by Sedgwick Clark

Midway through the Adagiofinale of Mahler’s NinthSymphony, the music sub-

sides from an almost desperate turbulence. Questioning wisps ofmelody wander throughout thewoodwinds, accompanied by mut-tering lower strings and a haltingharp ostinato. Then, suddenly, theorchestra “vehemently burst[s]out” fortissimo in a final attemptat salvation. Most conductorsimpart a noble arch and beauty oftone to the music as it rises to itsclimax, which Leonard Bernsteindid in his Vienna Philharmonicvideo recording in March 1971.

But only seven months before,with the New York Philharmonic,he had lunged toward the celloswith a growl and a violent stompon the podium, and the orchestrahad responded with a ferocity Ihad never heard before, or since, inthis work. I remember thinking, asBernstein tightened the tempounmercifully, “Take it easy. Not sofast.” By the climactic cymbalcrash my heart was pounding and Iwas gasping for breath, drippingwith sweat. My date thought I washaving a heart attack. Throughoutdinner afterwards I sat stunned,unable to speak.

Such was Bernstein’s Mahler.No one in my experience put hislife on the line in concert or onrecord like Leonard Bernstein. Noone communicated Mahler’s innerconflict and spiritual striving morevividly than Leonard Bernstein.

In this issue... Festival Updates... page 6

Bernstein’s Mahler: A Personal View

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During the month of February2003, the Tucson Symphony

orchestra will celebrate the legacyof Leonard Bernstein. TheFestival will open with a concert performance of CANDIDE, SusanWheeler, mezzo-soprano KorbyMyrick, tenor, and baritoneCharles Roe, as well as membersof the University of Arizona-based Arizona Choir under thedirector Bruce Chamberline. Thenext evening is “Bernstein onBroadway” which includes selec-

A Bernstein Festivaltions from Bernstein’s Broadwayshows and TROUBLE IN TAHITI.Another evening, “Bernstein andFriends”, will feature HALIL,ARIAS AND BARCAROLLESand music by Copland.

Music Director George Hansonwill focus on Bernstein the educa-tor with a “Young People’sConcert a la Bernstein.” Hansonwill also present a musical andconversational evening titled“George Remembers Bernstein.”Hansen hopes the festival will“Not only acquaint audienceswith Bernstein as one of the mostimportant and versatile Americancomposers… but also impart tothem some of his great spirit as ahumanitarian and lover of peace.”■

For more information:http://www.tucsonsymphony.org

Nearly all of the Columbia cycle(now on Sony Classical), tapedbetween 1960 and 1974, and all ofthe 1980s cycle for DeutscheGrammophon, are handily gath-ered in space-saving, budget-pricedsets. Some, but not all, of the indi-vidual releases have survived thedeletion hammerschlag. The secondcycle, filmed by Unitel in the1970s, formerly on videotape andlaserdisc is now available singly onJapanese Deutsche GrammophonDVDs, imported by www.leonardbernstein.com.

In general, the first go-around isfaster, galvanized by the thrill ofdiscovery. The third cycle reflectsBernstein’s penchant for slowertempos in his later years and theinsights of a lifetime with theseworks. The videos lie somewherein between, but closer to the earlier

(continued on page 2)

His vision of the music is neithercomfortable nor predictable.Throughout that live performance Ihad been struck by how muchmore searching and spontaneous itwas than his 1965 recording withthe orchestra. Bernstein’s Mahlerwas to take me by surprise in con-cert many times — though notalways to such a degree! I attendedno less than five Resurrections, aFirst, two Thirds, a Fourth, a Fifth,a Sixth, a Seventh, and anotherNinth. Alas, that uniquely harrow-ing 1970 Ninth was performedwhen Philharmonic broadcastshad temporarily ceased. But mymemory of it remains undimmed.How fortunate that he recordedMahler’s symphonies no fewerthan three times — each perform-ance offering fresh insights.

The audio-only recordings havenever been out of the catalogue.

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New Year’s Eve in Berlin willbe the setting for WON-

DERFUL TOWN in concert.The Berlin Philharmonic andMusic Director Simon Rattlewill present WONDERFULTOWN in concert as the festiveNew Year’s Concert in thePhilharmonie. The glittering cast includes singers KimCriswell, Audra McDonald,Thomas Hampson, BrentBarrett, Karl Daymond,Timothy Robinson, MichaelDore and Simone Sauphanorwill join the Berlin Philharmonicand the European Voices. ■

WONDERFULTOWN in Berlin

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As Joni Mitchell wrote, “Don’tit always seem to go/ That

you don’t know what you’ve gottill it’s gone...”

In some ways, LeonardBernstein makes himself felt evenmore palpably in his absence. Inthe field of education, for exam-ple, young musicians continue tocite Bernstein as a transforminginfluence in their lives. TheLeonard Bernstein Center, guidedby the Grammy Foundation, isadding ever more teachers andschool districts to its roster. Inaddition, the legacy of the YoungPeople’s Concerts is stronger thanever, now that they can be seen onthe Trio television channel. It’ssurprising, and not a little dis-couraging, to realize that nothinghas come along since to replace orimprove them.

Leonard Bernstein’s own compositions seem to gain signifi-cance with the passage of time. Awork like MASS, which was socontroversial at its birth in the1970’s, is now even embraced bythe Vatican, who once held it in contempt.

As the United States makes itsominous sidling approach towardwar, we long for LeonardBernstein's fervent outspokennessin demanding a more enlightenedapproach to the crises of theworld. His devotion to peace andbrotherhood never, alas, lookedmore apt.

The re-release of many ofLeonard Bernstein’s recordingsreflects the world’s continuingexcitement over those sensationalperformances. More and more,these recordings are gaining recog-nition as a body of work thatdefines American musicianship inthe 20th Century.

J.B.T. ■

(continued from page 1)conceptions, and offer gloriousplaying by the ViennaPhilharmonic. Their reappearanceprovided the final impetus for meto buy a DVD player, even thoughI own the laser discs.

Random notes: TheResurrection Symphony in SonyClassical’s set is the 1963 NewYork recording, not the 1973London Symphony one, whichwas taped at the same time as thevideo version. The LSO recordingwas most recently available as partof the label’s Royal Edition — butwhy not get the DVD and watchBernstein conduct?

In my opinion, two of the sym-phonies are clearly superior onvideo. The slow movement of theFourth seems better paced (slower)than on the later cycle, and the

irresistible twinkle in EdithMathis’s eyes as she sings the last-movement child’s view of heaven isan irrefutable argument for thevideo format. In the Fifth, all themovements are faster on video thanon the rather sprawling laterrecording. These two performanceson Sony are the weakest of that set.

The Third and Seventh on Sonywere Bernstein’s first confronta-tions with these works. Howeverfine the later ones, these seem tome the high points of the firstcycle, conducted and played withuncommon insight into Mahler’sexhilarating mix of dynamism, joy,and nostalgia.

Bernstein’s hardly less distin-guished Sixth on Sony has beencriticized for its devil-may-caretempo in the first movement. Yes,he certainly ignored the ma nontroppo part of Mahler’s Allegroenergico designation (Kubelik andSolti are even faster), but it’s unde-

niably exciting, and his integrationof the various moods and temposof the movement is flawless. Youwant it slower? His timing for thethird cycle’s Sixth is fully ten min-utes longer overall. All three aredynamite performances, and in thevideo Bernstein sports a beard.

He was scheduled to record theEighth in New York in 1990 tocomplete his third cycle, but fateintervened. The 1966 LondonSymphony recording in the Sonyset is excellent, but a 1975 VPOperformance — made at the sametime as the video — was substitut-ed on DG and is even better. Theorchestral introduction to the sec-ond movement is a riveting exam-ple of Bernstein’s peerless ability atmaintaining note-to-note intensityat a slow tempo — and seeing hisinvolvement on video is a grippingexperience.

