Read The Leonard Bernstein Letters Online
Authors: Leonard Bernstein
Scene Four: Central Park – Sundown.
Mercutio and his gang are waiting for Bernardo and his. They, too, are actually prepared in the event that the “fair fight” should bust into a bloody rumble. Romeo enters on this and tries to talk them out of it. Bernardo and gang arrive. Romeo tries to prevent any rumble. Bernardo accuses him of stalling and really tries to make Romeo fight, finally spitting at him. Romeo almost lunges, but won't fight. This enrages Mercutio who slams Romeo out of the way, leaps at Bernardo and the fight is on. The scene is probably underscored and, here, breaks out into a stylized gang canon as both gangs take up positions for the fight. It does break out into a fracas when Bernardo, almost beaten, whips out a knife and stabs Mercutio. Romeo, horrified at what has been done to his protector, grabs a broken bottle from A-rab and plunges it into Bernardo. There is a wild moment of melée – then everybody clears because of the two still bodies on the ground. Both Bernardo and Mercutio are dead. This is horrifying even to the kids. A clock begins to chime as they slowly leave the scene. Romeo stares at the bodies. A police whistle, a siren, the roving light of a police car picks over the ground; the whistles, the sirens louder, music – the chase is on and Romeo runs as:
CURTAIN
.
Act Three
Scene One: Juliet's Apartment – Sundown.
This is a very crowded place: room made into rooms for all purposes: a curtained corner for Juliet who is dressing up happily as her family sings a gay street song in Spanish (mother, father, uncle). During this, the clock strikes the same hour as in the previous scene. And, after a time, faint police whistles, sirens. But the song goes gaily on until Shrank comes in. Juliet's family's English is too poor to
understand what he says, so she must translate the terrible news: their son has been murdered by Romeo. Shrank goes, and the family goes to claim the body. Juliet starts to go with them when Romeo appears on the fire escape which is right outside her little corner. His one drive has been to find her and tell her it was a horrible mistake. But her first reaction is: you killed my brother. He tries to explain but there is a police whistle and shouts: they are after him. Juliet doesn't call to the police. She stands, confused, as Romeo whispers “meet me at the hangout” and disappears. As he goes, Anita comes into the flat and sees him. She would call the police but Juliet stops her. Anita's attitude has changed. Bitter, angry over the death of her lover, Bernardo, she tells Juliet to stick to “your own kind”. This is a duet for both girls. But Juliet's confusion resolves itself during the duet: Romeo is her own kind, for she loves him. And at the end, she starts down the fire escape to meet him. Immediately the apartment moves off (as it did in the balcony scene) and three other fire escapes appear behind it for:
Scene Two: Love Ballet.
As Juliet shins down the fire escape, other girls wind down the other fire escapes, all going to meet lovers representing Romeo. The dance goes from forgiveness to love to passion to actual sex. It ends with:
Scene Three: The Hangout.
Romeo and Juliet are in the positions the dancers were at the end. Romeo sings a happy song to Juliet about what their world will be and, in dialogue, they agree to run away together and be safe with each other. This dream-plan is broken by the arrival of Benny. The police have found out where the hangout is (the gang is constantly moving from one shack to another) and are on their way. Benny is furious with Juliet: a lousy Puerto Rican, in his mind, has prevented Romeo from making a safe getaway. Romeo kicks him out, tells Juliet Doc will know where to find him and runs.
Scene Four: Streets.
Romeo running from the police who fire at him and wound him. He escapes.
Scene Five: The Drugstore.
The same jitterbugging tune is being played in a muted way and the gang is going thru the motions of dancing to avert suspicion from the police. Doc comes up from the cellar to get more bandages and medicine. Romeo is down there: he has been hit badly. Doc goes down again and the gang vents its bitterness against Puerto Ricans, now specifically for murdering their leader and for causing one of their good men to be shot by the police. Juliet comes in, seeking Doc, and all the hatred is turned against her. The kids tell her Romeo is dead and jeer at her extreme reaction. She almost faints and instead of offering her water etc., they
hideously offer her all kinds of poison so she can kill herself for love and pay for the evil she has done. This is done with macabre humor. All their prejudice and hate and violence comes out in the taunting until, able to bear no more, she grabs the bottle Benny holds and runs out of the store. Doc returns to see her run out. He doesn't know what the gang has done but realizes they have driven her away. He tells them off for what they really are – and yet winds himself down because, somehow, what they are is not their fault. He goes to tell Romeo and the kids' reaction is: all that because of a dirty Puerto Rican.
