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On July 5, 2003, the PacificMusic Festival Orchestra and

Members of PMF Vienna will celebrate the opening ceremonyof the 14th Pacific Music Festivalin the Sapporo Concert Hall,Japan, under the baton of Wen-Pin Chien. The PMF Orchestra,the primary focus of the festival,will be comprised of 120 promis-ing musicians from 30 countriesand will perform works byBernstein and Richard Strauss.

Pacific Music FestivalPMF’s mission is to educate

gifted young musicians; this summer they will be under theguidance of Bernard Haitink,principal conductor; Edo deWaart, guest conductor; and Peter Schmidl, artistic chairmanof the faculty. The Faculty inResidence will be comprised ofdistinguished members of theVienna Philharmonic Orchestra,Philadelphia Orchestra and theLondon Symphony Orchestra.Krzysztof Penderecki will be thisyear’s composer-in-residence. Theannual Pacific Soundings Concertwill showcase Penderecki’s music.Other conductors participatingwill include Tadaaki Otaka, KenTakaseki, Seikyo Kim andKenneth Hsieh. Canadian violinist Chantal Juillet willreturn as this year’s violin soloistand Koji Oikawa will be piano

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&Prelude, Fugue Riffs News for Friends of

Leonard Bernstein

Spring/Summer 2003

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The Importance of Art

Leonard Bernstein held verystrong views about the rolehe thought the U.S.Government should play in

furthering arts education. Hewould be dismayed to see our sit-uation today: shrinking Federaland State arts budgets; dwindlingconcert audiences; orchestrasmissing payroll deadlines, can-celling seasons and filing forbankruptcy. It is worth revisitingsome of Bernstein’s remarks madebefore the House Subcommitteeon Select Education in Decemberof 1977. He maintained that bysupporting programs in the arts,the Government would developnot only artists but future audi-ences as well. We agree;America’s cultural heritage, bothpast and future, cannot be pro-tected enough. A nation withoutthe arts is a nation without vigor,flexibility or imagination. Andsuch a nation surely cannot thrivein today’s world.

by Alexander Bernstein, Jamie Bernstein and Nina Bernstein Simmons

Leonard Bernstein: Testimony(excerpted) presented before theHouse Subcommittee on SelectEducation, December 17, 1977,New York City

Ref: H. J. Res. 600 — A Bill calling for a White HouseConference on the Arts.

Congress roared with laughterin the Thirties when bills for gov-ernment support of the artistwere introduced. A red-bloodedAmerican boy plays baseball, notthe violin, and he certainly doesnot perform pirouettes. As for ared-blooded American girl, shewas better off playing with dollsor sewing kits than with camerasor sculptures. In those days ofDepression and fascism and anti-fascism, the arts seemed particu-larly pointless to our Congress; itwas only the WPA which savedthe day, and, ironically enough,gave the biggest boost to our

artistic life in its entire history upto that point.

Today, almost half a centurylater, all that has changed. Thearts are everywhere, booming andblooming. There are ArtsCouncils; grants flow in all direc-tions; and there is, of course, thisvery meeting here today. But, Iam sad to say, we are still anuncultured nation, and noamount of granting or funding isever going to change that unlesswe become not only an art-pro-ducing people, but a people pre-pared to receive the aesthetic

(continued on page 2)

In this issue... Remembering Adolph (1914-2002)... page 5

Leonard Bernstein,

doing what

he loved best.

soloist. As part of the festival’stradition, the Sapporo Symphonywill participate in a joint concertwith the PMF Vienna.

In addition to its orchestralconcerts, the festival will alsooffer chamber music featuringmembers of the PMF Vienna andPMF International. July 20th isthe Leonard Bernstein MemorialConcert, a daylong event showcasing all participants of the festival.

The PMF is underwritten bythe financial backing of hundredsof corporate and individual spon-sors, and many dedicated volun-teers generously support theefforts of the distinguished artistsand faculty. ■

For more information, please visit: www.pmf.org.jp

PRESORTED STANDARD

U.S. POSTAGE PAIDNEWARK, NJ

PERMIT NO. 45

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Times of war, times of change…

and still, people’s eyes light up

at the mention of Leonard Bernstein.

His compositions continue to

delight audiences everywhere, as

our bloated calendar attests.

Many of Bernstein’s works are

generating fresh excitement. The

DVD release of WEST SIDE

STORY has renewed everyone’s

enthusiasm for that score, while

last year’s resurgence of MASS,

with its anti-war sensibility, seems

eerily prescient. Concurrently,

other Bernstein works are having

reincarnations, as in the newly

orchestrated group of four blues

songs, and the ORCHESTRAL

SUITE OF MUSIC FROM 1600

PENNSYLVANIA AVENUE.

Music festivals around the

world are partial to using Leonard

Bernstein as a unifying theme,

while a new generation of young

music lovers learns about him

through “The Bernstein Beat” and

the groundbreaking work at the

Leonard Bernstein Center. Even

as arts budgets shrink painfully

across the nation, Bernstein’s edu-

cational legacy shines a hopeful

light into the gloom.

In these unstable times, we

miss all the more keenly the zany,

profane mirth of Adolph Green;

losing him last year felt like losing

a large piece of Leonard Bernstein

all over again.

J.B.T. ■

(continued from page 1)product; and that means an edu-cated people. Only a society pre-pared by education can ever betruly a cultured society.