The 1966 Vienna Das Liedvon der Erde, available singly orin the DG set, is a “must.” Hisgut-wrenching partnership withFischer-Dieskau astonishes anewwith every hearing. After twobotched CD transfers, Deccafinally got the sound right on itsmid-priced Legends series. Don’tmiss it!

The 1972 Das Lied, withChrista Ludwig, René Kollo, andthe Israel Philharmonic, recordedat the same time as the Unitelvideo, is not included in the Sonyset for some reason but is avail-able from Sony Century France;the video has yet to appear onDVD, but that only can be a mat-ter of time. For those who prefer awoman’s voice in the second,fourth, and sixth songs, Ludwig isrivaled only by the legendaryBritish contralto Kathleen Ferrieron the 1952 Walter recording.Ludwig herself has said that shenever understood the work beforeperforming it with Bernstein.

No less essential is a live 1979concert performance of the NinthSymphony with the BerlinPhilharmonic. In his only appear-ance with this orchestra,

Bernstein stomps and groans vir-tuosically as he pulls the Berlinerskicking and screaming from theircustomarily Karajanesque ivorytower. With no concern forrecorded permanence, the recre-ative greatness of Bernstein’s artis revealed here more than any-where else I know. The two-CDset on DG has been deleted in theStates, but imported copies areavailable at Tower Records’Lincoln Center branch. Hurry!

The videos are as historic aseries of recordings as could beimagined. How can anyone wholoves Mahler’s music andBernstein’s conducting resist gettingthem? The DVD transfer sources

appear identical to those for thelaser-disc and VHS releases.Reduction of the reds to eliminatethe severe chroma noise on someof the LDs has resulted in ratherpasty complexions and drab back-grounds, however; one wonders ifnew transfers from the originalfilm materials might result in truercolor. Still, the video image is clearand the sound fine. We should begrateful that the Japanese havereleased the DVDs, for there’s notelling when the opportunity willpresent itself again.

Leonard Bernstein wasn’t thefirst conductor to championMahler, of course. WillemMengelberg, Bruno Walter, and

Dimitri Mitropoulos led many ofthe symphonies and vocal worksat the New York Philharmonicalone. But it was Bernstein —coupled with the advent of stereo— who opened the floodgates. “Iam Gustav Mahler,” he used tosay, and after spending time againwith these three extraordinarycycles, it’s hard to disagree. ■

Sedgwick Clark is editor ofMusical America. He has con-tributed to Gramophone and The New York Times, amongmany publications, and served as producer for five multi-CDsets of broadcast recordings bythe New York Philharmonic.

Bernstein’s Mahler: A Personal View, continued

No less essential is a live1979 concert performance

of the Ninth Symphony with the Berlin Philharmonic.

■ Symphonies Nos. 1-9; No. 10 (Adagio);Kindertotenlieder (two versions, with Jennie Tourel and Janet Baker); RückertLieder (Nos. 1, 4, 5, with Tourel). Soloists, choruses, New York Philharmonic, London Symphony (No. 8), Israel Philharmonic (Kindertotenlieder). Sony Classical SX12K89499 (12 CDs).

■ Symphonies Nos. 1-9; No. 10 (Adagio);Das Lied von der Erde (with Dietrich Fischer-Dieskau and James King); Des Knaben wunderhorn (with Lucia Popp and Andreas Schmidt); Lieder eines fahrenden Gesellen; Kindertotenlieder; Rückert Lieder (with Thomas Hampson). Soloists, choruses, New York Philharmonic (Nos. 2, 3, 7), Vienna Philharmonic (Nos. 4, 5, 6, 8, Das Lied, Lieder), Concertgebouw Orchestra, Amsterdam (Nos. 1, 9, 10, Wunderhorn). Deutsche Grammophon 459 080 (16 discs).

■ Das Lied von der Erde. Dietrich Fischer-Dieskau, James King, Vienna Philharmonic. Decca 466 381-2.

■ Symphony No. 9. Berlin Philharmonic. Deutsche Grammophon 435 478-20.

■ Symphonies Nos. 1 and 4. Edith Mathis (in No. 4). Vienna Philharmonic. DG UCBG-1025 (DVD).

■ Symphony No. 2 (Resurrection). Sheila Armstrong, Janet Baker, Edinburgh Festival Chorus, London Symphony Orchestra. DG UCBG-1026 (DVD).

■ Symphony No. 3. Christa Ludwig, choruses, Vienna Philharmonic. DG UCBG-1036 (DVD).

■ Symphony No. 5. Vienna Philharmonic. DG UCBG-1037.

■ Symphony No. 6. Vienna Philharmonic. DG UCBG-1046.

■ Symphony No. 7. Vienna Philharmonic. DG UCBG-1051.

■ Symphony No. 8. Soloists and choruses, Vienna Philharmonic. DG UCBG-1052.

■ Symphony No. 9. Vienna Philharmonic. DG UCBG-1017.

■ Rückert Lieder, Kindertotenlieder, Lieder eines fahrenden Gesellen. Thomas Hampson, Vienna Philharmonic. DG UCBG-1066.

BERNSTEIN’S MAHLER

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The following reflections onGustav Mahler’s Symphony No. 4are adapted from a live radiobroadcast of the symphony by theTanglewood Music CenterOrchestra. The program aired onAugust 19th, 2002, on 96.3 FMWQXR. Jamie Bernstein Thomaswas the host and script writer.

I’ve had a close relationship withMahler’s Symphony No. 4 all my

life, starting when I was 9 yearsold. It was summertime, and myfather was studying the score ofMahler 4th in preparation for conducting it with the New YorkPhilharmonic that fall. My father

dragged a semi-portablestereo record player outto the swimming pool,and played BrunoWalter’s legendaryrecording of the sympho-ny with the New YorkPhilharmonic. My fatherlay on a lounge chair inhis bathing suit with thescore in his lap, whilethe record played andmy brother and Isplashed in the pool. Hepointed out the sleigh-

bells to us, and told us that thesinger in the last movement wasdescribing a child’s vision ofheaven. We loved the music, andwe could tell that our fatherloved it too. Even as kids, wecould sense that he seemed tounderstand Mahler from somevery deep place within himself.

Over the next few years afterthat summer, my father pursuedhis ambitious project of recordingall nine Mahler symphonies withthe New York Philharmonic. Thefull set has been reissued on CD,and not only are the recordingswonderful, but the liner notesinclude a fascinating essay by myfather about Mahler and his music,portraying Mahler as a kind ofdark prophet whose musical criesof anguish foretold all the horrorsto come in the 20th Century:

The music is almost cruel in itsrevelations: it is like a camera that

has caught Western soci-ety in the moment of itsincipient decay…This iswhat Mahler meantwhen he said, “My timewill come.” It is onlyafter fifty, sixty, seventyyears of world holo-causts, of the simultaneous magni-fication of national pieties with theintensification of our active resist-ance to social equality — onlyafter we have experienced all thisthrough the smoking ovens ofAuschwitz, through Vietnam, theBay of Pigs, Israel, the murder inDallas, the Tweedledum armamentrace — only after all this can wefinally listen to Mahler’s music andunderstand that it foretold all.And that in the foretelling it show-ered a rain of beauty on this worldthat has not been equaled since.

I guess it’s no surprise that alot of Bernstein’s observationsabout Mahler could be applied toBernstein himself. There are somany resonances between the twomusicians. Like Mahler,Bernstein’s creative energy wasfueled by conflict, or duality —beginning, like Mahler’s did, withthe conflict between composingand conducting. Both men had tolearn to switch gears, sometimespainfully, from being an extro-verted performer surrounded bycolleagues and well-wishers — tobeing an inward-looking, solitaryartist staring at a blank manu-script page deep into the night.

