differentapproach. I don’t think wordscan truly say what the differenceis. You just have to hear it.” ■

Jacques Margolies joined theNew York Philharmonic in thefall of 1943 and was on stageNovember 14th. He left to pur-sue a solo career in 1946 butlater rejoined the Orchestra.

Prelud

e, Fug

ue &

Riffs


6

Leonard Bernstein: A Jewish Legacy

by Jack Gottlieb

The following tribute was writ-ten for the CD by Bernstein’slong-time associate who co-pro-duced the CD with composerMichael Isaacson

At the 1969 funeral of LeonardBernstein’s father, which took

place at Temple Mishkan Tefila inChestnut Hill, Massachusetts,Rabbi Israel Kazis eulogizedSamuel J. Bernstein as one whowas completely involved in wor-ship by always having “his mind incontemplation, his heart in love,his voice in song and his limbs indance.” Like father, like son.Early on, critics often were dis-tracted by the Maestro’s dance-likestyle as a conductor. But was thisdeliberate conduct? He said no;and certainly never for the show-off reasons faultfinders may haveascribed to him. His podium man-ner had to be a burning need tocommunicate the composer’sthought processes to both orchestraand audience, whatever the physi-cality it took to make it manifest.

At times it was as if he were, inthe title of one of his songs fromOn the Town, Carried Away. Oneis reminded of words from Psalm35: Kol atsmotai tagilna badonai!(All my bones shall exult in theLord!). This is the article of faithby which Leonard Bernstein livedhis life and created his works.

But it is one thing to be carriedaway as a performer and quiteanother matter as a composer. A conductor displays his art with afinished product; a composer isconcerned with the yet-to-be, themaking of that product. Thereare, of course, musicians like a red-hot jazz improviser, or a cantorpossessed by spiritual fervor, whocan achieve the best of both worldssimultaneously, as creator and re-creator. Bernstein worked mightilyto realize that paradoxical state ofcontrolled spontaneity above allelse in his own compositions.

His earliest memory of music

took place about 1926 at MishkanTefila (then located in Roxbury,Massachusetts) where, to quotehim from an 1989 interview: “Ifelt something stir within me, asthough I were becoming subcon-sciously aware of music as my rai-son d’etre.” In fact, his first sur-viving completed piece was a set-ting of Psalm 148 which herecalled as having been writtenbetween 1932 and 1935, recordedand performed here for the firsttime. During the followingdecades he was to write sometwenty works on Jewish themes,about one-quarter of his orchestralworks, half of his choral composi-tions, songs and other pieces thathave had broad appeal for Jewsand Gentiles everywhere.

The greater part of Bernstein’soutput was sparked by the interac-tion of his American conditioningand his Jewish heritage, as inSymphony No.3: Kaddish andChichester Psalms, both written inHebrew-Aramaic, but with atouch of his West Side Storysound. Other Jewish works areelectric with American kinetic

energy even though they are con-cerned with events that took place“over there.” Among them areJeremiah, his 1942 symphonywritten in response to earlyreports of Nazi anti-Semitism, andHalil, his flute “rhapsody” aboutyoung lives laid waste in theIsraeli Yom Kippur War of 1973(a premiere recording here in itschamber version).

More fascinating is how some ofthe non-Jewish works are flavoredwith Hebraicisms, including his

Milken Archive of American Jewish Music

Naxos American Classics and TheMilken Archive of American Jewish

Music have released a compact disc ofBernstein’s mostly unknown Jewish com-positions: Leonard Bernstein — A JewishLegacy. The October 2003 release is partof an extensive, multiyear recording seriesfrom The Milken Archive. An ongoingCD project, it presents a broad spectrumof sacred and secular compositions thatexpress the rich variety of Jewish life inAmerica and its relevance to people of allfaiths. The CD features the BBC Singers,Eastman Players, Cantor Howard Stahl,Angelina Réaux, soprano, Michael Sokol,baritone, Hans Peter Blochwitz, tenor,Bonita Boyd, flute, Jack Gottlieb, JeanBarr and Barry Snyder, pianists and con-ductors, Samuel Adler and Avner Itai.Much of the music will be heard for thefirst time including Hashkiveinu,Bernstein’s only work written specificallyfor the synagogue. ■

For more information please visit:www.mff.org or www.leonardbernstein.com

The greater part of

Bernstein’s output was

sparked by the interac-

tion of his American

conditioning and his

Jewish heritage...

