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Record Company Updates

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U.S. POSTAGE PAIDNEWARK, NJ

PERMIT NO. 45

The Leonard Bernstein School Improvement Model: More Findings Along the Way

&Prelude, Fugue Riffs News for Friends of

Leonard Bernstein

Spring/Summer 2004

by Dr. Richard Benjamin

Leonard Bernstein is cele-brated as an artist, ateacher, and a scholar. Hisbook Findings expresses the

joy he found in lifelong learning,and expounds his belief that theuse of the arts in all aspects ofeducation would instill that samejoy in others.

The Young People’s Concertswere but one example of histeaching and scholarship. One ofthose concerts was devoted to celebrating teachers and theteaching profession. He said:

“Teaching is probably the noblestprofession in the world — themost unselfish, difficult, and hon-orable profession. But it is alsothe most unappreciated, underrat-ed, underpaid, and under-praisedprofession in the world.”

Just before his death, Bernsteinestablished the Leonard BernsteinCenter for Learning Through theArts, then in Nashville Tennessee.That Center, and its incarnationsalong the way, has led to what isnow a major educational reformmodel, located within theGRAMMY Foundation based in

Los Angeles. Devoted to improv-ing schools through the use of the arts, and driven by teacherleadership, the Center seeks tobuild the capacity in teachers andstudents to be a combination ofartist, teacher, and scholar.

The early days in Nashville,were, from an educator’s point ofview, a splendid blend of rigorousresearch and talented expertise,with a solid reliance on teacherprofessionalism and leadership.

3-6 Success Stories

7 WEST SIDE STORY

There was an entrepreneurialdimension from the start, witheach school using a few core principles and local teachersdesigning and customizing theirlocal applications. That spiritremains today. School teams wenttheir own way, collaboratinginternally as well as with theirown communities, to create betterschools using the “best practices”from within and from elsewhere.

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Inside... 8 Wonderful Town

10 In the News

13 Calendar of Events

16 Looking Ahead

NAXOS presents Symphony No.1: Jeremiah and Concerto forOrchestra “Jubilee Games” per-formed by the New ZealandSymphony Orchestra conductedby James Judd. Jeremiah featuresHelen Medly, mezzo-soprano andthe Concerto features NathanGunn, baritone. This recording isthe first time the Concerto hasbeen recorded by someone otherthan Bernstein. David Hurwitzfrom ClassicsToday.com wrote,“I can’t thank Naxos, conductorJames Judd, and his terrific NewZealanders enough... These per-formances not only matchBernstein’s in idiomatic flair,rhythmic zest, and sheer spunk;they often surpass them, andbelieve me I spent a lot of timecomparing recordings beforegoing out on this particular limb.”

BLUE NOTE brings us a refresh-ing recording by the Bill CharlapTrio titled Somewhere: The Songsof Leonard Bernstein. This albumcontains inventive arrangementsof favorites such as Cool, Luckyto Be Me, Glitter and be Gay,and America among others. BenRatliff in the New York Timeswrote, “rarely is a new jazzrecord so well placed. Internalizeit, and you realize how frayed theprocess of making most recordshas become.”

“Whistling is an idea whose timehas returned,” says Steve Herbst,America’s Champion Whistlerwho has performed at theKennedy Center, Carnegie Halland Avery Fisher, Herbst bringsus a entertaining CD Broadway& Beyond that features whistlingarrangements of songs from West Side Story. �

This spring has seen the releaseof many new recordings.

CHANDOS has released an allBernstein recording that includesChichester Psalms, Missa Brevisand Symphony No. 3: Kaddish.The BBC Symphony Chorus andOrchestra, BBC Singers and theLondon Oratory School Schola areconducted by Leonard Slatkin.This recording features a newnarration revised and performedby Jamie Bernstein. Writing inthe Classical Source, ColinAnderson remarked, “WhileLeonard Bernstein’s recordings ofhis own music are of course won-derful documents, I don’t thinkKaddish has been better donethan here… Bernstein’s daughter,Jamie, supplies [a text] that iseffectively a portrait of her fatherand his ‘communication’ withGod. It works well .”

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When I was a kid, I attended afancy-pants private school.

I later taught at a fancy-pants pri-vate school. And I must say thatthe faculties, administrators andtrustees of those schools couldhave learned plenty from theteachers, principals, superintend-ents and school-board membersthat are working now with theLeonard Bernstein Center.

At the Leadership Institute thattook place in Los Angeles inFebruary, a truly amazing group ofeducation leaders from California,Iowa, Georgia and Illinois met fora weekend of sharing what theyknow and how to understandwhat they do. They asked diffi-cult questions. (Assessment?Standards? Trailing indicators?— this stuff will give you a braincramp if you’re not careful.) Theycreated new perspectives anddeeper understandings of theirwork. Sharing, asking, creating.Teachers, scholars, artists. It isthe wonderful tension betweenthese elements that is at the coreof the Artful Learning Model.

It was an honor to spend theweekend with these remarkablepeople. The Leonard BernsteinCenter staff, and their director,Patrick Bolek, are beyond terrificin their commitment, inventivenessand sheer love of the program.All of this was made possible, ofcourse, by the Grammy Foundationand its new, fine, fearless leader,Kristen Madsen.

The weekend was inspiring.The program is working andgrowing. LB would be weepingwith joy.

Alexander Bernstein �

To Our Readers

(continued from page 1)The model features the skillful

and pervasive use of the arts, notonly in the education of students,but also in the continuing educa-tion of teachers and other schoolleaders. There is also a firmcommitment not only to raiseunder-performing students, but

also to challenge and engagehigh-performing ones. In addi-tion to knowledge-skills, the pro-gram also addresses characterand moral development. Thereare specific provisions to serveEnglish Language Learners andSpecial Education populations,always with the arts playing apowerful role. These days, fewschool systems can support thearts. Other models — more pre-scriptive, less open to teacherleadership and more focused onshort-term educational objectives— seem to be more in fashion. Ittakes courageous teachers, school

leaders, Boards of Education, anda few serious friends of the arts,to embark on a longer-termvision embracing broader educa-tional goals. The Bernsteinmodel encourages the kind ofsolid community involvement andsupport that make long-termgoals achievable.

