The Leonard Bernstein Letters (23 page)

Dear Lensky,

The blow has fallen, they are not letting me go back to NY for the concert. I'm naturally disappointed as hell, but I got myself into this jam so I might as well take it like a man (if possible). I don't know what Kenneth Klein, Heinsheimer and Saidenberg will decide to do – maybe call off the whole show, but if not I've suggested you play the Sonata instead of me. You'll probably be hearing from them, and if you can't wait, call Heinsheimer. In the meantime I feel like something between a heel and a fraud. However, it's interesting to know what a bad conscience feels like for a change. I suppose way in the back of my little head I had been trusting to my usual good luck to get me out of this mess. Nice to think that Dave [Oppenheim] is arriving in time for the concert. Nice also to think about you “walking streets” because Hollywood Blvd is a continual temptation which is bloody hard to resist. I'm still not settled in a place of my own, nor have I looked up anyone except Jerry Moross.

Well, there's nothing for me to do but sit and wait for the dawn of the 18th.
⁶⁴

As always, you slave,

Me

Dear D,

Just received word from WNYC
⁶⁵
that the date is definitely set for Sunday afternoon, Feb. 21, from 6:30 to 7:00 p.m. I get the full half-hour, to boot, so that I can do, or have done, the 6 Piano Pieces.
⁶⁶
It ought to be good fun, and I'd like to have the whole thing on records for all time.

Why don't you come down for the whole week from Sunday the 14th to Sunday the 21st? That would seem to work well – assuming, of course, that you have some sort of vacation then. The Copland Forum will take place in Town Hall on Wednesday of that week, and you surely want to hear that. Aaron is supposed to play his Sonata; but he has just left for Hollywood to do the Lillian Hellman picture,
⁶⁷
and it's possible he won't be able to be back for the forum, in which case I would play the Sonata, which would also be fun.
Music for the Theatre
is to be done as well, Saidenberg conducting, me on piano.

A Rochester composer named Burnall Phillips just called, and is coming over this afternoon to spiel me his works. Do you know him? He seems like a nice guy.

Where are your letters? Must I give two to your one?

Love,

Lenny

Chère Madame,

As you may have read in the New York papers, I have suddenly made a totally unexpected Town Hall début. Aaron was to have played his Sonata at the Music Forum at Town Hall last Wed., but couldn't escape the clutches of Sam Goldwyn in Hollywood. I was asked at the last minute, and practiced madly for a day, bought a suit of tails, played the Sonata, very successfully, answered questions with “adroit wit” (
N.Y. Post
), and got lovely reviews. “Superbly interpreted”
(
Herald-Trib
.), “great facility and remarkably complete understanding” (
Sun
). And
P.M.
⁶⁸
was great: “L.B. played the Sonata with all the devotion and skill the composer himself was unable to bring to it.” And Virgil Thomson, on the stage, publicly acclaimed me. What a début! Especially since I had to play it all over again at the end of the program. I wish you could have been there. It was really exciting. And the second time was much better than the first, which was full of errors. But then, no time to practice, no right notes. Vengerova insists that I send La Bok a program and clippings!

Wonderful that you have a job – but terrible that it's so dull. Tell me more. And try to get to NYC (impossible) Sunday, the 21st, at 6:30. Clarinet Sonata & 6 pieces for piano. And write me.

Love,

L

Dear Lensky,

As far as I can judge Wed.’s concert seems to have been a real triumph for you. You apparently were the Rob't Shaw of the occasion! Why even Minna Lederman was won over. What surprised me more than the “superb” performance of the Sonata was the report of how good you were in the forum. The new Movie Suite seems to have been put completely in the shade. What's it really like?

I think Heinsheimer was appalled at the criticisms. They certainly were stinkeroos. But then what can one expect from Noel Strauss or J[erome] Bohm. (Of course Virgil's sending Bohm to both the
Danzón
concert and Wed.’s event, knowing in advance he was giving me the ax – while sending P[aul] B[owles] to cover his own concert – is purest bitchery. Well, anyhow, now you see what it's like – being a composer, I mean.)

Of course, what really interests me is what went on at 15 W 52
after
the Wittenbergs! I want a play by play description. You're a pretty smart fellow. (Where was D[avid] O[ppenheim] all this time? As soon as I dropped the phone I regretted not having asked.)