The word “education” is aturn-off; education has been aforced activity, reluctantlyendured because there is no alter-native if we wish to succeed inour careers and at our cocktailparties. We tend to tolerate edu-cation, in the Victorian manner,to suffer it gladly for our ownselfish interests, rather than toembrace it because we have beeninfused as children with the joy oflearning. It is to this joy of learn-ing that I propose the WhiteHouse Conference should addressitself. Let me focus down on theart of music. How manyAmericans can read music?Everyone learns to read words, todance the hustle, to act in school

to assimilate musical ideas andcomprehend musical forms.Every child can be taught to readmusic as he or she is taught toread words; and there is no rea-son why both kinds of readingcannot be taught simultaneously.It is only a matter of presentingthis material in a way that doesnot turn the student off; and I amdeeply convinced that with time,intelligent funding and properassistance, one can find the waysin which this enormous projectcan be implemented on a nationalscale. I for one, am willing topledge my energy and time tothis end.

Children must receive musicalinstruction as naturally as food,and with as much pleasure asthey derive from a ball game.And this must happen from thebeginning of their school lives.Only then will we produce a gen-eration of Americans prepared toreceive the larger musical experi-ence, and to have the passion toprobe ever more deeply. Then wewill have our true musical public:an alive, receptive, truly criticalpublic which will demand thebest that our artists can supply. ■

For the complete text, please visitwww.leonardbernstein.com.

Children must receive musical instruction as

naturally as food, and with as much pleasure as theyderive from a ball game.

The Importance of Art, continued

The Leonard Bernstein Center

The Leonard Bernstein Centercontinues to commit itself to

creating better education forAmerica’s schools. In the pastfew months, many new initiativeshave taken flight.

The GRAMMY Foundationhas been working with web-sitedeveloper Ideum to create an“Authoring Tool” for the LBCweb-site. The “Authoring Tool”is a template that will guideteachers in their curriculum-plan-ning process and help them buildmeasurable standards into theirteaching units. In addition, thesite will show examples of LBCunits already successfully in use,and will also have an area aboutBernstein’s legacy as artist,teacher and scholar.

In January 2003, The Centerconducted a Leadership Institutein Atlanta, Georgia. The themewas Artful Learning in aStandards-Based System. In anArtful Learning classroom, students actively respond to anartistic Masterwork by eitherexperiencing it, inquiring aboutit, reflecting about it or creatingsomething new. The attendinggroup of school principals dis-cussed leadership strategies andwere introduced to the two newcomputer programs, the Quality

School Portfolio and the“Authoring Tool.” As part of theconference there were two sitevisits: Harmony LelandElementary School and LindleyMiddle School. And top it off,Alexander Bernstein participated.

The Bernstein Center partici-pated in the GRAMMYFoundation’s Concerts for YoungPeople (CYP). Under the directionof David Sears and Jackie Winn,CYP integrated portions of Artful

Learning lessons into a LatinMusic concert as well as an eventheld at New York City’s famousApollo Theatre featuring theGRAMMY Jazz Ensemble, madeup of young musicians fromaround the country.

Bernstein Model Schools inCalifornia, Georgia, Illinois andOregon have been hosting variousvisitation teams from across thecountry. The entire faculty ofthese schools has been trained inthe Artful Learning approach.The visitors observe the workingfaculty and participate in theclassroom activities as well, gain-ing experience with this excitingnew method of teaching. ■

For more information:http://www.grammy.com/founda-tion/lbc/

Young musicians

perform at New

York’s Apollo

Theater as part of

the Concerts for

Young People.

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plays, to have some visual appre-ciation of graphic forms, tounderstand a poem by Keats orRobert Frost. But almost nobodyis taught to read music, or tocomprehend its basic principles.Music is an orphan; and willalways be that orphan until weget a grip on a methodology ofmusical education of the young.

I propose that the reading andunderstanding of music be taughtto our children from the verybeginning of their school life; thatthey learn to participate withenthusiasm in the study of musicfrom kindergarten through highschool. No child is tone-deaf;every child has the natural ability

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by Jamie Bernstein

It had a resonance, an almost mys-tical circularity: on February 8,

Michael Barrett and I finallybrought our concert, “TheBernstein Beat,” to Carnegie Hall,the place where Leonard Bernsteinmade his legendary conductingdebut with the New YorkPhilharmonic in 1943, 60 yearsago and where his YOUNGPEOPLE’S CONCERTS with thesame orchestra began 45 years ago.

I was there for that firstYOUNG PEOPLE’S CONCERTS.As a child of five, I understoodvery little, even though the concert(“What Does Music Mean?”)began with my father conductingthe “William Tell” overture, thenturning to the audience and askingthem, “What does that music makeyou think of?” When the inevitablecry of “The Lone Ranger!” cameback to him, he pointed up at thebox where I was sitting and said,“My little daughter Jamieanswered the same thing.”

So from the beginning, eventhough I couldn’t quite graspwhat was going on, I did under-stand that my father’s YOUNGPEOPLE’S CONCERTS were in asense directed at me and my sib-lings. This was very much on mymind when Michael Barrett and Iset out five years ago to devise aconcert for kids and their fami-lies, deliberately styled after theYoung People’s Concerts, but thistime featuring the music ofBernstein himself — one of thefew composers my father nevergot around to discussing with hisyoung audiences.

In the spring of 1999, Michaeland I premiered “The BernsteinBeat” with the Utah Symphony in Salt Lake City, with Michael

“Bernstein Beat” Comes to Carnegie Hall

conducting and me narrating.The concert was well received,but we knew it still needed work.Over the next few years, we edited, honed and tightened as we brought Bernstein’s exuberantmusic to kids all over the world:from San Francisco to Beijing,China; from Washington D.C. to Havana, Cuba. (We took the concept of “out-of-town try-outs” seriously!)

After all that practice, practice,we were finally ready forCarnegie Hall.

What an exciting moment for us. Our families, our ownchildren, our friends and col-leagues were all in the audience,along with a sold-out hall full ofhigh-powered, well-informed,demanding New Yorkers — andtheir parents.