My father also identified withMahler’s struggle to navigate thebreakdown of tonality at the turnof the last century. As my fatherput it, he was “stretching tonalityto its very snapping point — butnot beyond it!” That task fell toSchoenberg and his acolytes. Bythe mid-20th Century, atonalityruled the day, so a composer likemy father, who liked writingmelodies, risked losing respectfrom his peers by insisting uponcomposing tonal music.

In tonality and otherwise,Mahler kept one foot firmlyplanted in the 19th Century,

while comprehending that its veryessence was coming to an end, for better or worse — hence thenostalgic, grieving quality ofMahler’s music, combined withits hair-raising visions of horror.Here’s how my father describedMahler’s music:

He took all (all!) the basic ele-ments of German music, includingthe cliches, and drove them totheir ultimate limits. He turnedrests into shuddering silences;upbeats into volcanic preparationsfor a death blow… Ritardandiwere stretched into near-motion-lessness; accelerandi became torna-does… Mahler’s marches are likeheart attacks, his chorales like allChristendom gone mad… and hismost traditional cadences blesslike the moment of remission frompain. Mahler is German musicmultiplied by n.

For those of you who aren’tacquainted with Mahler’s music,or for those of you who find hismusic unendurable — and I knowyou’re out there — the FourthSymphony is actually a very goodplace to start. It’s the shortest ofhis symphonies, for one thing.(The whole piece isn’t muchlonger than the first movement ofthe Third!) And for another thing,it has that lovely, childlike sensi-bility about it. It’s so emotionallyaccessible, yet without ever sacri-ficing the most profound sort ofphilosophical inquiry.

Now that I’m an adult,Mahler’s Fourth Symphony haseven more resonance for me.When I hear those magical sleighbells, I remember listeningto them by the swimming poolwith my father, and I know I’mrecalling my own childhood’svision of heaven. ■

Discovering Mahler The Handshake That Changed My Life

by W. Ian Walker

In 1981 I won a scholarship tothe Young Artist Vocal

Program, as a baritone soloist,at the Boston UniversityTanglewood Institute (BUTI) foreight weeks in the BerkshireMountains. Being Canadian, Ihad never experienced such aglorious haven for study andserious music making. I madelong-lasting friendships there;some have lasted for 21 years.Ten students (vocalists andinstrumentalists) became greatfriends in a short space of timethat summer. We went to everyconcert and master class that wewere able to attend in every dis-cipline and genre.

In preparations for the 1981July 4th Celebrations, under thedirection of Leonard Atherton,then Music Director of theYoung Artists Vocal Program,we learned that LeonardBernstein was going to workwith the Boston SymphonyOrchestra (BSO) on his newlycommissioned work for theorchestra’s 100th Anniversaryand perform the work on July4th. Both Youth Programs wereinvited to attend rehearsals inThe Shed. It was Bernstein at hisbest and it was an honor toattend this world premiererehearsal of DIVERTIMENTOFOR ORCHESTRA. At thebreak of the rehearsal, I intro-duced myself to him and toldhim that the choir in which Isang, The Toronto MendelssohnYouth Choir, (TMYC) had justperformed his work, CHICH-ESTER PSALMS at the end of our season. We had worked very hard on our pronunciationof the Jewish text, especially

the second movement, Lamahrag’shu goyim, which requires a lot of energy from the male choristers.

Our conductor RobertCooper had worked the men inour choir very hard on rhythmand diction. We also learned agreat deal about the backgroundof this Jewish work. Most of thechoristers had never before sungin Hebrew.

Bernstein and I discussed thismovement briefly and I remem-ber asking him what were theeffects or the intensity that hewas aiming for? He then trans-lated the text into English, referring to Psalms 2: 1-4…Why do the nations rage…explaining to me why he hadcreated the addition of thesoprano and alto unison voicing.And the people imagine a vainthing… is a lovely female countermelody corresponding to theharmonic structure of the previ-ous counter tenor solo. Referringto the the initial La! Mah!section, “The male voices mustattack these measures!” he saidemphatically. “The conductormust instruct the men to followmy double pianissimo and stac-cato e marcato markings toachieve the overall male/femalevocal balance and my intentionsof this movement.”

I asked him if he could comework with the Young ArtistsVocal Program to perfect ourinterpretation of his choral work.Unfortunately, his schedulewould not permit. As our conversation drew to a close, the official photographer atTanglewood took our pictureshaking hands. The next day (inthe music shop) I noticed thepicture was available for sale.

One couldn’t help but catchthe passion that Bernstein conveyed to the orchestra andthe audience responded bybreathing in every nuance of his

music. We were intenselyfocused on Bernstein’s conductingstyle, something that we hadnever seen in a conductorbefore. He was performing hisOVERTURE TO CANDIDEand the SUITE FROM ON THE WATERFRONT andSYMPHONIC DANCES FROM WEST SIDE STORYplus the newly commissionedDIVERTIMENTO FORORCHESTRA. As the rehearsalconcluded, “Lenny” looked outinto the audience, saw me as Iwaved to him, looked a little

puzzled at first and then gaveme a friendly smile and wavedback. To this day I will alwaysthink that he was lookingstraight at me, and until I die, Iwill always be a devotedBernstein fan!

In 1990 when I learned of thesad passing of Mr. Bernstein, Iremembered again those preciousfew moments, which I sharedwith him. To myriad students,young musicians and conductors,Bernstein made music educationimportant. His passion, skill and his art of communicationthroughout all types of mediahave made the art of perform-ance and music education alivefor future generations. LeonardBernstein’s life in music inspiredme to be the very best in myprofessional career. ■

W. Ian Walker is President ofEmlian Music Group inMississauga, ON Canada.

To this day I will always think that he was looking straight atme, and until I die, I will alwaysbe a devoted Bernstein fan!

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A Leonard Bernstein conducting score.

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By Kazu Tsuchihashi

“It never rains in Sapporo!”promised the late mayor of

Sapporo Takeshi Itagaki toLeonard Bernstein, preceding theinauguration of the Pacific MusicFestival in 1990. Despite themayor’s promise, this past sum-mer it rained almost every day ofthe twenty-two day festival.However, this did not dampen theenthusiasm of more than 40,000music lovers who attended thethirteenth PMF under the artisticdirectorship of Maestro CharlesDutoit in July.

The PMF Orchestra, the pri-mary focus of the festival, wascomprised of 114 promisingmusicians from 28 countries —from Viet Nam to Brazil toKazakhstan — who welcomed theacclaimed violinist Joshua Bell totheir first program under Wen-PinChien, resident conductor.Maestro Chien and Bell per-formed the Japanese premiere ofBernstein’s WEST SIDE STORYSUITE as well as Make OurGarden Grow from CANDIDE

Pacific Music Festival 2002 Report

and The Red Violin: Chaconnefor Violin and Orchestra byComposer-in-Residence JohnCorigliano. The next two pro-grams under direction of MaestroDutoit featured Stravinsky’s com-plete version of The Firebird,Shostakovich’s Fifth Symphony,Ravel’s Ma Mere l’Oye Suite,Prokofiev’s Third Piano Concertowith Martha Argerich andRichard Strauss’ monumentalEine Alpensinfonie.

The PMF mission to educategifted young musicians in suchchallenging repertoire, as well aschamber music, was carried onwith the vision of Maestro Dutoitand a distinguished faculty;

Professor Peter Schmidl, artisticchairman of the faculty; ChantalJuillet, head of chamber music;and principal players of theVienna Philharmonic, MontrealSymphony, PhiladelphiaOrchestra, Pittsburgh Symphonyand NHK Symphony of Tokyo.