Prelud

e, Fug

ue &

Riffs


7

musical comedy On the Town.Two songs from that show, YaGot Me and Some Other Time areredolent of a cantorial modeknown as Adonai Malakh (TheLord is King). Elsewhere I haveshown how other samples are tobe found in the Finale of hisSymphony No.2: The Age ofAnxiety and in Mass, his theaterpiece based on the RomanCatholic rite, but imbued withhidden Jewish symbolism.

Many people pleaded withBernstein to write a completeJewish service. (His setting of theHashkiveinu prayer was the onlyattempt.) However, I have comeacross an undated jotting on awork he was contemplating, butnever followed through: “A Cantata on Hebrew-YiddishMaterials That Move Me. Whatare the Jewish roots I long for?Nostalgia for youth? Guilttowards my father? First real cul-tural exposure? First real music Iheard (Braslavsky)! Seeking alarger identity, with a race orcreed?, with a supernatural force?(But the latter word doesn’taccount for so many “Yiddish”responses). Seeking any identity?Common roots with siblings?Speaker (English), the singer(Heb. & Yiddish).”

He concluded with titles ofprayer, Bible and Haggadah pas-sages: Yigdal, Sholem Aleichem,Judith, Psalms (proud humility),Song of Songs, “And it Came to Pass at Midnight” (Vay’hib’chatsi halaila) and “It isEnough” (Dayeinu).

Too bad he never wrote thisCantata, but parts of the above listdo exist in various works of his.

Bernstein was an unabashedeclectic, an ecumenical lover of theworld, and it loved him in return.This, too, was part of his Jewishnature, for Judaism is based oncommonality. (Jewish prayer, forexample, calls on k’lal Yisrael, allof Israel. There are many fewerHebrew prayers for the individual.)Bernstein was fiercely loyal to life-

long friendships which alwayscame before his work. On theother hand, he was unhappiestwhen not working; idleness madehim melancholy. Music was hisfix, and he experienced it as few of us ever will. It is no acci-dent he identified himself sokeenly with the youthful fiddlerwho drives his listeners to fren-zied ecstasy in the Yiddish poem “Oyf mayn khas’eneh”from Arias and Barcarolles (onthis recording).

I recall how drained he was after a performance ofTchaikovsky’s PathétiqueSymphony in the late 1980s. Hesaid he was “on the brink,” mean-ing he was transported to a placethat had no beginning or end. Atsuch enviable moments, Bernsteinwas suspended, as in the subtitle ofAnski’s classic play The Dybbuk,

“Between Two Worlds.” In thattimeless void he must haveachieved the Hasidic ideal of fusionknown as d’veikut, a kind of cos-mic glue that leads one towards asphere where mystical powersdwell, where joy is its own reward.Some of that transcendent upliftcan be sensed in the opening of hisDybbuk ballet, here presented forthe first time in its version for twopianos and two voices.

Bernstein may not have beentraditionally observant, but he wasdeeply Jewish in every other way.In fact, he once described himselfas a “chip,” not off the old block,but “off the old Tanach,” theHebrew acronym for the completeBible. As a teenager he evenbriefly flirted with the idea ofbecoming a rabbi. As it turned out, he did become a kind of rabbi,

(continued on page 8)

Leonard and

Felicia Bernstein

in Jerusalem,

1953

CO

URTESY

LEON

ARD

BERNSTEIN

OFFIC

E

(continued from page 7)albeit one without portfolio; and infact, Hebrew Union Collegeawarded him an honorary degree.Indeed he was a thoroughlyimbued, inbred, and as he labeledhis Diaspora Dances from JubileeGames, a “socio-cultural, geo-Judaic” Jew by being: • a practitioner of tzedaka, a believer in the efficacy of chari-table giving; • a benefactor for a host of stu-dents, endowing scholarships, pro-viding instruments, and sponsoringtalented youngsters;• a fierce devotee of book-learning,central to Jewish culture, and amaster of word-play, as well;• a champion of the State of Israelfrom its inception, as performerand artistic ambassador; a musi-cian-soldier who performed in thefield during war-time conditions,under threat of military attack;

• an eloquent sermonizer onnuclear disarmament from syna-gogue and church pulpits;• a defender of causes for theoppressed and disenfranchised inhis benefit concerts for AmnestyInternational, and for victims ofAIDS in “Music for Life” concerts; • an inspiring teacher, in theTalmudic style, for a generation ofmusic lovers, many of whom werefirst introduced to the delights ofmusic by his televised concerts;• a counselor to the troubled and asource of Solomonic wisdom,which he freely dispensed to any-one in earshot (sometimes, truth totell, not always welcome); and oneof the few celebrated 20th centurycomposers whose catalog consistsin large proportion of works onJewish themes.

