The Leonard Bernstein Letters

by Leonard Bernstein

  They figure, they are present in my greetings, I am feelingly asking their names. Having spoken with them, I was so absent minded in the crowd, as to not have demanded to be presented to them. Write me be so kind about them, about her and him.

  And forget I implore you, my stupid idiotic speeches when in commotion I employed one word instead of another (for instance I used the word “wife” for “woman” that in reality I intended to say), and gave occasion to think I have been foretelling incidents towards some certain future.

  The Same, in the same state of affectionate devotion.

  438. Leonard Bernstein to David Diamond

  205 West 57th Street, New York, NY

  19 October 1959

  Dear David,

  What a shock! The first I heard of Tommy [Schippers] taking off your Klee piece was your letter, which greeted my homecoming. I've thought hard; but there's nothing I can do about it. That he should replace it with yet another Barber piece is too silly, and that I will do something about.

  Simultaneously, I heard two fine pieces of news: I ran into Stanley Adams in Washington, who said that all was set & definite for you to get a year's advance! Then Marc told me that the Minna C[urtiss] thing was in the bag for 4 thousand. Wonderful news, & congratulations.

  But meanwhile you say you are broke; I hope the enclosed helps until the big money arrives, which should be soon.

  We finally saw the paintings which are startling & fascinating! More about that later – I'm dashing off to Springfield & Boston with that goddamn Shosty #5!

  Love, & don't despair,

  L

  439. Karlheinz Stockhausen52 to Leonard Bernstein

  Meister-Johann-Strasse 6, Köln-Braunsfeld, Germany

  8 November 1959

  Dear Mr. Bernstein,

  How friendly you have written me! It is good that you understood my decision so well. I agree perfectly with your “postponement”. That gives me an idea:

  Should we not give Carnegie Hall the last lubrication before she will die? E.g. with Kontra-Punkte (instead of Gruppen 31st March), and David Tudor as pianist under your direction?

  Carnegie Hall would be delighted by such a last honour: she would feel like Carnegie Walhalla, and then she will never be jealous of Lincoln Hall during her long death.

  In the parcel (which I sent to you) you will find a tape 71/2 inches/sec. with a copy of an old performance of Kontra-Punkte (1955) and copies of Gruppen performances in Köln and Donaueschingen (worse, but with corrections). You will find also a little score of Kontra-Punkte and a record with the electronic composition Gesang der Jünglinge.

  A last word on your letter: you should never be sad. You are the only artist since long time ago who gave me the impression to be more than a “serious” one, who can fill a room with life, with Unbefangenheit, with Aufgeräumtheit just by his presence, just by speaking and laughing about everything. That's gold of endowment without any merit; and I wish with all my heart that nobody could ever ruin or distort your soul. We live for music – yes; but we can say as well that music exists for us. There is a secret relationship between your soul and Mozart's soul, perhaps you know it: brilliant seldom stars appearing from time to time at the sky of this earth, light and transparent like angels, making everybody happy for a little moment of this long serious history … homeless like only homeless ones can be.

  I know what I say; one half of my soul is like you are, like Mozart's; but I am a strange mixture of heaven and hell.

  Thanks for having met you, thanks for having heard you and seen you (during your concert I became so angry against you, that I could not stay: I listened too serious, too egoistic); but now, already soon after the concert, I discovered you in my own mind, in my own soul. I even don't think any more that something like this can be destroyed: misdeal yourselves without any limit, spread on this earth as much as possible, reserve nothing.

  Yours,

  Karlheinz Stockhausen

  440. Leonard Bernstein to Aaron Copland

  Palm Springs, CA

  12 November 1959

  Dearest Aa,

  Happy Birthday! I'm all alone, imagine, out in the desert, in a rented house (all Japonee, & ugly) & a wonderful pool, & a Baldwin, and big rocky desert hills, & sun & fine air, all alone thinking of you. How I miss seeing you, & have missed it for years; how much I was looking forward to visiting some Sundays ago, & couldn't because Felicia wasn't well; thinking about how we can splurge it up a year from now at the Philh. for your 60th; thinking about those inside wheels of me that compose music, and are so rusty now (I wrote a bar today!), and how long I can go on being an all-time maestro without writing; & thence to Mahler (I bought lots of albums of Mahler, & I've been listening & crying as I listen – Das Lied is still one in a million) – & thence to Bruckner (I bought some of his symphs too, having never heard #6, 8 or 9!!) & find him impossibly boring, without personality, awkward & dull, masked in solemnity.