Leonard Bernstein, with hisspirit of lifelong learning and hisdesire to honor the teaching profession, would certainly beproud of this continuing work.Hundreds of teachers and thou-sands of students learn about hislegacy, and his devotion to usingthe arts to instill “joy” in learn-ing. He set in motion a powerfulforce that is being sustained byhis son Alexander, who continuesto inspire and encourage theteachers as they instill joy oflearning in their students. �

Dr. Richard Benjamin was Super-intendent of Schools in Nashville,TN when the family of LeonardBernstein located the LeonardBernstein Center for EducationThrough The Arts in Nashville.Benjamin is semi-retired, andnow serves as Executive inResidence at Kennesaw StateUniversity and as a senior con-sultant to the Leonard BernsteinCenter for Learning at theGRAMMY Foundation.

by Franklin Campbell Jones,Maria D. Fernandez, AprilMosby and Fernanaco Vigil

Moffett Elementary is a largeinner-city school located in

the Los Angeles Metropolitan area.In 1999, the California AttorneyGeneral’s office cited the school’sneighborhood as the most gang-infested in the state. Fifty-threepercent of Moffett’s parents haveresided in the United States lessthan five years; of those, 85% aresolely Spanish speaking. Overthe years, Moffett’s studentachievement data were consis-tently below the 25th quartile onstandardized assessment measures.With achievement scores in adownward spiral, Moffett wasidentified as an underperformingschool by the state of Californiain 1999.

Recently however, Moffett hastaken a turn for the better. In2001, their Academic PerformanceIndex (API) score jumped 30points. The following year in2002, the API increased another40 points, 23 more than expected.In 2003, Moffett’s score soared64 points above the state targetfor student improvement.Moffett’s API base in 2000 was417. Today it stands at 616.

This startling change in studentacademic performance at Moffettgrabs the attention of the eventhe most obdurate curators ofeducation. However, what makesthese gains even more eye-catchingis that they were achieved with the

The Leonard Bernstein SchoolImprovement Model, continued

Leonard Bernstein Center (LBC)Artful Learning school reformmodel. This model allows stu-dents to engage in the study ofmathematics, science, social science, and English LanguageArts through the experience of aselected artistic masterwork.Upon cultivating their learningthrough inquiry investigation,students develop an original cre-ation. This is followed with par-ticipation in reflective processesand activities such as writingjournals, doing orations or giving presentations.

It has been well documentedthat participation in the arts posi-tively influences brain perform-ance. It is also known that bore-dom can thin the brains and thelives of adults as well as children.Bernstein Model educators are notmindless workers on a teachingassembly line inserting knowl-edge factoids into the brains oftheir students. Nor are they justimplementers of ideas created byothers far from their classrooms.These teachers engage in theexciting dynamic of reciprocallearning. In other words, as stu-dents benefit from the enrichinglearning environment providedthrough the arts, so do teachers,administrators, and parents.

Such is the excitement atMoffett that it is not uncommonfor parents, teachers, or schooladministrators to participate. On any given day, a visitor maywitness multiple oration perform-ances in the hallway: a student

It takes courageous

teachers, school leaders,

Boards of education,

and a few serious friends

of the arts, to embark

on a long-term vision

embracing broader

educational goals.

recitation of a great historic speechin the principal’s office; parentsengaged in a class read-along; astring instrument class taught bymembers of the LA Philharmonic;or students singing mathematicfunctions or equations fluently inEnglish and Spanish.

The LBC approach has pro-pelled teachers to new heightsabout what is possible for themto do as professionals when edu-cating children. One teacherexclaimed, “Until the Bernsteinprogram, teachers did not thinkthey had time to teach scienceand social studies. I rarelycracked open the books. I amhappy to report that the teachersat my school are teaching moremath and science than they haveever done, due to the way theBernstein units facilitate ourteaching of standards.”

Teachers and administratorsare not the only ones motivatedto get involved at Moffett.Parents roll up their sleeves andjoin the extravaganza of learning.They take courses in computertechnology, arts and crafts,Spanish literacy, nutrition, sewing,guitar, folkloric dance, aerobics,and English literacy. One parentoffers the following testimony:“When my kids first came homefrom school, they did their home-work at the kitchen table. All ofa sudden they started singing anddancing in the middle of thefloor. When my wife and I firstheard this, we got after them andtold them to do their homeworkand stop singing and dancing.But they said to us, ‘We are tired.Singing and dancing for a littlewhile helps rest our brain cells so we can study more and learnbetter.’ So now, we sing anddance with them.” �

Franklin Campbell Jones is asso-ciate professor in the DoctorateProgram for Education Leadershipat Rowan University in Glassboro,New Jersey. Maria D. Fernandez,April Mosby and Fernando Vigilare second, fifth and kindergartenteachers respectively at MoffettElementary School.

Moffett Elementary School

Shown with

Alexander

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Educators from

the Moffett

Elementary

School: JoAnn

Isken, Dr. Bruce

McDaniel and

Patrick Bolek of

the LB Center

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by Susan Hanson

As visiting teachers walk downthe hallways of Harmony

Leland Elementary School in CobbCounty, Georgia, they often hearthis comment from students: “Dothe teachers in your school teachlike this? If not, they should.”Visitors always see a love forlearning on the faces of these stu-dents and teachers. What causesthe excitement in this school?

It is the Leonard BernsteinArtful Learning Model — thearts-based school improvementprogram that prepares teachers toengage students through the useof arts and artistic processes. Thismodel is designed to strengthenteaching and learning by integrat-ing the arts into standard teach-ing practice. However, Bernsteinteachers usually teach beyond thestandards. Artful Learninginstruction engages students in amasterwork; creates inquirythrough a significant question;and allows students to demon-strate learning through originalcreations. Finally, they reflect onwhat was learned by respondingto ever deepening questions.