The financial backing of hun-dreds of corporate and individualsponsors, and eighty dedicatedvolunteers generously supportedthe effort of these distinguishedartists and faculty.

A special event of this summerwas the “Young People’sConcert” featuring a fully stagedoutdoor performance of PiedPiper Fantasy by Corigliano withJeffrey Khaner, principal flutist ofthe Philadelphia Orchestra, andthe Sapporo Symphony Orchestraunder Maestro Chien. SinceCorigliano worked as an assistantto Roger Englander, the producerof Bernstein’s legendary YoungPeople’s Concerts television pro-grams in the 1960s, it was partic-ularly meaningful to witness thejoy of the many children whoheard the Fantasy at Sapporo ArtPark, decades after Bernstein firsttouched the lives of youngsterseverywhere. ■

For more information, pleasevisit: www.pmf.or.jp

Jeffrey Kahner

performs Pied

Piper Fantasy.

Maestro Chien, John Corigliano and Joshua Bell.

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The Schleswig-Holstein Music FestivalLeonard Bernstein Award 2002

On August 31 the youngChinese pianist Lang Lang

was presented with the firstSchleswig-Holstein Music Festival(SHMF) Leonard BernsteinAward. Festival director Rolf Becksaid: “The Leonard BernsteinAward is intended to both honorthe name of Leonard Bernstein,which is inseparably connectedwith the Schleswig-Holstein MusicFestival, and distinguish outstand-ing musical talent.” The awardcomes with a 10,000 prize whichwas donated by theSparkassenFinanzgruppe (SavingsBank Finance Group), one of themain sponsors of the SHMF.

The international jury thatselected this year’s artist is com-posed of the following members:Jamie Bernstein Thomas (LeonardBernstein’s daughter); ZarinMehta (Executive Director of theNew York Philharmonic); ErnestFleischmann (Music Director ofthe Ojai Music Festival); OlafCord Dielewicz (President of theSavings Bank and GiroAssociation for Schleswig-Holstein); Christoph Eschenbach(Artistic Director of the SHMF,Chief Conductor of the NDRSymphony Orchestra, Directeurmusical de l’Orchestre de Paris,and Music Director of the RaviniaFestival); and Rolf Beck (Directorof the SHMF, Head of theOrchestra and Choir Departmentat NDR).

On July 2, 1986, LeonardBernstein opened the firstSchleswig-Holstein Music Festivalwith Joseph Haydn’s DieSchöpfung (The Creation). Oneyear later, he established theOrchestra Academy at the SalzauCastle, a teaching and learningcenter for young musicians. Forfive summers, Leonard Bernsteinwas one of the Festival’s mostinfluential artists until his death.

Born in 1982 in Shen Yang(China), Lang Lang began hispiano studies at the age of three atthe Music College with Prof. ZhuYa-Fen. At the age of nine, he was

accepted into the class of Prof.Zhao Ping-Guo at China’s CentralMusic Conservatory. In 1997, thepianist went to the renownedCurtis Institute of Music inPhiladelphia, where he is currentlycontinuing his studies with thedirector of the institute, GaryGraffman. His triumphant per-formance at the Ravinia Festival,where he substituted at the lastminute for André Watts, who hadfallen ill, gave rise to internationalacclaim. There were more enthusi-astically received debuts atCarnegie Hall and the BBC Promssubsequent to this memorable concert. During the 2001/2002 season, he debuted with the New York Philharmonic, theChicago Symphony and thePhiladelphia Orchestra.

At the presentation the follow-ing remarks by Jamie BernsteinThomas were read:

“Of all Leonard Bernstein’senormous achievements in hislifetime, he took the most delightin the education of young people.His televised Young People’sConcerts with the New YorkPhilharmonic are by now leg-endary. His many years teachingat Tanglewood launched thousandsof musical careers. And his nur-turing of new music festivalsmodeled after Tanglewood, such

as Schleswig-Holstein’s, may havebeen his crowning achievement.

Imagine what it was like growing up with such a person as my father. It meant that everyconversation had an educationalcomponent hidden within diver-sion and delight. Much of what I know about music came from listening to pop songs on theradio with my father:

“You hear that? That’s a bluesprogression! You know what ablues progression is? Well, youstart with the tonic, then you goto the sub-dominant...”

“Listen to that: that song is inthe Phrygian mode! You knowwhat a mode is? Well, if you playthe white notes on the piano starting on different keys...”

Many of these conversationsfound their way into the scriptsof my father’s Young People’sConcerts — pop song examplesand all.

So it feels deeply appropriatethat there should be a LeonardBernstein Award for talentedyoung musicians. I am honoredto be a participant in its dissemi-nation. I only wish my father werestill alive, so that he could smotherthe winner in hugs, and then talkwith him or her for hours on endabout music and life. That waswhen he was at his happiest.” ■

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Lang Lang,

Award winner.

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On September 18, 2002, theFrench government awarded

the “Chevalier de la Légiond’Honneur” to Schuyler Chapin,one of the Executors of LeonardBernstein’s Estate. The honor waspresented by Consul GeneralRichard Duque in a ceremony atthe French Consulate in NewYork. In his remarks the ConsulGeneral said, “President Chirachas appointed you to the Orderof the Légion of Honor in recog-nition of your many outstanding

achievements and sustained sup-port for French culture.” Chapinhas worked for NBC, ColumbiaArtists Management, ColumbiaMasterworks, The MetropolitanOpera and Steinway & Sons. He was Dean of ColumbiaUniversity’s School of Fine Arts,Executive Producer of AmbersonProductions and New York City’sCommissioner of Cultural Affairs.Congratulations Schuyler! ■

Schuyler Chapin Honored

Joshua Bell and the New YorkPhilharmonic’s WEST SIDE

STORY SUITE FROM CENTRALPARK was nominated for theOutstanding Classical Music-Dance Program Emmy Award.This PBS/Sony Classical GreatPerformance production wasrecorded on July 9, 2001 during aNew York Philharmonic free parksconcert. It featured Joshua Bellperforming the Sony Classicalcommissioned WEST SIDE STORYSUITE for violin and orchestra.The Suite was arranged by WilliamDavid Brohn. The concert wasconducted by William Eddins. ■

Emmy Award Nomination

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Consul General Richard Duque with Schuyler Chapin.

September 11th Remembered

Angela Bassett performed adramatic reading of ‘To

Make Us Proud’ from 1600PENNSYLVANNIA AVENUE,music by Leonard Bernstein,lyrics by Alan Jay Lerner, at aconcert to mark the anniversaryof the September 11th attacks.The evening, entitled Concert for

America, was recorded for NBCat the Kennedy Center andbroadcast on Wednesday,September 11, 2002. The piece is available as part of A WhiteHouse Cantata, a concert workfor soloists, chorus and orchestrabased on the musical 1600 PA,available for rental only fromBoosey & Hawkes. ■

To Make Us ProudLyrics by Alan Jay Lernerfrom 1600 PENNSYLVANIAAVENUEby Leonard Bernstein & Alan Jay Lerner

To burn with prideAnd not with shame, Each time I hearMy country’s name:

Not hide my head when theflag goes by,But feel I’m soaring whereeagles fly:

Not walk away,But stand and say:I love this land!It will prevail.If love be strongWe will not fail.

Let rage be fearless and faith be loud.This land needs love. To make us proud.

© 1976 by Alan Jay Lerner and AmbersonHoldings LLC.Leonard Bernstein Music PublishingCompany LLC, Publisher.All rights reserved.