  But Mahler makes me think of you, hard, and of our music, which I don't think I really understand the direction of any more (or the purpose); & I long to talk to you & have you explain it to me, & reassure me that new music is just as exciting as it was when you showed me all about it 20 years ago.

  And I long also to kiss you and wish you a very happy birthday –

  Always,

  Lenny

  441. Fritz Reiner to Leonard Bernstein

  1320 North State Parkway, Chicago, IL

  14 November 1959

  Dear Lenny,

  Many thanks for sending me your book.53 I shall look forward to enjoying it on my Christmas vacation at Rambleside.54

  Meanwhile it is gratifying to read in the inscription that my teaching and ideas about music are remembered by my most brilliant and successful student.

  Thanks again and arrivederci presto.

  Your friend,

  Fritz Reiner

  442. Lukas Foss to Leonard Bernstein

  11 December 1959

  Dear L,

  Have you answered Stockhausen yet?

  “None of your business Lukas” – Right. I am trespassing. But since you showed me his letter,55 forgive my thinking about it. I just thought of the perfect answer. Allow me:

  Dear Mr. Stockhausen,

  I am of course the most gifted man of music in the USA but I have as much in common with W.A.M. as the man in the moon. And you know it.

  Sincerely,

  Leonard Bernstein

  Who is that man who dares out-flatter the flatterers, who dares manipulate you as if you were vain and childish (like the great S[erge] K[oussevitzky])? He is a man who built an international reputation not on a composition but on promises and promises, on a platform. “I will lead music to …”. Dictators promise and dictators flatter potential enemies into temporary allies, pulling the wool over their eyes. Did not Hitler once call the Italians “Aryans among Latins”? Ludicrous flattering which made the recipient quiver with joy. “Look here, everybody, the man whom I expected to hate me, whom everyone fears, he praises me, he wants to do business with me, he sent me a gift …”

  What floors me is: it works. It's so ludicrous that it works. It worked on Stravinsky and it probably works on you.

  But Lenny, suppose for a moment that Mozart were reborn, and that we'd all know: it's Mozart. What kind of a letter would a composer, would Stravinsky, would Stockhausen, would I write to him? Surely not: “I who am suspended between heaven and hell found you in my soul” but simply:

  “Dear W.A.M. please allow me to show you my music. I need your advice, your criticism, and I hope you'll like me and the music. Yours …”

  When I admire someone I do not “bestow” praise. Genuine admiration makes one modest, humble – in fact – a beggar.

  Lukas

  P.S. There is no possible apology for this letter of mine. Though I speak the truth it is quite obvious that I wrote it out of jealousy.

  443. Francis Poulenc to Leonard Bernstein

  13 Decembe
r [1959]

  Dear Bernstein,

  Forgive my late reply to your kind message. I accept very happily your commission for 61–62, very flattered to be numbered among the ten eminent composers. Since I will be going to New York in February, we can talk about that. As I am not a man of symphonies alla Brahms or Shosta[kovich], we'll see what I could write, because I want to do a good job. I've just finished my Gloria for Boston (60–61), so you don't need to fear a choral work. That said, I thank you and embrace you, hoping to see you soon.

  Francis Poulenc56

  444. Joe Roddy to Leonard Bernstein

  Life, Time & Life Building, Rockefeller Center, New York, NY

  13 February 1960

  Dear Leonard,

  The Mahler-mania in me is getting out of control and I cannot suppress an urge to sing the Second Symphony this week. I remind you, with good cause, that I am a survivor of City Center performances of the Symphony of Psalms and the Airborne [Symphony] conducted by you, Ninth Symphonys of Toscanini and Koussevitzky, Berlioz Requiem of Munch, and about one thousand ditties ranging from Ives to Byrd led by Robert Shaw when I was a Collegiate Chorale kid.