Six years ago, Principal SandraMcGary Ervin, along with theformer Cobb District Superinten-dent, Dr. Richard Benjamin,

implemented the Bernstein ArtfulLearning Model as a school-wideinitiative to create a focus andimprove learning. This Title 1School once had low test scoresand high student absentee andtransience rates. Today, test scoresare improving, students andteachers are engaged in learning,and visitation days have to bescheduled to accommodate thelarge demand of national andinternational visitors wanting totour the school.

Using the Bernstein ArtfulLearning Model, Harmony Lelandstudents learn research-basedstrategies to improve achievementand demonstrate to all a love forlearning. For this model to besuccessful, the school focuses onmany transformational steps.Teachers meet regularly to coordi-nate their curriculum, instructionand assessment, which helps themcreate their Bernstein units of study.Weekly, teachers receive profes-sional, high quality, on-site staffdevelopment establishing a sharedvision where teachers becomelearners along with the students.

An important component inthe success of this program is thatthe parents of the students are alsotrained in the Bernstein Model.The parent facilitator at the schooloffers bi-monthly meetings toinstruct parents on the strategies

Artful Learning: The ”Hook” for Student Achievement

students are learning in theirclassrooms. If parents participatein at least six sessions throughoutthe school year, they graduate fromParent University at the awardceremony that ends the schoolyear. These training sessions haveproven to be an extremely effectiveway to get parents to facilitatestudent achievement.

The Principal, Ms. Ervin,meets with the parents at eachgrade level once a year reviewingtheir child’s performance and setsgoals for achievement. In thespring of each year, there is a“State of the State” address forparents, students and teachersabout the school’s performance.

Reflection is an importantstrand of the Artful LearningModel. Harmony Leland imple-ments a school-wide strategy forwriting, meaning that teachers are responsible not only for stu-dents’ writing scores, but also forsetting benchmarks to improvewriting scores for the entireschool. The staff believes writingis the number one indicator ofstudent assessment.

Relationships, collaborationand teacher leadership are keyconcepts to the success of theBernstein Model. Teachers atHarmony Leland work collegiallyin “critical friends” groups toanalyze student work. Theybring student writing to the tableto decide what exemplary writingshould look like for all students.This way of working as colleagueshelps teachers improve theirinstruction by giving and receivingauthentic feedback from oneanother. The goal at HarmonyLeland is “striving for excellence,sparking creativity, workingtogether hand in hand.” Art isthe glue that holds this school’svision together. �

Susan Hanson is a national trainerfor the Leonard Bernstein ArtfulLearning Model and a BernsteinFacilitator at Harmony LelandElementary School.

Sandra Ervin,

Dr. Thomas

Dohrmann,

Alexander

Bernstein,

Betty Gray,

Anna Johnson,

Johnny Johnson,

Dr. Richard

Benjamin,

Susan Hanson,

Patrick Bolek

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Dr. Donna Wilkin,

Dr. Phyllis Staplin,

Alexander

Bernstein,

Dr. Robert Davis,

Susan Moritz,

John Villotti,

Dr. Les Omotani,

Patrick Bolek

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by Megan HawkinsRegister Staff WriterMarch 27, 2004

Kindergartner Kobi Ozimekglanced at the painting on the

wall, rolled his eyes upward, andthen thoughtfully named itsfamous creator: “Norman . . .Rockwell.”

The boy is not in a specialclass for art prodigies. He andhis West Des Moines classmatesare participating in a learningmethod used by only 35 schooldistricts in the nation. Theystudy the arts to link lessons fromdifferent subject areas together ina program called the GrammyFoundation Leonard BernsteinCenter for Learning model.

Students at Phenix, Rex Mathesand Clegg Park elementary schoolare completing their first units,which teachers planned and pre-pared for months.

“They’re being exposed tothings they wouldn’t learn other-wise,” said Judy Snyder, a RexMathes Elementary kindergartenteacher. “I think they reallyunderstand and can articulate theideas so much better.”

The district adopted the pro-gram to boost test scores, inhopes that creative activities wouldappeal to students and help themlearn. The model has proven

especially effective for “at-risk”students at other schools, typicallyminority students or those fromlow-income households. Thethree West Des Moines schoolsusing the model have a largenumber of “at-risk” students.

Schools across Iowa and thenation are struggling to findeffective ways to narrow theachievement gap between poorand minority students and theirmore affluent peers.

While many of the lessonshave not changed, the ideas aretaught differently, educators said.Instead of talking about commu-nication, for example, kindergart-ners watched Swan Lake andmade foil sculptures of dancers to show how they communicatethrough body language.

Using the arts “expands thelesson. We’re taking it to a high-er level of thinking,” said PhyllisStaplin, curriculum director.

The arts-based model challengesstudents to think more independ-ently and make more connectionsbetween lessons in different sub-ject areas, Staplin said.

In the units, students: • Study a piece of art, such as apainting or song. They answer ageneral question that relates tothe art and other lessons, typicallysomething broad like, “How dowe communicate with the worldaround us?”

• Do hands-on, independentactivities at inquiry centers, orstations that teachers set up, withactivities ranging from drawing apartner’s body language to identi-fying instruments in a song.Older students work on muralsand timelines. • Share their own original creation, such as a collage or a performance.

The concept also is workedinto class lessons.

Third-graders, who studiedsynthesis and the idea of partsmaking a whole, studied separateregions that make up Australia,the various parts that make up astory, and combined ingredientsto make a sandwich, for example.

“It’s really fun,” said an enthu-siastic Lyndsie Angus, 8, a third-grader at Clegg Park.

Her mother, Kelly Angus, whoalso has a fifth-grade daughter at Clegg Park, is supportive of the program.

“It gives students differentangles, different ways to learn,”she said. “Not everyone learnsthe same way, so this gives thema chance to apply (their talents).”

Teachers said they like the program, although they notedthat it takes many extra hours ofwork and collaboration to planthe units, which must mesh intotheir usual curriculum. Theynow have one unit that they will tweak and use again nextyear. Educators said they hope tohave another new unit ready fornext year so they can do one each semester.