I suppose I should have beennervous, but the adrenalinethrumming in my body was not so much panic as pure thrillat the prospect of walking outonto that most venerable ofAmerican stages. Michael and I had worked a long time on“Bernstein Beat;” we knew it was fun — that beloved adjectiveof my father’s. The rehearsal that morning with the St. Luke’sOrchestra had gone very well;they really knew how to

deliver those deliciously trickyBernstein rhythms.

Deliver they did. I couldn’t seeit from the stage, but I heard laterthat the kids were literally dancingin the aisles to “America” fromWEST SIDE STORY! That meantMichael and I had done our job.But we’d already guessed as muchearlier in the concert, when theentire audience of 2,804 bellowed“MAMBO!!!” — shakingCarnegie Hall to its very timbers.

Sitting onstage next to the con-ductor’s podium where Michaelwas putting the orchestra throughits paces, I found myself thinkingabout the Asian notion of honor-ing one’s ancestors. It had alwaysbeen hard for me to find my ownway to express love and gratitudeto my father, who alreadyreceived so much of both fromthe rest of the world. Sitting onthat stage surrounded by hismusic, and sharing it with thechildren of our city, felt like apretty good way to pay honor,give thanks — and say I love you.

It was a bitterly cold day, but Inever felt so wrapped in warmth.And I will not lie: it was one ofthe deep delights of my life tohave, at least for a few hours,dressing Room A of CarnegieHall all to myself. ■

Remembering Adolph(1914-2002)

by Alexander Bernstein, Jamie Bernstein and Nina Bernstein Simmons

As we attempted to put ourthoughts together about

Adolph, we found that we could-n’t get them to cohere. It turnsout it is nearly impossible todescribe the essence of AdolphGreen. He remains as pixillatedin memory as he was in person.Brilliant, mercurial, breathtaking-ly funny. Quick on the trigger,zany as a loon. Never still, neverdull, never quiet — not even at aconcert. In fact, he and ourfather both came from the talk-and-sing-your-way-through-itschool of concert attendance.They drove everyone aroundthem crazy — but no one lovedthem less for it.

He fought silence. Adolphcouldn’t even hardly hang up atthe end of a phone call; instead ofan outright goodbye, his voicewould trail off with a series of,“yah, okay, uh, uh...” so that youwere never quite sure the conclu-sion had been reached — andmaybe neither was he.

Dapper, limber, light on hisfeet. Captain’s nautical cap, unlitcigarette to twiddle between hisfingers. Beautifully smooth, nut-brown skin in the summer; end-less mysterious dentistry. Hecould swim the length of our pooland back underwater. He wouldshout astounding, invented-on-the-spot obscenities upon missing

a shot on the tennis court. Hecould make our father laughharder than could anyone else on earth.

He was Nina’s godfather. Hiskids, Adam and Amanda, are inessence our cousins; we all grewup together, marvelling at ourparents’ collective hijinks. Theirmother, Phyllis Newman, isbeyond aunt to us: somethingmore like honorary mom.Adolph and Phyllis for dinner:yay! Delightful as a summerfountain, comfortable as afavorite sweater.

Adolph, together with BettyComden, seemed to us kids thevery height of adult sophistica-tion. Whether they were holedup in our father’s studio workingin a dank fog of cigarette smoke,or at a party singing uproariouslyaround the piano, Bettyand-AdolphandLenny had a nearlyRat-Pack-like showbiz inviolabili-ty that clung to them all their col-laborative lives.

We’re pretty sure that Adolphwould have felt most honored bythe three of us if we quote the following lyric of his — composed,legend has it, while he was wait-ing for a light to change. Sincechildhood, we’ve considered it tobe his finest work:

(nice, lilting Italian waltz) Luigi the elephant keeper, He sure loved that elephant, you bet! He feed her on peanuts and cracker jack And that elephant she never forget!

Oh Luigi the elephant keeper,They both love each other Very much... So on that fateful day When she trampled him to death (big key change)WE WERE ALL — SUR — PRISED!!! ■

Whereas: There is a place where dreams come true,and things are never planned — New York City asdepicted by Betty Comden and Adolph Green. Todaywe celebrate the birthday of the beloved AdolphGreen, and remember the team’s memorable work,and Adolph’s delightful personality, intelligence, wit,talent — and his fabulous smile, that, like thecheshire cat’s, remains indelibly in our memories.

Whereas: Adolph Green was born in the Bronx,attended public schools, worked as a runner on WallStreet, and dreamed of acting. In 1938 he and BettyComden formed The Revuers, a comedy troupe.Lacking funds, they wrote both words and music,acted and sang with Judy Holliday and others, andwere accompanied by a summer camp pal ofAdolph’s, who played for free, and entered the musicprofession himself — Leonard Bernstein. Comdenand Green went on to fame as authors and as lyri-cists of some of America’s most beloved plays andfilms, including two films declared national treasuresby the Library of Congress — Singin’ in the Rain andThe Band Wagon. Adolph had a phenomenalknowledge of classical music, and they evenrevamped the book of Die Fledermaus for theMetropolitan Opera. What we especially treasure isthe team’s celebration of New York City. They cap-tured our city’s unique variety, flavor, and idiosyncra-cies with scenes in the Brooklyn Navy Yard withManhattan’s skyline, Coney Island, Carnegie Hall,taxis, Greenwich Village, Grand Central Station,Sutton Place, and the streets. They conveyed thewonder of new arrivals, and the eccentricities ofsome residents (not us), and summed it all up in NewYork, New York, our unofficial city anthem. Fansimagine that the writing team in the Band Wagonwas modeled on Comden and Green, but Adolphwas far more lovable and sentimental. He washappy with his wife, actress Phyllis Newman, andtheir children, Adam and Amanda. He has left us allwonderful work that will never, never, grow old.