On June 17 Boston’sSymphony Hall was the

setting for the Longy School ofMusic’s Enchanted Garden Party:Making Music Grow fundraisingevent. The annual event benefitsthe Longy’s School scholarshipand outreach programs. At theevent Marilyn Horne received thethird annual Leonard BernsteinAward. Boston Globe music jour-nalist Richard Dyer presented theaward to Horne. Upon receivingthe award she said, “It is veryspecial for me to receive thisaward because it’s in the name ofLenny and the school does suchwonderful work.” ■

The Longy School of Music Leonard Bernstein Award

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“The Bernstein Beat,” a con-cert for young people writ-

ten by Jamie Bernstein Thomasand Michael Barrett, will come toCarnegie Hall on February 8,2003. Modeled after Bernstein’stelevised Young People’s Concerts,“The Bernstein Beat” usesBernstein’s own music to teachrhythm. “The Bernstein Beat” hasbeen performed in Washington,DC, Bejing, Havana, Amsterdam,Salt Lake City, San Francisco andSan Antonio, and will now beheard in New York. As part ofCarnegie Hall’s Family Concerts,this Saturday afternoon concertwill be performed by the St. Luke’sOrchestra with Michael Barrettconducting and Jamie BernsteinThomas narrating. For more information:www.leonardbernstein.com orwww.carnegiehall.org. ■

Leonard Bernstein Center Update

It has been a busy and productivesummer for The GRAMMY

Foundation’s Leonard BernsteinCenter for Learning (LBC).Currently nineteen schools acrossthe country are successfullyemploying the Artful Learning ™reformation model. The Bernsteinmodel emphasizes interdisciplinaryscholarship to stimulate and deep-en learning through the arts.Bernstein eloquently stated thisphilosophy during TheUnanswered Question Harvard lectures nearly thirty years ago,“…that the best way to know a thing is in the context of another discipline.”

Recent developments at theLBC include the final revisions ofthe Level 1 and Level 2 Teacher’smanuals. These resources havebeen optimized for successfulimplementation in the classroom.Additional supplemental materialsto these manuals include the litera-cy components, principal andparental leadership strategies, andcurriculum mapping techniques.The GRAMMY Foundation host-ed two Leonard Bernstein CenterTraining for Trainers seminars forboth Level 1 and Level 2 in SantaMonica, California at the NationalAcademy of Recording Arts andSciences (NARAS) headquarters.Fifty-four educators, administra-tors, and artists were broughttogether to develop a cadre of arts-based, curriculum driveninstructors committed to preserving the educational legacyof Leonard Bernstein.

The LBC is pleased to announcethe addition of five new schoolsutilizing the Bernstein Model. Astrong New York contingent hasdeveloped to include: The ChoirAcademy of Harlem (which willalso provide GRAMMY in theSchools performances), P. S. 180under the leadership of Dr. PeterMcFarlane, and P. S. 178 helmedby Dee Dee Budd. HarrisburgSchool District (Pennsylvania) and

Hawthorn School District(Chicago) are employing a broaderapplication of the model to eventu-ally encompass all schools in eachrespective district.

The National Center forResearch on Evaluation,Standards, and Student Testing(CRESST) at UCLA has undertak-en the external evaluation of theArtful Learning model. During thefirst year of a three-year alliancewith The GRAMMY Foundation,significant and promising datareveals that the Bernstein Model ishaving a positive effect on improv-ing educational reform. BernsteinSchools will have access and training with the Quality SchoolPortfolio (QSP) software, devel-oped by Dr. John Lee at the UCLACenter. This package will aid educators with student assessment,developing rubrics for measurableachievement, and local disaggregating of data, critical tothe effective analysis of the ArtfulLearning model.

As a support to the BernsteinSchools community, The GRAM-MY Foundation will launch theofficial www.artfullearning.cominteractive, secured entry web siteby year end. The web site willhouse, among other resources,templates for standards-basedunit/lesson design techniques andgrant writing, educational links,and detailed examples of how theMasterwork can be used as a cata-lyst for engaging students. AllBernstein schools will have accessto this support network to dialogueand share educational materials.

Experience, Inquire, Create,Reflect represent the cell ofBernstein’s philosophy in the ArtfulLearning model. To learn moreabout this exceptional school reformation model, contact Dr.Richard Martinez, recently namedthe new LBC Director ofEducation, at 310-392-3777.

Patrick Bolek is the ProjectManager for the LeonardBernstein Center for Learning atThe GRAMMY Foundation inSanta Monica, California.

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On October 24 and 25, TheToronto Mendelssohn Choir

will present a multi-media event,Music Meets Canvas.Internationally acclaimed painter,Joseph Drapell, will paint a can-vas inspired by LeonardBernstein’s SYMPHONY NO. #3:KADDISH — as the choir per-forms the work on stage at RoyThomson Hall.

The painter’s progress will beprojected on two large overheadscreens so the audience can wit-ness the entire process.

Of this unconventional pairing,Conductor and Artistic DirectorNoel Edison says, “Controversy isbound to follow risk… Music

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Suite For Orchestra From 1600 PENNSYLVANIA AVENUE

LeonardBernstein.com: Now Online...

The official leonard Bensteinwebsite has made some excitingnew additions, go have a look.

THE BERNSTEIN BEAT■ A new concert for young

people, The Bernstein Beat, byJamie Bernstein Thomas and Michael Barrett is featured this summer at LB.com. Read articles, view photographs, and check for upcoming concert information by selecting “The Bernstein Beat”in the list of topics at www.leonardbernstein.com.

WONDERFUL TOWN■ Also featured online this

summer is the Bernstein, Comden and Green musical WONDERFUL TOWN. Read about the authors’ collaboration and view their original handwritten notes from 1952.

THE WEST SIDE STORYFAQ■ If you’ve ever had a question

about the great American

A new suite of music from1600 PENNSYLVANIA

AVENUE is slated to be premiered on April 25, 2003, bythe New York Pops Orchestraconducted by Charley Prince, atCarnegie Hall, New York City.

Sid Ramin and CharlieHarmon are putting together asixteen-minute suite for sym-phonic orchestra (without voic-es). One of Ramin’s many creditsis the orchestration (with HershyKay) for the original 1600PENNSYLVANIA AVENUE, in1976. Charlie Harmon was

music editor for the BernsteinEstate from 1989 until 1999.

The new suite includes four ofthe most familiar numbers from“1600”: The President JeffersonMarch, Take Care of This House,Lud’s Wedding (I Love My Wife),and To Make Us Proud.

The orchestration has beenexpanded from the original pitband. Wind instruments are inpairs, there is more percussion,and of course the string sectionsare substantially larger in a sym-phonic orchestra. The music inthe suite is played without pause,though the first two sectionscould easily be excerpted and

played as independent encores.The music that Leonard Bernsteinwrote for 1600 PENNSYLVANIAAVENUE ranges dazzingly acrossits American sources. There arehymn-like chorales, a catchycalypso, jaunty minstrel showmusic, a series of nineteenth-century ballroom dances... andmuch more..

The anthem To Make UsProud brings this suite to aninspirational close, perhapsreflecting Bernstein’s own hopefuloptimism in the workings ofAmerican democracy. ■

■ Leonard Bernstein — Vienna Philharmonic special import DVDs. These Unitel NTSC DVDs, released by Universal Music in Japan, are offered at $29.95 each (with discounts for complete sets.)

The selection includes:■ Mahler: Symphony Nos. 1

though 9 (includes the Mahler 2 LB-LSO DVD)

■ Mahler: Kindertotenlieder, Lieder eines fahrenden Gesellen

■ Beethoven: Symphonies 1 through 9

■ Beethoven: Piano Concertos Nos. 1 through 5

These DVDs are no longer in theUniversal catalogue. This is a trueopportunity to start or completeyour collection! For large orders,please e-mail dshiffman@leonard-bernstein.com.

If you are looking for sheetmusic, conductor scores, CDs,sheet music, videos, and merchandise, visit www.leonardbernstein.com/store. ■

musical, WEST SIDE STORY, well, we just might have the answer for you! Visit www.westsidestory.com and click on “Read the FAQ!” to find out.