Students’ work will be evaluat-ed, and both attendance and test scores will be monitored forthe next few years to determinethe program’s effectiveness ateach school. �

Reprinted by permission from theDes Moines Register.

Arts-based Lessons a Hit in West Des Moines, Iowa

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Hawthorn Schools’ Bernstein Adventure

by Rich Paul

In the spring of 2002 groups ofteachers and administrators

from the Hawthorn ElementarySchool District #73 in VernonHills, Illinois began a journeythat would bring the LeonardBernstein Artful Learning modelinto its schools. Hawthornschools, now in their second yearof the program, were invited toparticipate in a leadership confer-ence hosted by the GRAMMYFoundation in February. Theconference included a tour of theMoffett Elementary School in suburban Los Angeles, as wellas two intensive days of discus-sion and analysis regarding theArtful Learning program andleadership techniques.

“It is amazing how theBernstein program really helps to

make the subject matter comealive for the student,” saidAssociate Superintendent Dr. SueZook. “It doesn’t seem to matterwhether it’s language arts, socialstudies, science or even math.There’s a tie-in that captures thestudent’s attention in a way thatI’ve never seen before.”

Zook noted that teachersthroughout the district who haveemployed the Artful Learningmodel comment that learning ismore fun for the students andgets the information deeply intotheir long-term memory ratherthan just memorizing facts for a test.

Level III training is scheduledto take place from June 8-11.Approximately 40 teachers havealready signed on. There hasbeen a great deal of interest in anew school being built specifically

for the Artful Learning Model,scheduled to open in the fall of2005. Since we are requiring allof the teachers in that school tocomplete training in the ArtfulLearning model, it looks as if ourBernstein Learning Trainers willhave a busy summer

As we look to the future, it isconceivable that the majority ofHawthorn’s teachers across thedistrict will utilize the BernsteinArtful Learning model. We areexcited about the possibilities that being a leadership districtwill open up. We are ready tostep up to the plate and promotethis wonderful model for engagedstudent learning to other districtsacross the country. �

Rich Paul is the School Board President of The HawthornSchool District.

Last summer the Bregenz Festivalpresented an acclaimed produc-

tion of West Side Story on thefloating stage on Lake Constance,Austria. While the stage was deepin hibernation, West Side Storyreceived a special mid-winter premiere: an abridged version ofBernstein’s musical was per-formed high up a mountain in theAustrian Alps, at the ski resort ofLech am Arlberg.

Wrapped warmly in new win-ter costumes, the festival artistsKatja Reichert and ChristianBaumgärtel sang and acted theirroles, Maria and Tony, accompa-nied on a grand piano made ofglass by Eric Machenic.

‘There has never been a WestSide Story in the middle of theAustrian Alps at an altitude of1,500 metres. So we’ve dreamtup a glittering stage of snow andice,’ explained the head of décor

West Side Story in the Snow

at Bregenz Festival, FlorianKradolfer. Before the event, sever-al hundred cubic metres of snowwere heaped up by teams fromthe Elbigen Alp wood-carvingschool, the Bregenz Festival andthe Lech-Zürs Tourism Bureau,following Kradolfer’s designs.Glass also was used to finish offthe stage sculpture, creating awork of art that shimmered in thelight of the mountain arena.

This summer the “warmweather” production, directed byFrancesca Zambello, returns toBregenz from July 22 throughAugust 22. For more information:www.Bregenzerfestspiele.com. �

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by Patrick Bolek

The GRAMMY Foundation’sLeonard Bernstein Center for

Learning (LBC) officially launchedartfullearning.com at the NationalLeadership Institute in Los Angelesduring the 2004 GRAMMYFestWeek. This interactive websiteexplains the intricacies of theArtful Learning™ methodology,honors the impressive legacy ofLeonard Bernstein, and serves asa resource for educators imple-menting this comprehensiveschool reform model. On hand

for the event were LeonardBernstein Office Vice President ofPublic Relations Craig Urquhart;GRAMMY Foundation Board of Directors Vice PresidentAlexander Bernstein; LBCProgram Manager/WebsiteProject Leader Patrick Bolek; andhonorees from four BernsteinLeadership Schools located inCalifornia, Georgia, Illinois, and Iowa.

Log-on to artfullearning.comand explore the following sections:• Leonard Bernstein: Informs theviewer about Bernstein’s contri-

butions to the worlds of musicand education, complete with an Interactive Timeline from1940 – 1990. • About The Program: Discussesthe components of the ArtfulLearning School Reform Model,its Mission and History, and ananimated sequence that explainsthe four learning quadrants ofExperience, Inquire, Createand Reflect.• Masterworks: Showcases acomplete Unit of Study from aLevel Two Bernstein School. Theviewer will see real learning cometo life, based on Bernstein’s inter-disciplinary philosophy that “Thebest way to ‘know’ a thing is inthe context of another discipline.”(The Unanswered Question-Norton Lectures-1973) • Program Updates: TheOmnibus Page alerts BernsteinSchools and the world to newdevelopments and successes withthe Artful Learning Model.

(continued on page 9)

www.artfullearning.com

The BB Promotion production ofWest Side Story will continue

to tour Germany this summer.After rave notices in Frankurtand Baden-Baden, the productionis currently in Munich and willcontinue onto Cologne (July 6-25) and Berlin (August 12 thruSeptember 5). Produced byMichael Bremmer, directed byJoey McKneely and conducted by Donald Chan, this productionhas been called, “a must see” byDas Bild. �

West SideStoryin Germany

On June 2, The New York CityBallet will premiere a new

ballet created by Artistic DirectorPeter Martins, set to Bernstein’sChichester Psalms. The musicwill be performed by the JuilliardChoral Union and the New YorkCity Ballet Orchestra. Also repre-sented this season will be FancyFree and West Side Story Suite,works by choreographer Jerome Robbins, with music by Bernstein. �

The New YorkCity Ballet

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Authoring Tool that helps educa-tors automatically link state andnational standards to their inter-disciplinary lesson experience.