No question about it, LeonardBernstein was one of God’sfavorites. When I was a music

major in college, I wondered whatit would have been like to haveknown Mendelssohn, Liszt,Mahler and Gershwin. Now Iknow. Lenny was a bit of all ofthem and more. He was my men-tor and I was privileged to be inhis company. May his memory bea blessing for all of us. ■

Composer Jack Gottlieb recentlycompleted a book Funny, ItDoesn’t Sound Jewish: HowYiddish Songs and SynagogueMelodies Influenced Tin Pan Alley,Broadway and Hollywood. Ajoint publication by The Library ofCongress and SUNY Press(Albany), it is scheduled for releasein the spring of 2004.

Copyright 1993, 2003 by JackGottlieb. May not be reproducedwithout written permission fromthe author. All rights reserved.

Leonard Bernstein: A Jewish Legacy, continued

by Jack Gottlieb

David M. Schiller, a professor atthe University of Georgia Schoolof Music, explores the commonlinks among Bloch’s SacredService (1933), Schoenberg’s ASurvivor from Warsaw (1947)and Bernstein’s Symphony No.3:Kaddish (1963). He demonstrateshow each composer responded tothe Holocaust through theseworks. Schoenberg, who wrotehis cantata after the dimensionsof the holocaust were fullyrevealed, had to cope with ironiccriticisms that somehow his can-

tata gave legitimacy to that darkest chapter in theannals of infamy.

Bernstein never performed the Schoenberg work, but he did record Bloch’s Sacred Service in1961. We learn that Bloch’s daughter, Suzanne,

passionately protested Bernstein’s decision to addthe recitation of the kaddish prayer over orchestralmusic, contrary to the composer’s instructions anddesire to avoid “particularity” so that his musicmight embrace “all mankind.” What especially dis-turbed Ms. Bloch was how the Bernstein approachsubsequently became the model for subsequent per-formances of the Service.

Bernstein’s own Kaddish Symphony of 1964 is, of course, post-Holocaust. But Schiller reminds us that in the preface to Findings, a collection of the maestro’s writings between 1935 and 1980,Bernstein wrote: “Perhaps the most stunning sur-prise I have had in the last swift rereading is thegaping hiatus between my university graduation(1939) and the end of World War II (1945). There is literally nothing there; and this surprises me so strongly because it was not only a period ofwar, but especially of the Holocaust...”. Schillerargues that the Kaddish Symphony is, in part,Bernstein’s ‘atonement’ for that gap, for havingfailed, in his own words, “to document my emotionsof the Hitlerzeit.” ■

Recommended Reading

Bloch, Schoenberg

and Bernstein:

Assimilating

Jewish Music

Prelud

e, Fug

ue &

Riffs


8

by Dana BooneStaff Writer, Aug 1, 2003

West Des Moines [Iowa]school officials have turned

to the West Coast in their effortto improve test scores at threeelementary buildings. The districtwill be the first in Iowa to try aseven-year-old teaching methodthat puts the arts at the center ofall subject areas.

Called the Grammy FoundationLeonard Bernstein Center forLearning model, it will be tried atthree West Des Moines elemen-tary schools this fall. “What weare seeing with schools across thecountry — what’s currently inplace isn’t working,” said PatrickBolek, project manager of theCalifornia center. “You’re going to walk into these West DesMoines community schools in acouple months and see a change, a transformation.”

Twenty schools across the country have adopted the idea.For example, kindergartners inNew York focused on the theme“community” with the celebratedpainting “Harlem”— also knownas “Rooftops” — by JacobLawrence. All subjects exploredthe same theme and culminated instudents’ artwork.

West Des Moines administratorsthink the approach will boost testscores at Rex Mathes, Clegg Parkand Phenix Elementary. All RexMathes and Clegg Park studentsand Phenix fourth-graders willattend the new Hillside ElementarySchool when it opens in 2004.

Bolek said the teaching methodhas proven effective for so-called“at-risk” — typically defined asminority and low-income — stu-dents. All three West Des Moinesschools have a large number ofstudents who meet the definition,officials said.

Phenix Principal John Villottisaid traditional methods aren’tworking. “Right now, we don’tteach with very much integra-tion,” he said. “We teach readingwhen it’s reading time; mathwhen it’s math time.”

Eighty-five percent of WestDes Moines’ fourth-graders readat the level expected of their agegroup, Iowa Tests of Basic Skillsdata show. That’s down slightlyfrom a year ago.

Donations and money fromthe Gifted and Talented programwill pay for a majority of the$40,000 Bernstein effort, whichbegan this week with training for70 West Des Moines teachers,employees, parents and professorsfrom Drake University, Iowa StateUniversity and the University ofNorthern Iowa.

