The Leonard Bernstein Letters

by Leonard Bernstein

  The pauses at the beginning indicate nabbing the exiting pas-de-deux couple, and indecision about the situation. (Rotation.) Then the competition comes in earnest, developing, through a scherzo-like section to a “dancy” section, by which time I imagine them on the dance floor! In the last measure a snare drum rolls, fortissimo, continuing beyond the music as a lead-in to the first variation (à la circus). I think it works.

  My only worry is that it may all be too short (don't forget the repeat! It lasts about 2 minutes). If you need more build up, let me know. I'm leaving tonight (Feb. 28) for Montreal, Canada, where I conduct the Montreal Symphony. I stay until Mon. 8th. Write me at The Hotel Windsor, Montreal.

  At last, it begins to take shape. I can't wait to finish it. I plan to begin orchestrating in Montreal. Has it occurred to you (as it has to lots of composers, etc., for whom I've played it) that this could be a wow for two pianos alone (with maybe percussion?). It would save much time, rehearsal worries, difficulty of performance, and so on. Billy Schuman thinks it's a natural, & predicts that the orchestration will be very difficult. I only suggest this – you can throw it out of the window. But let me know.

  I've just spoken to Hurok. The dates are settled – April 18, 22, 24. We'll talk about rehearsal schedules later. I hope it will be orchestrated in time! Pray for me.

  These are hectic times. When I return from Montreal I have three concerts with the Philharmonic, including my symphony (alas, no broadcast!). Then, boom, the ballet. I'll be a wreck, but I hope a happy one.

  And you take care of yourself too. We need one healthy guy in this project.

  Love,

  Lenny

  There's much more, of course. To answer your letter:

  1) I'm making the rhythms as simple as I can. The music more or less depends on them, and they can't be scored any more simply. It has to be – and I think it's all feasible enough. (A word for two pianos!)

  2) I love your description of #1. It surely can be played a little more slowly, if you need it. I raced it in recording.

  3) About the two extra bars on page 6: if you need them, OK; but it makes awful music. Maybe we can straighten it out in N.Y. at the last minute.

  4) About the ending of #2: Throw it out. It's not necessary, and I see your point. It's very easily fixed; and I used it at the beginning of #5, where it works much better. Do you want the revised ending immediately?

  5) I don't see how #3's beginning can be extended. Is it absolutely necessary? It gets so dull. If worse comes to worse, OK; but try to avoid it.

  6) In “much faster” (changed to “somewhat faster”) it's perfectly OK to extend those contrapuntal bars. Just double them. And a slower pace is OK.

  7) On the pas-de-deux, repeat anything you want. (But use the extra bar as it was used at the beginning.)

  8) On Variation 2 (which turned out very pretty, and as Aaron says, “dancy”) the feeling is mostly sweet plus cocky. Your idea, I think. And change the last chord (it's too sour). The left hand should be:

  This chord represents a sort of ballet-ish bow (or male equivalent of curtsey).

  There remains only your variation, which I'm saving for last, the Lindy hop & fight (oy!) and the gag finale. Not too bad. I hope to have it. I hope!! I hope!!!! Again, pray, & be good in the bad West.

  Love again

  L

  172. Leonard Bernstein to Jerome Robbins

  New York, NY

  Saturday [11 March 1944]

  Dear Jerry,

  Just a fast one. I've been in Canada for almost two weeks conducting the Montreal Symphony Orch., and returned to find a batch of wires, letters, etc. from you which I have yet to untangle. Your last is the one from British Columbia (hello, fellow-Canadian!).

  I must dash to conduct a concert at West Point tonight. It's a fearfully frantic year, & I'm almost crazy. But the ballet comes along fine. Have you received No. 5? I hope it's O.K. And I brought the Finale (everything up to the final gag, including a wow Boogie Dance) to the blueprint today.

  Didn't you receive my letter to Los Angeles? Judging from your writing, you didn't; and that was a long one, full of discussion. I hope it catches up with you. I told you then that it was OK to cut the end of #2 – you're absolutely right. I'm enclosing the new ending (beginning as if the first measure of p. 12).

  (I posed in that letter the problem of whether it might be better to use 2 pianos & percussion, only. It's wild, and only a suggestion.)