In March, LBC participated inthe Association for Supervisionand Curriculum Development(ASCD) Convention with theirpresentation The Arts: The Heartof Reform documenting the academic success of the MoffettSchool (Lennox, CA), currently inits third year of implementationof Artful Learning. LBC is completing work on the SchoolDesign Book: Artful Leadershipand as well as the Level ThreeProfessional DevelopmentManual/Training Sequence. Bothwill appear on June 2004.

Two arts partnerships wereformed in California — one withDiavolo Dance Theatre andanother with PS Arts — toembrace the Bernstein methodo-logy and give educators a broaderrepertoire of authentic artistictechniques to bring into the class-room for students. �

Patrick Bolek is ProgramManager for the LeonardBernstein Center for LearningThe GRAMMY Foundation in Santa Monica, CA

www.artfullearning.com, continued

Wonderful Town’s return toBroadway has been an

unqualified success! Here is whatthe reviewers had to say:

Ben Brantley, NY Times“Wonderful Town captivates inways achieved by no other newproduction this fall.”

John Simon, NY Magazine“Long may Wonderful Townwave and weave its life-enhancingenchantment.”

Clive Barnes, NY Post“What a musical this is! LeonardBernstein’s score wears its 50years with no sense of middle-agespread but with a lightness likespringtime. Bernstein’s sheermusical virtuosity of melody andrhythm is consistently amusingwhen it’s not enchanting, andenchanting when it’s not amusing.And often it’s both.”

Howard Kissel, NY Daily News“The work harnesses the magicalvibrancy that radiates fromManhattan bedrock, which givesthe city its limitless energy.”

Linda Winer, Newsday“A big wet kiss for old-timeBroadway, dream-boatManhattan and high-style screwball musical comedy.”

Liz Smith, Newsday“If this wonderfully producedand acted Wonderful Town withits wonderful orchestra underRob Fisher, isn’t the biggest,hottest, most commercial and,yes, wonderfully entertaining hitof the season, then I give up.”

Roma Torre, NY1“This marvelous collaboration of supreme talents — past andpresent — is an utter delight andjust as we were starting to giveup on a season filled with disap-pointment, along comes this terrific gem — a giddy gleefulromp through the streets of oldNew York.”

Michael Sommers, NJ Star-Ledger “Wonderful Town is vintageBroadway effervescence, servedwith class and pizzazz. Enjoy!”

Robert Feldberg, The Bergen Record “You just don’t hear this kind ofmelodic, romantic, clever score innew shows.”

DRG Records released the newcast recording of Wonderful

Town. The recording features theBroadway revival’s cast members:Donna Murphy as Ruth Sherwood,Jennifer Westfeldt as EileenSherwood and Gregg Edelman asRobert Baker. The acclaimed castand 25 piece orchestra is conduct-ed by Rob Fisher. To order, visit:www.leonardbernstein.com. �

Wonderful Town Wows Broadway!

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(continued from page 6)• Join The Program: Explainswhat benefits and services are provided by the LeonardBernstein Center for Learning. It also has a data-entry form torequest requirements for becominga Bernstein School or requestingadditional information about the program. • Schools: This password-protect-ed page provides Bernsteinschools with resources such as theMasterwork Gallery, Arts-BasedSkills and Strategies to implementinto all curricular areas ofinstruction including the Arts,and the Bernstein Unit of Study

The Leonard Bernstein MusicPublishing Company, LLC is

pleased to announce two newpublications featuring music fromWonderful Town, now enjoyingits critically acclaimed revival runon Broadway. The show’s score isby Leonard Bernstein with lyricsby Betty Comden and AdolphGreen. Vocal selections, out ofprint for 40 years, now appear ina sparkling new edition. Thecomplete Wonderful Town vocalscore follows in mid-May. Bothare publications of the LeonardBernstein Music PublishingCompany, with the cooperationof Warner/Chappel, exclusivelydistributed by Hal Leonard.

Based on the play My SisterEileen, Wonderful Town tells thestory of sisters Eileen and Ruth,who leave Ohio to move toGreenwich Village. After manyhardships of adjustment (“Why,

Wonderful TownVocal Selections & ScoreAre PublishedMichael Kuchwara,

Associated Press “This Wonderful Town is impos-sible to resist.”

Charles Isherwood, Variety“The music captures the brassyenergy and excitement of urbanliving in melody and rhythm —it’s almost a character itself, rep-resenting the drumbeat of streetlife that goes on outside the win-dows of the subterranean apart-ment where Ruth Sherwood(Donna Murphy) and her sisterEileen (Jennifer Westfeldt) struggleto find a foothold on happiness.”

David Richardson, WOR“Just plain the best musical run-ning on Broadway at thismoment in time.”

Joan Hamburg, WOR“This was one of the mostextraordinary theatrical experi-ences I’ve had in years!” “It is a joy, there isn’t one nega-tive thing I can say.” “This is an unqualified rave forone of the most joyous nights I’vehad in theater in a long time.”

Richard Ouzounian, Toronto Star“It’s brash, bright, fresh, funny,touching, tuneful, heartfelt and hilarious.”

Wonderful Town is currentlyplaying at the Al HirschfeldTheatre in New York. For moreinformation visit: www.WonderfulTownthemusical.com �

oh why, oh why did I ever leaveOhio?”), they find New York tobe the “wonderful town” of thetitle. The original run of theshow opened in 1953 and starredRosalind Russell. The Broadwayrevival, which opened November23, 2003, stars Donna Murphy.

The Wonderful Town vocalselections songbook features tensongs from the production forvoice and piano: Ohio, OneHundred Easy Ways, What aWaste, A Little Bit in Love, Pass That Football, A Quiet Girl,My Darlin’ Eileen, Swing, It’sLove, The Wrong Note Rag.The songbook has a preface byComden and Green, and a com-plete plot synopsis. The vocalscore will feature the completeoriginal music.