ELECTRONIC PF&R!■ Prelude, Fugue & Riffs is now

available online as a PDF file (you’ll need Adobe’s free Acrobat Reader, available at www.adobe.com, to view the file). You can download PF&R by visiting the Coffee Table at www.leonardbernstein.com.

THE “LENNY” STORENew to the store are:■ Complete Bernstein Century

Sony Classical sets (a total of 95 CDs). A definitive classical music collection. A perfect gift! The set includes special import Bernstein Century CDs not currently available in the US and is offered at a reduced price. Please e-mail us at orders@leonardbernstein.com.

Meets Canvas invites a first lookat the formal bonding of visualand musical expression in a concert setting. After the choir’sfinal notes, the canvas will be thetangible artifact of the event.”

The world premiere of MusicMeets Canvas brings togetherarts and media figures such asformer Stratford DirectorMartha Henry and Canadianmedia visionary Moses Znaimer,both of whom will participate inthe role of narrator.

Painter Joseph Drapell, whosework is exhibited in NorthAmerica, Europe and Asia, willhave roughly 40 minutes withinwhich to create a work that

responds to the music. Drapell says,“I’ll be painting in a 2000-seat ‘stu-dio’ so I’m prepared for an intenselyrevealing experience, involvingwords, music, paint, and tears.” ■

Music Meets Canvas

DEUTSCHE GRAMMOPHONDeutsche Grammophon has

recently reissued Bernstein’s historic 1972 recording of Bizet’sCarmen. The recording boastsand a stellar cast that includesMarilyn Horne, JamesMcCracken, Andriana Maliponteand Tom Krause and theMetropolitan Opera Orchestraand Chorus. Also to be released isa compilation that includesBarber’s Adagio for Strings,Gershwin’s Rhapsody in Bluewith Bernstein as the pianist, andselections from Bernstein’s ONTHE TOWN and WEST SIDESTORY. DG will also issue aseven CD set Bernstein ConductsBernstein, that includes record-ings of his own compositions thatBernstein made with the label.Later this fall they will release aSACD (Super Audio CD) ofBernstein’s recording of WESTSIDE STORY. Next spring willsee the Mozart Requiem, withsoloists Marie McLaughlin,Maria Ewing, Jerry Hadley andCornelius Hauptmann and theBavarian Radio Symphony andChorus. Finally, springtime 2003is the target date for Mozart’s latesymphonies with the ViennaPhilharmonic.

SONY CENTURYSony Classical in France has

released an additional sixteentitles in the Bernstein Centuryseries: Beethoven PianoConcertos No. 3 and 4 withGlenn Gould as piano soloist;Shostakovitch Symphonies No.1, 6, 7 and 14; SibeliusSymphonies No. 1, 4, 5 and 7;the Haydn Paris Symphonies,Mahler’s Das Lied von der Erdewith Christa Ludwig and ReneKollo plus Des KnabenWunderhorn with Ludwig andWalter Berry; the Verdi andBerlioz Requiems; a recording ofworks by Ravel and the com-plete Schumann symphonies.The recordings have beenimported and are available onwww.leonardbernstein.com.

POPULAR ARTISTS RECORD

BERNSTEINFor her latest CD the multi-

million selling recording artistCharlotte Church has recordedtwo of Bernstein’s most familiarsongs from WEST SIDE STORY,Tonight and Somewhere. Thealbum, entitled “Enchantment”,has been topping the ClassicalCrossover charts for weeks.

Another young singer, the BritishTenor Russell Watson, also decid-ed to include Somewhere on hisbest-selling album “Encore”. Hewas awarded Best Classical Artistand Album of the Year 2002 bythe Classical British Awards forthis recording. ■

Record Company Updates

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2 Penrith, Australia: OVERTURE TO CANDIDE; Penrith Symphony Orchestra, George Ellis, conductor; Joan Sutherland Performing Arts Center.

3 Merrick, NY: Memories and Music of Leonard Bernstein; Leonard Lehrman, Helene Williams, Caryn Hartglass; Oceanside Library.

3 Mainz, Germany: CHICHESTER PSALMS; Staatsphilharmonie Rheinland-Pfalz, Mainzer Domchor; Mathias Breitschaft, conductor; Mainzer Dom.

10,11 Veenendall, The Netherlands: CANDIDE (Scottish Opera Version); Students of Marnix College; Ede De Lampegniet Theater.

19 New York, NY: MASS (in concert), Orchestraof St. Luke’s, Collegiate Choral; Robert Bass, conductor; Douglas Webster, Celebrant; Carnegie Hall.

20,21 Aachen, Germany: SYMPHONIC DANCES FROM WEST SIDE STORY; Symphonieorchester Aachen; Markus bosch, conductor; Konzerthaus.

November

1-3 Athens, Greece: WEST SIDE STORY; Landestheater Linz; Dennis Russell Davies, conductor; Odeon of Herodes Atticus.

2-4 Birmingham, UK: FANCY FREE;Birmingham Royal Ballet; Hippodrome.

9 Melbourne, Australia: OVERTURE TO CANDIDE; Scotch College Orchestra; J. Ferguson, conductor; Concert Hall.

19 St. Paul, MN: ARIAS AND BARCAROLLES; St. Paul Chamber Orchestra; Andreas Delfs, conductor; Frederica von Stade and Kurt Ollmann, singers; Ordway Hall.

11 San Francisco,CA: New York, New York; Make Our Garden Grow; San Francisco Symphony; Michael Tilson Thomas, conductor;Joshua Bell, violin; Yerba Buena Gardens.

16-25 Plymouth, UK: FANCY FREE; Birmingham Royal Ballet; Theatre Royal.

16 Ozaka, Japan: OVERTURE TO CANDIDE; Kansai Philharmonic Orchestra; Masataka Imura, conductor; Symphony Hall.

18-19 Sunderland, UK: FANCY FREE; Birmingham Royal Ballet; Empire Theatre.

19 Hamburg, Germany: SYMPHONY NO. 2: THE AGE OF ANXIETY; Hamburger Symphoniker; Yoav Talmi, James Tocco, piano; Musikhalle.

24,25 Münster, Germany: SYMPHONY NO. 2: 29 THE AGE OF ANXIETY; Symphonieorchester

Münster; Will Humbug, conductor; James Tocco, piano; Städtische Bühnen.

24 Grand Junction, CO: SYMPHONIC DANCES FROM “WEST SIDE STORY”; Grand Junction Symphony; Kirk Gustafson, conductor; Grand Junction High School.

*Partial listing. Please

note that all dates and

programs are subject

to change. For a more

complete listing visit

leonardbernstein.com

3 Hamburg, Germany: CHICHESTER PSALMS; Choir and Orchesta of the Musikhochschule Hamburg; Ursula Krosch, conductor; Musikhochschule.

4 Kuala Lumpur, Malaysia: PRELUDE, FUGUE AND RIFFS; Malaysian Philharmonic Orchestra.

12-14 Haifa, Israel: SERENADE, SYMPHONIC DANCESFROM WEST SIDE STORY; Haifa Symphony Orchestra; Ronald Zollman, conductor; Raphael Oleg, violin; Music Center.

September19 Amsterdam, The Netherlands: SERENADE;

Netherlands Radio Philharmonic; Edo de Waart, conductor; Robert McDuffie, violin; The Concertgebouw.

23 Manchester, UK: HALIL; Chetshams Symphony Orchestra; Stephen Threlfall, conductor; Alexandra Jakeman, flute; Kendal Parish Church.

23 Winterthur, Switzerland: SERENADE; Orchester Musikkollegium Winterthur; Jac vanSteen, conductor; Michael Erxleben, violin; Musikkillgium.