  The best and worst that can be said of my voice is that it is harmless. It is white. I too am white.

  I have crashed many a chorus in recent years, but this time the idea of legality pleases me. This morning I called one F. Austin Walker at Rutgers who said he would be pleased to have me – the flu and all that having decimated his mankind. If it's all right with you, it's all right with him.

  I will call Helen Coates Tuesday for the news of Resurrection or Rejection.57 Because the programs are printed and all that sort of thing, I will not insist on special billing, advance payment or the services of a claque.

  Best,

  Joe Roddy

  445. William Schuman to Leonard Bernstein

  130 Claremont Avenue, New York, NY

  21 March 1960

  Dear Lenny,

  I was so pleasantly surprised by your charming and thoughtful call that I didn't tell you how touched I was that you should want to celebrate my 50th birthday. And I am delighted that you will celebrate it along with Barber's 50th and the 150th of R[obert] S[chumann], not to mention the Dean's (A[aron] C[opland]) 60th. You set me thinking about the program and I greatly appreciate your having consulted me. Actually, of course, any work of mine that you perform would afford me great pleasure. However, since this is a special occasion, I would like very much to be represented by a work with which I feel a close identification with you and one which will be having its own birthday next season too.

  It will be 20 years next season that you and I first went over my Third Symphony with Kouss. But it is not just for sentimental reasons that this would be my choice for the program. On this occasion I would love to be represented by a piece of some weight and one that has been widely accepted. If you prefer No. IV (a tape of this will be sent to you tomorrow or Wednesday), fine. My idea for the program would be as follows:

  1. W[illiam] S[chuman] Symphony No. III

  2. Barber Violin Concerto

  Intermission

  3. Robert Schumann Symphony No. IV

  In my view the order could also be 1, 3, 2, or 3, 2, 1. This is the closest I will probably ever come to making up a Philharmonic program. But I won't be the least bit insulted if you cannot carry out my suggestion.58

  Once again, thank you for your vote of confidence. I told Frankie that Felicia will be calling and we will look forward very much to seeing you – it has been too long.

  Affectionately,

  Bill

  446. Larry Kert59 to Leonard Bernstein

  6 April 1960

  Dear Lenny,

  How excited I am at the thought of you in the pit for the overture. And Carol [Lawrence] coming back next week – well I am flying.60

  Secco Records called me yesterday. I told them to add “some additions”. Is there anything from Peter Pan I could do? Also what would you say if the album said “Leonard Bernstein presents Larry Kert”?61 There would be no extra work involved for you, just your permission I guess. They want me to start on the album around the first of May. I sure hope it's a good one.

  Can't wait to see you on April 27th. Nope I'm not bugging you.

  Sincerely with love,

  Larry K.

  447. Aaron Copland to Leonard Bernstein

  Green Park Hotel, Half Moon Street, London, England

  1 May 1960

  Dear Lensk,

  Everyone's been writing me how wonderfully you did the 2nd H[urricane].

  Also, was sent the write-ups. Naturally I'm tickled pink. Now I hear you're recording it – so I can hear it, and maybe CB[S]-TV will screen it for me when I get back end of June. Anyho this is just to say denks and denks again. (Did you get my wire? I really was all agog.)

  When you get this I'll be in Tokio! (care Amer. Embassy.)

  Had a nice concert here with the London Symphony Orch – big house and lots of enthusiasm. The English – of all ages – tend to spoil me anyhow, so I like it here.

  I imagine Lukas has given you an earful about the Russkys. (Some nice lady piano teacher at the Leningrad Cons. asked after you most warmly.) It was an experience I wouldn't have wanted to miss.

  Have fun with your new house. And love to you and Felicia.

  Aaron

  448. Jerome Robbins to Leonard Bernstein

  916 North Foothill Road, Beverly Hills, CA

  3 June 1960

  Dear Lenny,

  Thank you so much for your letter. It came almost in an ESP way, arriving after I had just had a meeting with [David] Selznick telling him that if he went to New York and enlisted you that then I would be interested in the project, otherwise not. I must have heard you writing a letter a few days before.

  The opera idea about the Chassidic ghetto sounds really exciting. Sure I'd love to work on it.