Deb Vail, a third-grade teacherat Phenix, said the traininginspired her to think creatively.“I absolutely feel that it’s worththe jump and effort,” she said.Deb Swander’s fifth-grade son,John, 10, attends Clegg Park.She calls the experiment “anopportunity to transform kids bychanging the process by whichthey learn.” “They’ll see the connection between subject areasin ways they haven’t before,” she predicted.

The Grammy Foundation tookover the center in 1999, butBernstein’s concepts had beenused in some schools since thelate 1980s. Under the Bernsteinmodel, children are “not going tojust regurgitate facts later,” Boleksaid. “This is hands-on learn-ing,” he said. “It’s not about sit-

ting at a desk with a worksheet.”The Bernstein model is differ-

ent from the approach used at theDes Moines school district’sEdmunds Fine Arts Academy.Edmunds students focus on thearts to learn about that subject,but don’t use them much to teachall the other subjects, school offi-cials said.

Jo Ann Isken, principal ofMoffett Elementary School in LosAngeles, has used the Bernsteinmodel for two years. The schoolhas 1,400 students, more than 90percent of whom are from low-income families. Most are learn-ing to speak English. Isken, whohelped with this week’s training,said attendance at her school hasincreased and disciplinary prob-lems have decreased.

“It happened because studentsare 100 percent interested, excitedand engaged about what’s goingon in the classroom,” she said. ■

Copyright © 2003, The DesMoines Register. Reprinted by permission.

Three West Des Moines Schools to use Arts in All Classes

news IN THE

An opportunity to transform

kids by changing the process

by which they learn...

Prelud

e, Fug

ue &

Riffs


9

The elementary schools will use art in their classes to increase test scores.

Prelud

e, Fug

ue &

Riffs


10

Schleswig Holstein Music Festival

Rolf Beck,

Director of the

Festival, pre-

senting the prize

to Elisabeth

Batiashvili.

The Boston Conservatory

As part of a year-long celebra-tion of the music of Leonard

Bernstein, the Boston Conservatorywill stage Candide and WonderfulTown. The performance ofCandide will be the American pre-miere of the recently acclaimedRoyal National Theater (England)version. Performances begin onOctober 29 and are repeated onNovember 1 and 2. Candide willbe directed by Neil Donohoe withBill Casey as the musical director.In March of 2004, theConservatory will mount a pro-duction of Wonderful Towndirected by Paul Daigneault, withmusical direction by Janet Roma. ■

This past summer the spirit ofLeonard Bernstein was alive

and well at the SchleswigHolstein Music Festival (SHMF)in Germany. With Bernstein as

During the first two weeks ofSeptember, the Royaumont

Foundation in France sponsored aworkshop on the music ofLeonard Bernstein. The singerKim Criswell acted as mentor andteacher to twelve students. Ms.Criswell, who has performedmany all-Bernstein programs, aswell as the role of Ruth inWonderful Town at the BBCProms and at the BerlinPhilharmonic’s New Year’s Eveconcert last year. The workshopparticipants learned about per-forming in musical theatrethrough the musicals of Bernstein.The students, who were unfamil-iar with Broadway musicals, per-

A Bernstein Workshop

the inspirational force, the festi-val was founded in July, 1986.This August, the festival paidtribute to Bernstein at a gala con-cert presenting some Bernstein

favorites, as well as the Europeanpremiere of the Orchestral Suitefrom 1600 Pennsylvania Avenue.Conductor Carl St. Clair report-ed, “The audience, enjoyed thework and gave it resoundingapplause.” At the final concertof the season, the LeonardBernstein Award was presented toviolinist Elisabeth Batiashvili.Still in her early twenties, she hasperformed throughout the worldwith conductors ChristophEschenbach, Sir Colin Davis andLorin Maazel, among others.BBC Music Magazine nominatedher London Prom with OsmoVänskä and his BBC ScottishSymphony as the most outstand-ing debut of the year.

The Leonard Bernstein Awardis given to a young artist at thebeginning of a promising career.The annual award comes with€10,000, a prize donated by theSparkassenFinanzgruppe, one ofthe main sponsors of the SHMF.■

formed music from Candide,Wonderful Town, On the Townand West Side Story, as well asBernstein’s opera, Trouble inTahiti. Criswell said, “Using themusic of Bernstein was a naturalfor me, and what better way tointroduce these young singers tothis wonderful American genrethan using this wonderful music.”