24 Manchester, UK: HALIL; Chetshams Symphony Orchestra ; Stephen Threlfall, conductor; Alexandra Jakeman, Flute; Chetshams School.

31 Duisburg, Germany: SYMPHONY NO. 2: THE AGE OF ANXIETY; Duisburger Philharmoniker; Lawrence Foster, conductor; Jean Bernard Pommier, piano; Theater am Marientor.

October cont.

October

The New York Philharmonichas recently completed

Bernstein Live Special Edition forTeachers. Using performancesfrom the acclaimed compact discset Bernstein LIVE!, the NewYork Philharmonic has developeda teaching guide using six differ-ent compositions conducted byBernstein. Each of the perform-ances is accompanied by a teach-ing syllabus made up of variousactivities pertaining to a differentcomposition. Subjects covered areWhat is outdoor music?(Copland: An Outdoor Overture),What Makes A Trumpet A Titan?(Russo: Symphony No. 2:Titans); Timbre, Tag and TripleConcertos (Beethoven, Concertoin C Major); Imitating Mozart(Mozart: Overture to the MagicFlute); Display and Dialogue(Bach: Brandenburg ConcertoNo. 5); How Can Music DepictCharacters and Stories?(Stravinsky: The Song of theNightingale).

The activities are designed for

use by music teachers, classroomeducators and for classroom col-laborations between music teach-ers, non-music teachers and stu-dents. Thomas Cabaness, directorof education at the New YorkPhilharmonic said, “Anyone whohas had a personal encounterwith Leonard Bernstein can attestto his vitality, his charisma, andhis insatiable passion for music,teaching and life. Bernstein’s performances and lectures alwaysconveyed this passion, as themeaning of each note and everyword resonated in the hearts andminds of his listeners. To celebrateBernstein’s powerful presence andlegendary live performances, theNew York philharmonic releasedBernstein LIVE!, a 10-CD set featuring Leonard Bernstein asconductor, soloist and educator.The present compilation, derivedfrom the complete set, was selected with music teachers andclassroom educators in mind.”For more informationwww.newyorkphilharmonic.org ■

A Special Edition For Teachers

By Garrison Keillor

Garrison Keillor, host of the thebeloved Minnesota Public Radioprogram A Prairie HomeCompanion, broadcast the showlast summer from theTanglewood Music Festival.During the broadcast, he paidtribute to Leonard Bernstein inhis own special way, by singingthe following parody of OfficerKrupke from WEST SIDE STORY.Our guess is “Lenny” would havebeen honored and amused. ■

Lenny Bernstein, twenty-twoPants were pressed and his shirt was newRode the bus to western Mass,Trees and hills and meadow grassTo Tanglewood outside Lenox,Where all the houses are photogenic.Came to study with the BSOAnd Koussevitsky, who was a god, you know.

CHORUS #1:Dear Leonard Bernstein, your music careerTook you round the world and it started right hereA young man who stepped up and took the baton And the moment you took it you were gone. You were gone, you were gone, you were so far gone,People could feel it on the lawn. Did he have an ego? Yes, of course.Ego big as all outdoorsPlayed all night and talked all day,

The star of party and soiree.But when he stood here on the stageYou felt the force of every pageLeonard Bernstein had the fireHotter, brighter, jumping higher

CHORUS #2:Dear Leonard Bernstein, there’s no forgetting.You tried to be the bride at everyone’s wedding.You were the rabbi, you were the priest,You were the master of the feast.Of the feast, of the feast, of the musical feast,You were beauty and you were the beast.

CODA:Dear Leonard Bernstein, you were so goodThough your life was tangled out in the woods, But to music and players you always were true. Hey Leonard Bernstein, thank you.

©Garrison Keillor 2002USED BY PERMISSION

Garrison Keillor Honors Bernstein

By popular demand cable channel TRIO will telecast

once again the 25 episodes of the critically acclaimed, EmmyAward winning series LEONARDBERNSTEIN’S YOUNG PEO-PLE’S CONCERTS WITH THENEW YORK PHILHARMONIC,aired earlier this year. The emceesfor these programs includeWhoopi Goldberg, John Lithgowand Joshua Bell. THE YOUNGPEOPLE’S CONCERTS, whichfirst debuted on CBS-TV in 1958,can be seen on Saturday andSunday morning throughNovember. Please check yourlocal listings for more details. ■

YOUNG PEOPLE’SCONCERTS

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7-9 Houston, TX: OVERTURE TO CANDIDE; Houston Symphony; Peter Oundjian, conductor; Jesse H. Jones Hall.

17,19, Tel Aviv, Israel: SYMPHONY NO. 1: 23 JEREMIAH; Israel Philharmonic Orchestra;

David Robertson, conductor; Rinat Shaham, mezzo-soprano; Mann Auditorium.

18,23 Haifa, Israel: SYMPHONY NO. 1: JEREMIAH; Israel Philharmonic Orchestra; David Robertson, conductor; Rinat Shaham, mezzo-soprano; Concert Hall.

30,31 Berlin, Germany: OVERTURE TO CANDIDE, WONDERFUL TOWN (in concert); Berlin Philharmonic; Kim Criswell, Audra McDonald, Thomas Hampson, Brent Barrett, Karl Daymond, Timothy Robinson, Michael Dore, Simone Sauphanor, soloists, Sir Simon Rattle, conductor; Philharmonie.

8,9 Jerusalam, Israel: SYMPHONY NO. 1: JEREMIAH; Jerusalem Symphony Orchestra; Lawrence Foster, conductor; Linda Pavelka, mezzo-soprano; Crown Auditorium.

8,12, New York, NY: FANCY FREE; New York City16 Ballet; New York State Theater.

16,17 Turin, Italy: SYMPHONIC DANCES FROM WEST SIDE STORY; RAI Orchestra Sinfonica Nazionale; John Neschling, conductor; Teatro Vittorio Emanuele.

22-24 Chicago, IL: FACSIMILE; Chicago Symphony Orchestra; Williams Eddins, conductor; Symphony Hall.

23 Vancouver, BC: SLAVA!; Vancouver Symphony; Mstislav Rostropovich, conductor; Orpheum Theatre.

28 New York, NY: SYMPHONY NO. 1: JEREMIAH; The Jerusalem Symphony Orchestra; Lawrence Foster, conductor; Linda Pavelka, mezzo-soprano; Carnegie Hall.

29 Birmingham, UK: SYMPHONIC SUITE FROM ON THE WATERFRONT; City of Birmingham Symphony Orchestra; Sakari Oramo; conductor; Symphony Hall.

2 Pittsburg, PA: SLAVA!; Pittsburg Symphony; Lucas Richman, conductor; Heinz Hall.

7,8 Indianapolis, IN: SERENADE; Indianapolis Symphony Orchestra; JoAnne Falletta, conductor; Robert McDuffie, violin; HilbertCircle Theatre.

8 New York, NY: THE BERNSTEIN BEAT; Orchestra of St. Luke’s; Michael Barrett, conductor; Jamie Bernstein Thomas, narrator; Carnegie Hall.

16 Denver, CO: THE BERNSTEIN BEAT; Colorado Symphony; Adam Flatt, conductor; Jamie Bernstein Thomas, narrator; Boettcher Concert Hall.

21 Dublin, Ireland: SYMPHONY NO. 2: THE AGE OF ANXIETY; National Symphony Orchestra of Ireland; Gerhard Markson, conductor; James Tocco, piano; National Concert Hall.

1 Norfolk, VA: SERENADE; Virginia Symphony Orchestra; JoAnn Faletta, conductor; Adele Anthony, violin; Chrysler Hall.

2,3 Berlin, Germany: WEST SIDE STORY CONCERT SUITE NO. 1 and NO. 2; Deutsches Symphonie-Orchester Berlin; Kent Nagano, conductor; Philharmonie.