  Now – Variation 2. I swear to you, Jerry – it's not melancholy at all – not a whit! It must have been played ridiculously. It's whimsical, very dancy, a little poignant in the harmony, full of a lyrical jazziness. The main thing is sweet and sympathetic. The last chord represents a gracious ballet bow.

  These things are really impossible to discuss like this. For God's sake, get home! I need you!

  I'll record the new stuff as soon as I can, but I haven't a minute now for days. Bear with me.

  Love,

  L

  Love to Mitropoulos, if you see him.

  173. Aaron Copland to Leonard Bernstein

  988 Memorial Drive, Cambridge, MA149

  Tuesday [25 April 1944]

  Dear El Bee,

  Got your Friday note today. Poor thing – you don't even know my address – 988 Memorial Drive Cambridge. (Tel. – for you – Kirkland 3042).

  I'm tickled about all the excitement, but wish it didn't mean Boston gets a measly two days of you, instead of two weeks. Now that Rodeo and Fancy Free are hopelessly married,150 I'd better watch out that people don't say my new one151 shows Bernstein influences! It's amusing to ruminate on where it will all end – but right now it makes a question mark as big as your piano.

  I wrote to Phillie for the Our Town parts. Hope they arrive in time!

  You must have all the Cambridge news from Helen Coates, so I won't repeat. Our Sanders Theatre concert is tonight.152 Irving Fine plays the Danzón [cubano] fine. Apparently all Cambridge Society plans to attend in force.

  V[ictor] wired from Miami. He should be in these parts in about five days. (Remember him?)

  Be a good boy – take care of yourself – and don't forget your one and only begetter.

  A

  Give my best to Jerry [Robbins]. He's a sweetheart.

  174. Joseph Szigeti153 to Leonard Bernstein

  Palos Verdes Estates, CA

  16 May 1944

  Dear Bernstein (if you'll allow a grandfather to drop the “Mister”!)

  Thanks for your letter to which a hurried reply as my wife's eye blood-vessels have been burned by a criminally negligent doctor who gave her infra-red and other “rayons” for her hand arthritis! He didn't shield her eyes and she is now suffering untold torture (she was taken to LA to a specialist & will be away for at least 48 hrs).

  As I played Mozart A major, Tartini, Prokof[iev] & Chausson in Chicago in March my program had to avoid these works, naturally! Your programs will have Beeth[oven] the first night154 and Mozart D major No. IV with Bartók's Rhapsody No. I (dedicated to me) (9½ min.) the second night,155 with which choice I feel sure you'd be “d'accord”. The Bartók record is no longer on sale but some of our mutual friends are sure to have it (John Hammond's wife? Goddard Lieberson? perhaps Serly? or the boys at Record Collectors Exchange?)

  If we can't get a cimbalom player who can follow your beat (gypsies often cannot!) we'll have to give the cimbalom part to a piano (with paper fixing between strings). Kuyper or the personnel manager should enquire at Blue Danube Restaurant in Chicago (the pianist there is Harmati) about cimbalom.

  Looking forward to our working together.

  Very cordially yrs,

  Joseph Szigeti

  175. Aaron Copland to Leonard Bernstein

  Department of Music, Harvard University, Cambridge, MA

  20 May 1944

  Dear Lensky,

  I think I solved the Our Town problem. It repeats the waltz as you like, and removes entirely the “ties that bind” section. S
ome fancy juggling of tonalities on the way, of course. Heinsheimer says he will copy a set of parts “special” if you intend to do it three or four times. OK? And how soon would the part have to be ready for the Stadium, if that's to be the first one?

  I'll never forget that face of yours in Reuben's.156 I've never seen you look so sad. Why you wouldn't even look me in the eye! What on earth were you thinking at that moment??? And the contrast with everyone else seeming so pleased and happy. And me worrying about my lost organ (the voice, I mean). You seemed in a mood to make the most out of any disapproving remark I let drop in your direction. Aren't you idiotical – you know very well I have you hopelessly under my skin. But I'll always watch you like a hawk – that goes without saying.

  How does the dinner seem in retrospect – I mean aside from your personal feelings.

  You see you owe me a letter.