Founded in 1964 and located ina Medieval abbey, the RoyaumontFoundation brings together differ-ent artistic disciplines. This is thefirst time that Royaumont present-ed music from Broadway. ■

© A

XEL N

ICK

OLA

US

In June 2003 the American Society ofComposers, Authors and Publishers (ASCAP)

and the American Symphony OrchestraLeague (ASOL) presented the LeonardBernstein Award for Education Programmingto the New York Youth Symphony. Uponreceiving the award Barry Golberg, executivedirector, remarked, “We are thrilled to havethis recognition of our 40 years of educationalprojects for talented young musicians. We feelparticularly honored in having our name asso-ciated with America’s most important musiceducator.” This is the first time the honor wasgiven to a youth organization. Also in June,the Longy School of Music in Boston,Massachusetts presented their LeonardBernstein Lifetime Achievement Award for theElevation of Music in Society to conductorLeonard Slatkin. ■

On September 7, the BrooklynConservatory in New York

hosted “Open House: A

The Brooklyn Conservatory

Rotterdam Salutes Bernstein

Bernstein Awards

Conductor Leonard Slatkin, Longy President Kwang-

Wu Kim and Linda Nathan, Headmaster of the

Boston Arts Academy

PennsburyBernstein Festival

Celebration of LeonardBernstein.” The daylong eventconsisted of a film screening ofWest Side Story, free mini-lessonsand workshops by the faculty,lectures about Bernstein and con-certs by the faculty. JamieBernstein also participated, shar-ing memories of her father. ■

Athree day festival of Bernstein’svocal music begins on

November 6 with an evening ofcabaret music at Odette’s in NewHope, Pennsylvania. Fridayevening, the Pennsbury Comm-unity Chorus will be joined by thePennsbury High School ConcertChoir and guest soloists for a pro-gram of Bernstein music from thetheatre. Saturday evening closesthe festival with a performance ofChichester Psalms and othermusic with the Pennsbury choir,guest orchestra, and guest soloists.Alexander Bernstein will be the

guest speaker on this evening.Guest artists joining the schooland community choirs will besoloists Sara Blann, AlysonHarvey, Cindy Lesser, RobinMassie, Kathryn Thomas, CharlesWalker, Scott Williamson, andLeon Williams. ■

Tickets are available by contacting the Pennsbury HighSchool Choral Music Office at215-949-6779.

Side Story. The Festival culmi-nated with performances ofCandide in the 1989 ScottishOpera concert version. ■

For more information:http://www.rpho.nl

baritone Graham Fandrai and theChoir of the National Opera.Terrel will also accompany thesingers on piano in a concert ofsongs from the shows. The reper-toire included Three DanceEpisodes from On the Town, andthe two Concert Suites from West

During October, the RotterdamPhilhamonic Orchestra in the

Netherlands presented a BernsteinFestival, focusing on Bernstein’sBroadway compositions. ScottTerrel conducted the concertswhich featured soprano EstherHeideman, tenor Todd Willander,

Prelud

e, Fug

ue &

Riffs


11

CO

URTESY

THE LO

NG

Y SC

HO

OL O

F MU

SIC

Prelud

e, Fug

ue &

Riffs


12

Mass in Dallas

The Dallas SymphonyOrchestra will present the

Dallas premiere of LeonardBernstein’s Mass: A Theatre Piecefor Singers, Players, and Dancerson November 22 and 23, 2003.The performances will commem-orate the fortieth anniversary ofthe assassination of PresidentJohn F. Kennedy. BaritoneDouglas Webster will star as theCelebrant in a role for which hehas become famous. GuestConductor William Eddins of theChicago Philharmonic will leadthe Dallas Symphony Orchestraand Chorus, Children’s Chorus ofGreater Dallas and soloists at theMorton H. Meyerson SymphonyCenter. Jamie Bernstein will hostan open rehearsal for Dallasschool children the day before the first performance and willgive a pre-concert talk beforeeach performance.

In conjunction with the per-formance, The Sixth FloorMuseum at Dealy Plaza will cre-ate an exhibition exploring thehistory of the Kennedy Centerand Mass.

A corresponding exhibit willbe on display at the MeyersonSymphony Center. The exhibi-tion will contain reproductions ofhistoric photographs and selectedartifacts that highlight the cre-ation of the John F. KennedyCenter for the Performing Artsand Mass.