Scene Six: The Bridal Shop.
This scene is almost completely in song. Juliet has put on the wedding veil, is arranging the mannequins as she sings. Her strangeness is explained by the empty bottle of poison which she addresses for a moment. She is becoming more and more delirious when Romeo comes in. He is very weak but so happy to see her. She is so happy to see him: in her delirium, she thinks they are at least in their own world which has been transported to heaven. He doesn't realize at first that she has taken poison. But when he does discover the truth, it is too late. She sinks to the floor, he cradles her in his arms, they both start a reprise of their balcony song but they never quite finish. The lights change, the walls disappear, the music soars upward and the audience swoons.
THE END
Appendix Two
Bernstein's Letters and Postcards to Mildred Spiegel
In December 1991, Mildred Zucker (formerly Mildred Spiegel) sent details to the Leonard Bernstein Office of all the letters and postcards she had received from Bernstein. Her annotated list was divided into two sections (“Contents of Letters” and “Contents of L.B. Post Cards”). The following includes the most significant items, which have been amalgamated into a single chronological sequence.
The additional indented comments are taken from a long letter of 23 July 1978 that Mildred Zucker wrote to Jack Gottlieb, full of information (“I have been continuing my homework about Lenny and came across a few more facts”), and ending as follows: “I consider it a great privilege to have been a close friend of Lenny's. It was thrilling for me to watch him grow and reach such great heights. Lenny was and still is a great source of inspiration to me. Give him our love.”
29 December 1935, Boston, MA: Lenny asked me to turn his pages at a lecture.
2 January 1936, New York, NY: Has a lot to tell me. Reminds me to turn his pages.
24 June 1936, Philadelphia, PA: Description of Curtis Institute audition/judges' reaction. They thought he should be at Curtis.
29 June 1936, Philadelphia, PA: Attended Robin Hood Dell concert – writes his reaction upon hearing
Romeo and Juliet
Overture of Tchaikovsky. Appointment with [José] Iturbi.
“In June 1936 in Philadephia, Lenny had an audition with Merrs. Simpkin and Lorenz (arranged by Don, his Harvard roommate). They were greatly taken with his playing. Among other things they said: 1) The boy is an artist. 2) He has stage personality. 3) Interpretation a little youthful and immature. 4) He ought to be at Curtis – not for what they could teach him but for what contacts he could make. 5) Mr. Lorenz confided to a girl, ‘You see a great boy – you'll see a greater man’. They also arranged an interview with Iturbi. While visiting Don at 2008 N. Park Aven., Lenny attended a Robin Hood Dell concert where he heard Spalding play the Mendelssohn Violin Concerto under Alexander Smallens, also the
Romeo and Juliet
Overture of Tchaikovsky and a rehearsal of Harold Bauer playing the Schumann.”
3 August 1936, Sharon, MA: Wrote me about an eleven-page letter which he will show me. He has grippe and asked me to visit him.
4 August 1936, Sharon, MA: Invites me to Sharon for lunch.
August 1936, Sharon, MA: Eleven-page letter written in the blackest of moods describing a clash with his father who did not want Lenny's friends visiting. He also poured his heart out about his friends.
13 September 1936, Alfred, ME: He is staying at a farm. Will come to visit me at York Harbor, where I am playing with a trio.
“In September 1936, he wound up at Elm Top Farm in Alfred, Maine for a short vacation. He borrowed the farmer's truck and drove to the Emerson House at York Harbor, Maine, where I was playing with my trio. I was delightfully surprised to see him.”
9 July 1937, Pittsfield, MA: His activities at Camp Onota as a music counselor – casting for
The Pirates of Penzance
, first month, then
Of Thee I Sing
, second month.
“In July 1937, on his night off from Camp Onota, he went to Cap Allegro and was in the clutches of a million women, playing all evening – Lecuona, Ravel and de Falla etc.”
21 January 1938, Cambridge, MA: Announcement – he's soloist in Ravel Concerto. He changes the printing and writes Boston Symphony and not State Symphony. [See Letter 18].