Hollywood is dull dull dull. I've written a guerrilla song that everyone says is good (32 meas[ures]! Oh no – it's 36!!) – even Mr. Sam Goldwyn. Wish you could have seen us playing the Internationale to him in his office – (He said: It's a “steering” tune.)

You deserve some kind of medal – but I'd rather wait till I can pin it on myself. Anyway, I'm proud of you.

Love,

Me

P.S. Just heard the Strav. Symphony on the air.
⁶⁹

Dave,

Excuse this ridiculous card
⁷⁰
long enough to be warned that at risk of life, limb & name, I have succeeded in getting the Cl. Sonata on the League program Mar. 14. Don't fail now.

Love,

L

Dear Len,

When I got back from N.Y. I played the Sonata records
⁷¹
for Rogers
⁷²
and showed him the piano pieces (which I took quite by accident). He was impressed but screamed Copland all thru your last movement – 5/8 etc.

Rogers: “Did he study with Copland?”

Me: “No, but they are very close friends.”

R: “Is he that way – you know – Copland isn't normal. Is
he
normal?”

Me: “Perfectly.”

We talked for about an hour. I gathered that he thinks Copland distant and impossible to get to know if you aren't his type. He cited his own case of 15 yrs acquaintanceship without any familiarity at all. He also thinks C.’s music
intellectual and unlyrical and believes Aaron hasn't fulfilled the promise he showed 10 yrs ago. R[ogers] admires Aaron's fight for music in Amer. and has general positiveness and seemed apologetic but firm in his criticism. Insists no bitterness exists. Thinks the L[eague] of C[omposers] a narrowing element. Thinks Harris is awkward & not at all graceful. Thinks Boulanger not what she is cracked up to be. He studied wit h her for three months – with Bloch for three years.

He is a good guy tho – I like him. The comp. students around here idolize him & his music. I haven't heard enough to say.

Dream No. 89625436 – I dreamt of cigarettes in sugar bowls filled with sugar. […] I heard or read a story about a guy who fucked his secretary: “He put a cigarette in her monkey (vagina) to make it smoke.”

Interpretation – maybe my cigarette phobia finds here its genesis. I jumped 3 feet off the chair when I had it. It seemed right. I haven't had time to see if it had any effect on me yet. […]

Your letter was your most optimistic utterance to date and a good thing. Sounds wonderful. With the progress I have been making I think I will be able to be just as optimistic before long. Many things must happen first tho. Incidentally, K[aren] H[orney]'s
Neurotic Personality of Our Time
is a fine book for you – better than the other two I believe. Read it!

1. The clarinet is better than ever.

2. I am working harder & better than ever.

3. I feel better than ever.

4. I miss you.

Love,

Dave

Don't get the impression Rogers doesn't like C[opland] because I don't think that is true.

Hello to E[dys] M[errill].

My Dear Mr. Oppenheim,

Listening to the recording of the Clarinet Sonata, I am more and more impressed and moved by your performance. Especially the “high, controlled” part of the last movement. It is, in all seriousness, some of the finest, flutiest playing I've ever heard. Bless you. Those records are giving you quite a reputation in the Big City.

As to Lukas Foss, I have already asked him about sending you his Konzert, but he has only one copy and has to hold on to it. Perhaps you can see
it while you're here. Are you coming, I ask again, at the risk of being an utter bore.

I had a lovely surprise the other day, which you will please keep a dead secret. I was called into the Arthur Judson office by Bruno Zirato (manager of the Philharmonic), who told me that Rodzinski
⁷³
is very interested in me, and wants me to hang around all Philharmonic rehearsals etc., next year, and finally conduct a concert. I had no idea he even remembered me, but apparently he does, very clearly. Some Brahms performance or other at Tanglewood.

I had a terrific night last night. I had my “attack” again at
Shadow of a Doubt
⁷⁴
and thought I was going insane. All of which provoked some stunning analysis, and had me sitting up late, putting on cards all the elements of the story of my life. I think I'm pulling it all together now, and will soon have a working basis for active self-analysis. It's a good, active sign.