Now therefore, I, Michael R. Bloomberg, Mayor of the City of New York, in recognition of this great New Yorker, do hereby proclaim Tuesday, December 3, 2002 in the City of New York

Adolph Green Day

Michael R. BloombergMayor

Read by actor Kevin Klein at The Memorial Tribute to Adolph Green, December 7, 2002, Shubert Theater, NYC.

Michael watches

Jamie give the

kids a bonus

yelling cue during

the bows at

Carnegie Hall.

Office of the MayorCity of New York

Proclamation

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Festivals Feature Bernstein

In the past few months, manyorchestras have had “Bernstein

Festivals” celebrating the life andmusic of Leonard Bernstein. Lastautumn the Winnipeg SymphonyOrchestra in Canada held a three-concert event. The concerts, underthe direction of Musical DirectorAndrey Boreyki, offered a rangeof Bernstein’s compositions,including HALIL and SERENADEon opening night. A “Bernsteinon Broadway” concert salutedBernstein’s work in musical the-ater with selections from CAN-DIDE, WEST SIDE STORY andON THE TOWN. The thirdconcert was called “Hommage toBernstein” featuring Tchaikovsky’sSymphony No: 6: Pathetique, afavorite work of Bernstein’s.

During the month of February2003, the Tucson SymphonyOrchestra celebrated the legacy ofLeonard Bernstein with a concertperformance of CANDIDE; a“Bernstein on Broadway” concertthat included selections fromBernstein’s Broadway shows as wellas his chamber opera TROUBLEIN TAHITI; and a “Bernstein andFriends” performance featuringHALIL and ARIAS AND BAR-

CAROLLES. Music Director GeorgeHanson also focused on Bernsteinthe educator with a “Young People’sConcert a la Bernstein.” Hanson,who studied with Bernstein, alsopresented an evening of music andconversation entitled “GeorgeRemembers Bernstein.”

The Bochum SymphonyOrchestra presented a multi-eventprogram tilted “Lenny!” Spanningthe months of February and March,the program included performancesof SERENADE, PRELUDEFUGUE AND RIFFS, MEDITA-TION NO.1 FROM MASS,HALIL, SYMPHONY NO. 3:KADDISH and music from theBroadway shows. These concertsalso included music by composersthat Bernstein loved and champi-oned, such as Roy Harris, AaronCopland and Gustav Mahler.Musical Director Steven Sloanpresented his own educationalconcert, modeled after Bernstein’s YOUNG PEOPLE’SCONCERTS, discussing “What isAmerican Music.”

In May, the San Diego Symphonypresented “From Lenny to Maestro:The Faces and Phases of LeonardBernstein.” Conductor Murry

Sidlin headed up the evening thatexplored Bernstein’s career, usingmusic from the musicals, filmscores and other compositions.

This summer the Ravinia Festivalin Highland Park, Illinois willpresent Bernstein’s three sym-phonies. Music Director ChristophEschenbach will direct the ChicagoSymphony Orchestra in SYM-PHONY NO. 1: JEREMIAH withmezzo-soprano Rinat Shaham,and SYMPHONY NO.2: AGEOF ANXIETY, with pianist LangLang winner of the SchleswigHolstein Music Festival’s LeonardBernstein Prize. Bernstein’s SYM-PHONY NO.3: KADDISH willbe conducted by John Axelrod,with Kelly Nassief, soprano.(Nassief was a laureate at thefirst Leonard Bernstein JerusalemInternational Music Competitionin 1996.) Samuel Pisar, a closefriend of Bernstein who survivedlife in German concentrationcamps, will provide his own orig-inal narration for KADDISH atthis concert. Finally, in a tributeto Bernstein’s Broadway work,Leif Bjaland will conduct the CSOin an all-Bernstein program featur-ing selections from the shows. ■

In the past few years, Bernstein’stheatre piece MASS has found a

new relevance and a growing audience. Since January 2000,MASS has had nearly 100 per-formances worldwide in cities asvarious as Sydney, Australia,Valencia, Spain and Kalamazoo,Michigan; and in venues as diverseas Carnegie Hall in New YorkCity, the Cathedral in Rouen,France, and the Vatican in Rome.

This year has already seen performances in Bremen, Germanyand at the Catholic University inWashington, DC. Yet to comeare productions in Vilnius,Lithuania; Ljubljana, Slovenia;and Redefin, Germany.

On November 22nd, the 40thanniversary of the assassinationof President Kennedy, the DallasSymphony will perform MASS to

commemorate the event. Also inNovember, the Deutsche SinfonieOrchestra and Choir will performthe work in Berlin.

Why does MASS remain rele-vant today? A letter to the NewYork Times (December 1, 2002)from Alison O’Connor inManchester, CT answers thequestion well: “… Bernstein’sMASS is the best artistic reflec-tion of the state of mind in whichI find myself and perhaps otherAmericans find themselves, thesedays in the aftermath ofSeptember 11 and in the face ofthe so-called war on terrorism aswe await the seemingly inevitablewar with Iraq — days that havecalled into question our faith ineverything we hold dear.”

At a performance of MASS inCarnegie Hall last November fea-turing the Collegiate Chorale and

the Orchestra of St. Luke’s, JamieBernstein concluded her pre-con-cert remarks with the followingwords: “MASS may seem at firstto be locked in its era, but theissues it addresses have lost noneof their immediacy. Catholicismis in fresh crisis in America, andthe threat of a new war is bringingprotesters back out into the streets.Intolerance has not gone away,and the credibility of our govern-ment continues to fall far short ofthe mark. The one conflict thatseems to have been resolved forthe moment is Bernstein’s centralmusical struggle: that of tonalityvs. atonality. After nearly a fullcentury of adherence to the 12-tone method, the academic doorshave been thrown wide open toevery kind of composing style.For that much, at least, Daddywould have smiled.” ■

MASS Today

by Craig Urquhart,

WEST SIDE STORY performancesabound at the moment. Over 200

amateur licenses have been granted injust the past year, most of them to highschools in almost every state. They aretoo numerous to list here, but a com-plete listing may be found onwww.westsidestory.com.