7,9 New York, NY: HALIL; The Chamber Society of Lincoln Center; Paula Robison, flute; Alice Tully Hall.

8,9 Ludwigshafen, Germany: SYMPHONIC DANCES FROM WEST SIDE STORY; Staatsphilharmonie Rheinland-Pfalz; Ari Rasilainen, conductor; Staatsphilharmonie.

15 Amsterdam, The Netherlands:PRELUDE, FUGUE & RIFFS; The NetherlandsRadio Chamber Orchestra; Peter Eotvos, conductor; Michael Collins, clarinet; The Concertgebouw.

20,21, New York, NY: SLAVA!; The New York 22,26 Philharmonic; Mstislav Rostropovitch,

conductor; Avery Fisher Hall.

27,29 Miami Beach, FL: ORCHESTRAL SUITE FROM A QUIET PLACE; New World Symphony; Michael Tilson Thomas, conductor; Lincoln Theater.

28 Pittsburgh, PA: CHICHESTER PSALMS; Pittsburg Symphony, Mendelssohn Choir of Pittsburgh; Mariss Jansons, conductor; Heinz Hall.

March cont.

March

February

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 andshall do our best to include suchinformation in forthcomingCalendars.

Prelude, Fugue & RiffsTM is apublication of The LeonardBernstein Society. © 2002 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 ]

21-24 Denver, CO: CHICHESTER PSALMS, TROUBLEIN TAHITI; Opera Colorado; Colorado Symphony Orchestra and Chorus; Marin Alsop, conductor; Boettcher Concert Hall.

21-23 Minneapolis, MN: SYMPHONY NO. 1: JEREMIAH; Minnesota Orchestra; Leonard Slatkin, conductor; Michelle DeYoung, mezzo-soprano; Orchestra Hall.

December

January 2003

November cont.

24,26, Mexico City, Mexico: CANDIDE; Palacio de 28 Bellas Artes orchestra and chorus; Eduardo

Diazmunoz, conductor; Todd Wilander; Olivia Gorra; Mario Hoyos; Carla Lopez Speziale; Regina Orozco; Oper House Palacio de Bellas Artes.

28,29 Berlin, Germany: SYMPHONY NO. 1:JEREMIAH; Berliner Sinfonieorchester; Serge Baudo, conductor; Marilyn Schmiege, mezzo-soprano; Konzerthaus.

29 Sydney, Australia: SYMPHONIC DANCES FROM WEST SIDE STORY; MLC School Orchestra; Karen Carey, conductor; Town Hall.

Event Spotlight MASS ATCARNEGIE HALLOn November 19 the

Collegiate Chorale, the

St. Luke’s Orchestra and

the Brooklyn Youth cho-

rus conducted by Robert

Bass, will present MASS

in concert at Carnegie

Hall. Appearing as the

Celebrant will be

Douglas Webster.

Preceding the concert

will be a pre-concert talk

with Jamie Bernstein

Thomas entitled:

“Leonard Bernstein: a

Permanent Case of

Questioning.” For more

information on MASS

please visit our web site.

Greetings for the New Year from Anna FeliciaSimmons, daughter of Nina Bernstein Simmonsand Rudd Simmons. Anna was born on April 6,2002 in New York City.

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Midway through the Adagiofinale of Mahler’s NinthSymphony, the music sub-

sides from an almost desperate turbulence. Questioning wisps ofmelody wander throughout thewoodwinds, accompanied by mut-tering lower strings and a haltingharp ostinato. Then, suddenly, theorchestra “vehemently burst[s]out” fortissimo in a final attemptat salvation. Most conductorsimpart a noble arch and beauty oftone to the music as it rises to itsclimax, which Leonard Bernsteindid in his Vienna Philharmonicvideo recording in March 1971.

But only seven months before,with the New York Philharmonic,he had lunged toward the celloswith a growl and a violent stompon the podium, and the orchestrahad responded with a ferocity Ihad never heard before, or since, inthis work. I remember thinking, asBernstein tightened the tempounmercifully, “Take it easy. Not sofast.” By the climactic cymbalcrash my heart was pounding and Iwas gasping for breath, drippingwith sweat. My date thought I washaving a heart attack. Throughoutdinner afterwards I sat stunned,unable to speak.

Such was Bernstein’s Mahler.No one in my experience put hislife on the line in concert or onrecord like Leonard Bernstein. Noone communicated Mahler’s innerconflict and spiritual striving morevividly than Leonard Bernstein.

In this issue... Festival Updates... page 6

Bernstein’s Mahler: A Personal View

®

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

Printed on recycled paper

PRESORTED STANDARD

U.S. POSTAGE PAIDNEWARK, NJ

PERMIT NO. #45

During the month of February2003, the Tucson Symphony

orchestra will celebrate the legacyof Leonard Bernstein. TheFestival will open with a concert performance of CANDIDE, SusanWheeler, mezzo-soprano KorbyMyrick, tenor, and baritoneCharles Roe, as well as membersof the University of Arizona-based Arizona Choir under thedirector Bruce Chamberline. Thenext evening is “Bernstein onBroadway” which includes selec-

A Bernstein Festivaltions from Bernstein’s Broadwayshows and TROUBLE IN TAHITI.Another evening, “Bernstein andFriends”, will feature HALIL,ARIAS AND BARCAROLLESand music by Copland.

Music Director George Hansonwill focus on Bernstein the educa-tor with a “Young People’sConcert a la Bernstein.” Hansonwill also present a musical andconversational evening titled“George Remembers Bernstein.”Hansen hopes the festival will“Not only acquaint audienceswith Bernstein as one of the mostimportant and versatile Americancomposers… but also impart tothem some of his great spirit as ahumanitarian and lover of peace.”■

For more information:http://www.tucsonsymphony.org

Nearly all of the Columbia cycle(now on Sony Classical), tapedbetween 1960 and 1974, and all ofthe 1980s cycle for DeutscheGrammophon, are handily gath-ered in space-saving, budget-pricedsets. Some, but not all, of the indi-vidual releases have survived thedeletion hammerschlag. The secondcycle, filmed by Unitel in the1970s, formerly on videotape andlaserdisc is now available singly onJapanese Deutsche GrammophonDVDs, imported by www.leonardbernstein.com.

In general, the first go-around isfaster, galvanized by the thrill ofdiscovery. The third cycle reflectsBernstein’s penchant for slowertempos in his later years and theinsights of a lifetime with theseworks. The videos lie somewherein between, but closer to the earlier

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His vision of the music is neithercomfortable nor predictable.Throughout that live performance Ihad been struck by how muchmore searching and spontaneous itwas than his 1965 recording withthe orchestra. Bernstein’s Mahlerwas to take me by surprise in con-cert many times — though notalways to such a degree! I attendedno less than five Resurrections, aFirst, two Thirds, a Fourth, a Fifth,a Sixth, a Seventh, and anotherNinth. Alas, that uniquely harrow-ing 1970 Ninth was performedwhen Philharmonic broadcastshad temporarily ceased. But mymemory of it remains undimmed.How fortunate that he recordedMahler’s symphonies no fewerthan three times — each perform-ance offering fresh insights.

The audio-only recordings havenever been out of the catalogue.

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New Year’s Eve in Berlin willbe the setting for WON-

DERFUL TOWN in concert.The Berlin Philharmonic andMusic Director Simon Rattlewill present WONDERFULTOWN in concert as the festiveNew Year’s Concert in thePhilharmonie. The glittering cast includes singers KimCriswell, Audra McDonald,Thomas Hampson, BrentBarrett, Karl Daymond,Timothy Robinson, MichaelDore and Simone Sauphanorwill join the Berlin Philharmonicand the European Voices. ■

WONDERFULTOWN in Berlin