But why these attacks of panic and insanity-implications? Is it the state of nerves under analysis? I have been this way since you left. It is as though a layer of skin had been removed, figuratively, so that each little emotion, resentment, etc., inflicts a real registering of panic, instead of the customary vague heart-throb. It's a kind of crystallization of all psychic processes. I'm unprotected, and have been laid bare, baby. I think perhaps it signifies progress, somehow or other. It is Joe Id's way of informing me what's really going on. And the root of the whole thing is definitely lack of aggressiveness, out of fear, fear of being active, hostile, retaliative. It's all fairly clear now.

I believe in your cigarette analysis. It sounds quite right. Keep up the mental life, keep sending those lovely senseless picture postals, and I miss you too.

Love,

L

Dearest Aaron,

Now that it's all died down, and everyone has written you all the details, including Edwin Denby & [Kenneth] Klein & [Minna] Lederman (she came back & spoke to me – endlessly!) – I would like to add only that it was a real experience to feel that I really
had
redeemed the Sonata; that I played it marvelously, full of errors through lack of preparation (and nervousness), that it was
thrilling to see & hear Virgil [Thomson] so impressed with it, to have Jim Fassett call up & tell me how he had always disliked it, and now loved it – to have such a lovely accidental début, such good reviews – and especially to hear Virgil say that I seemed to be composing it as I played it. That's always my feeling with your notes, my love. It's in the books. There's much more to say, but I must wait til Dave Oppenheim leaves (he's sitting here reading
Serenade
⁷⁵
right now. Am I a masochist!) He came down to do the Clar. Sonata – which was lovely. I also did the Six Pieces, & the piece I wrote at your house in Stockbridge (now called
Dedication to Aaron Copland
)
⁷⁶
and a new one-minute clar & piano affair called
Extension of a Theme by Adolph Green
.
⁷⁷
I have it all on five records, for you to hear – ah, but when?

And I've seen Victor [Kraft], & talked with him for the first time, & I've been confusing him & Dave [Oppenheim] in my deep down mind. What's it mean?

And I was swamped by Ted Colombo in a bar, &
that
was
interestin.

And life is most peculiar. What are you doing?

Love, love, love,

Your slave,

L

Dear Disciple,

What a letter! I had a wonderful time with it – better than any novel. But now I want to read the next chapter. Thing that surprises me most – you always look and act so conscious that I can't imagine the inner psyche doing its own imaginings. It made me wonder if I too had an inner psyche doing funny things without my knowing it. But I guess it's just envy – sounds like so much more fun. The identification of D[avid] & V[ictor] seems so natural – the part that seems curious is that you should want to be me. (I'm so glad you're not!) I always want you to be you, so that I can go on feeling about you the way I do.
Please
write the next sequel soon.

I've got a little grey home in the west now. It's tiny but cute. A sun porch, a big piano, a eucalyptus tree, some new books – everything except a companion. It's better than living in a hotel room as I had been – but still I'm not like that Louisiana tree – and standing alone in the Hollywood desert gets oppressive at times. Any suggestions?

Bumped into guess who in the blvd – Jesse Ehrlich
⁷⁸
and wife. We are all going to hear the W. Coast premiere of the Sonata tomorrow night. (Any report as to how J. Sykes performed it?) J & J are settled here during the period when Warner's are filming the army show. They seem to have living with them a delicate young negro boy from Katherine Dunham's dance group. Nice looking kid. (Did I say anything?)

I heard Roy [Harris]'s 5th Symph broadcast yesterday. Decided my chapter on him
⁷⁹
was triply just. What a pity – with all that good material he can't pull it all together and make it go places. Still, the personality is so strong that it may make up for the lack of intellectual grasp of the material. I'd be surer of this if he didn't repeat himself so much in general mood and formulas. His music shows no signs whatever of reactions to outward events. Well, you know all this.

(By the way, as your “only” musical influence, I'd like to know what the influence consists of – in one or twenty sentences.)

I've been here four weeks now and accomplished practically nothing. Most of the time goes in gab fests. Shooting starts tomorrow and lasts 2 months. I'm doing a 2 minute Russian peasant dance with Lichine as choreographer. It's practically impossible at this stage to figure out what the whole thing will add up to, musically speaking. […]

If only you had experience in pictures we could bring you out to conduct. I've tried them – they won't take a guy who has never before done a picture. So there. Now will you come to Hollywood?

Love you too,

Me