Available from www.leonard-bernstein.com. �

WonderfulTown CastAlbum©

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Donna Murphy

receiving

Brazilian naval

support

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ASCAP Award

Jamie Bernstein

presents

the award

At a December ceremony, inNew York City, the ASCAP

Foundation Leonard BernsteinComposer Fellowship atTanglewood award was presentedto Michael Djupstrom. Michaelis currently completing hisMaster of Arts at the Universityof Michigan and has also receivedASCAP Foundation MortonGould Composer Award. TheBernstein Composer Fellowshipgives its recipients the opportuni-ty to study at Tanglewood. �

The Leonard BernsteinCollectors Edition

Moravian College in Bethlehem,PA mounted a production of

MASS on April 17 and 18. Thiswas the first time MASS was per-formed in Pennsylvania.

The following week, as part oftheir year-long Bernstein retrospec-tive, the Boston Conservatory per-formed MASS, uniting the music,drama and dance departments.

On May 7 and 8 the Indiana-polis Arts Chorale, St. Luke’sUnited Methodist Church, East91st Street Christian Church performed MASS at the St. Luke’sUnited Methodist Church inIndianapolis, Indiana. These performances were conducted by

Artistic Director Chris Ludwa and presented BrentWright, a registered clergyperson, performing therole of the Celebrant.

On May 14, 15, 16 MASS was performed by theProMusic Chamber Orchestra of Columbus, Ohio,

MASS: Continues to Receive New Performances

as part of their 50th year anniversary cele-bration. This chamber version of MASS wasconducted by Timothy Russell and featuredDouglas Webster as the Celebrant. Websterhas performed this role many times, includ-ing the June 2000 Vatican performance andthe November 22, 2004 performance inDallas, Texas. The ProMusica Chamberorchestra also hosted a symposium calledMass: A Community Conversation on Faith,Music and Social Justice with StephenSchwartz (MASS lyricist), Dr. Jack Gottlieb(composer), Dr. Paul Laird (musicologist),Anne Midgette (The New York Times), Dr.Peter Kountz (cultural historian) and Dr.Paul Sullins (sociologist) as participants.

On August 19 MASS will be presented for the first time at the Hollywood Bowl inLos Angeles. The Los Angeles Philharmonicand the Pacific Chorale will be conducted by Marin Alsop, with Jubilant Sykes as the Celebrant. �

• Harris: Symphony No. 3

• Ives: Central Park in the Dark, The Unanswered Question

• Rorem: Violin Concerto, Gidon Kremer, violin

• Schuman: American Festival Overture

BEETHOVEN: The Symphonies(5 CDs)

BRAHMS: The Symphonies &Orchestral Works (5 CDs) • Symphonies Nos. 1, 2, 3, 4

• Haydn Variations

• Tragic Overture

• Academic Festival Overture

• Violin Concerto, Gidon Kremer, violin

• Double Concerto, Gidon Kremer, violin; Misha Maisky, cello

Deutsche Grammophon haslaunched a major retrospec-

tive of recordings conducted byLeonard Bernstein. PianistArthur Rubinstein calledBernstein “the greatest pianistamong conductors, the greatestconductor among composers, andthe greatest composer amongpianists… a universal genius.”

Bernstein’s wide-ranging orches-tral discography for DeutscheGrammophon documents theconductor’s later years from thelate 1970s through his valedictoryconcert on August 19, 1990 atTanglewood. The “LeonardBernstein Collectors Edition”brings this legacy together incomprehensive box set releases,including several long-unavailableitems and a new, previously unre-leased recording, from 1986, ofLukas Foss’s The Song of Songs.The Edition also documentsBernstein’s electric partnershipwith the Vienna Philharmonic, aswell as memorable collaborationswith the New York Philharmonic,the Israel Philharmonic, theConcertgebouw Orchestra, theBavarian Radio SymphonyOrchestra and others.

The Edition’s striking coversshow charismatic portraits of theartist. Newly commissioned linernotes by leading writers and criticsoffer a thoughtful reassessment ofBernstein’s DG recordings.

THE AMERICANS: (6 CDs) • Barber: Adagio for Strings

• Copland: Appalachian Spring, Connotations

• Del Tredici: Tattoo

• Foss: Song of Songs (Premiere recording), Israel Philharmonic,Sheri Greenawald, soprano

• Gershwin: Rhapsody in Blue, Leonard Bernstein, piano.

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news IN THE

HAYDN: Complete Recordingson Deutsche Grammophon (4 CDs) • Symphonies Nos. 88, 92,

94, 102

• Sinfonia concertante

• The Creation

• MASS No. 9: Paukenmesse

SIBELIUS, ELGAR, BRITTEN • Sibelius: Symphonies

Nos. 1, 2, 5 & 7

• Elgar: Enigma Variations

• Britten: Four Sea Interludes from Peter Grimes

CO

URTESY

ASC

AP

5,8 Reggio Valli, Italy: BERNSTEIN DANCES; John Neumeier, choreographer; Teatro Municipale.

5-8 New York, New York (US): CANDIDE (Scottish Opera Version); New York Philharmonic; Westminster Choir (Joseph Flummerfelt, director); Marin Alsop,conductor; Lonny Price, director; Kristin Chenoweth, soprano (Cunegonde); Paul Groves, tenor (Candide); Sir Thomas Allen, baritone (Dr. Pangloss); Avery Fisher Hall.

7,8 Nashville, TV: SERENADE; The Nashville Symphony; Kenneth Schermerhorn, conductor; Robert McDuffie, violin; Andrew Jackson Hall.

8 Indianapolis, IN: MASS; Indianapolis Arts Chorale; Chris Ludwa, musical director; BobZehr, stage director; Brent Wright, Celebrant;St. Luke’s United Methodist Church.

8 New York, NY: “Practice, Practice, Practice!” A family concert featuring PRELUDE FUGUE & RIFFS; St. Luke’s Orchestra, Michael Barrett, conductor; Jamie Bernstein, narrator; Zankel Hall.

12,13 Montreal, Canada: SONGFEST; Orchestre Symphonique de Montreal; Jacques Lacombe, conductor; Salle Wilfrid-Pelletier.

14-16 Columbus, OH: MASS; Promusica Chamber orchestra; Michael Scarola, director; Douglas Webster, Celebrant; The Southern Theatre.