Jacqueline Kennedy Onassiscommissioned Mass for the 1971opening of the Kennedy Centerfor the Performing Arts inWashington, DC. ■

The Leonard Bernstein-AdolphGreen-Betty Comden show

Wonderful Town has an openingdate on Broadway. The firstBroadway revival of the TonyAward winning show will openNovember 23 at the Al HirschfeldTheatre. The revival will startwo time Tony Award winnerDonna Murphy as Ruth. Othermembers of the cast include:Jennifer Westfelt as Eileen andwill also feature Gregg Edelman,Nancy Anderson, Randy Danson,Peter Benson, Michael McGrath,

“Bravo Bernstein!,” a star-studded celebration of the

Broadway career of LeonardBernstein, will be held on Monday,November 24, 2003 at the historicHudson Theatre in New York City.This gala night benefits MusicalTheatre Works, New York’s onlynot-for-profit theatre dedicatedexclusively to creating new musi-cals. David Hyde Pierce, theEmmy-winning star of the NBCseries Frasier, will host the evening.Many leading Broadway perform-ers, including Harolyn Blackwell,Judy Blazer, Betty Buckley andAudra McDonald are scheduled toappear. The honorary committeeincludes Alexander Bernstein,

Jamie Bernstein and NinaBernstein Simmons, as well asBetty Comden, Barbara Cook,Phyllis Newman and ChitaRivera. This one-night-only con-cert — featuring songs from WestSide Story, Candide, On TheTown and Wonderful Town —will be directed by Emmy winnerLonny Price. Tony-winning com-poser Jason Robert Brown willconduct an orchestra composedof Broadway musicians. A limit-ed number of tickets, priced from$50 to $1000, are available bycalling 212-677-0040. Moredetails are also available online atwww.mtwnyc.org ■

Broadway Stars Salute Bernstein

Wonderful Town to Open on November 23

David Margulies, RaymondJaramillo McLeod, StanleyWayne Mathis and TimothyShew among others. Barry andFran Weissler and Roger Berlindwill produce. Kathleen Marshallwill direct. Wonderful Town isbased on Ruth McKinney’s NewYorker short stories which wereadapted into a 1940 Broadwayhit My Sister Eileen by JosephFields and Jerome Chodorv. Theoriginal production ran for 559 performances. ■

Prelud

e, Fug

ue &

Riffs


13

October2,3 Bergen, Norway: SYMPHONIC DANCES

FROM WEST SIDE STORY; Bergen Philhamonic Orchestra; David Delta Gier, conductor; Greighallen.

7 Montreal, Canada: SERENADE (after Plato’s ‘Symposium’); Orchestre Symphonique de Montreal; Jonathan Crow, violin; Timothy Vernon, conductor; Salle Wilfrid-Pelletier.

9,10 Rotterdam, Netherlands: WEST SIDE STORY CONCERT SUITES NOS.1 and 2, ON THE TOWN, Selections for Concert Performance; THREE DANCE EPISODES FROM ON THE TOWN; Rotterdam Philharmonic Orchestra; Scott Terrell, con-ductor; Esther Heideman, soprano; Todd Willander, tenor; Graham Fandrai, baritone,piano; Jurriaanse Zaal.

11 Kahsiuing, Taiwan: WEST SIDE STORY CONCERT SUITE NO.1; Kahsiuing City Symphony Orchestra; Su-Si Chen, conduc-tor; Concert Hall.

12 Rotterdam, Netherlands: CANDIDE, Select-ions arranged for piano four-hands, Selectionsfrom ON THE TOWN, PETER PAN, TROUBLE IN TAHITI, WEST SIDE STORY, WONDER-FUL TOWN, CANDIDE; Esther Heiderman, soprano; Todd Willander, tenor; Graham Fandrai, baritone; Scott Terrell, piano; Jurriaanse Zaal.

17,18 Cincinnati, OH: FANCY FREE; Cincinnati Symphony Orchestra; Michael Morgan, conductor; Music Hall.

17,18 Rotterdam, Netherlands: CANDIDE, Concert Version; Rotterdam Philharmonic Orchestra; Choir of the Nationale Reisopera; Scott Terrell, conductor; Esther Heiderman, soprano; Todd Willander, tenor;Graham Fandrai, baritone; Jurriaanse Zaal.

22 New York, NY: Beethoven by Mahler and Bernstein, a lecture by Charles Bornstein; sponsored by the New York Philharmonic; Avery Fisher Hall Board Room.

29–31 Boston, MA: CANDIDE; The Boston Conservatory; Bill Casey, music director; Neil Donohoe, director; Conservatory Theater.

Calendar of EventsFall/Winter 2003/2004

30,31 Phoenix, AZ: CHICHESTER PSALMS, A SIMPLE SONG, SYMPHONY NO.3: KADDISH; The Phoenix Symphony and Chorus; Robert Moody; conductor; Jamie Bernstein, speaker; Symphony Hall.