6 April 1938, Minneapolis, MN: Describes visit to Mitropoulos – quiet, interesting week.
2 May 1938, Cambridge, MA: He wrote out two measures of a theme.
7 July 1938, Sharon, MA: Thinking of putting on
Cradle Will Rock
. Rehearsal with Forum Quartet, and off to a publicity tea in Scituate, MA.
“In July 1938, Lenny was at the Sharon summer home (17 Lake Ave) and entertaining persuasive notions of putting on
Cradle Will Rock
that summer. He returned my copy of the Bach
Well-Tempered Clavichord
Vol. I which he had borrowed and marked up for his Harmonic Analysis class at Harvard.”
25 July 1938, Sharon, MA: Audience reaction to his Newport concerto where he earned $50.00 playing in a home and made many friends. Summer plans.
15 August 1938, Sharon, MA: Describes trip home in the fog – from the Berkshires, Massachusetts.
25 August 1938, Chicago, IL: En route to the West. Bus driver would not stop at Pittsfield, where Lenny wanted to visit me.
18 September 1938, California: En route home from trip out West. “Glorious trip. We live in a great country.”
29 December 1938, New York, NY: Staying in New York for the New [Year] – work to do – wishes me a happy New Year.
30 December 1938, Maywood, NJ: Saw
On Your Toes
. Will let me know of his arrival. It may be by plane.
7 July 1939, New York, NY: Having a terrible time with his nerves. No future. Staying with Adolph Green. Looking around for work.
3 October 1939, Woodstock, NY: Went to see [Léon] Barzin about a conducting class. Out of the question. Lenny's plans depend on Curtis examination.
“In early October 1939, he went to Woodstock to see Barzin who was doubtful as to whether he'd have a conducting class that year.”
20 October 1939, Philadelphia, PA: Curtis Institute – Fierce desire to work hard – helpful, considerate faculty – lists subjects and teachers – majoring in piano and conducting – practices three hours a day.
9 November 1939, Philadelphia, PA: Studying
Tristan
– found a deli that sells Halvah – more in accompanying letter.
9 November 1939, Philadelphia, PA: Description of piano lesson with Vengerova. Offers to teach me when he returns home. Made friends with Mme Miquelle.
20 January 1940, Philadelphia, PA: Curtis Institute – Hard work – one tremendous piece of news – will tell me when he returns home.
1 February 1940, Philadelphia, PA: Mitropoulos has plans for him to come to Minneapolis and be official assistant conductor and pianist for the orchestra – be at every rehearsal and ready to take over – will be presented as soloist with orchestra – also as a composer.
28 February 1940, Philadelphia, PA: Curtis Institute – He was the only conducting student to get an A from Reiner. Helen Coates sent him brownies.
29 March 1940, Philadelphia, PA: Writes that my letter was the most wonderful letter he ever had. Heard Cleveland Orchestra and Rodzinski in Wilmington, Delaware. Koussy came to Curtis and remembered him.
10 April 1940, Philadephia, PA: Writing vocal quartets, settings of poems by Kenneath Fearing. No contract from Minneapolis and no confirmation about the Berkshires. Going to Washington with Mme Miquelle for the weekend.
23 April 1940, Philadelphia, PA: Letter explaining why Mitropoulos cannot import him. The union claims that Lenny is not a necessary function that cannot be filled by local people. Manager did not want Lenny because he was a student.
3 May 1940, Philadelphia, PA: Coming home on weekend. Writes me to cultivate my left dimple for the occasion. Sings “Love in May”.
22 June 1940, New York, NY: Leaving for telecast. Will write from New Hampshire. Writes card in Aaron [Copland]'s studio using his card. I asked him what score he would like. He suggested Schumann's 4th Symphony,
Petrouchka
, Debussy
Nocturnes
,
Firebird
,
Don Juan
,
Till Eulenspiegel
.
27 June 1940, Hanover, NH: Kenny Erhman looking for him. Leaving for Cranwell School for Boys, Lenox, Massachusetts.
“In June 1940 he did a television show in Hanover, NH, while staying with Raphael Silverman (Hillyer).”
15 July 1940, Lenox, MA: Made an auspicious conducting debut. Lenny writes it was terrific, thrilling, awe shedding. Letter to follow.
16 July 1940, Lenox, MA: Conducted his own first concert at Tanglewood – Randall Thompson's Second Symphony – marvelous time – Koussy and orchestra like him. Plans to conduct
Scheherazade
, Copland's
Music for the Theatre
.