Moreover, there have been somenotable professional and collegiate pro-ductions, and more are forthcoming. InApril, the Indiana School of MusicOpera Program presented four sold-outperformances of WEST SIDE STORY.Michael Barrett, Bernstein’s conductingprotégé and Music Advisor to the Estateof Leonard Bernstein, was the conductor.The director was Jerome Robbins’ pro-tégé Joey McKneely, recreating Robbins’original choreography. The direct linksto the show’s creators, combined withthe youthful talent of the cast, made forelectric performances and standing ovations. (I know; I was there!)

McNeely also directed the musical atthe La Scala Opera House in 2000.This July, McKneely brings WEST SIDESTORY back to La Scala with a youth-ful cast and conductor Donald Chan inthe pit. Maestro Chan has conductedmore performances of the show thanany conductor in history. The La Scalaproduction will continue on to Beirut,

Lebanon and Japan. July also finds astaging of WEST SIDE STORY at theBregenz Music Festival in Austria. Theirfamous, larger-than-life Floating Stage isthe magical setting for this production,directed by Francesca Zambello, freshfrom her triumph as director of theMetropolitan Opera production ofBerlioz’s Les Troyens. Wayne Marshalland David Charles Abell are the conduc-tors. The immense set design has beencreated by George Typsin. Jamie Bernsteinwill participate in the festival’s openingceremony, sharing her thoughts on therelevance of WEST SIDE STORY intoday’s world. ■

WEST SIDE STORY

upDATE

WEST SIDE STORY, the1961 Academy Award

winning film that the New YorkTimes hailed as “nothing short ofa cinema masterpiece,” has beenreleased as a two-disc SpecialEdition DVD Collector’s Set.Released by MGM HomeEntertainment, the set will beavailable for a limited time only. A new hour-long documentary,West Side Memories, includes castand crew interviews. The DVDalso has a gallery of approximately230 stills, featuring never-before-seen behind-the-scenes photos,production design snapshots andstoryboard sketches, as well as an animated storyboard-to-filmcomparison. Viewers can playthe fully re-mastered film with orwithout the original orchestralintermission, which has beennewly re-mixed and re-mastered.The original theatrical trailers arealso included. In addition there isa collectable scrapbook containingan introduction and autograph by Oscar winning screenwriterErnest Lehman; a complete work-ing script with revision pages andsong lyrics; letters from directorRobert Wise; a reproduction of theoriginal lobby brochure; a histori-cal timeline, and film reviews. ■

WEST SIDESTORY on DVD

BREGENZ FESTIVALBregenz, AustriaJuly 17, 18, 19, 22, 23, 25, 26, 29, 30August 1, 2, 3, 5-18

www.bregenzerfestspiele.com

LA SCALA Milan, Itlay July 3-19

http://lascala.milano.it/

BEITEDDINE FESTIVAL Beirut, Lebanon July 23-27

BUNKAMURA THEATRE CENTER Tokyo, Japan August 13-17 September 2-12

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Rudy Giuliani, as

Officer Krupke,

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Tony Danza at

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Record Company Updatesnews IN THE

Lerner Publications Company has published Leonard

Bernstein: In Love With Music byCaroline Evensen Lazo. Part ofLerner’s Biography Series, thisstory of Bernstein’s life is gearedto the teenage reader. Included inthe book are many photographsof Bernstein. The book concludeswith an excerpt from a eulogy byBernstein’s brother Burton, deliv-ered at the memorial service.Also included is a selected discog-raphy, as well as suggestions forfurther reading. ■

New BernsteinBiography

Charles Prince, conducting theNew York Pops Orchestra,

premiered a suite of music fromthe Leonard Bernstein/Alan JayLerner short-lived musical 1600PENNSYLVANIA AVENUE onApril 25, 2003, at Carnegie Hallin New York City.

Sid Ramin and CharlieHarmon crafted the new sixteen-minute suite for symphonicorchestra (without voices). Thesuite includes four of the morefamiliar numbers from “1600”:The President Jefferson March,Take Care of This House, Lud’sWedding (I Love My Wife) andTo Make Us Proud. The orches-tration has been expanded toinclude winds in pairs, more per-cussion, and a substantially largerstring section than could fit in a

Broadway theatre pit. Bernstein’s eclectic score incor-

porates hymn-like chorales, acatchy calypso, jaunty minstrelshow music, a series of nineteenth-century ballroom dances — andmuch more. Even though the1976 production was a flop, thescore has been hailed as some ofBernstein’s most inventive music.

Sid Ramin was the original co-orchestrator of “1600”, withHershy Kay. (Ramin was recentlyfeatured in a New York Times pro-file about his new orchestrationsfor the current revival of Gypsy.)The Suite’s co-arranger, CharlieHarmon, has also craftedORCHESTRAL SUITE FROMCANDIDE. That arrangement hasbeen recorded by the MinnesotaSymphony with conductor Eiji Oue.■

New Orchestral Suite

New SongArrangements

TROUBLE IN TAHITIon DVD

The Pacific Symphony Orchestra,conducted by Carl St. Clair,

presented BERNSTEIN’S BLUES,a group of four obscure Bernsteinsongs arranged in a “big band”suite by Bernstein’s longtimeorchestrator, Sid Ramin. Bernsteinoriginally wrote two of the songs,“Ain’t Got No Tears Left” and“Lonely Me,” for the musical ONTHE TOWN, but the songs werecut out of town. The song “BigStuff” can be faintly heard playingon the jukebox at the beginningof the ballet FANCY FREE. Thefourth song, “Screwed on Wrong,”was written in 1980 for the Harvarda cappella group, the Krokodiloes.The songs show “Bernstein’s impor-tance in bridging concert and popular music,” wrote MarkSwed in the Los Angeles Times. ■