  Alles – but alles

  A

  176. Harold Newman to Leonard Bernstein

  Hargail Records, 299 Madison Avenue, New York, NY

  1 June 1944

  Dear Lenny,

  Here's the long promised royalty statement.157 Am I supposed to charge for any of the sets sent out for you? I don't know. [annotation by Helen Coates: (No – all gratis)]

  Sorry, AmMus refused permission re the K[oussevitzky] Concerto158 – it is reserved for Koussevitzky.

  Glad Lukas is appearing with you at the Stadium.159

  Good luck,

  Harold

  177. Herschel, Janice, and Lois Levit160 to Leonard Bernstein

  Camden (sob), NJ (sob)

  3 July 1944

  Dear Lennie of the Lenapés,161

  My tongue hung low and drippy over your program for this week at Ravinia Pk. Oi!!! We noted, with a certain degree of pride, that information as seen in the NY Times. How marvelous that your symphony can be heard again – but where do I come in? I have yet to hear it, really. If it is at all possible, please send us a copy of any decent recording you've made of it. Do you think you'll ever do it in Philly? Conduct your symphony, I mean. At any rate, you'd better send the recording or I'll get Lois’ boy friend after you. Then what will you do?

  Mitropoulos conducted the first two weeks at The Dell – we heard [Arthur] Rubinstein do the Brahms B♭ – as an encore he played the Rhapsodie in B minor, some encore! He & Mitropoulos were pretty terrific. Dimitri made a big hit with his playing & conducting of the Prokofieff 3rd. Tonight we hear [Nathan] Milstein do a couple of jobs: the Mendelssohn & the Lalo.

  Will you be back with the Philharmonic in the fall or are you going to freelance? It certainly would be great if you can get to the Academy to do your symphony.

  Best wishes,

  Herschel & Janice & Lois

  P.S. Dear Lennie, Incidentally, for the summer we are at the address on the back envelope. The house is strictly from modern, as a matter of fact Herschel calls it the “Museum of Modern Art” for short.162 If you get the chance come visit us – there's a Steinway and you can have your own room & bath. Let us know when. J

  178. Leonard Bernstein to Serge Koussevitzky

  33 West 67th Street, New York, NY

  26 July 1944

  Dear Serge Alexandrovich,

  I am sending you, with my love and deepest congratulations, a few notes on your birthday, which form a small sketch for the piece I hope soon to have for you. Life is so complicated and busy not that I cannot set any really definite date when I expect the composition to be finished, but I am trying to make it as quickly as possible without sacrificing any quality: – I want this to be as fine as I can make it, since it is for you, who represent quality itself to me.

  Please accept this little sketch now, and let us hope it grows into a composition worthy of your greatness.163

  Shirley joins me in wishing you long life and happiness.

  Devotedly,

  Leonard

  179. Leonard Bernstein to Serge Koussevitzky

  2074 Watsonia Terrace, Hollywood, CA

  [August 1944]

  Dear Serge Alexandrovich,

  Here in Hollywood one sometimes loses perspective on symphonic music; the commercial aspects are so important to everyone here – and the quality is reserved for the mediocre. So it is a great pleasure to contemplate my program with the Boston Symphony – it is a thought like a spring in the desert.

  If the entire first half is to consist of the Brahms [First] Piano Concerto, I thought that the second half might offer Verklärte Nacht of Schoenberg (this is Schoenberg's anniversary year), followed by a suite from my ballet Fancy Free. This seemed well rounded to me, and my ballet suite (about 15 minutes) might make a good closing piece.164

  If you feel that Fancy Free should come after intermission, then the program could close with a more usual fin-de-concert piece like the Firebird.

  Don't you think there should be a short overture, or the equivalent – perhaps Mozart – before the Brahms? Or perhaps the radio requirements prevent this?

  What I should really like is to have ready the composition I am planning for you – but I guess I just can't be finished in time. Did you receive the little birthday sketch I sent you?165

  I hope these program ideas are satisfactory. I would be so grateful for any advice you would give me on this concert. I'm very excited about it, and I want it to be good.