November1 Phoenix, AZ: CHICHESTER PSALMS,

A SIMPLE SONG, SYMPHONY NO.3: KADDISH; The Phoenix Symphony and chorus; Robert Moody; conductor; Jamie Bernstein, speaker; Symphony Hall.

6, 8 Adelaide, Australia: SERENADE; Adelaide Symphony Orchestra; Like Doll-man, conductor; Vadim Gluzman, violin; Town Hall.

8,9 New York, NY: FANCY FREE; The American Ballet Theatre; City Center.

10 New York, NY: SYMPHONY NO.3: KADDISH; The Juilliard Symphony and Chorus; Gerald Schwarz, conductor; Judith Clurman, choral preparation; Tova Torah Feldshuh, speaker; The Juilliard School of Music.

Event Spotlight

November 24

Wonderful Town

revival with Donna

Murphy as Ruth

opens on

Broadway at the

Al Hirshfeld

Theatre.

See page 12 for

more details.

© JERRY

GO

OD

STEIN

*Partial listing. Please

note that all dates and

programs are subject

to change. For a more

complete listing visit

leonardbernstein.com

October, cont.

10 Coeur d’Alene, ID: ARIAS AND BARCAROLLES; Spokane Symphony; Fabio Mechetti, conductor; Adriana Zabala,mezzo-soprano; Steve Mortier, baritone; Boswell Hall.

11 Spokane, WA: ARIAS AND BAR-CAROLLES; Spokane Symphony; Fabio Mechetti, conductor; Adriana Zabala, mezzo-soprano; Steve Mortier, baritone; Metropolitan Performing Arts Center.

15 Munich, Germany: CHICHESTER PSALMS; Bavarian Radio Symphony and Chorus; Mariss Jansons, conductor; Herkulessal.

16 Oak Ridge, IA: TROUBLE IN TAHITI;Oak Ridge Music.

17,18 Singapore, Singapore: SERENADE; Singapore Symphony Orchestra; Lan Shui, conductor; Kam Ning, violin; Esplande Concert Hall.

January

Prelud

e, Fug

ue &

Riffs


14

November, cont.

Calendar of Events

1 New York, NY: Songs of Leonard Bernstein; Lincoln Center for the Performing Arts Winter Gala, A Tribute to the American Songbook; Kristin Chenoweth,Christine Ebersole, Michael Feinstein, Judy Kuhn, Rebecca Luker, Maureen McGovern, Brian Stokes Mitchell, Bebe Nuewirth and others; Alice Tully Hall.

6 Rotterdam, The Netherlands: SYMPHO-NY NO.2: THE AGE OF ANXIETY; Radio Philharmonic Orchestra; Ulf Schirmer, con-ductor; James Tocco, piano; Jurriaanse Zaal.

December

13,14 Montreal, Canada: CANDIDE OVER-TURE; Orchestre Symphonique de Montreal; Yakov Kreizberg, conductor; Salle Wilfrid-Pelletier.

19 Washington, DC: Selection from MASS; Catholic University of America; Murry Sidlan, conducting; Doug Webster, Celebrant; John F. Kennedy Center for the Performing Arts.

19,20 Santa Ana, CA: ON THE TOWN and CANDIDE, Selections for concert performance; PRELUDE, FUGUE & RIFFS, SYMPHONIC DANCES FROM WEST SIDE STORY, ORCHESTRAL SUITE FROM 1600 PENNSYLVANIA AVENUE (West Coast premiere); Pacific Symphony Orchestra; University Singers, CSU Fullerton; Carl St. Clair Segerstrom Hall, Orange County Performing Arts Center.

20,21, Seattle, WA: SYMPHONY NO.3: 23 KADDISH; Seattle Symphony; Gerard

Schwarz, conductor and speaker; Marina Belenky, soprano; Benaroya Hall.

20–23 Cinncinnati, OH: ON THE TOWN; University of Cincinnati College-Conservatory of Music; Roger Grodsky, musical director; Aubrey Berg, director; Corbett Auditorium.

21 Trenton, NJ: THREE DANCE EPISODES FROM ON THE TOWN; New Jersey Symphony; Yakov Kreizberg, conductor; Patriot’s Theatre.

21,22 Berlin, Germany: MASS (in concert); Deutsches Sinfonie Orchester and Choir; Jerry Hadley, Celebrant; Kent Nagano, conductor; Philharmonie.

22 Charleston, SC: SYMPHONY NO.3: KADDISH; Charleston Symphony Orchestra;David Stahl, conductor; Jennifer Luiken, soprano; John Edwards, narrator; Gaillard Municipal Auditorium.