24 October 1940, Philadelphia, PA: Reiner is furious at Koussy for stealing his pupil. Never feels wholly alive in Philadelphia.
13 December, 1940, Philadelphia, PA: Practices four hours at the piano – Mozart Concerto, restudying Chopin Études in 3rds and 6ths. Teaching “rich brats” at the Meadowbrook School on Wednesdays.
18 January 1941, Philadelphia, PA: Life is dull and lonely, but very active. He is broadcasting the Stravinsky two-piano concerto on February 1st, 5:30 p.m. on NBC. He will imagine me at the other piano.
7 February 1941, Philadelphia, PA: Vengerova wants to make a two-piano team with him and another student. She was swept off her feet with their Stravinsky. Feels like he is finishing up a jail sentence and can't wait to get away from there fast enough.
Bored
.
12 March 1941, Philadelphia, PA: Next broadcast April 26th.
21 April 1941, Philadelphia, PA: Plans to be home May 4th. Will be on the air.
21 July 1941, Lenox, MA: Big success conducting William Schuman
American Festival Overture
on the same program with Koussy conducting the
Faust
Symphony. Lenny got two more bows than Koussy. Lenny got a screaming ovation. Conducted
Mastersingers
Prelude at Esplanade – 22,000 people in audience – $150.00.
2 December 1941, Boston, MA: Theme from Schumann Symphony.
5 December 1941, Boston, MA: Card announcing opening of his studio for the teaching of piano and musical analysis at 295 Huntington Avenue, Boston.
20 December 1941, Boston, MA: Christmas card and invitation to see his new studio.
6 October 1942, New York, NY: No real secure job yet. Doing odd jobs.
23 June 1943, New York, NY: One week late for my birthday. Wishes me success and happiness.
12 July 1943, New York, NY: Will conduct Goldman Band concerts. Leaving for Hollywood in August for a month vacation. Will conduct Boston Symphony concerts in Boston on August 1st and 2nd before leaving.
11 August 1943, Brookline, MA: Rehearsals for Tanglewood – will be back at end of month for Army induction.
22 October 1943, New York, NY: Written on Philharmonic Symphony of New York stationery. Wonderful and exciting.
15 December 1943, New York, NY: Thanks me for the “glorious Halvah”. Do I ever get to New York?
26 June 1944, New York, NY: My wonderful cards delight him. Was in the hospital having his septum out. Leaving for Chicago to begin his summer season. Will conduct at Stadium in New York.
20 September 1944, New York, NY: Wants to know how I am. Will conduct
Fancy Free
in Boston on October 2nd and we will get together. Some day we will play the Saint-Saëns 5th Concerto together.
19 February 1945, St. Louis, MO: Conducting was wonderful, responsive orchestra, audiences wild. Middle of a huge tour across the continent through Canada and back.
4 September 1945, New York, NY: Thanks me for my most touching card. He asked if I heard of his acquisition of the New York City Center Orchestra. It was a thrilling birthday gift.
11 December 1945, New York, NY: Came home from a two-week bout in St. Louis and found my heavenly Halvah – beautiful surprise.
24 December 1945, en route from Minneapolis to New York: He talked of me with mutual friends, and loved me very much.
1 February 1946, New York, NY: Coming in March to Boston and wants to spend some time together. He is redoing the Beethoven 1st Concerto. It is full of me.
9 April 1947, New York, NY: Am I coming to Tanglefoot?
15 April 1948, New York, NY: Off to Europe to conduct in Munich, Budapest, Vienna and Milan.
29 November 1951, Cuernavaca, Mexico: Encouraging me to teach in Israel. He is composing, sunning, swimming. Opera progresses slowly – throws away more than he keeps.
3 January 1952, Cuernavaca, Mexico: Wishing me happiness for my marriage. He feels lazy.
4 December 1961, New York, NY: He is sick in bed. The Halvah is like Manna from Heaven. It cheered his ailing days.
9 February 1962, New York, NY: He was overcome with nostalgia when he met a mutual friend in Aspen, Colorado. Memories of my Madison Trio, joyful early days.
3 June 1970, Paris, France: Conducted Mahler 3rd in Paris, Verdi Requiem in London,
Fidelio
in Rome. He can hardly keep up with himself.
10 January 1972, New York, NY: While he was in Vienna, he recalled meeting “under Beethoven” when we met for two pianos [under the Beethoven statue] at the New England Conservatory.