BBC Wales/Opus Arte recentlyreleased on DVD a television

studio production of TROUBLE IN TAHITI. Filmed in 2002, thiscinematic treatment recreates thechamber opera’s 1950’s suburbansetting, with Stephanie Novacekas Dinah and Karl Daymond asSam. The DVD comes with 30minutes of bonus material,including conductor Paul Daniel’sdiscussion of the opera, andBernstein biographer HumphreyBurton’s analysis of the work as itreflects the composer’s career andbackground. The Tucson Citizenwrote, “TROUBLE IN TAHITIDVD does Bernstein proud.” ■

• Deutsche Grammophon hasreleased a three CD set of theMozart late symphonies thatBernstein recorded with the ViennaPhilharmonic. The set consists ofSymphonies 25, 29, 35, 39, 40and 41. Recorded over manyyears, these recordings showcasethe unique musical relationshipbetween Bernstein and the ViennaPhilharmonic. DG has alsoreleased the SACD (Super AudioCompact Disc) of Bernstein con-ducting WEST SIDE STORY.This new format allows the myriaddetails to be heard in all theirglory. Also planned for an Augustrelease is a compilation of“Bernstein’s Greatest Hits,” thatincludes selections from WESTSIDE STORY, CANDIDE andON THE TOWN.

• Naxos of America has releasedtwo Bernstein compact discs: arecording of WEST SIDE STORY

with the Nashville SymphonyOrchestra conducted by KennethSchermerhorn, and a FloridaPhilharmonic recording with JamesJudd, conductor, and pianist JeanLouis Steuerman performingSYMPHONY NO. 2: THE AGEOF ANXIETY, SYMPHONICDANCES FROM WEST SIDESTORY and the CANDIDEOVERTURE. James Camner inFanfare Magazine wrote: “It isgood to have this completeNaxos recording of ‘WEST SIDESTORY.’ It’s very well cast, withan ardent and smooth-voicedMike Eldred as Tony, and BetsiMorrison, a fragile, heartbreakingMaria. The playing of theNashville Symphony Orchestraand the conducting of KennethSchermerhorn are exemplary.”Anthony Barton in BBC MusicMagazine deemed the AGE OFANXIETY recording as “first-ratethroughout.”

• To mark the 25th anniversaryof Maria Callas’s death in 1977,EMI has released two previouslyunauthorized recordings that “LaDivina” made with LeonardBernstein. The live La Scala per-formances of Cherubini’s Medeaand Bellini’s La sonnambula,both from 1953, have been re-mastered to improve the recordedsound quality. Each CD featuresan essay about Callas; a synopsis,libretto and history of the opera;and many historical photographs.Medea was Bernstein’s first pro-fessional opera engagement; he’dbeen invited to replace the ailingconductor Victor de Sabata. Formany years, opera fans worldwidehave treasured these piratedrecordings. Now, with the newmastering, the operas can be heardin all their original magnificence. ■

Many friends of the LeonardBernstein extended family

have been making the news. Our own Jamie Bernstein has

recently signed an agreement withICM Artists; they will representher as a narrator, and as co-author(with Michael Barrett) of herfamily concerts, including TheBernstein Beat and ExtremeOrchestra. Mark Horowitz, whoheads up the Leonard BernsteinCollections at the Library ofCongress, has recently publishedSondheim on Music: MinorDetails and Major Decisions, abook based on interviews with

the composer. Composer andimpresario George Steel, who hastransformed Columbia University’sMiller Theatre into New York’svanguard venue for new music,has been honored with theASCAP Concert Music Award.As a plucky adolescent, Georgebefriended the Maestro, who hadcome to conduct in WashingtonD.C. in the 1970’s; George hasbeen a family friend ever since.Chita Rivera, who created therole of Anita in the originalWEST SIDE STORY, has returnedto Broadway this season as a starof Nine. Douglas Webster con-tinues to perform the role of the

Celebrant in MASS, most recentlyat the Catholic University ofAmerica. Pianist Lang Lang, whoreceived the Schleswig HolsteinMusic Festival’s Leonard BernsteinAward in 2002, has signed arecording contract with DeutscheGrammophon. Marin Alsop,who studied conducting withBernstein, has been honored withthe Royal Philharmonic’s Awardfor Excellence. And last butnever least, Betty Comdenreceived the Creative Arts Awardfrom the Kaufman Center in May for her lifetime work withAdolph Green. ■

Friends in the News

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5 Basingstoke, UK: CANDIDE (Scottish Opera version); The Opera Group; John Fulljames, director; Patrick Bailey, conductor; The Anvil; Salisbury Festival & Buxton Festival.

6 Kapfenburg, Austria: WEST SIDE STORY, Symphonic Dances; Musikschule Kapfenberg; Roland Hollik.

9,10 Brighton, UK: CANDIDE (Scottish Opera version); The Opera Group; John Fulljames, director; Patrick Bailey, conductor; Theatre Royal; Salisbury Festival & Buxton Festival.

12 Bruges, Belgium: PRELUDE, FUGUE AND RIFFS; Brussels Jazz Orchestra; Daniele Callegari, conductor; Concertgebouw.

12 Poole, UK: CANDIDE (Scottish Opera version); The Opera Group; John Fulljames, director; Patrick Bailey, conductor; Lighthouse;Salisbury Festival & Buxton Festival.