  Our Chino has been set for four weeks now, so unfortunately I won't be able to see Nikiforos. I'll keep him in mind if anything changes or turns up for him.

  The garage idea is a good one, but true to Hollywood standards turns out to be a super garage and I seem to be spending most of my energy in pushing walls closer to each other, washing colors out of the sets, and acting like a sheep dog in trying to keep the script in a nice well directed herd aimed for the success it was in New York. I run from side to side barking warning noises about strayed lines, changed lyrics and cut choruses.62 My they're getting tired of me.

  Keep well, rest well and I promise not to pluck you out of your island repose unless I know that only you can do what has to be done.

  All love as always.

  Jerry

  449. Jerome Robbins to Leonard Bernstein

  916 North Foothill Road, Beverly Hills, CA

  16 June 1960

  Dear Lenny,

  This just got to me. If this is your version of what happened about “Somewhere”, it's news to me. Sure, we differed on it – but nothing was played by any orchestra that you did not know of. Nor would I ever be destructive to your music – I have too much respect for your taste and talent.63 If it is your version (which I doubt) you owe me an apology I think – and if it isn't, I think you ought to put it straight. I don't think, Lenny – if I am to be accused of fang and claw – that I ever used them on you. I fought for “Somewhere” – over Arthur and occasionally Steve's objections.

  Maybe I'm jumping the gun, and if so, forgive me – I value our collaboration and friendship in spite of difficulties we have when working (I'm sure we both have moments of wanting to brain the other). I find it always the most stimulating and valuable of all I've ever had anywhere. Moreover I always felt from you an admiration for my musicality as I've had for your theatrical ideas – so the item came as a shock. If that bit came from Arthur or Steve – I can understand it – but I'd appreciate hearing from you, and getting me or the paper straight.

  Signed – like in Dear Abby,

  ‘Upset’
>
  Jerry

  450. Dimitri Mitropoulos to Leonard Bernstein

  12 July 1960

  Dear Lenny, Dearest Friend,

  I really ask you to forgive me for my silence, especially after your so generous and wonderful visit to me at the hospital, followed by your nice thoughtful gift of Gauloises cigarettes, which, it goes without saying, I enjoyed to the utmost!

  What made me especially happy was to think and see that I mean something to you. Besides that, I want to assure you that your wonderful and justified development in the artistic musical world is the best gratification for me since the time I first met you in Boston. I remember in one certain instance when I told you, just like a prophet, that you are the élu, and certainly at that time I could not even foresee what happened, today.

  So God bless you, dear friend, and keep on progressing, without paying any attention to criticism – and certainly you know as well as I that the higher you go, the more you will be criticized.

  With many affectionate regards,

  Dimitri64

  451. Leonard Bernstein to Saul Chaplin65

  Vineyard Haven, MA

  18 July 1960

  Dear Solly,

  The three scores I've received look lovely (though I'm in no shape this summer to look at them microscopically). I wait in dread for the new version of the Prologue!66

  I hear it's all getting VERY expensive. That's life in Hollyburg. If it's not expensive, how can it be good? […]

  Much love,

  Lenny

  452. Leonard Bernstein to Aaron Copland

  Vineyard Haven, MA

  [July 1960]

  Dearest A,

  A greatly belated welcome home! And the fact that I think of you every day, and often twice a day, does not compensate for not having written you. But then, you haven't written me either (except: loved your cable about the Hurricane).

  But today I must write, because last night I heard the test-pressing of the 2nd Hurricane recording which will be out in time for your birthday. It's badly engineered in places, especially when there is choral complexity (the voices are too distant and unclear, the orch. is too present) – but in general I think you'll be delighted. Of course, it's similar to the TV version, with me narrating, preserving a line or two of dialogue here & there, & cutting Fat's Song plus 2 other small cuts. But mainly I'm writing because I'm so impressed all over again with the music. It is lovely & endlessly fresh: neither the simplicity nor the grandeur stales. Felicia loves it; Jamie & Alexander sing it marvelously by the yard. I hope you like it; it will be our November release on Columbia, along with Billy & Rodeo, making a delightful, gay (though costly) birthday package!