  I think of you every day, and send you my love –

  Lenushka

  180. Sid Ramin to Leonard Bernstein

  Headquarters, 84th Inf. Div., Special Service Office,166 A.P.O. 84, c/o Postmaster, New York

  10 September 1944

  Dear Len,

  Just a note to let you know that I'm leaving for overseas shortly.

  In the past, I've been able to tell you where I was and a bit about what I was doing, but the following address makes that a little difficult; however, I can tell you that I'm able to get to New York very frequently – so there's your clue.

  I was home on furlough and heard some of your recordings – the side dedicated to Shirley brought back some wonderful memories and the William Schuman bit delighted me.167 By the way, I saw a copy of I Hate Music (Five Pieces for Children) displayed very prominently in a large music store in St. Louis.

  Since mail is being censored, I find it hard to write to the folks at home – they're thirsting for news and I'd like to tell them what's happening but I can't.

  My pleasures are very simple now and eating at a nice restaurant or club and seeing a musical is just about the ultimate in enjoyment for me at this stage in the game. Yesterday I saw One Touch of Venus for the second time, ate at the Kungsholm and had a couple of drinks at a good bar – it all made for a pleasant day. The dance routines (Agnes de Mille) in Venus impressed me tremendously – but, then again, maybe four years in the army have warped my sense of what's good and what isn't. I expect to be in New York again several times and would like to see you for a minute if you're available and have a minute.

  Mail is important in the life of a soldier whether he be overseas or in this country. Overseas, though, the importance of mail cannot be overemphasized and getting a letter from you will mean very much to me.

  Each day must be exciting and busy for you and I often think of the contrast between an average day now as compared to the days when we could ramble through the park in Roxbury and while away the hours.

  How are your folks? Do you ever run into Harold Shapero?

  Best always,

  Sid

  181. Leonard Bernstein to Aaron Copland

  33 West 67th Street, New York, NY

  [received 28 September 1944]

  Dearest, wonderful A,

  I'm a dawg, a dawg, a dawg not to have done this before. You can always check on me because your last letter was a birthday letter one full month ago. But I've reread it so many times, because it brings back something that you think everything is O.K. without, and then suddenly you find it isn't at all, and somehow something's got to be done about the Aaron Copland s
ide of one's life,168 which is always turning out to be a major side. If that sentence makes sense, especially in Tepoztlan, you're a genius. Just a new way, of course, this being the 57936th letter I've written you, of saying that I adore you.

  For the rest, I'm back in town, with problems, being busy, all of which is boring old fluff for you by now. One realistic chimera is that I've got to move by Saturday (Three Days) and I have no apartment. I have thought of temporizing in your loft, for maybe a week or so, if Helen (Coates) still can't find me a place;169 but I hesitate to ask, and maybe I will find one. I spend the weekends in Detroit now (horreur) conducting broadcasts of the Detroit Symphony (three). Next week is in Boston with the Ballet, so I'm really running out on Helen and leaving the whole problem to her. I'm looking at a really wonderful place on East 57th (Kostelanetz’ building), but it's a cooperative and you have to buy it for $5000 and then pay $175 a month upkeep, and then the Board of Directors has to vote on me, and decide whether I look rich enough and dependable enough and presentable enough to be accepted. They've looked into forty references besides my bank balance, and I resent it and stand for it only because it's such a dream of an apartment and I can play music there and I want to live in it.

  The show [On the Town] is a wild monster now which doesn't let me sleep or eat or anything; in fact the world seems to be composed of the show the show the show, and little else, except a Verklärte Nacht or a Schumann symphony here and there. Maybe it will be a great hit, and maybe it will lay the great egg of all time. It's an enormous gamble.

  You're sweet to dedicate the Our Town piece to me; I could do with a dedication or two in these grim loveless days.

  God how I wish I were with you. How long do you plan to stay? Forever? Indefinitely? It can't be. At least come back for the opening of the show, which will be, with the grace of God, and if we get George Abbott to direct which looks likely, around Christmas time. And please write a lot, and find me someone nice to bring home as a present, and write a great piece, and give my love to Victor, and I had lunch with P[aul] Bowles and [Yvonne de la] Casafuerte today and got drunk. Bless you, I love you.

  L

  182. Aaron Copland to Leonard Bernstein