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On May 8, Jamie Bernstein andMichael Barrett premiered

their latest family concert atCarnegie Hall’s new undergroundauditorium, Zankel Hall. TitledPractice, Practice, Practice! in anod to its location, the concertwas, uniquely, also a rehearsal.Michael Barrett guided membersof the Orchestra of St. Luke’sthrough a first reading ofLeonard Bernstein’s challengingjazz-flavored compositionPrelude, Fugue & Riffs, whileJamie interjected questions andcommentary. As the orchestrahad never worked on the piece

Carnegie Hall, always an augustand beautiful place, was becoming

a warm and happy place as well,under the gentle, creative stewardshipof Robert Harth. He was, amongother things, a Bernstein fan, and ourconversations with him were spiritedand stimulating. The sadness we allfeel at his sudden death is incalcula-ble. We are sad, too, for all ourfriends at Carnegie who worked closely with Robert, in particular hisclose colleague Ara Guzelimian, whosurely feels most keenly the pain ofRobert’s absence. Our wish forCarnegie’s staff members is that theysucceed in gathering themselves backtogether with a minimum of distress,and recapture the spirit of culturaladventure that was Robert’s greatestgift to the place, as well as to us, itsgrateful visitors.

J.B. �

RememberingRobert Harth

A New Concert for Young People Featuring a Bernstein Work

before, the mostly teenage audi-ence got an authentic glimpse ofan orchestra’s rehearsal process.

Taking advantage of ZankelHall’s technological capabilities,Michael and Jamie showedarchival footage of Bernstein andBenny Goodman (who premieredPrelude, Fugue & Riffs in 1955),while video cameras onstage pro-jected various aspects of therehearsal on a series of plasmascreens. A “scorecam” percheddirectly above the podium showedMichael’s score, while stagehandsmoved other video cameras aroundthe musicians to show closeups ofthe rehearsal process. �

Opera, operetta, and Broadwayjoined hands when the New

York Philharmonic presented asemi-staged performance ofCANDIDE on May 5, 6, 7 and 8.

Bernstein protégée MarinAlsop conducted the performanc-es, whose cast members weredrawn equally from the classicaland musical-theater worlds:soprano Kristin Chenoweth(Cunegonde) in her Philharmonicsubscription debut; actress-singerPatti LuPone (The Old Lady);tenor Paul Groves (Candide);tenor Stanford Olsen (Governor/Vanderdendur/Ragotski); baritone Sir Thomas Allen(Pangloss/Martin); and theWestminster Symphonic Choir,Joseph Flummerfelt, director.Broadway actor-director LonnyPrice staged the musical.

CANDIDE at the New York Philharmonic

The May 6th performance was the New York Philharmonic’s Spring Gala. The evening’s Honorary GalaChairs were Alexander Bernstein,Jamie Bernstein, and NinaBernstein Simmons. �

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April4 Sydney, Australia: CANDIDE OVERTURE;

Woollahra Philharmonic Orchestra; Mathias Rogala-Koczorowski, conductor; Scots College.

4,5 Dresden, Germany: SYMPHONY NO. 3: KADDISH; Saechsusch Staatskapelle Dresden,Chor der Saechsischen Staatoper, Sinfoniechor Dresden; Ruth Ziesak, soprano; Boris Carmeli, speaker.

17,18 Bethlehem, PA: MASS; Moravian College.

18 New York, NY: LA BONNE CUISINE; Frederica von Stade, mezzo-soprano; Alice Tully Hall.

21,22 Vienna, Austria: TROUBLE IN TAHITI; Orchestra of the University Vienna; Marton Terts, conductor; Neue Studiobuehn.

22 Barcelona, Spain: SERENADE; Barcelona Symphony Orchestra; Eiji Oue, conductor; Angel Jesus Garcia, violin; Auditori.

22-24 Boston, MA: MASS; Boston Conservatory.

26 Tokyo, Japan: CANDIDE; Amon Miyamato, director; David Charles Abell, conductor; Tour runs until May 9.

28 Stockholm, Sweden: WEST SIDE STORY (Concert Suite); Swedish Radio Symphony Orchestra; Wayne Marshall, conductor; Berdwaldhellen.

Calendar of EventsSpring/Summer 2004

May1-30 Munich, Germany: WEST SIDE STORY;

Michael Brenner, producer; Joey McKneely, director and choreographer; Donald Chan, musical supervisor; Paul Gallis, set design; Renate Schmitzer, costume design; Peter Halbsgut, lighting design; Rick Clarke, sound design; Deutsches Theater.

2 Yorktown, VA: CHICHESTER PSALMS; Virginia Choral Society; James Powers, conductor; St. Joan of Arc Catholic Church.

5 Newark, NJ: SYMPHONIC DANCES FROMWEST SIDE STORY; New Jersey Symphony Orchestra; Jose Serebrier, conductor; New Jersey Performing Arts Center.

Event Spotlight

May 20, 24June 8

Bernstein Dancesreturns to theHamburg Ballet.Choreographed by John Neumeier.

*Partial listing. Please

note that all dates and

programs are subject

to change. For a more

complete listing visit

leonardbernstein.com

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May, continued

Calendar of Events

20,24 Hamburg, Germany: BERNSTEIN DANCES;John Neumeier, choreographer; Staatsoper.

25 Poole, UK: TROUBLE IN TAHITI; The Opera Group; Patrick Bailey, conductor;The Lighthouse.

26 Helsinki, Finland: CHICHESTER PSALMS; Finnish Radio Symphony Orchestra; Radio Chamber Choir; Wayne Marshall, conductor; Finlandia Hall.

27 Salisbury, UK: TROUBLE IN TAHITI; The Opera Group; Patrick Bailey, conductor;Salisbury Playhouse.

1-13 Munich, Germany: WEST SIDE STORY; Michael Brenner, producer; Joey McKneely, director and choreographer; Donald Chan, musical supervisor; Paul Gallis, set design; Renate Schmitzer, costume design; Peter Halbsgut, lighting design; Rick Clarke, sound design; Deutsches Theater.