22 Highland Park, IL: ON THE TOWN, WEST SIDE STORY, WONDERFUL TOWN. Selections for concert performance; Chicago Symphony Orchestra; Leif Bjaland, conductor; Pavilion; Ravinia Festival 2003

24 Orkney, UK: CANDIDE OVERTURE; BBC Philharmonic; Rumon Gamba; Kirkwall Pickaquoy Centre; St. Magnus Festival.

28,29 Eberbach, Germany: CHICHESTER PSALMS; Radio-Sinfonie-Orchester Frankfurt, TschechischerPhilharmonischer Chor Brno; Fabrice Dalis, tenor; Hugh Wolff, conductor; Kloister.

28-30 Rome, Italy: CANDIDE (Scottish Opera version); Orchestra Festival Euro Mediterraneo; Enrico Castiglione, director; Michael Slattery, Candide; Teatro Argentina.

30 Mannheim, Germany: WEST SIDE STORY, Symphonic Dances; Nationaltheater-Orchesterder Musikalischen Akademie Mannheim; Kristjan Jarvi; Musikalische Akademie.

*Partial listing. Please

note that all dates and

programs are subject

to change. For a more

complete listing visit

leonardbernstein.com

1,2 Rome, Italy: CANDIDE (Scottish Opera version); Orchestra Festival Euro Mediterraneo; Enrico Castiglione, director; Michael Slattery, Candide; Teatro Argentina.

4 Bantry, Eire: PIANO TRIO; Osiris Trio; West Cork Chamber Music Festival.

5 Sapporo, Japan: FANFARE FOR THE 25th ANNIVERSARY OF THE HIGH SCHOOL OF MUSIC AND ARTS, NEW YORK; Pacific Music Festival Orchestra; Wen-Pin Chien, conductor;Kitara Hall.

7 London, UK: VIOLIN SONATA (UK Premiere); Efi Christodoulou, vin; Anthony Davie, piano; Wigmore Hall.

7 Bantry, Ireland: PIANO TRIO; Osiris Trio; West Cork Chamber Music Festival.

8 Buxton, UK: CANDIDE (Scottish Opera version); The Opera Group; John Fulljames, director; Patrick Bailey, conductor; Opera House; Salisbury Festival & Buxton Festival.

10 Ljubljana, Slovenia: MASS; Lithuania National Symphony Orchestra; Kaunas Choir; Murry Sidlin, conductor; Douglas Webster, Celebrant; Krizanke Summer Theater.

10 New York, NY: SYMPHONIC DANCES FROM WEST SIDE STORY; New York Philharmonic; Roberto Minczuk, conductor; Central Park.

11 Lenox, MA: CHICHESTER PSALMS; Boston Symphony Orchestra; Mormon Tabernacle Choir, Members of the Orchestra at Temple Square; Craig Jessop; The Shed.

13,18 Buxton, UK: CANDIDE (Scottish Opera version); The Opera Group; John Fulljames, director; Patrick Bailey, conductor; Opera House; Salisbury Festival & Buxton Festival.

17-19, Bregenz, Austria: Bregenz Musical Festival 19,22, on the Floating Stage; Francesca Zambello, 23,25, director; Wayne Marshal and David Abell, 26,29, conductors; George Typsin, set design; 30 Richard Wherlock, choreographer; Marie-

Jeanne Lecca, costumes; James F. Ingalls, lightdesign. Rotating cast.

19 Vail, CO: SYMPHONIC DANCES FROM WEST SIDE STORY; New York Philharmonic; Roberto Minczuk, conductor; Gerald R. Ford Amphitheater.

20 Sapporo, Japan: CANDIDE OVERTURE; Pacific Music Festival Orchestra; Wen-Pin Chien, conductor; Kitara Hall.

June July

Calendar of EventsSpring/Summer 2003

Event Spotlight WEST SIDE STORYBregenz, Austria

Austria’s BregenzMusical Festival onthe Floating Stagepresents WEST SIDESTORY directed byFrancesca Zambello.See July 17 andAugust 1.

26 Wolfeboro, NH: CHICHESTER PSALMS, selections from CANDIDE, WEST SIDE STORY; Great Waters Festival Chorus and Orchestra; Dr. Gerald Mack, conductor; Brewster Academy Field.

27 Highland Park, IL: JEREMIAH (SYMPHONY No. 1); Chicago Symphony Orchestra; Rinat Shaham, mezzo-soprano; Christoph Eschenbach; Pavilion.

26-29 Chicago, IL: CANDIDE, concert version; Chicago Department of Culture; Francesco Miloto; conductor; Preston Bradley Hall.

1 Highland Park, IL: KADDISH (SYMPHONY No. 3); Chicago Symphony Orchestra, ChicagoSymphony Chorus, Boys of the Glen Ellyn Children’s Choir; Kelley Nassief, soprano; SamPisar, narrator; John Axelrod, conductor; Pavilion.

1-3, Bregenz, Austria: Bregenz Musical Festival 5-18 on the Floating Stage; Francesca Zambello,

director; Wayne Marshal and David Abell, conductors; George Typsin, set design; Richard Wherlock, choreographer; Marie-Jeanne Lecca, costumes; James F. Ingalls, lightdesign. Rotating cast.

10 Chicago, Illinois: THE AGE OF ANXIETY (SYMPHONY No. 2); Chicago Symphony Orchestra; Christopher Taylor, piano; Christoph Eschenbach, conductor; Pavilion.

11 Washington, DC: CANDIDE OVERTURE; National Symphony Orchestra; Leonard Slatkin, conductor; JFK Center for the Performing Arts.

18-20, Philadelphia, PA: SYMPHONY NO: 1, 23 “JEREMIAH;” Philadelphia Orchestra;

Christoph Eschenbach, conductor; Anna Larsson, contralto; Verizon Hall.

23 Bridgehampton, NY: PIANO TRIO; Bridgehampton Chamber Music Festival; The Presbyterian Church.

31 Hollywood, CA: WEST SIDE STORY, scenes from the film projected with live orchestral accompaniment; Hollywood Bowl Orchestra; John Mauceri, conductor; Hollywood Bowl.