22,23 Newark, NJ: THREE DANCE EPISODES FROM ON THE TOWN; New Jersey Symphony; Yakov Kreizberg, conductor; New Jersey Performing Arts Center.

22,23 Cincinnati, OH: ON THE TOWN; University of Cincinnati College Conservatory of Music.

22,23 Dallas,TX: MASS (fully staged); Dallas Symphony Orchestra; Douglas Webster, Celebrant; William Eddins, conductor; Morton Meyeran Center.

28,29 Boston, MA: CANDIDE (New York City 30 Opera version); Opera Boston; Culter Theatre.

November, cont.

Prelud

e, Fug

ue &

Riffs


15

March1-4 London, UK: Leah a ballet to DYBBUK;

Moscow Dance Theater; Alexei Ratmansky, choreographer; Nina Ananiashvili, ballerina;Sadler Wells.

2 Cleveland, OH: WEST SIDE STORY, SYMPHONIC DANCES; The Cleveland Orchestra; Franz Welser-Möst, conductor; Serverence Hall.

4-7 Boston, MA: WONDERFUL TOWN; The Boston Conservatory; The Boston Conservatory Theater.

February1 Chemnitz, Germany: SYMPHONIC

DANCES FROM WEST SIDE STORY; Robert Schumann Philharmonie Chemnitz; Robert Hanell, conductor; Stadhall.

5,8 Bamberg, Germany: SYMPHONY NO.2: THE AGE OF ANXIETY; Bamberg Symphony Orchestra; Carl St. Clair, conductor; Concert Hall.

12 Rome, Italy: ORCHESTRA SUITE FROM A QUIET PLACE; National Academy of St. Cecilia; Michael Tilson Thomas, conductor; Auditorium Parco della Musica.

20,21 Spain: SERENADE (after Plato’s’Symposium’); Barcelona Symphony Orchestra; Angel Jesus Garcia, violin; Eiji Oue, conductor; Auditori.

26,28, Cleveland, OH: WEST SIDE STORY, 29 SYMPHONIC DANCES; The Cleveland

Orchestra; Franz Welser-Möst, conductor; Serverence Hall.

14 Miami Beach, FL: THE BERNSTEIN BEAT: WHAT MAKES MUSIC DANCE?; New WorldSymphony; David In-Jae Cho, conductor; Jamie Bernstein, narrator, Lincoln Theatre.

19,21, Rennes, France: CANDIDE (Concert 23 Version); Orchestra of Bretagne; Opera de

Rennes; Guiseppe Grazioli, conductor.

27-29 Houston, TX: SYMPHONY NO.3: KADDISH; Houston Symphony; Soloists tba; Lawrence Foster, conductor; Jones Hall.

28 Basel, Switzerland: WEST SIDE STORY, SYMPHONIC DANCES; Radio-Sinfonie-Orchester Frankfurt; Hugh Wolff, conductor; Stadt; Musik-Akademie Basel.

30,31 Montreal, Canada: THREE DANCE EPISODES FROM ON THE TOWN, SYMPHONIC SUITE FROM ON THE WATERFRONT; Orchestre Symphonique de Montreal; Rolf Bertsch, conductor; Salle Wilfrid Pelletier.

30,31 Montreal, Canada: THREE DANCE EPISODES FROM ON THE WATERFRONT, SYMPHONIC SUITE; Orchestre Symphonique de Montreal; Rolf Bertsch; conductor; Salle Wilfrid-Pelletier.

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: [email protected] appreciate notice of any

performances or events featuringthe music of Leonard Bernsteinor honoring his creative life andwe shall do our best to includesuch information in forthcom-ing Calendars.

&Prelude, Fugue Riffs

Prelude, Fugue & RiffsTM is a publication of The LeonardBernstein Society. © 2003 by The LeonardBernstein Office, Inc.Executive VP: Harry J. KrautManaging Editor: Craig UrquhartEditors: Jack Gottlieb, Jamie BernsteinDesign: BorsaWallace, NYCVisit our website: www.leonardbernstein.com

[ Note to Readers ]

March, continued22 Munich, Germany: SERENADE;

Münchner Kammerorchester; Janine Jansen, violin; Alexander Liebreich, conductor; Herkulessaal.

30,31 Miami Beach, FL:ORCHESTRA SUITE FROM A QUIET PLACE; New World Symphony; Michael Tilson Thomas, con-ductor, Lincoln Theatre.

January, cont.

2003 fall - prelude, fugue and riffs

Documents