2 Paris, France: MASS; L’Orchestra National d’Ile de France; more information pending.

2 Huddersfield, UK: TROUBLE IN TAHITI; The Opera Group; Patrick Bailey, conductor; Lawrence Theatre.

11 High Wycombe, UK: TROUBLE IN TAHITI; The Opera Group; Patrick Bailey, conductor;The Swan.

11 Katonah, NY: Extreme Orchesta a Concert for Young People; Orchestra of St. Luke’s; Michael Barrett, conductor; Jamie Bernstein,narrator; Caramoor Music Festival.

13,21 Buxton, UK: TROUBLE IN TAHITI; The Opera Group; Patrick Bailey, conductor; Buxton Opera House.

14 Lichfield, UK: TROUBLE IN TAHITI; The Opera Group; Patrick Bailey, conductor; The Garrick.

17 Aspen, CO: Bernstein Gala, selections from: ON THE TOWN, TROUBLE IN TAHITI, WONDERFUL TOWN and CANDIDE; WESTSIDE STORY SUITE NO. 2; Aspen Chamber Symphony; David Zinman, conductor; Judy Kaye, mezzo-soprano; Ester Heideman, soprano; Benedict Music Tent.

24,25 Linz, Austria: DIVERTIMENTO; Jugendblasorcher der Gustav Mahler Musikwochen; Hans Pircher, conductor; Gustav Mahler Saal.

12-29 Berlin,Germany: WEST SIDE STORY; Michael Brenner, producer; Joey McKneely, director and choreographer; Donald Chan, musical supervisor; Paul Gallis, set design; Renate Schmitzer, costume design; Peter Halbsgut, lighting design; Rick Clarke, sound design; Deutsches Oper.

Prelude, Fugue & Riffs will besent upon request. Please sendall correspondence to:

Craig UrquhartPrelude, Fugue & Riffs25 Central Park West, Suite 1YNew York, NY 10023 Fax: (212) 315-0643e-mail: curquhart@leonardbernstein.comWe appreciate notice of any

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

&Prelude, Fugue Riffs

Prelude, Fugue & RiffsTM is a publication of The LeonardBernstein Society. © 2004 by The LeonardBernstein Office, Inc.Executive VP: Harry J. KrautManaging Editor: Craig UrquhartEditors: Jack Gottlieb, Jamie BernsteinDesign: BorsaWallace, NYCVisit our website: www.leonardbernstein.com

[ Note to Readers ]

Event Spotlight

April 26-May 11

CANDIDE in Tokyo, Japan Amon Miyamoto,director; DavidCharles Abell, conductor

17,18 Chicago, IL: SYMPHONY NO. 1: JEREMIAH;Chicago Symphony Orchestra; Daniel Barenboim, conductor; Rinat Shaham, mezzo-soprano; Orchestra Hall.

18 New York, NY: SERENADE, PRELUDE, FUGUE & RIFFS, Selections from A QUIETPLACE, Kaddish 2 from SYMPHONY NO.3: KADDISH, THREE DANCE EPISODES FROM ON THE TOWN; Gotham City Orchestra, VoxVocal Ensemble, George Steel, conductor; Jennifer Koh, violin; Derek Bermel, clarinet; Amy Burton, soprano; Miller Theatre.

September

For additional performances of WEST SIDE STORY.please visit the official WEST SIDE STORY web site.

August1 Lenox, MA: BENEDICTION; Tanglewood

Music Center Orchestra; John Williams, conductor; Seiji Ozawa Hall.

7 Hartney Whitney, UK: TROUBLE IN TAHITI;The Opera Project; Patrick Bailey, conductor;West Green House.

12 Hollywood, CA: SYMPHOINIC DANCES FROM WEST SIDE STORY; Los Angeles Philharmonic; Yakov Kreizberg, conductor; Hollywood Bowl.

19 Hollywood, CA: MASS; Los Angeles Philharmonic; Pacific Chorale; Los Angeles Children’s Chorus; Jubilant Sykes, Celebrant;Marin Alsop, conductor; Hollywood Bowl.

2-6 New York, NY: CHICHESTER PSALMS (premiere), FANCY FREE, WEST SIDE STORYSUITE; New York City Ballet, State Theater.

4 Lubeck, Germany: SERENADE; NDR Sinfonieorchester; Phillipe Jordan, conductor; Roland Gruetter, violin; Musik und Kongresshalle.

4,5 Hamburg, Germany: SERENADE; NDR Sinfonieorchester; Phillipe Jordan, conductor;Roland Gruetter, violin; Staatsoper.

8 Hamburg, Germany: BERNSTEIN DANCES;John Neumeier, choreographer; Staatsoper.

12-14 Amsterdam, The Netherlands: CANDIDE OVERTURE: SYMPHONIC SUITE FROM ON THE WATERFRONT; Yakov Kreizberg, conductor; Concertgebouw.

19 Insburck, Austria: CHICHESTER PSALMS; University Orchestra Mozarteum Innsbruck; Michael Konig, conductor; Congress Hall.

28,29 Breman, Germany: THREE DANCE EPISODESFROM ON THE TOWN; Breman Philharmonic;Martin Yates, conductor; Die Glocke.

4 Katonah, NY: Bernstein Beat; Orchestra of St. Luke’s; Michael Barrett, conductor; Jamie Bernstein, narrator; Caramoor Music Festival.

6-25 Cologne, Germany: WEST SIDE STORY; Michael Brenner, producer; Joey McKneely, director and choreographer; Donald Chan, musical supervisor; Paul Gallis, set design; Renate Schmitzer, costume design; Peter Halbsgut, lighting design; Rick Clarke, sound design; Musical Dome.

11 London, UK: SYMPHONY NO. 2: THE AGE OF ANXIETY, THREE DANCE EPISODES FROM ON THE TOWN, CANDIDE (selections),PRELUDE, FUGUE & RIFFS, WEST SIDE STORY(selections), WONDERFUL TOWN (selections);London Symphony Orchestra; Marin Alsop, conductor; Jean Yves Thibaudet, piano; Kim Criswell, soprano; Barbican Hall.

JulyJuly

June