August

July, 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: curquhart@leonardbernstein.comWe 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 apublication of The LeonardBernstein Society. © 2003 by The LeonardBernstein Office, Inc.Executive VP: Harry J. KrautManaging Editor: Craig UrquhartEditors: Jack Gottlieb, Jamie Bernstein ThomasDesign: BorsaWallace, NYCVisit our website: www.leonardbernstein.com

[ Note to Readers ]

September10 Lucerne, Switzerland: CANDIDE OVERTURE;

Wiener Philharmoniker; Bobby McFerrin, conductor; Concert Hall; Lucerne Festival.

13 Amsterdam, Netherlands: SERENADE; Netherlands Philharmonic Orchestra; Vadim Tsibulevsky, violin; Yakov Kreizberg, conductor; Concertgebouw.

17 Washington DC: CANDIDE OVERTURE; National Symphony Orchestra; Leonard Slatkin, conductor; Concert hall, JFK Center for the Performing Arts.

18-20 Philadelphia, PA: JEREMIAH (SYMPHONY No. 1); Philadelphia Orchestra; Anna Larsson, contralto; Christoph Eschenbach, conductor; Kimmel Center, Verizon Hall.

21 Sydney, Australia: MISSA BREVIS; CollegiumMusicum Choir and Orchestra; University of New South Wales.

26,27 Freemont, CA: MASS (full version); Students from Ohlone College; Ohlone College.

26-28 Munchen, Germany: CANDIDE OVERTURE, THREE DANCE EPSISODES FROM ON THE TOWN; SYMPHONIC DANCES FROM WEST SIDE STORY; Munich Philharmonic; Yakov Kreizberg; Philharmonie.

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

Printed on recycled paper

On July 5, 2003, the PacificMusic Festival Orchestra and

Members of PMF Vienna will celebrate the opening ceremonyof the 14th Pacific Music Festivalin the Sapporo Concert Hall,Japan, under the baton of Wen-Pin Chien. The PMF Orchestra,the primary focus of the festival,will be comprised of 120 promis-ing musicians from 30 countriesand will perform works byBernstein and Richard Strauss.

Pacific Music FestivalPMF’s mission is to educate

gifted young musicians; this summer they will be under theguidance of Bernard Haitink,principal conductor; Edo deWaart, guest conductor; and Peter Schmidl, artistic chairmanof the faculty. The Faculty inResidence will be comprised ofdistinguished members of theVienna Philharmonic Orchestra,Philadelphia Orchestra and theLondon Symphony Orchestra.Krzysztof Penderecki will be thisyear’s composer-in-residence. Theannual Pacific Soundings Concertwill showcase Penderecki’s music.Other conductors participatingwill include Tadaaki Otaka, KenTakaseki, Seikyo Kim andKenneth Hsieh. Canadian violinist Chantal Juillet willreturn as this year’s violin soloistand Koji Oikawa will be piano

&Prelude, Fugue Riffs

&Prelude, Fugue Riffs News for Friends of

Leonard Bernstein

Spring/Summer 2003

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The Importance of Art

Leonard Bernstein held verystrong views about the rolehe thought the U.S.Government should play in

furthering arts education. Hewould be dismayed to see our sit-uation today: shrinking Federaland State arts budgets; dwindlingconcert audiences; orchestrasmissing payroll deadlines, can-celling seasons and filing forbankruptcy. It is worth revisitingsome of Bernstein’s remarks madebefore the House Subcommitteeon Select Education in Decemberof 1977. He maintained that bysupporting programs in the arts,the Government would developnot only artists but future audi-ences as well. We agree;America’s cultural heritage, bothpast and future, cannot be pro-tected enough. A nation withoutthe arts is a nation without vigor,flexibility or imagination. Andsuch a nation surely cannot thrivein today’s world.

by Alexander Bernstein, Jamie Bernstein and Nina Bernstein Simmons

Leonard Bernstein: Testimony(excerpted) presented before theHouse Subcommittee on SelectEducation, December 17, 1977,New York City

Ref: H. J. Res. 600 — A Bill calling for a White HouseConference on the Arts.

Congress roared with laughterin the Thirties when bills for gov-ernment support of the artistwere introduced. A red-bloodedAmerican boy plays baseball, notthe violin, and he certainly doesnot perform pirouettes. As for ared-blooded American girl, shewas better off playing with dollsor sewing kits than with camerasor sculptures. In those days ofDepression and fascism and anti-fascism, the arts seemed particu-larly pointless to our Congress; itwas only the WPA which savedthe day, and, ironically enough,gave the biggest boost to our

artistic life in its entire history upto that point.

Today, almost half a centurylater, all that has changed. Thearts are everywhere, booming andblooming. There are ArtsCouncils; grants flow in all direc-tions; and there is, of course, thisvery meeting here today. But, Iam sad to say, we are still anuncultured nation, and noamount of granting or funding isever going to change that unlesswe become not only an art-pro-ducing people, but a people pre-pared to receive the aesthetic

(continued on page 2)

In this issue... Remembering Adolph (1914-2002)... page 5

Leonard Bernstein,

doing what

he loved best.

soloist. As part of the festival’stradition, the Sapporo Symphonywill participate in a joint concertwith the PMF Vienna.

In addition to its orchestralconcerts, the festival will alsooffer chamber music featuringmembers of the PMF Vienna andPMF International. July 20th isthe Leonard Bernstein MemorialConcert, a daylong event showcasing all participants of the festival.

The PMF is underwritten bythe financial backing of hundredsof corporate and individual spon-sors, and many dedicated volun-teers generously support theefforts of the distinguished artistsand faculty. ■

For more information, please visit: www.pmf.org.jp

PRESORTED STANDARD

U.S. POSTAGE PAIDNEWARK, NJ

PERMIT NO. 45